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"Although life is hyper-individualised, you rarely go about it alone. This rings especially for RADIOHOP, the 4-man band drawing in everything that derives from Jazz. Aptly titled, ‘All We Do’ sees the band culminating each member’s journey through life as a performer and music head, into one entity. It is a collection of various musical feelings; drawn from all of the widely diverse musical environments they are surrounded by. Their early explorations in Hip-Hop laid the foundation RADIOHOP jetted from. All We Do ventures into Soul, Funk, Jazz, Broken Beat, Brazilian harmony, Fusion and other genres that they see connections with. It engenders a journey through the peaks and troughs of a modern musical spectrum and is an undeniable act of successfully approaching a contemporary Jazz album.

Together, they drew on Jazz as a concept existing outside the walls of formality. In addition to sessions and gigs with like-minded musicians, they explored the Amsterdam nightlife and genre-bending concerts for inspiration. This 3.5-year exploration brought them unconventional writing, producing and performing experiences resulting in All We Do being as much a presentation of the people accompanying them on this exploration, as it is about the journey itself.

RADIOHOP are constantly surrounded by other musicians and creatives from all different genres, disciplines, and spaces. The album is a celebration of the creative, and the ecosystem they operate in. The band likes to root that in the philosophy of Hip-Hop: spoken word, rap, vocals, lyrics, flute solos, photography, digital art, graphic design, tagging and poetry all congregate on the limited vinyl, as they truly believe art should not see any material boundaries. All We Do appreciates the art and the artist's creative endeavour. RADIOHOP gladly shares that with others in a holistic creation that is this album."

"Ring ring! AGITPROP HOTLINE!!, this is Goblin Daycare speaking from Istanbul, Turkey. How may we radicalize you?

Up-and-coming egg punk rascals Goblin Daycare’s long-awaited second release is here and it’s ready to overload your brain with its lo-fi alien soundwaves. Self-recorded and produced by Mama Goblin, AGITPROP HOTLINE!! is the perfect follow-up to their critically acclaimed debut Q: EP? A: EP!!.

But this time around, everything is turned up to 11 and somehow, even more over the top.

Supercharged guitars, over programmed drum machines, earworm synth melodies, growly basslines, shrieking vocals, stupid-yet-fun samples… Made up of 10 short-but-not-so-sweet bursts of unadulterated lunacy, this album clocks in at a whopping 15 minutes. Like all good things, it ends in the blink of an eye. So don't blink. Instead, dial in and let AGITPROP HOTLINE!! mesmerize you.

Emilíana Torrini erwacht aus der Pause mit einem brandneuen Album, MISS FLOWER. Es ist die Rückkehr zu einer illustren Karriere, die Chartstürmer wie "Sunny Road" und "Jungle Drum" von gefeierten Alben wie "Fisherman's Woman", "Me And Armini" und "Tookah" sowie ikonische Soundtracks wie "Der Herr der Ringe: Die zwei Türme" umfasst. Emilíana hat mit ihrem vielseitigen Stil aus Folk-, Pop- und elektronischen Einflüssen eine Grammy®-Nominierung, Ivor Novello- und isländische Musikpreise erhalten und eine Generation unauslöschlich geprägt. Ihr neuestes Werk, MISS FLOWER, verspricht, mit ihrem unnachahmlichen Gesang und innovativen Kompositionen das Publikum erneut zu fesseln.

Inspiriert von einer Kiste mit Briefen, die sie an die Mutter ihrer Freundin Zoe – Geraldine Flower – schrieb, begibt sich Emilíana Torrini mit ihrem neuen Album auf eine zutiefst persönliche Reise. Diese Geschichten lösten Torrinis kreative Vision aus und hauchten der fesselnden Erzählung, die sich durch MISS FLOWER zieht, Leben ein. Verspielt und frei, experimentell und erwachsen taucht Emilíana Torrini in verschiedenste Welten ein, lebt in den einzelnen Songs grosse Liebesgeschichten, kleine Dramen und intensivstes Leben. Und baut damit nicht nur der unnachahmlichen Geraldine Flower ein Denkmal, sondern auch weiblicher Selbstbestimmung und Unabhängigkeit.

