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"Kunst zu kreieren ist für mich ein ständiger Kampf den Fokus zu behalten; denn wir leben in einer Zeit voller Unterbrechung und Zerrüttung, äußert sich die Tune-Yards Sängerin Merrill Garbus über ihr sechstes Album "Better Dreaming". Mit einer klaren Haltung zu Antifaschismus, Befreiung und Anderssein präsentiert das neue Album einige der eingängigsten und funkigsten Pop-Momente von Tune-Yards bisher - und ja, tanzen kann man dazu auch. Die Songs entstanden für Garbus und ihren Bandkollegen und Partner Nate Brenner mit ungewöhnlicher Leichtigkeit - sie ließen die Musik einfach fließen und folgten jeder kreativen Spur, die sich ergab. Nach der Isolation in der Pandemie und der langen Pause von Tourneen und Live-Shows war das Bedürfnis, sich von Musik bewegen zu lassen, stärker denn je. Auch die einzigartige Erfahrung, ein menschliches Wesen heranwachsen zu sehen, prägte den Entstehungsprozess. Ihr gemeinsames Kind, heute drei Jahre alt, ist auf dem Song "Limelight" zu hören - ein Song, der aus gemeinsamen Tanzmomenten zur Musik von George Clinton entstand. Die Songs wurden als Duo aufgenommen und basieren - mit einer Ausnahme - auf Merrills Drum-Loops und Rhythmusstrukturen, ähnlich wie auf ihren frühen Alben_Ç»"Bird-Brains"_Ç»und_Ç»"W H O K I L L". Der Opener_Ç»"Heartbreak"_Ç»baut riesige Vokalharmonien um einen druckvollen Beat aus Klicks, Pops, Samples und gedubbten Snares. Garbus besingt darin Herzschmerz als Antrieb, als Herausforderung - Zeilen wie "Watch me survive another heartbreak"_Ç»wirken wie ein Aufruf zum Weitermachen. Das treibende_Ç»"How Big is the Rainbow"_Ç»setzt auf Four-on-the-Floor-Rhythmus und versprüht Disco-House-Energie - mit der Atmosphäre eines queeren Club-Hits voller Strobo und Intensität. "Better Dreaming"_Ç»ist ein kraftvolles Manifest für Selbstliebe, kollektives Handeln, Befreiung auf der Tanzfläche sowie die Hoffnung auf eine bessere Zukunft. Angesichts der Herausforderungen und Unsicherheiten der Gegenwart stellt sich Tune-Yards die Frage: Wie viel echte Energie und Freude lassen sich durch Musik überhaupt transportieren? Mit seinem mitreißenden, lebensbejahenden Art-Pop für eine Welt im Umbruch macht_Ç»"Better Dreaming"_Ç»genau das.

TÖRZS, Hungary's premier instrumental post-rock band, return with the understated sonic beauty of `Menedèk', their first new music in six years. Loosely translating as `Refuge', `Menedèk' sees the freshly bolstered trio in their element; finding shelter, comfort and joy in the act of creative collaboration whilst the storm of day to day life weathers ever on. A steadfast and admirable mission statement centred on staying true to themselves in the moment, being open to growth and documenting this process as honestly as possible has led to TÖRZS building a reputation as one of Hungary's most exciting musical collectives. Three stunning albums of organic and perfectly composed contemplation, as well as the band's transcendental live shows alongside acts including contemporaries We Lost The Sea, Oh Hiroshima, Föllakzoid and more have placed TÖRZS at the forefront of a post-rock movement that prizes the shared experience of band and listener above all else. The band's previous full-length release, 2019's `Tükor', was recorded live at Aggteleki Cseppkobarlang, a UNESCO World Heritage protected cave system, 500 metres below the Aggteleki National Park. Embracing the cave's utterly unique natural reverb almost as a fourth member led to `Tükor' receiving critical acclaim, with TÖRZS were subsequently nominated for the HEMI Music Awards 2022 and invited to perform at the likes of Moscow Music Week (2020), The Budapest Showcase Hub (2021) and 2024's Changeover Festival in Belgrade, Serbia. Whilst the intervening years have seen unprecedented change on a global scale, TÖRZS too found themselves in a state of flux. The band returned to the more traditional studio setting in 2023, working alongside long-time producer György Ligeti, in order to faithfully capture the intimate energy of songs meticulously crafted together in their small rehearsal space, a far cry from 2019's subterranean setting. However, having spent countless hours writing, orchestrating and recording the pieces that have become `Menedèk', the band's founding drummer Zsombor Lehoczky stepped away from the band and music as a whole. Where this might have been catastrophic for any other band, remaining members Soma Balázs and Dániel Nyitray soon found a connection with Tamás Szijártó, who approached TÖRZS' music with the same openness to creativity in the moment; not `performing' as such, but simply working together to produce breathtaking, musical escapism away from the daily humdrum. The album's themes of shelter, refuge and support resound clearly on lead single `Otthon'. Meaning `At Home' in Hungarian, `Otthon' serves as a de facto introduction to the record. The song's lilting groove, soaring yet soft guitar palette and the band's signature delicate dynamism all combine to invite the listener to reflect; not steering one way or another yet inviting us to close our eyes and join the flow. Elsewhere, the pounding, chiming `Levegovétel' proves TÖRZS are still staying true to their mission statement of documenting the inevitable process of change. Here the band embrace elements of post-rock's harsher, heavier side with a cacophony of driving half-time drums and distorted, open-chord guitars yet still provide brief havens of space for themselves, the song and the listener alike to breathe before the euphoric swell rises anew. Whilst TÖRZS' previous full-length effort was a spectacular collision of the band's tight-knit existence and the (literal) echo chamber of the world outside, `Menedèk' is introspective, understated and refreshingly brave in its honesty. TÖRZS have opened the doors to their inner sanctum, their rehearsal space, their songwriting process, their friendship; inviting us to live in it with them, to revel in the moment together. FOR FANS OF Godspeed You! Black Emperor, Explosions In The Sky, This Will Destroy You, Caspian, MONO, Sigur Rós

