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Warrant was formed in 1984 in Hollywood, Los Angeles, California, and experienced success from 1989 to 1996 with five albums reaching international sales of over 10 million. The band first came into the national spotlight with their double platinum debut album Dirty Rotten Filthy Stinking Rich (1989) and one of its singles, "Heaven", which reached No. 2 on the Billboard Hot 100. The band's success continued in the early 1990s with the double platinum album Cherry Pie (1990), which provided the hit song of the same name. In 1992, Warrant released their third album the critically acclaimed Dog Eat Dog. The record achieved only moderate commercial success compared with the first two albums, but still sold over 500,000 copies reaching Gold status and charting at No. 25 on the US Billboard charts. The band's fourth album Ultraphobic (produced by a returning Beau Hill) was released in March 1995 and, featured the singles "Family Picnic", " Followed" and the ballad "Stronger Now". Now to celebrate the 30th Anniversary of their fifth album which was released in October of 1996 and the last with Jani Lane. Belly To Belly Vol. 1 has been remastered and repackaged and is available for the first time on strictly limited vinyl LP.

Zunächst einmal herrscht das Gefühl, dass Post-Punk einen Sättigungspunkt erreicht hat, mit einer Vielzahl von Bands, die sich damit begnügen, die gleichen Gimmicks und Posen wie ihre Vorgänger zu recyceln. Glücklicherweise fällt Pales nicht in diese Kategorie. Bei dieser Band kann man einen Blick auf die Trends erhaschen, die sich für Gitarrenmusik jenseits bloßer Imitation abzeichnen. Der Titel der EP "The Crush" illustriert perfekt diesen Wunsch, Einflüsse aus Noise, Soul, Pop und Industrial Music zu verschmelzen, um kantige Tracks zu schaffen. Die Arbeitsweise der Band, die zwischen improvisierten Studio-Sessions und Live- Experimenten wechselt, ermöglicht es ihnen, die bestmögliche Form für jeden Song zu finden - und das funktioniert wunderbar. Célias Sprechgesang packt einen sofort. Es ist, als würde Florence Shaw von Dry Cleaning plötzlich Lust bekommen, einem ins Bein zu beißen. Die Gitarrenwellen treiben den Rhythmus voran und verleihen dem kraftvollen Refrain echte Dynamik. Zur Feier des einjährigen Jubiläums der EP CRUSH erscheint in Zusammenarbeit mit Rookie Records eine limitierte Auflage auf babyblauem Vinyl.

L'Oriole is the meeting point between violinist and composer Clara Lévy and sound artist Stéphane Clor. Combining violin, violoncello piccolo and a unique orchestra of resonators and transducers, the duo explores birdsong, resonance and the transformative power of sound. Acoustic instruments are projected into cymbals, drum skins, aluminium cans and other resonant objects, creating rich layers of colour, texture and spatial depth. Inspired by the work of Olivier Messiaen and his fascination with birds, L'Oriole unfolds as a journey through imagined birdsongs, suspended sonic landscapes and raw bursts of acoustic energy.

Jane Handcock transforms heartbreak into clarity with her new album, It’s Me Not You. Reframing the familiar breakup phrase, this release explores self-awareness,

accountability, and emotional growth with honesty and depth.

Blending atmospheric production with a steady rhythmic drive, Handcock delivers a dynamic vocal performance that moves from intimate reflection to confident,

resonant moments. The result is a mature, empowering album that captures the complexity of modern relationships.

Highlights include themes of irresistible attraction and A Beautiful Woman, a lover’s anthem that sets the tone for the album’s grown-and-sexy vibe.

Jane Handcock transforms heartbreak into clarity with her new album, It’s Me Not You. Reframing the familiar breakup phrase, this release explores self-awareness,

accountability, and emotional growth with honesty and depth.

Blending atmospheric production with a steady rhythmic drive, Handcock delivers a dynamic vocal performance that moves from intimate reflection to confident,

resonant moments. The result is a mature, empowering album that captures the complexity of modern relationships.

Highlights include themes of irresistible attraction and A Beautiful Woman, a lover’s anthem that sets the tone for the album’s grown-and-sexy vibe.

