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Robyn is doing brilliant and important work - the world needs more music like this. Just one word: listen!" Giles Peterson “Even aside from her skills on her instruments and unique approach to music, Robyn devoted an immense quantity of emotional resources to the delivery of this record, and seemed to take its challenges on as a chance for personal growth. It was consistently clear that the personal input of the players was welcome in a fundamental way, and we all responded to Robyn’s efforts that went to the limits of her capacity and her love for bringing her project to you, the listener” Alabaster DePlume “It has been such a joy to work with Robyn, especially when entering the fascinating world of Robyn’s Rocket and Avant Garde jazz. We had our fun moments, like when the fire alarm went off during our recording session of Mystery Man, and we just rolled with it and kept it in. It’s like nothing matters. It’s such an honour to be part of the world of Robyn’s Rocket and to listen to the many stories, expressions and colours that shine throughout the album.”Sebastian Golgiri What happens when you bring together familiar faces at London experimental music venue Café OTO, Charles Hayward (drummer Abstract Concrete, This Heat) and John Edwards (double bass), and the Total Refreshment Centre (hub of new london jazz scene recording studio ) like Alabaster DePlume (singer and saxophonist) and Danalogue (synths from Soccer96, The Comet is Coming), and the learning disability autism art scene like singers/spoken word artists Sebastian Golgiri and Dean Rodney Jnr (Fish Police), on a magic carpet with space trumpeter Robyn Rocket? The answer materialises in the groundbreaking collaboration 'Robyn Rocket and People You May of Heard of'. Recorded across three days in three different studios connected to the three communities Robyn Rocket calls home, each session brought together musicians from these diverse backgrounds—many meeting for the first time. Together, they improvised and created a musical journey that transcends conventional boundaries.

This cosmic voyage features more than 20 musicians and a dog ( Taz from lost socks), gliding through free jazz, danceable tunes, loopy vistas and spoken word doors into different ways of seeing the world. At its heart lies a profound message about community as a vital part of existence and difference as something to embrace and value. The project culminates in the final single and focus track 'We Are All Human', featuring a poignant speech by Rocket from her night 'Robyn's Rocket - a residency at cafe OTO featuring experimental music and live visuals by artists with and without Learning Disabilities/ autistic and non autistic artists ' in the speech rocket talks about supporting each other—words she actively lives by and encourages others to embrace. Like many autistic people, Rocket has experienced abuse, bullying, isolation and feeling unwelcome in the world. “This project is like my nights but you can carry it around with you”, she explains. “I started my own night to share my work. I also recognised, it was a privilege to have my own night, I wanted to help other artists share their work too, and create an environment where people with and without learning Disabilities/Autistic and non autistic people as audience and performers could come together and get to know each other”. Historical Context

Born from a desire to explore her background in film composing to create a music film, Hannah Holland’s upcoming album 'Last Exit On Bethnal’ is set for release via PRAH Recordings on 18th July. Together with director Lydia Garnett, the multi-faceted London producer shaped ideas born out of images the pair weren’t finding in film, inspired by queer icon filmmakers like Kenneth Anger and Derek Jarman. “We wanted to craft something unapologetically for dykes: a poetic, surreal exploration of dyke power and sexuality set in a fantasy underworld,” explains Holland. Once the film was shot, she channelled its stunning imagery and the energy of the cast into making the record. Seductive and bass-driven, its nine tracks merge sleazy guitars with 707 machine drums, beautiful evolving arps, and surreal moments of Lynchian dreaminess and Aphex Twin-inspired atmospherics. "It was a really amazing collaborative experience and coming together of a community to make something totally unique….and hot!” she continues. The first single ‘Biker’ features a filthy synth hook atop Hannah’s signature bass-guitar, perfectly capturing the raw and sexy energy of the album and its visual centrepiece. You can listen to it here. The film will be screened at a one-off club night at London’s ICA on 11th April in association with Culture Divided, Somesuch and Bala Project.

Hannah Holland has played a pivotal role in London’s alternative and queer London club scene since the mid-noughties. Rooted deeply in London’s fertile musical community, musical exploration and the transcendent potential of dancefloor have always been her biggest inspiration. Her recent delve into experimental theatre, film and TV scores has proved a future further artistic voyage to explore her creative vision. Holland first arrived on dancefloors sharing electro-tinged techno, with equal inspiration taken from the sounds of DnB and jungle heard at legendary parties such as Metalheadz, which she had frequented in her early teens. Having already been “borrowing” (and perhaps never since returning) Kraftwerk, Grace Jones and Talking Heads records from her parents, the influence of this metropolitan musical soup ensured that Holland emerged on the decks with a unique musical character and diverse taste, hallmarks of her sound that she has not lost since. This has been reinforced with trusted residencies at iconic parties such as Trailer Trash, Adonis, Glastonbury’s NYC Downlow, or undertaking far-reaching marathon sets at Berlin’s Panorama Bar. In 2006 Hannah started Batty Bass with vocalist Mama. Immediately a roadblock party and then a record label with releases from Josh Caffe and The Carry Nation sitting in its discography, Batty Bass explores the disparate strains of electro, acid, techno and house. Hannah also released her own music on the label including the ever-anthemic Paris’ Acid Ball.

A steady stream of releases have followed on Shall Not Fade, Super Rhythm Trax, Crosstown Rebels, Classic, Nervous, as well as remixes for Blessed Madonna ft. Kylie Minogue, Planningtorock, The Knife and Goldfrapp among others. Hannah also finds the time to play bass in several bands including Black Gold Buffalo whose debut album she also co-wrote. Her much-anticipated debut album, Tectonic, came out on PRAH Recordings in 2021, with a second on the way. Hannah’s latest venture into the world of film scores have included queer icon Bruce LaBruce’s ‘The Visitor,’ Channel 4 series Adult Material and award-winning indie feature Electrician.

Hannah Holland continues to push the boundaries of electronic and live music, telling stories and carving her own path in the deeper frequencies.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Finally available following strong support from Antal and Hunee, including soundtracking the closing of Rainbow Disco Club Festival in Japan: Cabo Verde Show's 1984 showstopper “Bem Danca” revisited in its original form alongside a perfectly stripped-back, synth-focused edit by The Square Sun. Now on a 12” pressed loud at 45 RPM, with the edit on the A-side and the original version on the flip!

“Bem Danca” was a B-side cut from a 1983 release, featuring lead vocals from Luis Da Silva. The original is a party-ready Funaná jam with intricate horn and guitar work. The Square Sun’s edit takes the track deeper, extending some instrumental parts to build tension before the culmination of synths and horns that truly sparkle in this version. An essential for your bag as we begin to enjoy those open-air dancefloors once again!

Spectral Bounce’s fifth instalment comes courtesy of L.A.’s rave archivist and dancefloor operative Dreams, A.K.A. Jesse Pimenta. Throughout his decade-long career the California native has inspected, dissected and concocted all manner of dance musics, leaving his mark with drops on Apron Records, Pinkman, BANK NYC and his own imprint Dance Data. On SPEC05 — Dangerous When Wet — he hijacks the synapses with 4 accomplished productions, plotting a high BPM course through manifold styles using the raw aesthetic that characterises his output.

“Losing Control” is a frenetic dancefloor invitation, immediately locking into a pacing groove. Beneath wild hand drums, Dreams plays with an insistent 303 bassline alternating between rasping buzz and oily squelch, while stern vocals are layered on top of breaks that have been processed to a viscerally satisfying end.

Taking things from delirious dance circle to underwater biosphere, the EP’s eponymous track explores a submerged 1980s Miami. Weighty & enveloping, “Dangerous When Wet” is pure aquatic pop-n-lock — hydraulic electro for a drowned world. Ocean floor caustics are transmuted into auditory form: arpeggios bubble up; drones shimmer mystically; hi-hats hiss like air from an open valve. Amongst the sonar bleeps, a barrage of pummeling low-end is sure to give subwoofers a workout.

“XTC Messenger” delivers an infectious paranoid dispatch, astutely balancing the sensual with the deranged. A slow-mo dial tone unfolds languidly, running counter to nervously twitching high frequencies. Its punchy percussion is tuned for maximum dopamine release; the track’s abrupt vocal chops and mechanical kick-snare pulsation evoke the leather jackets and jagged edges of 1980s industrial discotheque.

“Pressure Points” closes the EP on a heady and mesmerising polymetric trip. The parting track is a lithe yet spacious number, propelled by a rattling break. Here Dreams follows from track 2, creating an immersive environment in which sounds tightly twist and twirl. Shifting oscillators call out like tiny creatures as the bass throbs and wriggles further into your brain, long after the needle hits the runout groove.

In honour of fifty years in the performing arts - dating back to the founding of the legendary band The Pyramids in 1972 - Idris Ackamoor proudly presents "Artistic Being". This special recording features celebrated San Francisco actor, activist, and author Danny Glover, alongside renowned stage actress Rhodessa Jones.

Jahtari label compilation full of all-new Outsider Dubs, Dancehall bangers and lots of cosmic low end, marking twenty years of Reggae oddness from Leipzig.

Vol. 5 is the first addition to the Jahtarian Dubbers series in over ten years, starting off with ‘The Loop Jerk’ by DJ and activist Dave Watts aka KingLMan (who sadly passed away in 2024).

Kiki Hitomi turns up the heat with ‘Red Mustang’, a raw but sweet PG 18-rated Japanese lofi Reggae gem, followed by ‘Casio HipHop’, an addictive synth & drum machine session by UK bedrock producer Kris Kemist (Reality Shock Records).

Singjay miracle El Fata brings the positive energy with ‘Boom Sound’, a synthie dancehall scorcher hot off the tape reels at Naram’s studio in the New Zealand bush, while Jura Soundsystem’s hypnotizing ‘On My Way (Dub)’ easily shifts gears into Sly & Robbie-mode.

Side B starts off with Pupajim’s prophetic ‘Tidal Wave’, produced by digi-reggae specialist Raggattack and coming in an epic extended Disco Dub version.

Melodica wizard Taka Noda (Mystica Tribe) and synth shaman Danny Wolfers (Legowelt) enter into deep magnetic communion with their Sacred Tascam tape deck on ‘Cabal of Puppeteers’, followed by DJ veteran Speng Bond chanting ‘Wha Mek’ over a spaced out depth charge by Jahtari co-founder Rootah.

Gameboy-whisperer DJ Scotch Egg (WaqWaq Kingdom, Seefeel) joins forces with disrupt and Dub trumpet black belt Pablo Volt (STA) for a mindbending journey going all the way from synth heavy Roots to Acid Jazz, on Namahage‘s ‘Voidout Dub’.

The voyage ends with a hazy and mystical Ambient Dub version of ‘Muuri’ by Finish singer Tiiu Helinä, with Tapes on keys – not to be missed!

All lovingly mixed by disrupt, coming with iconic artwork by Disko 69 (Doppeldenk).

Fall in love with the sound of Paris on Valentine’s Day through Parisian Romance, a romantic lofi collection that captures the city’s timeless charm and bittersweet beauty.



On this special day of celebrating love and appreciating loved ones, each track transports you to quiet Parisian streets beneath soft, evening skies, where love and loss intertwine. With the heartbeat of the city echoing through cozy cafes and twinkling lights, this collection offers the perfect soundtrack for embracing the delicate emotions that define the City of Lights.

Celebrating the 60th anniversary of these iconic Mojo Men recordings, this fantastic collection now comes pressed on heavyweight colour vinyl with all new artwork and liners. Produced by none other than Sly Stone (from Sly & The Family Stone) during the group"s Autumn label era, these West Coast recordings include the breakout hit "Dance With Me" (1965) alongisde other rare cuts and rock and pop gems. Sly Stone, then a rising producer and arranger, helped shape the sound of many Bay area artists during the early-mid 60s. The partnership between Sly Stone and The Mojo Men was a key chapter in both of their stories.

Wenn drei visionäre Köpfe der elektronischen Musik aufeinandertreffen, entsteht ein Sound, der Grenzen sprengt. Demise Of Love ist das Projekt von Daniel Avery, James Greenwoods Ghost Culture und Working Men’s Club – eine Kollaboration, die aus gegenseitiger Wertschätzung und dem Streben nach neuen Klängen entstanden ist. Demise Of Love verbindet rohe Energie mit klanglicher Präzision. Das Ergebnis ist eine Fusion aus industriellen Klanglandschaften, pulsierendem Acid-House und melancholischen Melodien. Ihre Musik fordert heraus, fesselt und bleibt haften. Die EP, abgemischt von Alan Moulder, bringt das Beste der drei Musiker zusammen: Synthesizer, die den Raum aufbrechen, intensive Refrains und eine Soundästhetik, die sich nicht einordnen lässt. „Strange Little Consequence“ wechselt spielerisch zwischen Acid-Groove und monumental anmutendem Rock-Refrain. „Carry The Blame“ fängt die Weite des Detroit-Techno ein, „Be A Man“ verbindet Industrial-Punk mit düsterer Melancholie, und „Like I Loved You“ hebt mit hymnischem Gesang in elektronische Höhen ab. Auch inhaltlich geht die EP tief: Texte über Entfremdung, Kontrollverlust und die Suche nach Verbindung verleihen der Musik zusätzliche Schwere. Zeilen wie „Dead peasants excite you / Rewards of the plight fall / Into your hands“ aus „Strange Little

Consequence“ oder „Your ways are antiquated / And I’m bored now“ aus „Be A Man“ spiegeln das Unbehagen unserer Zeit wider. „Demise Of Love“ ist keine bloße Zusammenarbeit, sondern eine Verschmelzung dreier einzigartiger Klangwelten zu etwas völlig Eigenem. Hier trifft Innovation auf Emotion – kompromisslos, intensiv und von zeitloser Eleganz.

