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Das zweite Album der Berliner Künstlerin Jennifer Touch feiert und hinterfragt die Romantik der Illusion und dokumentiert die Sehnsucht auf der Suche nach einem sicheren Ort und Umfeld.

Rulaman steht für schwebende, psychedelische Klangteppiche, gewoben aus einem erdigen und analogen Sound. 2015 gegründet, gelang es der Band unter dem Namen The Hace schnell lokale Erfolge zu feiern.2019 veröffentlichten sie die Debüt EP 'Peacemaker'.2020 wurde aus dem Quartett ein Trio und Rulaman war geboren. Mit der EP 'Rulaman' veröffentlichte die Band zum ersten Mal eine konzeptionelle EP, die ihre Zuhörer auf eine Reise durch Wald, Wüste, Sumpf und den eigenen Geist entführt. "To Serve The Dune" ist nun ihr Debütalbum via Tonzonen Records. Direkt der Album Opener 'Bitkin (Wake)' nimmt die Zuhörer*innen mit in die Tiefen der Psyche und kalten Monate. Mit starken Riffs und treibenden Drums wird einem hier eine neue Seite von Rulaman gezeigt, die nun durchaus härtere Töne anschlagen. Nur zwei Titel später werden im Instrumental 'Creatures' gewohnte, sphärische Klänge mit rhythmischen Bässen und fesselnden Melodien gemischt. Auch durchaus kritische Texte umfasst das Portfolio des Trios. 'ThirtyNine' erzählt die Geschichte eines machtgierigen Herrschers der seine Bevölkerung aushungert um sich selber daran zu bereichern.

Papir's majestic third album back in print on vinyl for the first time in eight years! On this album, produced by Causa Sui's Jonas Munk, the band really found their sound, blending powerful semi-improvised psychedelia with jazz and atmospheric post-rock. At this point the Copenhagen trio had become masters of their craft, mixing together new and old, heaviness and ambience. Now, ten years after its original release, it stands as one of the highlights of post-millennial psychedelia. When Mojo writer Kieron Tyler visited Denmark's renowned SPOT Festival in the summer of 2012 he was blown away by Papir's performance as an experience that clearly stood out compared to the rest of the bill: it takes a lot to stand out at SPOT...but Copenhagen's Papir are arresting. Their guitar, bass and drums mesh powerfully in an intense, jazz-inflected instrumental rock. Voyaging through post-rock Tortoise terrain, it nods towards Hawkwind's freak outs and employs liberal dollops of wah-wah pedal. The pieces - not songs - twist and turn like Dark Star Grateful Dead. From these jumping off points, Papir scurry off on their own path. These guys are certainly on their own path and Papir III is one of their most fully realized albums to date. It encompasses everything the band represents in a single piece of heavy vinyl - from explosive, guitar-solo driven peaks through motoril krautrock grooves to peaceful and atmospheric soundscapes.

Kiss Klassics turn up the heat a few notches to bring you THE summer anthem of 2022, Edinburgh duo LF System flipped the Silk vocals wonderfully as does DJ Matman on the flip of this cheeky 45 with his edit of the original sample source both stone cold killers!

Limited edition run of 500 copies - pressed on transparent blue vinyl

Following a CD-only release in Japan in 2021, legendary downtempo producer Calm finally releases his “Before” album on vinyl and digital courtesy of Hell Yeah. The 10-track record is a slow-burning Balearic beauty.

Calm aka Kiyotaka Fukagawa has never been to the White Isle, but he sure knows how to capture its musical essence. He has done so over a long and storied career that has taken in 17 albums and some 35 EPs on many labels including this one over the last 20-plus years. His unique blend of ambient, jazz and leftfield was last showcased on this label in 2018 with his By Your Side album, and now he does it again with another timeless and escapist offering.

The record was written, arranged, mixed and produced by Calm, but with gorgeous musical embellishments, trumpets, flutes, saxophones, violins, bass and keys played by friends and guests like Shiba, Sinsuke Fujieda, Fumiko Takeshita, Tomokazu Sugimoto, Yuichiro Kato and Toshitaka Shibata. Tracks from it have already had support from Cosmo Coleen Murphy on Worldwide FM, while Phil Mison says it is "100% reminiscent of an old Café Del Mar or José Padilla record." He is not wrong.

