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Spanish label Andermedt delivers a peerless debut with a solid mindf*ck. The lost and found magic chest of Laurine Frost's never-ending protest against the cliche of techno. A more than 5year old archive winks back at Frost's earlier 4/4-based works, but Cabaret Nord represents grotesque and his characteristic dark mysticism in a yet unheard intensity. Tight funk, earth-shaking drums, playful structures on a wide and dark veil.
* mastered and cut by Stefan Betke.
* 180 gr. heavyweight vinyl with premium packaging and hand-drawn illustration.

The 90s were all about Hip-Hop groups. Brooklyn’s Junior M.A.F.I.A., consisting of members Lil’ Kim, Lil’ Cease, Trife, Larceny, Nino Brown, Chico Del Vec, MC Klepto, Capone, and Bugsy, formed under the guidance of The Notorious B.I.G. after he released his classic debut album Ready To Die. At the end of the summer of 1995, Junior M.A.F.I.A. released their debut album Conspiracy on Big Beat Records featuring the lead single “Player’s Anthem” which featured Biggie and was produced by the late great DJ Clark Kent. Clark Kent produced three other songs including the second single “I Need You Tonight” featuring Biggie’s wife Faith Evans on the chorus. The third single, “Get Money”, another Biggie feature produced by EZ Elpee with it’s classic flip of the Roy Ayers Orduced Sylvia Striplin track “You Can’t Turn Me Away” was certified platinum. With eight members deep, it was difficult to stand out, but Lil’ Kim and Lil’ Cease would be the breakoutr stars and go on to release solo albums. The group disbanded after Notorious B.I.G. was murdered in 1997, but left behind songs that still hold up today and remain a big part of Biggie’s legacy, as well as producer DJ Clark Kent -RIP Out of print on vinyl since 2017, Get On Down is proud to present this 90s Hip-Hop classic as a limited edition reissue preesed on splatter colored vinyl and packaged in a gatefold jacket.

An unsung modernist classic from 1974 – Pitchfork Bennie Maupin hat mit seinem Erfindungsreichtum zu ikonischen Platten wie Bitches Brew von Miles Davis, Mwandishi und Headhunters von Herbie Hancock und Afternoon Of A Georgia Faun von Marion Brown beigetragen. Aufnahmen unter eigenem Namen waren eher selten, aber sein Leader-Debüt ist ein Juwel. „Ein selbstloseres Album ist schwer vorstellbar“, schrieb Down Beat 1975. „Der Klang auf The Jewel In The Lotus ist überragend, und alle Musiker bemühen sich darum zu einer Einheit zu verschmelzen“. 1974 in New York aufgenommen, überschneidet sich das Personal des Albums mit dem aus Herbie Hancocks Umfeld dieser Zeit, doch die Musik hat einen gänzlich eigenen Charakter. Die Luminessence-Vinyl-Edition des Albums kommt in einem Tip-On-Gatefold und enthält neue Liner Notes

Das achte Studioalbum des in Kobe geborenen und in Brooklyn lebenden Trompeters Takuya Kuroda ist ein beeindruckender Beweis seines Engagements und Könnens. "Everyday" taucht tiefer in die Hip-Hop- und Neo-Soul-Elemente seiner früheren Werke ein. Dabei ist Kurodas Spiel sicher und unverfälscht – ob auf dem Horn, dem Synthesizer oder Rhodes – er tanzt virtuos zwischen mitreissenden Rhythmen seiner eigenen Kreationen. Nach Releases auf Blue Note und Concord und Auftritten zusammen mit DJ Premiers Badder Band, Jose James und Akoya Afrobeat ist "Everyday" ein Triumph des genreübergreifenden Modern Jazz.

The Music Never Stopped ist eine gekürzte Ausgabe der kolossalen 60-Disc-Box von Grateful Dead mit vollständigen Live-Auftritten, die bei Konzerten zwischen 1969 und 1994 aufgenommen wurden, mit dem Titel Enjoying The Ride. Sie enthält mindestens einen Song aus jeder einzelnen Show, die in dem Set enthalten ist, darunter Auftritte an klassischen Veranstaltungsorten wie dem Madison Square Garden und dem Fillmore East.

The Looks or the Lifestyle? is the fourth studio album by British alternative rock band Pop Will Eat Itself, released in 1992. Known for blending industrial rock, electronic music, and hip-hop, the album features an eclectic mix of sounds and sharp political commentary. The album’s innovative use of samples and its fusion of genres make it a standout in early '90s alternative music. The Looks or the Lifestyle? received critical acclaim for its bold musical direction and remains one of Pop Will Eat Itself’s most influential records. With its unique style and thought-provoking lyrics, the album cemented the band's reputation as pioneers in the alternative rock scene. The Looks or the Lifestyle? is available as a limited edition of 500 numbered copies on translucent magenta coloured vinyl.

Stabbing Westward's 1996 album Wither Blister Burn + Peel is a defining release in the industrial rock genre. The album features a dark, aggressive sound with intense lyrics exploring themes of pain, heartbreak, and inner turmoil. The standout singles "What Do I Have to Do?" and "Shame" propelled the band into mainstream success, thanks to their haunting melodies and heavy guitar riffs. Produced by John Fryer, known for his work with Nine Inch Nails, Wither Blister Burn + Peel blends harsh electronic elements with raw emotion, creating a brooding atmosphere that resonated with fans of alternative and industrial rock. The album solidified Stabbing Westward’s place in the 90s rock scene, offering a perfect balance of angst and melodic hooks. For fans of industrial rock, Wither Blister Burn + Peel is a must-listen, capturing the dark energy of the era. Wither Blister Burn + Peel is a release on black vinyl.

Action Speaks Louder Than Words is the 1975 debut album by Chocolate Milk, a funk and soul band from New Orleans. The band emerged in the mid-1970s and quickly gained recognition for their unique sound that blended the rich musical traditions of their hometown with the influences of contemporary funk and soul. The band was discovered by producer Allen Toussaint, a legendary figure in New Orleans music, whose influence is evident in the polished arrangements and the band's tight, cohesive sound. The album's themes of social awareness and personal reflection, combined with its infectious grooves and skilled musicianship, have ensured its lasting appeal. Also due to the single and title track "Action Speaks Louder Than Words", which charted well and was later sampled by numerous artists, including Public Enemy, Eric B. & Rakim, Aaliyah, Neneh Cherry and Toni Braxton feat. The Notorious B.I.G & Puff Daddy, cementing its place in music history. Action Speaks Louder Than Words is available as a limited edition of 500 copies on blue coloured vinyl.

Singer James Ambrose Johnson, born on February 1, 1948, in Buffalo, New York, fled to Toronto, Canada, to avoid the draft. There, he started The Mynah Birds, a rhythm & blues band and changed his name to Rick James. In 1966, Neil Young joined the band, but their journey ended when James was exposed as a draft dodger and jailed. After serving his time, Rick James joined several bands, including The Great White Cane, and developed his unique funk style. In 1978, Motown signed him to their Gordy Records, releasing his debut solo album Come And Get It! featuring the hits “You and I” and “Mary Jane.” The album climbed to number 13 on the U.S. charts. Rick released multiple successful albums, such as Bustin’ Out Of L Seven and Fire It Up, with hits like “High On Your Love Suite' and “Bustin’ Out (On Funk).” His 1981 album Street Songs marked his internationally breakthrough, blending funk, rock, and new wave. It produced hits like “Ghetto Life,” the massive “Give It To Me Baby,” and “Super Freak,” earning gold records and Grammy nominations.

His follow-up albums included Throwin’ Down, featuring “Dance Wit’ Me” and "Standing On The Top" with The Temptations, and Cold Blooded, with “Ebony Eyes”a collaboration with Smokey Robinson. Furthermore Rick wrote and produced “Party All The Time” for Eddie Murphy, reaching number 2 on the Billboard charts. Also included on this Collected album are the hits “Glow”, “Loosey’s Rap” featuring the queen of hip hop Roxanne Shanté and his collaboration with Busta Rhymes of “In The Ghetto”

Rick James Collected includes most of his hits and early songs and the 2LP, is available on black vinyl and includes liner notes.

As time marched on, many of the DJs I had been working with such as Pete Tong, Paul Oakenfold, Trevor Fung, Simon Dunmore and Johnny Walker got involved in the world-leading UK dance scene, raking in cash by making records. I thought ‘I’ll Have some of that!’ This led to my first foray into the studio creating the proto-acid jazz classic 12”, ‘Psychedelic Jack (That’s Where It’s At)’, which cheekily sampled Frank Zappa, Soft Machine and Gong. With me and Gilles on vocals, it got us signed to Acid Jazz Records, who released in 1988 under the name of Extasis.

That was just the start and nearly 35 years later (gulp!) I’ve had a ball, producing Galliano and Paul Weller, working with Mick Talbot, Roy Ayers, Linda Clifford and Sharon Redd, remixing Will Downing, Ce Ce Rogers and Blaze. I’ve made house tunes with Faith’s Terry Farley, run the legendary Dadhouse Records label with Dave Jarvis. I also set up my own studio and released music under a variety of names, both for my own labels and Acid Jazz Records. Recent releases include my solo albums “Firebird” (2023) and “Dream World” (2024). There was also “Back To Business” with Mick Talbot, released in 2023.

Nihilist, die schwedischen Death-Metal-Götter, die später als Entombed bekannt wurden, mit einer Re-Mastered-Version als Ltd. Black & White Half+Half Vinyl!

- Ltd. Col. LP: (Black & White Half+Half Vinyl)

Nick Cave, neu in Berlin, dockt 1982 bei Die Haut an. Es entsteht ein furioses Album, das den Weg zu einer Musik ebnet, die Cave ab 1984 mit den Bad Seeds spielen wird. Lange war BURNIN" THE ICE nicht mehr zu haben. Jetzt erscheint die Platte neu auf Vinyl - und schließt nach vielen Jahren eine Lücke, die Cave-Komplettisten zur Verzweiflung trieb.

The album "Plural" celebrates the remarkable encounters and partnerships that have shaped Gabriel Grossi"s 25-year career as a harmonica player, composer, arranger, and producer. Featuring 10 of his own compositions, Grossi"s renowned virtuosity flows with deep sensitivity through various genres, reflecting the solid trajectory of one of the greatest instrumentalists and most creative musicians in Brazilian music. Collaborating with prominent names from both the national and international music scenes, "Plural" showcases Grossi"s music without borders, offering the world a glimpse of his extensive career. For this celebration, outstanding guests were invited to join the musical journey. Including Jacob Collier, Ed Motta, Hermeto Pascoal, Seamus Blake, Omar Sosa and others.

