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After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.


Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

Während einer Europa-Tournee von HADES zeichnete sich ab, dass sich die Band sehr bald auflösen würde. Gitarrist Dan Lorenzo gründete mit Dan Nastasi (MUCKY PUP, DOG EAT DOG) Non-Fiction, die in Folge eine EP aufnahmen.
Das Besetzungskarussell sollte sich aber nochmal drehen und HADES- und WATCHTOWER- Sänger Alan Tecchio, sowie Bassist Kevin Bolembach (später u.a. SEVEN WITCHES, JACK FROST) kamen an Bord. 1991 erschien auf Grand Slamm Records, in Europa auf Steamhammer/SPV, das Debüt „Preface“. Die Stilrichtung in Richtung Doom Metal dürfte damals viele Fans von HADES und WATCHTOWER verwundert haben, während Fans von diesem Stil, damals noch ohne das Internet, unwissend blieben. Erstaunlich ist, dass gewisse Trademarks von HADES trotzdem in der Musik von NONFICTION zu finden sind (siehe auch das 1995er ReunionAlbum von HADES). Das an die Glanztaten der Grafikfirma Hipgnosis erinnernde Coverartwork gibt dem Album eine perfekte Aura und gibt einen Hinweis auf den Groove alter LED ZEPPELIN.

Das zweite Album „In The Know“ ist die perfekte Fortsetzung und wird von vielen Fans als Highlight der Band bezeichnet. Bei „It´s A Wonderful Lie“ spürte man die Bereitschaft zum Experimentieren und man kann bei einigen Tracks die Neunziger und ihre Strömungen nicht überhören.

Sowohl HADES, als auch WATCHTOWER (mit Alan Tecchio), sind heute –sporadisch- wieder aktiv und nicht wenige Fans hoffen, dass auch Non-Fiction nochmal in Erscheinung treten. Die musikalische Fortsetzung, wenn auch ein Stück moderner, ist aktuell Dan Lorenzos erfolgreiche Band PATRIARCHS IN BLACK, die er zusammen mit TYPE O NEGATIVE Drummer John Kelly 2021 gegründet hat.

down2present the fifth release.
d2e005: matthias’ beat of blades

three deep cuts by the one at the helm, which without doubt will throw you into a whirl.

Through analog synthesizers and Eurorack modular systems, in “Axis,” Equinoxious establishes an axis between electro and minimal electronics, closely flirting with the harshness of industrial. The pieces unfold under a logic akin to the cybernetics of Norbert Wiener: feedback systems, flows of information, and voltage control intertwine with the experience of the one who operates them; the synthesizer ceases to be a mere tool and becomes an organism that reacts and communicates.

These tracks are inspired by speed, the absurdity of reality, the impossibility of things, imaginaries of dystopia, and protocols of romance, delivered with mechanical frankness and precision.

Recorded between 2023 and 2025, the pieces stand out for their FM synthesis basslines and incisive 808 derived percussion; subtractive synthesis, and 90s samplers dragging staccatos and energetic sequences.

35th ANNIVERSARY EDITION OF THE GENRE-DEFINING OPUS OF ATMOSPHERIC DEATH/DOOM
FROM THE UK METAL LEGENDS. ON LIMITED CORONA VINYL WITH
ADDITIONAL 4 PAGE BOOKLET & REMASTERED AUDIO

Paradise Lost formed in 1988 in West Yorkshire, UK, when vocalist Nick Holmes & guitarist Gregor Mackintosh came together with the idea of taking metal beyond the conventional styles of the time. They were influenced by acts such as Candlemass, Celtic Frost & Morbid Angel, & concocted a unique atmosphere of their own as a result. This was already apparent when their debut album ‘Lost Paradise’ appeared on Peaceville Records in 1990, & blended death metal with doom & some melodic elements, but it wasn’t until their follow-up album, ‘Gothic’, that the band truly made its mark.

Recorded in late 1990/early 1991 at the renowned Academy Studios in Yorkshire (responsible for classic albums from bands such as My Dying Bride, Anathema, Cradle of Filth, among many others), ‘Gothic’ was the album responsible for a whole sub-genre: Gothic Doom Metal, upon its release in 1991. Creating a more sombre & atmospheric form of dark extremity, with the introduction of Gregor Mackintosh’s highly distinctive & unmistakable lead guitar melodies, Paradise Lost established themselves as among the pioneering UK bands of the early nineties, becoming highly influential to a generation of subsequent greats.

This new edition of ‘Gothic’, marking the album’s 35th anniversary, is presented on limited corona vinyl, with remastered audio courtesy of Jaime Gomez Arellano at Orgone Studios. The release also includes a four page booklet containing recollections from the band on the period & the shaping of the album, as originally featured in 2021’s ‘The Lost & The Painless’.