TÖRZS, Hungary's premier instrumental post-rock band, return with the understated sonic beauty of `Menedèk', their first new music in six years. Loosely translating as `Refuge', `Menedèk' sees the freshly bolstered trio in their element; finding shelter, comfort and joy in the act of creative collaboration whilst the storm of day to day life weathers ever on. A steadfast and admirable mission statement centred on staying true to themselves in the moment, being open to growth and documenting this process as honestly as possible has led to TÖRZS building a reputation as one of Hungary's most exciting musical collectives. Three stunning albums of organic and perfectly composed contemplation, as well as the band's transcendental live shows alongside acts including contemporaries We Lost The Sea, Oh Hiroshima, Föllakzoid and more have placed TÖRZS at the forefront of a post-rock movement that prizes the shared experience of band and listener above all else. The band's previous full-length release, 2019's `Tükor', was recorded live at Aggteleki Cseppkobarlang, a UNESCO World Heritage protected cave system, 500 metres below the Aggteleki National Park. Embracing the cave's utterly unique natural reverb almost as a fourth member led to `Tükor' receiving critical acclaim, with TÖRZS were subsequently nominated for the HEMI Music Awards 2022 and invited to perform at the likes of Moscow Music Week (2020), The Budapest Showcase Hub (2021) and 2024's Changeover Festival in Belgrade, Serbia. Whilst the intervening years have seen unprecedented change on a global scale, TÖRZS too found themselves in a state of flux. The band returned to the more traditional studio setting in 2023, working alongside long-time producer György Ligeti, in order to faithfully capture the intimate energy of songs meticulously crafted together in their small rehearsal space, a far cry from 2019's subterranean setting. However, having spent countless hours writing, orchestrating and recording the pieces that have become `Menedèk', the band's founding drummer Zsombor Lehoczky stepped away from the band and music as a whole. Where this might have been catastrophic for any other band, remaining members Soma Balázs and Dániel Nyitray soon found a connection with Tamás Szijártó, who approached TÖRZS' music with the same openness to creativity in the moment; not `performing' as such, but simply working together to produce breathtaking, musical escapism away from the daily humdrum. The album's themes of shelter, refuge and support resound clearly on lead single `Otthon'. Meaning `At Home' in Hungarian, `Otthon' serves as a de facto introduction to the record. The song's lilting groove, soaring yet soft guitar palette and the band's signature delicate dynamism all combine to invite the listener to reflect; not steering one way or another yet inviting us to close our eyes and join the flow. Elsewhere, the pounding, chiming `Levegovétel' proves TÖRZS are still staying true to their mission statement of documenting the inevitable process of change. Here the band embrace elements of post-rock's harsher, heavier side with a cacophony of driving half-time drums and distorted, open-chord guitars yet still provide brief havens of space for themselves, the song and the listener alike to breathe before the euphoric swell rises anew. Whilst TÖRZS' previous full-length effort was a spectacular collision of the band's tight-knit existence and the (literal) echo chamber of the world outside, `Menedèk' is introspective, understated and refreshingly brave in its honesty. TÖRZS have opened the doors to their inner sanctum, their rehearsal space, their songwriting process, their friendship; inviting us to live in it with them, to revel in the moment together. FOR FANS OF Godspeed You! Black Emperor, Explosions In The Sky, This Will Destroy You, Caspian, MONO, Sigur Rós

Über die letzten zwei Jahrzehnte hat sich Papa Roach als echter Trendsetter im Heavy-Genre etabliert: Sie wurden für zwei Grammys nominiert, tourten weltweit mit allen von Eminem bis Marilyn Manson und erschufen die Nu-Metal-Hymne »Last Resort«, die siebzehn Jahre nach Erscheinen noch immer auf Heavy Rotation in den Rock-Radios läuft.

