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Released in 1993, The Love of Hopeless Causes is the sixth studio album by British post-punk and alternative rock band New Model Army. The album delivers powerful, politically charged lyrics and intense instrumentation. Key tracks like "Here Comes the War," "Living in the Rose," and "Fate" showcase the band's signature blend of raw energy, thought-provoking storytelling, and anthemic melodies. The album’s themes explore social unrest, personal struggles, and resistance, reflecting New Model Army’s unwavering commitment to their message. Produced by Niko Bolas, The Love of Hopeless Causes was the band's only release under Epic Records. With its mix of fiery rock anthems and atmospheric ballads, the album remains a standout in New Model Army’s discography, appealing to both longtime fans and newcomers to their music. The Love of Hopeless Causes is available on black vinyl.

Naarm/Melbourne-based rock powerhouse Shepparton Airplane are thrilled to announce the upcoming release of their fourth album, Forecast, set for release on August 8th via Wing Sing Records.

The highly anticipated follow-up to their critically acclaimed 2020 LP, Sharks, Forecast marks a compelling evolution for the band, leaning into a more song-oriented approach while still retaining the raw energy their live shows are celebrated for. While previous albums embraced extended jams, Forecast showcases a collection of more traditionally structured songs, with only one instrumental track, the epic slow-burner "Thursday, Simply."

Forecast was written during the endless Melbourne lockdowns, however the music maintains a surprisingly hopeful and, at times, pop-influenced direction.

Lyrically, Forecast delves into the darker facets of the human experience - isolation and introspection - exploring everyday interactions in tracks like "Saw You Coming," "Scribbles and Noises," and "Someone To Blame." These sit alongside apocalyptic observations in songs such as "Forecast," "Septic Dream," and "Hell No," as well as fictional narratives like the tale of a disenfranchised battler in "Angry" and the tragic seafaring love story in "Heaven Will Take Us In." Adding a touch of levity is "Stereo Youth," described by the band as possibly their most feel-good tune to Date.

Forecast promises to impress fans of outsider guitar-driven sounds and followers of the band members' other projects. Ultimately, the album reaffirms that raw, honest, loud rock'n'roll is alive and well in Naarm/Melbourne, Australia.

24,110 is the debut full-length from Philadelphia based ambient drone ensemble Soporus and is now available on vinyl. The group continues and expands nuclear power plant themes established on their Atomove Elektrarne ep with layered shimmering ambient guitar washes, droning bass, and lush keyboards. Features Matthew Stone and William Stichter from Saxon Shore and a guest guitar appearance from James Vella of Yndi Halda.

With creative verses rooted in technical brilliance, Detroit emcee Elzhi has attained the highest level of lyrical mastery. Now 15 years into an inspired solo career, the former Slum Village member has ramped up his output lately, joining forces with producers Georgia Anne Muldrow, Oh No, and JR Swiftz for three acclaimed albums in the 2020s. Now, Elzhi is reuniting with famed North Carolina producer Khrysis as the duo Jericho Jackson, revisiting the chemistry that resulted in a celebrated 2018 joint album. After emerging in the Justus League collective during the rise iconic group Little Brother, Khrysis has gone on to work with hip-hop royalty like Sean Price, Black Thought, Mac Miller, JID, Conway, Rapsody, Talib Kweli, Redman, and many more. With a highly anticipated album on the way, Elzhi and Khrysis are launching the new era of Jericho Jackson with the flawless EP I Am Him, channelling the spirit of vintage maxi-singles. “For me, the maxi-single represents a time when

hip-hop was unapologetically raw and underground,” Elzhi explains. “Some of my favourite artists used the format to showcase remixes, freestyles, and loose tracks that might not have fit the sound of an album. This is our way of restoring that feeling.” An exciting burst of new music from two undeniable talents, the project features appearances by Domo Genesis and Oh No.

20th anniversary edition (180g) with new master. Candlemass is a Swedish doom metal band formed in Upplands Väsby, a suburb of Stockholm, in 1984 by bassist, songwriter, and bandleader Leif Edling, alongside drummer Matz Ekström. The band has had a defining influence on doom metal, with the epic doom genre itself taking its name from their debut album Epicus Doomicus Metallicus. Along with Pentagram, Saint Vitus, and Trouble, Candlemass has been recognized as one of the "big four of doom metal". In November 2004, the band announced their second reunion. They recorded a new album, simply titled Candlemass, and it was released in May 2005. The album earned them a Swedish Grammy that year.

CANDLEMASS - a name forged in darkness; a legacy built on doom. Born from the cold shadows of Stockholm in 1985, this Swedish titan of epic doom metal has stood as a monolithic force for nearly four decades. In 2025, CANDLEMASS marks 40 years of sorrow-laden grandeur, a testament to their unwavering reign over the genre they helped shape. Their journey began with the seismic release of “Epicus Doomicus Metallicus” (1986), a requiem that redefined heavy music, followed by the monumental “Nightfall” - both now sacred texts in the annals of doom. These albums remain cornerstones of a genre that thrives in the echoes of CANDLEMASS somber majesty. Despite doom’s reputation for slow, crushing weight, CANDLEMASS themselves show no signs of slowing down. Relentless and untamed, they continue to storm stages worldwide, bringing their towering hymns to devoted Candlemaniacs from Tokyo to Los Angeles. With Grammy win in Sweden and a U.S. Grammy nomination in 2019, the band’s fire still burns with undiminished intensity. Originally released in 2009, “Death Magic Doom” is the tenth studio album from CANDLEMASS.

Danny Krivit’s landmark rework of Marvin Gaye's “I Want You" is amazingly celebrating its twentieth anniversary, and Most Excellent Unlimited have answered the pleas of the faithful by reissuing it for the first time on 7-inch. For the uninitiated, Mr. K’s much-loved edit peels back the instrumental layers of the original to focus on the lushly soulful vocal, leaving the track nearly drumless with just a touch of conga providing the only percussion. A magical listen. Elevating the tempo on the flip side is Billy Paul's "Only The Strong Survive", a stone-cold classic in the pantheon of Philly disco and the inspiration for countless house bangers that have drawn from its relentless drive and soaring vocals. Mr. K’s edit naturally focuses on the epic ride out of the original, a blissful 5+ minutes that will lift dancefloors to the heavens.