After two years, Bekkler returns to the BKHS Catalog with his debut album, Utopie. The vinyl features five tracks that radiate dreamy melancholy while delivering finely tuned bass frequencies to the dancefloor-ranging from the heavy and pounding Hauptsache Nicht Anhalten to the smooth and warm Kakerlaken Komitee. The record was cut by Bekkler himself, aiming for the highest-quality vinyl sound and maximum volume on the disc.

No trend to be followed, no invention to be intended, it is the reduced gorgeousness that let's us float on Asper Clouds. This is still valid in 2025, timeless grooves that still move your heart and soul and warm the dancefloor.
Smallville is turning 20 Years, so we are starting a little musical celebration with a special re-release of this ultimate beauty, that stood the test of time - a milestone LP for Smallville by Christopher Rau.
Comes with Full Cover Artwork by Stefan Marx

With releases on Brooklyn’s Major Records and UK imprints Non Stop Rhythm and Indulgence, DJ Split is a breakthrough producer putting his own stamp on the classic Chicago house sound. For his Shadow Pressings debut he has conjured up five original club cuts that will work their magic on any dance-floor worth it’s salt.

Last Night Baby sets the tone with taught 909 beats, punchy bassline stuttering vocal hits. Piano chords and a smattering of melodic chimes and just the right amount of musicality without taking away any of the raw energy and turbo-charged grunt. Treading a similar path but upping the BPM’s, XNXX goes for the jugular with gnarly FM bassline and frenetic groove.

Flip over for Can I Tell You? which goes a little deeper with a rolling bassline, filtering Detroit pads and strings whilst Step For brings touches of acid, banging 909 toms and vocal chops. Closing out the EP we have One In A Life Time which turns up the jack factor with snappy 808 snares, mechanical bass line and deep stabs. DJ Split is a man on a mission to bang the party and has come prepared with his piñata fully loaded with big, fat beats n basslines.

Jonathan Richman’s classic 'Egyptian Reggae' has been responsible for setting thousands of discerning dance floors on fire. After getting the obvious Jah twist on a few occasions, so we thought it was about time for the Richman’s song to receive a fun yet respectful cumbia treatment! This cumbia candy has been recorded in Lima by no other than Pancho Acosta, founder and guitarist of Compay Quinto, and one of the greatest cumbia guitar players in Peru. On the flip side we find one of Acosta´s own original songs, 'Carnaval de Jujuy', recorded by Austin-based future-cumbia group Money Chicha.

COMPUMA's new new album “horizons”now available on vinyl via his own label Something About!

The album “horizons” is a further development of COMPUMA's “horizons EP”, which was released in July 2023 as a digital-only EP on his Bandcamp. The songs are inspired by the scenery and environment of Lake Ezu, Kumamoto, where the artist's roots lie, and by his walks in various places around Japan.

Horizons 1”, in which the undulations of electronic sounds seem to represent a leisurely walk across a clear expanse of sky and lake scenery, and the vocoder voice somewhat reminds us of people's activities, and the piece changes to a more minimalistic play of rhythms and electronic sounds, as if focusing on introspection in the midst of walking. The album also includes “horizons 2,” which changes with exquisite salinity, “horizons 3,” which pays homage to early electronic music, and “horizons 4,” a more stoic minimal electro-dubwise piece that seems to be immersed in the act of walking, The last track on the album, “horizons 5,” is a non-beat ambient track with a hint of the waterfront, as if the artist is gazing at the vast sky, as if the steps of the first half of the album are expanding into a faint memory, and is accompanied by a field recording. The album includes “horizons 5”, a non-beating ambient taste that is covered by field recordings and depicts the atmosphere of a wandering waterfront, and five versions of “horizons” that remind us of the days of “walking”, sometimes immersed in the scenery and walking, sometimes lost in thought, with “horizons interlude” in between, which reminds us of the surface of a bobbing lake, and is a self-titled version of “View 2” from the previous album, “A View”. The album contains seven songs in total, including a self-remix of “View 2” and an electro version of “view 2 electro”, reminiscent of the shimmering surface of a lake.

Personally speaking, this work reminds me somewhat of Kraftwerk's “Autobahn,” which depicted the countryside of West Germany with minimal electronic sounds, and this work also seems to depict a scene of a “walk” with electronic sounds. However, what is different from “Autobahn” is that there is an element in the middle part of the album that seems to go into introspection in the midst of walking, and it is a work that shows various views (including feelings) throughout the album. From a macro perspective, this album is a new response to the recent environmental music revival and generalization of ambient music, which he has introduced as a DJ and record buyer for a long time.
The album was co-produced by hacchi, who also works with Deavid Soul, Urban Volcano Sound, and as a recording/mastering engineer, and mastered by Nakamura Soichiro of Peace Music, a studio that has produced many masterpieces, including Shintaro Sakamoto's solo work. The package artwork is by designer Seiichiro Suzuki. The package artwork is by designer Sei Suzuki. （The package artwork was designed by designer Sei Suzuki.)

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Compuma is a Tokyo-based log-serving DJ whose extensive knowledge of obscure and left-field music across so many genres and different regions of the world established himself as one of the most respected record buyers in Japan,
a country well known as record collectors’ paradise. While he built his career in record business over decades, he has also been sharing his expertise in music as a DJ just as long. Not only the breath and the depth of where his selection derives are hard to compete, the way he blends them all together is also a state of art. Often intricately layered and collaged, Compuma is capable of sculpting something entirely new with bits and pieces of existing tracks in various forms such as ambient soundscapes to dubbed out club sets. In 2017, his unique ability caught the attention of Berlin Atonal directors and he was invited to play at the festival in Berlin.

He extends his skills into remixing which can be heard on the released from EM Records - “Compuma meets Haku” (2015) and “Bangkok Nights” (2017.) In June 2022, he released his first solo album, A View.
He is also an active member of a DJ trio called Akuma No Numa (which translates to “devil’s swamp”) in which he explores darker and more psychedelic periphery of dance music.

Swans kehren mit 'Birthing' zurück, dem neuesten Album, das im Laufe einer einjährigen Tournee 2023-2024 entstand.

'Birthing' wird über Mute und Young God Records veröffentlicht. Die Erstpressungen der Deluxe-Vinyl und CD enthalten eine Bonus-DVD mit Swans Live 2024 (Rope) The Beggar, einem Konzertfilm von Marco Porsia, der die letzte US-Tour der Band dokumentiert. Die DVD enthält außerdem 'I Wonder If I'm Singing What You're Thinking Me To Sing', eine Dokumentation von Christopher Nicholson über Michael Gira's Solotournee 2022.

'Birthing', das durch unerbittliche Improvisation und Live-Performance sowie neu komponierte Studiostücke verfeinert wurde, ist ein Zeugnis von Michael Giras kompromissloser klanglicher Vision. Die Songs, die als akustische Kompositionen begannen, wurden im Studio mit langjährigen Live-Mitgliedern und Kollaborateuren schrittweise erweitert und transformiert.

"Dieses Album, zusammen mit der kürzlich erschienenen Live-Veröffentlichung Live Rope, ist mein letzter Ausflug (als Produzent/Impresario) in die alles verzehrenden Klangwelten, die mich seit Jahren besessen haben. Wir werden in diesem Modus gegen Ende 2025 eine letzte Tournee machen, und das war's dann. Danach wird es mit Swans weitergehen, so lange ich dazu in der Lage bin, allerdings in einer deutlich reduzierten Form. Hinweise auf diese Richtung sind in einigen Momenten auf dem aktuellen Album zu finden. In der Zwischenzeit hoffe ich, dass die Musik eine positive und fruchtbare Atmosphäre bietet, in der man träumen kann." - Michael Gira / Swans

Produziert von Gira, wurde 'Birthing' in der Soundfabrik Berlin aufgenommen, im Candy Bomber Studio von Ingo Krauss gemischt und von Doug Henderson bei Micro-Moose gemastert.

Obwohl ANTROPOMORPHIA für "Devoid of Light" insgesamt zweieinhalb Jahre im Studio verbrachten haben, verloren sie dabei nie ihre Vision aus den Augen: Nämlich eine Vielzahl von harten musikalischen Texturen, einschließlich fanatischer Aggression, misanthropischer und nihilistischer Texte mit dunklen Emotionen wie Wut, Verzweiflung und Schmerz zu dunklen und bedrückenden Klanglandschaften zu kombinieren. ANTROPOMORPHIA wurden 1990 im niederländischen Tilburg aus der Gruft gehoben. Als Pioniere ihres Genres wurden sie schnell zu einem Fundament der Death Metal Szene in den Niederlanden. Trotz gelegentlicher Unterbrechungen konnten ANTROPOMORPHIA ihren Status als Underground-Ikonen mit einer Reihe gefeierter Veröffentlichungen kontinuierlich festigen. Ihre kompromisslose Herangehensweise und der sich ständig erweiternde Malstrom musikalischer Texturen brachte einen stetig wachsenden Einfluss von Black Metal Elementen in die musikalische und visuelle DNA der Niederländer. Jetzt kehren ANTROPOMORPHIA mit "Devoid of Light" zurück und zeigen der Welt, dass sie immer noch danach dürsten, die Grenzen der Death Metal Szene zu überschreiten. Dreht die Regler auf 10 und lasst dieses monströse Album von der Leine!

Wah Wah 45s präsentiert die Debüt-LP eines aufregenden, neuen Signings 2025: Isaac de Martin (IKE) vermischt Jazz und elektronische Einflüsse zu warmen, sanften und oft filmischen Klanglandschaften. Ein gewisser Eklektizismus ist nicht überraschend für einen in Italien in eine Musikerfamilie mit britischen Wurzeln geborenen Komponisten, Produzenten und Gitarristen, der seinen Stil durch kreatives Experimentieren und interdisziplinäre Zusammenarbeit mit Künstlern aus verschiedenen Ländern entwickelte. Ein längerer Aufenthalt in Ägypten dient ihm als Erzählung und Metapher für eine gelassene und befreiende Einstellung zum Leben, die sich in einer Vintage- und dennoch dynamischen Atmosphäre des Albums widerspiegelt.

In dark and difficult times, the music of Barney Lister and Kojo Degraft-Johnson lifts us up. As MRCY, the production and vocal duo are confronting the many crises of modern life with a fresh sound full of punchy instrumentation, enveloping orchestration and lyrical honesty. On their latest project, VOLUME 2, Barney and Kojo deliver emotive music that surprises as much as it comforts, referencing timeless sounds as much as a sense of the cutting edge. Channeling soulful vocal melody alongside afrobeat polyrhythms, jazz soloing and driving, distorted grooves, tracks like "Man" address the challenges of modern masculinity, while standout number "Fear" drives a message that encourages us to fight the terror we might feel about the state of the world with optimism. Following the acclaimed release of their 2024 debut project VOLUME 1, which saw the duo nominated as Rising Stars at the Rolling Stone Awards and named as one of DIY's Class of 2025, MRCY returns with vital music that addresses the complexities of being alive today. "We're trying to extinguish fear with optimism and worry with love," Barney says. "VOLUME 2 breaks the mould to present a bigger picture of who we are - something with angst, surprises and more guts. The main feeling of the project is that the world is fucked but let's dance through it."

During the course of his career, the legendary creator of Afrobeat Fela Kuti used his music to lament social injustices and political corruption in his native Nigeria. His music, a compelling blend of American funk and West African highlife, often locked into spellbinding grooves that seemed to go on forever. Yet that was the point: to fall deep into the rhythm and dance away the hardship. While this impacted Nigeria and the entire world, it also affected Fela’s son Femi and his son Made, both of whom carry his legacy as torchbearers for change. On February 5th 2021, Partisan Records, home to Fela’s catalog, will release two albums from Femi and Made — both very much in the tradition of Fela’s music, but with different scopes. Femi’s album, Stop The Hate, radiates the unique Afrobeat sound that he has forged throughout his long career, affirming the sharply political conviction that his father would’ve claimed in the 1960s, ‘70s and ‘80s. Made’s album, For(e)ward, is a modern and progressive freedom manifesto, pushing boundaries of the subgenre even further. Made also performs every instrument on the album. Together they will be packaged into a double album called Legacy + that, when taken as a whole, bolsters the rich musical heritage of the Kuti name. Yet this isn’t just about honoring Fela, it’s also personal for Femi and Made, a father and son with deep creative synergy. Most importantly, the project finds these men coming together in the name of family. “This is probably the most important part of my life right now,” Femi says. “I’m happy because he’s not copying me. He has found his voice. What other joy could a father want than to experience this in his lifetime?”