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Bereits 2012 von den Balfour-Brüdern Ryan und David gegründet, konnten sich MAVERICK aus Belfast, Nordirland schnell in der Szene etablieren. Mit ihrem ersten Album „Quid Pro Quo“ tourten sie gemeinsam mit den schwedischen Hardrock-Stars THE POODLES durch Europa. Mit dem zweiten Album „Big Red“ war der Fünfer mit den schwedischen Superstars TREAT unterwegs. Sie spielten u.a. auch auf Festivals wie dem H.E.A.T FESTIVAL (Deutschland), ICE ROCK und ROCKNACHT TENNWIL (Schweiz), WILDFEST (Belgien) und ROCKINGHAM in Großbritannien, was ihnen dabei half ihre
schon solide Fangemeinde weiter massiv zu vergrößern! Das nächste MAVERICK Album „Cold Star Dancer“ wurde 2018 veröffentlicht. Es erhielt ebenfalls beste Kritiken von der internationalen Presse und die Band spielte ihre erste Headliner-Tour durch Europa. Zudem spielte man mehrere Shows mit den schwedischen Glam-Rockern CRASHDIET. Ein Highlight war das Schweizer ROCK THE RING Festival wo sie zusammen mit WHITESNAKE,
TESLA und DEF LEPPARD auftraten. Im Jahr 2021 veröffentlichten sie das wieder vielbeachtete und überdurchschnittlich rezensierte Album
„Ethereality“. Aufgrund der Pandemie und deren Folgen konnten sie dieses Album aber leider nicht wirklich auf die Bühne bringen. „SILVER TONGUE“ ist das 5. Album der Band und das erste Lebenszeichen vom neuen Album war die bereits 2023 erschienene Coverversion des STEELHEART respektive STEEL DRAGON Hits „We All Die Young“ aus dem Blockbuster „Rock Star“, welche als
onustrack auf der CD enthalten ist. MAVERICK sind zurück, stärker als je zuvor und beginnen mit „SILVER TONGUE“ eine neue erfolgreiche Ära!

Mutant und WaterTower Music präsentieren den Soundtrack zu "Dune: Part Two" mit dem Score des Oscar-prämierten Komponisten Hans Zimmer, einem majestätischen und mitreissenden Meisterwerk, das zu einem der besten Filme des Jahres passt. Hans Zimmer liefert als Meister der kontemplativen und epischen Themen sowohl wunderschöne und zärtliche Liebesthemen wie auch kühne und bedeutungsvolle Schlachtrufe, die die Hörer in ferne Länder entführen, in denen sie für immer verloren gehen möchten.

2xLP schwarzes Doppelvinyl in bedruckten Innenhüllen im Gatefold, Erstpressung im bedruckten Kunststoffaussenschuber. Beide Formate mit Linernotes von Hans Zimmer & Denis Villeneuve.

The Guardian wrote “the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist.” With Uncut describing his songcraft “as delicate and lovely as a rare orchid” and Record Collector praising the album’s “sublime alien balladry” such are the accolades that have accrued throughout Chenaux’s unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux’s solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux’s own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux’s previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux’s spartan home studio in rural France, Driver’s harmonically warped organ and Melanson’s electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux’s signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing “This Ain’t Life” that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux’s tunes have the uncanny ability to sound like jazz standards; songs you feel you’ve heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind

Waxwork Records is thrilled to release THE EXORCIST III Original Motion Picture Score by Barry DeVorzon. THE EXORCIST III is a 1990 American supernatural horror film written and directed by William Peter Blatty based on his 1983 novel Legion. The film is set fifteen years after the events of The Exorcist (1973) and follows a character from the original film, Lieutenant William F. Kinderman who investigates a series of demonic murders in Georgetown that have the hallmarks fo the Gemini, a deceased serial killer.