Kobe Dupree unveils debut album, ‘Voice from the Inside’, arriving 21st May 2025. It lands on fellow Chicagoan DJ Hyperactive’s 4Trk (4 Track Recordings), and features twelve tracks already supported by the likes of Dustin Zahn, Truncate, Korea Town Acid, Amanda Mussi & more, coming out on wax alongside the digital release.

Dupree’s cosmic ambient opener, 'Jacurutu', sinks you into deep, sub-aquatic techno hypnosis before 'Heretics' layers up alien sounds and rolling kick drums. 'Syk' brings edgy, unrelieved loops and muffled spoken words over more mind-melting rhythm. The supple sounds and otherworldly atmospheres continue on 'Forms', which is marbled with static electricity, with 'Interlude of Voice' marking a moment to reset amongst gorgeous celestial synth smears.

The second half of the album takes in the more punchy but still perfectly loopy deep techno of 'Memory Replacement' and psychedelic swirls of 'Tongue of the Unseen'. There is a mystical charm to the harmonic tones of 'Gammu', a moodier vibe pervades the suspensory 'Fogwood', then 'Semuta Music' traps you in tightly coiled drums and hi-hats while a backlit glow soothes the soul. 'One of Many Faces' closes with a heart-aching piano piece that gets deeply emotional.

Kobe Dupree is a techno artist from Chicago with a deep interest in sound design and minimalism. His musical experiments have been released on Trax Research, Double Vision Records and DJ Hyperactive’s 4 Trk, on which he released the ‘Stimulate | Iterate’ EP in 2024. He has a hybrid approach to production, which involves using a modular rig for sound design before moving to a DAW for arrangement and final touches, heard on the sophisticated and cerebral ‘Voice from the Inside’ album.

"Co mam delat" which translates from Czech to English "What should I do?" is the title track from this 3 track EP. Jazzy High Hats and Percussion set the pace for this mysterious groovy synth laden track. Your hips and the rest of your body will give that answer.
Side B "Overnight Delivery" - A Deep House Joint with 4 on the floor energy and warm evolving chime-like pads, Piano Chords and a touch of TB-303 Acid. It will Deliver your Dancefloor Audience to an Experimental, Deep House Experience.
B2 "Co Je To/What's That?" Is NOT a Translation. It's a Conversation that Matt hopes will happen between listeners and onlookers to the DJ that plays this track. Funky Bass ,4 on the Floor Drums, Jazzy Piano Chords and Devil Fish TB-303 Acid drive this track

180gAnnihilator zählt zu den erfolgreichsten und einfl ussreichsten Thrash-Metal-Bands weltweit. Im Mittelpunkt steht Mastermind Jeff Waters, der als Gitarrist, Sänger, Produzent und Songwriter maßgeblich den Sound der Band prägt.

Ab dem 6. Juni 2025 startet earMUSIC eine umfassende Reissue-Reihe auf CD und Vinyl, beginnend mit den Alben "King Of The Kill" (1994), "Refresh The Demon" (1996) und "Remains" (1997). Alle erscheinen in neu remasterten Versionen, mit überarbeitetem Artwork und brandneuen Liner-Notes. Diese Reihe zeigt eine Band, die sich stetig weiterentwickelt hat.

Erstmals werden unter dem Titel „More Noise“ auch Demos und Bonustracks aus den jeweiligen Album-Epochen gesammelt auf CD erhältlich sein.

Hamburg-born composer, pianist and producer Niklas Paschburg announces his latest project, 'Mexican Alps' EP due for release on July 11th. 'La Hormiga' is a rhythmic exploration of life in motion. Pulsing beats and textured synths create forward momentum, echoing the journey through the winding paths of Oaxaca's mountainous surroundings, where tradition and nature intertwine. 'Mexican Alps' combines inspirations gathered from the picturesque mountains of southern Mexico and the majestic peaks of the Swiss Alps. The EP is a mesmerizing journey through those landscapes; drawing inspiration from nature's grandeur and the vibrancy of Día de los Muertos, Niklas blends electronic textures, atmospheric samples, and innovative instrumentation to create a soundscape that is both grounding and transcendent. Without relying on his signature piano, this EP explores new creative territories, evoking deep emotional resonance and moments of introspection. -- If his first album, 'Oceanic '(2018), was conceived as an ode to the Baltic Sea, for his next release, 'Svalbard' (2020), produced with Andy Barlow of Lamb, the Hamburg-born musician, now a Berliner by adoption, sought refuge on an island in the Arctic Ocean, surrounded by snow, ice, darkness and breathtaking landscapes. This time, however, the setting is completely different. "It all started with an invitation to play at a festival in Oaxaca," Niklas says. "Since I had never been to Latin America, I began considering how to take advantage of the opportunity to stay for a while and write something there. I started looking for houses, but I quickly realized it was almost impossible to find one with a piano—it's not a common instrument in Mexican culture. I thought, why not try immersing myself in a writing process that doesn't involve one? I was so excited about the idea that I jumped in." 'Mexican Alps' is the result of a challenge in which Paschburg harnessed his collection of synths and effects to create an ambient-electronic record. On the one hand, an evolution of the work primarily carried out in 'Svalbard' and 'Panta Rhei'; on the other hand, an episode in its own right, distinct from its predecessors due to the absence of the piano and the greater role played by improvisation, by coincidence, it became his first work created without his signature instrument. "Not having the opportunity to write chords, harmonies, and everything else on the piano, I improvised more, focusing on the sound. This was the approach I used to record demos in Mexico, which I then brought with me to Switzerland, where I carried on working on the EP. In addition to my usual setup (the OB-6 by Dave Smith and Tom Oberheim and the OP-1 by Teenage Engineering, plus my ever-beloved Hohner accordion, inherited from my grandfather), I was also guided by the purchase of a new Moog Matriarch with a unique delay. All this helped me build the sound I had in mind: a spacious, abstract, 3D sound that is definitely immersive." He expands. It is an emotional landscape that translates into music. In some of the tracks, Paschburg has also included field recordings collected during the Día de los Muertos, a deeply felt Mexican holiday: "A great celebration, a colorful parade of skeletons, skulls, flowers, and decorated altars, so engaging and intoxicating that I felt compelled to use its sounds in my music." It was precisely from this blend of influences that the fourth track, "Oaxaca de Juárez", emerged—a single characterized by a catchy funk procession and enhanced by the guitar work of Tal Arditi, a rising European jazz artist and singer-songwriter based between Basel and Berlin. 'Mexican Alps' is his new calling card, featuring an enveloping sound crafted by Paschburg in collaboration with Gijs van Klooster, who mixed the EP in a studio specifically designed for Atmos music. Mastering was handled by Bo Kondren at Calyx Studio in Berlin.

