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Ist das noch Familie oder ist das schon ein Kult?

Mit ihrem dritten Studioalbum "FREAKS" erreicht die Karriere von DEINE COUSINE einen neuen Höhepunkt und zelebriert die Kraft der Gemeinschaft in einer Zeit, die uns immer wieder versucht auseinanderzureißen.

DEINE COUSINE alias Ina Bredehorn muss magnetisch sein, anders kann man es nicht erklären. Was vor einigen Jahren noch in schimmligen Clubs in den schlechten Ecken der Stadt stattfand, passiert heute in ein paar der größten Spielstätten des Landes. Und das alles aus eigener Kraft, ohne Majorlabel, Riesen Budgets oder mediale Überpräsenz. Mit unendlicher Power auf und abseits der Bühne zieht DEINE COUSINE immer mehr Familienmitglieder in ihren Bann, die mit "Freaks" ein Album randvoll mit neuen Hymnen geliefert bekommen.

Die neuen Songs behandeln kollektive Emotionen - mal im big picture, mal anhand von persönlichen Episoden erzählt - und vermitteln ohne Plattitüden ein Gefühl von Zusammengehörigkeit, das auf Geschlecht, Sexualität, Religion oder sonstige, verstaubte Rahmen scheisst. Laut Ina versammelt "Freaks" Songs über "mich, meine Leute und meine zehn Persönlichkeiten", und damit sind alle gemeint, die mit offenem Herzen und Toleranz durch die Welt gehen.

Das Album erscheint als farbige Vinyl (Re-Vinyl) im Gatefold

Depressive black metallers GHOST BATH have emerged from beyond the veil with their new album, Rose Thorn Necklace, through long-time partner Nuclear Blast. Free from the Moonlover-Starmourner-Self Loather conceptual trilogy, sole proprietor Nameless (aka Dennis Mikula) explores the most intense and introspective GHOST BATH’s oeuvre, advancing with blackened blasts and melancholic movements while moving his only child forward into the unknown. Hoisted into the firmament by the shimmering ‘Vodka Butterfly’ and the dissonant bliss of ‘Well, I Tried Drowning’ on one end and lowered into Mikula’s personal abyss with ‘Dandelion Tea’ and the riveting title track on the other, Rose Thorn Necklace is absolute danger and
haunting beauty.

Underground hip-hop icon and Miami rapper Pouya kicks off 2025 with his seventh studio album, Suicidal Thoughts in the Back of the Cadillac, Pt. 3 - serving as an unofficial spiritual successor to his 2024 album, THEY COULD NEVER MAKE ME HATE YOU. After a successful run as direct support to $uicideboy$’ Grey Day 2024 Arena Tour, it’s clear that Pouya has cemented himself among the top artists from the alternative / cloud-rap scene from the mid 2010s. With a rabid fan base primarily built from the ground up, and without the flashy mainstream features or press looks, Pouya has established himself as a staying power in a lane that typically sees artists rise and fall in accordance with today's modern attention span. Continuing to super-serve his fans, Pouya will be embarking on a nationwide tour in North America in 2025.

Die 10 Tracks des brandneuen Albums gehören zu den melodischsten, optimistischsten und eingängigsten der langen Bandgeschichte. Die positive Mischung aus hymnischen Beats und emotionaler Tiefe führt den vertrauten Sound von VNV Nation zu neuen Höhen und bietet ein perfektes Antidot in ungewissen Zeiten.

Emerging from the Minneapolis underground and heading straight towards the sky, IE arrive on Quindi with a full-length album of sparkling, sophisticated wonder. Touching on kosmische grandeur, Riley-esque cyclical patterns, lounge pop and dubbed out psychedelia, the five-piece allow their songs to unfurl with a natural, hypnotic elegance which can take many different forms.
There's a loose, live quality to the recordings IE's members commit to record, which reflects their steady presence gigging in Minneapolis and the surrounding area. Since putting out their first release in 2016, they've glided from drone and synth-led jam band ambience (2018's Pome) to strung out, stoner-tinted slowcore (on 2023's outstanding Junk Body). For Reverse Earth they strike a smoky note that wraps itself around your skull across extended run times that evolve with a meditative poise.
From the deceptively driving 4/4 thrum of the opening title track through 'Divination Bag's snaking tryptamine mantras on to 'Simplify's slow and smouldering indie-soul, IE's sound is bathed in a sumptuous warm glow that rounds out the lows and the mids, creating a nocturnal shroud in which their nebulous song structures can feel deliciously endless.
Meredith Gill's drums provide rolling and tumbling undercurrents for the slowly shifting phases of the instrumental players, as Michael Gallope and Travis Workman trade keyboard parts and Workman and Sam Molstad chop and pick at their six-strings. Atop the thrum of her bass, Mariel Oliviera's vocal adapts to the scenery, from a distant, dreamlike siren song on 'Reverse Earth' to a spoken word meditation on 'Babel'.
There's space in each track for every instrument to cut through and have its moment, from a spiralling key vamp to a chicken-scratch guitar flex. The gently twisting, head-feeding groove exercises of the first four tracks give way to a slow and powerful march on 'Dark Rome', closing the record on a noirish anti-ballad fit to peal out in the closing slot at Twin Peaks' Roadhouse (circa season three).
As much as the tracks teem with composition, musicianship, and production to savor, a sound like IE's has a soporific quality that soaks in unconsciously. It's an evocative portal where the band feel as if they could just play on each piece ad infinitum - where the time itself seems to dislodge from its moorings.

