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Supermodels ist eine Platte, in der man sich selbst wiedererkennen kann, egal wie alt man ist oder wo man steht. Clauds fesselndes und ergreifendes zweites Album ist ein selbstbewusstes Tagebuch über das Quecksilber des Lebens und der Liebe in den frühen 20ern, ob es nun die Selbstzweifel sind, die sich durch die Songs schleichen, oder der Ort des Kompromisses, den sie zu finden versuchen. Es ist eine exakte Karte der emotionalen und logistischen Wechselfälle, denen sie in ihren frühen 20ern begegnet sind. Risse in Romanzen und Freundschaften, der Druck der Plattenkarriere, die Verluste des Erwachsenwerdens: Jeder dieser 13 Songs ist ein weiterer artikulierter Tagebucheintrag, der ohne Rücksicht auf das Genre und mit der Achterbahn der Gefühle zusammengefügt wurde, die jedem Stück eine so spezifische Schwere verleiht. Für Claud sind dies vertraute Themen, die zum Teil das gleiche Terrain abdecken wie Super Monster von 2021. Aber die Ideen haben ein neues Selbstvertrauen, das sich in Strukturen und Hooks ausdrückt, die nicht zweideutig sind, wenn sie sich von stirnrunzelndem Folk über ungestümen Pop bis hin zu verdrehten Klavierkuriositäten bewegen. Während Supermodels größtenteils im Schlafzimmer ihrer Kindheit entstanden ist, wurde dieses Album an einem eigenen Ort aufgenommen und von einem Team von Vertrauten und Mitarbeitern zu prächtigen Produktionen ausgebaut. Supermodels hat seinen Namen aus dem Albumsong „Screwdriver“. „You caught me looking at photographs of supermodels“, singen sie, wobei sich ihre Stimme langsam über die elegische Zeile erhebt, die auf dem kaputten Klavier geschrieben wurde. "Trying not to cry when I look back at myself". Es ist ein erschütternder Moment, eine Erinnerung daran, wie wir alle daran arbeiten, uns nicht mehr als minderwertig und nicht gleichwertig zu sehen, um ein Dutzend verschiedener Unsicherheiten zu überwinden, die wir in den tiefsten Nischen unserer Fassade zu speichern versuchen. Aber Claud verbirgt bei Supermodels nichts. Es sind Kerne der Verzweiflung, der Erlösung und letztlich der Einsicht, die uns daran erinnern, dass wir weder die Ersten noch die Letzten sind, die sich diesem Blues stellen und weitermachen.

RAR001 was featured in Resident Advisor's Best music of July list

RANT & RAVE
An enigmatic new sound is oozing out of your speakers. Seemingly self-tasked with reviving the essence of the techno rave style, Rant & Rave Records presents the world with an updated vision that sounds exactly like it should. Based in Berlin, the techno epicenter, It's a dangerous new label, unafraid to stir things up and break the rules. Run by Tresor resident and Sonic Groove recording artist Maedon, the label intends to inject some hard-hitting fun back into the techno underground. About to be revealed; EPs from Maedon, Lady Starlight, JoeFarr (of Turbo fame), and veteran industrial techno guru Mark Crumby, (aka Codex Empire, Konstruktivitis). Look for Rant & Rave records this summer at all fine record shops.


RAR 001
Berlin-based American expat Maedon (Tresor, Sonic Groove) ushers in the arrival of Rant & Rave Records with a slickly produced debut EP entitled 'Cease and Desist'. '1989' opens with booming kicks, driving mechanical percussion, and hallelujah samples interspersed throughout. The droning rave synths sound eerily akin to kamikaze dive bombers heading directly for your brain. 'Grandstand' and the title track 'Cease and Desist' continue in this direction, abundant with hypnotic electronics and relentless energy. On 'The Worlds So', Maedon shares her thoughts on the state of world current events with looped vocals 'The worlds so fucked... all we can do is dance'. Gritty, dark rave tracks for peak time workout that provide a nice blueprint of what to expect from this label. No prisoners taken.

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IFP represses... Mr Gruber minimals acid elements ... B side opens with THE track from IFP... Offfering a High freq abuse to turn minds into madness for a kick.... Diving break !! Last track is a slo a reverbless kick. Kind of a bloody dancefloor minimalistic ! Esta Loca !

