Search:end it

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm van den Dorpel.
Initially birthed as a joint, improvised performance between Amnesia Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known simply as Lexachast. Since then, it has expanded into a live show that has been performed at Transmediale, CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new document of Lexachast in its current, full-grown form.
Whilst broadly inspired by the experience derived from and exposure to algorithmic patterns as generated by visual artist Harm van den Dorpel’s specially- devised program, the work is a sonic reference to the fallouts of avant-EDM and cyberdrone. This in turn is simultaneously mirrored by the perturbing visuals, created by a unique algorithm that sources and blends various filtered imagery from DeviantArt and Flickr in real time – with a bias towards the NSFW, extreme banality, and ornamental melancholia. The results were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which ended up as a defining element for the project.

Her music is a form of auditory interpretation, powered by curiosity and her toolkit of modular, analog, and rare synthesizers (including her signature Buchla), orchestral textures, and voice. Since her first self-releases in 2012 (Tides), she has explored the endless possibilities of electronic instruments and the relationship between sound, shape, color, body movement, and expression. GUSH follows Kaitlyn's recent collaboration with Hot Chip's Joe Goddard on the 2024 Neptunes EP, and it marks the first taste of new music since her 2022 full-length Lets Turn It Into Sound, which was nominated for the LIBERA Awards Best Electronic Album of the Year and won the praise of NPR Music, Pitchfork, The Guardian, Bandcamp, and more. In GUSH, she sets her sights on aesthetics, focusing on the heightened awareness of and presence in the world, where every interaction whether with people, objects, or nature has the potential to become a moment of connection, and personification.

Their original pop-infused songs blend rock, punk, and garage rock, and--together with their wild stage presence--have made them unforgettable to anyone who sees them live. Last year, the power trio even provided the soundtrack for a Ryukyu Nissan commercial--appearing in it themselves. Now, it's time for their debut LP: "Best Answer"! The album is incredibly catchy and versatile. From wild, lo-fi punk instrumentals like "Beehive!!" and "Howling Bowl", to cool pop- punk tracks like "I Want You", "45", and "Questions- theme".

There are also danceable garage punk songs like "Brighton Beach", "Koi no yokan", and "Yoakenotori ga naita". The track "I am I" references the SONICS' guitar sound and adds cool Japanese female vocals, screams, and harmonies. The album also includes two wild, punky cover versions: the R&B classic "I Got My Mojo Working", and a charming yet incredibly cool take on Jacques Dutronc's "Les Cactus". And with "Honey Pye", they even deliver a catchy off- beat tune with a feelgood pop-punk attitude. This album is top-quality Japanese rock--from beginning to end!

The Brokedowns are the coolest punk band in Chicagoland and they're back with 13 new songs of fury and satire. The quartet has steadily grown in popularity and so has their appetite for mockery. We asked them about the record, and they explained the fi­rst track is a musical tribute to QAnon moms taking over the school board. Quite the tone-setter. While not a concept album, there is a thematic protagonist: Alpha Dog Serum X. No, Serum X is not a panacea to a world gone mad, it's a fi­ctional miracle drug endorsed by all the coolest billionaires and influencers. Safe to say, if dorks like Elon and Logan Paul heard this music, they would not get the joke. The Brokedowns fuse heavy rhythms with singalong melodies, and they use those tools like hammer and tongs to blast away at our societal ills. It may sound grim, but no one has more fun with our stupid culture than The Brokedowns, so you may as well get in on the roast.

"Enter: The Conquering Chicken" ist das zweite und letzte Studioalbum von The Gits. Die Sängerin, Texterin und Frontfrau der Gits, Mia Zapata, wurde 1993 in Seattle ermordet, während die Band ein paar Wochen lang an dem Album arbeitete. Produziert von der Band und ihrem langjährigen Freund Scott Benson, kam "Enter: The Conquering Chicken" 1994 bei C/Z Records raus. The Gits gründeten sich 1986 am Antioch College in Ohio und zogen 1989 zusammen nach Seattle, als die lokale Szene langsam bekannt wurde. Obwohl ihr rauer, blueslastiger Punk, der von Mias unvergesslicher Stimme getragen wurde, nicht ganz in das Schema ihrer Kollegen aus dem Pazifischen Nordwesten passte, fand die Band sofort einen festen Platz und eine große Fangemeinde. "Enter: The Conquering Chicken" zeigt The Gits auf dem Höhepunkt ihrer Schaffenskraft. Aufgenommen am Ende einer ausverkauften Westküsten-Tournee, waren sie in Höchstform. Kreativ, inspiriert und angetrieben von der Aussicht auf ein neues musikalisches Kapitel, das man in diesen Aufnahmen hören kann. 2003 von Jack Endino neu abgemischt, zeigen Songs wie "Bob (Cousin O.)", "Guilt Within Your Head", "Seaweed", "Sign of the Crab", "The Drinking Song" und Mias atemberaubende Interpretation von Sam Cookes "A Change is Gonna Come" eine deutliche Weiterentwicklung nach ihrem erfolgreichen Debütalbum "Frenching The Bully" von 1992. ",Sign of the Crab' war der letzte Song, den wir als Band zusammen geschrieben haben", sagt Bassist Matt Dresdner. "Basierend auf Andys teuflischer Komposition und Mias brillanten, gruseligen Texten war die Musik kraftvoll, komplex und voller lustiger, verdrehter Wut. Die Songs auf Chicken geben nur einen kleinen Einblick in das, was wir damals gemacht haben." Dieses seit langem vergriffene Meisterwerk des Seattle-Punk wurde 2024 von Jack Endino für Sub Pop Records remastert und ist auf farbigem Vinyl mit neuem Artwork und Liner Notes von Tim Sommer erhältlich, der treffend schreibt: "The Gits waren eine wütende, hitzige Band, die voll und ganz im Einklang mit der Bessie Patti Smith ihrer Zeit stand und von ihr beeinflusst war, der einzigen Sängerin, die Joplin, Poly Styrene, Sam Cooke, Iggy Pop und Ian MacKaye in ein und demselben verdammten Song vereinen konnte."

After a long hiatus relatively speaking("8" and "9" came out in April 2022) Prins Thomas drops his 10th studio album.

Picking up where the last record ended, it's an introspective but celebratory and uplifting affair. One-man-band jams
turning into mini epics, like coming up for air or seeing the bright lights at the end of a long dark tunnel.