Crack the coffers, Oh Sees have spawned another frothy album of head-destroying psych-epics to grok and rock out to. Notice the fresh dollop of organ and keyboard prowess courtesy of Memory Of A Cut Off Head-alum and noted key-stabber Tom Dolas, while the Paul Quattrone / Dan Rincon drum-corps polyrhythmic pulse continues to astound and pound in equal measure, buttressed by the nimble fingered bottom end of Sir Tim Hellman the Brave and the shred-heaven fret frying of John Dwyer, whilst Lady Brigid Dawson again graces the wax with her harmonic gifts. Aside from the familiar psych-scorch familiar to soggy pit denizens the world over, there’s a fresh heavy-prog vibe that fits like a worn-in jean jacket comfortably among hairpin metal turns and the familiar but no less horns-worthy guitar fireworks Dwyer’s made his calling card. Perhaps the most notable thing about Smote Reverser is the artistic restlessness underpinning its flights of fancy. Dwyer refuses to repeat himself and for someone with such a hectic release schedule, that stretching of aesthetic borders and omnivorous appetite seems all the more superhuman!

Die amerikanische Rockband Skid Row eroberte in den späten 80er Jahren die Musikszene und wurde zu einer führenden Kraft im Hard Rock- und Heavy Metal-Genre. Bekannt für ihre unbändige Energie, ihre melodischen Hooks und ihre unerbittliche Härte, feierten Skid Row mit Hits wie "18 and Life", "Youth Gone Wild" oder "I Remember You" weltweite Erfolge. Die Band wurde zum Synonym für den rebellischen Geist der späten 80er und frühen 90er Jahre, verkaufte weltweit Millionen von Alben und festigte ihren Platz in der Rockgeschichte. Im Jahr 2022 meldeten sich Skid Row mit ihrem mit Spannung erwarteten neuen Studioalbum "The Gang's All Here" zurück, das von Kritikern und Fans gleichermaßen als kraftvolles Revival ihres klassischen Sounds gefeiert wurde.
"Revolutions Per Minute", erstmals erschienen im Jahr 2006, stellt einen entscheidenden Moment in der Karriere der Band dar, da Skid Row aus ihrer Komfortzone heraustraten und neue Ideen und Einfl üsse in die Band einbrachten. Das Album präsentiert den sich weiterentwickelnden Stil der Band, der ihre charakteristische Härte mit einem moderneren, aƽressiveren Sound kombiniert. Die komplett remasterte Neuaufl age bietet den Fans die Möglichkeit, dieses klassische Album neu zu entdecken und seine nachhaltige Wirkung zu schätzen.

The third release on DMA delivers four high-energy cuts drawn from Data Memory Access’s 2024 touring set. Live Chronicles Vol. 1 captures the raw intensity and uplifting momentum of their performances—machine-driven rhythms pushing momentum with precision and power.

Musiker und Produzent Greg Surmacz aus Leeds veröffentlicht mit "Building Beyond The Sky" sein fünftes Album. Seine Musik kombiniert Jazz-Atmosphären mit elektronischen Sounds und wird von Trendsettern wie Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Jamz Supernova oder Moses Boyd unterstützt. Surmacz trat mit James Holden und auf Gilles Petersons "We Out Here"-Festival auf. Bislang erschienen von ihm die Albentrilogie "Timelines" (2021-2022) sowie die LP "What We Can Assume" (2023).

One year on from the release of the critically acclaimed 'Breathe... Godspeed' for Bristol's Timedance, Verraco - aka JP López - returns to announce Basic Maneuvers, his debut for XL Recordings.

Sonically, the project reflects this physical and emotional shift from the more introspective beauty of Medellín to the vibrant energy of Colombia's capital, Bogotá. Basic Maneuvers reflects movement — between scenes, sounds, and cities — pushing forward Verraco's cross-culture sound; one that collides South American dembow rhythms with maximalist synths, UK soundsystem bass culture, meticulous IDM sound design, with the intensity and precision of techno.

Across the EP, he expands his range with the main single, a powerful 4x4 club-ready edgy banger, a dubbed-out stepper "Total" and "sobe sobe", a grime-infused collaboration with legendary Kenyan-Ugandan rapper affiliated to Nyege Nyege, MC Yallah, that celebrates the deep-rooted connection between the underground dancefloors of Africa and South America. Basic Maneuvers is a bold statement of intent from one of electronic music's most vital and exciting producers.

In a blizzard of breaks and surrounded by towering slabs of icy atmospherics, Quelza comes spinning into the Dekmantel UFO orbit with an EP of grandiose proportions.

Anyone who caught Quelza at Dekmantel Ten last summer will be well aware of the breakthrough producer's affinity for evocative soundscapes — amongst his keen instinct for dancefloor propulsion its his richly rendered atmospheres that have made him such a vital new talent in the industry and club scene. The curious, extraterrestrial quality to his sound is the perfect fit for the resurgent UFO series, and Quelza has more than risen to the occasion with four tracks that take in the widest spectrum of his sound to date.

The title track 'Pensa Poetico' is a dramatic, 11-minute epic that moves beyond dancefloor rigidity into a fractured zone where rhythms splinter and shudder around immersive dub chords pulses and IDM infused rhythms . There might be the anchor of an insistent, staggered kick drum, but it's a simple tool to allow the freedom of movement for intricate layers of steel, glass, ice and dust before the second half erupts in a powerful display of breakbeat science. It's the most adventurous expression from Quelza to date — a track he credits with unblocking his creative process on the path towards a more honest expression within his production.

This spirit of adventure maintains throughout the EP, balancing cathartic compositional shifts with hyper-detailed scene-building and energy shifts that push and pull with your expectations. Quelza's well-established affinity for dancefloor physicality holds true as he twists and turns through these constantly surprising, nail-biting arrangements. Even when everything seems to fall apart, he'll sense the perfect moment to return to a pinpoint groove. Toying with minimal, modernist 2-step and complex organic percussion as well as choppy breaks, this is the sound of Quelza breaking out into a new phase where anything feels possible and his production vocabulary allows him to land audacious moves with mind-blowing finesse.

Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we're raising the bar with a new premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.

To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and "tip-on" jackets, an old-school aesthetic that evokes the golden age of vinyl.

"Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots such as Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, created Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it." — AllMusic

Salsa Verde is the latest release from artist, Tom Caruana and, the newest instalment of Def Pressé’s series of projects made in partnership with KPM (and associated music libraries).



In 2021 Def Pressé entered into a deal with KPM whereby the deeper KPM and associated libraries can be used, exclusively, by Def Pressé. Sampled, replayed and reimagined, this vast catalogue has provided music for TV and Cinema for decades. Sampled, often illegally, by practically every Hip Hop producer ever, the library is available to select Def Pressé artists to utilise in order to create new pieces of music. This music is then fed back into the KPM/Sony AVI library for use in TV and Cinema, and the Def Pressé artist in question is then a KPM Artist in their own right. Completing the circle and hopefully providing music to inspire the new generation of beat makers/sample-based producers.



With several titles in the series, notable names like Blockhead, Damu the Fudgemunk and Stro Elliot since its inception in 2021, the Def Pressé Editions x KPM series, Crate Diggers continues into the seventh episode.



Producer & multi-instrumentalist Tom Caruana has been producing Hip Hop for over 25 years. Incorporating both samples and instruments in his production has helped him create a signature sound which covers a wide range of moods. He has produced quirkier and more humorous material for the likes of Dr Syntax & Professor Elemental, live production for his band Son Of Sam,

sample heavy material in a range of projects with MCs as well as notoriously remixing Wu-Tang Clan with The Beatles and Jimi Hendrix.

Let All That We Imagine Be The Light“ ist das achte Studioalbum von Garbage und wurde bei Red
Razor Sounds in Los Angeles, Butch Vigs Studio Grunge Is Dead und Shirley Mansons Schlafzimmer
aufgenommen. Die Platte wurde von der Band und ihrem langjährigen Toningenieur Billy Bush produziert.
Das Album ist unverkennbar Garbage. Alle Markenzeichen und Handschriften, für die sie bekannt sind,
sind hier vorhanden. Große, kantige Gitarren, präzise, treibende Beats und filmische Klanglandschaften
lauern alle unter Shirley Mansons ausdrucksstarker Stimme, ihre Texte strotzen vor Attitüde. Es ist der
Sound einer Gruppe auf dem Höhepunkt ihrer kreativen Kräfte – die charakteristischerweise klangliche
Gegenüberstellungen und Stimmungen nutzt, um ein Album zu schaffen, das gleichermaßen von Licht und
Schatten pulsiert.
„Als ich mit der Aufnahme dieser Platte begann, war ich entschlossen, eine hoffnungsvollere, erhebendere
Welt zu finden, in die ich eintauchen konnte. Der Titel des Albums, Let All That We Imagine Be The Light,
ist ein perfektes, schlagzeilenträchtiges Statement für die gesamte Platte. Wenn alles düster erscheint, ist
es unerlässlich, nach den hellen, positiven und schönen Kräften der Welt zu suchen. Es fühlt sich fast wie
eine Frage von Leben und Tod an. Eine Überlebensstrategie“ – Shirley Manson
Garbage besteht aus allen vier ursprünglichen Bandmitgliedern, Shirley Manson, Duke Erikson, Steve Marker
und Schlagzeuger Butch Vig. In den 30 Jahren seit ihrer Gründung im Jahr

Get Sunk ist eine Ode an das Unendliche. Es bringt mit dem Pinsel gestrichene, verschwommene Erinnerungen an die Oberfläche, die sich zu einem Haufen von Farben und Verbindungen anhäufen, der sich über
die Individualität hinaus in eine endlose Veränderung erstreckt. Unter Wasser bewegt sich alles in Zeitlupe,
und Matt Berninger sah seine kreative Stimme mit der Strömung entgleiten. Aber manchmal müssen wir
ertrinken, um uns daran zu erinnern, wie man atmet. Get Sunk ist das reinigende Einatmen. Es ist der
Anblick des wogenden Spiegelbilds im Wasser und die Erkenntnis, dass man nicht man selbst ist ohne
tausend andere: Eltern, Freunde, Geschwister, Ehepartner und Ex-Freunde, College-Mitbewohner, beste
Freunde aus der Kindheit, Cousins und Cousinen, sogar Fremde - all das macht den Geist des Erzählers von
Get Sunkaus. Berninger wollte herausfinden, warum er liebt, was er tut, und es ist der kollaborative Geist
des Albums und die lockere, sich entfaltende Haltung, die Berninger aufblicken und die Wärme in seinem
Gesicht spüren ließ. Wenn wir in uns selbst versinken, stellen wir oft fest, dass wir eigentlich mit anderen
schwimmen.