“WAR.POEM” was recorded at THE ROCK NOIR studio in 2025/2026 as a reaction to a piece I read on the Israeli military use of FLECHETTE SHELLS in Gaza, this led to a much deeper study of the 20th/21st century history of war. The album was composed entirely using a TAPE O MATIC 710 reel to reel from 1958, a 1960’s mayfaair JVC reel to reel, aa 1965 G.E. solid state portable reel to reel from 1965, a portable 1970’s Panasonic cassette player, a ring modulator as well as various other effects and synths.
The loop that is the basis for WAR POEM ZERO which takes up the whole of side one, happened by accident when I put a reel on the wrong way up, it produced aa sound of such great melancholy and beauty, I just let it play…
This album owes a debt to “SWANSONG” by NURSE WITH WOUND from the album “A MISSING SENSE” where experimental sound is used as an anti war protest.
Chris Connelly 2026
You are unlikely to hear a record of such brutal intensity, or indeed authenticity as this. To call it “old school industrial” would be to do it a disservice, but also not THAT wide of the mark. It is packaged sympathetically to Chris’ previous release for the label, the long sold out LP “White Phosphorous”.
It is limited to 300 copies pressed in military grey vinyl.

His technical fluency and electronic sensibility place groove at the centre of his language, allowing him to control density, space and pulse with clarity. Across work with Loyle Carner, Jordan Rakei, Petter Eldh and Alfa Mist, his playing remains recognisable - elastic, deliberate and grounded in feel. Released on Edition Records, the album marks a new chapter with Spaven stepping forward as a bandleader and composer with a clear focus. The music is built from the inside out - groove shaping harmony, texture shaping form. Studio and live performances follow the same intent: direct, physical, locked into the pocket. The result is controlled intensity, where technique serves expression, and the music moves freely across genres without losing its centre of gravity

Through an intimate, conversational approach, free from any trace of mannerism, pianist Enrico Pieranunzi and guitarist Bebo Ferra probe the innermost mystery of a genius whose expressive language combined charm and intellect are in equal measure. Drawing on languorous ballads at unhurried tempos, the program alternates reinterpretations of emblematic Evans themes - 'Song for Helen', 'Very Early', 'Once Upon a 'Summertime' - with a series of inspired original pieces. Occasionally joined by the deep, reassuring double bass of Diego Imbert ('Song for Helen', 'Calling Enrico'), they move from post- romantic atmospheres to more introverted lyrical passages, steering clear of both sentimental excess and detached formalism.

Auckland-based indie-pop outfit Borderline officially plant their flag in the New Zealand music scene with their self-titled project, Borderline. Seamlessly blending the nostalgic warmth of classic indie-rock with the polished, infectious hooks of modern pop, the band delivers a sonic snapshot of youth, ambition, and navigating the fine line between late-night euphoria and introspective vulnerability. Driven by shimmering guitar lines, driving bass rhythms, and anthemic vocals, the project feels both intimately local and ready for a global stage.

Borderline serves as a definitive introduction to the band’s signature sound, trading in sun-drenched, feel-good anthems built for summer road trips alongside high-energy tracks that tackle the fast-paced nature of modern relationships. By balancing cinematic storytelling with irresistible hooks, the up-and-coming band crafts a listening experience that is both fresh and deeply relatable, securing their place as a compelling new voice to watch out of New Zealand.

Shiverstruck, the latest album from IAN SWEET, finds songwriter and multi-instrumentalist Jilian Medford at her absolute best. Produced and mixed by Ben Allen (Deerhunter, Washed Out, Belle and Sebastian), the record centers a deliberate return to analog instrumentation, with acoustic guitars, piano, strings, and live drums at the forefront. Medford’s writing is more confident, direct, and emotionally exposed than ever, with soaring, melodic tracks like “Criminal Kissing” and “Jilian” revealing a striking new dimension of IAN SWEET.

IAN SWEET’s music has amassed millions of streams worldwide and earned praise from FADER, The New York Times, Stereogum, The New Yorker, Rolling Stone, and Pitchfork, which named Show Me How You Disappear one of the Best Rock Albums of 2021 and profiled Medford as a Rising artist that same year.