Based on a Motown classic that also served as the debut song for a world-famous kids group, the long-awaited ending theme is finally getting a single release!

From the soundtrack of director Shinichiro Ueda's One Cut of the Dead, the indie film that became a social phenomenon upon its 2018 release, grossing over 3.1 billion yen, this gem of a track is now available on vinyl. While retaining the melody of the original song written by Berry Gordy Jr., Kensun Lovers (Nobuhiro Suzuki and Shoma Ito) added Japanese lyrics and a new arrangement, with actress Mayumi Yamamoto on vocals. The theme song "Keep Rolling" quickly won the support of discerning international listeners, reaching No. 1 on Spotify's "Japan Viral Chart" the week after the film's release.

On the B-side, two versions of the film's main theme "zombeat" are included, featuring hard-hitting guitar work brimming with respect for the original Zombie series.

Kriv’s much-loved Bedits series is now getting the vinyl treatment with a few choice selects from previously digi-only releases, as well as some fresh unheard heat. From 90s dance to low-slung R&B, loopy disco and bouncey house, this 4 tracker is a party from beginning to end. Straight from the bed and into the bag!

Dear Wormwood acts as a volume II to Through the Deep, Dark Valley. While Through the Deep, Dark Valley is about the protagonist's past, Dear Wormwood is about the character's future. The duo explains, "This album is a collection of letters, all written by a single protagonist and addressed to a single recipient, a conversation to which the listener is an observer as a relationship gone wrong reaches its breaking point - the words and music are at times affectionate and bittersweet, at others resigned and resolute."

15th Anniversary Edition. Black Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Moin, it's Brigade Helbing!!! Endlich auch in Rille gepresst!!! Die Hamburger Oi!-Punk Veteranen spielen den klassischen Deutsch-Oi! Sound der 90er Jahre, da kommen sie her. Bewusst sperrig, punkig und oldschool. Scholzer und Eike waren in jungen Jahren in den Bands Testosteron und Smegma aktiv. Man hatte einfach mal wieder Bock auf Bier trinken im Proberaum und darauf, die alten Songs zu spielen. Als Verstärkung holten sie sich Dennis von den Harbour Rebels an der Gitarre und Frank von L.A.K. an den Drums; beides alte Freunde aus der Fanszene des FC St.Pauli. Die ursprüngliche Idee, dass jeder die Hits seiner Bands mitbringt wurde dann ziemlich schnell verworfen. Die Texte sind erwachsen und man hört deutlich die Jahrzehnte in der Szene heraus. Herumgepose braucht in dieser Band keiner mehr. Die Debüt-EP enthält 6 Songs, davon eine Coverversion von L.A.K.s "Mehr Als Fußball", einem alten Gassenhauer aus der St.Pauli Fanszene Mit Unterstützung von Jule, Sängerin der Harbour Rebels, zusammen mir Scholzer im Duett. Ihrer Ansicht nach die beste Paarung seit Cindy & Bert.

“Even a blind pig can find an acorn once in a while.”

Dialling up Bristol for a nearly-missed hard drive scoop from a moment back in the middle-distant past, Bruk proudly presents the sound of Blind Pigs. Snaffling up eight nuggets of open-format beats recorded over a 24-hour creative spurt, this record captures a moment in time and celebrates the magic that happens when seasoned heads cut loose in the studio without an Agenda.

The sound of Blind Pigs is steeped in many things, conjured as it is by two venerable wizards with all kinds of skin in the game. There are snatches of trap’ sharp contours, LA beat scene storytelling, grime immediacy, soundtrack atmospherics and the pervading influence of soundsystem-spirited low end. Those are all just hints really — the resulting spell is its own blend that manifests free of any conceit. The production is raw and impactful, cold to the touch but charged with emotional weight in the haunted polysynth shapes peeling out across the tracks. Re-discovered by chance and stripped of contextual baggage, Blind Pigs is what happens when music is allowed to happen naturally. No arch concept, no stylistic posturing, just properly crafted beats stumbled upon by chance from two real ones who maybe never entered the studio together Again.

Editors-Frontmann Tom Smith veröffentlicht sein Solo-Debütalbum „There Is Nothing In The Dark Which Isn’t There In The Light“

Nach zwei Jahrzehnten als Frontmann von Editors und zwei Alben mit Smith & Burrows betritt Tom Smith mit „There Is Nothing In The Dark That Isn’t There In The Light“ nun endlich Solo-Territorium. Motiviert durch den Wunsch, zu den rohen, akustischen Anfängen seines Songwritings zurückzukehren, machte sich Smith daran, etwas Intimeres und Persönlicheres zu schaffen, weg vom kollaborativen Charakter seiner Bandprojekte.
Anfangs Stand noch der Gedanke im Raum, diese Songs wieder mit seinem langjährigen Kollaborateur Andy Burrows zu schreiben, entschied sich aber schließlich für einen einsameren Weg und engagierte stattdessen den Produzenten Iain Archer. Gemeinsam schufen sie ein Album, das auf emotionaler Ehrlichkeit, akustischen Texturen und Themen wie Verbundenheit, Erinnerung und Resilienz basiert.
Auf dem gesamten Album balanciert Smith reduzierte Arrangements mit filmischen Schnörkeln und schafft so eine dynamische Bandbreite – vom minimalistischen Schmerz von „Broken Time“ bis zum mitreißenden Drama von „Life Is For Living“.
Obwohl von Melancholie geprägt, schwingt auf dem Album letztlich Hoffnung mit – es unterstreicht Smiths Entwicklung als Songwriter und seinen Wunsch, Musik zu schaffen, die das Wesen seiner Persönlichkeit widerspiegelt.

- Oxblood Single Vinyl

The complete recordings of the legendary Marc And The Mambas run of three live performances given at The Duke Of York's Theatre in London's West End in 1983. Restored from the original VHS tape recordings made by the late Peter 'Sleazy' Christopherson (Throbbing Gristle, Coil), these remain the only recordings that exist of Marc And The Mambas performing live. Originally released in 2012 on Marc Almond's (Soft Cell) own Strike Force Entertainment label as a CD/DVD set (long sold out), this edition, presented on vinyl for the first time, contains the 17 tracks from the SFE CD release, expanded to include the two bonus DVD-only tracks: 'Près Des Ramparts De Séville' and 'Jacky'. Completely remastered for vinyl by Martin Bowes (The Cage Studios). A combination of the chanson and torch songs which he still sings today, over piano, strings and woodwind-accompanied compositions. "It's quite a spectacle, especially when Almond hits his sweet spot of sinister lyrics, declared pompously over a droned string arrangement... Early signs of the full-on showtune and classical rearrangements that make up Almond's current albums are evident"(Record Collector). Presented on heavyweight double vinyl in a deluxe glossy gatefold sleeve featuring the extensive reminiscence by Marc Almond himself from the 2012 release. Also included is a reproduction of the 16-page programme printed for the three concerts in 1983. The stunning cover painting by Val Denham is exclusive to this release.