„Evangelic Girl Is A Gun“ ist yeules bisher hemmungslosestes und emotional entblößendstes Werk, in dem sie sich mit Ideen einer selbstzerstörerischen Identität auseinandersetzen, die sich durch die Leinwand der Postmoderne brennt. Begleitet von visuellen Kunstwerken, die in Zusammenarbeit mit dem Künstler Vasso Vu entstanden sind, und einem Video für die neueste Single, das von dem bereits erwähnten Neil Krug gedreht wurde, erforschen yeule die Dualität der Dunkelheit sowie ihre persönliche Geschichte mit ihrer Rolle als „Maler“. Durch die hypnotischen Melodien des Albums präsentieren sie ein Porträt des/ der gequälten Kunstschaffenden, der/ die in einem Bild gefangen ist, während yeules eindringliche Vocals wie ein emotionaler Würgegriff auf die Dance-Beats wirken.

Mit „Evangelic Girl Is A Gun“ verleihen yeule dem Triphop aus Bristol und dem Gothic-Style der 90er Jahre ihre eigene „cyborgianische“ Note. Das Album enthält Produktionen von A.G. Cook, Chris Greatti, Mura Masa, Clams Casino, Fitnesss und Kin Leonn, yeules vertrauter Kollaborateur und Co-Produzent des Vorgängeralbums, „softscars“ (2023). yeules unbehandelter Gesang auf dem Album trägt ebenfalls zu einem Gefühl von brennender Authentizität bei; die Rohheit kommt zum Vorschein, wenn sie auf Auto-Tune verzichten. Dieser schrille künstlerische Stil ist eine Abkehr von ihren früheren, glitchigen Werken. Als Gegenpol zum Aufkommen von KI wollten sie ihren Gesang mit einer „rohen, unersetzlichen Kante“ versehen.

„Evangelic Girl Is A Gun“ ist yeules bisher hemmungslosestes und emotional entblößendstes Werk, in dem sie sich mit Ideen einer selbstzerstörerischen Identität auseinandersetzen, die sich durch die Leinwand der Postmoderne brennt. Begleitet von visuellen Kunstwerken, die in Zusammenarbeit mit dem Künstler Vasso Vu entstanden sind, und einem Video für die neueste Single, das von dem bereits erwähnten Neil Krug gedreht wurde, erforschen yeule die Dualität der Dunkelheit sowie ihre persönliche Geschichte mit ihrer Rolle als „Maler“. Durch die hypnotischen Melodien des Albums präsentieren sie ein Porträt des/ der gequälten Kunstschaffenden, der/ die in einem Bild gefangen ist, während yeules eindringliche Vocals wie ein emotionaler Würgegriff auf die Dance-Beats wirken.

Mit „Evangelic Girl Is A Gun“ verleihen yeule dem Triphop aus Bristol und dem Gothic-Style der 90er Jahre ihre eigene „cyborgianische“ Note. Das Album enthält Produktionen von A.G. Cook, Chris Greatti, Mura Masa, Clams Casino, Fitnesss und Kin Leonn, yeules vertrauter Kollaborateur und Co-Produzent des Vorgängeralbums, „softscars“ (2023). yeules unbehandelter Gesang auf dem Album trägt ebenfalls zu einem Gefühl von brennender Authentizität bei; die Rohheit kommt zum Vorschein, wenn sie auf Auto-Tune verzichten. Dieser schrille künstlerische Stil ist eine Abkehr von ihren früheren, glitchigen Werken. Als Gegenpol zum Aufkommen von KI wollten sie ihren Gesang mit einer „rohen, unersetzlichen Kante“ versehen.

Magenta-Canary Yellow-Black A Side/B Side Colourway
Pushing every boundary to a breaking point, GRIDIRON will go to any extreme and then some. They follow quite possibly the most unpredictable playbook in the game. The band might flood the zone with a corpsepaint-smearing death metal barrage only to double back around for a victory lap narrated by blinged-out and braggadocios bars. Their hybridization of metal, hardcore, and hip-hop wouldn’t be out of place at either OZZfest 1997 or Rolling Loud 2027. It’s why the quintet—Matthew Karll vocals, Will Kaelin [guitar, vocals], Xavier Wilson [guitar], Lennon Livesay [bass], and Tyler Mullen [drums]—have bulldozed their own path as a phenomenon with millions of streams and acclaim from Stereogum, Brooklyn Vegan, NO ECHO, and more. GRIDIRON was born out of a series of COVID-era marathon Call of Duty sessions, which led to writing and recording together. Their musical pedigree spoke for itself with Will also in Never Ending Game, Xavier in Simulakra, and Tyler and Lennon in Scarab. Given their individual experiences, the guys instantly locked into a creative groove. Following the Loyalty At All Costs EP [2020] and Worldwide Brotherhood EP [2021], they dropped their first full-length, No Good At Goodbyes [2022]. The title track reeled in over 851K Spotify streams followed by “25-8” with 560K Spotify streams. Along the way, they also shared stages with everyone from Missing Link to Trapped Under Ice. Now, GRIDIRON continue to smash through walls on their second full-length offering and Blue Grape Music debut, Poetry From Pain.












[k] 11. Still Playin' For Keeps (Big Umbrella Remix) [feat. Daniel Son, Pro Dillinger, Jay Royale]
[l] 12. Heavy Metal Money (Seen It All Before) [feat. Big Body Bes]

At Home of The Good Groove Records HQ, we are absolutely delighted to present our second release - a pair of sublime tracks making their long-awaited debut on 7-inch vinyl.
Jamaican music legend Beres Hammond has captivated audiences for over 40 years with his soulful voice and heartfelt lyrics, earning him the title “King of Lovers Rock”, with a loyal global fan base. Influenced by the American soul and jazz records his father collected – featuring icons like Otis Redding and Sam Cooke – as well as the rich sounds of ska and rocksteady, Beres crafted a sound that remains timeless.
For this release, we return to Beres’ 1976 debut album, Soul Reggae – an exceptional record that never quite received the full recognition it deserved. A masterful blend of soulful tones and reggae rhythms, the album is a testament to Beres’ artistry and the genius of his collaborator, Willie Lindo.
Lindo, a legendary reggae guitarist and producer, played a crucial role in shaping the Soul Reggae album. Beyond his impeccable musicianship, he took on multiple roles – writer, arranger, producer, and owner of the Water Lily record label, on which the album was first released. His contribution to these two tracks cannot be overstated.
The Tracks
Side A – “Don’t Wait Too Long”
An upbeat, soulful groove that will appeal to listeners across the black music genres. The track boasts a beautifully arranged melody, with Beres’ warm, feel-good vocals and rich harmonies carrying the song effortlessly. A certainty to get the dance floor vibing.
Side B – “You Don’t Have to Lie”
Lowering the tempo slightly but delivering the same soulful quality, this track brings a heartfelt vocal performance filled with depth and emotion. A timeless piece that speaks to the complexities of love and relationships.

At Home of The Good Groove, we are incredibly honoured to bring these two remarkable tracks to 7-inch vinyl for the very first time.
A huge thank you to Beres Hammond for his incredible music and to Willie Lindo, who has worked closely with us to make this release possible.

Die deutschen Epic-Doom-Metal-Meister Lord Vigo veröffentlichen im Mai 2025 ihr sechstes Studioalbum auf High Roller Records. Nach den von Presse und Fans gleichermaßen gefeierten "Danse De Noir" (2020) und "We Shall Overcome" (2022) handelt es sich bei "Walk The Shadows" mitnichten um den dritten Teil der begonnenen Trilogie. ""Walk The Shadows" steht für sich alleine und ist unabhängig von einem durchgehenden Konzept", erläutert Schlagzeuger, Sänger und Keyboarder Vinz Clortho. "Das war nach zwei doch sehr ausgefeilten Konzeptalben eine schöne Abwechslung für uns. Es hat wirklich Spaß gemacht." Stücke wie "Through A Glass Darkly", "Servant Of The Dark" oder "The Triumph Of The Killing Heart" verströmen eine Art von Gothic-Horror-Atmosphäre, die einem eklektischen Mix aus Sisters Of Mercy, Fields Of The Nephilim und sogar The Cure ziemlich nahe kommt. "Das kann man durchaus so ausdrücken", stimmt Vinz Clortho zu. "Das Album kombiniert viele verschiedene Stile und kreiert dadurch etwas ganz Neues. Meine Roots liegen im klassischen Metal, und dies in Kombination mit den düsteren Songs auf der neuen Platte ergibt eine komplett andere Richtung für Lord Vigo. Ich denke nicht, dass es ein Album gibt, das ähnlich wie "Walk The Shadows" klingt. Ich weiß nur nicht, ob das ein Vorteil oder ein Nachteil ist." "Der Song 'Walk The Shadows' ist die erste Single", erklärt Vinz. "Dazu haben wir auch ein Video gedreht. Jeder Song steht für sich. Deswegen ist es auch schwierig, bestimmte Nummern herauszuheben. 'El Hakim' ist zwölf Minuten lang, es ist nicht nur der längste Song des Albums, sondern auch der atmosphärisch dichteste. Ganz sicher einer meiner Favoriten." "Stilistisch ist das neue Album sehr wohl ein Sprung für uns" fährt Vinz fort. "Aber genau aus diesem Grund denke ich, dass es eine wegweisende Platte für uns werden kann. Es gibt Gruppen, die immer wieder das gleiche Album schreiben. Aber das sind nicht wir. Bei Lord Vigo klingt jede Scheibe anders. Diesmal haben wir unsere Komfortzone verlassen. Kommerziell mag das nicht unbedingt sinnvoll sein. Aber das ist uns ziemlich egal. Wir wollen Erfolg auf unser Weise. Stellenweise singe ich eine ganze Oktave tiefer als für gewöhnlich. Auch das ist ein Grund dafür, warum "Walk The Shadows" so klingt, wie es klingt."

Als Watchtower im Jahre 1985 ihr Debütalbum "Energetic Disassembly" veröffentlichen, stellen sie die Metal-Welt auf den Kopf. Das Material setzt völlig neue Maßstäbe. Innovativer (und extremer) geht zu dieser Zeit niemand zu Werke. Unbeholfene Stilbeschreibungen wie "Jazz Metal" oder "Techno Thrash" werden kreiert. Ursprünglich werden Watchtower im Mai 1982 in Austin, Texas, aus der Taufe gehoben. In jenem Monat schließt sich Sänger Jason McMaster Bassist Doug Keyser, Schlagzeuger Rick Colaluca sowie Gitarrist Billy White an. In ihrem frühen Stadium zeigen sich Watchtower stark von der NWOBHM inspiriert und spielen Songs von Iron Maiden, Angel Witch und Raven nach - dazu natürlich etliche Nummern der kanadischen Prog-Götter Rush. In der Folge entwickelt die Band sukzessive ihren individuellen Stil und nimmt Demos mit eigenen Stücken auf. Aber die Plattenfirmen wollen nicht anbeißen. Aus diesem Grunde entschließt man sich dazu, auf dem eigenen Label Zombo Records das wegweisende Album "Energetic Disassembly" zu veröffentlichen (gepresst werden 3.500 LPs und 1.000 Kassetten).
"Ich kann mich noch lebhaft daran erinnern, wie ich Demokassetten an Fanzines verschickt habe und nahezu täglich Briefe mit Tapetradern ausgetauscht wurden," erinnert sich Sänger Jason Mc Master heute. "Ich erhielt u.a. Briefe von Gene Hoglan, Mike Portnoy, Jason Newsted und sogar Alan Tecchio Die Reaktionen waren fantastisch, aber wir klangen einfach so andersartig. Die Labels wussten nicht, wie sie uns seinerzeit hätten vermarkten sollen. Waren wir zu extrem? Ich denke schon." Pünktlich zum 40. Jubiläum von "Energetic Disassembly" erscheint über High Roller Records nicht nur eine De-Luxe-Edition des originalen Albums, sondern auch eine neue Abmischung. Die Re-Mixes wurden im Jahre 2009 von Jared Tuten, einem engen Freund von JasonMcMaster, in den Top Hat Studios angefertigt. Als Sahnehäubchen gesellen sich dazu vier Bonus-Stücke: eine Art Drum-Soundcheck namens "Rick On Parade", das kurze Gitarren-Instrumental "BW115" sowie frühe Fassungen von zwei Songs, die später auf dem zweiten Watchtower-Album landen sollten, hier aber noch mit Jason McMaster am Gesang - "Instruments Of Random Murder" und "The Eldritch". Jason McMaster verließ Watchtower im Jahre 1988 in Richtung Dangerous Toys. Sein Nachfolger war Alan Tecchio (von Hades). Zusammen mit ihm wurde 1989 in West-Berlin das zweite Album "Control And Resistance" für Noise Records aufgenommen.