Having made their back catalog available to a wider public via High Roller Records, Mexican speed and thrash metal force Phantom will release their third full-length assault „Not Midnight Yet“ via the label. Recorded and mixed once again with Héctor “Northen” Ibarra at Nehtron Studios in Guadalajara and mastered by Patrick W. Engel at Temple Of Disharmony in Germany, this new album captures the band at their most technical and dynamic. “I am never fully satisfied with my records and I try to push forward and expand our boundaries with every new material—without changing the soul and core of what Phantom stands for: Old School Heavy Metal,“ explains mastermind J.C. García. „This record puts together very well everything that we are. Because of that, I think this is a juggernaut of an album.” Tracks such as ‘Hordes Of Bats’ deliver relentless speed and riff-driven aggression, while ‘Dracula’s Curse’ and the title track lean into powerful midtempo dynamics and complex structures. ‘The Pale Remains Of Time’ stands out as one of the album’s most ambitious moments, combining melodic vocals, clean guitar interludes and subtle progressive touches. “I try to break the established formula and add more textures and layers while keeping the old school spirit,” J.C. states. “It’s a very personal record and a work I’m very proud of. I think this is the most solid Phantom record to date.” With “Not Midnight Yet”, Phantom sharpen their identity and deliver a powerful, atmospheric statement—proof that the night is far from over.

One of the biggest “re-discoveries” of obscure eighties US Metal/Hard Rock are Ashbury from Tuscon in Arizona. The band, led by brothers Randy and Rob Davis, did originally record two very hard to find albums: »Endless Skies« in 1983 and the (belated) follow-up »Something Funny Going On« (issued in 2010). However, the roots of the band go way back to the late 1970s, when multi-instrumentalist Randy Davis formed his very first band (called Ashbury South) in Southern Oklahoma in late 1977. The original vinyl edition of »Endless Skies« came out in 1983 (with a circulation of 1,000 copies). ”It was a complete indie project all the way,” states Rob Davis. “We worked mostly on a budget of $ 5,000 for the entire project. Our distribution was through Tower Records in the western United States.” Ashbury's sound has sometimes been compared to Jethro Tull and the Davis brothers are indeed not too unhappy about this comparison: ”We both have a big smile on our face with that question,” they explain. “Yes, we are proud to be compared with Jethro Tull.” Ashbury's first album does feature an iconic artwork. Who was responsible for it and what does the cover signify? ”The cover signifies Creation, and the choices we all make,” elaborate Rob and Randy. “The cover obviously coincides with the opening song 'The Warning', about the Prophet who warns against bad choices, evil and greed. The final touch was a 'fantasy' setting, a look just off from any real world appearance.” Randy and Rob Davis are playing as brothers in Ashbury, they have always been the core of the band: ”We would not continue performing as Ashbury without both being involved. We write independently, and also together, therefore the very creation of the music would be different if one of us left the band. We also both sing lead vocals, so the sound of the band would be altered. I might refer to a recent tour concerning Styx - touring without Dennis DeYoung - therefore it's NOT Styx.”

October London is a chart-topping R&B force, blending classic soul influences with modern appeal to bridge generations of listeners. Backed by multiple Billboard No. 1 hits and major award recognition, he's proven both his artistry and commercial staying power. As he expands into new audiences—from Doggyland to a forthcoming 2026 album and tour—October continues to evolve while honoring the roots of timeless R&B.

"3..2..1..Go! The prompt begins and ends the latest Dorio production, starring Agent Friday & the Perfect Angel. Motion-blurred scenes coalesce in an imagined spy thriller soundtrack, cutting across club pop, neo-acoustic, and textured electronica. In eleven jet-setting tracks, the Texas duo reconfigures classic pop sensibilities and cocktail lounge idioms into a thoroughly modern work. The project’s newest LP marks a confident development in Chad Doriocourt and Rachel Rascoe’s co-songwriting and CD-age experimentation. Dorio’s mission starts now.

Fuzz guitars, monophonic synthesizers, and bouncy drum breaks fuel a tale of covert operations on Agent Friday & the Perfect Angel. The album’s propulsive production cuts across a pristine millennium palette, from Madonna’s 1998 Ray of Light all the way to Gorillaz’s 2010 Plastic Beach. Rising to meet the energy of live audiences, Doriocourt’s dance-oriented production amps up Rascoe’s singsong melodies. It’s music readymade for both recreational and listening formats.