We are very happy to present you a special release from gutinstinct! After his contribution ‚Eternal Jungle’ on the 10 year anniversary compilation ‚Down The Danube River’, he returns to Fortunea Records with the Back To The Roots EP. A collection of tracks suitable for different moments in a clubbing environment.

The record opens with his melodious and emotional expression of ‚Art‘. This energetic track forces us to sink into venturesome sound waves driven by a dark but at the same time warm pad. A beautiful catchy synthesizer hook line is the icing on the cake on top of it.

Similar tonal but not as uplifting as the opener is the title-track of this EP. A simple, grooving, relentless and continuously deep journey that exemplifies gutinstinct’s profound innate understanding of rhythmic grooves and complexity in simplicity.

Sensuous chills and thrills continue with ‚Pueblo’ on the B-side. A constantly rolling and evolving piece of synth laden ecstasy with richness and colour, driven by the sort of thick analogue basslines and distinctive melodies that have come to define his catalogue.

Lastly, the record closes out with a remix of the title-track by the analogue gear enthusiast Jakobin. In this version he takes the beautiful arpeggio synth sounds and amalgamates them into a framework of lo-fi house aesthetics. You can just imagine this track slicing through an unbent sunset dance floor or morning afterhour ceremonies.

The Back To The Roots EP will be available on august 1st, 2025 digital and on limited vinyl.

Hitomi Toi's famous cover album "YOUR TIME Route #1", released in 2012, is being reissued on a colored LP for the first time in 13 years.

Produced by Kunimondo Takiguchi (Ryusenkei) as a sister album to the summer classic "CITY DIVE", it covers a number of famous Japanese pop songs, mainly from the early 1980s.


Included are Yuming's "Tenohira no Tokyo Tower" from the 1981 classic "Sakuya Oimasho", Takeuchi Mariya's "Natsu no Koibito" with lyrics and music by Yamashita Tatsuro,
Miyamoto Noriko's "SILVER RAIN", and the radio song "Black Moon" by Kisugi Etsuko and Minami Yoshitaka.
The selection of songs is also amazing, capturing the atmosphere of that era, including EPO's "Saturday Night Paradise," the ending theme of "Oretachi Hyokinzoku" and Akemi Ishii's "CHA CHA CHA" the theme song of "Nanjou ni Natsu Monogatari"

The music that sparkled in the streets back then is revived.

2025 REPRESS

THE STRICTLY JAZ UNIT (GLENN UNDERGROUND & BOO WILLIAMS) present this epic album masterpiece of electronic dance music. Every track is naturally dynamic with sonic rich musicality & keyboard melodies. Most likely the last LP of the SJU collective. Comes with full picture jacket! Essential Chicago house music.

Iridescent Metallic Gold Vinyl. Just before recording their epic disasterpiece, You Are There in late 2005, MONO began collaborating with fellow Tokyo native and modern electronic composer, world's end girlfriend. The result was a five-part suite of neoclassical grace and luminescence that defies easy categorization. As dark as the bottom of the ocean, and nearly as otherworldly, Palmless Prayer / Mass Murder Refrain finds MONO inhabiting an illuminated world previously only hinted at in their most orchestral compositions. Recorded in multiple studios in Japan last year, Palmless Prayer highlighted MONO's increasing obsession with classical music with world's end girlfriend's mastery of subtle dynamic shifts. Forgoing their tendency to erupt into hellish bursts of speaker-destroying noise, MONO instead exhibited remarkable restraint, stretching song lengths up to and beyond the 15-minute mark and turning barely-there crescendoes into earth-shaking events. Less an epiphany and more a reminder of the beauty that already exists all around us, Palmless Prayer was a miniature panoramic view of the sea on an eerily still day, the current swaying at an impossibly laconic pace and the sound of a thousand tiny waves crashing in the distance all at once.

Jazz Room Head Honcho Paul Murphy kept hearing all these fab versions of some of his favourite tunes.

He couldn't release them all, a year is just not long enough so it was time to put together the first Jazz Room Records Compilation, entitled JAZZ ROOM PRESENTS: COVERS. Snappy & to the point.

Some exclusives and first time Vinyl releases on this Double Vinyl album, ranging from the Psychedelic Jazz Fusion of Helsinki Collective "Saimaa" with their epic LIVE version of the Deodato Classic "Super Strut" to the Japanese Shibuya Jazz Artistry of Quasimode with a Jazzy take on the Galaxy2Galaxy 90's Techno Floor Filler. Jazz meets Dub in the "Slowly" produced "Riot In Lagos" and some finger snapping Cool New York Vibes on Giacomo Gates Hip To The Trip version of Gil Scott-Heron's "Is That Jazz".

There's even a Gospel meets Soul Jazz tribute to Simon and Garfunkel. Oh yeah. Did we say there's a Chip Wickham exclusive too?

Louie Vega says: "This is an Awesome Compilation!"




d 04: Jazzbois - Nutville (Live At Ninety One Living Room) feat. Dom Beats

It’s very difficult to describe someone as prolific as Misha Panfilov. So, I feel the best way to define him is to think of a “Trivial Pursuit Playing Piece,” where each pie piece represents one of the bands he heads up, and each band has its own distinct style and genre. Yet, when looked at all together, create the whole musical persona of Misha. This is the lens I would like to view his latest endeavor, Days As Echoes.

The vibe on this sophomore release channels Krautrock philosophy and Library music, peppered with elements of jazz, Ethiopian, cinema, ambient and bits of everything between. This atmosphere is created from all the instruments Misha uses and the resulting compositions are heard as repetitive patterns that are forged from the multiple layering of melodies. Thus, creating six unique songs with emotional granularity, yet collectively encompass a genuinely positive “feel good” vibe…with a hint of nostalgia.

Moods of the day, moods like echoes say, A future of hope is yours, by following the Sun’s ray.

The opening track, “Days As Echoes,” is a dedication to a much simpler time when the sky was bluer and the snow was whiter…just like how you remember it when you were a child. A time when people honestly cared more about everything as a given, and not as a selfish accolade. A time when optimism seemed within reach. In other words, nostalgia marred by awareness.

