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Drei essenzielle Metalalben aus drei Ländern! In dieser Vinyl-Box findet man remasterte und wertige Neuauflagen von Alben, für die man im Original heute ein kleines Vermögen bezahlen muss. TARAMIS aus Australien spielen epischen Heavy Metal, der sowohl Fans von Manilla Road und Cirith Ungol, aber auch Liebhaber der frühen Iron Maiden gefällt. Die LP wurde 1987/1988 von Metal Blade (USA) und Roadrunner (Europa) lizensiert. QUARTZ sind aktuell immer noch die dienstälteste aktive Heavy Metal Band (zwischen 75 und 80 Jahre alt) und spielten erst kürzlich bei Festivals wie Up The Hammers (Griechenland) und Coursts Of Chaos (Frankreich). Sie gelten zudem als Miterfinder der NWOBHM. Auf “Satan´s Serenade” wurden zwei rare EPs (“Satan´s Serenade” und “Nantucket Sleighride”) erstmals zusammengefasst. Album Nummer drei ist von der belgischen Band SCAVENGER, die in verändertem Line Up auch heute wieder aktiv sind. Ihr traditioneller Heavy Metal begeisterte bereits 1985, als “Battlefields” auf Mausoleum Records erschien.

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

Hot summer rain hits the cracked pavement in uneven rhythms. A neon sign flickers above a café that never seems to close, its warm white light reflected in the wet ground like a fever dream. The air smells of summer and the world hums with an easy tone, as if the city itself is holding its breath. A light flooded film noir-ish scene, that needs a soundtrack like "POOL JAMS", the new album of INIT, the Berlin based duo, that already caused quite a stir with their albums for Hivern Discs and Optimo Music. This time, they bring their latest creations out on R.i.O. - a label, with whom they are deeply associated. Their fourth longplayer is a playful one. One that brings trip hopping feelings. That has r'n'b grace, without catering regular trademarks of the genre. Dub, trance, drone, is all there too. Yet, nothing is present in pure definition. Rather suggested, interwoven, or newly twisted in a songwriting style, that haunts and seduces. On top the voice of Nadia D'Alò dances, steps and hums tempting to the grooves she created with her partner in crime Benedikt Frey. Together they fashioned a record, that, as INIT puts it, is "some kind of old photo from an old dry empty pool that got faded by sunlight ". A dreamy, sunny piece of song art, made for endless smoky LA freeway drives, and other adventures that seek for infinite riddance. You can dream it. You can trance it. You can't escape it, as soon as it rotates in your dream device for sound and vision.

Santana Bridges the Divide Between Live and Studio Material on Moonflower: 1977 Double Album Features Extraordinary Performances, Soulful Vibes, and Dynamic Mix of Latin, Rock, Funk, and Blues
Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Audiophile-Quality Detail, Balance, and Imaging
1/4” / 15 IPS original analogue non-Dolby master to DSD 256 to analogue console to lathe



Though it may seem strange now, Moonflower stood for nearly 15 years as Santana’s first and only live record released in the United States. This despite the fact that roughly half of the double album consists of new studio songs, including a zesty cover of the Zombies classic “She’s Not There” that reached the Top 30 of the singles charts.

However unconventional, the “split” strategy went over like gangbusters. Moonflower reached the Top 10 of the Billboard Top 200 and achieved double-platinum status — feats the group would not again replicate for 22 years. These, and the beautiful quality of the program itself, are among the reasons why the 1977 effort remains viewed by critics and fans alike as must-have Santana.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM 2LP set of Moonflower presents the record in audiophile sound for the first time on a domestic reissue. Part of the MoFi’s Santana catalog restoration series, this collectible version features quiet surfaces and black backgrounds that expose the critical details, liquid tones, and dynamic interplay central to Santana’s music.

The enhanced sonics extend not only to Carlos Santana’s six-string wizardry, but to the rhythmic, melodic, and vocal elements that course throughout both the studio and live cuts on Moonflower. The grip and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the extension and weight of the low-end frequencies; the rich textures of the guitars, percussive devices, and keyboards: all appear amid wide, balanced soundstages and image with right-sized dimensionality.

Significantly rooted in the styles and approaches that inform the group’s first three records, Moonflower captures the final appearances of iconic percussionist Jose “Chepito” Areas and go-to keyboardist Tom Coster on a Santana album. As he did during the preceding five-year stretch, Coster inhabits a large role here, sharing songwriting credits on a majority of the new cuts and helping steer the arrangements toward spiritually minded albeit concise directions that encompass vibrant Latin, rock, and blues themes that began to escape the ensemble shortly after his departure.

Close your eyes and feel the warmth of the sun on the R&B-kissed “I’ll Be Waiting,” anchored by Carlos Santana’s gliding fretwork and Greg Walker’s creamy vocals. Enter the cosmic universe of “Zulu,” on which Coster’s nimble phrasing opens the gate to polyrhythmic beats, knotty grooves, and interlocking funk. Grab the album cover and drift off to paradise amid the equally evocative “Flor d’Luna (Moonflower),” a romantic slow dance that Carlos Santana ensures tiptoes en route to its blissful destination. Channeling a different spirit animal, the guitarist later lets loose on the hard-hitting “El Morocco,” on which he seemingly engages in a shootout with himself and wades into the rippling psychedelia that elevated the band’s early material.

Speaking of the past, Moonflower triumphs on that level as well. In more ways than one, the live selections — and the caliber of the performances — chosen for inclusion represent an abbreviated greatest-hits survey of the band up to that point. And, at the very least, a convincing argument about why Santana had progressed into one of the most formidable bands you could hope to see on a stage in the mid ‘70s.

Simultaneously representative and illustrative of the group’s breadth, tracks stem from the collective’s eponymous debut, Abraxas, and Santana III as well as the then-more recent Amigos and Festival. Whether you fall for the sidewinding spell of a spicy rendition of “Black Magic Woman/Gypsy Queen,” lose your head to the positively epic momentum of “Soul Sacrifice/Head, Hands & Feet,” or keep dropping the needle on the savory grace of the brilliant reading of “Europa (Earth’s Cry Heaven’s Smile),” this pressing of Moonflower puts you — and Santana’s first-chapter legacy — in good hands.

High Roller Records, 40th anniversary edition, 180g black vinyl, ltd 400, 425gsm heavy cardboard cover, 4 page insert, poster, A5 card. Transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in January 2025.

High Roller Records, 40th anniversary edition, transparent orange crush vinyl, ltd 400, 425gsm heavy cardboard cover, 4 page insert, poster, A5 card. Transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in January 2025.