Xexa is still undefined, gliding over her origins, influences, and points of reference. Her music is informed by uploads from all that, processing heritage and future in much the same democratic way, sure of its (her!) path. Synthetic as it may sound, »Kissom« contains the very human element of Xexa's presence, not only through her instantly recognizable ethereal vocals but also manifest in the web of grooves stopping short of »dance«. »Kizomba 003« is the closest she comes to the dancefloor, a reduced take on the popular style of kizomba, a low-key interpretation but with the vocals atypically high in the mix. A brief breath of nostalgia. »Kissom« (title track) prolongs the slow pace, almost as an extended mix of »Kizomba 003«, stretching the sexy bounce for close to 4 extra-delightful minutes.

Everything seems to dissolve into space, as if every track gently expires only to be reconfigured somewhere else, molecule by molecule, perhaps in a different location within our mind. The artist somehow corroborates the feeling, particularly regarding »Será«, »Xtinti«, and »Txe«, which she says »finish exactly where I wanted. They all end with an EQ that mutes the frequencies until they cease to exist«. Here, there, sparse beats, successive waves of ambience, half-machine lips singing close to our ears, a blend of classic 4AD and a metallic environment warmly wrapping around the music. Extra-long, »Quem és tu?« poses the question – Who are we? Who is she? And the title »Kissom« stems from another question Xexa often hears from people, »Ki som é este?« (What is this music?). The answer might well be the artist's own paste of the words »kiss« and »som«. Lovely.

Acclaimed Scottish composer Craig Armstrong releases his new work Pacific via his own label CMA Records. Written for piano, cello, and electronics, the three-movement piece was originally commissioned in December 2024 by Christian Kellersman, a pioneering figure in contemporary classical and jazz music, for his new live event series Berlin Confidential, co-curated with Alexander Szlovák. The series aims to promote innovative new music projects, with a particular focus on emerging musicians and composers.

Armstrong was among the first artists invited to perform as part of Berlin Confidential, premiering Pacific at Berlin’s historic Meistersaal concert hall in March 2025. The concert featured Armstrong on piano alongside cellist Lena Angelina von Almen and producer and musician Guy Sternberg, combining acoustic instruments with live electro-acoustic treatments to create a rich and atmospheric sound world.

Recorded in May 2025 at Lowswing Studios in Kreuzberg, Pacific continues Armstrong’s ongoing exploration of blending acoustic and electronic sound in a natural, seamless way. Over several days in the studio, Armstrong, von Almen and Sternberg developed the work’s intricate textures and dynamic interplay, resulting in a recording that captures both the intimacy and expansiveness of the original live performance.

Speaking about the inspiration behind the piece, Armstrong says: “I wrote this work during a time of great instability in the world, I wrote “Pacific” as an Elegy dedicated to the many suffering in today’s conflicts and in the hope that peace will prevail.”

Across its three movements, Pacific 1 is elegiac in nature, with the main themes stated and developed throughout the piece, punctuated by recurring piano motifs. The movement is reflective and atmospheric, with subtle electronic interventions. The second movement is arrhythmic in nature, following shifting time signatures that reflect a sense of uncertainty - the music is searching and static, ending without resolution but leaving hope for one to come. Pacific 3 moves towards peace and resolution, bringing the work to a close with quiet strength and emotional release.

When speaking about the creative process and his collaborators, Armstrong said: “Lena’s beautiful playing , tone and expression worked so beautifully on Pacific, Lena was also a great collaborator and was always willing to experiment and try new musical approaches. Lena is such a natural musician and she brought so much emotion and beauty to the piece. I wish her all the best in her future musical journey.”

He continues: Guy is a unique combination of being a brilliant engineer and mixer and a prolific very talented musician/composer. I was very fortunate to spend time with Guy in his studio in Berlin. His sensitivity to the project and his electronic programming made a wonderful contribution to the composition. His collaboration and friendship made the days working in Berlin such a great experience I would like to thank Emma Ford for her dedication, enthusiasm and guidance on Pacific”

For both von Almen and Sternberg, the collaboration was equally meaningful. Von Almen reflects on the experience of recording the piece, saying: “As a musician, it is always a great privilege to work on a piece together with the composer, and of course I felt even luckier to go through the process of creating something new with an artist like Craig Armstrong. Figuratively speaking, it felt like knitting a silk scarf: using the finest materials and taking the utmost care during the recording, we have realised another beautiful and touching work by Craig, which will bring us and certainly many others great joy. I feel very honoured to have been part of this and to have experienced this warm encounter.”

Sternberg adds: “Diving into Armstrong’s music while working on this record felt like examining a diamond under a microscope, discovering endless beauty within simplicity. Perfection and complexity emerging from simplicity, where every note, tone, noise, and gesture has meaning. I’m deeply grateful to have been part of this process, and for the freedom Craig gave me to express myself through his music, to let our sonic visions merge into one. It’s been both a lesson in music-making and in setting the ego aside, if only for a moment.”

Reflecting Armstrong’s belief in the role of music as a force for empathy and reflection, proceeds from Pacific will be donated to charities working towards peace: Médecins Sans Frontières and the Red Cross.

The limited-edition vinyl release has been pressed on Eco Vinyl at SeaBass Vinyl, a sustainable plant near Edinburgh. The record features striking cover art by Dirk Rudolph, who has designed several of Armstrong’s previous releases.

Back again with another release for the Meeting Of The Minds series, this time with lucky number 13!

First track on this is by me & Fez The Kid, who has been regularly sending me music for years, most of which I admit to sleeping on due to the sheer volume of demos submitted to the label. But when I was able to actually check some music that he sent me, there was one tune (at the time called All Round Juggling) of his that I gave me a few ideas on how it could sound. He was thankfully up for me working on it with him & the end result is "Skin Out Crew (Magnificent Mix)", which I've been playing a lot in sets this year.