Wer glaubt, über die Diskografie des legendären Pianisten Sviatoslav Richter sei bereits alles gesagt, der
irrt. 60 Jahre lang schlummerten die Aufnahmen, die die Deutsche Grammophon 1965 bei den Festivals in
Tours und Luzern mitgeschnitten hatte, in den Archiven. Sie werden nun erstmals veröffentlicht, sorgfältig
restauriert von den renommierten Emil Berliner Studios. Wie viele Künstler hatte auch Richter das Gefühl,
im Konzert besser und freier zu spielen als im Studio. Diese ungeheuren Aufnahmen zeigen den Pianisten
auf dem Höhepunkt seines pianistischen Könnens. Und in der Tat erinnern sie an Van Cliburns Ausspruch:
„Das ist das gewaltigste Klavierspiel, das ich je gehört habe“. Richters Beethoven-Interpretationen sind
phänomenal. Die Deutungen der Sonaten Nr. 18, 27, 28 und 31 zeigen einen frappierenden, einen modernen
Ansatz, der kein Risiko scheut und den musikalischen Ausdruck in jeder Hinsicht auf die Spitze treibt. Die
Pianistin Elisabeth Leonskaja, eine Vertraute Richters, zeigte sich begeistert von der künstlerischen Freiheit,
der spieltechnischen Brillanz und der Liebe zur Musik, die sich in diesen Aufnahmen vermitteln. Das Album
ist digital, als CD und Doppel-LP erhältlich und enthält ein aktuelles Interview mit Elisabeth Leonskaja,
einen Essay von Jed Distler sowie editorische Anmerkungen von Markus Kettner. Zahlreiche, zum Teil
unveröffentlichte Fotos ergänzen die Edition.

interloot returns with a stellar compilation, assembling a cadre of versatile heads to deliver a bulletproof warehouse set for your gear bag. kicking off the a-side is »once again« by stuttgart's jakob mäder. known for his eclectic blend of ambient, disco, house and techno, mäder crafts a heavy opener boosted by a propulsive rhythm, seamlessly melding forceful chords with swirling acid echoes. »tick« by bristol-based fella thrilogy screws down the force and untwines the groove with a more mellow, bass-driven foundation and intricate percussive patterns to a subtle yet weighty synth journey through space and time. flipping to the b-side, »back on back« by renowned duo decent rides instantly slaps your face and unfolds its raw energy with a stomping infectious vibe urging forward unchecked. supplemented by delicate vocal rollbacks this guy’s a real peak-time pusher. rounding out the little concrete jungle voyage, »groove got me« by vienna’s moff & tarkin proves the name’s the product. A massive breakbeat blast tenderly detailed and beautifully arranged builds up to a complex raw and punchy climax leaving no one’s body parts unmoved. savour this collection poised to satiate the appetites of discerning nightlife buds and sistas.

Deathchain’s early albums reissued on vinyl for the first time in May via Svart Records Finnish death-thrashing maniacs Deathchain’s debut and sophomore albums will be available on vinyl for the first time ever on May 30th, 2025 via Svart Records. Deathchain, hailing from the city of Kuopio, was formed in 2001 from the remains of Winterwolf when the band’s guitarist Corpse moved from the countryside to the city to kick things off, and they continue their illustrious and wild axe wielding path to this day. DEADMEAT DISCIPLES (2003) and DEATHRASH ASSAULT (2005) were originally released by Dynamic Arts Records only on CD. The debut gained a lot of great reviews in Europe, paving the way for the band’s substantial touring around Central Europe, Netherlands, and Belgium. The sophomore album DEATHRASH ASSAULT, which ended in the 18th place on the Official Finnish Album Chart, unleashed Deathchain on the Hellhoundz of Doom and Thrash -tour with Candlemass and Destruction, playing live shows in thirteen countries across Europe. The Japanese version of the album was later released on CD in 2006, featuring a bonus cover track of Slayer’s Black Magic. Corpse comments the reissues: ”It's been over two decades since we recorded our first two albums, and finally they will be unleashed to haunt in the format that is closest to our hearts. Both of these albums were recorded in Kuopio at Studio Perkele, which was the beating heart of the underground back then. We were young and handsome alcohol fueled bastards aiming to make music that is fast, furious, and riff driven. The legendary Valhalla metal bar scene was our home and starting point, and surely you can hear the echoes of North Sawonian madness within these albums. Those times were full of insanely good times, and we did our best to catch the spirit of the old school within our music. Finally with the help of Svart Records we are proud to present you these buried gems of death thrashing metal.” DEADMEAT DISCIPLES is available on Svart exclusive green & yellow marble vinyl, limited transparent green vinyl, and classic black vinyl.

Deathchain’s early albums reissued on vinyl for the first time in May via Svart Records Finnish death-thrashing maniacs Deathchain’s debut and sophomore albums will be available on vinyl for the first time ever on May 30th, 2025 via Svart Records. Deathchain, hailing from the city of Kuopio, was formed in 2001 from the remains of Winterwolf when the band’s guitarist Corpse moved from the countryside to the city to kick things off, and they continue their illustrious and wild axe wielding path to this day. DEADMEAT DISCIPLES (2003) and DEATHRASH ASSAULT (2005) were originally released by Dynamic Arts Records only on CD. The debut gained a lot of great reviews in Europe, paving the way for the band’s substantial touring around Central Europe, Netherlands, and Belgium. The sophomore album DEATHRASH ASSAULT, which ended in the 18th place on the Official Finnish Album Chart, unleashed Deathchain on the Hellhoundz of Doom and Thrash -tour with Candlemass and Destruction, playing live shows in thirteen countries across Europe. The Japanese version of the album was later released on CD in 2006, featuring a bonus cover track of Slayer’s Black Magic. Corpse comments the reissues: ”It's been over two decades since we recorded our first two albums, and finally they will be unleashed to haunt in the format that is closest to our hearts. Both of these albums were recorded in Kuopio at Studio Perkele, which was the beating heart of the underground back then. We were young and handsome alcohol fueled bastards aiming to make music that is fast, furious, and riff driven. The legendary Valhalla metal bar scene was our home and starting point, and surely you can hear the echoes of North Sawonian madness within these albums. Those times were full of insanely good times, and we did our best to catch the spirit of the old school within our music. Finally with the help of Svart Records we are proud to present you these buried gems of death thrashing metal.” DEADMEAT DISCIPLES is available on Svart exclusive green & yellow marble vinyl, limited transparent green vinyl, and classic black vinyl.

"Originally released in 1973, ‘Brain Salad Surgery’ is the fourth studio album by English Progressive Rock titans, Emerson, Lake & Palmer which certified Gold in both the Uk and USA.
This is a 140g Black vinyl repress of the album to get this back into market for 2025."

Originally released in 1971, ‘Pictures At An Exhibition’ is the legendary live album by English Progressive Rock titans, Emerson, Lake & Palmer which charted at number 3 upon its original release in the UK. This is a 140g Black vinyl repress of the album to get this back into market for 2025.

"""My life began in Columbus, Ohio, USA, moved on to an English village, then to the bright lights of London. America has always been a big part of my life, my father is American.
This album is a snapshot of my experiences. The lyrics tell some of the story and the music helps to tell the rest. I grew up listening to American music and when I began songwriting I was inspired by the icons and styles from the 1950s/60s and 70s. As I wrote the songs for this album I consciously looked to represent some of the styles from artists I love including Elvis, Dylan, Neil Young and Joni Mitchell. Through the wonders of modern digital recording I was able to work with some amazing American musicians who helped me to create the authentic arrangements and styles I sought to emulate. The album is self produced but the help and advice from Pat Collier and Jess Corcoran at Perry Vale studios plus the talent and input from all the musicians was invaluable. "

The latest set of releases for Decca's The Collection - Mozart, The Piano Works (W. A. Mozart, A. Schiff) and Beethoven, Symphony No. 5 (L. Beethoven, Vienna Philharmonic Orchestra, H. Schmidt-Isserstedt) are out 30th May 2025. These titles focus on composers and their most famous pieces of all time, whilst encompassed in beautiful hand-drawn packaging in an expressionist style and pressed on coloured vinyl.

The latest set of releases for Decca's The Collection - Mozart, The Piano Works (W. A. Mozart, A. Schiff) and Beethoven, Symphony No. 5 (L. Beethoven, Vienna Philharmonic Orchestra, H. Schmidt-Isserstedt) are out 30th May 2025. These titles focus on composers and their most famous pieces of all time, whilst encompassed in beautiful hand-drawn packaging in an expressionist style and pressed on coloured vinyl.

Ende Mai 2025 veröffentlicht das schwedische Powerhouse Caregah sein mit Spannung erwartetes Debütalbum »Osmium«. Nachdem es 2023 von der Band noch in Eigenregie erschien, war die Nachfrage nach diesem Metal-Juwel im Untergrund so massiv angewachsen, dass sich ROAR der Band und dem Album angenommen hat.

Mal Waldrons erste Hommage an Billie Holiday mit dem Titel »Left Alone« wurde 1959 aufgenommen, nur wenige Monate vor dem Tod der Sängerin

Archie Shepps oft düsteres Tenorsaxophon erinnert an die Textur von Holidays Stimme, ergänzt aber perfekt Waldrons üppiges Piano

Diese instrumentale Hommage an Billie Holiday ist eines der besten Alben, die ihr Andenken ehren

In his sixth and latest album “New African Orleans”, released by ENJA and Yellow Bird, bass guitarist and composer Alune Wade explores the multiple junctions between his native West African rhythms, the Afrobeat and juju rhythms from Lagos and the brass band repertoire immortalized in New Orleans. “I’m exploring a world that goes from my roots to the lost branches on the other side of the Atlantic,” explains the musician from Senegal. He has whittled down around 50 compositions – both original and standards - to a dozen which Alune recorded in Paris, Dakar, Lagos and New Orleans. “The idea first came to me during the Jazz à Gorée festival I organized back in 2014,” he explains. “It had me reflect on the notion of reversing the musical trip most people take from the United States to the African continent. I wanted to set out westward and begin a musical conversation with the best artists, both in Nigeria and the US.”
To achieve this, Wade has invited top artists from both sides of the Atlantic, including the Nigerian talking drummer Olaore Muyiwa Ayandeji, the percussionist Weedie Braimah and the jazz drummer Herlin Riley from New Orleans. The musical inspirations are equally transatlantic, ranging from Dr. John to Manu Dibango and Charlie Parker. But the 45-year-old also pays homage to his father who was a brass band star in his native Senegal back in the Sixties.
BACKGROUND

We only have a partial idea of the birth and remarkable development of the music born of the transatlantic slave trade. From Malinke ballads to Cuban son, from call-and-response patterns to field hollers and hip-hop, Yoruba rhythms to Argentinian tango, from Angolan percussions to the New Orleans brass band sounds… all have roots in Africa and a shackled migration that lasted four centuries. No more so than Congo Square in the Louisiana capital. In 2024, we mark the 300th anniversary of the implementation of the Code Noir which “gave enslaved Africans Sundays off to dance”. A drop in the ocean, but one which shows the importance of culture as a lifebuoy against this barbaric trade. As the Guadeloupian writer Daniel Maximin once claimed: “Our music guided us from the scream to the song, from dragging our chains to dancing.”