Folk isn"t exactly a genre and it isn"t always an aesthetic, it"s the lore that"s curled around the roots of myths, ballads and anecdotes, burying itself just inches beneath the surface of contemporary culture. On their debut album, Canzonieri brush away some of the dust from Western civilization, excavating forgotten sonorities, philosophies and motifs to figure out what impact this knowledge might have on a chaotic, apocryphal modern reality. Processing familiar acoustic instruments and utilizing an arsenal of idiosyncratic self-built devices, acclaimed artist Emiliano Maggi and musical artist Cosimo Damiano - both members of Italian surrealist quartet Salò - survey the uneven, challenging landscape that surrounds them, calling attention to the conflicts and illusions that underpin art in all its forms. They take a widescreen view of centuries of musical evolution, juxtaposing simplicity and complexity, past and present, city life and the pull of nature to distill the essence of folk - emotional histories that are whispered from person to person.

The sixth studio album by the British rock group, originally released in 1971. Produced between touring commitments and widely regarded as a notable progression from their previous work, the band devised a series of novel recording and writing experiments, which also inspired the album's signature track “Echoes”.

With Bass Temprature, rediscover on one single CD the first three vinyl EPs by High Tone: Bot Dub Seasons, Low Tone, and Bass Temperature-a total of 12 tracks that propelled the Lyon-based group into the ranks of electro-dub heavyweights. In addition to these two reissues, four extra tracks have been added, making for a 12-track album just as compelling as it's predecessor. It marks a shift toward a more roots-oriented sound while remaining firmly grounded in the electro-dub genre. The album opens with Echo-Logik, a warrior-like chant followed by a driving bassline that makes you want to move-DJ Twelve's scratches laid over the groove offer a brilliant showcase of the band's talent. The title track, Bass Temprature, follows-perhaps the least striking piece, though that's only relative given the strength of the rest. Worth noting are the mystical vocal samples in Train to Transylvania, evoking vampires and devils, while N1 Station brings a heavy psych sound, a more energetic beat, and moments that border on hard-tek. Other influences also emerge, such as the strong Eastern vibe in The Orientalist. As always, High Tone delivers a stunning dub album sure to delight ears tired of the everyday noise pollution that surrounds us.

Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. "Electròccid àccid alquimístic xoc" marks a shift in Pau Riba's sound-now electrified and fully embracing rock with nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid_" is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie-fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom-and vice versa. First vinyl reissue in over four decades!

Wytch Hazel's stellar 2016 debut Prelude confirmed these Lancastrian apprentice wizards to be Britain's most promising new hard rock band. Two years on, that promise comes to abundant fruition on II: Sojourn, an album that moves Wytch Hazel on from the innocence and exuberance of the debut to a darker, more profound and complex place, carefully wrought into optimum shape by the band's singer, guitarist, songwriter and mastermind Colin Hendra. "I'm really into the idea of an album," notes Colin. "I don't do mix-tapes, I don't listen to singles, I'm interested in albums. I want to make a good, listenable, cohesive work, that is the whole thing." Asked what inspirations were brought to bear this time, Colin has good news, and even better taste: "I was listening to plenty of Judas Priest, Thin Lizzy and Wishbone Ash last year," remarks the frontman. "This seems to be more of a hard rock album, where the last one was more rock-folk. It's definitely more rock than folk!" The most crucial influence fully expresses itself via Les Paul guitars in sweet twin harmony through cranked Super Lead Marshalls - "Exactly the same type of amp that Thin Lizzy would have used," beams Colin - a benefit of working in James Atkinson's Hand Of Law Studio, a converted gaolhouse in Leeds. "We knew there would be a lot more great gear, more amps, more options," enthuses Colin of this productive new work environment. "We were more prepared, we planned better. I had a lot more vocals to record on this album, pretty much every song has at least three harmonies, but James is a really chilled out guy, he made it easy for us. I had a very clear idea of how I wanted each song to sound, I thought about every single aspect. I probably over-prepared for this album, and it paid off!" Wytch Hazel's proud, avowed Protestant Christianity continues to set them apart from the occult hocus-pocus of their peers, and the very title Sojourn has a Biblical inspiration: "It's used a lot in the Old Testament, people would travel somewhere to stay for a short period of time," explains Colin, comparing the idea to Wytch Hazel's development since Prelude. "We're going to reside here with this sound for a while, and the next album might not sound the same. Come and have a listen to this aspect of Wytch Hazel - it's a temporary stay. We'll be here for a while, then there will be something else. I'm always writing, it's a constant stream, but I'm always trying to raise the bar, because I don't want the next album to be not as good as the other ones!"

Over the past near-decade, Lancashire's medieval metal phenomenon WYTCH HAZEL have been honing an uncommonly wholesome, rustic and devotional brand of timewarped hard rock that's all their own, with 2016's Prelude and 2018's II: Sojourn summoning to mind fevered images of Robin Hood and his Merry Men grooving to Jethro Tull and Thin Lizzy. Yet within moments of pressing play on their third LP, III: Pentecost, the musty mystical minstrelsy takes a back seat in favour of a rich, sumptuous, anthemic late-night drivetime vibe, passionately embracing the most high-end smash-hit classic rock and metal circa its late 1970s heyday. "I thought I put a lot into the second album, but this album has been an absolute obsession," stresses the band leader, Colin Hendra. "Every aspect had to be as good as possible. We've gone back and forth, Ed was tinkering with it for months on end. There's quadruple tracking going on with the rhythm parts, then we've doubled, tripled and quadrupled all our lead parts to get that richness and fullness of sound, all meticulously planned with pages and pages of organisational notes. It wasn't just `get in the studio and see how it goes!'" he laughs. "One day I did 14 hours of vocal recording. All vocals are double-tracked, I can't express how much hard work that is. The last album feels like a breeze compared to what we've done with this - and I don't plan on ramping it down!" Musically there are gorgeous self-professed touches of Black Sabbath, Blue Öyster Cult, AC/DC and early Scorpions_"With the soloing I was trying to go for Michael Schenker" beams Colin_while the scampering headbanger I Will Not initially took a nod from Angel Witch, who Hendra was helping out on second guitar back in 2015 when the track was composed, before studio treatment made it sound "a lot more Wytch Hazelly". But perhaps the most lateral comparison is to a band from the opposite spiritual realm, with Archangel an explicit homage to Swedish faux-Satanic devil cult Ghost. "I find them fascinating, Ghost; musically great, the songwriting is spot-on," enthuses the frontman. "We share an intrinsic connection, with Bad Omen honcho Will Palmer being the person who discovered us both. "Music is created for all, it's a common grace for everyone," he affirms, "which is why the music that shows the glory of God the most, in my opinion, is not music created by Christians. It's Black Sabbath!"

Frankfurt electronica via Santo Domingo, Dominican Republic. Equally inspired by early Internet and the promise of technology, Boundary's "Terrain Scanner" narrates a device that allows the indigenous people of the isle to localise and protect their rare earths and minerals. It's ancient, hence deeply integrated with the surrounding flora. Pay close attention and you will get to hear the shimmering stream nearby.