“An upbeat form of bubblegum-pop and hip-hop percussion that recalls the recent neo-psych output of Stones Throw Records.” – Flood Magazine

“Recalling the nostalgic majesty of bands like Wishy, Tennis, and Hovvdy, the skittering hi-hat feels like rain drops hitting the metal roof of an old car, the production insular while somehow vivid and full of imagination… Whatever the instrument, Dorio know how to make quite an impression.” – Consequence

“Summery psych-pop that often infuses their dreamy melodies, kaleidoscopic hooks, and breezy vocals with nostalgic millennium-tinted breakbeats.” – KEXP"

"Throughout 2025, New West Records has been releasing limited edition vinyl reissues of Corb Lund’s back catalog as part of the Corb Lund Dark Horses Club. Each installment featured bonus tracks, previously unreleased material, and an exclusive acoustic track available only digitally. Now, as the series reaches its culmination, New West Records and Corb Lund are releasing Dark Horses on both vinyl and CD.

Dark Horses is a collection of songs hand-picked by Corb from across his catalog, presented in chronological order and rerecorded as solo acoustic performances. Stripped down and intimate, these new versions offer a fresh perspective on familiar material — and the result is an illuminating listening experience that showcases the depth and craft of Corb’s songwriting."

Not actually a greatest hits album, despite the name! This LP is a collection of Ovlov's original and beloved EPs, remixed and remastered. The EPs included are: "Crazy Motorcycle Jump," "What's So Great About The City," and "Not The Same Without You."

Hausu Mountain co-founder Maxwell Allison returns to the label under his moniker Mukqs with an hour-long progressive ambient statement entitled Juckport. Performed live on a solitary sampler in a single take, the album shifts from warp-speed blasts of glitch to iridescent jazz fusion piano sketches to expanses of ecstatic synthesis. Allison's improvised approach to live sound collage blends innumerable layers of texture and oblique harmony into a continually thrilling electro-acoustic mosaic. Each track begins as a bank of samples sourced from Allison’s collection of synthesizers, drum machines, and field recordings, arrows pointing in a direction but without established counterpoint. Spontaneity, and the sometimes chaotic juxtapositions it engenders, undercut any traces of machine logic in the music as it expands and contracts organically. It is the product of hands moving in real space, in real time, for an extended period. Juckport is animated by a duality of glitched-out abstraction and intangible bliss. Synthesizer pads stretch beyond the imagination’s horizon line, counterbalanced by a churn of clipped samples that scatter across the stereo field like rapidfire psychedelic flashbacks. Cohesion emerges through textural continuity and development rather than repetition or pattern-making. Blink and innumerable details might slip by unnoticed, and the landscape might have shifted entirely. Still, as more viscous sounds enfold the listener, they communicate a calm, settled mindset, reflecting the motion of a creative mental state; large amounts of information are synthesized into a focused stream that reacts intuitively with the introduction of each new complicating element.

A restless soul with a wide-open heart, Johnny Delaware was born in South Dakota, but he spent his 20s on the road, drifting between Nashville, Albuquerque, and Austin before landing in Charleston, SC, where he recorded his 2013 debut, Secret Wave. The album earned glowing reviews, with the Charleston City Paper declaring Delaware their Songwriter of the Year, but before he could record a follow-up, another local project he helped co-found, Susto, began taking off. Over the course of the next decade, the band would become one of the most critically acclaimed names in indie roots music, garnering raves from Rolling Stone and Spin and touring with the likes of The Lumineers, Band of Horses, and The Head and the Heart. In 2022, Delaware finally released his sophomore effort, Energy of Light, which he recorded after moving to Mexico City, and two years later, he followed it up with Para Llevar, which Glide Magazine hailed as “a swirl of indie rock, Americana and psychedelic folk.”

On his newest collection, On God’s Time, Delaware returns to the sounds he grew up on in South Dakota, crafting a lush, cinematic meditation on mortality and meaning that’s firmly rooted in the spiritual realm of the cosmic drifter. Produced by Delaware, the album reckons with death as a means of appreciating life, exploring love and loss and gratitude and regret through the eyes of a host of larger-than-life characters all navigating their way through a world of tragic beauty and infinite wonder.