Dennoch markiert das neunte Album der Band »Crooked Teeth« die Rückkehr zu ihren ursprünglichen – hungrigen – Wurzeln. Aufgenommen wurde das Album mit den aufstrebenden Produzenten Nicholas »RAS« Furlong und Colin Brittain in einem kleinen Studio in North Hollywood. Furlong und Brittain sind mit der Musik von Papa Roach aufgewachsen und haben die Band dazu inspiriert, sich auf einige der Tugenden zu besinnen, die sie an Papa Roach immer besonders gemocht hatten – allen voran die bemerkenswerte Rap-Technik von Frontmann Jacoby Shaddix.

Über die letzten zwei Jahrzehnte hat sich Papa Roach als echter Trendsetter im Heavy-Genre etabliert: Sie wurden für zwei Grammys nominiert, tourten weltweit mit allen von Eminem bis Marilyn Manson und erschufen die Nu-Metal-Hymne »Last Resort«, die siebzehn Jahre nach Erscheinen noch immer auf Heavy Rotation in den Rock-Radios läuft.

Dennoch markiert das neunte Album der Band »Crooked Teeth« die Rückkehr zu ihren ursprünglichen – hungrigen – Wurzeln. Aufgenommen wurde das Album mit den aufstrebenden Produzenten Nicholas »RAS« Furlong und Colin Brittain in einem kleinen Studio in North Hollywood. Furlong und Brittain sind mit der Musik von Papa Roach aufgewachsen und haben die Band dazu inspiriert, sich auf einige der Tugenden zu besinnen, die sie an Papa Roach immer besonders gemocht hatten – allen voran die bemerkenswerte Rap-Technik von Frontmann Jacoby Shaddix.

— Hexenhaus wurde 1987 von Mike Wead (ex Candlemass) in Stockholm gegründet
— Das 1990er Album "The Edge of Eternity" bot mehr progressive Einflüsse und stieß
sowohl bei Fans als auch bei Kritikern auf ein geteiltes Echo

A fully licensed, analogue reissue -- sure, on cassette and not on vinyl, that's a
long story -- of the first Index LP, originally released in 1967
The "Black Album" is one of the all-time holy grails of psychedelia, with originals going
for more than $4,000. It is an album "with a really druggie sound, full of feedback and
fuzzy guitars. The vocals, when present, are not easily heard. The cover of 'Eight Miles
High' is very good, probably one of the best cover versions I have ever heard. The
original songs all follow a similar pattern as the covers, with hazy guitar riffs and loud
rhythms. The last track is particularly noisy and unstructured. Hidden in amongst the
echoing canyons of sound there's some really snotty punk attitude wrapped up in
trippy velvet fuzz."
This record is magnificent-- bizarre, atmospheric, amateurish (in the best of all
possible ways). It has a wonderful bleak sound, both droning and murky... the atonal
sound of 1960's rock that would leave the most lasting impression on what would
become future punk, post-punk and indie rock artists.
"Much has been written about this incredible band. Much of it isn't true. Index was
formed in the early spring of 1967 in Grosse Pointe, Michigan. I was 18 years old
when I met a chain-smoking 16-year-old named Gary Francis. Our conversation soon
got around to rock and roll. He told me that he and his friend, John Ford, were forming
a band. I told him that I played drums and we arranged a jam session at John's home
on Lakeshore Drive. Our first meeting was incredible. Our sound was full and
powerful. John's lead guitar techniques were fresh and innovative. After our first
sessions we knew we had something special. Index was born. Soon we hit the local
'sock hop' circuit, playing at high schools and teen clubs in the area. We poured our
unique sound out at The Hideout, Undercroft and G.P. War Memorial every weekend.
One afternoon John pulled out a new album he had been listening to. It was a new
band with a mind-shattering sound called 'The Jimi Hendrix Experience.' John played
some songs he had written inspired by this 'psychedelic' sound. Over the next few
days, 'Fire Eyes,' 'Shock Wave' and 'Feedback' were written. This album was recorded
in December of 1967 at the Ford estate. It is recorded in mono with literally one
microphone and with all instruments and vocals recorded at the same time. The cover
photo is of founders of a singing group John joined at Yale. The stiff, board- like
figures seem to characterize the exact opposite of this musical collection. This
reissue is taken from the original recordings. Nothing has been added and all songs
are in their original length. Over the years various bootleg copies of this album have
surfaced but this is the original work." --Jim Valice