Betino’s Records is taking pride in releasing Lucas Moinet Trio debut album. Entitled "Time Travel", it takes us on a deep journey into Jazz Fusion, Funk, Boogie, and 70's inspired vocoder love songs. Lucas Moinet invited his music friends to be a part of the project : Camille Frillex, on bass and Lulu Jems on drums plus a few guests like Illa on vocals, Donald Devienne on trumpet, Lucas Piette on saxophone and Stupid Flash for some additional production. Being a multitalented musician, he composed, arranged the music and recorded the Fender Rhodes piano, guitars, Korg MS20, string machine & vocoder parts in the studio. Through the vocoder, he turned Jazz Fusion into love songs, from the funky "Close to You" to the organic "Crescendolls Are Missing", paying tribute to the Rhodes and vocoder masters from the 70's. Herbie Hancock, Patrice Rushen and Alain Mion to name a few…
The album explores a lot of different styles with the downtempo bossa nova track "Soupir de Caracole" or the deep and atmospheric "New Morning".
Everything was composed, recorded, arranged and mixed at Lucas Moinet's Studio 937 in Paris. The production and recording process took a long time and after many years, the band is really proud to introduce "Time Travel".

Deep flowing 4 tracker. Eric Louis is back on his own imprint with an amazing 4 tracker. Incl. huge Lola Palmer and Francesco Mami Remixes.
Amazing UV farnish cover print and artwork. 180g.

Gina X makes her way to Dark Entries for Greatest Fits, a compilation of gems and jams from the eccentric New Wave icon. Gina X Performance was formed in Cologne in 1978 when art history student and chanteuse Gina Kikoine teamed up with synth wizard Zeus B. Held. Inspired by Patti Smith and Lou Reed, Kikoine aimed to create "the absolute union of music, poetry and travesty," a lofty goal that she most certainly would achieve. 1979 saw the release of the classic first LP, Nice Mover, which put Held’s lush electronic production in dialogue with Gina X’s deadpan delivery. Songs explore androgyny, decadence, and avant-garde art in a fashion that is stylish, sexy, and more than a touch transgressive. Nice Mover quickly became a cult favorite thanks to tracks like the euphoric “Nice Mover” and the dancefloor bomb “No G.D.M.”, dedicated to queer icon Quentin Crisp. Three more LPs followed in the coming years: X-Traordinaire in 1980; Voyeur in 1981; and Yinglish in 1984. The duo continued their genre deviance throughout, exploring uptempo space disco on “Strip Tease,” punk-laced New Wave on “Babylon Generation,” and icy electro-pop on “French Lift.” Greatest Fits is the first-ever double LP compilation of Gina X material.

The 17 tracks on Greatest Fits were selected by Kikoine and Held, reflecting the duo’s most cherished moments from their wide-ranging catalog. The record comes housed in a gatefold sleeve designed by Eloise Shir-Juen Leigh featuring press clippings and photographs, and includes an insert with lyrics and memories about each song from Kikoine and Held.

[b] A2 Bedroom Eyes, Double Bass [Upright Bass] – Fred Chalenor




[g] B7 Tiger Tatoos, Resonator Guitar [National] – Bill Frisell


[j] B10 Devil's Hootenanny, Alto Saxophone, Clarinet – Amy Denio, Banjo – Danny Barnes, Double Bass [Upright Bass] – Fred Chalenor

Easy Beat is the second album from Dr. Dog originally release 20 years ago this year. The band self released the album in 2005, burning CDs themselves as a means of manufacturing and hand making CD artwork as they filled orders. Early mail order purchases of Easy Beat where shipped wrapped in discarded pizza boxes that were adorned with drawings and stickers. Dr. Dog spent all of their money at the time ($1000) to make the album which was later rereleased by Park The Van / Devil In The Woods.

Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.

REPRESS of the legendary debut EP. The great thing about this EP is that it takes all these 70s influences and makes, dare I say it, something just as amazing, if not even better! I only have one real complaint: It's too short. Four songs, just over 15 minutes. Is it worth it? Fuck, yes!

Yellow Vinyl, limited to 200 copies. REPRESS of the legendary debut EP. The great thing about this EP is that it takes all these 70s influences and makes, dare I say it, something just as amazing, if not even better! I only have one real complaint: It's too short. Four songs, just over 15 minutes. Is it worth it? Fuck, yes!

[a] A1 Burning House Of Love; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)
[b] A2 Love Shack; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)
[c] A3 My Soul Cries Your Name; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)
[d] A4 My Goodness; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)
[e] A5 Around My Heart; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)
[f] B1 What's Wrong With Me...; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)

[h] B3 Watch The Sun Go Down; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)
[i] B4 I'll Stand Up For You; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)

[k] B6 Supercharged; Songwriter [Songs Written By] – Exene Cervenka, John Doe (2)

Mit ihrem vierten Album "Confessing Darkness" erweitern IMHA TARIKAT erneut alle Grenzen des Black Metal, ohne dabei die enge Verbindung zu dem harschen Stil zu verlieren. Das Genre war von Anfang an deutlich weniger eng definiert, als es eifersüchtige Gatekeeper und juvenile Sittenwächter oftmals unterstellt haben. Die deutschen Black Metal Erneuerer haben von Anfang an zahlreiche der Möglichkeiten genutzt, die das Genre zu bieten hat, und sich doch hörbar ihre eigenen Klangräume erschlossen. Ihr tonales Königreich ruht im Wesentlichen auf zwei Säulen: Musikalisch prägen ein unerbittlicher Vorwärtsdrang und eine unbändige Leidenschaft ihren Sound. "Confessing Darkness" entfesselt sogar noch mehr von dieser rohen Energie als jemals zuvor. Das andere tragende Element besteht aus einer tiefen emotionalen Intelligenz, die das Potential des Black Metal voll ausschöpft, jedes erdenkliche Gefühl auszudrücken - von der reinen Liebe bis zum finstersten Hass, von schweren Depressionen bis zu unbändiger Freude. Auch auf "Confessing Darkness" beruhen diese persönlichen Bekenntnisse auf nichts als der Wahrheit. Dabei hat IMHA TARIKATs lyrischer und musikalischer Kopf, Kerem Yilmaz alias Ruhsuz Cellât, das gesamte Album erstmals komplett im Studio aufgenommen, was dem Sound zugute kommt. Yilmaz hat sich zudem für kürzere, schärfere Attacken entschieden. Die Stücke auf "Confessing Darkness" kommen direkt und zügig auf den Punkt, und lassen sofort wieder los, sobald sich ihre zerstörerische Kraft voll entfaltet hat. IMHA TARIKAT präsentieren sich auf "Confessing Darkness" hörbar gereift. Obwohl ihrer Klanggewalt aufgrund von Erfahrung und hart errungenem musikalischen Wissen etwas von ihrem jugendlichen Ungestüm abgegeben hat, gewinnen die deutschen Black Metal Aufsteiger dadurch erheblich an Durchschlagskraft und Überzeugung. "Confessing Darkness" markiert zweifellos einen musikalischen Meilenstein für IMHA TARIKAT.