Tiki Nation finds Truckstop Tomahawk charting new territory at the outer edges of modern exotica. Created by Robert Kress—one half of Kava Kon—the album treats tiki not as nostalgia, but as a living, evolving sound world. These tracks roam freely through imagined geographies: remote islands, half-remembered myths, roadside rituals, and sun-bleached dream states where vintage exotica collides with forward-leaning composition.

Rather than simply revisiting mid-century tropes, Tiki Nation recontextualizes them—layering cinematic arrangements, unexpected textures, and playful titles that hint at folklore, travel, and quiet surrealism. The result is music that feels exploratory and unbound, equally suited for deep listening, late-night reverie, or drifting into unfamiliar landscapes with a drink in hand.

The album’s visual centerpiece deepens this atmosphere. The cover art, Pele’s Release, was painted by Catherine Robbins, a self-taught artist and longtime Hawaiʻi Island resident who created the oil painting in her rainforest studio just miles below Kīlauea’s erupting summit. That proximity to raw, elemental power mirrors the album itself—beautiful, mysterious, and quietly volatile.

Tiki Nation stands as a bold statement of intent: exotica untethered from the past, alive in the present, and pointed firmly toward uncharted horizons.

Marking the band's long-awaited recording return, the 7-inch release features the
title track "Pandemonium" alongside the exclusive B-side "Candlelight", available
exclusively on vinyl and omitted from the digital release.
With "Pandemonium", DEATH SS once again channel their unmistakable artistic vision,
transforming apocalyptic imagery, esoteric symbolism and occult references into a striking
metaphor for today's world. Demons, broken seals and the Great Beast become powerful
symbols of war, fanaticism, mass manipulation, collective anger and the profound spiritual
crisis affecting modern society.
As always, DEATH SS invite listeners to explore multiple layers of interpretation beyond the
song's narrative. Beneath its dark imagery lies a reflection on human consciousness and the
urgent need for inner awakening, reinforcing the symbolic and philosophical approach that
has distinguished the band throughout its entire career

Channeling his trademark style of driving techno and robotic rhythms, Phase Fatale makes his Dekmantel UFO series debut, upping the ante with his forward cutting production methods. His first solo release in 2 years, the Berlin-based DJ, Producer and Label owner hotwires his signature wall of sound with precise, hypnotic magnetism and dystopian textures.

A key protagonist in Techno’s lexicon as a regular in the booth at ∄ in Kyiv and with residencies at queer collective Merge in New York, alongside institutions Berghain and Khidi. The New York native’s unflinching mutualism of past and present comes forward in his introspective production style of textural waves and melancholic narrative, welded together by true techno formation. A deep referential lens cutting through layers of whirling cybernetics form his sonic coil, surrendering the listener into dissociative euphoria.

Underpinned by a focus on bass heavy techno, the 4-track EP circulates an ebb and flow of surrealist, atmospherics and whirring futuristic frequencies. Hypnosis inducing polyrhythmic analog sequences, flesh-out the EP’s core whilst the track progression traverses over a terrain of experimental cuts, driving beats, and oscillating sonic shrapnel. A culmination of influences spanning techno born out of Birmingham and Detroit alike form an architecture of stripped back electronics alongside soulful melodies, as well as references to acid house, post-punk and shoegaze. The title track ‘Off Desire’ a nod to longtime friend and collaborator the late Silent Servant, evokes a dream like crescendo between David Lynch and the sci-fi body tech of David Cronenberg, electric stabbing beats are offset by wistful guitar riffs and the digital rain of ethereal distorted vocals as if echoes from the void.

ALP002, Alpine Sound’s second self-released record, sees the duo charting new territory, trading their signature heavy-hitting steppas sound with a more meditative and introspective palette.

‘Do The Cobra Dance’ on side A delivers deep acid-dub textures, anchoring a hypnotic rhythm with healthy doses of washed-out 303 action. Flip it over and you enter the more atmospheric realm of dub techno with ‘Clouds Connect’, where muted stabs, heavy low-end, and expansive delays send you drifting straight through the echo chamber.

Mastered by Jack Robinson at The Dub Crate and pressed at Well Tempered, these are two weighty dubs, equally suited to home-listening and the dance.

For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.

When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.

On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.

Four belters, all on one record, designed for maximum listening pleasure.