As soon as the opening chords of 'Beauty on Earth' wash over you there is no escaping the naturalistic charm and beauty of this record. 'Long Summer Dream' layers mystic wind sounds and gentle percussive patterns into suspensory bliss, 'Blue in Void' is a plaintive moment of sombre sax and pensive piano, then 'Liminal Moment' awakens the soul with its gorgeous flute lines and looping arps.

There is perfect horizontal sunset house on 'I Love You,' 'Feel It' picks up the pace with seductive saxophone motifs and psychedelic synth loops and 'Before Sunrise Blue' is crushing downtempo melancholia. 'Kunpoo' reawakens you with leggy bass and expansive synths that reach for the heavens, while 'Freedom Sunset' is an epic 10-minute journey out to sea. Lastly, 'Let's Make Harmony' is super slow motion jazz-funk that swells the heart. Before is a superb album that is well-deserving of this double vinyl pressing and is sure to become a Balearic classic.

DJ Support:

Phil Mison, Colleen Cosmo Murphy, Chris Coco, Buena Onda Crew

Following a hugely successful inaugural release, Sangiuliano’s forthcoming “Sound Of Space” EP was quickly circulated across the festival scene, with the title track becoming one of the most hotly-tipped Track IDs of the summer. Continuing the label’s strong undercurrent of evanescence, Sangiuliano’s second chapter explores the effects of space and physical surroundings on our experience of music. Space is a concept we continuously interact with in music, whether we live it subconsciously or not. It’s a vital component in our perception; altering the expression of the music to the listener’s surroundings and functioning as an interactive field. Before the development of recording equipment & technology, music’s environmental characteristics were defined by the space in which it was performed, and as such, Enrico’s latest offering aims to revive this practice in music. To wholly pervade the senses and demonstrating this concept first hand, the 2-tracker will be also available in spatial audio, giving listeners a 360-degree infiltration of sound

Following up last year's orchestral album opus “Overtones For The Omniverse", Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as "Goosebumps Per Minute, Volume 1" on classic vinyl and digital. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and 70’s analogue synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) - and on top of a multitude of summery bass, drums & strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence”. Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths" or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" - his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw & funky.

The songs were also inspired by his time hanging out at the Goldline bar in LA’s Highland Park. “Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts - and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately … It reminded me of my time in Tokyo's vinyl bars so "Goosebumps Per Minute" owes a lot to that inspiring culture as well“.

About Mocky:
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums and co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder". In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011 Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney. Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. IIV. After co-producing and co-writing Feist's "Pleasure" and Kelela's "Take Me Apart", in 2018 Mocky released two albums: "Music Save Me (One More Time)" and "A Day At United", an instrumental jazz album, recorded in a single day. In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards. In 2020 he started a new Single series with 2 releases featuring the portugese singer Liliana Andrade and in 2021 he released his orchestral album "Overtones For The Omniverse" and started a series of funky instrumentals under "Goosebumps Per Minute".