First ever release of pioneering radiophonic / experimental / electronic / soundtrack composer you may never have heard of but really should have by now. 26 tracks in all.
As we began the mammoth task of whittling down material for this album Elizabeth recalled the time she met Delia Derbyshire. It was during a party for existing and former Radiophonic Workshop composers at BBC Maida Vale in the early 1980s. Delia introduced herself with typical energy and exuberance proclaiming "It's up to you now - I'm passing the baton. Show these men how we get things done". That must have been quite an honour and responsibility for a young, female composer establishing herself within the male-dominated environs at Delaware Road.
Looking back over a musical career spanning almost five decades, it's clear Elizabeth rose to the challenge and made her mark. She was consistently in demand with television and radio producers, composing for an array of ground-breaking, critically acclaimed and popular BBC projects. Whilst Delia's legacy has achieved mythical status with her position as an innovator and feminist icon secured, the majority of Elizabeth's recorded work remains unavailable so her contribution to the output of the Workshop and evolution of British electronic music is somewhat under-appreciated.
Perhaps this record will help start to remedy the situation. Included are early tape experiments, home demos and non-BBC commissions from the early 1970's to the late 2000s. Having listened to 260+ digital audio tapes from Elizabeth's personal archive we have barely scratched the surface but hope to provide an indication of the breadth of her compositional and sound design skills.
Classically trained in cello and piano, Elizabeth graduated from the University of East Anglia with a degree in Music in 1973. She was mentored by Tristram Cary who helped her to become UEA's first recipient of a Masters in Electronic Music and later awarded an Honorary Doctorate by Staffordshire University. Joining the BBC as a studio manager in 1975, Elizabeth transferred to the Radiophonic Workshop in 1978. One of her first tasks was to create special sound effects for Blake's 7 using tape loops, the EMS 100 and trusted VCS3.
Her celebrated score for The Living Planet in 1982 featured early use of the PPG synthesizer and earned an Emmy nomination. Over the following years studio technology evolved rapidly, but Elizabeth transitioned from analogue recording techniques to newer digital platforms with relative ease, using samplers, midi sequencing and computer controlled workstations.
With an incredible 1,400 commissions to her name, she created special sound for The Day Of The Triffids, Lord Of The Rings, countless radio dramas including Iris Murdoch's The Sea, The Sea, Harold Pinter's Moonlight, all of Howard Barker's plays, productions of King Lear, Wordsworth's Prelude and The Pallisers. The success of The Living Planet led to further work for the BBC Natural History Unit followed by numerous commissions for The Natural World. At one point in the late 1980's at least five of her signature tunes were being broadcast every week including Points Of View, Horizon, Doctors To Be and Everyman.
After the closure of the Workshop in 1996 Elizabeth became freelance, arranging Faure's Pavane for the BBC World Cup '98 coverage (reaching no. 9 in the UK singles chart). She wrote additional music for Monty Python's Holy Grail DVD, scored Michael Palin's Full Circle and Sahara TV series, The Lost Gardens Of Heligan and The Human Body with Robert Winston.
Retiring from the music industry in the late 2000's, Elizabeth recently returned to her East Anglian roots and now lives near the coast. She walks daily, listening to all kinds of music, new and old, on her beloved air-pods.

I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense

A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.

The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.

4 bangers, hit combos for the mix from Armaguet Nad.
In a rare kind of mood, melting gabba to industrial hardcore.
Enjoy !

LTD 200

Obwohl das Album aus kompositorischer Sicht zu den Lieblingswerken des Sigh-Kopfes Mirai Kawashima gehört, war er nie zufrieden mit der Ausführung und Produktion von "Hangman's Hymn". Mit der aktuellen Bandbesetzung – Nozomu Wakai an der Gitarre, Mike Heller am Schlagzeug – bot sich endlich die Gelegenheit, diesem zuweilen übersehenen Meisterwerk endlich gerecht zu werden. Die vorliegende Neuaufnahme wurde von Lasse Lammert produziert und verleiht dem Album eine neue Dimension mit brutaler Härte.

Obwohl das Album aus kompositorischer Sicht zu den Lieblingswerken des Sigh-Kopfes Mirai Kawashima gehört, war er nie zufrieden mit der Ausführung und Produktion von "Hangman's Hymn". Mit der aktuellen Bandbesetzung – Nozomu Wakai an der Gitarre, Mike Heller am Schlagzeug – bot sich endlich die Gelegenheit, diesem zuweilen übersehenen Meisterwerk endlich gerecht zu werden. Die vorliegende Neuaufnahme wurde von Lasse Lammert produziert und verleiht dem Album eine neue Dimension mit brutaler Härte.

F.G.S.–the musical project of Los Angeles artist Flannery Silva–announces the first-ever vinyl release of her debut album ‘Tinker Bell’s Cough’, arriving May 27 via Scenic Route. Alongside the release comes a new single, ‘The Punisher (Tinker Bell’s Edit)’, and an exclusive vinyl-only live track, ‘Passions (Live at Tinker Bell’s Clubhouse)’.

Co-created with musician and producer Chase Ceglie, ‘Tinker Bell’s Cough’ is a surreal Americana record that filters the language of girlhood, heartbreak, and fantasy through a warped, theatrical lens. It’s Lana Del Rey meets David Berman in a cartoon whirlwind, with traces of Dolly Parton, Arthur Russell, and David Lynch.

Silva describes the record as “fairy tale theatre”. It’s packed with alt-universe country hits (‘Beth’s Deth’, ‘American Shield’), uncanny ballads (‘I’m Growing A Cross Around My Neck’), and leftfield pop songs rooted in character and place. ‘Passions’, the opening track, was inspired by Mary MacLane’s ‘I Await the Devil’s Coming’, while the title track imagines Tinker Bell herself singing a lullaby to God.

New single ‘The Punisher’ is an anthemic road song about loneliness and transcendence. “It’s about driving north on I-5 in California, worrying my car will overheat, bargaining with God, and falling in love with dust tornados,” Silva says.

Raised in the woods of upstate New York and formerly one half of the cult duo Odwalla88, Silva brings a visual artist’s sensibility to music. She studied art in Baltimore and continues to make sculpture and performance work that informs her songwriting. ‘Tinker Bell’s Cough’ was written on the Rhode Island coast, where she and Ceglie met weekly to write and record—drawing from old texts, visual references, and poetry.

F.G.S. has drawn praise from NTS, The FADER, Gorilla vs. Bear, The Line of Best Fit, Artforum, Sex Magazine, and more. With the reissue of ‘Tinker Bell’s Cough’ and the release of ‘The Punisher’, Silva continues to expand the strange, magnetic world of F.G.S., one that feels both deeply American and entirely her own.

Naya Beat presents select remixes and reworks by Black Devil Disco Club, JKriv, Daniel T., and Turbotito & Ragz.

Naya Beat have released some scorching digital-only remixes over the years with collectors and selectors alike clamouring for a physical release. Well you asked, and they listened! Some of the label’s best digi remixes are now finally assembled here for the very first time on vinyl. If that isn’t enough, the vinyl EP includes a new and previously unreleased Asha Puthli remix by the pioneering French cult producer Bernard Fevre aka Black Devil Disco Club. A mouthwatering collaboration, Puthli’s ‘Our Love Is Making Me Sing’ is transformed into a scintillating dark and brooding cosmic groover. It’s Black Devil at his classic best.

