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To mark the 25th anniversary of their formation, Perizona Experiment is releasing a ‘best of’ compilation album, titled “25” and produced by Vina Records. Their music is characterized by psychedelic landscapes, floating harmonies and alternations of powerful stoner-rock riffs with post metal melodies.

,Sad Sappy Sucker" (oder mit dem ganzen Titel auf dem Cover ,Sad Sappy Sucker Chokin on a Mouthful of Lost Thoughts") ist ein Compilation-Album von Modest Mouse aus dem Jahr 2001. Ursprünglich sollte ,Sad Sappy Sucker" 1994 das Debütalbum von Modest Mouse werden, wurde dann aber für ein paar Jahre auf Eis gelegt, bis es schließlich 2001 nach dem Erfolg von ,The Moon & Antarctica", dem dritten Album der Band, rausgebracht wurde. Einige Songs wurden in den Dub Narcotic Studios in Olympia, Washington, von Beat Happening-Frontmann Calvin Johnson aufgenommen. Das Album wurde offiziell von Johnsons Label K Records veröffentlicht und enthält neun zusätzliche Titel, die zur ursprünglichen Trackliste hinzugefügt wurden. Die ersten 15 Titel bilden das ursprüngliche Album "Sad Sappy Sucker". Die Titel 16 bis 24 stammen aus dem Anrufbeantworter von Isaac Brock, der einen ,Call to Dial a Song"-Dienst eingerichtet hatte. (Quelle: Wikipedia)

Am 12. und 13. Oktober 2024 gaben American Football zwei ausverkaufte Konzerte im El Rey Theatre in Los Angeles als Teil ihrer Tour zum 25. Jubiläum ihres selbstbetitelten Debütalbums. Mit Gastauftritten von Ethel Cain und M.A.G.S. wurden diese besonderen Konzerte für das erste und einzige Live-Album der Band aufgezeichnet. Zeitgleich erscheint gemeinsam mit Prophet Media und Regisseur Steph Rinzler ein abendfüllender Konzertfilm mit Interviews. Sowohl der Film als auch das Album fangen das Erbe und die unerwartet anhaltende Stärke einer Band ein, die ein Genre mitgeprägt hat.

Nachdem American Football 1999 während des Studiums in aller Stille ihr Debütalbum veröffentlichten, lösten sie sich auf, um sich anderen Projekten zu widmen. 15 Jahre später kehrte die Band jedoch mit einer Fangemeinde zurück, die in der Underground-Emo-Szene stetig gewachsen war. Das Album landete später auf #6 der Rolling Stone-Liste "40 Greatest Emo Albums Of All Time", während Pitchfork der Deluxe-Neuauflage den Titel "Best New Reissue" verlieh und die LP als "einflussreichstes Album des Genres" bezeichnete.

Debut full length of old school DEATH METAL on a timeless warpath strewn with familiar and unknown terrors beyond.

Timelessly in the vein of Bolt Thrower, Nihilist, Entombed and Dismember where death takes bearing on the facade of life.

LIMITED to 666 COPIES WORLDWIDE

Samo Records celebrates its 20th release with a special vinyl from Sintex Bortexx. The Argentinian duo present three original tracks, crafting a distinctive sound that fuses elements of New Beat, EBM, Acid, Dark Wave, and more.

For the occasion, Samo Records has invited three heavyweights to complete the package, with remixes from Tutto Vetro (aka Curses), DC Salas, and Charlie.

The label's co-founder and sound alchemist returns! Serving up his signature blend of heavy breaks and trippy ethereal atmospheres, plus a dash of outer-funky flair. All tracks were part of his livesets, including the featured special remix to PWOG.The label's co-founder and sound alchemist returns! Serving up his signature blend of heavy breaks and trippy ethereal atmospheres, plus a dash of outer-funky flair. All tracks were part of his livesets, including the featured special remix to PWOG.

A hiatus is nothing but the reconsideration of fundamental values and interests.

Simple Times is back with “A Thin Line Between Dreams & Nightmares” EP, an emotional deep dive into the world of Progressive Trance, House & Electro. Aiming to follow the principles of stereo and raw, uncompressed music, this EP offers a fresh take on vintage music and the early culture of raves, dancing, and dance music.

TSSRCT returns with its second release, delivering a four-track EP by UFO95 that dives deep into minimalist, contemporary techno. Focused on raw textures this record explores a territory where noise meets precision. Punchy drums collide with saturated percussions, while delay-heavy treatments carve space into the mix, creating hypnotic tension across each track. It's a stripped-back yet forceful statement -- functional and experimental in equal measure.