Five Five is the second studio album from the Miami-born underground rap pioneer, Pouya. Marking a slight transition into a more mature sound, Five Five showcases Pouya’s evolution as an artist while maintaining the raw authenticity that has endeared him to his fans. With tracks like "Suicidal Thoughts in the Back of the Cadillac Pt. 2" and "Handshakes," Pouya delves into themes of struggle, resilience, and personal growth, offering listeners a glimpse into his journey. In what became truly a solo effort, Five Five is limited to one feature in Night Lovell, with production primarily handled by Mikey The Magician (Track 4 produced by Chevali). The album draws from elements of Bone Thugs-N-Harmony, yet remains uniquely rooted in Pouya’s own style. Over the years, Pouya has developed a long lasting core fanbase, first bubbling up in Miami alongside artists such as Denzel Curry, and then becoming a nationally celebrated artist. Back in print for the first time since originally released in 2018. Pressed on Wire Wheel Picture Disc Vinyl and cut at 45 RPM.

Lac Noir - La Serpente is part of Emmanuel Raquin-Lorenzi's Lac Noir, a composite work inspired by a serpentine female creature or 'snake-woman' that he saw in Transylvania in 1976, with a total of 33 pieces using various media, 24 by himself and 9 by other artists. All the materials used in Lac Noir were gathered on the land of the snake-woman between 1990 and 1992. The first coordinated broadcast ran from June to October 2019, like a theatrical display of media. Parmegiani has been cited as a major influence by younger experimentalists like Aphex Twin, Autechre and Sonic Youth. Works of his were performed at the All Tomorrow's Parties festivals

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).

Ein dynamisches und erhabenes Werk voller Emotionen und Sensibilität, "From Where You Came" als eine Reihe nächtlicher Übertragungen, altertümlicher Verfeinerungen und lebendiger Geschichten, die reich an erhellenden Qualitäten sind. Die Kombination von programmatischer Musik des 19. Jahrhunderts mit Jazz aus der Mitte der 70er Jahre und ihrem unverwechselbar farbenfrohen und mehrdimensionalen Kompositionsansatz, der die Improvisation einschließt, ermöglicht Coverdale die Synthese mit Live-Instrumenten in einer genrefreien, aber deutlich erkennbaren Geste der Wiederverbindung mit Land und Körper durch Klang zu verbinden. Sie betrachtet Komposition als diagnostische Methodik zu spirituellen Zwecken, leitet emotionale Resonanz wie Ladungsströme und verdrahtet das rein Gefühlte in elektronische Signale. Obwohl sie auf mehreren Kontinenten komponiert und aufgenommen hat, unter anderem im GRM Studio in Paris und dem Elektronmusikstudion EMS in Stockholm, wurde "From Where You Came" im ländlichen Ontario, Kanada, fertiggestellt. Mit Beiträgen der multidisziplinären Klangkünstlerin und Cellistin Anne Bourne und dem mit einem Grammy ausgezeichneten Posaunen-Wunderkind Kalia Vandever, enthalten die 11 ausgedehnten und doch verdichteten Kompositionen des Albums Streicher, Holzbläser, Blechbläser, Tasten, Software und modulare Synthese, die eine musikalische Sprache einschreiben, die Animationen mit ungefilterter, beeindruckender Klarheit wiedergibt. ,Alles kann eine Stimme haben", sagt sagt Coverdale. ,Für mich ist die Stimme mehr als nur menschlich." Passenderweise ist es die eigene Stimme der Künstlerin die sich im einhüllenden Schwellwerk des Albumauftakts in Luft auflöst: ,Everything you know is real", singt sie in ,Eternity`, "I'm sorry, life is beautiful." Als zwischen Animismus und Animalismus oszilliert, ist das folgende Album absolut voll von Leben in all seiner atemberaubenden Komplexität. Coverdale rechnet mit der Erfahrung von Trauer, Entwurzelung und dem Druck der totalen Freiheit und Unabhängigkeit ab, und beweist eine übernatürliche Fähigkeit, die Trübsal in höchst fantasievolle und inspirierende Fantasy-Epen aus Klang zu verwandeln.

To celebrate the 30th Anniversary of its release in 1995, Roadrunner Records is making available again the sixth album by legendary Florida metallers Death on vinyl.



“Symbolic” received widespread critical acclaim when it was originally released and has been regarded as one of the greatest death metal albums of all time.

Nach einigen Jahren Stille sind MORAST mit ihrem dritten Album FENTANYL zurück. Getragen von Trauer, Verlust und dem Abgrund des emotionalen Schmerzes, haben sie es geschafft, diese Energie in eine feierliche Auferstehung zu verwandeln. Ihr Drang, eine düstere und unheimliche Atmosphäre zu schaffen, ist immer noch vorhanden, aber dieses Mal scheint ihr Ansatz aggressiver, ekstatischer und roher zu sein. Eine sechs Songs umfassende Reise in die düstersten Ecken der menschlichen Existenz. Ein Monolith aus Abscheu und Dreck.