The EP also includes Turbotito & Ragz’ disco rework of ‘Party Tonight’ by Hindi new wave pioneers Pinky Ann Rihal, already a dance floor anthem and a firm favourite with international selectors including CC:DISCO and Barry Can't Swim. Maestro producer, DJ, and Razor-N-Tape label head JKriv delivers a killer house remix of Bollywood legend RD Burman’s ‘Birth of Shiva’ replete with synth stabs, bansuri flute, an epic bassline and other plot twists.

Other highlights are Los Angeles-based producer Daniel T.’s dubby Bollywood workout of composer Kirti Anuraag’s ‘Zindagi To Zindagi Hai’ as well as more goodies from Naya Beat founders Turbotito & Ragz with remixes of Ilaiyaraaja's ‘Aye Zindagi Gale Lagaa Le’ and Pinky Ann Rihal's ‘Tere Liye’.

Cut to vinyl for the discerning DJ and listener by multi-Grammy-nominated Frank Merritt at The Carvery, the EP comes in a new beautifully designed 12” Naya Beat ‘disco’ sleeve with centre label cutout.

When Ella Hanshaw (1934-2020) first picked up the guitar as a 12-year-old girl in Procious, West Virginia, she dreamed of being a country star. But over the next 74 years, as she wrote hundreds of songs, her artistic goals slowly ascended to a higher realm. Ella Hanshaw's Black Book, lovingly compiled by her granddaughter from home and church recordings, features a selection of Ella's original gospel songs (Side A: Big Black Book), performed solo and with her Hallelujah Hill Quartet, and her broken-hearted country songs (Side B: Little Black Book) recorded in a back bedroom during quiet moments at home. Despite differences in style and intent, common themes remain the same across the sacred and secular sides of the record: love and longing for what we cannot quite touch—not yet, anyway—and the physical pages of possibility that we can hold in the meantime.

Der von John Williams komponierte Original Motion Picture Soundtrack zu Harry Potter und der Stein der Weisen gab den Ton für die gesamte Reihe an, wobei das „Hedwig's Theme“ zur charakteristischen Musik der Filmreihe wurde. Die Mischung aus Magie, Wunder und Spannung prägte die musikalische Landschaft aller acht Filme. Der Erfolg des für einen Oscar und einen Grammy nominierten Soundtracks ebnete den Weg für eine durchgängige musikalische Identität der Serie, deren Themen in allen Filmen wieder auftauchen.

The first new Electro Clash tracks from Break 3000 since 2003! After a string of re-issues of old gems on Italy's "Mondo Phase", the Argentinian label "Calypso's Dream" and his own "Electron Feel" last year, Break 3000 is finally back with some new original cuts!

The A-side "Electronique" has all the ingredients you would want from a hard-hitting Electro Clash track. EBM style drums and a powerful raw bass line topped with soaring rave leads and pads and added original (Vocoder) vocals by Break 3000 himself. This one is road tested already on dance floors and big systems and a guaranteed crowd pleaser! Second up is the driving "Continua", leaning more towards Break 3000 Techno classics like "Flash" and "Fix" this filtered rave lead will make a wild crowd go even wilder. Dark and twisted Electro Techno at its best.

The B-side opens with another aspect of the Break 3000 sound spectrum. We look back to the early years here and to songs like "The Wait" and "Spacemaschinenreise" that were produced in 1999. In a Detroit meets Rotterdam styled Electro setting this song uses a lot of the old sounds from 26 years ago, mostly coming from his original EMU sampler used at the time and a great 80s vocal sample gives this track it's title. We are transported back to the golden era of Cold Wave here. Closing out this new EP is the wonderful Marcello Giordani from Parma, Italy who build a strong reputation with his "Italo Deviance" label over the years. He gives the original "Electronique" a great funky "Proto House" bass line in best "Bobby Orlando" manner, what a brilliant crossover track this one is! With the Vermona drum sounds his - Dark Disco meets Early House - jam will certainly be on many DJ's want list.

We hope you enjoy these new tracks! There is more to come… stay tuned!


All tracks are mastered by Salz Mastering in Cologne. Music, Photography & Art by Break 3000.

Die dänischen Rock-Giganten VOLBEAT – Michael Poulsen (Gesang, Gitarre), Jon Larsen (Schlagzeug) und Kaspar Boye Larsen (Bass) – melden sich mit ihrem neunten Studioalbum „God Of Angels Trust“ zurück, das am 06. Juni erscheinen wird. Und passend zum neuen Album wird die Band auf ausgedehnte Welttournee gehen.

Mit „God Of Angels Trust“ wirft die Band alle songwriterischen Regeln über Bord. Volbeat, die als nichtamerikanische Band einen Rekord von zehn Nummer-1-Hits in den Billboard Mainstream Rock Charts halten, haben sich bewusst von Konventionen gelöst und neue kreative Wege beschritten. Die Begeisterung der Band, Konventionen zu durchbrechen, ist in „God Of Angels Trust“ spürbar, einem druckvollen, knackigen Album, das unbestreitbar Volbeat ist – mit der gewohnten powervollen Mischung aus eingängigen Melodien und frischer, metallischer Energie.

Dass Volbeat ein komplettes Album in gerade einmal fünf Wochen geschrieben und aufgenommen haben, ist beeindruckend. Doch was „God Of Angels Trust“ wirklich außergewöhnlich macht, ist die Tiefe, Vielseitigkeit und Fülle, die man sonst nur von Alben kennt, die zehnmal so lange in der Mache waren. Ein solcher kreativer Kraftakt erfordert absolute Konzentration, einen unerschütterlichen Flow und das Vertrauen, dem eigenen Instinkt zu folgen.

Ab Juni kehren Volbeat auf die Bühne zurück und gehen mit ihrer ”Greatest Of All Tours Worldwide” auf große Reise durch Kanada, die USA, Europa und Großbritannien.

Die dänischen Rock-Giganten VOLBEAT – Michael Poulsen (Gesang, Gitarre), Jon Larsen (Schlagzeug) und Kaspar Boye Larsen (Bass) – melden sich mit ihrem neunten Studioalbum „God Of Angels Trust“ zurück, das am 06. Juni erscheinen wird. Und passend zum neuen Album wird die Band auf ausgedehnte Welttournee gehen.

Mit „God Of Angels Trust“ wirft die Band alle songwriterischen Regeln über Bord. Volbeat, die als nichtamerikanische Band einen Rekord von zehn Nummer-1-Hits in den Billboard Mainstream Rock Charts halten, haben sich bewusst von Konventionen gelöst und neue kreative Wege beschritten. Die Begeisterung der Band, Konventionen zu durchbrechen, ist in „God Of Angels Trust“ spürbar, einem druckvollen, knackigen Album, das unbestreitbar Volbeat ist – mit der gewohnten powervollen Mischung aus eingängigen Melodien und frischer, metallischer Energie.