Monaco (originally released in 2000) is the self-titled second and final studio album
by Monaco, following their debut album Music for Pleasure (1997).

Now 25 years after its original release, the album is finally available, for the first time ever, on vinyl.

Monaco was a side project (1995–2000) of Joy Division and New Order bass player Peter Hook, alongside David Potts,
the sole remaining member of Revenge. The album reflects Hook and Potts’ shared passion for blending rock with electronic and dance music. The album features the single I’ve Got A Feeling.

For vinyl enthusiasts, this 25th-anniversary expanded edition comes as a deluxe gatefold 2LP set, pressed on Crystal Clear vinyl
This version includes a 4-page booklet and five bonus tracks and is limited to 500 individually numbered copies.

Monaco (originally released in 2000) is the self-titled second and final studio album
by Monaco, following their debut album Music for Pleasure (1997).

Now 25 years after its original release, the album is finally available, for the first time ever, on vinyl.

Monaco was a side project (1995–2000) of Joy Division and New Order bass player Peter Hook, alongside David Potts,
the sole remaining member of Revenge. The album reflects Hook and Potts’ shared passion for blending rock with electronic and dance music. The album features the single I’ve Got A Feeling.

For vinyl enthusiasts, this 25th-anniversary expanded edition comes as a deluxe gatefold 2LP set, pressed on Crystal Clear vinyl
This version includes a 4-page booklet and five bonus tracks and is limited to 500 individually numbered copies.

The Black Parade, My Chemical Romance's follow-up to its 2004 platinum major-label debut Three
Cheers For Sweet Revenge, "is way more dramatic, way more theatrical, completely over the top, borderline
psychotic," says Gerard Way. "It's the most pure, intense thing we've ever been involved in." Producer by Rob Cavallo (Green Day), the album is a celebration of love and death and darkness. Join The Black Parade.

Keine 400 Songs später und nach etlichen Konzerten geht das Solo Projekt des 19 jährigen Ennio De Caro namens AIN'T UR ENN den nächsten Schritt.Das Album LANGUISH erscheint am 30. Mai 2025 auf Tomatenplatten. Aufgenommen wurde im heimischen Schlafzimmer in Luzern. Das Tonstudio heisst Garage Band. Die erste Trennung wird in Musik gegossen. Ennio De Caro schreibt die Songs, spielt alle Instrumente und singt. Die Drums sind programmiert. Die Emotion ist direkt. Krankhaft traurig, desillusioniert und überbordend energetische klingen die Lieder, die im Frühsommer erscheinen. Das Album heisst LANGUISH. Die Musik ist nicht einzuordnen - Herzzerreißender Bedroom-Pop trifft auf Japanese influenced Hyper-Indie-Pop-Rock. Y2K - Cybercore-Ästhetik trifft auf Emo. Rock and Roll trifft auf Autotune a la Julian Casablanca. Ist das dann Nintendo-Rock? Oder Alex G. auf Crack?

Ein genreübergreifendes AlbumɎ das Barock und zeitgenössische Musik verbindet

Mit Werken von Bach, Buxtehude, Francesco Tristano, Idan Raichel und mehr

Kombiniert Cembalo, Klavier, analoge Synthesizer und Rhodes
Enthält Tamars Baustelle-Serie - radikale Bearbeitungen von Bach

SUPERVIVENXIA is Baby Volcano’s second EP, an intoxicating mix of hybrid pop, experimental reggaeton, Latin music, and chanson – it is a testament to Baby Volcano’s evolving artistry. The title is a blend of the Spanish words "sobrevivencia" (survival) and "supervivencia" (super-alive), encapsulating the EP’s essence: living life fully, embracing its sorrow as much as its joyous madness.

Baby Volcano is a Swiss-Guatemalan artist who erupted onto the Swiss underground scene with her debut EP Síndrome Premenstrual (2021). Trained in contemporary dance and performance in Buenos Aires, she has captivated audiences powerful live shows at festivals including Roskilde, Eurockéennes de Belfort, Paléo Festival, Dour Festival, Les Vieilles Charrues, Transmusicales, and many more.

Hard Mental tribe, very influenced by the nederlandish school... except for the kick... Enjoy the first tune : Hypocrisie Générale. Very Sensory overload style (Number 07 please).

Not much is known about De Frank Kakra - let alone his birth name or where he is today. A few liner notes scattered across his records give a glimpse of his career as a backing vocalist and percussionist on the Ghanaian highlife scene of the 1970s, notably with Vis-A-Vis, K. Frimpong's band (Cubano Fiestas). He later formed his own bands, The Professionals and The Diggit Ways, alongside Sammy Copper, recording throughout West Africa. His recordings have now been unearthed, remastered and compiled in a triple LP anthology of his musical works. Although much remains unknown, RastaPastaRecords' goal is to ascertain several discoveries made about his life during the production of this record and to continue the research. "Call Me Frank" is a funky take on 1970s highlife set to a vintage Afro - rock fusion that evokes a time when West African dance floors vibrated with raw energy and relentless groove. "Psychedelic Man" is a full dive into the De Frank Kakra sound. With its hypnotic guitar riffs, cosmic organs and head- nodding drum rhythms, this infectious anthem will plunge you into a state of nostalgic psychedelia.

After 45 years, Trigger’s never-released second album, Second Round, invites listeners to rediscover the hard rock sound that made the band a standout act of the 1970s. In early 1979, Trigger walked out of Electric Ladyland Studios with a completed second album. Mere months had passed since their self-titled debut came out on Casablanca Records, home to KISS and Parliament. The band had toured with Cheap Trick and The Godz, met Bruce Springsteen and Joni Mitchell, and things were looking bright. But Casablanca unexpectedly went bankrupt, and the label’s artists went into freefall. Trigger unsuccessfully sought interested parties, shelved the recordings and disbanded; a disappointing end for a band who dominated the Jersey Shore club scene on their way up with fiery, kick ass live shows. RIP Trigger: 1973-1979. Jump to 2024. Guitarist Richie House is living in Northern New Jersey with his wife, enjoying a relaxing afternoon at the community pool with neighbors. One of them, Andrew Wexler is shocked to discover his friend had a band in the ’70s. He listens to their recordings, and as an avid record collector, assumes the mission of getting that unheard second album released. He writes to Ba Da Bing, a label with Jersey roots. Much excitement ensues. Second Round’s long-awaited release will now be available. All original members—Derek Remington (vocals/drums), Jimmy Duggan (guitar/vocals), Tom Nigra (bass guitar/backing vocals), and Richie House (lead guitar/vocals)—are present on the recordings. Sadly, Duggan and Nigra have passed away, but Remington and House have overseen this reissue, with songs sourced directly from the analog masters.. The Trigger of today maintains a high level of quality, albeit with a bit less flair, and even less hair. And there’s more going on here than at first listen. While the band carries the earmarks of their era—melodic hard-rock fashioned for Saturday night parties—they override the cliché with incredibly catchy songs. How would a ripping song like “Back Talk” have been received in 1979? It’s a question we’ll never be able to answer, but the raw energy of the track spans generations. “One In A Million,” however, with its full harmonies and forceful chorus, could have easily made the soundtrack for Fast Times. Celebrate the discovery of this lost gem by giving it a listen. You’ll be Trigger happy…

LG Records presents a vinyl-only collection of songs from the archives of the friends and family of Sam Jayne. A very personal assembly of ten songs spanning over 20 years that were compiled from home demos, studio outtakes, obscure compilations, and out of print EPs. Many of these recordings had only been circulated for years amongst friends and fans, never having been formally released on a vinyl album format until now. A condensed and intimate collection of five cover songs and five original compositions that embody Sam’s endless depth of wit, absurdity, humility, passion, and heartache. Dedicated to all of the people who were graced to have shared their lives and fellowship with this beloved, one of a kind human being. Compiled by Zeke Howard and mastered by Tim Green at Louder Studios. 180g black vinyl, 500 pressed with Stoughton 28 pt tip-on sleeve.

Hailing from the southwest side of Detroit, Michigan, Dusty Rose Gang makes music that sounds like a celebratory summer evening with friends on the beach of the city’s crown jewel, Belle Isle. The band’s feel-good rock & roll rests its laurels alongside many of the city’s musical heavyweights, bringing a swagger and heft present in the best of the MC5 and the Stooges, while balancing the subtle tones and attitude found in prime-era Sabbath, Queen, Jimi Hendrix and the Flower Travellin’ Band. It should be no surprise that the band’s songwriter, Dusty Rose, haunted the same high school halls as the MC5 at Lincoln Park High, as much of the attitude, poise and spirit can be found on the band’s A-One From Day One long player debut for the legendary Riding Easy Records. The songs shimmer and shake, shredding through solo after solo, while packing just enough hazy 70’s influence to make it sound like Dusty Rose Gang has been here all along. This is Detroit rock n’ roll made by lifers for lifers, the no-bullshit real deal that the Motor City has been breathing since before Gene Simmons coined the term “Detroit Rock City." A-One From Day One was produced and recorded by Warren Defever at Free Party Bar, Hamtramck and mastered at Third Man Mastering. Engineered by Cam Frank. The album was recorded with Brett Donlon (bass), J. Rowe (drums, percussion), Kara Meister (backing vocals), and Warren Defever (mellotron, organ). The current line-up of Dusty Rose Gang features Dusty Rose (guitar, vocals), Brett Donlon (bass), Blake Hill (drums) and Josh Budiongan (guitar).

Zig Zags have been an L.A. institution for over a decade, never veering from their hard-riffin punk/metal mission statement. They’ve gigged all over the globe with underground luminaries such Mike Watt, Neurosis, Pig Destroyer, Oh Sees and Feral Ohms and recorded collaborations with icons like Iggy Pop. Now the power trio is set to release their fifth incendiary full-length album, Deadbeat At Dawn, named in honor of the beloved B-movie, a no-budget action revenge flick set in the mean streets of suburban Ohio. Cult cinema is an enduring Zig Zags inspiration, with the band frequently calling out exploitation films in their lyrics, odes to teen-delinquent classics like “Over the Edge” and dystopian sci-fi such as, “Terminator” and “Total Recall”. The new album sticks to this obsession with the cultural underground, riffing on everything from demonic minions to apocalyptic visions and alien attacks. The result is the most focused, intense, and catchy Zig Zags album yet, with the timing perfect for their distinctly melodic and maniacal call to arms. Finalizing recording and mixing just as the catastrophic fires hit their hometown in L.A., Deadbeat At Dawn is the perfect soundtrack for a city rising up from the ashes of destruction. “I feel lucky that we got to put out this record when we did,” Maheu said, “It’s heavy and gnarly and kind of fucked up, but it’s also a lot of fun—which is how we feel about Los Angeles.”