"Compared to its 2013 predecessor, Am, TRU is less late-’80s Dino Jr., more early-’90s Sebadoh: While Ovlov are still as wonderfully wooly ever, they’re unleashing the noise in more purposeful, sculpted spurts and displaying a greater willingness to let their melodies sparkle through the clouds of distortion. Tuneful, feedback-slathered surges like “Half Way Fine” and “Spright” feel as comfortable as a beaten-up pair of Chuck Taylors, introducing dramatic dynamic shifts and savvy melodic change-ups to keep you on your toes. You may not always be able to make out Hartlett’s lyrics amid the cyclonic fuzz, but the despondence and disillusionment in his voice always cut through loud and clear. And when he can’t quite find the right words, he and fellow guitarist Morgan Luzzi unleash that simmering angst through nonverbal means, like the roiling guitar tsunami that brings the hazy-headed “Baby Alligator” to a cataclysmic close.

-Stuart Berman, Pitchfork

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of WITCHING HOUR’S mini-album, Where Pale Winds Take Them High…, on vinyl LP format. Under license from Evil Spell Records. Originally released in 2014, this 6-track mini-album continued the evolvement of the band’s sound from rough and straight forward black thrash to a more varied, multilayered approach to the genre. On this record, Witching Hour still concentrated on shorter, more to the point song writing, whereas their following albums began to see more expansive and atmospheric tunes.

DYING VICTIMS PRODUCTIONS is proud to present the highly anticipated debut album of Poland’s TORPOR, Ɖungeon Ɖescent, on CD and vinyl LP formats. TORPOR were formed in Warsaw by three school friends and music fans under the huge influence of Bathory. While recording their first release, Burning Realms / Behold the Spell of Black Fortress, in dusk of 2017, the band were laying their music foundations inspired by the epic side of black and the haunted / melancholic side of early ‘80s heavy metal. Since their last release – 2021’s The Ancient Tales EP, which was actually recorded in 2019 – TORPOR parted ways with their drummer, who alongside Mike Magister I.V. and Franciszek Archont, was a founding member of the trio. Upon the arrival of a new drummer and long-time friend, Bloodhammer, they recorded their debut album. It marks the result of their work and path undertaken. "We knew it was our direction to follow and polish, so now, after some time, we can happily present our debut album, Ɖungeon Ɖescent,” the band state. “It is our first real record that pictures our vision exactly how we liked to. After years of wandering around basement rehearsal rooms and two self-released demos, we are finally coming out of our lairs with this LP under the banners of DYING VICTIMS." Their past connections with fellow labelmates ARMAGH and FUKKIN’ VENGEANCE somewhat explains TORPOR’s link to the idiosyncratic side of ancient heavy metal, which has taken far more prominence on Ɖungeon Ɖescent over the first-wave black metal side – but that’s only part of the picture. Some might call it “cleaning up,” others might liken it to a harnessing of feral energies, but TORPOR’s emphatic-yet-stoic strut conveys equal amounts of energy and mystery, finesse and fine-tuning. Of course, the power-trio can kick into high gear when they want to, be it heroic gallop or even hypnotic blast, but their sense of movement from one moody segment to the next imparts a narrative flow that’s part and parcel of their lyrical imagery. Or, perhaps it’s true swords & sorcery metal without belaboring the point – no “COOL IMAGERY DUDE” without the music & atmosphere to back it up, more specifically – that harkens to a glorious, sadly bygone era. However you approach this Ɖungeon Ɖescent, TORPOR have surely delivered a cult classic in the making. Passion, authenticity, the reverberating ring of truth…ancient powers arise from time immemorial