Dass Volbeat ein komplettes Album in gerade einmal fünf Wochen geschrieben und aufgenommen haben, ist beeindruckend. Doch was „God Of Angels Trust“ wirklich außergewöhnlich macht, ist die Tiefe, Vielseitigkeit und Fülle, die man sonst nur von Alben kennt, die zehnmal so lange in der Mache waren. Ein solcher kreativer Kraftakt erfordert absolute Konzentration, einen unerschütterlichen Flow und das Vertrauen, dem eigenen Instinkt zu folgen.

Ab Juni kehren Volbeat auf die Bühne zurück und gehen mit ihrer ”Greatest Of All Tours Worldwide” auf große Reise durch Kanada, die USA, Europa und Großbritannien.

"U.S. Maple's first album, before they fell all apart on """"Sang Phat Editor"""". This is the album that """"rocks"""". Disjointed machinations, poppy locksteps and jarring sideways excursions all leading down a path to nowhere's-ville. Engineered by Jim O'Rourke with a cold. Pressed on Muleta Maroon Colored Vinyl LP includes a vinyl-only bonus track plus a Two-Sided Footlong OBI and Lyric Sheet.

In high school, the members of U.S. Maple never said a word to anyone. And although this had disastrous results (stolen shoes, constant de-pantsing, gum in the hair, etc...), a fire was burning inside each one of them.

A beginning was struck in Chicago, early in 1995. The four met near the corner of Grand and Western Avenues to devise a working method for reorganizing rock and roll, keeping what was felt to be it’s most important core elements.

The mumblings are slick. The melodies are souped-up and soured. The drums are spastic bursts of laughter, rocket fuel and confetti. It is fronted by a singer who reminds one or the other of Kevin Costner's stoner bro. A 7” single and a version of AC/DC’s Sin City are the first to be recorded.

U.S. Maple’s debut full-length, “Long Hair In Three Stages” was recorded late in 1995 with Jim O'Rourke at Solid Sound Studios in Hoffman Estates, Illinois. This was Jim's first legitimate recording session with a rock and roll band. The album receives critical acclaim. Soon thereafter, U.S. Maple find themselves flying coach to Deutschland for a European tour. The extensive six-week tour spans 12 countries and includes a Peel Session for the BBC's John Peel Show. More history is made.

""""Long Hair In Three Stages"""" goes on to be ranked #85 on the Alternative Press “90 Greatest Albums of the '90s” list. We all know better."

The Understated Debut That Launched a Peerless Career: Bob Dylan Is the Clearest Connection to the Singer-Songwriter's Folk Roots
Pressed on MoFi SuperVinyl for Reference Playback: Mobile Fidelity 33RPM SuperVinyl Mono LP Features the Direct Sound Dylan Intended

1/4" / 15 IPS analogue mono master to DSD 256 to analogue console to lathe

Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the initial efforts of giants like Elvis Presley and the Rolling Stones.

Nodding to Woody Guthrie and re-imagining Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He authoritatively displays the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his then-20-year-old age.

Sourced from the original master tapes, housed in a Stoughton jacket, and pressed on MoFi SuperVinyl at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g 33RPM mono SuperVinyl LP brings the contents of this seminal release as close as they've ever come to live-in-the-studio quality. Transparent to the source, Dylan's voice, acoustic guitar, and harmonica come across with exceptional realism — the "husk and bark" to which Robert Shelton referred in his legendary New York Times review of a Dylan appearance at Gerde's Folk City — courtesy of the format’s nearly non-existent noise floor, groove definition, and quiet surfaces.

Heard in the original mono configuration, Dylan’s vocals are in the heart of the musical action and as one with the accompaniment. This reissue paints an incredibly accurate portrait of the concrete mass of sound that features no artificial panning and offers a straight-ahead immersion into the music producer John Hammond recorded in just two days in November 1961.

Though much has been made of the commercial indifference that greeted the album upon its low-key release, focusing on sales figures and the reaction of a public not yet hip to Dylan's name miss the forest for the trees. Distinguished from the era's other folk efforts by way of the singer-songwriter’s determination, brazenness, and lived-through-this worldliness, Bob Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010: "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin."

Mono is how almost everyone first heard Dylan’s opening salvo. A career like none other starts here.

MoFi SuperVinyl:

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Library of the Occult Records unviels ‘Music to Accompany the Poems of Edgar Allan Poe’ a haunting double LP that threads the legendary poet’s dark romanticism through the minds of some of the most evocative contemporary electronic artists.
The Library’s ever-expanding circle now united as the Library of the Occult Electronic Orchestra, bring their own haunted visions to Poe’s bleak and beautiful world. Ivan The Tolerable stretches krautrock pulses and experimental noise into something hypnotic and strange, while The Heartwood Institute channels vintage occult nostalgia. Sermons by the Devil drapes everything in a ritualistic haze and Klaus Morlock, ever the maestro of unease, paints in slow-moving shadows, melancholic, cinematic, and tinged with the surreal. It’s a record for twilight listening, flickering candles, and the spaces between.

Ukrainian composer Katarina Gryvul presents her third LP, SPOMYN, on Subtext. SPOMYN ('recollection') is an exploration of memory’s fragile, fragmented nature, revealing how it shapes the core of who we are. Each track is a fragment — a flicker of something lost, distorted, or forgotten — brought to life through unmediated emotion, acting as an invocation of continuity, connecting us to those who came before us and the fleeting moments of their existence that still resonate within us, and become elements in the lattice of our own selves. Gryvul’s corrupted choral pop compositions, augmented with full frequency electronic and organic experimentation, characterize SPOMYN’s uncanny and chimeric sound. Much like the blurred edges of memory itself, SPOMYN resists resolution, inviting listeners to disintegrate into worlds that linger in shadow and evoke the beauty of the unknowable.

Following her last LP Tysha (‘silence'), released in early 2022 on the Ukrainian imprint Standard Deviation, SPOMYN finds itself in a changed and fractured world in which the urgency to maintain a clear remembrance of the past in the face of erasure and misinformation is ever increasing.
Katarina Gryvul explores the simultaneously fixed and fluid nature of collective and personal narratives by filtering the remembrances of her cultural and musical experience through an idiosyncratic and intuitive approach to music production. The result is aggressively iconoclastic while holding dear the essence of the traditions she has inherited. Katarina Gryvul is a classically trained composer, violinist, and music producer. She blends concept of holophony with avant-garde techniques to develop distinct soundscapes through instruments, voice, analog synths and spatial audio.

Thrash metal's new Swedish hope Sarcator, further cement their status as one of metal's most exciting young bands, with their stunning second
album. By mixing fresh thrash metal with touches of old-school Scandinavian death metal, these Swedish prodigies sound at least as good as
veterans three times their age. The future is sure to hold great things for Sarcator as they continue to create their awesome metal.