…Leading to a path where the skies are not gray. Where dreams of castles in the air are the mainstay.

“In A Dream” has a style that pays homage to both spiritual jazz and ambient music. A simple theme is introduced and leads to the climax of this stormy dream, putting it all in perspective. That pivotal point when one realizes the truth by re-tracing the events, which led to the epiphany of how to find the answer while traveling within this airy soundscape.

…Diurnal or nocturnal, day or night, Traveling the path of truth must be done without fright.

One can’t help but feel a definite traveling vibe that comes from “Moonscape Waltz” To me, it has a dual-characteristic that can be visualized as a train trip, either at sunrise or sunset. Regardless, the time is not of major relevance, but the actual pursuit is. Lao Tzu said, “The journey of a thousand miles begins with that first step.” This track takes you beyond that initial step into this vast world toward your destination as you search for the truth.

…The unknown is real, but you know the deal. People need people to show which direction you point the wheel.

“Together” is the most peaceful and solo oriented compositions of this album. It shows how one cannot achieve happiness alone, but the importance of having someone special or a group of others to help along the way. Not only to help seek your goal, but also the ability to enjoy the scenery while on your journey

…The end of this tunnel has a light that’s so bright. Illuminating the trodden way, your destination, now in sight.

One is free from the chains of the unknown as you listen to a “Few Layers For Smith”, a dedication to a friend. A song that draws energy from the ECM works of Steve Reich, thats married with a primitive lo-fi basement setting. Its positive force breaks those encumbrances and gives you a glimpse of your prize. But you ruminate on this and come to the conclusion that the path that led you there is equally important as the goal itself. Question is, how do you share your realizations and experiences?

…The route was cast, the trials have passed. The glittering treasure you sought is yours now, at last.

“Ocean Song” meanders from the ritual rhythms of its shoreline to the crashing riptides of unbridled guitar feedback, creating this raging ocean atmosphere. However, its message is quite clear and states that people’s goals and experiences are not just meant for personal growth, but to be shared with
others, so that they too can live vicariously thru your story and somehow utilize it for their own.

…The prize has been won, but the journey is never done. You now have the responsibility to share everything under the Sun.

These six songs, each with its own sound, collectively comprise the vibe of this album. One cannot help but feel a sense of joy and fulfillment when listening to it. Each song has its own unique mood, yet together create an atmosphere of hope and happiness that has no choice but to spill out of the listener. I feel this was the ultimate goal of Misha’s on this record. Quite a challenge for the man who never sleeps, but is always searching for the perfect beat. One may not fully grasp his musical mind, but this album does give you a gateway into the moods and magic of Misha!

- Brent Sawicki

Greta Kline's musical output as Frankie Cosmos exemplifies the generation of musicians born out of online self-releasing. Kline initially built a reputation with her prolific catalogue of bedroom recordings and as a performer and advocate of New York's All Ages DIY scene. The beauty in Kline's writing does not lie within immense statements and large gestures, but instead can be found in her ability to examine situations and relationships with heartbreaking sincerity. In 2014 Kline released her first studio album, Zentropy. Within months of its release, Zentropy became one of the most critically acclaimed independent albums of the year and was named New York Magazine's #1 Pop album of 2014. In 2015 Kline signed to Bayonet Records, immediately releasing an EP where she experimented with writing in an electronic setting. The EP Fit Me In was well received and garnered a Best New Track from Pitchfork. Kline then began recording her next album appropriately titled, Next Thing. Like Zentropy, Kline approached Next Thing by fleshing out several old home recordings, and by writing half of the album from scratch. Next Thing explores new emotional and instrumental territory for Kline.

Things just get heavier and heavier in Scott ‘Wino’ Weinrich’s career and his short-lived classic band The Hidden Hand is no exception. Formed in 2002 and already disbanded in 2007 the trio featured Wino, Bruce Falkinburg on bass/songwriting/vocals and drummer Dave Hennessy.
If The Obsessed, St. Vitus, Shrinebuilder, Probot and Spirit Caravan aren’t enough to bring Wino's CV to legendary status, stop reading now.
LINER NOTES from WINO:

"When I returned from California after The Obsessed Columbia record deal fell apart, I didn't have any gear at all and after we put together (SHINE) which became Spirit Caravan, I was hustling to put a guitar rig together. I discovered ATOMIC MUSIC a super cool store in MARYLAND that encouraged trades, and had a lot of cool shit there,we had met another cat Sonny, who being the gregarious friendly cat he was befriended us (the band) and introduced me to his friend who's recording studio shared space with Atomic Music, Bruce Falkinburg and Phase recording studio. Bruce was a very interesting and hyper intelligent guy, bassist, knowledgeable in all things but specializing in recording rock music. We had decided to diversify our recording process and parted ways with one of my old friends Chris Kozlowski and PolarBearLair studios who had recorded everything Spirit Caravan had done so far.

I hired Bruce to record the version of Darkness and Longing that was our song on the Sixty Watt Shaman -Spirit Caravan split single. We liked what he did on that recording and decided to record more with Bruce at Phase and so we did ;the last SC single -" So Mortal Be/ Undone Mind" and recorded three tracks that were eventually released on "The Last Embrace." Bruce and I had firmly cemented our friendship and when shit fell apart with Spirit Caravan , we decided to form a band. Out of a very interesting list of possible band names Bruce's idea" The Hidden Hand " seemed to resonate the most and once Bruce had recruited Dave Hennessy (guitarist for OSTINATO) to play drums it was ON. Over the next couple years and a couple different drummers, The Hidden Hand would record one single, one split ep ,one compilation song and Three full length albums. Knowing Bruce, and working with everyone in The Hidden Hand realm enriched my life greatly . Bruces enthusiasm, knowledge, creativity, intellect and musical abilities remains an inspiration. Thanks Bruce, Sonny, Louis and Eric and all at ATOMIC MUSIC, Dave Hennessy,Matt and Jeremy Osinato ,Evan Tanner, J Robbins, Mcarthyism records, Andreas at Exile from Mainstream records, Greg Tubevision, 930 club ,Black Cat, Gussound, Diana W, Woody, Stinking Lizaveta, Jadd Schickler and Meteor City, Southern Lord records and extra special thanks to Gianluca and Improved Sequence for keeping this music alive!"
Wino - summer 2024