THE EXORCIST III features a dark ambient score by Barry DeVorzon (The Warriors, Night of the Creeps). It was the last film score he ever created and features synth drones, sampled chanting, synthesized voices and real voices, and experimental sound design. Of the score, DeVorzon provided exclusively to Waxwork for this album's liner notes: "I was exploring a lot of synthesized sounds and textures and trying to do something that would make the scenes more chilling. Anything that was different, eerie, and had nothing to do with an orchestra. This was new territory for me - it wasn't orchestral, it wasn't rhythm oriented. It was just a really different animal."

Waxwork Records is proud to present THE EXORCIST Original Motion Picture Score for the first time in any format. Sourced from the original masters and then mixed, mastered, and constructed into a cohesive double LP soundtrack experience. The album features 150 gram purple smoke colored vinyl, exclusive liner notes by composer Barry DeVorzon, heavyweight gatefold packaging with matte satin coating, a 12"x12" four page booklet, and new artwork by Suspiria Vilchez."

A1 - Permeate
JLM returns to Spatial with another superb selection of old school inspired tracks. Kicking us off is Permeate, with anxious melodies evocative of 90's sci-fi introducing proceedings before filtered old school breaks slowly rise into the mix. An early breakdown with the playful bassline flying solo for a spell precedes superbly executed amens adding a thick layer of detail to an eclectic beat pattern.
A2 - Orogeny
Orogeny opens with a lush old school riff, classically off-key melodies and echoing pads as the varied beats takes shape - effortlessly navigating a range of breaks to create a unique, bouncy pattern evoking a dynamic mid 90's energy with a captivating rhythm. Tuneful synth work and jazzy drum samples deliver an entertaining breakdown before the breaks resume for the latter half, airy pads adding further texture to the track.
AA1 - Subsidence
A contemplative, introspective tone is set by a delicate melody in the introduction to Subsidence, a track which showcases the variety of atmospheres JLM Production scan glean from his unique brand of drum & bass on Spatial set to the usual high standard of classic breaks and bass. Majestic pads and synths envelop the listener in a solemn haze, while a more intense, darkly melody counters, creating a divergent synergy to the vibe.
AA2 - Laminar Flow
Closing the EP in style, we are treated to a jazzy, melodic introduction to Laminar Flow with rising strings and vocal samples, before inspired 80's style synth sounds zip around the mix to a subtle, clean 2-step breakbeat. JLM ups the ante with a crisp Hot Pants break layered over the top while the jazz-inspired Rhodes key shifts craft a tuneful aura as cow bells ring throughout, rounding off another sublime and varied experience for the ears.

Words by Chris Hayes Spatial/Red Mist

Guzzle the momentum. Slap the door behind you. Run faster. The feeling pure. The attention fried. Rush from left to right. Repetition. Doorbells ringing. Where do I stand? Organizational chaos is a theory that predicts the here, the now, the never before seen or known. My attention is as pure as it is fried. Thrilled to announce that Thrills In +41 welcomes us with sheer brilliance. Let's Purifry The Attention. Solidified action. Embrace the filter. You feel it? Kicks and incredulous rhythmic action. Stuttered chopped vocals. A dash of madness and you're there. Open the door. National discoveries are about to be found. Discovery 70D is a gateway to a new portal known as... Skipman. Pull it in. Acidic drops drop harder than acid drops when you drop it because it's hot right now in the midst of this after-summer delight. Long sentences stretch like honey clinging on to your buttered knife as you make yourself toast because we're all toasted and we wrote a poem called d'Ache together that one night. Ahhh, the beat goes on. It's basically a Visual Illusion. An ambient setting wraps up this rap. Imagine tender vocals summoning the night over the howls of dusty vinyls and the digital embodiment of contemporary music making machines. We are a music making machine.