Erstpressung auf pinkem Vinyl. "Breaking The Balls Of History" ist das insgesamt zehnte Album von QUASI, das am zehnten Februar, zehn Jahre nach ihrer letzten Platte, erscheint. Drei Zehner, was sich mit den dreißig Jahren deckt, die sie zusammenspielen. Sam Coomes und Janet Weiss sind zu Ikonen des pazifischen Nordwestens geworden, und QUASI hat sich immer so beständig angefühlt - ihre dauerhafte Freundschaft so generativ, ihre Energie unendlich, jedes Album rauer und eingängiger und wilder und lustiger als das letzte. Aber wir haben uns geirrt, QUASI jemals für selbstverständlich zu halten. Eine Zeit lang dachten sie, dass das komplizierte "Mole City" von 2013 ihr letztes Album sein könnte. Sie würden mit einem großartigen Album abtreten und weiterziehen. Dann, im August 2019, krachte ein Auto in Janets Haus und brach ihr beide Beine und das Schlüsselbein. Dann kam ein tödlicher Virus über uns, und niemand wusste, wann oder ob Live-Musik, wie wir sie kannten, jemals wieder würde stattfinden können. "There's no investing in the future anymore", erkannte Janet. "The future is now. Do it now if you want to do it. Don't put it off. All those things you only realize when it's almost too late. It could be gone in a second." Während des Lockdowns standen die Straßen von Portland still, Flugzeuge verschwanden, wilde Tiere tauchten auf. Und mit der ausgelöschten Normalität kam ein unerwartetes Geschenk: ununterbrochene Zeit, Stunden am Tag, um Kunst zu machen. QUASI konnten nicht auf Tournee gehen, also hatten sie eine Idee: Sie taten so, als wären sie auf Tournee und spielten jeden Tag zusammen. Jeden Nachmittag verschanzten sich Sam und Janet in ihrem winzigen Übungsraum und kanalisierten die Verwirrung und Absurdität dieser fremden neuen Welt in Songs. Sie beschlossen, dass sie die Songs live und gemeinsam aufnehmen würden, um einen Moment einzufangen. Das unglaubliche Ergebnis dieser Sessions ist "Breaking The Balls Of History", aufgenommen in fünf Tagen und produziert von John Goodmanson. Hier sind zwei Künstler*innen in ihrer Blütezeit, jede*r ein menschlicher Fundus an musikalischem Wissen und Erfahrung, völlig unverwechselbar in ihrem Songwriting und Sound. In der QUASI-Form wird die Band alchemistisch noch größer als die Summe ihrer Teile. Mitten in einem katastrophalen sozialen und politischen Moment haben sie exquisite, melodische Songs geschaffen, die vor Wut, wildem Humor und Intelligenz nur so sprühen, angetrieben von einem großen, zerschundenen, pochenden Herzen. "A last long laugh at the edge of death", singt Sam zu Beginn des Albums, und dieser fröhliche Trotz - der genauso gut der Logbuch-Eintrag unserer Gegenwart sein könnte - gibt den Ton für die kommenden Songs an. Es klingt düster, und das ist es auch, weil es sich dem Moment stellt. Aber es ist auch eine Platte, die vor Energie, Vergnügen und Freude nur so strotzt.

After 12 years this is the triumphant return of Hellenic darkness! Followers of Deviser all over the world who still concider their early releases as hidden gems of their collections, are in a frenzy this year awaiting the long-awaited new full length release, “Evil Summons Evil”, Greeks latest installment in the Black Metal scene and possibly the most important album of their career. An album that will surely leave its mark on the global metal community. Produced by the talented Psychon of Septicflesh who has taken over the mixing and mastering of the album and recorded exclusively at Soundabuseproductions in Athens. Deviser is a long-lasting value in the history of European Black Metal for the connoisseurs of the genre. The call of evil comes to darken the whole earth this February through Hammerheart records.

Purple Vinyl

London’s abundant waterways and parks provide an oneiric muse for Cucina Povera and Ben Vince’s resounding debut full-length collaboration, an engrossing suite of weightless sax, synth and disklavier-bedded soundscapes that land somewhere between Grouper and Terry Riley.

As a newcomer to London, Rossi was caught up in a sort of wondrous reverie - a feeling that seeps through every movement of thia almost hour long album. Vince's plasmic echoes and Rossi's aerial delivery form a poetic union, twisting and painting each sound in pearlescent shades, finding a musical confluence between Rossi's words - fluid, dreamy, hazy ideations - and Vince's shadowy renditions.

Rossi's folk roots shine through like cracks of dawn sunlight on 'Sumu Puistossa' ("fog in the park"), reverberating over organ and dream-zone sax; her words tip into muted surrealism thanks to the controlled chaos of Vince's bleak treatments. His grasp of jazz is transfixing: bending sax motifs like ghostly memories of music from another timeline, smudging them into the soundfield. It’s most effective on the title tracx, where sickly, dissonant notes flicker like an almost-extinguished candle alongside motorised furniture music courtesy of a Disklavier.