Things just get heavier and heavier in Scott ‘Wino’ Weinrich’s career and his short-lived classic band The Hidden Hand is no exception. Formed in 2002 and already disbanded in 2007 the trio featured Wino, Bruce Falkinburg on bass/songwriting/vocals and drummer Dave Hennessy.
If The Obsessed, St. Vitus, Shrinebuilder, Probot and Spirit Caravan aren’t enough to bring Wino's CV to legendary status, stop reading now.
LINER NOTES from WINO:

"When I returned from California after The Obsessed Columbia record deal fell apart, I didn't have any gear at all and after we put together (SHINE) which became Spirit Caravan, I was hustling to put a guitar rig together. I discovered ATOMIC MUSIC a super cool store in MARYLAND that encouraged trades, and had a lot of cool shit there,we had met another cat Sonny, who being the gregarious friendly cat he was befriended us (the band) and introduced me to his friend who's recording studio shared space with Atomic Music, Bruce Falkinburg and Phase recording studio. Bruce was a very interesting and hyper intelligent guy, bassist, knowledgeable in all things but specializing in recording rock music. We had decided to diversify our recording process and parted ways with one of my old friends Chris Kozlowski and PolarBearLair studios who had recorded everything Spirit Caravan had done so far.

I hired Bruce to record the version of Darkness and Longing that was our song on the Sixty Watt Shaman -Spirit Caravan split single. We liked what he did on that recording and decided to record more with Bruce at Phase and so we did ;the last SC single -" So Mortal Be/ Undone Mind" and recorded three tracks that were eventually released on "The Last Embrace." Bruce and I had firmly cemented our friendship and when shit fell apart with Spirit Caravan , we decided to form a band. Out of a very interesting list of possible band names Bruce's idea" The Hidden Hand " seemed to resonate the most and once Bruce had recruited Dave Hennessy (guitarist for OSTINATO) to play drums it was ON. Over the next couple years and a couple different drummers, The Hidden Hand would record one single, one split ep ,one compilation song and Three full length albums. Knowing Bruce, and working with everyone in The Hidden Hand realm enriched my life greatly . Bruces enthusiasm, knowledge, creativity, intellect and musical abilities remains an inspiration. Thanks Bruce, Sonny, Louis and Eric and all at ATOMIC MUSIC, Dave Hennessy,Matt and Jeremy Osinato ,Evan Tanner, J Robbins, Mcarthyism records, Andreas at Exile from Mainstream records, Greg Tubevision, 930 club ,Black Cat, Gussound, Diana W, Woody, Stinking Lizaveta, Jadd Schickler and Meteor City, Southern Lord records and extra special thanks to Gianluca and Improved Sequence for keeping this music alive!"
Wino - summer 2024

2025 Repress

Kim Anh follows up her highly acclaimed After Dark EP with an eclectic remix package.
Kim Anh’s Can U Not Talk Records launched at the beginning of 2022 with the ‘After Dark EP’, its strong statement of intent receiving high accolades across the world and gaining the support of artists such as
Jennifer Cardini, Josh Caffe, Terr & many more. She now recruits a star-studded cast built around her Panorama Bar Family to remix the EP, showcasing community and connection whilst preserving queer
underground music.
Massimiliano Pagliara kicks things off by drenching the title track in acid, its resonant squelches gliding across the original’s infectious bassline. Alinka’s remix of ‘Recovering’ from the original release features next before Kim Anh remixes her own ‘House of Virgo’, incorporating a catchy organ bass to accompany her soulful, emotive vocals. Spotlight party founder Chris Cruse also provides a version of the track, turning it into a driving & hypnotic acid work-out, warming things up before Chrissy’s D&B flip of ‘Giving’ closes out the release with ripping bass and rolling breaks.

The Populists—the alias of Yan Wagner—are about to unleash their latest assault on the dancefloor with the hotly anticipated EP, Extrême Intensité. This drops on Deadbeat Records in July and comes equipped with a dark, dusty, electro-infused remix from Mr. Ho.

When these demos landed in our inbox, we instantly knew that we needed to release it. This couldn’t be more Deadbeat if it tried; ravey, playful, banging. Expect this to be on heavy rotation throughout summer.

Produced in the vibrant heart of Marseilles, France, Extrême Intensité is a raw, unapologetic salute to UK rave, early dubstep, electro, and acid - the sounds that make your head spin and your jaw shake. Yan describes the project as “probably the most heavy and ‘brainless’ (in the best way) bunch of tracks I’ve ever created; the most UK sounding too.”

This new EP was produced in Yan’s home studio in Marseilles in March 2025, amidst a fierce USBJ digging craze and emerged as a most welcome breath of fresh air as he was immersed in the production process of another, more sombre, project. It’s packing hallmark breakbeats, gritty samples, and vintage Roland synths, all wrapped up in a playful, confident package designed to obliterate the dancefloor.

And to cap things off, Mr Ho, one of the current scene’s biggest producers and close friend of the label, has delivered a dark and warehousey remix that’s guaranteed to keep dance floors ablaze. As a big fan of his, we’re buzzing to finally land him on Deadbeat.



c B1. Extrême Intensité vinyl only

Die Südlondoner Sängerin Jaz Karis präsentiert mit 'Favourites' ihren ersten Tonträger mit 15 Songs aus ihren bisherigen, digital erschienenen EPs. Jaz' stilistische Vielfalt reicht von R&B über Reggae bis Afrobeats, als Gäste sind TINYMAN, Blue Lab Beats und Afronaut Zu & Sillkey vertreten, als Producer u.a. P2J (bekannt für seine Arbeiten mit Beyoncé, Wizkid, Stormzy, FKA Twigs, Tems, Doja Cat) und Juls (Mr Eazi, Stonebwoy, Goldlink, Wanda Coal, Burna Boy).

Major Keys work their magic once more with the release of two iconic tracks by celebrated Jazz musician, Donald Byrd. Known for being one of the few jazz artists who successfully explored funk and soul music in the 70s, whilst remaining a leading figure in Jazz (much to the disgruntlement of purists)

This 2-track EP salutes 2 records from that exploratory era with the official license and 12 inch reissue of ‘Think Twice’ & ‘Where Are We Going’

Think Twice - Taken from his 1975 LP ‘Stepping into Tomorrow’ released in 1975 on Blue Note Records and produced by the legendary Mizell Brothers, responsible for producing other artists including Gary Bartz, Johnny Hammond, Bobbi Humphrey, as well as Michael Jackson and Marvin Gaye. One of Byrd’s most recognisable records and a highly sampled song amongst a wealth of hip hop and house artists in recent years.