Neues Scheibe - Neue Wut: Nach Ihrem erfolgreichen Debutalbum gleich noch diese EP nachgelegt! Maschine Mensch beschreibt den alltäglichen Wahnsinn eines Individuums gesehen von unserer westlichen Welt. Wir werden geboren um ausgebeutet zu werden, alles zum Wohle des Kapitalistischen Systems. Maschine Mensch ist die Antwort auf die Frage: Was machst du aus deinem Leben? Auch wir müssen uns jeden Tag neu hinterfragen was unser Sinn des Lebens ist. Mit ,Maschine Mensch" schlägt die Berliner Punkband Shell Shocked ein neues Kapitel auf - und zwar laut. Die EP ist eine musikalische Abrissbirne gegen die Entmenschlichung unserer Zeit: gegen Algorithmus-Alltag, gegen soziale Kälte und gegen die leise Resignation im Kopf. Mit voller Wucht aus den Kellern Berlins meldet sich Shell Shocked zurück - roher, lauter und kompromissloser denn je. Auf ihrer neuen EP "Maschine Mensch" prallen schneidende Gitarrenriffs auf treibende Drums und Texte, die wie Faustschläge gegen die graue Realität wirken. Zwischen Großstadtbeton, Systemkritik und persönlichem Aufbegehren liefern Shell Shocked 6 Songs, die aufrütteln, antreiben und aufregen. Ein Soundtrack für alle, die nicht stillhalten können, wenn die Welt im Gleichschritt marschiert. ,Maschine Mensch" ist mehr - es ist ein Aufschrei. Punk aus Berlin. Direkt. Unverfälscht. Keine leeren Phrasen sondern Songs die verbinden und bewegen. Für alle die nicht blind mitlaufen wollen.

COMPUMA's new new album “horizons”now available on vinyl via his own label Something About!

The album “horizons” is a further development of COMPUMA's “horizons EP”, which was released in July 2023 as a digital-only EP on his Bandcamp. The songs are inspired by the scenery and environment of Lake Ezu, Kumamoto, where the artist's roots lie, and by his walks in various places around Japan.

Horizons 1”, in which the undulations of electronic sounds seem to represent a leisurely walk across a clear expanse of sky and lake scenery, and the vocoder voice somewhat reminds us of people's activities, and the piece changes to a more minimalistic play of rhythms and electronic sounds, as if focusing on introspection in the midst of walking. The album also includes “horizons 2,” which changes with exquisite salinity, “horizons 3,” which pays homage to early electronic music, and “horizons 4,” a more stoic minimal electro-dubwise piece that seems to be immersed in the act of walking, The last track on the album, “horizons 5,” is a non-beat ambient track with a hint of the waterfront, as if the artist is gazing at the vast sky, as if the steps of the first half of the album are expanding into a faint memory, and is accompanied by a field recording. The album includes “horizons 5”, a non-beating ambient taste that is covered by field recordings and depicts the atmosphere of a wandering waterfront, and five versions of “horizons” that remind us of the days of “walking”, sometimes immersed in the scenery and walking, sometimes lost in thought, with “horizons interlude” in between, which reminds us of the surface of a bobbing lake, and is a self-titled version of “View 2” from the previous album, “A View”. The album contains seven songs in total, including a self-remix of “View 2” and an electro version of “view 2 electro”, reminiscent of the shimmering surface of a lake.

Personally speaking, this work reminds me somewhat of Kraftwerk's “Autobahn,” which depicted the countryside of West Germany with minimal electronic sounds, and this work also seems to depict a scene of a “walk” with electronic sounds. However, what is different from “Autobahn” is that there is an element in the middle part of the album that seems to go into introspection in the midst of walking, and it is a work that shows various views (including feelings) throughout the album. From a macro perspective, this album is a new response to the recent environmental music revival and generalization of ambient music, which he has introduced as a DJ and record buyer for a long time.
The album was co-produced by hacchi, who also works with Deavid Soul, Urban Volcano Sound, and as a recording/mastering engineer, and mastered by Nakamura Soichiro of Peace Music, a studio that has produced many masterpieces, including Shintaro Sakamoto's solo work. The package artwork is by designer Seiichiro Suzuki. The package artwork is by designer Sei Suzuki. （The package artwork was designed by designer Sei Suzuki.)

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Compuma is a Tokyo-based log-serving DJ whose extensive knowledge of obscure and left-field music across so many genres and different regions of the world established himself as one of the most respected record buyers in Japan,
a country well known as record collectors’ paradise. While he built his career in record business over decades, he has also been sharing his expertise in music as a DJ just as long. Not only the breath and the depth of where his selection derives are hard to compete, the way he blends them all together is also a state of art. Often intricately layered and collaged, Compuma is capable of sculpting something entirely new with bits and pieces of existing tracks in various forms such as ambient soundscapes to dubbed out club sets. In 2017, his unique ability caught the attention of Berlin Atonal directors and he was invited to play at the festival in Berlin.

He extends his skills into remixing which can be heard on the released from EM Records - “Compuma meets Haku” (2015) and “Bangkok Nights” (2017.) In June 2022, he released his first solo album, A View.
He is also an active member of a DJ trio called Akuma No Numa (which translates to “devil’s swamp”) in which he explores darker and more psychedelic periphery of dance music.

Angelo Debarre's extraordinary guitar technique has long been the tree that hid the forest of his profound musicality and above all, his talent as a composer. Belonging to the family of Django Reinhardt's heirs, Debarre has become a legend among Gypsy Jazz fans, one of those rare musicians, who can enchant a room and make hearts beat in unison.

The New Dictionary of Jazz (Nouveau Dictionnaire du Jazz) describes Angelo Debarre as supersonic, and indeed, he is with mad virtuosity. His left hand moves up and down the fine neck of his gypsy guitar, with speed but always with musicality. But it would be an understatement to speak only of his dexterity; he has a marvellous ability to play with subtlety, and his improvisational possibilities seem endless; all done with great ease and apparent composure. Solos, counterpoint, he's everywhere.

A child from the gypsy community, Angelo started playing guitar with his family at the age of eight. In 1984, he formed the first "Angelo Jazz Quintet". In 1985, he became one of the pillars of the famous Parisian cabaret, "La Roue Fleurie" and participated in numerous tours and recordings, including the famous Gypsy Guitars, a reference album of the genre.

Very comfortable in several gypsy styles, Debarre can be found alongside fellow guitarist Petro Ivanovitch and singer and balalaika player Raya from the group Arbat. As a guest, DeBarre can be heard with the band Bratsch, in dialogue with the pianist Bojan Z, percussionist Xavier Desandre-Navarre, the violinist Florin Niculescu and other leading figures of the gypsy guitar.

Angelo Debarre: guitar
Serge Camps: guitar
Frank Anastasio: bass

Vita est Morte est Vita is the band’s debut full-length; recorded, mixed, and mastered by Wayne Adams at Bear Bites Horse Studio, London. The four tracks of the album are a dynamic and richly textured journey through the human psyche – inviting the listener to Discover, Enter, Understand, and Become.

In addition to the cover artwork by the band’s own Stuart Hodgkinson, each track is accompanied by individual artworks by Steve Burns, Justin Fink, Eduardo Canalejo, and Lauren McIvor.

This new anniversary edition from London's the Duke Spirit marks 20 years since their adrenaline-charged debut roared onto the UK indie scene. Originally released in 2005, it's now remastered and paired with a second LP of B-sides, demos and rarities, pressed on heavyweight yellow and red splatter vinyl. It's a suitably bold presentation for a record that remains as full-throttle and emotionally raw as ever. Built around the magnetic presence of vocalist Liela Moss and the jangling, distorted interplay between guitarists Luke Ford and Dan Higgins, this is a sound forged in post-punk grit and heavy rock swagger. Tracks like 'Lion Rip' and 'Love Is An Unfamiliar Name' still land with venom, but it's the depth and tension of songs like 'Fades The Sun' and 'Hello To The Floor' that show their full range. The bonus material only adds to the mythology i 'Boot Hill (demo)' and 'Scratching Around (demo)' offer glimpses of the band's early energy in the raw, while 'Souvenir' and 'Now Be Still' stand strong on their own. It's a beautiful document of a band at full force, and a reminder that sometimes the most exciting sounds are the ones that never tried to fit the moment.

A deeply intimate and cinematic body of work, My Goddess unfolds as a self-contained emotional universe; an album about grief, depression, healing, and the enduring human urge to find beauty in a world that often feels unrelenting.
Composed against the backdrop of Lebanon’s ongoing political and economic collapse, My Goddess captures what it means to process personal heartbreak and collective trauma simultaneously. Across nine emotionally charged tracks, Etyen draws from profound loss, existential reflection, and the tragic death of his beloved cat Lucy to craft a record that is as fragile as it is resilient; both a personal reckoning and a universal portrait of survival through art. “This album is a conversation with myself. It’s about loss and grief, about finding beauty and trying to hold on to it,” says Etyen. “It’s about confronting the painful parts of life while still believing there’s something gentle and divine to hold onto.”
Blending cinematic textures, Etyen's unique and inspired electronics, and minimally sculpted yet immersive melodies, My Goddess pushes further into the raw introspection first glimpsed on Etyen’s 2022 debut album Untitled. But this time, the sonic architecture is more distilled, the emotional stakes more immediate. The result is a record that gently lingers in the spaces between memory, absence, and hope.
The album’s first single, the title track “My Goddess,” drops May 5 with a self-directed music video, one of three cinematic visuals accompanying the album. The trilogy further expands the emotional world of the record and affirms Etyen’s role not only as a musical artist, but as a multidimensional storyteller.
With over a decade of work that spans Netflix scores (Jinn), international festivals (Sonar Barcelona, Mutek), and critical acclaim and editorial support from Bandcamp Daily, BBC Radio and much more, Etyen has carved out a singular voice in electronic music—bridging personal, cultural and political resonance through sound. As the founder of Thawra Records, he also continues to champion independent artists from the region, building a vital platform for forward-thinking music in and beyond the Arab world.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

In October of 1999, Nina Nastasia recorded the album that would finally document her well-seeded career as a local singer-songwriter in New York City. It was exemplary of Nastasia’s style, delicate string arrangements, the restrained beauty of her live band, the deceptive simplicity of her voice, and poignant, life-wise lyrics. The following year, “Dogs” was released on CD by micro-indie label Socialist Records. By the end of 2000, the “Dogs” CD was out of print. But “Dogs” had a special grassroots effect on Nina Nastasia’s music career, as fans of the record would correspond across internet message boards and zines, discussing songs and soliciting copies of the rare edition. The album would also mark the beginning of a lasting peer relationship with noted recording engineer Steve Albini. In 2004, Touch and Go Records reissued “Dogs” on CD and, for the first time, on vinyl. The vinyl quickly sold out and remained out of print for nearly two decade… until now.