Matias Aguayo returns with Anenoa, a vibrant and imaginative new album arriving May 29, 2026. Known for continually redefining the possibilities of electronic music, Aguayo’s latest work expands his exploration of voice, rhythm, and collective experience — creating songs that invite participation as much as they reward listening.

Across more than two decades, Aguayo has remained one of the most inventive figures in contemporary electronic music. From co-founding the influential duo Closer Musik, to his long-standing creative relationship with Kompakt, and the creation of the genre-defying C meme label, Aguayo has consistently pushed dance music beyond convention — blending raw electronics, storytelling, humor, and performance into something deeply human and alive.

Now based in Mexico, Aguayo’s music has absorbed the vibrant energy of community-driven dance culture. Much of Anenoa is sung in Spanish and shaped by a spirit o collaboration that runs throughout the record. Long known for building creative communities through his label and performances, Aguayo brings together a diverse group o artists across Latin America, Europe, and beyond, turning the album into a constellation of voices and perspectiveS

Inside his quiet, neon-lit room after midnight, the night settles in shades of blue and violet. Screens glow softly, shelves sit lined with dormant consoles, and the outside world feels distant beyond dark windows and sleeping streets.

4 AM Chill Session is an invitation to watch the stars flicker with each spin of the vinyl. In the quiet hours of the night, let the blend of dreamy melodies and relaxed electronic rhythms pull you into a new dawn with this early-morning synthwave compilation. The nostalgic, intimate atmosphere of these 20 tracks will keep you grounded as the hours fade toward morning.



The physical edition is a visual extension of the music: pressed on double "Starry Night" splatter vinyl, the deep blue and sparkling white patterns mirror the celestial aesthetic of the 4 AM sky.

[a] A1 WYS x dreamẅalker Remix - Snowman [dreamẅalker Remix]

Pleased As Punch presents four tracks from the many shades of house. Groove P featuring Adeva's 'Hold On Honey' opens with a steady groove and bass he's known for, while vocals from Adeva carry you through the track. A2 follows with Saison's 'Keep My Mind'; a deeper, tougher sound they sometimes bring. Fresco Edits' 'You Are the One' adds classic disco flavour that brings warmth to the EP, while Capri's 'Sax Thing' closes with raw, sax-driven energy. Simple, solid tracks made to resonate.

SMILE ist das zehnte Studioalbum von MADSEN! Von der Band selbst produziert und von Moritz Enders (u.a. Casper, Roy Bianco & Die Abbrunzati Boys u.v.m.) gemischt, vereinen die zwölf neuen Songs alles, was die Wendländer seit über 20 Jahren zu einer der beliebtesten und erfolgreichsten Rockbands des Landes macht. Songs, die auf dem Festival, im Club und auf Kopfhörer zünden, und Hoffnung spenden. "Hollywood", das letzte Studioalbum, erreichte 2023 erstmals Platz #1 der deutschen Albumcharts.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

2026 Repress
A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

2026 Repress

It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.

A collection of hit songs released at the time of the TV anime "Dragon Ball", including rare insert songs, has been reissued on clear orange vinyl. This is a truly one-star ball (Yishinchu) disc!

A collection of hit songs that also includes the opening theme song "Makafushigi Adventure!" and ending theme song "Romantic Ageruyo" released in 1986. The "Son Goku Song" is sung by Masako Nozawa, the voice actor for Son Goku, the main character of Dragon Ball, and the "Wolf Hurricane" is sung by Toru Furuya, Yamcha's voice actor, Hyuma Hoshi from Star of the Giants, and Amuro Ray from Mobile Suit Gundam. Contains a total of 10 songs, including "Mutenroushi no Oshie" song by Kohei Miyauchi, the voice actor of Master Roshi! A must-have for Dragon Ball fans!

Deconstructed techno-dub classical piano, by exploratory composer Richard Pike. A suite of pieces for piano and texture loops, focused on real-time composition & an exploration of cassette sound sources, minimalism, harmony and the ghostly acoustic ephemera that emerges from the loop material. Intimate, granular and dust-covered.

After the passing of the late great Ryuchi Sakamoto during winter in early 2023 Richard Pike gravitated towards the piano as a daily ritual of improvisation, or what he prefers to call ‘real-time composition’.
Pike’s initial approach was an interest in a repeated practice, finding earthly textural tape loops against a daily commune with the piano. Very quickly a suite of pieces formed.

The process of collecting loops and beds in his studio the morning, then moving downstairs to a 1950s Eavestaff Minipiano in the living room, to record melodic and harmonic expressions over the bed of textures, with and against the flow. This process was pure and impulsive, leaving editing and scrutiny until later.