Als Watchtower im Jahre 1985 ihr Debütalbum "Energetic Disassembly" veröffentlichen, stellen sie die Metal-Welt auf den Kopf. Das Material setzt völlig neue Maßstäbe. Innovativer (und extremer) geht zu dieser Zeit niemand zu Werke. Unbeholfene Stilbeschreibungen wie "Jazz Metal" oder "Techno Thrash" werden kreiert. Ursprünglich werden Watchtower im Mai 1982 in Austin, Texas, aus der Taufe gehoben. In jenem Monat schließt sich Sänger Jason McMaster Bassist Doug Keyser, Schlagzeuger Rick Colaluca sowie Gitarrist Billy White an. In ihrem frühen Stadium zeigen sich Watchtower stark von der NWOBHM inspiriert und spielen Songs von Iron Maiden, Angel Witch und Raven nach - dazu natürlich etliche Nummern der kanadischen Prog-Götter Rush. In der Folge entwickelt die Band sukzessive ihren individuellen Stil und nimmt Demos mit eigenen Stücken auf. Aber die Plattenfirmen wollen nicht anbeißen. Aus diesem Grunde entschließt man sich dazu, auf dem eigenen Label Zombo Records das wegweisende Album "Energetic Disassembly" zu veröffentlichen (gepresst werden 3.500 LPs und 1.000 Kassetten).
"Ich kann mich noch lebhaft daran erinnern, wie ich Demokassetten an Fanzines verschickt habe und nahezu täglich Briefe mit Tapetradern ausgetauscht wurden," erinnert sich Sänger Jason Mc Master heute. "Ich erhielt u.a. Briefe von Gene Hoglan, Mike Portnoy, Jason Newsted und sogar Alan Tecchio Die Reaktionen waren fantastisch, aber wir klangen einfach so andersartig. Die Labels wussten nicht, wie sie uns seinerzeit hätten vermarkten sollen. Waren wir zu extrem? Ich denke schon." Pünktlich zum 40. Jubiläum von "Energetic Disassembly" erscheint über High Roller Records nicht nur eine De-Luxe-Edition des originalen Albums, sondern auch eine neue Abmischung. Die Re-Mixes wurden im Jahre 2009 von Jared Tuten, einem engen Freund von JasonMcMaster, in den Top Hat Studios angefertigt. Als Sahnehäubchen gesellen sich dazu vier Bonus-Stücke: eine Art Drum-Soundcheck namens "Rick On Parade", das kurze Gitarren-Instrumental "BW115" sowie frühe Fassungen von zwei Songs, die später auf dem zweiten Watchtower-Album landen sollten, hier aber noch mit Jason McMaster am Gesang - "Instruments Of Random Murder" und "The Eldritch". Jason McMaster verließ Watchtower im Jahre 1988 in Richtung Dangerous Toys. Sein Nachfolger war Alan Tecchio (von Hades). Zusammen mit ihm wurde 1989 in West-Berlin das zweite Album "Control And Resistance" für Noise Records aufgenommen.

Als Watchtower im Jahre 1985 ihr Debütalbum "Energetic Disassembly" veröffentlichen, stellen sie die Metal-Welt auf den Kopf. Das Material setzt völlig neue Maßstäbe. Innovativer (und extremer) geht zu dieser Zeit niemand zu Werke. Unbeholfene Stilbeschreibungen wie "Jazz Metal" oder "Techno Thrash" werden kreiert. Ursprünglich werden Watchtower im Mai 1982 in Austin, Texas, aus der Taufe gehoben. In jenem Monat schließt sich Sänger Jason McMaster Bassist Doug Keyser, Schlagzeuger Rick Colaluca sowie Gitarrist Billy White an. In ihrem frühen Stadium zeigen sich Watchtower stark von der NWOBHM inspiriert und spielen Songs von Iron Maiden, Angel Witch und Raven nach - dazu natürlich etliche Nummern der kanadischen Prog-Götter Rush. In der Folge entwickelt die Band sukzessive ihren individuellen Stil und nimmt Demos mit eigenen Stücken auf. Aber die Plattenfirmen wollen nicht anbeißen. Aus diesem Grunde entschließt man sich dazu, auf dem eigenen Label Zombo Records das wegweisende Album "Energetic Disassembly" zu veröffentlichen (gepresst werden 3.500 LPs und 1.000 Kassetten).
"Ich kann mich noch lebhaft daran erinnern, wie ich Demokassetten an Fanzines verschickt habe und nahezu täglich Briefe mit Tapetradern ausgetauscht wurden," erinnert sich Sänger Jason Mc Master heute. "Ich erhielt u.a. Briefe von Gene Hoglan, Mike Portnoy, Jason Newsted und sogar Alan Tecchio Die Reaktionen waren fantastisch, aber wir klangen einfach so andersartig. Die Labels wussten nicht, wie sie uns seinerzeit hätten vermarkten sollen. Waren wir zu extrem? Ich denke schon." Pünktlich zum 40. Jubiläum von "Energetic Disassembly" erscheint über High Roller Records nicht nur eine De-Luxe-Edition des originalen Albums, sondern auch eine neue Abmischung. Die Re-Mixes wurden im Jahre 2009 von Jared Tuten, einem engen Freund von JasonMcMaster, in den Top Hat Studios angefertigt. Als Sahnehäubchen gesellen sich dazu vier Bonus-Stücke: eine Art Drum-Soundcheck namens "Rick On Parade", das kurze Gitarren-Instrumental "BW115" sowie frühe Fassungen von zwei Songs, die später auf dem zweiten Watchtower-Album landen sollten, hier aber noch mit Jason McMaster am Gesang - "Instruments Of Random Murder" und "The Eldritch". Jason McMaster verließ Watchtower im Jahre 1988 in Richtung Dangerous Toys. Sein Nachfolger war Alan Tecchio (von Hades). Zusammen mit ihm wurde 1989 in West-Berlin das zweite Album "Control And Resistance" für Noise Records aufgenommen.

An endling is the final member of a species. When an endling dies, the species is extinct. Pakistani-American composer Qasim Naqvi returns with Endling. Written as a modular synth prequel to his 2023 BBC Concert Orchestral work, God Docks at Death Harbor, Endling takes the listener on a 43-minute odyssey through an intense and beautiful landscape, set hundreds of years into the future. On the album"s centrepiece "Power Down the Heart," featuring Moor Mother, our character stumbles upon an A.I. being that is in the final moments of its life. As a kind of last rites, this ancient artificial consciousness describes the beauty, sadness and horror it has observed for hundreds of years. Qasim Naqvi is a percussionist, composer and synthesist. Along with being the drummer of lauded cult minimalist trio, Dawn of Midi, Naqvi is an accomplished solo artist and his passion for multidisciplinary work has brought him into the world of film, dance, installation art, and the stage of orchestral and chamber music. His concert music has been commissioned and performed by The London Contemporary Orchestra, The BBC Concert Orchestra, Crash Ensemble, Bang on a Can All Stars, Jennifer Koh, Stargaze, The Cello Octet of Amsterdam, The Helsinki Chamber Choir and others.

"How do I know if my cat likes me?" ist die erste Zusammenarbeit der Organisten Ellen Arkbro und Hampus Lindwall mit der bildenden Künstlerin Hanne Lippard, eine existenzielle Meditation über die leeren Weiten unseres automatisierten Alltags. Das Stück entstand während Arkbro und Lippards Residenz 2023 im La Becque in La Tour-de-Peilz, Schweiz, Das Album persifliert die lähmende Ästhetik des Geschäftslebens, von der Warteschleifenmusik bis zum Onlinebanking. "How do I know if my cat likes me?" führt die Linie von Roberts Ashley von Roberts Ashley und Barry fort und hämmert auf die Klänge der Sprache ein, bis sie alle Bedeutungen durch angenehm betäubende Wiederholungen verdrängen. Die Platte zu hören ist, als würde man ein Captcha wieder und wieder lösen bis alle Zeichen zu Hieroglyphen verschwimmen, oder man findet sich in einem tautologischen Kundendienst-Argument verstrickt, nur dass man, nachdem man in der Sackgasse des Unsinns gelandet ist, eine unerwartete transzendente Schönheit findet, in der die Sprache von der reinen Funktion zur reinen Ästhetik umschlägt und vor Möglichkeiten schimmert. Selbst subtile Brüche in lyrischen oder musikalischen Mustern können eine grundlegende Veränderung in der Welt des Songs auslösen. Auf der gesamten Platte begründen strenger Formalismus und Minimalismus eine Erzählung. ,The Long Goodbye" stellt sich einen quälenden Dialog zwischen Bekannten vor, die sich nicht höflich voneinander lösen können: ,It's my pleasure!", stöhnt Lippard, die sich selbst antwortet: "Pleasure is all mine! / See you soon! / See you next time! / See you then!". Obwohl die Zeilen immer wieder dieselben wenigen Abschiedsworte wiederholen, akkumuliert sich eine geheimnisvolle Kausalität in den winzigen Variationen, die einen erzählerischen Bogen kreieren, weniger für die Figuren des Liedes, sondern für den Zuhörer, der sich mit Verzweiflung, nihilistischem Humor oder tiefer Dankbarkeit über die Fähigkeit der Kunst konfrontiert sieht. An anderer Stelle, als ,Modern Spanking" sich frei assoziierend von der Phrase "Online-Banking" in Richtung "breathing down your neck banking" und ,sexy but bankrupt banking" wandelt, wird eine ganze Welt oberflächlicher Vergnügungen ins Blickfeld gerückt. Während minimalistische Bewegungen in der Musik und der bildenden Kunst eine gewisse Situiertheit des Blicks fördern, erinnert ,Modern Spanking" an den glatten, reibungslosen Minimalismus eines gehobenen Einkaufszentrums: eine Menge wahlloser Passanten, die sich zwischen Sex und Geld, Fantasie und Realität, zerstreuter Aufmerksamkeit und intensiver Ablenkung befinden. In einer Welt wie dieser ist der Unterschied zwischen Bankgeschäften und Prügelstrafe zu vernachlässigen.

Berlin-based Tal Fussman perfectly embodies SEVEN's "in-between house and techno" approach, delivering a 90s-infused progressive house EP that simply feels good. Embracing a spirit of openness to genres and styles, this EP features exciting, dancefloor-ready tracks - further enhanced by a Swiss-made remix from Deetron.

Originally released in 1996 on Quarterstick Records, Music for Egon Schiele is the soundtrack to a piece of dance and theater that was debuted by the Itinerant Theater Guild, May 18, 1995, in Chicago. Based on the life of the romantic and controversial Viennese painter, Egon Schiele was written and directed by Stephan Mazurek, who headed the group of performing artists. Rachel Grimes composed this music and performed it with two string musicians during the run of the performance. The Rachel's began recording in April of 1991 in Baltimore, MD, under the direction of Christian Frederickson and Jason Noble (Rodan, Shipping News). Subsequently, they met and became close friends with Rachel Grimes. In September of 1994 after a few more city moves, band break-ups, and general melancholy they decided to become a full time band and complete their first record for Quarterstick Records, Handwriting. Music for Egon Schiele is their second LP and contains a more stripped down and immediate musical focus. These songs are not sparse, they're beautiful. They build, they crash, and they make you wish you knew more about life and they mysteries its holds.

Shattered Pieces Of The True Cross is the latest long player from Alabama's haunted artists, The Pine HIll Haints, a collection of southern psychedelic tunes captured and recorded live at the legendary Muscle Shoals Sound Studio, engineered and mixed by Single Lock founder and Grammy-winning producer/engineerBen Tanner.

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

As time marched on, many of the DJs I had been working with such as Pete Tong, Paul Oakenfold, Trevor Fung, Simon Dunmore and Johnny Walker got involved in the world-leading UK dance scene, raking in cash by making records. I thought ‘I’ll Have some of that!’ This led to my first foray into the studio creating the proto-acid jazz classic 12”, ‘Psychedelic Jack (That’s Where It’s At)’, which cheekily sampled Frank Zappa, Soft Machine and Gong. With me and Gilles on vocals, it got us signed to Acid Jazz Records, who released in 1988 under the name of Extasis.