"BDC" is a track done by me & The Last Ronin (aka Stretch & Enjoy) which they had started and I was really into it because it reminded me of some of the "ruff with the smooth" ragga jungle style tracks I'd hear on labels like Slam!, Tom & Jerry, Kemet & so on. It was really fun to work on this with them & we were also able to do a 2nd collaboration, which will be coming out on the next Defender compilation on Stretch's label AKO Beatz.

Settle Down is someone that was on my list of potential collaborators for a long long time but I just kept neglecting to reach out to him about actually doing something together. I eventually got round to getting in touch with him last year for collaborating on a track for Meeting Of The Minds, so he sent me something he had started, which I added some more to & sent back to him, so that he could add the finishing touches. The end result is "Shell Of A Man", which I like because it's quite sparse & ominous, dark but not in the typical "darkside hardcore" way.

"Altitude" by me & Flex Luthor has been through quite a lot haha. He initially reached out about working on a tune together in 2021 & at the time, I was keen but already quite occupied with other artists I was collaborating with for the series, as well as contemplating ending the series on Vol. 10, due to the amount of work it takes to compile each one (which also explains why Vol. 14 is not currently ready for release yet). But around the end of 2022, he sent me a track he had done where he said that he was struggling to get any kind of bassline that he was happy with. I liked what he sent so I asked him to send the track over for me to work on, but I then sat on the track for a whole year due to other commitments before finally working on it in 2024, during a long plane ride where I had time to actually focus on it. I was able to get the track to a place we were both happy with, until it became one of the tracks of mine that got lost when my backpack was stolen a few weeks later, with my computer inside. I didn't have the backup of the project, so unfortunately, we had to master this track for release from the mp3 file of the first & only version we had of it. I think it still sounds fine though, especially as this is not the first (or only) time I've had to send mp3 files off for mastering, but yeah, what a journey this tune has had!

We’re happy to announce the “Planetary Shift” EP by our friend O-Wells with an additional remix by Bangkok’s finest Sarayu from More Rice. An EP that combines friendship and a long overdue Ozelot-cosmos release. After we heard “Planetary Shift” a while ago for the first time, we kept insisting on releasing it- Now we’re happily presenting it to you in the form of a 4 track EP.

The record orbits around O-Wells’ signature style: dub-inflected drums, slithering synth lines, and percussive patterns that never sit still. There’s a sleek futurism to these tracks, but they feel worn-in, like spacecraft that have already charted the edges of known space. Across the EP, O-Wells embraces tension and release—rolling low-end pressure that swells, only to dissolve into weightless melodic fragments.

The result is music that feels in constant flux, forever shifting through sonic terrain without losing its pulse. Anchoring the EP is a remix from Sarayu, a key voice from Southeast Asia’s flourishing electronic music scene. Known for threading traditional rhythmic sensibilities into contemporary club frameworks, Sarayu flips O-Wells’ abstract groove into something tactile and urgent. His version turns the track inside out—primal percussion and humid atmospheres pushing the original’s spacious minimalism toward a more grounded, earthy palette. It’s a vital rework that expands the release’s global reach, bridging Frankfurt and Bangkok through the shared language of rhythm and friendship – Overall, the reason why we do what we do.

Another new project coming on Macadam Mambo is the first release of the duo Hun Hun.

Hun Hun are 2 young brothers from Bruxelles who are doing a very special music in an ethno-shamanic-tribal vibe pretty cinematographic. With this first opus, an album of 10 tracks, they bring us on a journey into deep, dark and mysterious atmospheres with natural backgrounds from the forest, beautiful vocals, singular percussions, and rhythms that would easily fit for intro sets at Boccacio in 1988. This album could have been easily released on Crammed Disc in the 80’s, but it has a modern touch from today that makes it a proper gem for Macadam Mambo.

Sugaring a Strawberry, the sophomore record from Julia, Julia, is a study in coming undone—on purpose. Recorded at COMA, Julia Kugel's home studio, and mixed through a custom Flickenger clone, the album drifts in and out of clarity like memory itself. It's emotionally retrospective, creatively unvarnished, and deeply human. You can hear it in the hiss, the warmth, in the vocals so raw they're like an open window. These songs weren't engineered for perfection. They were built to breathe. Her long-time collaborator and husband, Scott Montoya, mixes it all so loosely that you can hear the air between tracks— a space that makes the music feel inhabited rather than recorded.


"Bound" opens the album like a secret passed between sisters, solemn and unspeakably close. It begins with the softest of touches: hushed guitar, a near- whispered delivery that carries the intimacy of someone singing only for one other person. It's a love song, but not romantic, more ancestral in the way long bonds can be. All glow and undercurrent, "I Know," is like hearing someone hum through a wound. The track arrives as if it had been waiting, coiled and complete, to be sung. Its pulse is slow but insistent, anchored on a hypnotic loop and a vocal that's half-incantation, half-confession. One of the most outward-facing songs on the record, "Feeling Lucky," opens like a cigarette flicked in the dark– smoky and a little bit slick. Built on a skeletal beat and a nearly detached vocal, it leans into a sarcastic swagger that barely masks the ache beneath. The delivery is droll and glazed, the instrumentation is sparse and a little woozy, leaving space for her voice to sway—a shrug of a song, stylish in its sadness. "A Love That Hurts" drifts in on soft, fingerpicked guitar and a dry, close-mic vocal that feels both haunted and immediate. The mix is stripped down and analog-warm, letting tape hum and silence frame the emotion. Julia sings like she's remembering something she doesn't want to, each line a slight unraveling. Like the rest of the album, "A Love That Hurts" doesn't push toward resolution. It sits in the ache, sifts through it, makes it beautiful.

Sugaring a Strawberry doesn't seek catharsis so much as stumbles into it. There's a quiet volatility to these songs like they might fall apart if you press too hard. It moves in shadow and softness, asking questions it doesn't answer. It doesn’t end with closure. It ends with truth.

Frontman Chris Reifert was already a well-known force on the underground through his time as drummer with Florida's highly respected death metal combo Death. After playing drums on the band's debut album, the much acclaimed 'Scream Bloody Gore', Chris moved back west to the more open climate of San Francisco & formed Autopsy. The band released the demo 'Critical Madness' in 1988 & it wasn't long before Peaceville Records snapped them up in a deal initially spanning 4 albums.