The textures are inspired by the likes of Romeo Poirier, Deepchord, early music concrete and a nostalgia for the ‘clicks and pops’ era that inspired Pike’s early experiments in his Warp Records-affiliated band PVT.

The Bug Club sind mit einem neuen Album zurück. Seit ihrem letzten Album sind ganze sieben Monate vergangen. Wo waren sie denn? Every Single Muscle, das fünfte Album der Band, ist das dritte, das von Sub Pop, dem angesehenen Label des walisischen Duos aus Seattle, veröffentlicht wird. Seit Very Human Features, das im Juni 2025 rauskam, sind die Lieblinge von BBC 6 Music und KEXP auf ihrer Nonstop-Tour quer über den Atlantik geflitzt, wie sie es früher auf der Severn Bridge gemacht haben. Verschiedene Festivalauftritte im Sommer haben sie davon abgehalten, Urlaub zu machen - wer braucht schon Urlaub, wenn man in Wales lebt? - bis es Zeit war, wieder ins Songwriting-Studio zu gehen. Das ist wahrscheinlich immer noch ein Schlafzimmer in Caldicott, das von einem Windhund namens Ted frequentiert wird (aufgepasst - er taucht in einem der Songs auf). Die Songwriter Sam (Gitarre, Gesang) und Tilly (Bass, Gesang) sind immer bescheiden und behaupten sogar, dass sie während des Songs ,It's Our Manager David" nur ,herumsassen und nichts taten". Das ist eindeutig eine Lüge. Every Single Muscle startet mit ,Miss Wales 2012" voll durch und bezieht sich dabei auf einen Wettbewerb, den sowohl Tilly als auch Sam tatsächlich gewonnen haben. Es ist der erste von vielen Tracks auf dem Album, die weniger als zwei Minuten lang sind, und gibt den Ton für das bisher punkigste Album von The Bug Club an, das sowohl an die kurzen, knackigen Snaps ihrer allerersten Singles als auch an das Grunzen ihrer jüngsten Veröffentlichungen erinnert. Das Album ist so vollgepackt mit Riffs und eingängigen Hooks, dass Sam tatsächlich um Erlaubnis bittet, im zweiten Track ,A Good Day For Dying" ein Solo einbauen zu dürfen. Er bekommt zwei Sekunden Zeit. Glücklicherweise fragt Sam später noch einmal und bekommt mehr Zeit. Auf achtzehn Songs gibt's genug klassisches Gitarrenspiel von Sam und Tilly, um selbst die lautstärksten Bug Club-Fans zufrieden zu stellen und die Behauptung der Band, sie seien ,nur technisch versiert auf ihren Instrumenten", klar zu widerlegen. Dieses Album ist ein Beispiel für effizienten Maximalismus - so wie wenn dein Vater das Auto für den Urlaub vollpackt. Bring mit, was du willst; der Platz ist knapp, aber sie kriegen es irgendwie rein. Zu den Texten: Während ,Very Human Features" hervorragend alltägliche Dinge aufzeigte und ihre Absurdität hervorhob, schauen The Bug Club auf ,Every Single Muscle" genauer auf sich selbst. Allerdings nicht so sehr auf introspektive Weise, sondern eher so, wie ein Außerirdischer ein gefangenes Exemplar auf einer intergalaktischen Trage untersuchen würde. Horrorfilme haben ihr ,Body"-Subgenre, jetzt bekommen auch Garage-Rock-Alben ihres. In einem völlig neuen Sinne des Wortes selbstbezogen, wird die menschliche Form und Verfassung im Laufe des Albums aus jedem Blickwinkel beleuchtet und untersucht. Wir spüren eine surreale Distanz zum Selbst, die den allgegenwärtigen, von Langeweile geprägten Humor hervorbringt; im letzten Song verkündet Sam, dass er ,es satt hat, ein Mensch zu sein". The Bug Club scheinen dem Konzept, ein Mensch zu sein, fast misstrauisch gegenüberzustehen - als wären sie in einem Kostüm aufgewacht, das sie nicht anziehen wollten und nicht ausziehen können. Ist drei die magische Zahl? Wahrscheinlich nicht. Aber Every Single Muscle - das dritte Sub-Pop-Album von The Bug Club - kommt dieser Vorstellung nahe genug, um den durchschnittlichen seltsamen Menschen davon zu überzeugen, dass es so sein könnte.