Trance Plantations is the latest brainchild of Nathan Daems and Falk Schrauwen (both members of Black Flower and Echoes of Zoo)



They describe what they make as 'fictional Tribe music (from space)'. That previously resulted in a self-titled debut album on which they collaborated with The Comet Is Coming members Danalogue and Betamax. "Behind your face" is their dazzling follow-up album continuing their musical space adventures.

This fourth selection of outernational dub from Richard Norris is the best one yet. Booming bass, seismic echoes and fathoms deep reverb take up a widescreen space and shake the foundations. Mighty dub versions and melodies. Dive in!

As the nights get colder and longer, we often lose touch with those around us. Nights when loneliness takes hold of us as our only dependable friend, and our imagination becomes the universe; forever questioning the existence of our own reality, while perpetually stuck in an emotional limbo.. Delve into your thoughts with ‘Lonely Days’, the latest Lofi Girl compilation featuring 31 artists worldwide. Soft beats, melancholic pianos, lulling guitars and a range of other instruments are knitted together like a warm blanket to bring ease and comfort for as long as you need. Focus on the ingressing dawn light, close your eyes, and breathe in - this feeling is only temporary, and better days are on their way.

Many of the greatest artists of all time found inspiration in their dreams... and pdqb is known to be an absolute pro when it comes to creatively exploiting the REM cycles.

Recently, for example, he dreamed of Gunnar, who had witnessed the rise and fall of electronic dance music, which had once held simple-minded creatures in its thrall. The beats had a peculiar effect on them, drawing them into euphoric trances. But Gunnar, allergic to its hypnotic frequencies, stood apart, unaffected. However, eventually, in a hidden enclave in the highlands of Reykjavík, he met Dr. Amara El-Amin, a neuroscientist fascinated by his unique immunity. Together, they discovered that Gunnar's resistance was a gift, offering insights into human consciousness and the power of music. With this knowledge, Gunnar inspired a global movement celebrating frequencies that resonate...differently. Though EDM had become a relic, Gunnar Oliasson remained a legend - a bad taste survivor who embraced a symphony of pure electrical potential, a language of circuits and oscillations beyond sound.

He woke with a jolt, the phantom music still echoing in his mind. He scribbled furiously, equations and diagrams mixing with strange, abstract notations. The dream, he knew, was a glimpse into a world where his inventions would dance, not just function.

For Synaptic Cliffs, it is an extraordinary honor to be able to offer you, dear listeners, the soundtrack of pdqb's world-changing dream: Four beautiful genre-defining Electrocognition tracks, embracing the depths of the human wetware. And three jaw-dropping sonic remodels from a human-like being called The Exaltics.

2026 Repress

RAWAX proudly presents the 4th release by Ricardo Villalobos on his own series: RV-04 - Richard Wolfsdorf - TIA (12") Re-issue from 2000!!!
Ricardo compiled for the 25 Yars Anniversary Edition a new tracklisting!
(Re-mastered, viny only)

As spring teases the summer ahead and overall lightness returns, T3R016 delivers highly intense peak-time euphoria by Dutch-born and Berlin-based hardware phenomenon Nadia Struiwigh. Her masterful storytelling shines through two tracks consisting of hard-hitting, yet dynamic drum arrangements and melodious breaks.
The remixes by Andy Martin and UFO95 build on this drive whilst offering striking contrasts. Witness Andy convince listeners once again with expressive melodies and trippy sound design, while UFO95 flawlessly adds contemporary, raw and beepy energy to the release.

Four tracks that are truly primed for moments of pure motion will entirely make the winter disappear.

Mit 'Never/Know' melden sich The Kooks eindrucksvoll zurück - authentischer, energiegeladener und eingängiger denn je. Nach 18 Jahren Bandgeschichte und einem radikalen kreativen Neuanfang besinnt sich die britische Erfolgsband auf das, was sie am besten kann: großartige Songs mit Hymnenpotenzial, zwischen Indie-Nostalgie und neu entfachtem Selbstbewusstsein.