Where Are We Going – Taken from the 1973 album Black Byrd, the very first release of Byrd’s on Blue Note Records and was released in collaboration with Motown Records. Produced by Larry Mizell and Larry Gordon, then later performed by Marvin Gaye. The album still stands amongst some of Blue Note’s bestselling releases

Brady Corbets "The Brutalist" wurde für 10 Oscars nominiert, darunter "Best Original Score". Dass der Film, der im Vintage VistaVision-Format gedreht wurde, von der Musik lebt, wird direkt am Anfang klar: er beginnt mit einer fesselnden 10-minütigen Ouvertüre, komponiert von Daniel Blumberg. Die Erzählung folgt dem ungarischen Architekten László Toth (Adrien Brody), der sein Leben im Nachkriegsamerika neu aufbaut.Die Filmmusik umfasst eine Mischung aus groß angelegten Blechbläser-Orchestrierungen, lyrischen Klaviermelodien und improvisiertem Jazz und verkörpert die Brutalismus-Designästhetik mit ihrem reichen und resonanten Klang. Dafür arbeitete Blumberg mit Musikern in Großbritannien und Europa zusammen, darunter Axel Dörner (Trompete), Evan Parker (Saxophon), Sophie Agnel (Klavier) und John Tilbury (Klavier).Für die Jazzclub-Szene des Films stellte Blumberg ein Quartett zusammen, das live am Set auftrat und eine der dynamischsten Nummern des Films schuf. Im Epilog des Films, das in den 1980er Jahren spielt, ist zudem Synth-Pop-Pionier Vince Clarke (Depeche Mode, Erasure) zu hören, der das Hauptthema des Films in einen Synth- und Drum-Machine-getriebenen Track verwandelte.

Repress!

Tony Price is back again with Street Theatre, an electrifying new LP on his Maximum Exposure label that serves up eight tracks of rude, crude, real-deal house music with absolute attitude.

Following the recent release of the psychedelic jazz reveries of Requiem for the Ontario Science Centre, this is his second release of 2025 and marks a return to the dancefloor.

Street Theatre is total midnight music—eight tracks of ferocious Chicago house worship, replete with slamming drum machine beatdowns, laser-guided synthesizers, and radioactive funk refractions that evoke Z-Factor’s primal neon pulse, trench coat-era Prince, WBMX cut-ups, and Ron Hardy’s splice-happy Muzic Box mania.

Produced in the span of a week at his studio in Greektown, Toronto, these recordings exemplify what can now undoubtedly be called Tony Price’s signature style—an unvarnished, elemental, no-nonsense approach to record production and sound design that reduces dance music down to its crudest textures and core principles, an approach and ethos that have guided his entire body of work.

Tony’s recorded output showcases fearless exploration across genres—classic house, funk, electro, and the outer limits of electronic jazz and musique concrète. Street Theatre stands tall alongside his Hit Piece LP, the Bail Bonds EP, and his NTS show, The Maximum Exposure Power Hour, as a bold, ecstatic, and direct expression of the eternal essence of house music.

Known for his ability to create captivating, emotionally charged techno, Jonathan Kaspar eventually returns to Cocoon Recordings with his third contribution Twofold Split. One, yet simultaneously two releases that once again showcase his extraordinary talent through condensed techno with a pinch of trance, weaving together driving rhythms and atmospheric textures in a way that feels innovatively progressive.

Rooted in a minimalist rhythmic structure, ‘Power’ takes us in a new direction, steadily building momentum as its energy billows upwards, with the intensity never wavering throughout. A large, dented, tinny tuba sounds imposingly as Jonathan blows louder and louder into the old thing, its raw, metallic tone instantly commanding attention. What an explosion in the break, leading us into a wild, almost chaotic energy, before Kaspar’s meticulous attention to detail ensures that the shimmering synths feel perfectly placed, guiding us to the absolute freak-out moment. After all the insanity, Jonathan Kaspar takes us by the hand and leads us into a melodic, trancy after-hours mood with “1993,” bringing a sense of release after the wild ride of the previous tracks. What a successful closing track to this outstanding release. With its melodic trance influences, it offers a soothing, almost nostalgic atmosphere, bringing a sense of calm and closure, a perfect moment of introspection and euphoria as
the EP winds down

Dedalo District kicks off its first 12" with a split EP from two producers who don't play it safe.

On the A-side, Cruz - Barcelona-based and founder of 22 Records - delivers two cuts blending techno, electro, EBM, and new beat. Raw grooves, heavy pressure, no fluff.

On the B-side, Nativo, a Rome-based producer and part of the Incoherent Debts collective, fires back with two tracks built on breaks, electro, and synthwave textures. Twisted melodies, broken rhythms, forward-thinking attitude.

A debut that hits straight and leaves a mark.
No compromises - just tension and drive.

Voyage Distribution label debut release sets the tone with Roto, a Spanish producer whose sound fuses post-punk attitude, raw EBM energy, and gritty futuristic club music. Across four tracks, he blends live bass, industrial textures, and driving rhythms into a sharp, emotional EP.

"After the success of his album Le Bal des Crocodiles in 2023, the Parisian label Teenage Kicks Production has announced the imminent release of the new album by the artist Homme Bleu, titled Dark Matter. Recorded at Garage Studio in Montpellier, this album will feature 12 tracks in English. The mixing was done in New York by Alex Conroy, except for the track The Life in Me, which was mixed by Steve Lyon (Depeche Mode, The Cure, etc.). A resolutely rock album that highlights guitars with modern arrangements. Introspection, existential questions, human relationships, and the passage of time are the artist's favorite themes, with a distinctly pop-rock influence infused with an electro whirlwind. Three singles have already been released from the album: The Life in Me, a high-energy rock track dominated by guitars; I Ride: a groovy mid-tempo ballad reminiscent of Radiohead's universe, an ode to inner freedom and resilience; titletrack Dark Matter, an eponymous track, a piano-vocal ballad. The album cover was designed by Frank Loriou (Manu Chao, Miossec, etc.), with whom Homme Bleu has collaborated since the beginning of his career." Double-LP in gatefold sleeve, blue vinyl.