Sound Like: Megadeath, Morbid angel, Dissection, Possessed, Kreator,
Sodom, Exodus, In Solitude, The Devil's Blood

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!

High Roller Records, reissue 2025, black vinyl, ltd 250, gatefold, 16 pages A4 booklet, Original cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2023.

High Roller Records, reissue 2025, beer galaxy vinyl, ltd 250, gatefold, 16 pages A4 booklet, Original cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2023.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

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.

Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.

The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.

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!

Übercode Ouvre is the eagerly awaited album from Panzerballett, a unique jazz-metal quintet that fuses intricate metal riffs with jazz improvisation, humor, and high-level musicianship. The album pushes genre boundaries, featuring contributions from legendary drummers Virgil Donati, Marco Minnemann, Anika Nilles, Morgan Ågren, and others. It offers a thrilling listening experience for jazz fusion and progressive metal enthusiasts alike. Included are covers like "Bleed" from Meshuggah, "Alien Hip Hop" from Virgil Donati; re-imaginations of classical pieces like Beethoven's "Ode to Joy" and Vivaldi's "Summer"; as well as originals like "Seven Steps To Hell". They all showcase the band's blend of complex rhythms, virtuosic drumming, and unconventional arrangements. The album's diversity makes it stand out in the progressive metal and jazz scenes. Panzerballett, led by guitarist Jan Zehrfeld, has earned a cult following for their "Headbanging with Brain" approach to music, delivering not only technically advanced compositions but also humorous, organic reconstructions of well-known pieces. Their live performances are legendary for their energy and complexity, and Übercode Ouvre is poised to continue that legacy with tracks that balance intense technicality with an accessible groove. Übercode Ouvre is a musical journey and a perfect workout for developing brain-muscle connections with its meticulously constructed beats. If you want to experience one of the most innovative bands in progressive jazz and metal, having this album is a chance to own a piece of modern music history that challenges the boundaries of what metal can be and how jazz can speak to the heavy music world. Übercode Ouvre is the highly anticipated jazz-metal album by Panzerballett. A world-class line-up pushes genre boundaries more than ever. FFO The Aristocrats, Virgil Donati, Marco Minnemann, progressive metal etc, features legendary drummers Virgil Donati & Marco Minnemann

Originally released in 2018 on CD and digital stores, Los Angeles emcee Pawz One and Dutch producer Robin Da Landlord release their album "Sell Me A Dream: Flowstalgia" on vinyl.

After meeting on tour in Europe, Pawz One and Robin Da Landlord began working on their first single "It's Like That". Both the single and video were well received and the two went back to work on a full project. Their efforts blend creating a sound reminiscent of an era when style and substance were supreme. With a collaborative mix of sharp rhymes schemes and gritty drums, Pawz One and Robin Da Landlord are here to counter the trends on "Sell Me A Dream". The album is entirely produced by Robin Da Landlord and includes guest features by Prince Po of Organized Konfusion, MED and VegaMonster.

The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.

K.K. Hammond is a slide guitar playing songstress living in the backwoods of the UK. She takes her influence from the Delta Blues players of the 1930s, the roots music of Appalachia and its ancestors fusing the vibe of the swamp with a sprinkle of Southern gothic horror, K.K. writes traditionally inspired roots music but twists it her own unique way for an untapped sound that appeals to contemporary music listeners as well as classic blues fans.

K.K's music has garnered critical acclaim worldwide as well as airplay on a multitude of blues radio shows internationally. This includes the Cerys Matthews BBC Radio 2 Blues Show and the award winning Gary Grainger Blues Show.
A video of K.K. playing a slide guitar cover of "Nothing Else Matters" with her good friend Kaspar "Berry" Rapkin accompanying her on banjo was shared by Metallica on their official TikTok and described by them as "Incredible"!

K.K.’s biggest success to date arose from the release of her debut album Death Roll Blues. The vinyl and CD run sold out via pre-order prior to the album's official release date. Upon its release, the album hit the #1 spot in the UK iTunes Blues chart and subsequently bagged another #1 spot in the US iTunes Blues chart. It also exceeded her expectations by breaking into the #12 spot in the mainstream iTunes charts (across all genres) and the #18 spot in the UK iTunes mainstream chart. It was also the #3 best seller of all time for an iTunes Blues album pre-sale. Death Roll Blues also enabled K.K.’s first breakthrough into the Billboard Blues Charts with a #7 position.

K.K.'s has also had some great successes with her self produced and directed music videos. The music video for Heart Shaped Box winning a multitude of awards including wins at the Video Nasties Genre Film Festival, the David Film Festival in Turkey, the Euro Music Video Song awards, the Anatolia Film Festival, The Golden Wheat Awards, as well as K.K. receiving an honorable mention at the London Director Awards.
U.K. born, K.K. took an interest in guitar, Americana and roots Blues from an early age. She spent some years exploring the back roads of the USA eventually settling in the remote, forested English Countryside, where she works her farm. A self-professed hermit living in an isolated spot in the woods, K.K. enjoys exploring the wilderness surrounding her home to seek inspiration for her song writing.

"1980 was a huge year in pop music with every genre competing for hits. We have already included many tracks on the records of the 1980 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year…

Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1980 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the years.

Welcome to THE VAULT for 1980… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1980. "

Sealed ! MINT from Label Stock.

This is as well YB70 number 16, the vinyl edition of the YB70 12 CD. Fat cutting and loud sound, for a superb record... Meet these Techno Indus, downtempo dark hardbreak, Breakcore Dub and others jewelry coming straigth from the Parazit/YB70 selector. Enjoy the 12th anniversary from SEPPUKU/PARAZIT parties in west France, where all these artists played melting the Industrial scene to the techno crowd... Notice the super sleeve. A sealed record... Important release !

'Better The Devil You Know' marks the long-awaited comeback of British band The Spitfires. Their first release with a refreshed line-up and also their debut on Bellevue Music, the track sees the band teaming up with producer Simon Dine (Paul Weller, Dexys Midnight Runners, Noonday Underground) to deliver a punchy, politically charged anthem.

On the B side, exclusive to the physical release only, is a remix of new track 'A Man Of Time' by french wizard and Paul Weller collaborator Le SuperHomard. Another new song to discover in its original form on the forthcoming album " MKII ". With musical hints of The Clash, The Specials and Hard-Fi at their most outspoken, 'Better The Devil You Know' is a sharp reflection on the ongoing turmoil in the Middle East. Frontman and songwriter Billy Sullivan explains "It relates to all war. A true protest song" The band is set to hit the road for a UK and European tour ( see below for details ), culminating in a headline show at London's KOKO on May 23rd.

Yuno's full-length debut, Blest, out May 16 on Sub Pop, finds the enigmatic indie-pop visionary transforming the emo-tinged suburban malaise of his 2018 Moodie EP into more expansive, widescreen pop drama - suited for big moves and bigger stages. The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability. Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, "Blest," the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, "True," in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of "Gimme Ocean," he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to. All songs on Blest were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty's in Durham, NC. Blest was mixed by Steve Vealey and mastered by Joe La Porta.