Kavrila sind zurück - kompromisslos und ungefiltert. "Heretics I", der erste Teil einer neuen EP-Trilogie, entstand spontan und ohne nachträgliche Bearbeitung. Vier Tracks, direkt auf Tascam aufgenommen, roh und ungeschönt, verleiht dieser direkte Sound der EP ihre ungezügelte Intensität. Zudem gibt es in der physischen Version - neben Intro und Outro - als Bonus einen weiteren Track aus den "Mor"-Sessions. Die Band setzt bewusst auf analoge Direktheit und eine rohe, ungeschönte Ästhetik. Während Drums und Bass live eingespielt wurden, fügte Gitarrist Andreas seine Parts später hinzu, ohne den Charakter des Albums zu verwässern. Gemischt und gemastert wurde "Heretics I" von Hauke Albrecht im Studio Altona in Hamburg - ein kompromissloses Statement echter, ungefilterter Intensität.

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

Growing up is painful, brutal, and sometimes beautiful _ something Brooklyn-based indie-rock band Bedridden knows all too well. The band's name is even a nod to that ineffable period between childhood and the jagged edges of the real world. "When I was 21, I kind of lost my home," says frontman/guitarist Jack Riley. "I was couch-surfing. I was having a hard time.The next iteration in the band's maturation, then, is their debut, LP Moths Strapped To Eachother's Backs, 10 fuzzed-out (and sometimes gnarly) ruminations on dating, drugs, and survival out April 11 on Julia's War. The title came from a mysterious missive Riley received on astrology app Co-Star. "Last year I was way too reliant on other people _ my partner at the time, my friends," he says. "I was strapped to them in a weird way _ and flying in circles. This album is about that time."The current incarnation of Bedridden encompasses a patchwork of styles, influences, and friends Riley accumulated over the years. A Chicago native who first started making music at age five on a thrift-store guitar emblazoned with Kurt Cobain's name, Riley moved to New Orleans for college where he dabbled in punk before falling in love with shoegaze. There, he launched the first version of Bedridden. Sebastian Duzian (bass) _ a jazz musician and Pasadena native _ linked up with Riley in NOLA along with his bandmate, drummer Nick Pedroza. Pedroza, from Claremont, grew up on rock, metal, and jazz, honing his style after joining the band. Wesley Wolffe _ a guitarist fed on a steady diet of New Wave and `90s alt _ rounded out the crew just a few months back. Bedridden's previous lineup released their first EP, Amateur Heartthrob, in 2023 _ a noise-washed blend of shoegaze, DIY, and indie that Riley says is a "coming-of-age EP _ these formative stories about not having a bed, dating, being kind of a jackass. I was making fun of myself a lot." That release caught the attention of Douglas Dulgarian from Philly Label Julia's War (and TAGABOW), who signed them for Moths."Some of these songs have been around for years," says Riley, adding that they were recorded last February at Studio G Brooklyn; the album was produced by Aron Kobayashi Ritch (Momma). "As opposed to Amateur Heartthrob, we attempted to blend more clean guitars into a driving sound to capture more clarity _ one that also sounds live_ and raw," Riley says. That rawness thrums through the record, which kicks off with the thrashed "Gummy," about an incident when Riley had to gently fend off a co-worker's unwanted advances while both drunk and high on an MDMA gummy. And then there's mournful rager "Etch," which sees Riley daydreaming about beating up a meddler in his personal life _ in the minor key.The annihilating "Chainsaw" revs in next, a lightning-fast Lemonheads-inspired track that recalls Riley moving in with new roommates who were unnaturally obsessed with purchasing a lamp. "For some reason that pissed me off," he laughs; that rage is evident in the album cover, which shows said power tool demolishing a lampshade. Heavy-shredding "Heaven's Leg" showcases the band's affinity for `90s mainstays like Smashing Pumpkins while telling the tale of a gig at a local church. "The lyrics are about a pastor I had met that had lost his leg," Riley says. "The church had signs about not cussing and I had a feeling that neither of us had anything to talk about without potentially offending the other."The band's not afraid to get confrontational, though, on the anger-fueled, drum-heavy "Philadelphia, Get Me Through," which deals with a dead-end relationship and the mistaken assumption that getting drunk in the titular city would be a balm against the pain. And the nasty, brutist, and short hardcore-adjacent "MainStage"? "It's about being disrespected at a show on New Year's and how I lashed out," Riley says. "I then began to take it out on other people, which was a quality that I despise."Things get contemplative and mournful from here on out _ the emo-edged "Snare" is about bringing flowers to a hospital room where you're not welcome, while the Smiths-inspired "Uno" wrestles with self-loathing. "I guess the big finale of that song was my response to dealing with this recurring experience of feeling like I wasn't good enough by getting really into whippets," Riley says. Nu-metal bop "Bonehead," then, recalls an embarrassing dinner that turned into an argument _ the name applies both to that incident and the delicious simplicity of the guitar parts.After all that turmoil and pain, the band caps everything off with their eyes to the future on the jangle-pop "Ring Size." "All my friends are getting married _ do I follow in their footsteps? Or is it all a waste of time?" Riley says of the song. "At the end, through it all, I guess that's what I've been trying to figure out _ how to grow up, how to move on. I'm trying to navigate things as an adult and I'm not very good at it. But this is just the first record. This is just the beginning."And, hey, at least now he has a bed.