That was just the start and nearly 35 years later (gulp!) I’ve had a ball, producing Galliano and Paul Weller, working with Mick Talbot, Roy Ayers, Linda Clifford and Sharon Redd, remixing Will Downing, Ce Ce Rogers and Blaze. I’ve made house tunes with Faith’s Terry Farley, run the legendary Dadhouse Records label with Dave Jarvis. I also set up my own studio and released music under a variety of names, both for my own labels and Acid Jazz Records. Recent releases include my solo albums “Firebird” (2023) and “Dream World” (2024). There was also “Back To Business” with Mick Talbot, released in 2023.

One year on from the release of the critically acclaimed 'Breathe... Godspeed' for Bristol's Timedance, Verraco - aka JP López - returns to announce Basic Maneuvers, his debut for XL Recordings.

Sonically, the project reflects this physical and emotional shift from the more introspective beauty of Medellín to the vibrant energy of Colombia's capital, Bogotá. Basic Maneuvers reflects movement — between scenes, sounds, and cities — pushing forward Verraco's cross-culture sound; one that collides South American dembow rhythms with maximalist synths, UK soundsystem bass culture, meticulous IDM sound design, with the intensity and precision of techno.

Across the EP, he expands his range with the main single, a powerful 4x4 club-ready edgy banger, a dubbed-out stepper "Total" and "sobe sobe", a grime-infused collaboration with legendary Kenyan-Ugandan rapper affiliated to Nyege Nyege, MC Yallah, that celebrates the deep-rooted connection between the underground dancefloors of Africa and South America. Basic Maneuvers is a bold statement of intent from one of electronic music's most vital and exciting producers.

Die malische Ethnie der Dogon sind für ihre Tier-Masken und rituellen Tänze weltweit berüchtigt. Auch ihr unglaubliches astronomisches Wissen - wichtige Feste orientieren sich an der Laufbahn von Sirius B, einem mit bloßem Auge nicht zu erkennenden Planeten - lassen westliche Forscher seit über hundert Jahren rätseln. Aber hat man schon jemals von der Musik dieses Mythen-umrankten Volkes gehört? Petit Goro hat als erster Musiker die traditionellen Dogon-Rhythmen für ein junges, modernes Publikum aufbereitet, ja er ist der erste Popstar der Dogon überhaupt. Wenn er sich auf einer der Freiluftbühnen von Bamako seine Gitarre umhängt, dann wirbeln tausende von Tänzern den Staub auf. Es ist ein Sound, der bisweilen so klingt, als hätte es Junior Kimbrough, R.L. Burnside und die One-Chord-Vamps des Mississippi Hill Country Blues an den Niger verschlagen. Pentatonische Akkorde. Dogon-Chants. Und der Sog seiner Band - die mit Bass, Gitarre und traditioneller Perkussion Richtung Trance reitet. Petit Goro besingt dabei den Kampf um die eigene Kultur und Identität. Der Popstar ist das Aushängeschild einer neuen Bewegung : Die jungen Dogon haben angesichts der Bedrohung, - fast jede Woche wird ein Dogondorf von Dschihadisten attackiert - ihre gefährdeten animistischen Traditionen wiederentdeckt. Überall in Bamako sieht man Jugendliche stolz ihre Dogon-Tracht tragen. Petit Goro aber trägt ihre Botschaft in die Welt hinaus, rockt archaische Traditionen mit einem nie gehörten Dogon-Blues

Olympia erschien ursprünglich 2010 und ist eine meisterhafte Mischung aus Artrock, anspruchsvollem Pop
und elektronischen Elementen, die Bryan Ferrys charakteristische Eleganz unterstreicht. Das Album enthält
Kollaborationen mit Legenden wie seinen Bandkollegen von Roxy Music, David Gilmour, Nile Rodgers und
den Scissor Sisters und enthält neben Coverversionen von Song to the Siren und No Face, No Name,
No Number auch die herausragende Single „You Can Dance“. Mit seiner opulenten Produktion und dem
atmosphärischen Sound ist Olympia eine raffnierte und fesselnde Ergänzung zu Ferrys gefeiertem Katalog.
Das Album erscheint erstmals seit 2010 auf limitierter roter 1LP-Vinyl-Edition, wobei die CD-Version zwei
Bonustracks enthält. Bryan Ferry hat außerdem das aktualisierte Artwork für beide Formate gestaltet.

Hailed as “one of the most remarkable voices of their generation” (The Independent), Scotland’s Jacob Alon redefines contemporary folk with their debut album, ‘In Limerence’. Featuring the acclaimed singles’ Fairy In A Bottle’, ‘Confession’, and ‘Liquid Gold 25’, the Dan Carey-produced record weaves poetic storytelling with ghostly vocals and intricate guitar work. Alon’s deeply personal songwriting has earned praise from Clash, Billboard, and The Times, plus an appearance on Later… with Jools Holland and support from BBC 6 Music. A haunting yet hopeful debut, ‘In Limerence’ cements Alon as a singular new voice in British folk. Uncut Magazine reviews ‘In Limerence’ 8/10. Jacob has be in session, live at Maida Vale with BBC R2’s Jo Whiley

In his sixth and latest album “New African Orleans”, released by ENJA and Yellow Bird, bass guitarist and composer Alune Wade explores the multiple junctions between his native West African rhythms, the Afrobeat and juju rhythms from Lagos and the brass band repertoire immortalized in New Orleans. “I’m exploring a world that goes from my roots to the lost branches on the other side of the Atlantic,” explains the musician from Senegal. He has whittled down around 50 compositions – both original and standards - to a dozen which Alune recorded in Paris, Dakar, Lagos and New Orleans. “The idea first came to me during the Jazz à Gorée festival I organized back in 2014,” he explains. “It had me reflect on the notion of reversing the musical trip most people take from the United States to the African continent. I wanted to set out westward and begin a musical conversation with the best artists, both in Nigeria and the US.”
To achieve this, Wade has invited top artists from both sides of the Atlantic, including the Nigerian talking drummer Olaore Muyiwa Ayandeji, the percussionist Weedie Braimah and the jazz drummer Herlin Riley from New Orleans. The musical inspirations are equally transatlantic, ranging from Dr. John to Manu Dibango and Charlie Parker. But the 45-year-old also pays homage to his father who was a brass band star in his native Senegal back in the Sixties.
BACKGROUND

We only have a partial idea of the birth and remarkable development of the music born of the transatlantic slave trade. From Malinke ballads to Cuban son, from call-and-response patterns to field hollers and hip-hop, Yoruba rhythms to Argentinian tango, from Angolan percussions to the New Orleans brass band sounds… all have roots in Africa and a shackled migration that lasted four centuries. No more so than Congo Square in the Louisiana capital. In 2024, we mark the 300th anniversary of the implementation of the Code Noir which “gave enslaved Africans Sundays off to dance”. A drop in the ocean, but one which shows the importance of culture as a lifebuoy against this barbaric trade. As the Guadeloupian writer Daniel Maximin once claimed: “Our music guided us from the scream to the song, from dragging our chains to dancing.”

Keine 400 Songs später und nach etlichen Konzerten geht das Solo Projekt des 19 jährigen Ennio De Caro namens AIN'T UR ENN den nächsten Schritt.Das Album LANGUISH erscheint am 30. Mai 2025 auf Tomatenplatten. Aufgenommen wurde im heimischen Schlafzimmer in Luzern. Das Tonstudio heisst Garage Band. Die erste Trennung wird in Musik gegossen. Ennio De Caro schreibt die Songs, spielt alle Instrumente und singt. Die Drums sind programmiert. Die Emotion ist direkt. Krankhaft traurig, desillusioniert und überbordend energetische klingen die Lieder, die im Frühsommer erscheinen. Das Album heisst LANGUISH. Die Musik ist nicht einzuordnen - Herzzerreißender Bedroom-Pop trifft auf Japanese influenced Hyper-Indie-Pop-Rock. Y2K - Cybercore-Ästhetik trifft auf Emo. Rock and Roll trifft auf Autotune a la Julian Casablanca. Ist das dann Nintendo-Rock? Oder Alex G. auf Crack?

SUPERVIVENXIA is Baby Volcano’s second EP, an intoxicating mix of hybrid pop, experimental reggaeton, Latin music, and chanson – it is a testament to Baby Volcano’s evolving artistry. The title is a blend of the Spanish words "sobrevivencia" (survival) and "supervivencia" (super-alive), encapsulating the EP’s essence: living life fully, embracing its sorrow as much as its joyous madness.

Baby Volcano is a Swiss-Guatemalan artist who erupted onto the Swiss underground scene with her debut EP Síndrome Premenstrual (2021). Trained in contemporary dance and performance in Buenos Aires, she has captivated audiences powerful live shows at festivals including Roskilde, Eurockéennes de Belfort, Paléo Festival, Dour Festival, Les Vieilles Charrues, Transmusicales, and many more.

Not much is known about De Frank Kakra - let alone his birth name or where he is today. A few liner notes scattered across his records give a glimpse of his career as a backing vocalist and percussionist on the Ghanaian highlife scene of the 1970s, notably with Vis-A-Vis, K. Frimpong's band (Cubano Fiestas). He later formed his own bands, The Professionals and The Diggit Ways, alongside Sammy Copper, recording throughout West Africa. His recordings have now been unearthed, remastered and compiled in a triple LP anthology of his musical works. Although much remains unknown, RastaPastaRecords' goal is to ascertain several discoveries made about his life during the production of this record and to continue the research. "Call Me Frank" is a funky take on 1970s highlife set to a vintage Afro - rock fusion that evokes a time when West African dance floors vibrated with raw energy and relentless groove. "Psychedelic Man" is a full dive into the De Frank Kakra sound. With its hypnotic guitar riffs, cosmic organs and head- nodding drum rhythms, this infectious anthem will plunge you into a state of nostalgic psychedelia.

Offending everyone since April 1st, 2013,Brutal Sphincter(BE) has, over the years, established themselves as one of the leading acts in the current goregrind scene.

Bringing political themes into their music, they dub themselves "POOlitical" and, through offbeat and satirical humor, take a stand against all forms of extremism while championing freedom of speech.

Despite their extreme musical style, they are one of those rare acts that can seamlessly fit into any type of event or festival.

They have proven this time and again, performing at some of the biggest metal gatherings in Europe, such asHellfest, Summer Breeze Open Air, Alcatraz, Motocultor, Party San, Metaldays, and more, as well as at the most extreme metal events likeObscene Extreme, DeathFeast Open Air, Meh Suff, Kaltenbach Open Air,andNetherlands Deathfest.

BEWARE!Party, dance, groove, and brutality are the elements they always bring with them to every show.

This new anniversary edition from London's the Duke Spirit marks 20 years since their adrenaline-charged debut roared onto the UK indie scene. Originally released in 2005, it's now remastered and paired with a second LP of B-sides, demos and rarities, pressed on heavyweight yellow and red splatter vinyl. It's a suitably bold presentation for a record that remains as full-throttle and emotionally raw as ever. Built around the magnetic presence of vocalist Liela Moss and the jangling, distorted interplay between guitarists Luke Ford and Dan Higgins, this is a sound forged in post-punk grit and heavy rock swagger. Tracks like 'Lion Rip' and 'Love Is An Unfamiliar Name' still land with venom, but it's the depth and tension of songs like 'Fades The Sun' and 'Hello To The Floor' that show their full range. The bonus material only adds to the mythology i 'Boot Hill (demo)' and 'Scratching Around (demo)' offer glimpses of the band's early energy in the raw, while 'Souvenir' and 'Now Be Still' stand strong on their own. It's a beautiful document of a band at full force, and a reminder that sometimes the most exciting sounds are the ones that never tried to fit the moment.

Slaughter was formed in Las Vegas, Nevada in 1988. The group was founded by lead vocalist and rhythm guitarist Mark Slaughter
and bassist Dana Strum, who previously played together in the band Vinnie Vincent Invasion. The addition of guitarist Tim Kelly
and drummer Blas Elias allowed Slaughter to quickly gain attention for their lively performances, catchy hooks, and melodic guitar solos. Slaughter's debut album Stick It to Ya had three singles released that hit the Billboard Hot 100: the hit "Fly to the Angels" (US#19), and the moderate hits "Up All Night" (US#27) and "Spend My Life" (US#39). In 1992, the band released their second album, titled The Wild Life. It reached number eight on the
US Billboard Top 200 Album Chart and was certified gold, but did not produce any Top 40 hits on the US Hot 100. The only single to reach the Hot 100 was the first single "Real Love" (US#69). The band would go on to release Fear No Evil in 1995, followed up by Revolution in 1997 and their last studio album Back To Reality in 1999. Now Revolution is getting a makeover, being released in updated packaging by original artist Ioannis (Deep Purple, Allman Brothers, BOC), including a 6-Panel Digipak CD

Musique Pour La Danse is proud to present the definitive edition of the highly acclaimed and globally beloved Donkey Kong Country soundtracks, meticulously recreated by composer and producer Jammin' Sam Miller. Released in 1994 for the Super Nintendo Entertainment System (SNES), Donkey Kong Country was celebrated not only for its groundbreaking quasi-3D graphics but also for its exceptional soundtrack.
The soundtrack featured a variety of compositions, and has been highly praised for its diverse and high-quality music, with tracks like "Aquatic Ambiance" and "Fear Factory" standing out as fan favorites. The influence of the Donkey Kong Country soundtrack extends beyond the gaming world, having inspired modern artists and changed the way video game music was perceived.