TRON: Ares (Original Motion Picture Soundtrack)
24 neue Tracks von Nine Inch Nails: das Duo aus Trent Reznor und Atticus Ross veröffentlicht am 19.
September 2025 sein Album zum Disney-Kultfilm „TRON: Ares“, inklusive der neuen Single „As Alive As
You Need Me To Be”. Damit setzt die Band eine erfolgreiche Soundtrack-Geschichte fort: ihre vorherigen
Untermalungen zu Filmen wie „The Social Network“ (2010), „Soul“ (2020) oder „Challengers“ (2024)
wurden unter anderem mit zwei Oscars, drei Golden Globes, einem Emmy und einem Grammy ausgezeichnet. Die düstere Industrial-Handschrift Trent Reznors fängt die Stimmung der Sci-Fi-Reihe „TRON“, für
deren letzten Film Daft Punk komponierten, perfekt ein. Reznors Einfluss auf die alternative Musikwelt ist
seit den späten 80ern ungebrochen: mit Hits wie „Closer“ und „Hurt“ sowie Alben wie „The Downward
Spiral“ kombinierte das Mastermind elektronische Sounds mit Rockmusik wie nie zuvor. „TRON: Ares“ ist
die erste NIN Veröffentlichung seit fünf Jahren und liefert gleich 70 Minuten neue Musik – erhältlich ab
dem 19.09. auf CD und Vinyl.

"Love it! Electronic wonkiness at its finest" - Richard Norris (The Grid)

TEA, CAKES AND THE (WO)MAN MACHINE

Curtain Twitcher could only have emerged from Sheffield.
A female electronic duo whose corrupted downtempo post Balearic chug pulses and wobbles, throbs and twitches - full of fat noises and bolshy Moogery.
It's human and appealingly analogue. More Delia Derbyshire's Radiophonic Workshop than DAF, More Tangerine Dream than Depeche Mode. Not your average bloketronica.

Frankly this music doesn't behave itself in any way you might expect. Plugged in post rave pop can be far too orderly. Music should be messy. Even on occasion revealing a tune your mum could hum.

"Leap The Dips" emerged from machine jamming with a creative freedom that only comes from friendship. That friendship is a musical one but it's also real and genuine: "We’ll talk about pretty much owt if you provide the tea and cakes".

Acclaimed electronic musicians, producers and sound architects Max Cooper and Rob Clouth team up for a new collaborative EP; a dark, playful four-track dive into ambient, breakbeat and techno’s subconscious flow, featuring a standout vocal performance from South London rapper FLOHIO.

Recorded over a series of spontaneous London sessions, “8 Billion Realities” channels years of creative exchange between two of the genre’s most quietly innovative artists and is a result of a decision between the longtime friends to refrain from conceptual overthinking in favour of instinct and joy.

As long-time admirers of each other’s audio/visual work, Cooper and Clouth collaborated in London together after both emerging from intense, idea-heavy album cycles. What followed was a series of exploratory sessions, half-improvised, half-built around half-formed thoughts.

The result is a club-ready EP that feels alive and human: imperfect and hypnotically rich.

“Rob Clouth has been one of my favourite electronic music producers since I first heard his work in 2011,” says Cooper. “His work is more full of ideas and structure than anyone else.” “We were both coming from extensive conceptual studio albums and both in the mood for simplifying things and having some fun with the music, so that’s what we did”.

For Clouth, no stranger to Max Coopers Mesh label having previously released an array of EP’s plus his 2020 debut album “Zero Point” this record marks a new chapter, both creatively and personally.“Something pretty new for me is collaborating,” he says. “You kind of have to when to stop, because if you develop an idea all the way to its endpoint, the other person has nowhere to jump in.”

The first “A Moment Set Aside” began as a break from another idea, a live, unplanned improvisation based around arps and ambience. “The track was written in about as long as it took to play it,” says Cooper. “It was pulled from a 1 hour recording session, more or less as you hear it… the energy and excitement grew as the unplanned moment bore some magic.”

“The lesson being that sometimes it’s helpful to set aside a moment without forcing results, and let the subconscious have something to say.” What followed was darker, heavier. “Asymptote” is detuned techno. Subversive and euphoric in its descent. “We found a sort of brain mangling, half consonant, half wandering detuned techno pulse, which we started chatting about being a sort of pit of spiralling body parts we were falling into,” says Cooper. “It was a lot of fun to work on and let loose with bigger kicks than I usually ever get to unleash.”

Then came “8 Billion Realities”, featuring a standout rap performance from FLOHIO; an emerging figure in the UK grime and rap scene. The track was inspired by conversations about algorithmic echo chambers and hyper-personalised online worlds. Frantic, direct, and South London to the core, FLOHIO brings this tension to life. Her sharp, intense flow cuts through distortion and rhythm, landing the track somewhere between chaos and control instantly making it one of the most striking moments in either artist’s catalogue. “A different reality for all 8 billion of us,” says Cooper. “We weren’t sure if it would work… but there was something about the energy of the percussive idea and the story which felt like it might fit.” “Then FLOHIO had a play with it and straight off the bat absolutely killed it, not just with the lyrics and energy, but the harmonising too, it was a beautiful process.”