The partnership kicked off in April 1989 with their debut album 'Severed Survival'; a brutal explosion of heavy riffs, tight drumming & a screaming vocal, rounded off with concepts of death, disease & diabolica. This was swiftly followed up with the equally genre-defining 'Mental Funeral' opus in 1991. Released in the autumn of 1995, Autopsy's then fourth & final album before splitting, 'Shitfun', was a glorious scatological gross out & exercise in the limits of extremity & a fitting end to one of the finest bands of a Doomed generation before their return from the grave in 2009 which has continued to go from strength to strength to the current day. This thirtieth anniversary vinyl pressing of 'Shitfun' is presented on bowel- busting limited brown marble- effect vinyl, including the original cover art & printed inner sleeve.

Straight out of the local mud of the city of Antwerp comes dancing this next Souvenirs from Imaginary Cities slab of free-flowing bits of electronic wonder : Schönen Abend by Simon B. Just in time to ease you out of this endless winter and right into springtime. Like the previous hit by Purple Uncle, this flower takes some time to bloom and fill up your head and body with it's ear wormy fragrance.

It's hazy and cinematic, makes you think of Italian electronic pioneers and their library magic, Patrick Cowley's School Daze and Haruomi Hosono in some kind of gothic manner. It's quite stripped and lush at the same time, rhythms like minimal mechanics make you fly above the river and land just outside reality. It's a nice place where soft jazz tingles right around the dark corner, and that particular mix of exotica and melancholia — the trademark of this port city's best electronic auteurs is definitely in the air. The river still shines, but she’s deeply poisoned. The old town has lost every bit of fresh air but keeps on digging for old gold. This bitter pill is served with delicacy and lightness, the wound is dressed up seductively — feet in the mud, head in the air. Stuff is sensuous, with quiet places reminding of the good side of those times when the big wheel stopped turning ever so madly. A strange quietness whistles through the leaves. Some things take time to unfold. In or out of C.

Four years in the making, this is the solo debut LP of Simon B, a longtime contributor to Antwerp's improvised music scene (Groovecats Deluxe, Wij Blij Trio ). Primarily a double bass player, he also has a deep-felt passion for offbeat electronica and the rainbowy side of American minimalism, which takes front here. The smoky voice on the last track belongs to Nina-Joy Thielemans, Nina-Joy is part of Particals, a trio working with live electronics and field recordings, releasing an lp on Ultra Eczema later this year. Furthermore, you can hear the tenor and soprano saxophone of Adia Van Heerentals on 4 tracks, deepening out Simon's naturally flowing compositions and playing around with his melodies. You may know her from Bodem and her strong presence in the Belgian jazz scene lately.

Simon's electroacoustic experiments — using a clarinet and some outboard effects — were important tools in finding the very specific colour of this record. There's this airy character, like wind blowing through old layers of bricks and over the river, anchored with a deep sense of bass, gathering ages of dust and memories in these eight elegantly wobbling tracks, forming a perfect whole that’s really coming together in one deep listening from A to Z.

The centrepiece is perhaps Come to Me, instrumental and reprise with vocals, but no fillers on this one. Every part of the mystery is needed to come to its end and back again. It's a record that works in the morning, to open up a day and in the quiet corners of the night, with it's sleazy quirkiness, smiling towards you from the right corner of the eye. A perfect compagnon for your long-form wandering habits, light reflections on a wet surface obsessions, coffee slurping in the morning and the forgotten art of beachcombing. Quite essential these days, witnessing a world going apeshit.

Known to fans simply as The Blue Album, Adolescents' self-titled debut album captured the raw pulse of Southern California's teenage rebellion at a time when hardcore was beginning to take shape yet still holding onto the infectious urgency of punk's first wave. Few records from the American punk underground have echoed as far and wide-or as enduringly-as the Adolescents' self-titled debut, first released by Frontier Records in 1981. Formed in Fullerton, California, Adolescents brought together members of earlier OC punk outfits like Social Distortion and Agent Orange, fusing their varied influences into something uniquely their own. With songs like 'Amoeba,' 'Kids of the Black Hole,' and 'No Way,' the album offered more than just speed and volume-it spoke directly to suburban alienation, youthful frustration, and the search for identity in a world that felt increasingly hostile and conformist. This new edition offers longtime listeners and new fans alike a chance to revisit-or discover-an album that helped define the West Coast punk sound. From its striking blue cover to its mix of melody, defiance, and urgency, "Adolescents" remains a vital listen, as relevant today as it was over four decades ago. It's an album that didn't just reflect its moment-it shaped what punk could be: loud, smart, emotional, and unflinchingly real. Reissued with care and respect for its original spirit, The Blue Album stands not only as a milestone in punk history, but as a testament to the enduring power of youth in revolt. This reissue includes a repro of the original insert and poster.

Since first arriving on the scene in 2009 with blistering inversions of shoegaze, Montreal's No Joy has always found formidable ways to reinvent itself. Now solely composed of musician Jasamine White-Gluz, No Joy has evolved over four studio albums and five EPs, defying expectation and genre, and cementing itself as something rare: a band without a category. Clearly sympatico at the time of collaborating, Fire-Toolz and No Joy (Jasamine White-Gluz) had both resituated to secluded woodsy milieus prior to the "Bugland seshies", as I now name the historic pairing. Together, they created an aural equivalent of a late 1980 I-d magazine front and back cover, with a non-problematic National Geographic hiding within. Fire-Toolz sums it up: "The collaboration really felt limitless. I didn't have to adhere to a certain vision in a way that made me feel like I couldn't be Fire-Toolz. I could easily relate to this album because Jasamine and I liked a lot of the same music, and I was able to be creative in ways that were freeing as if I was making my own album. " Both spent days driving through on empty rural highways listening to the mixes, and it reflects in the final product. With an open ear, many "influence eggs" can be detected by the listener. Garbage Dream House is Zooropian without any of U2's ego baggage. Seven-minute closing track Jelly Meadow Bright even manages to meld Stooges' Fun House out of control saxophone with the chill buoyancy of a high-end spa. Touching on respected, familiar genres and sounds while attempting to advance one's own isn't easy but Bugland manages to. What genre is it anyway? Is it even shoegaze when it could live happily on a shelf next to Boards of Canada and Autechre? The right answer is `yes'. What a lovely shelf `twould be as well. A marble shelf, with cyberpunk elements. Bugland`s a testament to White-Gluz's evolution and her ability to channel a wide variety of tastes into something cohesive that can descend into fine-tuned chaos, then out of that chaos with ease.