This limited edition boxset, limited to 500 copies, comes as a triple DLP set, containing Volumes 1, 2, and 3. Pressed on red, green, and blue marbled vinyl, it is housed in a hardboard slipcase featuring new and original artwork by Andrew Beltran.

Don't sleep on this ultimate release-the previous boxset edition has been sold out for a long time, and if you can find it, it's being sold for crazy money.

Using hex SPC data converted to MIDI, Jammin' Sam Miller painstakingly recreated the DKC soundtrack note by note, sourcing the original equipment used to create it. He then translated the MIDI into a modern studio context, incorporating keyboard samples, remixing the sounds with added effects, and mastering the tracks. To learn more about his process, watch the explanatory video here: cutt.ly/ulUHE6J.

Die Modern Folk-Künstlerin Jensen McRae hat das Veröffentlichungsdatum ihres mit Spannung erwarteten zweiten Albums „I Don't Know How But They Found Me!“ bekannt gegeben, das am 25. April über Dead Oceans erscheinen wird. Zusammen mit der Ankündigung hat sie auch ihre neueste Single und das Video „Praying For Your Downfall“ veröffentlicht, ein Meisterwerk der Offenheit, das Witz und Charme verbindet, während McRae darüber nachdenkt, wie sie den Drang nach Rache an jemandem, der ihr das Herz gebrochen hat, loslassen kann.



Jensen McRae - Praying For Your Downfall (Official Video)



Vor dem Hintergrund von Herzschmerz, Selbstfindung und der Komplexität der Liebe ist „I Don't Know How But They Found Me!“ eine mutige Entwicklung für die junge Künstlerin. Das elf Titel umfassende Album, das in North Carolina mit Brad Cook (Waxahatchee, Bon Iver) aufgenommen wurde und an dem Nathan Stocker (Hippo Campus), Matthew McCaughan (Bon Iver) und ihr Bruder Holden McRae mitgewirkt haben, ist eine lebendige Sammlung von Songs, die von messerscharfen Texten und zeitlosen Pop-Melodien getragen werden. McRaes Stimme ist so vielseitig wie ihr Songwriting - mal flüsternd und strukturiert, dann wieder klar und hell. Es ist eine Stimme, die sowohl den Herzschmerz des Verlassenwerdens als auch die Stärke des Verlassens verkörpert.



Von Anfang an haben sich die Fans in Jensen McRae verliebt, für ihre scharfsinnigen, aufrüttelnden und klarsichtigen Songs. Ihr Songwriting ist verletzlich, ja, aber es ist auch stark, weil es sich nicht zurückhält. „I Don't Know How But They Found Me!“ zeigt McRaes Entwicklung von einer vielversprechenden jungen Künstlerin zu einer echten Songwriterin und Star. „Die tiefgreifendsten Entscheidungen meines Lebens“, sagt McRae, “haben sich oft wie Dinge angefühlt, die ich getan habe, bevor ich dazu bereit war, und in die ich hineinwachsen musste.“ „I Don't Know How But They Found Me!“ handelt davon, was folgt, wenn man dem widerstanden hat, von dem man dachte, dass es einen vernichten würde. Es geht darum, seine Grenzen kennenzulernen und zu erfahren, wozu man fähig ist. „Ich verband mich mit dem Gedanken, dass ich leicht unter dem Gewicht dessen, was mir widerfahren ist, hätte zusammenbrechen können, aber ich tat es nicht. Ich wusste es nicht einmal“, sagt sie, ‚aber ich war die ganze Zeit kugelsicher“. Jensen McRae ist in L.A. geboren und aufgewachsen und hat fast ihr ganzes Leben lang Musik studiert und gemacht. In der High School nahm sie am Grammy Camp teil und schloss ihr Studium an der USC Thornton School of Music mit einem Abschluss in Popular Music ab. McRaes Debütalbum „Are You Happy Now?“ schrieb sie größtenteils im Alter von 21 Jahren und war der erste Schritt zum Aufbau einer treuen Fangemeinde. „Are You Happy Now?“ navigiert die Identität von ihren tiefsten Grundlagen - dem Leben als junge, gemischtrassige schwarze und jüdische Frau - bis hin zu ihren persönlichsten Überlegungen - vertraue ich dir, vertraue ich mir selbst. McRaes Vertrauen in sich selbst hat sich mehrfach bestätigt, zuletzt und vielleicht am bekanntesten in Form des Songs „Massachusetts“. McRae postete eine Solo-Strophe und einen Refrain, kaum mehr als ein Stück eines Demos, und es fing Feuer im Internet. Covers, Duette und eine Lawine neuer Fans folgten, und McRae krönte den Moment mit einer fertigen Version und einer sommerlangen Tournee als Support von Noah Kahan. „I Don't Know How But They Found Me!“ nimmt McRaes mittlerweile beachtliche Fähigkeiten auf und macht sie massentauglich. „Savannah“ ist ein Song für alle, die schon lange dabei sind. Der pulsierende, an Country angelehnte Song erinnert sofort an das Beste von Phoebe Bridgers, wobei McRae in einem akrobatischen Flüsterton über einer federleichten akustischen Gitarre singt. Wenn „Savannah“ sein Crescendo erreicht, wird klar, dass McRae eine Künstlerin mit einer ganz eigenen Kraft ist, wenn sich Klavier und Gitarre überlagern und McRae eine Reihe bissiger Anklagen mit Schärfe und Überzeugung vorträgt: "You swore you'd raise our kids to end up just like you / well you're a false prophet / and that's a goddamn promise." Währenddessen ist „Let Me Be Wrong“ eine echte Hymne, eine beschwingte Ode an die Ablehnung von Perfektionismus. Wiederum auf einem einfachen Gesang und einer Akustikgitarre aufbauend, steigert sich „Let Me Be Wrong“ Schritt für Schritt in seinem Trotz; die Gitarren schichten sich, das Schlagzeug nimmt das Tempo auf, und McRae macht Platz für die Fehler aller. Wenn McRae knurrt „fuck those girls got everything“, ist das ein Schlag voller Kraft und Verletzlichkeit, der darum bettelt, unisono so laut wie möglich gebrüllt zu werden. Der ungewöhnliche Titel ihres zweiten Albums? Er stammt aus einer Zeile in McRaes Lieblingsfilm „Zurück in die Zukunft“. Ein Hauptdarsteller überlebt einen Kugelhagel, und dieses Bild hat McRae sehr beeindruckt. „Ich habe mich mit dem Gedanken angefreundet, dass ich leicht unter dem Gewicht dessen, was mir passiert ist, hätte zusammenbrechen können, aber das habe ich nicht. Ich wusste es nicht einmal“, sagt McRae, “aber ich war die ganze Zeit über kugelsicher.“

This one-off Belgian New Beat project from The Zodiacs at first glance seems like standard fare from this time and place in dance music history - even with call to action, commanding listeners to ‘Move & Dance To The New Beat!’ that could well have earned a place at one of the slogans of the entire movement in an alternative universe where this record was a hit. However, a hit it was not - what we have here is an obscure piece of music shrouded in mystery, previously released only on 7 inch, and its enigmatic nature only adds to eerie quality of the children’s voices throughout the record. This, alongside its higher tempo not usually associated with New Beat as a musical form, come together to bring forth a bizarre oddity of the genre that also has the potency of a modern, peak time weapon. Anatolian Weapons on remix duties takes the material and reduces the speed but increases the malevolence and is a testament to his skills as one of the great producers working today!

Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. When we set sail in 1993, we never would have dreamt that our journey would still be going on after more than three decades and with 500 releases to date.

In our fast-paced business, the 500 mark is rarely reached, so we want to celebrate it with a lavish 5LP box set. In a democratic process, we have selected 50 pearls from the thousands of tracks released over the last 33 1/3 years and pressed them onto 5 brightly coloured vinyls. Alongside many Kompakt evergreens, there are also some real rarities from the early ‘Kompakt Sound of Cologne’, which have been lovingly remastered here to shine in new splendour.

The box also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here.

The Bonus Picture Disc opens with the symbolic tolling of 500 bass drums, followed by 50 locked grooves from the 5 Kompakt founders, looping into infinity at 133 1/3 BPM, and the ‘33 1/3 Years Loop Opera’ – in which the loops are combined into one track that, in its reduced essence, is more than the sum of its individual parts. The magic of groovy loop minimalism and the ‘art of omission’ are once again brought to the proverbial point.

On 23 May 2025, the big KOMPAKT 500 art exhibition will open at the venerable Kölnischer Kunstverein to coincide with the release. The entire visual cosmos of Kompakt will be shown here in an unprecedented way on three floors, with the participation of many renowned artists. Of course, there will also be dancing and partying at the vernissage party, with DJ sets and live shows by the Kompakt Allstars.

The last one turns off the bass drum.


Im Laufe der Jahrzehnte hat sich in unseren Köpfen das Bild von Kompakt als Piratenschiff festgesetzt, das den Gefahren der sieben Weltmeere des Musikmarktes trotzt. Mal gleitet es mit Rückenwind durch ruhige Gewässer, mal muss es heftige Stürme überstehen. Als wir 1993 die Segel setzten, hätten wir uns nicht träumen lassen, dass unsere Reise nach über drei Jahrzehnten und mittlerweile 500 Veröffentlichungen immer noch andauert.

Die 500 ist in unserem schnelllebigen Geschäft eine selten erreichte Katalognummer und soll daher mit einer üppigen 5LP-Box gebührend gefeiert werden. In einem demokratischen Prozess haben wir aus den tausenden Tracks der letzten 33 1/3 Jahre 50 Perlen ausgewählt und auf 5 knallbunte Vinyls gepresst. Neben vielen Kompakt-Evergreens finden sich auch einige echte Raritäten des frühen “Kompakt Sound of Cologne”, die hier liebevoll remastered in neuem Glanz erstrahlen.

Die Box enthält außerdem ein 144-seitiges Buch, das mit ausführlichen Texten und Bildern die Kompakt-Geschichte von 1993 bis heute erzählt. Neben den mannigfaltigen musikalischen und grafischen Errungenschaften von Kompakt werden hier auch die multidisziplinären Vernetzungen zur bildenden Kunst beleuchtet.

Die Bonus Picture Disc wird mit einem symbolischen Glockenschlag von 500 Bassdrums eröffnet, gefolgt von 50 Endlosrillen der 5 Kompakt-Gründer, die sich bei 133 1/3 BPM in die Unendlichkeit schleifen sowie der “33 1/3 Years Loop Opera”, in der die Loops zu einem Track zusammengefügt werden, der in seiner reduzierten Essenz mehr ist als die Summe seiner Einzelteile. Die Magie des groovenden Loop-Minimalismus und die “Kunst des Weglassens” werden einmal mehr auf den sprichwörtlichen Punkt gebracht.

Am 23. Mai 2025 eröffnet parallel zum Release die große KOMPAKT 500 Kunstausstellung im ehrwürdigen Kölnischen Kunstverein. Der gesamte visuelle Kosmos von Kompakt wird hier unter Beteiligung vieler namhafter Künstler*Innen in nie gesehener Form auf drei Etagen gezeigt. Selbstverständlich darf zur Vernissagenparty auch getanzt und gefeiert werden zu DJ Sets und Liveshows der Kompakt Allstars.

Der Letzte macht die Bassdrum aus.

Gladio Operations closes 2024 with its tenth release, which bears the signature of the German producer Elektrotechnik.

This EP, entitled Kontrast, comprises three original tracks and two remixes. The A-side starts with Sigma, a rogue track with light trance touches and an appropriate psychedelic bass line. Russian producer Larionov returns to Gladio and gifts us his fantastic vision of Sigma, turning it into a more energetic piece destined exclusively for the hottest dancefloors. Side A ends with Kontrast, a track of aggressive rhythms and moulded with powerful dark textures.

On the B-side, we encounter Die Bestie, perhaps the most robust track and possessor of disturbing and tenebrous harmonies, an enigmatic journey with no return. The owners of the UHF label get back on track by creating remixes, being in charge of closing the EP, and offering us a deeper and more cosmic approach than the original track.