The final piece on the EP “Candeleda” originated from Clouth’s solo experiments with a live rig made entirely of vocals and keys, using his self-developed “cheatbox” system. “He put forward a beautiful stumbling melodic sequence which we bounced back and forth adding harmonies and synth layers,” says Cooper. “It rounds off a collection covering some of the breadth of music that we both love.”

Underground Macedonian techno rebel Stojche known for his no nonsense vibrant and dynamic Detroit schooled productions enters the dolly family! With releases on label like a.r.t.less, Syncrophone and Fuse Brussels he is an artist well in tune with his craft. 'Cause & Effect' is another consistent Stojche voyage, remaining true to his sound that stands for high quality techno with a heavy dose of funk and emotional content that simply never misses!

In an intricate lattice of ever-evolving electro exploration, Samuel Van Dijk is back on Delsin with a new EP. Under his VC-118A alias, the Helsinki based producer presents a richly textured, cinematic strain of machine funk that reaches beyond dancefloor functionality to test the expressive potential locked within electro's crisp rhythmic framework. There's a melancholic mood hovering over Avian as Van Dijk allows a subtle edge of distortion to creep into his flickering drum programming. The end result is a pensive sound that touches on the moodiness of orchestral composition, unfurling patiently across extended run times without losing focus. With his characteristic attention to detail and broad dynamic range, Van Dijk continues to offer up a sophisticated, emotionally-charged strain of electro like no other.

The third drop into the Poorly Knit ocean, sees Bruce washed ashore with three silted and barnacled explorations into dub techno, ambient and beyond.

Seizing the microphone for the first time since his sophomore album Not Ready For Love, Bruce weaves a seductive siren song with Golden Water Queen, treading sweet nothings into the bubbling abyss. Sinking further into the deep, The Hand fizzes and froths at the fringes of nothingness, born from the wishing of a softer and more insidious soundtrack to Denis Villeneuve’s Dune. Then finally the waves are parted with DHam’s Jam, bobbing along 8 minutes of bouncing kick and prancing percussion, pulling you with peaceful buoyancy along the dancefloor, into “the zone.”

With a continued emphasis on the importance of physical medium within dance music, the 12” is pressed with eco-friendly “Eco-Mix” reground PVC and sleeved in DIY lino printed sleeves.

Featuring the UK No.1 singles “Goodbye” and “Holler” / “Let Love Lead The Way”, this special reissue is housed in a gatefold sleeve and includes four collectible art prints – one for each girl, exclusive to this 2025 pressing.

Wahnsinnig authentischer 90er-Jahre-Vaporware-Jazz, kreiert für den Weather Channel von Paul Coleman, einem Chicagoer Bandleader der 60er und 70er Jahre der Bands Fabulous Epics, Rasputin's Stash und Crystal Winds. Es existieren nur 500 Exemplare auf Cloud Coloured Vinyl weltweit.

""Ein Manager des Weather Channel war mit Corky Browns Tochter unterwegs und versprach mir eine Menge Geld, wenn ich Originalmaterial schreiben und dem Weather Channel vorlegen würde. Ich schaltete sofort in Superman-Modus und begann, jeden Tag einen Song zu schreiben und zu programmieren. Ich arbeitete Tag und Nacht daran, diese Songs so schnell wie möglich zu kreieren. Sie wurden ein paar Mal gespielt, bevor der Weather Channel aufgekauft wurde. Aber wir wurden nie bezahlt."" – Paul Coleman 2025

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

Repress!

200 COPIES ONLY

Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.

For the third time, they had been sent to this forsaken land. It was neither east nor west, neither north nor south. They said it had once been a kingdom, somewhere in the heart of the old continent, something they had pieced together from the ruins scattered across jagged hills sprouting here and there from the ground. Everyone else went islands, dived to the seabed, drilled at the poles, and explored waste in the east, but these two were sent here again, as if someone were trying to get rid of them, just to keep them out of the way.

What were they really supposed to find here? They wandered the land, aimless and bored, like the last bird watching from the sky. Sometimes they landed, took samples for the lab, and then caught a nap by the river bend. They avoided the hot fumes of active volcanoes. Compared to those on other planets, these were more like small, whispered fumaroles, but even so, they had to be careful.

They felt as if they had stepped into a scene from a movie they had once glimpsed. A mad and exhausted conqueror screamed and wildly flailed his arms on a ridiculous wooden raft in the middle of a raging river. It was somewhere in the south of this planet, deep in the jungle. There were many movies made on this planet, but only fragments of the reels survived, and this one quickly became iconic.

When a trumpet sounded in the distance and flooded the land with a booming murmur, when all the fumaroles hissed together, and when wind rolled in, covering the land in heavy fog, both of them knew the third expedition would not be like the previous ones.

At that moment, Kult Masek and Petr Vrba were flying over the land that was once called České středohoří.