From the Terry Riley-esque transcendence of '∞' to the sacred incantation of long-form closer 'Pikku Muurahaiskeko' ("little anthill"), the pair expose a new layer of creativity with each turn, gradually zooming out from discreet, vulnerable beauty to encompass a gently orchestrated chaos of sustained, sublime tension


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Endearing Montreal-based trio Afternoon Bike Ride announce their forthcoming second album "Glossover", set to be released via Friends of Friends. Consisting of Lia Kurihara (vocals, guitar, programming), David Tanton (vocals, guitar, drums, programming), and Éloi Le Blanc-Ringuette (vocals, keys, drums, programming), Afternoon Bike Ride is a lo-fi folk trio providing a comfort zone in audio form. It"s in the name. When all three artists are together, their chemistry culminates into one organic and lush sound. Sonics that feel natural and freeing, as if fireside with a handful of microphones and instruments and toys. The band has released a series of cohesive projects where field recordings blend with ambient, acoustic, folk, and pop. A cauldron of genres they stir during each song. With precision, Afternoon Bike Ride presents a soothing sound all their own, one that continues to expand and deliver with each new release.

The summer of 1982 saw the release of some of the most culture-defining films of our lifetime (STAR TREK II: THE WRATH OF KHAN, POLTERGEIST, TRON, CONAN THE BARBARIAN, THE THING, THE ROAD WARRIOR ... just to name a few!)

But few have had nearly the same impact on film music as the legendary sixth collaboration between Steven Spielberg and John Williams: E.T. THE EXTRA-TERRESTRIAL.

Mondo, along with Geffen Records and Universal Pictures, are proud to celebrate forty years of E.T., with an all new re-issue of John Williams' timeless, essential and period-defining score.

Reissue Produced by Bruce Botnick & Mike Matessino

Composed and Conducted by John Williams
Artwork by Dan McCarthy
Liner Notes by Mike Duquette
Manufactured in Czech Republic

Mit einer beeindruckenden Diskografie, die zwei hoch angesehene LPs und eine Reihe von Singles und EPs umfasst, ist DISTANT auf dem besten Weg, das Downtuned- und Downtempo-Gesicht des europäischen Deathcore zu werden. 'Heritage', das Century Media-Debüt von DISTANT, löst das Versprechen ein, das auf der Platte und auf den Bühnen der Welt gegeben wurde, und dezimierte die Massen auf den letzten europäischen Festivals, darunter das Summer Breeze 2022 und Brutal Assault, sowie auf der 'Chaos and Carnage'-Tour in Nordamerika mit den Labelkollegen Lorna Shore und Suicide Silence. Jetzt hebt die fünfköpfige Band (deren Mitglieder aus den Niederlanden und der Slowakei stammen) mit 'Heritage' die Dinge auf ein neues Level. Songs wie 'Exofilth', 'Human Scum' oder 'Orphan Of Blight' haben bei ihrer Veröffentlichung den Deathcore-Underground in Brand gesetzt. 'Heritage' ist die musikalische und lyrische Abrechnung von DISTANT. Das Album setzt einen thematischen, an Sci-Fi angelehnten lyrischen Zyklus fort, den die Band bereits mit dem ersten Roman von Sänger Alan Grnja und Bassist Elmer Maurits, 'The Rise of Tyrannotophia', von der akustischen Intensität auf die veröffentlichte Seite übertragen hat. Der Sound von Deathcore ist weltweit im Kommen. 'Heritage' ist erhältlich als: Ltd. CD Digipak, schwarze 180g LP und Digitales Album.

Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet’s galloping drums and Sam’s punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they’ve crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart.

Released in the summer of 1969, Syl Johnson's first full length outing compiles the fruits of his late '60s Twinight sides. Included are the seminal, and often sampled, hits "Come On Sock It To Me" and "Different Strokes." Issued on 150-gram vinyl and housed in a tip-on jacket, Dresses Too Short is the perfect entry point for any exploration of this soul titan's most fruitful years.