Since 2020, and from coast to coast, indie-rockers Fib have been rewiring brains with their singular, jangly sound and furiously tight live performances. Fib's members connected in Portland through their love of punk, friendship, and their shared exceptional musical abilities. After releasing their debut self-titled tape in 2021 and touring the US, the band picked up and moved across the country after falling in love with Philadelphia. The city quickly warmed to Fib's controlled mania- the band putting on the tightest show imaginable, and then, at the end of the set, destroying their instruments in total chaos mode. They matched Philadelphia's freak- fitting like a fingerless glove. Now, connecting with Philly label Julia's War, the group is releasing their debut full-length record Heavy Lifting- a musical odyssey exploring arty pop, punk and progressive rock- while simultaneously breaking free from genre and giving the listener a vividly surreal auditory experience. With Heavy Lifting, Fib shed their early, scrappy, lofi limitations, and embraced a new, expansive and warm recording capture. This bigger sound allows the group to put their technical skill, harmonious vocals, and hyper-infectious songwriting on full display. Songs like 'Mutuals' and 'Say' are frenetic and bouncy- shifting through virtuosic arrangements held together with intermittent, powerful hooks. With tunes like 'Dotted Line' and 'PS,' the band settles deeper into the grooves and songwriting allowing the listener to zone in and bob their head a bit more. While the nine tracks that comprise Heavy Lifting are equally unique and invigorating showcasing the members' intricate guitar tangles and polyrhythms, the album is holistically composed- a greater sum than its parts. The release would easily sit well for fans of new bands like Palm, TAGABOW, and Water From Your Eyes, but would just as easily be a welcome addition for record heads who love bands like This Heat, Television, and Psychic TV. While this might all be hard to believe, and their name is Fib- it's no lie. Fib's Heavy Lifting is a vibrant, moving and endless sonic rainbow. Pick it up and step into their wild and ecstatic void.

Originally released on Ben Chasny's own Pavilion imprint in 2011.

"I was invited by the Incubate Festival and the city of Tilburg to participate in an artist residency where I would explore the region’s unique chapels built for the Virgin Mary. After writing the music for about six months by drawing on memories of the encounters with the chapels and using techniques inspired by Gaston Bachelard’s Poetics Of Reverie, I flew back to Tilburg to perform the music at the Incubate Festival. We recorded the evening and I released the result on my Pavilion label. Each cover was hand painted white on white in the old Pavilion style. I created a stencil and used graphite powder to make the design that is inspired by the sun imagery in Athanasius Kircher diagrams."

Roadside chapels express the identity of the inhabitants of North Brabant, a Dutch province, bordering on Belgium. Roman Catholicism has been the dominant religion in this southern part of the Netherlands since the eighth century. For about a century and a half this religion was strongly suppressed. Only when the French revolutionaries preached freedom of belief around 1800 could the people of North Brabant exercise their faith again. This was the start of a very strong emancipatory development from which a special form of the Roman Catholic faith arose that fully determined everyday life of the people here. This faith was the determining factor in life and the measure of all things. After the second Vatican Council (1962-1965) the reins of the catholic faith in Brabant were loosened as well. This was the start of a revolutionary process of secularisation. Within a decade hardly anything was left of the almighty influence of the Roman Catholic Church and this situation has lasted up to the present day.

In spite of the almightiness of the official, Vatican ruled, Roman Catholic faith, North Brabant has always and perhaps notoriously fostered an undercurrent of popular belief as well. This is a kind of belief in which elements of the official faith and age-old pre-Christian traditions are combined. Worshipping relics, holding pilgrimages and processions, the use of water from holy wells, popular art, recitations and songs, festivals, rituals, folk traditions, superstition and the like are all examples of popular devotion. These matters have strongly influenced and formed the identity of the present-day population of North Brabant. It is part of their immaterial heritage.

An obvious and still very much visible form of popular devotion are the roadside chapels. In Brabant some 400 can be found, most of which have been devoted to Mary. Chapels are small buildings in which Mary or other saints are worshipped. They can be found within villages or towns or in natural surroundings. Always at the finest spots! The beauty of the environment adds a primary religious or mystical feeling to the visitor. Local people attach great value to their chapels. In spite of the overall secularisation in society they are still at the centre of cultural and social life. Where people in North Brabant can hardly be found in the churches nowadays, this doesn’t mean at all they are no longer religious. On the contrary, religious feelings are perhaps stronger than ever, but now people have to find their own expression of them. That’s why they fall back on the age-old popular belief in which chapels play an important role. We can even witness new forms of popular belief with chapels as their focal point. An example of this is the scattering of ashes of people who have been cremated. Chapels clearly also play a role in the lives of young people. On an average five new chapels are added every year.