Moonwalk X continues with ZK Bucket’s debut album mirroring his wide musical influences and production techniques from early detroit to UK wave and dub music. Techstar Liner is powered by a drumbrain and flying on ringing spring-reverbs. Stripped down rhythms, sequenced synthesizers and wide atmospheric pads with a spooky touch. Zoned-out machine music from the gritty side of town. Make sure to check the wavey vocal track “Natural Peeling”. 200 copies only.

The phenomenal three-piece band includes members of Oranssi Pazuzu, K-X-P, Grave Pleasures and Aavikko


Svart Records is proud to release the debut album, I, from Haunted Plasma, a powerhouse of futuristic synth in symbiosis with the super violent atmospherics of kosmische Black Metal. Haunted Plasma is “man meets machine” in a cybernetic wasteland, set to a conceptual backdrop of William Gibson and Phillip K. Dick style mind-melt. The highly evolved creatives at the heart of Haunted Plasma’s sound, cite Terry Riley, Massive Attack, a contemporary take on Krautrock hypnosis, psychedelic Black Metal and 90s Techno, resulting in an orgy of mutant sound.



The phantoms at the beating nucleus of this unearthly machine are Juho Vanhanen (Oranssi Pazuzu, Grave Pleasures), Timo Kaukolampi (K-X-P, Op:l Bastards) and Tomi Leppänen (Circle, Aavikko, K-X-P), transmitting a music form evolved from a life of redefining sonic boundaries in their respective projects. Also featuring guest vocals from Mat McNerney (Hexvessel, Carpenter Brut, Grave Pleasures/Beastmilk), Pauliina Lindell (Vuono, Dust Mountain) and Ringa Manner (Ruusut, The Hearing). Haunted Plasma promises an extraterrestrial experience from some of the foremost contemporary musicians at the heart of the Finnish heavy and avant-garde musical underworld.



Haunted Plasma reveals:

“We are liberated futurists, embracing free-form and natural composition, mirroring the merciless forces of cosmic creation. We have a motto to stay true to our feelings, to spawn a sound that’s never been heard before. Servants of music. Energizing, radical and pure”


The first single from Haunted Plasma’s cascading debut, Reverse Engineer, is a creepy, slowly erupting, synthetic nightmare, of a downloaded being waking up in the wrong future. Ghostly vocals demand the listener to “give us what we want” in an Orwellian glimpse into the current dystopia we live in, where information is controlled, and thoughts are bought and sold. As McNerney intones the words “technology of power” he describes the threat of a malevolent and omnipresent artificial intelligence, as much as describing the oppressive and electromagnetic sonar pulse of Haunted Plasma’s sound itself. Psychedelic guitar hypnosis from Vanhanen snakes around Kaukolampi’s molten and morphing synths, while Leppänen’s uncanny man/machine rhythms pull our strings and animate their other-worldly mechanisms. Have a look at the official visualiser of "Reverse Engineer" on the Svart YouTube channel here


Culminating in the full-blown fast Krautrock of the final self-titled track, oozing with blistering noise elements and enigmatic vocals from Ringa Manner, the album's journey reaches its zenith, taking you to unknown territories on a Kubrikian space trip. I is a rare record of talented musicians coming together to create a completely new sound, which is entirely their own, boldly glowing, where no light has shone before. From the dreamy psychedelia of Echoes to the discombobulated Spectral Embrace, Haunted Plasma is a willful force of deliberate sound contortion.


Whether you want to give in to Haunted Plasma’s sound or not, you are being watched, you are being recorded and your every move is monitored. Haunted Plasma will enter your system on the 31st of May 2024. Turn on your phantom circuits and be prepared for an interdimensional excursion into Haunted Plasma’s alien dreams.

The debut album from Haunted Plasma will be packaged in a beautiful tip-on sleeve, swirling fog artwork, complete with 12” booklet and pressed on 3 exclusive vinyl colours: 300 copies on Standard Black Wax, 500 copies in Amber + Black Smoke and 200 copies of Svart exclusive Turquoise/Black Marble. The album will also be available on CD and digital platforms.