DYING VICTIMS PRODUCTIONS is proud to present JORDSJØ’s highly anticipated new album, Pestkrønikene, on CD and vinyl LP formats. JORDSJØ released their first tape in 2015. With the fourth tape, 2017’s Jord, the band got a wider audience outside their native Norway and subsequently released full-lengths on such labels as Karisma, Pancromatic, and Apollon. The band works as a duo in the studio, but for the last eight years, they have played live as a quintet. JORDSJØ are led by multi-instrumentalist Håkon Oftung, who has been a part of Oslo’s psychedelic, progressive, and heavy rock undergrounds for many years, and has played in Black Magic, Tusmørke, The Chronicles of Father Robin, Wobbler, Zenon, and labelmates FLIGHT to mention but a few. He’s joined by longtime companion and childhood friend Kristian Frøland, who plays drums and percussion, and also produced and mixed Pestkrønikene. Pestkrønikene is a part of JORDSJØ’s 10-year anniversary, and their ninth release overall. The record started out as a compilation of studio outtakes from 2020-2025, but then took on a form of its own, with the songs linked together thematically. Lyrically, those themes reflect war, upheaval, the fall of kings and the rise of a new dawn, and cults and sects. Sonically, Pestkrønikene encapsulates the JORDSJØ experience as well as extends beyond it. Mythical and magickal, the album honors the band’s background in hard rock and heavy metal, and combines this with their own analog and organic blend of progressive / psychedelic folk rock.

Consolidated, the political dance/industrial music band from the early 90ties joined again for a studio session in San Francisco last summer, resulting in a new album. 'We're Already There'. The first release on Consolidated's own label 'The End Of Records'. What else to expect, the new recordings are an innovating mix of industrial, to hip-hop, to rock and funk with mixtures of live instruments and electronics. Topped with left political activism and politically radical lyrics address issues such as America, Covid and ecocide with song The Flood, demand *'Free Music, Stop America'* with Musica Sin Frontieras & welcome guest vocalist GRETA THUNBERG on the track The 'ol Mass Extinction Blues. The album starts in 'traditional Consolidatedgroove' with the song 'Capitalism A.F.', a mix of beats, industrial sounds and hiphop. Followed by funkypop songs, danceable industrial jams, techno beats, reggae and blues influences plus a remarkable noise track. Main musicians are Adam Sherburne (guitar/vocals) and Mark Pistel (synths/beats) backed by Lynn Farmer (Meat Beat Manifesto) on drums, who replaces the original drummer Phil Steir. The complete album is recorded, mixed and mastered by Mark Pistel at 'Room 5' in San Francisco. The cover shows art paintings from Ayelet Hay (front) and William Kendall (back). On 'We're Already There' Consolidated plays more music than ever. "I have zero interest in being in a band, especially my own_" "I had to develop a different way to be involved with music for aesthetic and mental health reasons_" "FREE MUSIC! is not to the detriment of artists, it's literally the end of artists-as anyone perceives them in the last 500 years" -Adam Sherburne - Consolidated are known for their live performances, in which a microphone is passed among audience members to discuss, rebut, argue or elaborate on song topics. Consolidated: Adam Sherburne & Mark Pistel.

Following the success of his project DFRA Experience Jazz Band – Jazz In, Argentinian deep house maestro DFRA returns to Groovin Recordings for his highly anticipated second 12" vinyl release, "All About You EP".
While his first Groovin record heavily merged live modal jazz and bebop structures with electronic music, All About You sees DFRA shifting focus directly back to the late-night dancefloor. Dropping just in time for the July summer heat, this four-track EP delivers a masterclass in clean, sophisticated deep house.
Across both sides, the Buenos Aires producer effortlessly pairs crisp percussion with warm, hypnotic basslines and soulful chord progressions. From the smooth, vocal-tinted groove of the title track to the late-night atmosphere of the B-side cuts, this record perfectly balances a timeless, classic edge with modern production weight.

Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."

Lorelle Meets The Obsolete return with their seventh album. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and last year's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol."Playing other artists' music is different," says Lorena Quintanilla about the change of direction towards the dancefloor. "You're not just listening, you're watching how energy flows and how it affects other people. It gives you the chance to witness what moves other bodies." And Corporal, as the title suggests, is all about the body. "The body is what carries the weight of stress, exhaustion, sadness. It's the body that the system breaks first," explains Lorena. "Unintentionally, while composing the album, our bodies were seeking joy in the songs. Reconnecting with pleasure became a way to open new dimensions - a way to escape, yet remain present." The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies we miss, the bodies that march together in protest, the bodies that are being controlled".