End of 2023, changes surfaced in and around me. In the middle of it, I decided to pack a bag, turn off my phone and leave for Los Angeles. I found this tiny house on Airbnb that had a studio in the back. I spent 95% of my time there, figuring out what was happening inside of me while writing demo after demo. When I came back to France a couple of months later, everything had changed, my old life was gone.



The year that followed was full of new experiences, feelings, habits and occasional songs. I went back to my parents’, rented a 22m2 apartment in Paris for 6 months, travelled to the other side of the world, ran a lot, started therapy, had sex, missed, chased and eventually held.


One thing that never left was the music. I’m so grateful for what it has brought and keeps bringing into my life every day.



Archwood is the playlist of these past 2 years of my life. It’s the name of the street where I stayed in LA. Archwood is a chapter I’m finally able to share and it feels very, very good.

DA-Dee-MiX, the hip-hop band that's a fixture on the MC battle scene, offers a bold cover of "Today," the source material for a shining classic in the history
of sampling! The B-side features "INCENSE," a collaboration with rapper Jun Ku, which has garnered much buzz, released for the first time on 7-inch,
making this an incredibly powerful double-sided album!

DA-Dee-MiX, the instrumental hip-hop band that continues to support the MC battle and live music scenes, releases their long-awaited new 7-inch, their first
in seven years. This two-track 7-inch single blends hip-hop's roots with a hands-on spirit.
Side A features guest appearances from 45trio SWING-O, who delivers a bold cover of Tom Scott's "Today" the source material for a shining classic in the
history of hip-hop. DA-Dee-MiX's signature groove, which intertwines jazz, soul, and hip-hop, reconstructs the track, offering more than just a cover; it
offers a new interpretation for today's listeners. SWING-O's electric piano and the ensemble of live performances beautifully elevate the warmth and power
of the original.
Side-B features the long-awaited vinyl release of "INCENSE," a collaboration with Yokohama-based rapper Kujun!
Released in 2020, this track captivated many listeners with its melodic flow and unique musical sense, leading to endless calls for it to be released on vinyl.
DA-Dee-MiX's soft yet powerful track is complemented by Kujun's fragrant words, creating a track that truly lives up to the title: a track that permeates the ears!
This double-sided album is a must-listen for DA-Dee-MiX's "performative hip hop"!

South London’s Jerkcurb – aka Jacob Read – is back with news that his sophomore album ‘Night Fishing On A Calm Lake’ is to be released at the end of November following 2019’s ‘Air Con Eden’.

After that album’s successful release Read had planned to expand Jerkcurb into a full band setup when his father, a painter like himself and a creative inspiration, passed away. Instead of the envisioned plan of taking his project bigger Read returned to the family home and re-examined the material for the new album and instead the album became one of reflection, grief and redemption. It’s not much of a stretch to see clear musical inspirations for the record too – Prefab Sprout, Talk Talk and The Blue Nile, records where the moments of silence are stretched out.

Read produced and engineered the album himself, mostly at home with Lara Laeverenz and Gray Rimmer providing cocals. The album is mixed by Dilip Harris (King Krule, Mount Kimbie).

The enchanting cover artwork was painted at Read’s father’s studio in Camberwell, painted in oil with its dreamlike blur of blue and black . It hints at the early film noir and magical realist influences for the album.

Switch is the tenth studio album by Dutch rock band Golden Earring, released in 1975 as the follow-up of the band's international
breakthrough album Moontan and their bona fide classic track Radar Love.

All tracks have been 24 bit/192 kHz remastered from the original master tapes.
Last but not least: the original IBC Studios master tapes of Switch reveal the legendary ’50 Hz roll off’ note.

On request of executive producer Freddy Haayen, the cutting engineer @ IBC was commissioned to cut all frequencies below 50 Hz,
which meant that a large chunk of low-end frequencies was eliminated from the final mixes during vinyl cutting.

So, for the very first time, on LP1 of this remastered issue,
Switch finally sounds as it was recorded and mixed – with all (full range) frequencies intact.

Switch (remastered & expanded) is available as a limited edition of 2000 individually numbered copies on white coloured vinyl,
it's housed in a gatefold sleeve, 2 printed innersleeves and includes a lyric sheet.

Unreleased 80s psychedelic funk rock out of Boston, MA. Influenced by Funkadelic, Sly Stone and James Brown, to name a few.

Sherman Williams Started playing and writing music at age seven, he played through middle school.

Travelled with a group, called Total Eclipse, throughout the East Coast during his high school years.

He was on a mission to be a professional musician/singer/songwriter, of a band – he wanted heavy rhythms to match his huge guitar action, this is how Black Axess came about.

"I badly wanted to record the music that I helped to create with the Black Axess so paid out of pocket for the studio time." - Sherman Williams

From that session one single, "Tonight" was released on 7" but the lost album "The Golden Seal" sat on tape almost lost to time. That was until Robert Garcia and Daniel Mathis spoke to Sherman while tracking the "Tonight" Single, and discovered the lost LP we have here, credit to them both for sorting out and hooking us up and special thanks to Daniel for saving the tapes when UPS almost lost them, which might have been the end of it!

Lay back, light one up, and listen on loop.

Step into the world of Parisian flair and lyrical finesse with Clovis Ochin's latest masterpiece: "Sans Souffrance (R)ajoutée", once again entirely produced by Camoflauge Monk.

Picture this: a seamless fusion of hip-hop vibes and the exquisite taste of fine natural wines, served with a side of haute couture swagger. Clovis Ochin, the enigmatic rapper and vintner extraordinaire, invites you on a sensory journey unlike any other.

Following the success of their 2022 debut album "Sans Souffrance Ajoutée," Clovis Ochin returns with a sophomore sensation that transcends boundaries. Produced by the renowned Camoflauge Monk, the sonic architect behind Griselda Records' iconic sound, this album is a testament to musical innovation and artistic evolution.

Known for his captivating presence on "F*ck That's Delicious" alongside Action Bronson, Clovis embodies the essence of a modern-day bon vivant. His passion for hip-hop, natural wines, food, and fashion pulsates through every track, creating a symphony of flavors and rhythms that captivate the senses.