Titanic is a 1997 American epic romance-disaster film directed, written, co-produced, and co-edited by James Cameron. The movie stars Leonardo DiCaprio and Kate Winslet as members of different social classes who fall in love aboard the ship during its fateful maiden voyage.

Upon its release on December 19, 1997, Titanic achieved critical and commercial success. Nominated for fourteen Academy Awards, it tied with All About Eve (1950) for the most Oscar nominations and won eleven, including the awards for Best Picture and Best Director, tying Ben Hur (1959) for the most Oscars won by a single film. With an initial worldwide gross of over $1.84 billion, Titanic was the first film to reach the billion-dollar mark.

Titanic is available as a 25th anniversary edition of 10,000 individually numbered copies on silver & black marbled vinyl and includes an 8-page booklet, XL fold-out poster and a print replica of the historical newspaper front page. The 2 LPs are housed in a deluxe heavyweight gatefold sleeve with alu-brush finish and metallic embossing.

Vines, the solo project of New York-based multi-instrumentalist and composer Cassie Wieland, offers a window into her inner world through expansive swaths of sound. She pieces together a celestial mix of synths, percussion, strings, and vocoded voice, making music that is at once deeply personal and cinematic in scope. This diaristic approach first took shape with her 2023 EP Birthday Party, and is crystallized on her debut LP, I’ll be here. With the sweeping and vulnerable I’ll be here, Vines arrives fully formed as an artist who crafts deeply resonant and open music–the kind that invites listeners in to listen, reflect, and share in the journey of learning through living.

“It was through making music that I was able to meet myself,” Wieland said. “Anything I’m going through or feeling is something that somebody else out there can relate to, and that’s really special to me.”

I’ll be here is both a culmination of years spent creating gossamer soundscapes and an opening to a new journey for Wieland as an artist. The album grew out of her years as a composer and songwriter, and builds on the language she developed on Birthday Party, which transformed the tumultuous feelings of the passing of time into minimalist meditations. It was just a start, though–a prologue, a development of the kind of language and ideas she wanted to express. With I’ll be here, she digs deeper and writes music that feels more sprawling, further solidifying her singular voice.

Wieland’s musical composition process is similar to journaling, lending itself to the music’s honesty. When she writes, she makes room for all the ideas she has; in these sessions, there are no wrong ideas, and she allows the music to be attuned to the experiences she’s having at the time. With I’ll be here, Wieland zeroes in on themes of anxiety, loneliness, navigating human connection, and having to grow up from a young age, ultimately coming to a place of acceptance. And though it began as a journal written in solitude, her collaborators shape the music with her.

Working with friends, in fact, was a crucial part of bringing the record to life. “Everything that was supposed to happen came together so easily because of the people involved,” Wieland said. I’ll be here was co-produced and recorded with Wieland’s longtime collaborator Mike Tierney, a four time Grammy-nominated engineer who has worked with artists across the contemporary classical and experimental scene like minimalist pioneer Steve Reich, LA’s preeminent classical ensemble Wild Up, and various bands on Bang on a Can’s Cantaloupe Music label. Percussionist and composer Adam Holmes and violinist Adrianne Munden-Dixon are two other longtime collaborators who are frequent fixtures of her live show. Holmes plays synths, drums, and banjo; in live settings, his kit is loaded with elements of the songs that are then triggered by MIDI, making the music an interactive, evolving experience. The album’s gentle, filamented edges are colored by Munden-Dixon, whose poignant string melodies elevate Wieland’s introspective compositions, as well as cellist Helen Newby, saxophonists Julian Velasco and Jordan Lulloff, and bassist Pat Swoboda.

Wieland takes an economic approach to writing music, building the swirling and immersive landscapes of Vines through short melodies, lyrics, and phrases. As each element layers and interweaves, they grow into sprawling webs of ghostly sound. Prior to Vines, Wieland composed pieces for other people to play using a minimalist’s sensibility, writing slowly unfolding melodies for instruments like violin and saxophone. In recent years, she sharpened her solo style across a variety of singles and covers which have garnered significant attention on social media for their emotional resonance (“being loved isn't the same as being understood” in particular went massively viral on TikTok in 2024). Birthday Party, her debut as Vines, brought her writing to a much more intimate space, centering on her vocoded voice cloaked in feathery reverb. A series of recent singles, meanwhile, including “I am my home,” showcase the way that Wieland’s music is born from the story of her innermost feelings, extending far beyond just the self.

Though Wieland’s music often deals with dark themes, it unfolds with tender melancholy, the kind that feels like a warm embrace. On “Evicted,” Wieland wonders if she’s getting sick or moving on, if she’s lost or found. Her vocals expand with each lyrical repetition, as the instrumentals slowly encircle and the music’s rhythm grows and bursts into a heart-wrenching, yet radiant wave reminiscent of post-rock bands like Explosions in the Sky. “Tired” follows a similar trajectory, building from a looping, melancholy rhythm and floating lyrics into a solemn resignation. Elsewhere, Wieland takes a more ruminative approach: “Omw” begins with twinkling piano and melancholy strings that gradually transform into an undulating mass. It is a song born out of the warm feeling of reminiscence, the slight return of hope that comes with nostalgia.

With any searching journey, there is also a point of understanding. The title track closes the album with the freedom of acceptance. A marching drum beats steadily beneath Wieland’s open vocals, moving forward, ever onward as it flies into the ether. In Wieland’s delicately textured music, there is room to come into yourself, and learn to love whomever that is. I’ll be here is a special space that can be all your own, one in which to feel what needs to be felt. “This is music for your story,” Wieland said. “I want you to use it how you need it.”

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

A disco-funk venture laced with balearic pop as nostalgic as it is buoyant, Dijon-based outfit FLAUR land their inaugural EP on Cosmocities Records. Comprised of three original songs shifting gears between electrifying grooves and washed-out downtempo, plus three remixes courtesy of Art of Tones, Gaettson and Faze Action, ‘Hold On’ speaks the language of lively waves and sun-streaked coasts. By turns explosive and contemplative, the duo’s vision covers a wide span of influences and styles, fusing Californian P-funk with a touch of Supertramp-esque disco and nuances of alternative pop lined with silky funk in the style of acclaimed Versailles band, Phoenix.