Simsara Records is proud to announce Syrr, the new album by Egyptian artist Maryam Saleh, arriving 27 March 2026. A mythic and introspective work, Syrr transforms memory, loss, and lived experience into a shifting world of sound, voice, and embodied emotion. Written and composed by Saleh, the album traces a three-part journey—Origin & Image, Vessel, and Intuition & Echo—in which the self is fractured, questioned, reassembled, and ultimately expanded. Blending raw expression with subtle dramatics, Saleh crafts an immersive sonic autobiography rooted in intuition, embodiment, and human becoming.
Co-produced by Maryam Saleh, Maurice Louca, and Kamilya Jubran—who also perform keys, oud and backing vocals throughout—the album’s songs are set to or inspired by existing Egyptian and Arabic song forms (including mawwal, lullaby, madih, muwashshah, taqtuqa and more). The project underwent a rigorous three-year journey of songwriting and composition by Saleh with Kamilya Jubran as mentor before recording.
“Syrr” is mixed by Mokhtar El Sayeh and mastered by Heba Kadry, with artwork by Pauline Gouablin (photography), Omar Mostafa (image editing, treatment and inserts design), and Maged El Sokkary (typography and illustration). Lyrics translation by Nariman Youssef. Produced by Simsara Music with support from the Arab Fund for Arts and Culture (AFAC).

Featuring 5 explosive tracks packed with pure Early Hardcore power.

Straight from the underground, straight to your turntable.

Featuring 5 explosive tracks packed with pure Early Hardcore power.

Straight from the underground, straight to your turntable.

MAR 004 continues the evolving catalogue of Moozikeh Analog Room, a label imprint emerging from the broader Analog Room ecosystem. Over time, Analog Room has developed into distributed creative structure spanning, bridging club culture, archival releases, and experimental instrument design. MAR 004 extends this trajectory, reinforcing the label’s position as a long-form documentation platform for contemporary electronic music practices rooted in both regional and international dialogue.

From The Label:
"The relationship with Roman Flugel started with us listening to his music and be fascinated by the simplicity but bold sound. The sound design and the story telling was inline with how we enjoyed music. After inviting Roman for a few times to perform at Analog Room, the relationship led to the point that when it was time for us to think of the MAR releases, we could not miss on asking Roman to join the label and the rest is what you are going to experience with this thick, deep and rhythmic EP that represents what the world need at the moment, some SOLUTIONS. Analog Room has always tried to bypass the issues in the South West Asia region through music and art and show how we are all the same and connected."

From Roman:
"My record for Analog Room is essentially a long-term project that was sparked by multiple invitations to the Analog Room club in Dubai over the course of several years. The club held a special place for me—a sanctuary for the underground music scene in a city otherwise defined by a very different ethos. I am delighted to now be part of the Analog Room label family. The record blends various moods and directions within my personal musical landscape, and "Solutions," in particular, has created euphoric moments during my DJ sets over the past few months."

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

Sushitech continues its expertly curated mission of uncovering hidden gems adding to its ever-green catalogue with another immersive, rare house classic from the West Coast of the late '90s.

Tim Buna and Eric James (RIP), who produced as E.T.I. and formed part of the solid bedrock of the West Coast sound alongside DJ Garth (together as Rocket) and the Wicked crew, join forces with Tony Hewitt, another titan of the era.

This rare genre-crossing underground record has been treasured by collectors for years, earning support from key players and featuring in the infamous Tyrant mix of Craig Richards and Lee Burridge.

Carefully restored and recut, this monster of a record is now available once again on Sushitech in its full form. Three decades on from its original release, its raw, dirty, high-energy vibe remains hard to match, with authentic, magical sound that stands second to none. Late '90s acid house at its finest.

SEVEN brings together a fine selection of fresh producers delivering everything from proper house slappers to drifting deep house cuts and progressive house on their latest Various Artists compilation. This VA highlights a bunch of promising newcomer artists across Berlin, Paris, Hamburg and Switzerland, each with their own distinct sound - alongside the already established Nesa Azadikha, a percussionist and producer from Iran. She dedicates her music to the people of Iran fighting for freedom, using house the way it was originally intended: as a rhythmic, electronic escape and a form of cultural expression for oppressed people and communities.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

2026 Repress

ARTS is back with a classy debut, this is Geinst, a very young Artist coming from France. His music is Unique, Literally one of a kind. We are happy to present Uchronie EP. When people don't express themselves, they die one piece at a time, don't forget it.