Fast Castle kicks off 2025 with another five-track heater: Stable Units by Gent1e $oul!
Across five tracks, Gent1e $oul hones his signature blend of bass-driven genres, adding more dancefloor-focused cuts to his ever-expanding sonic universe.
The opener, 4TC Boom, came together in a single restless session, crafted as a late-night special for the label’s most recent dance at Fitzroy. Its thick, drippy bassline—born from Digitakt overdrive manipulation—makes it the perfect stalactite cave anthem.
Next up, Paladin—named after the strongest horseback unit in Gentle $oul’s beloved AOE II—marks Gent1e $oul’s second collaboration with recent Femme Bass Mafia production graduate Rolex3k. This jersey-tinged, wubby roller was first road-tested by MSJY at Reef, where it proved its undeniable dancefloor potential.
Who doesn’t love that classic M1 grime flute? +390 pairs its signature "ring ring" sound with rolling UK techno drums, making for a no-brainer DJ tool.
On the flip, Steppe Lancer is a brooding, venomous mutation—headsy, progressive, and laced with heavy, evil energy. An FCHQ favorite and one for the heads!
Closing things out, Parthian Tactics dives deep with a late-night dubstep cut. Powerful enough to shake the subs, yet swaying in half-time for those introspective moments.
For the artwork, our graphic wizard Jonas went all out, creating a stunning detailed Bronze Age–inspired 3D equestrian design. Snag the full-cover printed vinyl via Bandcamp or at your favorite record store.

Quick Guide
4TC Boom, 154bpm – Drippy stalactite cave, peak-time weapon
Paladin, 142bpm – Wubby jersey roller, groovy DJ tool
+390, 138bpm – Grime-tinged dubstep x techno hybrid
Steppe Lancer, 154bpm – Headsy, progressive rattlesnake venom bomb
Parthian Tactics, 146bpm – Deep dubstep for late-night sessions

The debut release of Collective Direction explores the incredibly broad and fascinating variety of work of Tasti Box, operating in San Francisco in the early 90’s.

This previously unreleased album, made in the early 90’s, captures the spirit of the San Francisco free party scene that exploded around that time. DJ Harvey, Doc Martin, the Hardkiss Brothers, the Wicked Crew and a host of international guests played at legendary all-night parties at locations such as under the Golden Gate Bridge, on huge custom-built sound systems. Helping to define not only the West Coast scene but also influencing the rest of the country throughout that decade. The cultural impact of this moment in time continues to inspire today’s dance music landscape.

Opening on the delicate and melodic ambient tracks Mim and Quetzcal, the A side closes on Dr Tripi, a house-infused track preluding the uniqueness and diversity of the emblematic Tasti Box sound, explored more broadly on the B side with the triptych of Desire, U Can Fly and Box, a trippy journey melting influences from breaks, house, experimental and techno, one that can be experimented at home or in a club setting. The C side opens with the killer trancey and psychedelic club track Feel It, one expected to be definitely heard on dancefloors over the Summer. It is complemented by the almost balearic Story of O and bleepy and esoteric Electrons. On the D side, some Daisy Glow tracks, showing strong late Tasti Box influence, close the musical journey with four tracks of joyful and melodic house music, a perfect ending to a night and to the double LP.
It’s a compilation for music collectors and dancers alike and those excited to explore the history of a sound not afraid to experiment. The vinyl includes a limited edition A4 design of the artwork cover, an exclusive conversation with the artists and two vinyl exclusive tracks. One not to miss!

Oxford band Low Island announce their new album, bird, produced by Grizzly Bear’s Chris Taylor on label Emotional Interference. Recorded at the legendary La Frette Studios, bird is an album as brash as it is tender, exploring the struggle to find freedom and presence in an increasingly automated world.

The result is an album where Jay’s guitars and synths screech with unhinged anger as much as they wail with anguish; Lively’s bass dances frantically whilst swimming underneath the songs with an effortless beauty; Higginbottom’s drums are as deft as they are punishing; Posada’s voice as frail as it is resilient.

These emotional polarities speak to the heart of bird: a coming to terms with the overwhelming breadth of experience in the modern world, trapped as we are in our own bodies. How do we act in the face of this? Do we try to reach beyond ourselves? Wish to be saved or transformed? Retreat inwards? Or embrace things as they are? These are the questions that haunt bird in its search for freedom and presence.

My debut EP on Rupture LDN, ‘Shades of Rave Vol 1’ was created with my love of raving at its core. I love arriving early doors when the anticipation of the night ahead is at its peak, feeling like we’re on the edge of something new and thrilling. I love dancing when we’re deep in session, everyone has come undone and the power hours are in full effect - the energy is frenzied and wild. I love the golden hours towards the end of the night when the crowd has thinned and we’re exhausted but energised, physically empty but spiritually full.

This EP touches on 4x4 jungle techno, jungle, deep d&b and there’s also a spoken word/ poem track dedicated to our ‘all night long’ Ferry to the Underworld sessions at Corsica Studios.

Inspired by the many moods and energies of the dance floor, I wanted to express the different shades of rave I continue to love and cherish all these years on since going to my first rave at 14.

Viva la rave!!

Nach seinen Megaerfolgen der letzten Jahre mit der erfolgreichsten Radiosingle 2021 „Save Your Tears“ (Platin) und dem erfolgreichsten Song 2020 „Blinding Lights“ (3x Platin) beginnt The Weeknd nun sein
nächstes Kapitel.
Dieses kündigte der Superstar bereits im Herbst 2021 mit “The Dawn Is Coming” auf seinen Social-MediaKanälen an und bestätigte die Gerüchte für ein neues Album dann an Neujahr. Der erste Vorgeschmack auf sein neues Album erfolgte mit der Single „Take My Breath“. Diese stieg direkt in die Top 20 der deutschen Charts ein und erreichte Platz 2 der Airplay Charts.

Sein letztes Studioalbum „After Hours“, welches u.a. die Erfolgshits „Blinding Lights“, „Save Your Tears“ und „After Hours“ enthält belegte Platz 5 der Albumcharts. Seine anderen Alben „Beauty Behind The Madness” (2015) und “Starboy” (2016) sind in Deutschland beide mit Gold ausgezeichnet. Sein neues Album „Dawn FM“ erscheint nun am 07.01.2022 digital und enthält Feature-Artists wie Jim Carrey, Tyler The Creator und Lil Wayne.

Am 28.01.2022 erscheint es auch auf CD und wird ab dem 29.04.2022 auch als Vinyl erhältlich sein.

Brooklyn’s Broad Channel drops its first-ever collaborative release, “Intercity Relations Guide – Volume 1”. This special 4-track EP bridges vibrant underground scenes from NYC, Chicago, Detroit, and Japan, featuring tracks from Mark Grusane, Deon Jamar, DJ Monchan & Aota, and Derek Russo & Thomas Xu. Born out of a moment of inspiration in the fall of 2024 after returning from Japan, label founder Derek Russo envisioned this release as a bridge – linking the warm relationships built at home & abroad that were nurtured over years of DJing, producing, and hosting underground parties like Xoloft in
Brooklyn. The EP flows across a chugging tempo range, between 113 and 120 BPM, It’s a reflection of the label’s core ethos and catalog to date: genre-blurring and always rooted in the dancefloor.

2025 marks the triumphant return of Sitaro, the iconic track that once lit up dancefloors worldwide. Originally released in 2007 and championed by the likes of Carl Cox—earning its place on Carl Cox Ultimate (Universal Music)—Sitaro is back with a fresh 2K25 Edition on Move Recordings.

The Belgian techno duo End-Jy & Dimitri Andreas, known for their heavyweight releases on Lupp, Intec, Terminal M, Music Man, and Systematic, deliver an updated version of this melodic anthem. The remastered original brims with Sitaro's signature sound: hypnotic sitar riffs, emotive atmospheres, and a groove that’s as irresistible as ever—a true dancefloor odyssey packed with intensity and raw emotion.

And for the remix? Who better than Dimitri Andreas himself. With an illustrious career spanning decades and releases on Systematic, Music Man, Kling Klong, and Token, Andreas takes Sitaro to new heights. His remix is a masterclass in contemporary melodic techno, drawing comparisons to the work of Guy J, Sébastien Léger, and Roy Rosenfeld. Expect driving Latin-inspired percussion, lush synths, and dreamy soundscapes that seamlessly blend piano-laden breakdowns with deep, pulsating grooves.
The result is a stunning reinterpretation—eclectic yet cohesive, powerful yet delicate. Dimitri Andreas once again proves why he remains a pivotal figure in the global techno landscape.
Press play, and let the journey begin.

Early support from Lost Desert (All Day I Dream), Timo Maas (Systematic), Adriatique (Afterlife), Nick Varon (Sudbeat), Raw Main (Lost Miracle), Dclviii Ofc (Cod3qr), Alex Neri (Wildflower)…

Français

End-Jy - Sitaro (2K25 Edition) featuring Dimitri Andreas Remix

2025 marque le retour triomphal de Sitaro, le morceau emblématique qui a illuminé les pistes de danse du monde entier. Initialement sorti en 2007 et soutenu par des DJ comme Carl Cox—qui l’a même inclus dans Carl Cox Ultimate (Universal Music)—Sitaro fait son grand retour avec une toute nouvelle édition 2K25 sur Move Recordings.

Le duo techno belge End-Jy & Dimitri Andreas, connu pour leurs sorties majeures sur Lupp, Intec, Terminal M, Music Man et Systematic, propose une version actualisée de cet hymne mélodique. L’original remasterisé regorge de la sonorité signature de Sitaro : des riffs hypnotiques de sitar, des atmosphères émotionnelles, et un groove aussi irrésistible que jamais—une véritable odyssée sur la piste de danse, remplie d’intensité et d’émotion brute.

Et pour le remix ? Qui de mieux que Dimitri Andreas lui-même ? Avec une carrière illustre qui s’étend sur plusieurs décennies et des productions sur Systematic, Music Man, Kling Klong et Token, Andreas emmène Sitaro vers de nouveaux sommets. Son remix est une véritable masterclass de techno mélodique contemporaine, qui rappelle le travail de Guy J, Sébastien Léger et Roy Rosenfeld. Attendez-vous à des percussions latines entraînantes, des synthés luxuriants et des paysages sonores oniriques qui fusionnent parfaitement des breakdowns pianistiques avec des grooves profonds et pulsants.

Le résultat est une réinterprétation impressionnante—éclectique mais cohérente, puissante mais délicate. Dimitri Andreas prouve une fois de plus pourquoi il reste une figure incontournable du paysage techno mondial.
Appuyez sur play et laissez le voyage commencer.

Support de Lost Desert (All Day I Dream), Timo Maas (Systematic), Adriatique (Afterlife), Nick Varon (Sudbeat), Raw Main (Lost Miracle), Dclviii Ofc (Cod3qr), Alex Neri (Wildflower)…

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Polish producer Newborn Jr. joins forces with the incredible vocalist Annjet for their highly anticipated debut full-length vinyl LP under the collective name Krush Klubb, set to be released through the renowned Bristol-based independent label, Shall Not Fade.

The Zone Out LP seamlessly blends the best of modern dance music, effortlessly merging the smooth, hypnotic rhythms of deep house with the frenetic energy of breaksy jungle cuts, all while showcasing the rich, captivating vocals of the talented Annjet. This dynamic collaboration not only highlights Newborn Jr.'s unparalleled production abilities but also elevates the musical landscape with Annjet's signature vocal style, which adds an emotive, immersive layer to each track.

With its intricate soundscapes and genre-defying approach, Zone Out stands as a testament to Krush Klubb's versatility and vision, offering a unique listening experience that crosses boundaries and defies expectations. The LP promises to be a perfect soundtrack for those who love to lose themselves in the rhythm of dance music, whether you're winding down or getting lost in the groove.

The Zone Out LP drops on Friday, 23rd May via Shall Not Fade, ready to leave an indelible mark on the dance music scene and introduce Krush Klubb as one of the most exciting new acts in the genre.

Das bisherige Schaffen von Oskar Rice und Adam Jackson beschränkte sich auf eine Debüt-EP mitten im Lockdown und einige weitere Singles. Doch das ändert sich jetzt mit ihrem Debütalbum: Das charmante Duo feiert einen bedeutenden Schritt nach vorne und eine brillante Essenz all dessen, was die ersten Releases so dramatisch machte. Das Album erzählt die Geschichte eines turbulenten Jahres voller Leben, Liebe (und dessen Ende). Die Songs sind das Tagebuch 12 ereignisreicher Monate. "we're having a barn dance" übertrifft die Ziele des Duos. Die LP ist sowohl in der Produktion als auch im Songwritering offenkundig ambitioniert.

„Ich habe sehr lange darauf gewartet, die Sinfonien von Beethoven aufzunehmen“, sagte Daniel Barenboim, als dieser Zyklus im Jahr 2000 zum ersten Mal veröffentlicht wurde. "Ich habe darauf gewartet, dass die Musik in mir reift - oder ich in ihr - und dass ich ein Orchester finde, das nicht nur das tut, was ich von ihm verlange, sondern das wirklich jedes Detail der Musik genau so empfindet, wie ich es in der Aufnahme gehört habe.
Beethovens 9 Sinfonien, 1999 von Daniel Barenboim und der Staatskapelle Berlin für Teldec aufgenommen, werden zum ersten Mal auf Vinyl veröffentlicht, in 3 separaten Alben - beginnend mit diesem Album.