But that's not all. "Sans Souffrance (R)ajoutée" boasts electrifying guest appearances from the likes of Billie Essco and SonnyJim, adding layers of depth and dimension to an already stellar lineup.

So, whether you're a connoisseur of hip-hop or a devotee of fine wine, prepare to be swept away by the intoxicating blend of sound and style that is Clovis Ochin's latest offering. "Sans Souffrance (R)ajoutée" is more than just an album—it's a cultural phenomenon, a celebration of life's pleasures, and a testament to the enduring power of artistic expression. Don't miss your chance to experience the magic firsthand. Cheers to Clovis Ochin, where hip-hop meets the love of natural wine in perfect harmony.

Step into the world of Parisian flair and lyrical finesse with Clovis Ochin's latest masterpiece: "Sans Souffrance (R)ajoutée", once again entirely produced by Camoflauge Monk.

Picture this: a seamless fusion of hip-hop vibes and the exquisite taste of fine natural wines, served with a side of haute couture swagger. Clovis Ochin, the enigmatic rapper and vintner extraordinaire, invites you on a sensory journey unlike any other.

Following the success of their 2022 debut album "Sans Souffrance Ajoutée," Clovis Ochin returns with a sophomore sensation that transcends boundaries. Produced by the renowned Camoflauge Monk, the sonic architect behind Griselda Records' iconic sound, this album is a testament to musical innovation and artistic evolution.

Known for his captivating presence on "F*ck That's Delicious" alongside Action Bronson, Clovis embodies the essence of a modern-day bon vivant. His passion for hip-hop, natural wines, food, and fashion pulsates through every track, creating a symphony of flavors and rhythms that captivate the senses.

But that's not all. "Sans Souffrance (R)ajoutée" boasts electrifying guest appearances from the likes of Billie Essco and SonnyJim, adding layers of depth and dimension to an already stellar lineup.

So, whether you're a connoisseur of hip-hop or a devotee of fine wine, prepare to be swept away by the intoxicating blend of sound and style that is Clovis Ochin's latest offering. "Sans Souffrance (R)ajoutée" is more than just an album—it's a cultural phenomenon, a celebration of life's pleasures, and a testament to the enduring power of artistic expression. Don't miss your chance to experience the magic firsthand. Cheers to Clovis Ochin, where hip-hop meets the love of natural wine in perfect harmony.

Step into the world of Parisian flair and lyrical finesse with Clovis Ochin's latest masterpiece: "Sans Souffrance (R)ajoutée", once again entirely produced by Camoflauge Monk.

Picture this: a seamless fusion of hip-hop vibes and the exquisite taste of fine natural wines, served with a side of haute couture swagger. Clovis Ochin, the enigmatic rapper and vintner extraordinaire, invites you on a sensory journey unlike any other.

Following the success of their 2022 debut album "Sans Souffrance Ajoutée," Clovis Ochin returns with a sophomore sensation that transcends boundaries. Produced by the renowned Camoflauge Monk, the sonic architect behind Griselda Records' iconic sound, this album is a testament to musical innovation and artistic evolution.

Known for his captivating presence on "F*ck That's Delicious" alongside Action Bronson, Clovis embodies the essence of a modern-day bon vivant. His passion for hip-hop, natural wines, food, and fashion pulsates through every track, creating a symphony of flavors and rhythms that captivate the senses.

But that's not all. "Sans Souffrance (R)ajoutée" boasts electrifying guest appearances from the likes of Billie Essco and SonnyJim, adding layers of depth and dimension to an already stellar lineup.

So, whether you're a connoisseur of hip-hop or a devotee of fine wine, prepare to be swept away by the intoxicating blend of sound and style that is Clovis Ochin's latest offering. "Sans Souffrance (R)ajoutée" is more than just an album—it's a cultural phenomenon, a celebration of life's pleasures, and a testament to the enduring power of artistic expression. Don't miss your chance to experience the magic firsthand. Cheers to Clovis Ochin, where hip-hop meets the love of natural wine in perfect harmony.

The story of Suffering began in the UK's West Midlands in 2012 and since those nascent days they have released a nefarious collection of occult black metal offerings, beginning with their debut album, 11, in 2018 and most recently the Symphonies: Diabolis EP in 2024. They have also built a reputation for intense, diabolical live performances, appearing alongside the likes of Esoteric, Ghost Bath, and Mol. The band recently signed with infamous label, Apocalyptic Witchcraft, with label founder Conor Droney describing Suffering's music as "dark, unflinching, and deeply atmospheric, exactly what we stand for." And now the first fruits of that new alliance are about to be unveiled, in the shadowed form of Things Seen But Always Hidden. Things Seen But Always Hidden is an enveloping nightmarish journey through temptation and spiritual destruction, an immersion in contrasting states of terror and ecstasy - it bewilders, consumes and possesses the power to change and scar. Each song seeps into the next, binding them into a grimoire of dehumanising ritual, yet they exist as powerful individual entities. There is 'Enthralled', constructed from classic black metal riffs and raw vocal exhortations_and something more, something imperceptible but profoundly affecting; 'What Once Was Shall Be Again And What Is Shall Be No More', a glimpse beyond the veil, a fall down the endless paths of inherited memory that binds you to this album, this place constructed from arcane sound; the fear filled and imperious 'Hell On Earth New Eden', driven by a ravenous, unholy hunger_each chapter in this tome of unmaking and desecration will burn itself into your mind. A fusion of blackest metal, ritualistic doom and unsettling, distressing atmosphere Things Seen But Always Hidden will never leave you, no matter where you run. The way to Things Seen But Always Hidden will be revealed by Apocalyptic Witchcraft on November 28th. But remember, once you have set foot on this path there is no way back_

ROTTEN, FOUL, DERANGED!

Around the end of the 1980s and the first years of the 1990s bands like PUNGENT STENCH, DISHARMONIC ORCHESTRA, DISASTROUS MURMUR or MIASMA made a name for themselves by putting out some classic albums. "Been Caught Buttering", "Changes" or "Expositionsprophylaxe" were records spawned by Austrian hordes which were globally hailed by devotees of Death Metal. As fertile a soil Austria once seemed to be, throughout the last 30 years not one single Death Metal album was put out that would match the quality of the pioneers.