Das siebte Studioalbum überzeugt mit einer Mischung aus Spontaneität, Gefühl und klassischem Pop-Appeal - getragen von der Vision, „Liebe und Freude durch gut gespielte, gut geschriebene Musik“ zu transportieren. 'Never/Know' ist ein moderner Klassiker in bester The-Kooks-Manier - ein Muss für Fans und Neuentdecker gleichermaßen.

Aufgenommen in einem kreativen Ausnahmezustand voller Leichtigkeit, Experimentierfreude und kindlicher Spiellust, fangen The Kooks auf 'Never/Know' das ein, was sie einst so besonders machte - und gehen dabei gleichzeitig den nächsten Schritt. Kein glattpolierter Pop, sondern echte Emotion, verpackt in Songs, die sofort ins Ohr gehen.

Mit 'Never/Know' melden sich The Kooks eindrucksvoll zurück - authentischer, energiegeladener und eingängiger denn je. Nach 18 Jahren Bandgeschichte und einem radikalen kreativen Neuanfang besinnt sich die britische Erfolgsband auf das, was sie am besten kann: großartige Songs mit Hymnenpotenzial, zwischen Indie-Nostalgie und neu entfachtem Selbstbewusstsein.

Das siebte Studioalbum überzeugt mit einer Mischung aus Spontaneität, Gefühl und klassischem Pop-Appeal - getragen von der Vision, „Liebe und Freude durch gut gespielte, gut geschriebene Musik“ zu transportieren. 'Never/Know' ist ein moderner Klassiker in bester The-Kooks-Manier - ein Muss für Fans und Neuentdecker gleichermaßen.

Aufgenommen in einem kreativen Ausnahmezustand voller Leichtigkeit, Experimentierfreude und kindlicher Spiellust, fangen The Kooks auf 'Never/Know' das ein, was sie einst so besonders machte - und gehen dabei gleichzeitig den nächsten Schritt. Kein glattpolierter Pop, sondern echte Emotion, verpackt in Songs, die sofort ins Ohr gehen.

The Rose Island presents its third release, diving deep into uncharted sonic territory. On this occasion, the talented artist Verlake takes us on an immersive journey through deep, mesmerizing sounds and captivating atmospheres. To elevate the experience even further, Ben Kaczor delivers a powerful remix of the track 'The Future', making this release a must-listen.

Chiminyo is a UK-based jazz/electronic artist and the founder of the new label NRG Discs (having previously released on Brownswood, Nightdreamer, Gearbox, and Astigmatic, with artists such as Gary Bartz, Shabaka Hutchings, Maisha, Nubya Garcia, Cykada, Uniri, as well as solo). Chiminyo is a versatile musician who blends the raw energy of live drums and percussion with cutting-edge electronic production.

His early solo releases showcased his knack for unique approaches to making music, using self-coded software to trigger synths and samples from every cymbal crash and drum hit, eliminating loops and click-tracks. This DIY, tech-driven methodology allowed Chiminyo complete, spontaneous control over his music—all from the stool behind his drum kit—creating a sound that is both daring and innovative.

Chiminyo's latest project, NRG, continues this trend of innovative thinking. Born from discussions around the UK jazz scene, Chiminyo concluded that this musical expression is less about "jazz" and more about the energy (NRG) that fuels it. As a result, NRG has evolved into a semi-regular event where Chiminyo brings together some of London's finest musicians for live, improvised performances that encapsulate the spirit of the scene. These live recordings are then given the magic production treatment by Chiminyo and co-producer Aviv Cohen, transforming them into the masterpieces we get to hear on wax.

The first three NRG LPs were a massive success, generating over 600,000 streams, selling over 800 copies (without distribution support), and receiving airplay on BBC Radio, Jazz FM, NTS, Soho Radio, and many more. High-profile DJs like Gilles Peterson and Jamz Supernova championed the albums, which were also covered in print by The Guardian, Jazzwise, Echoes Magazine, and various online channels. This success led to an invitation to record a live album at Ronnie Scott's, one of London's most iconic jazz venues—an incredible opportunity for any artist.

NRG 4 brings together some of the best jazz and electronic musicians in London. The album features Marisia Osu (harp), James Akers (tenor saxophone), Daniel Casimir (double bass), Lyle Barton (synthesizers), and Tilé Gichigi-Liperé (live electronics)—an all-star lineup whose members have released multiple records on Concord, Brownswood, Jazz Re:freshed, Astigmatic and more, and have collaborated with artists such as Laura Misch, Nubya Garcia, Blue Lab Beats and Emma-Jean Thackray. Three tracks are graced with features from Jorja Smith's backing vocalist BAELY and Cuban saxophone maestro Regis Molina.

Limited to 400 12" LPs (350 standard, 50 screen-printed limited edition).