'The greatest man that came from Jamaica and changed the whole beat from Ska to Rock Steady was Lyn Taitt.He was from Trinidad but Bryon Lee did bring him come to Jamaica as an organist but he started playing guitar and the rest is history! We should call him Rock Steady...Its Lyn Taitt as he was the man! He played lead guitar and Ska at the same time'...Bunny Lee

Rock Steady only lasted for a brief period from 1966 to 1968,but its significance to the subsequent development of Jamaican music is incalculable and it would go on to shape each successive musical movement over the next four decades.
Deejays,Digital and Dance hall all stepped to the tune and pace of rhythms whose origins were grounded in the Rock Steady beat and it is impossible to ever overstate its importance...or its beauty

Oasis Records is a Portuguese outlet that marks its 10th release with its first vinyl outing, and the music is certainly deserving of that treatment. Vros is a collaboration between three siblings who use real instruments to blend hypnotic sounds from the worlds of deep and dubby electronica. Each track symbolises an elementiwind, earth, fire, and wateriso has a real connection with nature and encourages self-reflection as well as plenty of shape-shifting. 'Space Marimba' is perfect for outdoor dancing with its happy marimba melodies and elastic bass, 'Don't Be Afraid' is pure Balearic house bliss and 'Fusion' brings subtly trance induing chords while 'Release Your Mind' is a deep, mind-bending opener.A

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

As on their first EP "Mokili Na Poche" on Seismographic Records, ATELIER KAMIKAZI'S collaborative lyrics are dedicated to their spectrum of life as street kids. They struggle with the exhausting and dangerous beauty of life in Kinshasa by encouraging themselves and promising never to give up. Neither in the face of lying politics, nor in the face of a religion whose representative they call "Priest Cat's Heart", nor in the face of that great power to which they dedicate several songs, the drug called "Bomb", made from car catalyst deposits mixed with a wild cocktail of ingredients. They warn against using this drug to see "the nakedness of the turtle", because the only thing that could really be seen would be the ridiculousness of those consuming the drug. They counter that they are on a mission to conquer the future with their weapons: the weapons of speech, their knowledge and Loketo, the hip swing of dance.

'Ska never stopped you know! From its Jamaican music if the piano's not playing ska or the guitar....any music you have...Reggae...even the computer music..the piano's playing Ska Ska Ska...it leads the music so Ska is still the backbone of Jamaica music, Right'..Bunny Lee

The music of Jamaica has had a profound and lasting influence all around the world and Reggae is the name by which it has become universally known.
Although the term Ska is often used to describe all Jamaican music before Dub,Dee Jays and Dread in the mid 70's the real Jamaican Ska was made in Kingston between 1961/62 to 1966.

Sophia Kennedy, the Baltimore-born, Hamburg-based artist, returns with her new album in May. Known for her genre-blending innovation and distinct vocal style, she has collaborated with DJ Koze and earned praise from The Guardian, Iggy Pop, and Resident Advisor.

Following her self-titled debut (2017, Pampa Records), a radiant dance between the glamour of the Great American Songbook, electronic textures, and clubland influences, earning her international acclaim, Kennedy released her second album, Monsters (2021, City Slang), and delved deeper into surrealism and transcendence. Now, on Squeeze Me, Kennedy and her long-time musical collaborator and co-writer Mense Reents sketch a more disillusioned commentary on the status quo of the world at large. The complexity of interpersonal relationships, questions of power dynamics, and the quest for self-determination—longstanding themes for Kennedy—run as a cohesive narrative throughout the album.
More minimalist than her previous works, Squeeze Me brims with Kennedy’s gift for catchy melodies with a certain pop appeal and psychedelic hues. The first single, "Rodeo," features hypnotic piano chords, shimmering synth basses, and glimmering choirs. 2025 will see Kennedy back on tour in Europe, supported by an international PR campaign to expand her global presence.

Record is limited to 100 copies, numbered on sleeve

Spectrums Data Forces returns to New Flesh Records 15 years after his debut on the french label. Following the "Exodus"(NF02) and "Reencarnacion" (NFLTD05) releases, Granada based Jose Maria Moreno Vega proudly presents the "Trinity EP", a collection of groundbreaking mayhems characterized by powerful basslines, intricate drum programming, and dystopian atmospheres.
Pounding electro "form900" opens A side with a captivating track where arpeggiated melodies fuse into retro modern vibes in SDF typical signature. The invasion has begun!!
This well-crafted tune comes with a devastating remix from NF mastermind. Umwelt unveils of pure distinctive and instinctive analog beast, merging techno to electro-driven rhythms. Merciless!
B side kicks off with outstanding "Mind restore". Written under SDF techno side project C-System, this 4/4 monster of a track alternates between eerie atmosphere, IDM touches and futuristic sororities.
Last but not the least "7H3 F4M1LY" from 7053M4R14 (another Spectrum Data Forces moniker) reveals subtle and crystal clear stabs over groovy yet dancefloor broken rhythms.
Rarely has a release ever stuck so much to the world of New Flesh Records. Rush on it!

Seit ihrer Gründung 2015 haben sich Biertoifel (ganz und gar nicht) "klammheimlich, still und leise" zu eine der beliebtesten deutschsprachigen Street-Ounk / Oi-Bands gemausert. Von ihrem Debüt "unsere Straßen, unsere Lieder", dem Nachfolger "Skinhead Party" bis zur Split mit "Springtoifel" war jede Vinyl-Auflage innerhalb kürzester Zeit vergriffen! Kein Wunder, denn ihr eingängiger "Fäuste hoch und Spaß dabei"-Stil ist schlichtweg "Oi der alten Schule" mit jeder Menge Singalongs und mitreißenden Melodien. Das Leben ist kompliziert genug und ganz ehrlich: Wenn Du die Welt erklärt bekommen möchtest neben all der Fake-News Scheisse, oder jedes Wort bierernst nimmst, dann bist Du falsch hier! Das hier ist die Welt von Biertoifel: Hier gehts um Freundschaft, Spaß und Zusammenhalt von Punx & Skins, Pogo, Party und Skinheadkult mit einem kleinen bißchen Droogie-Romantik! Und zum zehnjährigem Jubiläum dürft ihr auf dem neuen Album "Spaß und Krawalle" genau das erwarten! Spieltechnisch haben Biertoifel sich bei den 13 neuen Liedern natürlich auch diesmal weiterentwickelt. Der Rest bleibt beim Alten: Keine aufgesetzten Attitüden, sondern einfach nur "Kinder dieser Stadt" und "Working Class Anti Heroes"! Keine Ambitionen zum "Popstar" zu werden und die "Stiefel auf Asphalt" bleiben das gewohnte Klangbild. Wem das zu einfach ist, hat's halt einfach nicht kapiert. "Take back the Oi!" ist die Devise, basta und Glückwunsch zum Jubiläum, Biertoifel! Digipack-CD mit Booklet sowie klassisch schwarzes oder mehrfarbiges Vinyl im Klappcover mit Insert gibt's!

Seit ihrer Gründung 2015 haben sich Biertoifel (ganz und gar nicht) "klammheimlich, still und leise" zu eine der beliebtesten deutschsprachigen Street-Ounk / Oi-Bands gemausert. Von ihrem Debüt "unsere Straßen, unsere Lieder", dem Nachfolger "Skinhead Party" bis zur Split mit "Springtoifel" war jede Vinyl-Auflage innerhalb kürzester Zeit vergriffen! Kein Wunder, denn ihr eingängiger "Fäuste hoch und Spaß dabei"-Stil ist schlichtweg "Oi der alten Schule" mit jeder Menge Singalongs und mitreißenden Melodien. Das Leben ist kompliziert genug und ganz ehrlich: Wenn Du die Welt erklärt bekommen möchtest neben all der Fake-News Scheisse, oder jedes Wort bierernst nimmst, dann bist Du falsch hier! Das hier ist die Welt von Biertoifel: Hier gehts um Freundschaft, Spaß und Zusammenhalt von Punx & Skins, Pogo, Party und Skinheadkult mit einem kleinen bißchen Droogie-Romantik! Und zum zehnjährigem Jubiläum dürft ihr auf dem neuen Album "Spaß und Krawalle" genau das erwarten! Spieltechnisch haben Biertoifel sich bei den 13 neuen Liedern natürlich auch diesmal weiterentwickelt. Der Rest bleibt beim Alten: Keine aufgesetzten Attitüden, sondern einfach nur "Kinder dieser Stadt" und "Working Class Anti Heroes"! Keine Ambitionen zum "Popstar" zu werden und die "Stiefel auf Asphalt" bleiben das gewohnte Klangbild. Wem das zu einfach ist, hat's halt einfach nicht kapiert. "Take back the Oi!" ist die Devise, basta und Glückwunsch zum Jubiläum, Biertoifel! Digipack-CD mit Booklet sowie klassisch schwarzes oder mehrfarbiges Vinyl im Klappcover mit Insert gibt's!

Im Französischen sagt man oft, dass man in alten Töpfen die besten Suppen kocht. Dieses Sprichwort trifft auf Rash Panzer idealer Weise zu. Anfang Dezember erst veröffentlichte die Genfer Power-Rock-Combo ihr neues, fünftes Studio Album, und das mehr als 40 Jahre nach der Gründung der Band! Nach dem Erfolg bedankt sich die Band jetzt bei ihren Fans, mit einer remastered Version des im Jahr 2013 veröffentlichten Albums Back On The Rocks.

Die großartige Zusammenarbeit mit Producer Serge Morattel bei den letzten beiden Alben, inspirierte die Band dazu ihr früheres Werk nochmals mit stärkerem und frischerem Sound zu veröffentlichen. Es wurde nicht nur remastered, sondern auch auf drei Tracks geremixed und Band-Leader JJay Guerchakoff hatte das Vergnügen, einige Vocals neu aufzunehmen. Ein must have für alle Fans der Band und guten Hard Rocks.

Following ‘No Closer To Heaven’, The Wonder Years released ‘Sister Cities’, their most transformative work to date.
Recorded at Sunset Sound with Joe Chiccarelli (Manchester Orchestra, The Shins, Spoon) and Carlos de la Garza (Jimmy Eat World, Paramore), ‘Sister Cities’ is an album about distance, connectivity and the way humanity towers above boundaries.

What The Wonder Years do so effortlessly on ‘Sister Cities’ is no small feat; through poetic lyricism, ambient guitar swells and Jimmy Eat World-levels of crashing momentum. On ‘Sister Cities’, they take a massive, unexpected leap forward both sonically and thematically, now speaking confidently to the world at large.

Vocalist Dan Campbell on the inspiration behind ‘Sister Cities’: “It started with journals and photos. We started by documenting. We didn’t know where it would go or if it would go anywhere at all, but we wrote it all down. We took photos of everything. And
then when it came to put it altogether, we had this catalog of how we felt and what it looked like and sounded like and we built from there. Figuring out what the moments were that stayed with me the most. When did I feel most connected to the people around me and why? What did being in this place during this moment teach me? It was a difficult year personally and globally and we experienced that through this lens of being everywhere but home, kind of floating through places and seeing how being there altered our perspective.”
The album is housed in a 200-page, 13”x13”, full-colour book that includes photos, artwork, journal entries and lyrics. LP pressed onto Shinjuku Street Splatter coloured vinyl.
An overpowering sense of earnestness and vulnerability.” - Pitchfork
There is a lifetime yelled in every punk song, captured in the desperate and catchy ‘Sister Cities’.” - NPR MusicFrom the first notes, it’s already clear that The Wonder Years are stepping into uncharted territory.” - UPROXX

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Escape Music has the pleasure to announce the re-release of much-loved vocalist Bob Catley (Magnum/Avantasia) “Middle Earth” album. After the great success of ‘The Tower’, Bob and Gary got together again for the follow-up – ‘Legends’. It was during this period that Bob and Gary first discussed their mutual love for the work of JRR Tolkein, which planted a seed in Gary’s mind, which finally led to this full-blown concept album based around Tolkein’s work on ‘The Hobbit’ and ‘Lord of the Rings’.‘Middle Earth’ is, of course, the mythical world where all these events take place, and once again Gary’s wonderfully evocative lyrics fully immerse us into this wonderful and colourful universe. As with the previous album ‘Legends’, the band again mostly consisting of members of Ten, such as Vinny Burns and Steve McKenna, with the drum stool being occupied by Dante Fox’s Jon Cookesy. Artwork has once again been provided my world-renowned artist Rodney Matthews, whose career is inextricably linked with Magnum/Bob Catley. This ‘fellowship’ was once more prepared to take Gary’s evocative work and Bob Catley’s mercurial vocals out into the world once more.