Full with suave Wurlitzer piano chords and ultra-syncopated slap bass, the lead-track ‘Hold On’ is an ode to 70s disco pop with its satiny textures, solar-powered melody and a swing bound to cause ravage on the dance floor. The perfect mix of luxuriant disco, vibrant boogie house and supra-sensual cosmic escapology. Even more elating, the layered funk of ’Now’ takes us into a choppy swirl of unshackled pizzicatos, iridescent envelopes and epic vocal flights. Recorded live at Mastoid Studio in Paris, ‘On My Mind’ trades the hi-velocity disco of the first two cuts for a poignant, introspective movement, revolving around the bewitching voice of Florian, a piano and riffs draped in melancholic reverbs. A sonic journey round the confines of soulful dream pop and further intimate songwriting.

In the hands of another rising Dijon-based artist, Gaettson, ‘On My Mind’ morphs into a dance floor-oriented missile, mixing a highly volatile strain of corrosive IDM, sharp breaks and nervy vocal samples. Remixing ‘Hold On’, South of France producer Art of Tones takes us on a proper cosmic trip, laying further emphasis on the original's funky impact through sun-drenched loops a la Alan Braxe and Fred Falke, and a buildup tailored for extended seaside afters; feet buried deep in the sand, head up in the clouds. UK groove legends Simon and Robin Lee, alias Faze Action, round off the package with a chiselled revamp of ’Now’. Slightly accelerated and built for the club, this remix treats us to a pure moment of dance-ready bliss, packed with sinuous rhythms, dynamic bass and fevered percussions.

The Mercury LP builds on the Washington, D.C. punk band's debut EP, adding assorted odds and ends recorded between 1996 and 1997. Former Hoover guitarist Alex Dunham's unconventional tunings defined the power trio's unique sonic footprint with a plangent, reverb-drenched tone by turns menacing, mercurial and haunting. Regulator Watts' dynamic range and rhythmic dexterity is well represented on this multi-faceted look back at their brief but prolific career. This 2nd pressing is limited to 300 copies on Coke Bottle Clear vinyl.

Friends since the age of six, most of the album was written and recorded by the pair when they were nineteen. The songs possess all the singular magic of a duo writing and playing together while sounding like a full, sonically charged band. Their debut E.P. track 'Two Monkeys', included here, has a level of shoegazey dirt that will leave many distortion freaks reeling. `Every Word Said' is prog-pop perfection. The title track is as moody as anything by Flying Saucer Attack. 'Another One Making Clouds' evolves over 35 minutes and doesn't stop elevating and surprising. A founding notion of our label was to release recordings made as the musicians' first intended. No `notes' and no re-recording with a `proper' producer in a `real' studio. A noble preference we saw labels like Rough Trade pursuing with The Strokes, The Smiths, The Fall et al.This album is a proud example. And captures something you can't fake. A young band finding an epic, emotional, cinematic sound in their bedroom. Using it in that peculiarly British way to express the wonder, confusion and heartache of being nineteen. Of wanting to be seen and not seen. It's a kind of British `soul' music with ancestors like The Cure, Echo & The Bunnymen, The Jesus & Mary Chain and the original shoegaze bands. Progressive guitar music, channeling deep emotion, a desire to hear something that sounds like how you feel inside. The stuff nobody talks about. Everything Else.

Friends since the age of six, most of the album was written and recorded by the pair when they were nineteen. The songs possess all the singular magic of a duo writing and playing together while sounding like a full, sonically charged band. Their debut E.P. track 'Two Monkeys', included here, has a level of shoegazey dirt that will leave many distortion freaks reeling. `Every Word Said' is prog-pop perfection. The title track is as moody as anything by Flying Saucer Attack. 'Another One Making Clouds' evolves over 35 minutes and doesn't stop elevating and surprising. A founding notion of our label was to release recordings made as the musicians' first intended. No `notes' and no re-recording with a `proper' producer in a `real' studio. A noble preference we saw labels like Rough Trade pursuing with The Strokes, The Smiths, The Fall et al.This album is a proud example. And captures something you can't fake. A young band finding an epic, emotional, cinematic sound in their bedroom. Using it in that peculiarly British way to express the wonder, confusion and heartache of being nineteen. Of wanting to be seen and not seen. It's a kind of British `soul' music with ancestors like The Cure, Echo & The Bunnymen, The Jesus & Mary Chain and the original shoegaze bands. Progressive guitar music, channeling deep emotion, a desire to hear something that sounds like how you feel inside. The stuff nobody talks about. Everything Else.

Brown/Black smoke vinyl. Hex; Or Printing in the Infernal Method is the fourth full-length studio album by Earth. Contains a special vinyl only bonus track. Comes with 18"x24" poster exclusive to this release. Marking a new direction the band would follow in years to come, Hex stands in stark contrast to Earth's previous works. While retaining the extremely heavy doom/drone metal song structure of epic riffs over simple repetitive drum beats, the guitar was inflected with country influences that favored a cleaner reverb-heavy tone layered with acoustic instruments over the band's previous predilection for distortion. The press release cited diverse influences such as Ennio Morricone, Billy Gibbons, Neil Young's soundtrack to the movie Dead Man, country musicians Duane Eddy, Merle Haggard, and Roy Buchanan.

”Reneé Rapp steht mit ihrer Attitüde,ihrer Musik, aber auch ihren Auftritten für eine neue Art des Stars,
der im großen Showkosmos nicht nur ein bloßes Produkt ist, sondern merklich versucht, die Welt ihrer
Anhängerinnen ein bisschen besser zu machen.” (Tagesspiegel)
Sängerin, Songwriterin und Schauspielerin Reneé Rapp veröffentlicht am 01.08.25 ihr drittes Album „BITE
ME“.
Nachdem Reneé als Schauspielerin in Musicals und Serien („Mean Girls“, „The Sex Lives Of College Girls“)
internationale Bekanntheit erreichte, folgten die EP „Everything To Everyone” (2022), das Album „Snow
Angel“ (2023) und der Soundtrack zu „Mean Girls“ (2024), der auch den Hit „Not My Fault“ enthielt.
Nun konzentriert sich Reneé ganz auf die Musik und nimmt ihre Hörer*innen auf „BITE ME“ erneut auf eine
ungefilterte Reise über Selbstakzeptanz und Verletzlichkeit mit und gewährt ihren Fans tiefe Einblicke in ihre
Emotionswelt. Klanglich wechseln sich die Songs zwischen schimmernden Popmelodien und emotionalen
Balladen ab und stellen damit erneut Reneés Vielseitigkeit unter Beweis.