With their emotive melodies, propulsive rhythms, angular guitars and dark cinematic electronics, TRAITRS have quickly become one of modern post-punk’s fastest rising independent bands. Consisting of Sean-Patrick Nolan and Shawn Tucker, TRAITRS formed during the summer of 2015 in Toronto, Ontario Canada. The duo recorded demos with producer/engineer Josh Korody (Nailbiter, F*cked Up, Japandroids, Dilly Dally), garnered the attention of Pleasence Records label head James Lindsay and released their debut cassette Rites And Ritual in April 2016. After gaining buzz in the European and North American dark music scenes, TRAITRS released their critically acclaimed LP Butcher’s Coin (Pleasence Records, Manic Depression Records, Alchera Visions) in May 2018. Backed by the strength of lead single ‘Thin Flesh’, the duo embarked on a series of lengthy tours overseas, performed in over a dozen countries including showcases at Wave Gothik Treffen, Castle Party, Extramuralhas, Nocturnal Culture Night, Wavefest, Canadian Music Week and Pop! Montreal. Their relentless touring schedule and work ethic caught the attention of Schubert Music Publishing’s Thomas Thyssen and Eric Burton, and in October 2020 they announced TRAITRS as the first signing to their brand-new record label Freakwave Records. This year, TRAITRS will release ‘The Sick, Tired And Ill’ EP on July 30 and the full-length LP ‘Horses In The Abattoir’ on November 19.

Das neue Album „Twelve Carat Toothache” des Superstars Post Malone ist nun erhältlich!

Das vierte Studioalbum beinhaltet unter anderem Features von The Weeknd, Doja Cat, Roddy Ricch und The Kid LAROI!

Wie für das Multitalent üblich, definiert er durch s eine Musik Genre-Grenzen neu und zeigt auf, was für ein vielseitiger Künstler er ist.
Schon seine Debütsingle „White Iverson“ (2015) schaffte es mit Anhieb auf Platz 14 der Billboard 100 und wurde mit Vierfach-Platin ausgezeichnet. Doch dabei blieb es nicht - sein erstes Studioalbum „Stoney“ debütierte auf Platz 6 und wurde mit Fünffach-Platin ausgezeichnet, ebenso wie sein zweites Studioalbum „Beerbongs & Bentleys“. Das letzte Studioalbum des in Dallas aufgewachsenen Musikers, „Hollywood’s Bleeding“, peakte auf Platz 1 der US-Albumcharts, wurde mit Dreifachplatin ausgezeichnet und stellt mit
fast 80 Millionen Streams in nur 24 Stunden einen neuen Spotify-Rekord auf.

2022 heralded the arrival of his fourth full-length offering and the summer’s most-anticipated record, Twelve Carat Toothache, that arrived on CD June 3, 2022. It is his first full-length in three years since the triple-platinum Hollywood’s Bleeding crashed the Billboard Top 200 at #1.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that keeps you coming back for more. Born out of a lifelong affair with the many shades of electronic rhythm and an obsession for collecting records since 1988, Paul is known and respected by many in the realms of underground House and Techno. Renowned for making hips and feet move at parties, clubs and fields across the UK and beyond over the last few decades.
As a label owner, his mission couldn’t be clearer - releasing new music for heads of all persuasions. Fresh cuts aimed squarely at the dance floor, front room or even just your headphones. Rather than staying too hung up on the past, he continues to serve up the freshest in Acid, Electro, Techno, Deep House alongside sweet slices of Electronica.
Sticking to the format of 4 superlative cuts from equally talented producers, the quality remains unquestionably consistent on Volume 8 of his various artist series. Kicking off A1 in style with a family affair from Acid House aficionado Affie Yusef and his daughter Leila, ‘Dublovr’ is a Class A slice of pure late night chug that rides clockwork rhythms to a rolling bassline. As dubbed out synths ring out to lift you skywards – eerie sweeping undertones add another dimension. Tried and tested since the summer season, the added layer of a TB-303 brings everything nicely to a head. Not to be outdone, Bristol based Electro emissary Zobol delivers a pure slice of machinist joy on A2 ‘Sense The Consesus’, showing his ability to finesse and balance uplifting melodies with warm synthesis on this finest of jams.
Over on the flipside, Maltese producer Acidulant takes up the reins with the hushed tones of ‘The View of Her Shade’ on B1 – a thoughtful excursion into electro hinterland that’s a textbook lesson in making more with less. Last but not least, mysterious I Love Acid affiliate Type-303 turns out an exquisite IDM inflected serving of woozy broken Electronica on the mysterious ‘Knowhere’. Steeped in rippling melodies and aquatic