I have studied the popular culture and belief and the identity of the inhabitants of North Brabant for over thirty years. I have published over forty books on these subjects. In 2010 I was approached by the organisation of the Incubate Festival in the North Brabant town of Tilburg. Their request was for me to lead the American composer and guitarist Ben Chasny around a number of chapels in the province devoted to Mary. He had been invited to North Brabant to write some new compositions. Ben Chasny then chose to be inspired by these chapels and that’s how we met. I was especially curious how an American would react to something as specific and small as a roadside chapel in North Brabant, since we tend to think here of (people in) America in terms of ‘big-bigger-biggest’. Would an inhabitant of this enormous country with this prevailing culture be able to grasp and respect the identity of some 2.5 million people in North Brabant with their chapels? The answer to this question lies hidden in the compositions he made and that can be listened to on this album. Yes, Ben Chasny has been able to convert the phenomenon of a simple chapel devoted to Mary into music. The physical and the spiritual have found each other. What a beautiful world…just listen! - Paul Spapens

FM Pause is back on ROW Records with wonky rhythms, rough textures and sounds that feel unstable yet precise. This 3-track EP is all about deconstructing sounds, exploring chaos, and discovering what emerges. An over-compressed, pulsating machine that builds itself up, glitches out and slowly self-destructs.

CADAVER, one of Norway's first and most influential death metal bands, has carved a distinctive path through the annals of extreme music. Formed in 1988 in Fredrikstad by Anders Odden (guitar/vocals) and Ole Bjerkebakke (drums/vocals), the band emerged from the ashes of their earlier black metal project, Baphomet. Their vision blended thrash and death metal with progressive influences from bands like Voivod and the chaotic insanity of Napalm Death, forging a sound that defied conventions. In 2024, Anders Odden delved deep into CADAVER 's history, unearthing unreleased material that offers a fascinating glimpse into the band's formative years. Before signing with Earache Records in 1992, CADAVER had worked on what would eventually become their second album, ...In Pains. During this period, they recorded raw and unpolished versions of many tracks in the same studio where Hallucinating Anxiety was born. These early recordings featured working titles that were later changed, and among them was a song titled "Maltreated Mind Makes Man Manic," which was never completed at the time. Anders revisited these hidden gems at Studio Tomb, located in Råde, Norway—the very place where CADAVER was first formed. With the old lineup reunited for this session, they finished the additional recordings necessary to bring their original vision to life. The result is Hymns of Misanthropy, a newly completed album from 1991 that will finally see the light of day through Listenable Records in April 2025. This release showcases CADAVER's unique approach to extreme music and highlights their previously underappreciated influence on the early Norwegian black metal scene. With Hymns of Misanthropy, listeners can experience a raw and powerful chapter of CADAVER's history, demonstrating once again that they were never just a typical death metal band. Instead, they remain an ever-evolving force that consistently pushes the envelope of what extreme music can achieve.

Steve Bicknell returns to KR3, once again unleashing his mastery of power electronics!
Following his two reinterpretations of last year's "JK Flesh Remixes" and four years after his solo EP "A Day In The Life" in 2021, Bicknell takes us deep into the realms of his sonic mysticism, marking a significant milestone in the fifth anniversary of the label.
Several Streams of Thought LP - is an unrelenting and immersive odyssey, presented through nine tracks, seven of which will be available on a double 12-inch vinyl, with two exclusive cuts in a limited 7-inch format.
The album hits hard, straight to the brain, with no warning, across sides A, B, and C. Each side is a raw, untamed techno experience, with Bicknell's unmistakable signature dominating throughout, delivering unwavering intensity and relentless impact.
However, on side D, a transformation takes place: a 15-minute soundscape that turns the embedded waves into breath - a blinding light emerging from the darkness. It's a moment of tribalism and evocative magic, offering a refreshing pause, a return to balance after the intensity of the shadows.
The 7-inch, available in a limited edition under the title "the eye of the invisible world", contains two tracks - one on side E and the other on side F.
The mystical sounds complete this dual experience: one part filled with dark, untamed energy, while the other brings a sense of mental lightness, emphasizing breathwork and emotional self-
healing.
S | B is back, stronger than ever!

Exploring the water engineering relationship between Japan and the Netherlands across a trilogy of experimental releases, the third and final part of Field Records' Waterworks series is courtesy of Yui Onodera. Pairing delicate synthesis and instrumentation with field recordings and negative space, the accomplished artist and sound architect examines the impact of water engineering on Japan's Kiso Three Rivers.

The location refers to the confluence of the Kiso, Nagara and Ibi rivers on the Nōbi plain in Gifu prefecture. In the late 19th century, Japanese authorities collaborated with Dutch engineer Johannes de Rijke to separate the three rivers at the lower part of the Kiso delta. These extensive improvements, which were finalized in 1912, successfully shielded the city of Nagoya from regular flooding.