Apparently, it took Brenton, an Australian settling in Vienna, to eventually put Austria on the map again. After having founded FESSUS with 3 other members in 2023, the quartet put out their first demo "Pilgrims of Morbidity" in the same year.

Now, two years after the very promising demo, FESSUS return with their first full-length. Cryptically entitled "Subcutaneous Tomb" the album's six lengthy songs stylistically continue where the demo left off. Whereas other bands focus on hyper-speed, over-technicality and brutality, FESSUS' brand of Death Metal is mostly played in moderate tempi with outbursts of speed and aggression scattered throughout the album. The songs are foremost characterized by memorable compositions and groove. Every song literally oozes with morbidity and conjures a dense macabre atmosphere. Brenton's vocals which are partly reminiscent of NECROPHAGIA's Killjoy are one of the highlights of the album. With his performance being equal parts versatile and deranged, Brenton spews vile bile and brimstone like not many lunatics before him. Although there are hints of other bands like AUTOPSY or PURTENANCE found on the album, FESSUS actually managed to come up with a sound that’s distinctly their own.

"Subcutaneous Tomb" is a perfectly produced album that those worshipping at the altar of morbid, rotten Death Metal can't afford to miss out on.

Recording, mixing, mastering: Thomas Taube (Five Lakes Studio)

Red vinyl, limited to 1200 copies worldwide. In late November 2024 Brutus performed three sold-out shows at the legendary Ancienne Belgique venue is Brussels. A year later sees the band celebrate these shows with the release of a complete live concert movie and album from the third of these shows; sixteen songs, ninety-two minutes, this is Brutus 'Live in Brussels'. That run of three shows in Brussels marked the end of the band's touring cycle for latest studio album, 2022's Unison Life: "'Live in Brussels' is what we want to leave behind after three years of touring 'Unison Life' across more than 20 countries and almost 200 shows. We made it together with our close live crew, the same people who were with us on every step of the tour. For us those three nights in Brussels were intense but beautiful. We're proud we managed to capture it like this; a live document where picture and sound work together to put you inside that night".

Clear Vinyl. Luxurious jacket with embossed logo and details plus cut-out on the side. Explore an emotional sci-fi game with a unique blend of survival, adventure, and base-building elements. Help the sole survivor of an ill-fated space expedition create alternative versions of himself to escape a hostile planet and tackle personal turmoils with this unconventional crew. 11 bit studios, the creators of the award-winning games This War of Mine and Frostpunk, present The Alters, an ambitious sci-fi survival game with a unique twist. You play as Jan Dolski, the lone survivor of a crash-landed expedition on a hostile planet. To survive, you must form a new crew for your mobile base. Using a substance called Rapidium, you create alternative versions of Jan -The Alters- each one shaped by a different crucial decision from the protagonist's past. The one-of-a-kind soundtrack for The Alters was created by Piotr Musial best known for his compositions for games like The Witcher, Frostpunk and This War of Mine. For The Alters, Musial chose to stray from the obvious path when it comes to this genre of games and head for something more original: "While many sci-fi soundtracks these days favor the sound of analog synths, the idea behind the music of The Alters was a bit different. We wanted the music to feel more untraditional and mix digital, glitchy elements, unstable reverb with organic sounds, all of which together could support this unique story." With this approach, Musial dove deep into the world of The Alters to turn abstract ideas and atmospheres in very concrete music: "We aimed for the planet to feel overwhelmingly strange and hostile at first. The music starts as more abstract and based on dense atmospheric sound design. Our circular base, a place of safety and comfort inspired to create a theme that 'goes round' by a repeating leitfmotif. You will always feel at home there, unless there's something bad happening, and that's where the theme will get changed, broken." Musial further explains: "One of the key elements we get to discover in the game is the Rapidium crystal. A strange mineral, with yet unexplored properties. We felt like it could have its own theme too, and therefore, wherever you find it, it 'sings' to you with it's strange, bassy voice, supported by a trace of live recorded strings, that were digitally destroyed to create this translucent texture, that sound unlike the real thing. A glitch crystal, is what they call it after all. But the more we explore the planet, the more the story we uncover. We wanted the music to gradually gain momentum and show the leitfmotifs more often, guiding you through emotional moments, fun moments, tough ones, reaching a grand finale. I hope you'll enjoy this ride." Enjoy playing and listening to The Alters!

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior.

Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021).

'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece.

RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird.

This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…"

Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine.

Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual.

'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025.

The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'.

Born At Midnite ist das Nebenprojekt von Amery Sandford und David Carriere. Das in Montreal ansässige Duo begann Ende 2018 gemeinsam zu komponieren, wobei sie sich strikt an das ,Post-Party"-Prinzip hielten und jeden Song innerhalb eines Abends fertigstellten oder verwarfen. Mit Samplern, Bandmaschinen und einem improvisierten Ansatz beim Songwriting schafft das Duo eine unheimlich vertraute Atmosphäre durch eine ungeschliffene Linse aus dünnem Eis. Die Gruppe spielt mit dem allgegenwärtigen Narzissmus und der Selbstgefälligkeit unserer Zeit und näht dabei eine Art ,Produktplatzierungs-Punk" zusammen, der nicht gesponsert ist. Amery Sandford ist bildende Künstlerin und eine unkomplizierte Popsängerin. Vor kurzem veröffentlichte sie ihr erstes Soloalbum ,Amery - Continue As Amery". David Carriere ist Produzent, Songwriter und Gitarrist in den Bands TOPS und Marci. More of the same dope shit for your wimpy little ear holes.

Modularz presents its 94th release, a new full-length EP by label head and renowned producer Developer, marking another milestone in a prolific year of studio work from his base in Berlin. Following the recent release of UHFVHF—a striking collaboration with Ukrainian sound architect Stanislav Tolkachev—Developer returns with Mesmeric Movements, a project that dives deeper into his signature terrain of hypnotic techno and rhythmic storytelling.

Comprising four vinyl tracks accompanied by four exclusive digital cuts, Mesmeric Movements offers an immersive journey through layered percussive architecture, pulsating low-end frequencies, and evolving textures that reflect Developer’s enduring command of tension and groove. Each piece unfolds with precision, revealing a meticulous approach to sound design that has cemented his position as one of techno’s most consistent and visionary figures.

With Mesmeric Movements, Developer reaffirms his artistic direction—refined, powerful, and unmistakably his own—while hinting at the evolution still to come from both artist and label in the year ahead.