Kindred Spirits is a covers album by American Roots Rock Band Larkin Poe. Featuring covers of songs by Lenny Kravitz, Neil Young, Phil Collins and Elvis Prestley to name a few. Originally released in 2020.

Jello Biafra and the Guantanamo School of Medicine are at it again! Hot on the heels of their debut full-length The Audacity of Hype, the group—featuring Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), Billy Gould (Faith No More) and Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle)—roars back with five unreleased rippers. CD and download versions include “Metamorphosis Exploration on Deviation Street,” a transmogrified 18-minute cover of the Deviants’ classic. The band’s twin guitar attack retains some of the space punk overtones and spy-music-on-meth chaos of Dead Kennedys, while adding a healthy dose of Detroit-style proto-punk, flavoured with Weiss’s industrial excursions into metal percussion. This is Biafra’s first full-time band since Dead Kennedys broke up in 1986, and the depth and breadth of his musical chops and lyrical triumphs are on full display on these ferocious tracks

Jello Biafra and the Guantanamo School of Medicine are at it again! Hot on the heels of their debut full-length The Audacity of Hype, the group—featuring Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), Billy Gould (Faith No More) and Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle)—roars back with five unreleased rippers. CD and download versions include “Metamorphosis Exploration on Deviation Street,” a transmogrified 18-minute cover of the Deviants’ classic. The band’s twin guitar attack retains some of the space punk overtones and spy-music-on-meth chaos of Dead Kennedys, while adding a healthy dose of Detroit-style proto-punk, flavoured with Weiss’s industrial excursions into metal percussion. This is Biafra’s first full-time band since Dead Kennedys broke up in 1986, and the depth and breadth of his musical chops and lyrical triumphs are on full display on these ferocious tracks

Prayer Meeting' is an incredible early document from the dark space rock collective from North Carolina. Remastered by Ivan Pjevcevic in 2024. Psych to post metal to prog and folk and heavy weirdness unite under USX's unique approach.
"Prayer Meeting" was originally the very first unreleased record by the pastoral psychedelic congregation U.S. Christmas, hailing from Marion NC, in the middle of the Appalachian region. USX have a long career and several released on the mighty Neurot Recordings, published just after an ultra-limited demo batch of “Prayer Meeting” was around.
“Some bands make demos. We made a record. We didn't do this for a label, an agent, or anyone but ourselves. It was the first step toward what would become a series of connected works. This record marks a special time in my life, and I'm sure the other dudes agree. Those days in the little trailer in Marion, NC were electric and filled with building power. Listen up, these are the sounds of our foundation.”
Nate Hall

DMV-by-way-of-the-U.K. punk duo Teen Mortgage have announced their debut album, Devil Ultrasonic Dream, out May 9th on vinyl via Roadrunner Records.
Produced by the band alongside longtime collaborator Kenny Eaton, the album’s first single, “BOX,” is a two-minute sprint of seething defiance, packed with hooks and unrelenting energy.
The album’s title, Devil Ultrasonic Dream, leans into the 1980s-era satanic panic in rock and roll. “The Devil Ultrasonic Dream,” explains frontman James Guile, “is about realizing a fantasy that Christian fascists don’t understand or want you to have. The devil—Satan—has always been a symbol of counterculture.”
Originally from England, Guile had been toying with the Teen Mortgage project under various monikers for years, crafting a sound steeped in sociopolitical commentary and built for the mosh pit, heavily influenced by classic ’80s punk. After relocating to Maryland five years ago, he connected with drummer (and former nurse) Edward Barakauskas via a Craigslist ad. Since then, the duo have spent years building Teen Mortgage’s presence in the DMV scene. In between a global pandemic and Barakauskas serving as an ER frontline worker, they managed to drop an EP and a string of singles before signing to Roadrunner Records in 2024.
Teen Mortgage has earned support slots with a stacked list of artists, from Weezer, Smashing Pumpkins, OFF!, and Alkaline Trio and return to the UK in June to play Download Festival and support Weezer at their Halifax Piece Hall show.

How many albums virtually upend a genre? And how many erstwhile bluegrass bands top a contemporary jazz chart?! The answer to these questions, is, one, very few, and two, only Béla Fleck & the Flecktones! Their second album, 1991’s fancifully entitled Flight of the Cosmic Hippo, did indeed top Billboard’s contemporary jazz albums chart and scored a couple of Grammy noms. But more importantly, this record really made explicit the Flecktones’ bebop leanings, as they devised the term “Blu-Bop” to describe their unique fusion of bluegrass and jazz. Stylistic whiplash has never felt so good or sounded so sweet; check out their warm, instrumental wizardry on chestnuts like “Michelle” and “The Star Spangled Banner”…and don’t miss Béla’s banjo power chords on “Turtle Rock!” We had Mike Milchner at Sonic Vision remaster this classic for vinyl for maximum fidelity, and gave it a repress in cobalt blue vinyl limited to just 900 copies. Essential!

On ‘Animal’, Ash Fure appeals to “animal intelligence” by using sounds that are inherently physical and driven by perception, athleticism and interaction. Placing polycarbonate sheeting over an inverted subwoofer she built alongside her partner Xavi Aguirre and brother Adam, Fure isolates the physical impact of sound by focusing on psychoacoustic sub-bass pulses, semi-perceptible micro-rhythms and discomfiting white noise bursts, linking the process to her experiences in Berlin and Detroit’s techno dungeons where the sound has to adapt to the space it’s performed in. When she performed ‘Animal’ for the first time, Fure fabricated a “listening gym”, allowing the audience to interact in real-time by circuit training in response to the sound. The sweat is almost audible across the record, a run-on selection of rhythms, resonances and abstractions that sound like interlocking heartbeats on a series of treadmills. Her fascination with techno’s cavernous cathedrals is clear from the beginning, but Fure doesn’t worship at the altar: we’re hit with the feeling, not the aesthetic. The beats themselves, made from unstable vibrations and waterlogged, reverberating clicks, echo the brain’s unconscious reaction to repetition in a vast concrete box, the feeling you get when each percussive snag ricochets from every surface in the building. Coddling these whirring, criss-crossing polyrhythms with harsh, distorted low-end retches, Fure accurately recreates the energy and fatigue of the endless weekend sesh. We never once encounter techno in its expected shell, just its residue - the outline of humans figuring out their relationship with technology, architecture and each other. Fure’s use of dynamics is also deviously smart, marking out an overall rhythm that’s not tied to the strength of the sounds themselves, but just volume and physical impact. Often her most brutal sounds - ear-splitting squeals and overdriven mechanical whirrs - are reduced to an almost inaudible level, a bit like the bandy legged trip to the bathroom, or the escape to some dimly lit nook, the part of the night where you can still detect the sound on your skin without being battered by it. When the undulating rhythm returns in earnest, Fure masks acidic sequences in jet engine expulsions, still refusing to objectify anything that an AI model might be able to pick up on.

Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Gold nugget vinyl, limited to 350 copies. Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.