Indifferent Engine is a post-hardcore punk band from Cambridge, UK, known for their genre-defying sound and visceral live performances. Drawing inspiration from early hardcore, art punk, post-rock, ambient music, pulp science fiction and obsolete electronics, the band creates a soundscape that is as eclectic as it is intense. Originally conceived as a solo project by frontman Adam Paul, Indifferent Engine evolved into a full band in 2019, bringing their unique blend of chaotic energy and experimental sound to stages across the UK. Their performances are a sensory experience, often featuring the largest rig of vintage CRT TVs in the UK live scene, bathing the stage in the soft, eerie glow of static. This visual backdrop, combined with Adam's commanding stage presence -- fluctuating between Mark E. Smith-esque monologues and raw, visceral screams -- creates an emotional atmosphere that is equal parts unsettling and captivating.

Perth’s finest, Psychedelic Porn Crumpets, continue their onslaught on 2025 with the release of a brand new single & announcing details of their 7th record due in May 2025. ‘Carpe Diem, Moonman’ promises to be another weird & wonderful journey through the mind of Jack McEwan, the talisman of the Perth 5-piece. It’s announced alongside brand-new single ‘Weird World Awoke’, another ferocious blast of inimitable rock & roll, with a lyrical rollercoaster to keep pace with the relentless tempo & guitar slaloms.
McEwan himself had this to say about the new record: “Carpe Diem, Moonman” is an entanglement of chaos, the bi-product of excessive touring, an explosion of doubt, wonder, excitement, dog bites, Greek philosophy, death, weekend benders and a partridge in a pear tree, a mongrel of sorts. There’s so many genres, flavours, cream crackers and fairground amusements packed into CDM. It blasts out the gates, takes you for a spin then leads you off into somewhere beautiful, fun and enthralling. I want people to come back and find something new with each listen.”

Slaughter was formed in Las Vegas, Nevada in 1988. The group was founded by lead vocalist and rhythm guitarist Mark Slaughter
and bassist Dana Strum, who previously played together in the band Vinnie Vincent Invasion. The addition of guitarist Tim Kelly
and drummer Blas Elias allowed Slaughter to quickly gain attention for their lively performances, catchy hooks, and melodic guitar solos. Slaughter's debut album Stick It to Ya had three singles released that hit the Billboard Hot 100: the hit "Fly to the Angels" (US#19), and the moderate hits "Up All Night" (US#27) and "Spend My Life" (US#39). In 1992, the band released their second album, titled The Wild Life. It reached number eight on the
US Billboard Top 200 Album Chart and was certified gold, but did not produce any Top 40 hits on the US Hot 100. The only single to reach the Hot 100 was the first single "Real Love" (US#69). The band would go on to release Fear No Evil in 1995, followed up by Revolution in 1997 and their last studio album Back To Reality in 1999. Now Revolution is getting a makeover, being released in updated packaging by original artist Ioannis (Deep Purple, Allman Brothers, BOC), including a 6-Panel Digipak CD

Get Sunk ist eine Ode an das Unendliche. Es bringt mit dem Pinsel gestrichene, verschwommene Erinnerungen an die Oberfläche, die sich zu einem Haufen von Farben und Verbindungen anhäufen, der sich über
die Individualität hinaus in eine endlose Veränderung erstreckt. Unter Wasser bewegt sich alles in Zeitlupe,
und Matt Berninger sah seine kreative Stimme mit der Strömung entgleiten. Aber manchmal müssen wir
ertrinken, um uns daran zu erinnern, wie man atmet. Get Sunk ist das reinigende Einatmen. Es ist der
Anblick des wogenden Spiegelbilds im Wasser und die Erkenntnis, dass man nicht man selbst ist ohne
tausend andere: Eltern, Freunde, Geschwister, Ehepartner und Ex-Freunde, College-Mitbewohner, beste
Freunde aus der Kindheit, Cousins und Cousinen, sogar Fremde - all das macht den Geist des Erzählers von
Get Sunkaus. Berninger wollte herausfinden, warum er liebt, was er tut, und es ist der kollaborative Geist
des Albums und die lockere, sich entfaltende Haltung, die Berninger aufblicken und die Wärme in seinem
Gesicht spüren ließ. Wenn wir in uns selbst versinken, stellen wir oft fest, dass wir eigentlich mit anderen
schwimmen.

Let All That We Imagine Be The Light“ ist das achte Studioalbum von Garbage und wurde bei Red
Razor Sounds in Los Angeles, Butch Vigs Studio Grunge Is Dead und Shirley Mansons Schlafzimmer
aufgenommen. Die Platte wurde von der Band und ihrem langjährigen Toningenieur Billy Bush produziert.
Das Album ist unverkennbar Garbage. Alle Markenzeichen und Handschriften, für die sie bekannt sind,
sind hier vorhanden. Große, kantige Gitarren, präzise, treibende Beats und filmische Klanglandschaften
lauern alle unter Shirley Mansons ausdrucksstarker Stimme, ihre Texte strotzen vor Attitüde. Es ist der
Sound einer Gruppe auf dem Höhepunkt ihrer kreativen Kräfte – die charakteristischerweise klangliche
Gegenüberstellungen und Stimmungen nutzt, um ein Album zu schaffen, das gleichermaßen von Licht und
Schatten pulsiert.
„Als ich mit der Aufnahme dieser Platte begann, war ich entschlossen, eine hoffnungsvollere, erhebendere
Welt zu finden, in die ich eintauchen konnte. Der Titel des Albums, Let All That We Imagine Be The Light,
ist ein perfektes, schlagzeilenträchtiges Statement für die gesamte Platte. Wenn alles düster erscheint, ist
es unerlässlich, nach den hellen, positiven und schönen Kräften der Welt zu suchen. Es fühlt sich fast wie
eine Frage von Leben und Tod an. Eine Überlebensstrategie“ – Shirley Manson
Garbage besteht aus allen vier ursprünglichen Bandmitgliedern, Shirley Manson, Duke Erikson, Steve Marker
und Schlagzeuger Butch Vig. In den 30 Jahren seit ihrer Gründung im Jahr

Auf Festivalbühnen waren Cari Cari 2017 und 2018 nicht mehr wegzudenken. Und doch stehen die beiden erst am Anfang. Das Album feiert diesen mit dem prototypischen Titel »Summer Sun« – und gibt damit die Schlagrichtung vor. »Anaana« versammelt die Unmenge an Eindrücken aus vielen Reisekilometern, Nächten und Abenteuern in einem glühend heißen Druckkochtopf; unterhaltsam, schnell und abwechslungsreich.

Eine gewisse Liebe zu den Welten von Ennio Morricone und Quentin Tarantino ist nicht von der Hand zu weisen – und damit auch der Hang des Duos, mutig entlang eines schmalen Grats zu tänzeln: Cari Cari vermengen zahlreiche Popkulturzitate und weltmusikalische Einflüsse mit einer Prise Ironie und viel Charme. So dürfen sich zwischen kessem 60s-Gitarrensound und tribal beats auch Maultrommeln und Didgeridoos tummeln, die SML auch auf der Bühne zur Begeisterung des Publikums immer wieder auspackt. Und so gelingt der Tanz dem Duo mit jener jugendlich-frischen Mühelosigkeit, die die beiden schon die genannten Bühnen im Sturm erobern ließ.

Im »Mellow Mood« benannten, fünften Kapitel der Serie kehrt Oscar Peterson nach dem solistisch bestrittenen Vol. 4 zu seiner Triobesetzung mit Sam Jones (b) und Bob Durham (dr) zurück. Es ist ein Album, auf dem der Kanadier in einigen Stücken die Giganten des US-Jazz feiert. So startet er mit Duke Ellingtons »In A Mellotone«, das er variantenreich und mit überbordender Physis interpretiert.

Die Horace Silver-Komposition »Nica's Dream« leitet er aus lyrischer Contenace zu improvisatorischem Sprudeln, Gershwins »Summertime« spielt er in einer vom melancholischen Melos gänzlich befreiten, nach seinen eigenen Worten »kühnen« Fassung. Mit »On Green Dolphin Street« greift er ein Thema aus dem gleichnamigen Film auf, entfaltet seine tänzelnden Tastengänge über dem Bordun von Jones, der gegen Ende auch ein wunderbares Solo liefert. Mit den abschließenden Stücken umspannt er einen weiten zeitlichen Rahmen: »Sometimes I'm Happy« führt in die Unschuld der Zwanziger Jahre zurück, »Who Can I Turn To« hingegen stammt aus den Sechzigern. Peterson hat es bereits für sein Soloalbum eingespielt, hier wird es nach einem verblüffenden Tempowechsel im Triogefüge ausgearbeitet.

Auf dem abschließenden Volume der Serie »Exclusively For My Friends« setzt Oscar Peterson mit seinen Kollegen Sam Jones (b) und Bob Durham (dr) noch einmal sehr unterschiedliche Glanzpunkte. Das überschäumende, vorwärtstreibende Titelstück kann seine Wurzeln im Gospel nicht verleugnen, kontrastiert wird es mit der schlichten und doch so tiefsinnigen Ballade »Emily«. Mit der Jobim-Komposition »Quiet Nights« (im Original »Corcovado«) demonstriert das Trio, zu welchem Feingespür es bei der Adaption der Bossa Nova fähig ist. Die ansonsten so träumerische Nummer wird hier mit rasant swingender Unbeschwertheit einer erstaunlichen Metamorphose unterzogen. Durch die Auswahl von »Sax No End« verbeugt sich Peterson vor dem europäischen Jazz: Die Komposition stammt vom belgischen Bigband-Leader Francy Boland und wird von Petersons mitreißendem, sehr muskulösem Spiel geradezu in Brand gesetzt. Zum Finale »When Lights Are Low« von Benny Carter: Über zehn Minuten gestaltet das Trio bedächtig und souverän diese versonnene Komposition, wobei Sam Jones mit seinen delikaten Begleitfiguren nochmals eine besondere Rolle zukommt.

"ADN", High Tone's second album, is energy packed, much like their debut album. The ingredients remain the same, but this time, the record is bursting with breaks, loops and samples of voices, electro and even hip-hop sounds. High Tone are incorporating all sorts of influences to create their own personal ground breaking massive dub style, a subtle mixture of an unbeatable energy, an undeniable sense of arrangement and a great desire to surprise. Just first-class dub.

Die Modern Folk-Künstlerin Jensen McRae hat das Veröffentlichungsdatum ihres mit Spannung erwarteten zweiten Albums „I Don't Know How But They Found Me!“ bekannt gegeben, das am 25. April über Dead Oceans erscheinen wird. Zusammen mit der Ankündigung hat sie auch ihre neueste Single und das Video „Praying For Your Downfall“ veröffentlicht, ein Meisterwerk der Offenheit, das Witz und Charme verbindet, während McRae darüber nachdenkt, wie sie den Drang nach Rache an jemandem, der ihr das Herz gebrochen hat, loslassen kann.