When Richard Thompson began writing songs for his latest album, Ship to Shore, the artist was instinctively drawn to his own musical roots, employing them in the service of fashioning a deep and diverse 12-track collection that pulls from various styles, genres and eras, but remains unmistakably Richard Thompson. There’s the rumbling, Motown-style rhythm that propels “Trust,” and the straightforward riff-rock of “Turnstile Casanova.” The drone-y “The Old Pack Mule,” an “old man’s song” that takes musical cues from 1600s-era European music, and “Life’s a Bloody Show,” an ode to “snake-oil salesmen and hucksters” that floats on a glammy, cabaret-like melody that’s “almost like a parody of a Noël Coward song, or something from Berlin in the 1920s,” Thompson says. “I liked the idea of having a strong base to work from and reaching out from there,” he says. “And I think of my base as being British traditional music, but there’s also Scottish music, there’s Irish music. There’s jazz and country and classical. As far as I’m concerned, once you establish your base you can reach out anywhere. It’ll still be you ringing through, wherever you decide to go musically.”

Ship To Shore by Richard Thompson, released 31 May 2024.

This version of Ship To Shore comes as a 1xLP. This release comes with (a) Sticker(s).

Following the release of Eric Chenaux's last album Say Laura (2022), The Guardian wrote "the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist." With Uncut describing his songcraft "as delicate and lovely as a rare orchid" and Record Collector praising the album's "sublime alien balladry" such are the accolades that have accrued throughout Chenaux's unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux's solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux's own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux's previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux's spartan home studio in rural France, Driver's harmonically warped organ and Melanson's electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux's signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing "This Ain't Life" that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux's tunes have the uncanny ability to sound like jazz standards; songs you feel you've heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind.

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

rush2theUnknown is a project born in pandemic-era provincial New Zealand, developed in the hills of Izu Peninsula, Japan, but forged in the fire of potent teenage memories — the flames of the future sounds of jungle and drum 'n' bass that exploded onto dance floors across the urban centres of New Zealand in the mid 90's. Two old friends, both who played pivotal roles in the development of New Zealand's own jungle and drum 'n' bass scenes in the 1990s, estranged for decades, reunited amidst the isolation and chaos of covid. They began an experiment, attempting to recapture the feeling of having their heads overwhelmed by sounds they couldn't quite comprehend as adolescents — in particular, channeling the energy, spirit, and vibe of 1995 to 1997, where the ever-mutating evolution of jungle intersected with the dawning of drum 'n' bass to create a utopian future vision, before the latter genre changed course and moved increasingly darker.

By weaving in the influences that these two long-lost friends had accumulated over the decades, most notably from ambient, kankyõ ongaku, new age, minimalism, and some of the deepest research into the history of Japanese video game music ever conducted, the pair attempt to discover new terrain from an specific era of dance music that was never fully explored.

With the buzz around her building, Priddy made her biggest splash with the 2021 release of her debut album, The Eternal Rocks Beneath. The 10 self- penned tracks are delivered with a maturity and depth that belie the fact that this is her first full length release. At times tender, at times carrying a darker edge, the stories she weaves are transporting. Not surprising then that Nick Drake, John Martyn, Tunng and Scott Matthews are amongst her many influences.

The album was recorded over a 2-year period at Rebellious Jukebox studios, a little basement studio hidden beneath inner-city Birmingham and presided over by masterful producer Simon Weaver. The ensemble cast of musicians, including a sweeping string section, occasionally cut through by raw electric guitar and drums, as well as Richard March (Pop Will Eat Itself) on double bass and Mikey Kenny on fiddle, enhance Priddy's command of melody and lyricism and provide the perfect backdrop for the feelings of nostalgia and timelessness that underpin the record. Many of the songs were written during Priddy's teenage years and early twenties and reference themes of childhood and distant memories.

The title, 'Eternal Rocks Beneath' reflects this is Priddy's first album; the culmination of her earlier life experiences and the bedrock for whatever follows next.