Between Bodies als Geheimtipp der europäischen Punk/Indie-Szene zu bezeichnen, ist mittlerweile ein großes Understatement. Nach ihrem Debütalbum, "Electric Sleep" von 2022, war die Band in aller Munde derer, die ein Herz für melodischen, treibenden, emotionalen Punkrock mit DIY Spirit haben. Spätestens über das Jahr 2025, als die Band aus Köln, Toronto und Paderborn, etablierte Acts wie Touché Amore, The Get Up Kids, The Hotelier oder Captain Planet in ausverkauften Clubs supportet hat, auf zahlreichen Szene-Festivals zu sehen war und seine Hörer*innenschaft noch einmal deutlich erweitern konnte, sind Between Bodies zu einer der spannendsten up-and-coming Punk-Bands hierzulande geworden. Die Songs und Texte der Ende 2019 gegründeten Band haben - wird oft behauptet, hier stimmt es einmal - internationales Format und erinnern an Lieblinge wie Joyce Manor, The Menzingers oder Tigers Jaw. Ihr Sound lässt ebenso an 90er Jahre Emo-Punk Klassiker denken, zeigt sich beeinflusst von 00er Jahre Post-Punk/Indie und verfügt dabei über reichlich Charakter und ein Ideenreichtum, der Between Bodies schlicht zu einer außergewöhnlichen Band macht.

Key long-term collaborators and Coil's "secret third member" Danny Hyde located the original Hellraiser studio session tapes, and the bonus material recovered from them is presented here as an "expanded ritual" edition.





For fans of pain & pleasure, Throbbing Gristle, lost horror soundtracks & haunted electronics.



Back in 1987, Clive Barker's supernatural body-horror classic Hellraiser hit cinemas worldwide and introduced audiences to the demonic Cenobites. Barker was a devoted COIL fan (Peter Christopherson and John Balance), and he famously said they were the only band he'd ever heard on record whose music he'd had to take off because, in his words, "theymade his bowels churn.". He initially invited them to compose the film's music, and the group began recording cues. But the producers at New World Pictures ultimately rejected the material in favor of a more traditional approach, bringing in Christopher Young, whose final score remains excellent, if less experimental. What remains from Coil is an unfinished soundtrack with surviving fragments and rough ideas, abruptly left behind mid-process, a glimpse into an alternate Hellraiser movie, one we can only fantasize into existence.



Nearly 40 years later, key long-term collaborators and Coil's "secret third member" Danny Hyde located the original Hellraiser studio session tapes, and the bonus material recovered from them is presented here as an "expanded ritual" edition, reassembled into a standalone, possibly definitive and strangely beautiful nightmare suite. Play it in the dark and experience the consequences of raising hell...

MUSIQUE POUR LA DANSE presents The Unreleased Themes From Hellraiser expanded ritual by Coil

Back in 1987, Clive Barker's supernatural body-horror classic Hellraiser hitted cinemas worldwide and introduced audiences to the demonic Cenobites. Barker was a devoted COIL fan (Peter Christopherson and John Balance), and he famously said they were the only band he'd ever heard on record whose music he'd had to take off because, in his words, "theymade his bowels churn.". He initially invited them to compose the film's music, and the group began recording cues. But the producers at New World Pictures ultimately rejected the material in favor of a more traditional approach, bringing in Christopher Young, whose final score remains excellent, if less experimental. What remains from Coil is an unfinished soundtrack with surviving fragments and rough ideas, abruptly left behind mid-process, a glimpse into an alternate Hellraiser movie, one we can only fantasize into existence.

Nearly 40 years later, key long-term collaborators and Coil's "secret third member" Danny Hyde located the original Hellraiser studio session tapes, and the bonus material recovered from them is presented here as an "expanded ritual" edition, reassembled into a standalone, possibly defnitive and strangely beautiful nightmare suite. Play it in the dark and experience the consequences of raising hell...

Notes by Danny Hyde
Original artwork by Trevor Brown
For fans of pain & pleasure, Throbbing Gristle, lost horror soundtracks & haunted electronics.

Alva Noto - Wave Weave – Sono Obi is the original soundtrack by Alva Noto, composed for a film by Carsten Nicolai.

- The project emerged from a collaboration with an 12th-generation kimono textile manufacturer in Kyoto, Japan.

At its core, the work explores the translation of sound into textile form: sonograms of musical compositions serve as the basis for woven structures, connecting acoustic frequency patterns with traditional weaving techniques.

Alongside the original soundtrack, the release includes an alternative soundtrack version and a photographic documentation featuring sonograms, soundtrack visualizations, and film stills.




Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Sono Obi Wave Weave
Playtime: 00:22:00
Explicit Lyrics: No
ISRC: DE1N62600001
(P): 2026 NOTON

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: B // Track: 1

Artist: Alva Noto
Title: Sono Obi Landscape
Playtime: 00:06:10
Explicit Lyrics: No
ISRC: DE1N62600002
(P): 2026 NOTON

Composer: Carsten Nicolai
---------------------------------------------------------