Jensen McRae - Praying For Your Downfall (Official Video)



Vor dem Hintergrund von Herzschmerz, Selbstfindung und der Komplexität der Liebe ist „I Don't Know How But They Found Me!“ eine mutige Entwicklung für die junge Künstlerin. Das elf Titel umfassende Album, das in North Carolina mit Brad Cook (Waxahatchee, Bon Iver) aufgenommen wurde und an dem Nathan Stocker (Hippo Campus), Matthew McCaughan (Bon Iver) und ihr Bruder Holden McRae mitgewirkt haben, ist eine lebendige Sammlung von Songs, die von messerscharfen Texten und zeitlosen Pop-Melodien getragen werden. McRaes Stimme ist so vielseitig wie ihr Songwriting - mal flüsternd und strukturiert, dann wieder klar und hell. Es ist eine Stimme, die sowohl den Herzschmerz des Verlassenwerdens als auch die Stärke des Verlassens verkörpert.



Von Anfang an haben sich die Fans in Jensen McRae verliebt, für ihre scharfsinnigen, aufrüttelnden und klarsichtigen Songs. Ihr Songwriting ist verletzlich, ja, aber es ist auch stark, weil es sich nicht zurückhält. „I Don't Know How But They Found Me!“ zeigt McRaes Entwicklung von einer vielversprechenden jungen Künstlerin zu einer echten Songwriterin und Star. „Die tiefgreifendsten Entscheidungen meines Lebens“, sagt McRae, “haben sich oft wie Dinge angefühlt, die ich getan habe, bevor ich dazu bereit war, und in die ich hineinwachsen musste.“ „I Don't Know How But They Found Me!“ handelt davon, was folgt, wenn man dem widerstanden hat, von dem man dachte, dass es einen vernichten würde. Es geht darum, seine Grenzen kennenzulernen und zu erfahren, wozu man fähig ist. „Ich verband mich mit dem Gedanken, dass ich leicht unter dem Gewicht dessen, was mir widerfahren ist, hätte zusammenbrechen können, aber ich tat es nicht. Ich wusste es nicht einmal“, sagt sie, ‚aber ich war die ganze Zeit kugelsicher“. Jensen McRae ist in L.A. geboren und aufgewachsen und hat fast ihr ganzes Leben lang Musik studiert und gemacht. In der High School nahm sie am Grammy Camp teil und schloss ihr Studium an der USC Thornton School of Music mit einem Abschluss in Popular Music ab. McRaes Debütalbum „Are You Happy Now?“ schrieb sie größtenteils im Alter von 21 Jahren und war der erste Schritt zum Aufbau einer treuen Fangemeinde. „Are You Happy Now?“ navigiert die Identität von ihren tiefsten Grundlagen - dem Leben als junge, gemischtrassige schwarze und jüdische Frau - bis hin zu ihren persönlichsten Überlegungen - vertraue ich dir, vertraue ich mir selbst. McRaes Vertrauen in sich selbst hat sich mehrfach bestätigt, zuletzt und vielleicht am bekanntesten in Form des Songs „Massachusetts“. McRae postete eine Solo-Strophe und einen Refrain, kaum mehr als ein Stück eines Demos, und es fing Feuer im Internet. Covers, Duette und eine Lawine neuer Fans folgten, und McRae krönte den Moment mit einer fertigen Version und einer sommerlangen Tournee als Support von Noah Kahan. „I Don't Know How But They Found Me!“ nimmt McRaes mittlerweile beachtliche Fähigkeiten auf und macht sie massentauglich. „Savannah“ ist ein Song für alle, die schon lange dabei sind. Der pulsierende, an Country angelehnte Song erinnert sofort an das Beste von Phoebe Bridgers, wobei McRae in einem akrobatischen Flüsterton über einer federleichten akustischen Gitarre singt. Wenn „Savannah“ sein Crescendo erreicht, wird klar, dass McRae eine Künstlerin mit einer ganz eigenen Kraft ist, wenn sich Klavier und Gitarre überlagern und McRae eine Reihe bissiger Anklagen mit Schärfe und Überzeugung vorträgt: "You swore you'd raise our kids to end up just like you / well you're a false prophet / and that's a goddamn promise." Währenddessen ist „Let Me Be Wrong“ eine echte Hymne, eine beschwingte Ode an die Ablehnung von Perfektionismus. Wiederum auf einem einfachen Gesang und einer Akustikgitarre aufbauend, steigert sich „Let Me Be Wrong“ Schritt für Schritt in seinem Trotz; die Gitarren schichten sich, das Schlagzeug nimmt das Tempo auf, und McRae macht Platz für die Fehler aller. Wenn McRae knurrt „fuck those girls got everything“, ist das ein Schlag voller Kraft und Verletzlichkeit, der darum bettelt, unisono so laut wie möglich gebrüllt zu werden. Der ungewöhnliche Titel ihres zweiten Albums? Er stammt aus einer Zeile in McRaes Lieblingsfilm „Zurück in die Zukunft“. Ein Hauptdarsteller überlebt einen Kugelhagel, und dieses Bild hat McRae sehr beeindruckt. „Ich habe mich mit dem Gedanken angefreundet, dass ich leicht unter dem Gewicht dessen, was mir passiert ist, hätte zusammenbrechen können, aber das habe ich nicht. Ich wusste es nicht einmal“, sagt McRae, “aber ich war die ganze Zeit über kugelsicher.“

Musique Pour La Danse is proud to present the definitive edition of the highly acclaimed and globally beloved Donkey Kong Country soundtracks, meticulously recreated by composer and producer Jammin' Sam Miller. Released in 1994 for the Super Nintendo Entertainment System (SNES), Donkey Kong Country was celebrated not only for its groundbreaking quasi-3D graphics but also for its exceptional soundtrack.
The soundtrack featured a variety of compositions, and has been highly praised for its diverse and high-quality music, with tracks like "Aquatic Ambiance" and "Fear Factory" standing out as fan favorites. The influence of the Donkey Kong Country soundtrack extends beyond the gaming world, having inspired modern artists and changed the way video game music was perceived.

This limited edition boxset, limited to 500 copies, comes as a triple DLP set, containing Volumes 1, 2, and 3. Pressed on red, green, and blue marbled vinyl, it is housed in a hardboard slipcase featuring new and original artwork by Andrew Beltran.

Don't sleep on this ultimate release-the previous boxset edition has been sold out for a long time, and if you can find it, it's being sold for crazy money.

Using hex SPC data converted to MIDI, Jammin' Sam Miller painstakingly recreated the DKC soundtrack note by note, sourcing the original equipment used to create it. He then translated the MIDI into a modern studio context, incorporating keyboard samples, remixing the sounds with added effects, and mastering the tracks. To learn more about his process, watch the explanatory video here: cutt.ly/ulUHE6J.

Horizon is a new collaborative album by Resavoir and Matt Gold. Across the 10 tracks the two Chicago-based producers combine their distinct sensibilities to create a hypnotic and inviting love letter to their shared admiration for "60s and "70s Brazilian music. Resavoir leading man Will Miller - the acclaimed trumpeter, composer, and producer who"s worked with SZA, Whitney, and more-makes room at the table for Gold - a seasoned multi-instrumentalist and accomplished guitarist who has collaborated with the likes of Makaya McCraven and Greg Ward - and the results are distinctly new for both of them. The sunny and expansive tunes on Horizon are as immersive as they are endlessly replayable, a dynamic and joyous body of work.

Der 1999 veröffentlichte Soundtrack zu Eyes Wide Shut enthält eine einzigartige Trackliste mit Hits wie „Baby Did a Bad Bad Thing“ von Chris Isaak sowie Originalkompositionen von Jocelyn Pook, die den unheimlichen und spannungsgeladenen Ton des Films perfekt ergänzen. Ein herausragendes Stück, „Masked Ball“, wurde wegen seiner eindringlichen, atmosphärischen Qualitäten zur Ikone. Das Album wurde für einen Grammy Award in der Kategorie „Best Score Soundtrack for Visual Media“ nominiert, was die Anerkennung der Kritiker unterstreicht.

We have had the honour of reissuing the work of Italian sonic polymath J.P Energy via our collaborative label with Transmigration, Sound Migration, over the course of the past year. Our third outing with J.P Energy is ‘Prima Dell’ Alba / Forbidden Planet’ - two sophisticated and sinister percussive tracks from 1997 that sit at the boundaries of Techno & Trance, indicative of the fruitfulness of creativity in underground dance music from Italy during this time. We are very pleased to bring this, until now, very difficult to obtain record into the hands of appreciative music lovers, complete with with a modern revision of Forbidden Planet by J.P Energy himself.

Gladio Operations closes 2024 with its tenth release, which bears the signature of the German producer Elektrotechnik.

This EP, entitled Kontrast, comprises three original tracks and two remixes. The A-side starts with Sigma, a rogue track with light trance touches and an appropriate psychedelic bass line. Russian producer Larionov returns to Gladio and gifts us his fantastic vision of Sigma, turning it into a more energetic piece destined exclusively for the hottest dancefloors. Side A ends with Kontrast, a track of aggressive rhythms and moulded with powerful dark textures.

On the B-side, we encounter Die Bestie, perhaps the most robust track and possessor of disturbing and tenebrous harmonies, an enigmatic journey with no return. The owners of the UHF label get back on track by creating remixes, being in charge of closing the EP, and offering us a deeper and more cosmic approach than the original track.

Today Not Yesterday Records’ fourth vinyl release comes from label founder Jerome T. Music Is The Answer is an exploration of house tracks best described as a personal journey through house music, meant to feel essential, deep, raw, and energetic. The album’s artwork perfectly captures its essence and was created by Jade Jansman.

Fast Castle kicks off 2025 with another five-track heater: Stable Units by Gent1e $oul!
Across five tracks, Gent1e $oul hones his signature blend of bass-driven genres, adding more dancefloor-focused cuts to his ever-expanding sonic universe.
The opener, 4TC Boom, came together in a single restless session, crafted as a late-night special for the label’s most recent dance at Fitzroy. Its thick, drippy bassline—born from Digitakt overdrive manipulation—makes it the perfect stalactite cave anthem.
Next up, Paladin—named after the strongest horseback unit in Gentle $oul’s beloved AOE II—marks Gent1e $oul’s second collaboration with recent Femme Bass Mafia production graduate Rolex3k. This jersey-tinged, wubby roller was first road-tested by MSJY at Reef, where it proved its undeniable dancefloor potential.
Who doesn’t love that classic M1 grime flute? +390 pairs its signature "ring ring" sound with rolling UK techno drums, making for a no-brainer DJ tool.
On the flip, Steppe Lancer is a brooding, venomous mutation—headsy, progressive, and laced with heavy, evil energy. An FCHQ favorite and one for the heads!
Closing things out, Parthian Tactics dives deep with a late-night dubstep cut. Powerful enough to shake the subs, yet swaying in half-time for those introspective moments.
For the artwork, our graphic wizard Jonas went all out, creating a stunning detailed Bronze Age–inspired 3D equestrian design. Snag the full-cover printed vinyl via Bandcamp or at your favorite record store.