Onodera's minimalist palette and detailed approach to spatial sound design balances microscopic field recordings and tonally-rich traditional instruments, which he applies with stark focus to the subject of the Kiso Three Rivers across eight extended pieces of music arranged into two distinct parts. The A side's shorter tracks are delicately sculpted miniatures interweaving chiming bell tones, treated guitar impressions and hushed pads. The B side's two longer suites are more overtly minimal in nature, emphasising sampled water sources accented with patient brush strokes of synthesis.

This project is supported by the Embassy of the Kingdom of the Netherlands in Tokyo, Japan.

Wie so viele Coming-of-Age-Geschichten mit nachhaltigem Eindruck spielt das neue Album der Brooklyner Band Momma in einem bezaubernden und turbulenten Sommer. "Welcome To My Blue Sky" wurde mit der gesamten Band live im Studio aufgenommen und von Bandkollege Aron Kobayashi Ritch produziert. Mit Hilfe des Drummers Preston Fulks gelangen Momma 12 kraftvolle Songs, die die rohe Dringlichkeit des Rock mit den eindringlichen Melodien und straffen Arrangements des Pop kombinieren – eine Dynamik, die aus ihrem Engagement entstand, das direkteste Ventil für ihren emotionalen Ausdruck zu finden. Jeder Track ist zugleich geteilte Erinnerung, gemeinschaftlicher Erguss und fesselnder Reisebericht voller Selbstbewusstsein und Sensibilität. Das Ergebnis ist ein mutiger Sprung nach vorne für eine der kreativsten, kompromisslosesten und einzigartigsten Stimmen im Indie-Rock.

“I was attracted to the lyrics immediately,” says legendary Beatles engineer and producer Geoff
Emerick, on the demos for what would become Nellie McKay’s 2004 critically-lauded debut album,
Get Away From Me. “Her level of maturity at such a young age is astounding. You come across an
artist of this caliber once every 10 or 15 years. And I don’t do a lot of projects these days unless
something really stands out like this did.” Get Away From Me landed on the Billboard Top 200, received HHHH from Rolling Stone, and Nellie made her network television debut on The Late Show with David Letterman. In 2020, Salon hailed the record as “one of the great pop albums of the early 21st century.”

Mit „Stärker“ setzt der erfolgreiche Sänger und Musiker einen weiteren Höhepunkt in seiner Karriere und zeigt sich in musikalischer wie auch persönlicher Hinsicht von seiner stärksten Seite. Der Titel des Albums, "Stärker," spiegelt die persönliche Entwicklung und die tiefe Resilienz wider, die der Künstler in den letzten Jahren erfahren hat. Fans können sich auf eine Mischung aus eingängigen Popmelodien, tiefgründigen Texten und kraftvollen Botschaften, aber auch auf emotionale Balladen freuen, die sowohl zum Tanzen als auch zum Nachdenken anregen. Ein Großteil des Albums wurde auch diesmal von Christian Geller produziert, aber zum ersten Mal hat Eloy auch andere Produzenten ins Boot geholt. Die Kölner Erfolgsproduzenten Weiß und Straßer, die auch u.a. bereits mit Andrea Berg zusammengearbeitet haben, haben auch vier Songs auf „Stärker“ produziert.

Provoker return with Mausoleum. Refined, ornate and bigger than ever, Mausoleum takes Provoker's shadowy sound to new heights, aided by executive producer Kenny Beats. "Pop on the outside, dark on the inside". Embodied by the garish arcade machine on the cover, the songs on Mausoleum lure listeners in with addictive melodies and slick production, but hold them tight with the tales of heartbreak, loss and revelation within.

In nearly a decade, songwriter Sonia Weber’s ability to pen precise lyrics and memorable riffs has become laser-focused. As a result, the songs feel like they’ve been assembled with all the intention and care of a mixtape to a high-stakes crush. Caleb Misclevitz, A.P. Fiedler, and Derek McNeil round out the band, bringing the giant loud guitar rock feeling these songs require. The Portland outfit crafts songs big enough to fill an arena while simultaneously conjuring the emotional intimacy of making out in the bathroom of your favorite karaoke bar. Alien Boy does this by harnessing the raw power of PDX’s Wipers’ but not being afraid to embrace the pop catchiness of rock titans like Oasis or Third Eye Blind, all while crafting a tone and power distinctly their own. Whether listened to in your headphones in bed or witnessed live in person, Alien Boy leaves an emotional crater that’ll keep you coming back for more (Gem Fair)

Hausu Mountain continues the HausLive series of live show recordings that capture some of the headiest moments in Chicago underground music. On HausLive 4, we rewind the clock approximately one year to May 3rd, 2024 at Constellation, where the all-star Bill Orcutt Guitar Quartet (featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish) made their barn-burning Chicago debut. The series channels the spirit of the informal bootlegging and tape trading of audience recordings as pioneered by the community surrounding the Grateful Dead, honing in on the raw live energy and in-the-moment emotions that can make any show stand out in the stream of time. HausLive 4 catches the Bill Orcutt Guitar Quartet in a sublime state of tour-hardened synergy with one another as they tear through the four-string guitar compositions that Orcutt wrote for his album Music for Four Guitars (Palilalia Records, 2022) with dialed-in fingers-on-fretboard precision, while also letting those songs evolve into flights of improvisation and extend into solo and duo passages led by each of the four guitarists. As Orcutt says on tape during one of the show’s interludes, “that record is thirty minutes; this show is an hour, so we’re improvising.” The resulting free-wheeling moments combine with the rigidity of Orcutt’s meticulous four-guitar compositions to form a program of music that draws power in equal measure from the forces of chance and discipline.