Quick Guide
4TC Boom, 154bpm – Drippy stalactite cave, peak-time weapon
Paladin, 142bpm – Wubby jersey roller, groovy DJ tool
+390, 138bpm – Grime-tinged dubstep x techno hybrid
Steppe Lancer, 154bpm – Headsy, progressive rattlesnake venom bomb
Parthian Tactics, 146bpm – Deep dubstep for late-night sessions

Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. When we set sail in 1993, we never would have dreamt that our journey would still be going on after more than three decades and with 500 releases to date.

In our fast-paced business, the 500 mark is rarely reached, so we want to celebrate it with a lavish 5LP box set. In a democratic process, we have selected 50 pearls from the thousands of tracks released over the last 33 1/3 years and pressed them onto 5 brightly coloured vinyls. Alongside many Kompakt evergreens, there are also some real rarities from the early ‘Kompakt Sound of Cologne’, which have been lovingly remastered here to shine in new splendour.

The box also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here.

The Bonus Picture Disc opens with the symbolic tolling of 500 bass drums, followed by 50 locked grooves from the 5 Kompakt founders, looping into infinity at 133 1/3 BPM, and the ‘33 1/3 Years Loop Opera’ – in which the loops are combined into one track that, in its reduced essence, is more than the sum of its individual parts. The magic of groovy loop minimalism and the ‘art of omission’ are once again brought to the proverbial point.

On 23 May 2025, the big KOMPAKT 500 art exhibition will open at the venerable Kölnischer Kunstverein to coincide with the release. The entire visual cosmos of Kompakt will be shown here in an unprecedented way on three floors, with the participation of many renowned artists. Of course, there will also be dancing and partying at the vernissage party, with DJ sets and live shows by the Kompakt Allstars.

The last one turns off the bass drum.


Im Laufe der Jahrzehnte hat sich in unseren Köpfen das Bild von Kompakt als Piratenschiff festgesetzt, das den Gefahren der sieben Weltmeere des Musikmarktes trotzt. Mal gleitet es mit Rückenwind durch ruhige Gewässer, mal muss es heftige Stürme überstehen. Als wir 1993 die Segel setzten, hätten wir uns nicht träumen lassen, dass unsere Reise nach über drei Jahrzehnten und mittlerweile 500 Veröffentlichungen immer noch andauert.

Die 500 ist in unserem schnelllebigen Geschäft eine selten erreichte Katalognummer und soll daher mit einer üppigen 5LP-Box gebührend gefeiert werden. In einem demokratischen Prozess haben wir aus den tausenden Tracks der letzten 33 1/3 Jahre 50 Perlen ausgewählt und auf 5 knallbunte Vinyls gepresst. Neben vielen Kompakt-Evergreens finden sich auch einige echte Raritäten des frühen “Kompakt Sound of Cologne”, die hier liebevoll remastered in neuem Glanz erstrahlen.

Die Box enthält außerdem ein 144-seitiges Buch, das mit ausführlichen Texten und Bildern die Kompakt-Geschichte von 1993 bis heute erzählt. Neben den mannigfaltigen musikalischen und grafischen Errungenschaften von Kompakt werden hier auch die multidisziplinären Vernetzungen zur bildenden Kunst beleuchtet.

Die Bonus Picture Disc wird mit einem symbolischen Glockenschlag von 500 Bassdrums eröffnet, gefolgt von 50 Endlosrillen der 5 Kompakt-Gründer, die sich bei 133 1/3 BPM in die Unendlichkeit schleifen sowie der “33 1/3 Years Loop Opera”, in der die Loops zu einem Track zusammengefügt werden, der in seiner reduzierten Essenz mehr ist als die Summe seiner Einzelteile. Die Magie des groovenden Loop-Minimalismus und die “Kunst des Weglassens” werden einmal mehr auf den sprichwörtlichen Punkt gebracht.

Am 23. Mai 2025 eröffnet parallel zum Release die große KOMPAKT 500 Kunstausstellung im ehrwürdigen Kölnischen Kunstverein. Der gesamte visuelle Kosmos von Kompakt wird hier unter Beteiligung vieler namhafter Künstler*Innen in nie gesehener Form auf drei Etagen gezeigt. Selbstverständlich darf zur Vernissagenparty auch getanzt und gefeiert werden zu DJ Sets und Liveshows der Kompakt Allstars.

Der Letzte macht die Bassdrum aus.

We're happy to welcome Vincent Semlinger, aka Snares, to our Ilian Beat Series.
In addition to making slamming beats, the producer from Augsburg, Germany, is also a mixing and mastering engineer. Enjoy!

Stereogum: »Here’s a cool new musical project that feels both out-there and extremely mundane. In 2022, the great Colorado experimentalist M. Sage teamed up with Lieven Martens (Dolphins into the Future) under the name Sage Martens. Their album, »Riding Fences«, was an ambient classical exercise designed to explore the idea of ›Western‹ music. They’re back this year with another conceptual offering (...)«

»Chamber Music for Lawn Mowers« is the second album by Sage Martens. This time, Matthew Sage (RVNG, Fuubutsushi) and Lieven Martens (Edições CN, Dolphins into the Future) sing the lawn.

Did you know a clean-cut lawn is a desire we inherited from the British?

Yes, the British dumped this pleasure into our collective consciousness. Those humorless Victorians who enjoyed having their black pudding on the lawn. They came to this uninspired impression while mis-looking at Italian paintings. Yes indeed, while gazing at these paintings they mistook green lanes for green lawns. Thus it became hip. Every stuffed truffle commanded his gardener to cut the grass.

As a result, this Victorian lust for sterile gardens with pretty green lawns nudged our world into water spillage and pesticide clouds. This new priority produced exhaust clouds and prudish monocultural landscapes. Just by looking at Italian paintings.

As with most of Western history, the practice was exported to America and then turbocharged. By shearing clear the prolific brush of pastures, prairies, forests and glens, biodiversity becomes an aesthetic casualty with long-suffering ecological ripples. An inherited practice narrows the bandwidth of experience.

And so, the childhood habit of humming along in key to the drone of a gas-powered mower while trimming a suburban lawn extrapolates into something expanded — an unanswered question about the harmonics of landscape practices.

M. Sage: Bb clarinet, alto saxophone, sine wave, lawn mowing, processing L. Martens: computer, analog synthesis, digital processing With W. Van Gils: lawn mowing

This one-off Belgian New Beat project from The Zodiacs at first glance seems like standard fare from this time and place in dance music history - even with call to action, commanding listeners to ‘Move & Dance To The New Beat!’ that could well have earned a place at one of the slogans of the entire movement in an alternative universe where this record was a hit. However, a hit it was not - what we have here is an obscure piece of music shrouded in mystery, previously released only on 7 inch, and its enigmatic nature only adds to eerie quality of the children’s voices throughout the record. This, alongside its higher tempo not usually associated with New Beat as a musical form, come together to bring forth a bizarre oddity of the genre that also has the potency of a modern, peak time weapon. Anatolian Weapons on remix duties takes the material and reduces the speed but increases the malevolence and is a testament to his skills as one of the great producers working today!

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

Nach seinen Megaerfolgen der letzten Jahre mit der erfolgreichsten Radiosingle 2021 „Save Your Tears“ (Platin) und dem erfolgreichsten Song 2020 „Blinding Lights“ (3x Platin) beginnt The Weeknd nun sein
nächstes Kapitel.
Dieses kündigte der Superstar bereits im Herbst 2021 mit “The Dawn Is Coming” auf seinen Social-MediaKanälen an und bestätigte die Gerüchte für ein neues Album dann an Neujahr. Der erste Vorgeschmack auf sein neues Album erfolgte mit der Single „Take My Breath“. Diese stieg direkt in die Top 20 der deutschen Charts ein und erreichte Platz 2 der Airplay Charts.

Sein letztes Studioalbum „After Hours“, welches u.a. die Erfolgshits „Blinding Lights“, „Save Your Tears“ und „After Hours“ enthält belegte Platz 5 der Albumcharts. Seine anderen Alben „Beauty Behind The Madness” (2015) und “Starboy” (2016) sind in Deutschland beide mit Gold ausgezeichnet. Sein neues Album „Dawn FM“ erscheint nun am 07.01.2022 digital und enthält Feature-Artists wie Jim Carrey, Tyler The Creator und Lil Wayne.

Am 28.01.2022 erscheint es auch auf CD und wird ab dem 29.04.2022 auch als Vinyl erhältlich sein.

From the experimental chaos of IDM to the deep, soulful chords of Detroit techno, Japanese DJ and producer Takuya Matsumoto takes us on a captivating journey through decades of musical evolution. Vertical Stories is Takuya’s debut album, and it seamlessly blends the past with the future. Get ready to dive into a sonic landscape that spans from unfiltered energy to complex, layered textures. If you’re a fan of the raw energy of Underground Resistance, the innovative sounds of Mike Paradinas, or the intricate layers of Floating Points and Pepe Bradock, to name just a few, this full-length album is for you!

The Prodigy's 'Their Law: The Singles 1990 - 2005' is released on vinyl for the first time.

The singles collection was originally released on the 17th of October 2005, entering the UK Chart at Number 1.

Deluxe double LP pressed on silver vinyl and including a digital download code.

The debut release of Collective Direction explores the incredibly broad and fascinating variety of work of Tasti Box, operating in San Francisco in the early 90’s.

This previously unreleased album, made in the early 90’s, captures the spirit of the San Francisco free party scene that exploded around that time. DJ Harvey, Doc Martin, the Hardkiss Brothers, the Wicked Crew and a host of international guests played at legendary all-night parties at locations such as under the Golden Gate Bridge, on huge custom-built sound systems. Helping to define not only the West Coast scene but also influencing the rest of the country throughout that decade. The cultural impact of this moment in time continues to inspire today’s dance music landscape.

Opening on the delicate and melodic ambient tracks Mim and Quetzcal, the A side closes on Dr Tripi, a house-infused track preluding the uniqueness and diversity of the emblematic Tasti Box sound, explored more broadly on the B side with the triptych of Desire, U Can Fly and Box, a trippy journey melting influences from breaks, house, experimental and techno, one that can be experimented at home or in a club setting. The C side opens with the killer trancey and psychedelic club track Feel It, one expected to be definitely heard on dancefloors over the Summer. It is complemented by the almost balearic Story of O and bleepy and esoteric Electrons. On the D side, some Daisy Glow tracks, showing strong late Tasti Box influence, close the musical journey with four tracks of joyful and melodic house music, a perfect ending to a night and to the double LP.
It’s a compilation for music collectors and dancers alike and those excited to explore the history of a sound not afraid to experiment. The vinyl includes a limited edition A4 design of the artwork cover, an exclusive conversation with the artists and two vinyl exclusive tracks. One not to miss!