"Return of the Giant Slits" is the second studio album by the English punk band The Slits, released in October 1981 by CBS Records. This album marked a departure from their earlier punk sound, embracing a more experimental approach influenced by afro-pop, dub, and world music. The album was produced by Dennis Bovell, Dick O'Dell and The Slits. Upon its release, "Return of the Giant Slits" received mixed reviews, with some listeners finding its experimental nature challenging. However, over time, it has been re-evaluated and appreciated for its innovative fusion of genres. -Pitchfork described it as "a slippery, glorious mess that will infuriate anyone expecting the Slits to revisit their debut." this MOV release comes as a Limited edition of 750 copies on red & black marbled vinyl.

A Night at Birdland Volume 1 is a live album by drummer Art Blakey, recorded in 1954 at the famous Birdland club. This first volume highlights his quintet, featuring Clifford Brown on trumpet, Lou Donaldson on alto saxophone, Horace Silver on piano, and Curly Russell on bass. The album captures the raw energy of emerging hard bop, with intense tracks like “Split Kick” and “A Night in Tunisia.” Blakey asserts his explosive drumming style, foreshadowing the era of the Jazz Messengers.

A Night at Birdland Volume 2 continues the energy of the first volume, capturing the essence of hard bop in its emergence. Recorded in 1954, it highlights the quintet led by Art Blakey, featuring Clifford Brown, Lou Donaldson, Horace Silver, and Curly Russell. This second volume delivers vibrant performances such as “Wee-Dot” and “Quicksilver”, where Brown and Silver’s virtuosity particularly shines. Blakey, through his rhythmic power, drives each track with unmatched intensity, foreshadowing the spirit of the Jazz Messengers.

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

In 2005, the Grand Rapids band Still Remains dropped their first studio album Of Love and Lunacy, and since that time its reputation has only grown as one of the great lost classics of the metalcore genre. Now, with full support of the band, we at Real Gone are releasing Of Love and Lunacy on vinyl for the first time to celebrate its 20th anniversary. It’s not just the musicianship that sets this record apart, though this band’s ability to punctuate pummeling passages with fantastically progressive melodic interludes is definitely one of its calling cards. It’s also the impassioned poetry of the lyrics, which often employ startling, spiritually-tinged imagery to express extreme states of emotion. Too sensitive for some? Maybe. But it also rocks like all get-out, especially in this remastered-for-vinyl (by Mike Milchner at Sonic Vision) edition. Jungle swirl pressing at Gotta Groove Records, limited to 750 copies, complete with a color printed inner sleeve with lyrics.

FABRICLIVE’s new incarnation as an artist-focussed label continues, with a stunning two-track 12” by the Hong Kong-born, Netherlands-based rising star Kiana Li, aka gyrofield.

Rooted in drum & bass but distinctly the sound of now, this single sparkles with freshness, and stands-out with an exquisite verve for detail and craft. Balmy and comforting, atmospheric and melodic, the cloudsurfing breakbeats and celestial propulsion of ‘Akin’ is pure friendly pressure, whilst on ‘Mother’ big vocals, low-end precision and techno swathes soar even higher.

“'Akin' and 'Mother' remind me of my earliest days writing dance music. These are two free-spirited, transportive pieces that feel like spreading my wings and letting the air take me. Brought skyward in the hand of fate, nurturing yet weathered by my very own ideals. We all wish for better days. And toil to heal.” gyrofield

gyrofield has released music on prominent labels including Critical, Overview and Noisia's Vision. Last year she released the album A Faint Glow of Bravery on Metalheadz, and the EP These Heavens for XL’s prestigious house bag series, which has previously showcased music by Blawan, Joy Orbison and Overmono.

gyrofield is a regular on NTS and an in-demand DJ, whilst radio/club support has come from Mary Anne Hobbs, Objekt, Special Request and DJ Flight. Press fans include Rolling Stone, Crack, The Quietus, The Fader, DJ Mag and Resident Advisor.

“Scintillating - a sonic portrait of heaven that takes drum & bass and imbues it with the divine” Resident Advisor

“An artist whose journey and sound are quite unlike those of anyone else” The FADER

“Her vivid productions are a breath of fresh air in the scene” DJ Mag

“Merging the atmospheric and experimental with the melodic and emotional” Crack

“Packed with shapeshifting sounds that examine the universe and beauty of nature. Fusing atmospheric and spaced-out sounds with danceable sonics” Dummy

"She will never sit comfortably in any one genre or play to expectations or rely on any standard production formulae” UKF

Back with a bang for 2025, FABRICLIVE re-enters the fabric Records fold, which also incorporates Houndstooth and fabric Originals.

La Flemme is a dynamic quartet from Marseille, blending garage pop and psychedelic vibes. Comprised of Jules, Stella, Charles, and Ronie, they formed with a goal to release their debut album, La Fête, on April 25th, With their energetic sound and introspective tracks, La Flemme embodies the raw spirit of Marseille, marking their arrival as a vibrant force in the French rock scene. "La FLEMME emerges like a colorful whirlwind on the French musical landscape, drawing its audience into a universe where garage pop sounds, psychedelic textures and undeniable nervous energy mingle. Hailing from Marseille, this group of young musicians has already left its mark on the floors of French concert halls, each having previously explored the world of music within various projects. Jules, Stella, Charles and Ronie, respectively associated with Technopolice, Flathead, Tense of Fools and Avenoir, Tessina joined forces after a lazy night, deciding to create a new musical entity together. Their initial goal was simple: to get on stage for a concert within the next two months. And the result lived up to their aspirations: catchy tunes, imbued with the frenetic energy of garage rock and the desire for psychedelic sound exploration, etched in the auditory memory of their audience. La FLEMME unveiled a self-titled debut EP in 2024, with the hit tracks "Somnifères" and "Bruxisme". They now return with an album entitled "La Fête", due April 25, 2025 on EXAG' Records. "

Parisian mambo " is the second album by " Cecilya & the Candy Kings ". The entire LP is an homage to the city of Paris, that has made musically grown up the catalan singer since she settled down in the capital of love. The 11 songs of the album take you to a musical journey back to the 1950"s by the hand of a woman with a powerful and luminous voice committed to the causes of her time. Cecilya"s lyrics, intimate and universal at the same time, not only speak about love and celebrationas the old rhythm"n"blues did. She speaks about dreams (broken or not), internal struggles, healing,emigration, her native Mediterranean sea, the chance to be a freewoman, the superficiality of the world we live in and the nostalgia for better times.The music, signed Rodolphe Dumont, has been carefully created and produced to sublimate Cecilya"s personal universe. The retro sound ambiances and catchy melodies truly take us back to the times of Elvis and Marilyn Monroe. "Parisian mambo" captures the essence of the cream of rhythm"n"blues from the golden era: a mix of blues,rock"n"roll, boogie-woogie, mambo and far more.The musicians on the album are:Cecilya Mestres on vocals, Rodolphe Dumont on electric guitar, Sax, Gordon on tenor and baritone saxophones, Olivier Cantrelle on piano, Abdell B. Bop on double bass and Denis Agenet on drums.

Philadelphia's THE WONDER YEARS are set to release Burst & Decay Vol. III on May 9 via Hopeless Records. This third installment of their stripped-back series introduces a new track, "Junebug," written by vocalist Dan Campbell about his younger son and produced by Steve Evetts (SAVES THE DAY, LIFETIME). On the record, Campbell's personal narrative continues with "Wyatt's Song (Your Name)," a piece crafted for his older son that employs the actual recording of Wyatt's in-utero heartbeat as its metronome. Closing the album, "Doors I Painted Shut" delivers cinematic intensity through vibrant vocals and production led by guitarist Nick Steinborn, signaling a confident exploration into new sonic territory. Burst & Decay Vol. III also features collaborative reinterpretations of signature tracks. On "Came Out Swinging," Joe Taylor of KNUCKLE PUCK lends dynamic vocals, while Zayna Youssef of SWEET PILL amplifies the raw vulnerability on "Oldest Daughter." Ryland Heagy of ORIGAMI ANGEL offers a tender performance on "I Don't Like Who I Was Then." Over a career spanning more than a decade, THE WONDER YEARS have toured extensively_sharing stages with MY CHEMICAL ROMANCE, PARAMORE, DESCENDANTS, THURSDAY, BLEACHERS, and others_and built a community through their own label and the annual Loneliest Place On Earth festival, which has showcased acts such as HOT MULLIGAN, ORIGAMI ANGEL, and LAURA STEVENSON. Their previous album, The Hum Goes On Forever, debuted at #3 on the US Alternative Album Chart and earned recognition from Paste Magazine as one of the best records of the 2020s, while the track "Year of The Vulture" was chosen as the theme for WWE NXT's Stand and Deliver event.

Amerikan Kaos ist der Gitarrenvirtuose Jeff Waters (am besten bekannt von Annihilator). Jeff Waters hat insgesamt +1 Million Follower auf sozialen Medien. Amerikan Kaos ist einer der Hauptdarsteller im Handyspiel Rock Kommander. Das Album 'All That Jive' wurde bei Sterling Sound in Nashville von Ted Jensen gemastert.

Amerikan Kaos ist der Gitarrenvirtuose Jeff Waters (am besten bekannt von Annihilator). Jeff Waters hat insgesamt +1 Million Follower auf sozialen Medien. Amerikan Kaos ist einer der Hauptdarsteller im Handyspiel Rock Kommander. Das Album 'All That Jive' wurde bei Sterling Sound in Nashville von Ted Jensen gemastert.

Die griechischen Progressive Rocker King Garcia präsentieren ihr Debütalbum 'Hamelin'. Wenn Ennio Morricone eine Band mit Russian Circles gründen würde, würde sie wahrscheinlich genauso klingen! Eine Empfehlung für Fans von Bands wie Russian Circles, V.I.C. und Mogwai.