Singular Texan musician Craig Clouse hurtles unstoppably towards the 20th birthday of his dancefloor-splintering electronic project Shit And Shine, releasing a landmark LP, his first full-length for The state51 Conspiracy, ‘2222 And AIRPORT’. Acid house, minimal techno, electro, funk, krautrock, hip hop, found sound, spoken word, live percussion and industrial are blown apart stupendously and then reassembled – mad-scientist style, in a way peculiar to Clouse – into 13 hypnotic and transportative tracks.

Lead single SWISS, out 24 March, is a gloriously minimalist funk jam that sounds like the exact point at which someone turns the lights off at a lowkey house party and a wild night for the ages gets under way. An almost scornfully skeletal riff, sounding like a misfiring Cyberdine Systems Model 101 summoning up a Prince circa Sign “O” The Times riff while crashing head first into the hyper-processed early work of Prefuse 73, also featuring a cheeky sample of revered Mancunian DJ Luke Una talking about “existential fucking darkness”.

This is followed on 4 April by INFINITE SHITE, arguably the epic central track to the album, is a Shit And Shine banger for the ages, its dancefloor affect, undeniable. An unforgiving, pulsating Byetone-style bass drone worthy itself of being blasted on a Funktion-One rig, is just the background for a colossal acid b-line, destroying all in its path.

Micro details bristle at the liminal level, threatening to only reveal themselves to those in a club, those listening on headphones or those experiencing a heightened sensory state.

Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry.

The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.
Cable Ties are dedicated to their local community and independent networks, and to playing diverse and inclusive shows. They have toured Australia a number of times and have developed into a lean and efficient touring band who deliver powerful and meaningful shows. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. They have also self released three 7” singles which have all sold out. The debut album is on its third vinyl pressing.

The band toured UK/Europe in 2017 supporting Jen Cloher, and played Punk’d Festival in Berlin. They returned to the UK in May 2019 to play The Great Escape and shows with Tropical Fuck Storm and Amyl & the Sniffers. In Australia they played Bigsound 2018 and festivals such as the national Laneway Festival tour in 2018, Boogie Festival 2018, The Plot 2017, and Meredith Music Festival in 2016. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.

Whitelands follow their acclaimed single ‘Setting Sun’ – which saw the London-based band added to the BBC Radio 6 Music playlist – with their first ever vinyl release, an EP of reworkings, which is released as a limited edition orange vinyl 10” on June 23.Simply titled Remixes, the EP features two reworkings of ‘Setting Sun’ by dreampop legends A.R. Kane – the short Initiation Dub and the epic Hero Remix, which comes in three parts, titled Departure, Initiation and Return and takes the song to some unexpected and exciting new places.“Whitelands came up in conversation three times in a week,” explains A.R. Kane’s Rudy Tambala of how he got to know the band and came to remix them. “Two times is coincidence, three times is a conspiracy, so I reached out to them on social media, and we started chatting. They’re cool, like baby Kanes. ‘Setting Sun’ was close to my heart, reminding me of ‘Fools Gold’ meets Slowdive versus Frank Ocean. Anyway, I heard several approaches in my head, so I thought, ‘Fuck it, let’s do ’em all’. “I knew I wanted to take a prog approach: Marvin Gaye’s What’s Going On, Pink Floyd’s The Dark Side Of The Moon, Sasha’s Involver2, Coltrane’s A Love Supreme, Frank Ocean’s Blond, etc. Even my own sixty nine. It’s that seamless drift from one part into the next, stretching the idea until it ruptures, creating space for a new way of perceiving; this has the first inklings of hive mind, telepathy, in a musical form; you dissolve into it as it dissolves into you. A fundamental dreampop construction and aim, whereby subject and object become one. Ahem. “As the extended mix took shape it suggested to me the three components of The Hero’s Journey, hence the titles. The three-minute pop song was determined by the technical limitations of the 7” vinyl single. Digital has obliterated that. The perfect dreampop song has no time limit. ‘Setting Sun’ A.R. Kane Hero Remix is timely.” Alongside Rudy’s reworkings is an equally dazzling drum’n’bass take on last year’s single ‘How It Feels’ by the band’s guitarist Michael in his howdogirlssleep guise.

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Music for life.

Music for love.

Music to dance.

Music from them.

The Junkyard 2 came into fruition when it was released in May of last year, as an intimate collection of what she considered her best material. Scott has been taking piano lessons since she was eight years old growing up in California, and that instrumental talent is one of the most striking elements on the record. The songs reckoned with touchy subjects -- emotional labor, insecurity, healthcare -- with razor-sharp wit and care. Even if it was recorded poorly, the brilliance of the writing and performance still resonated. After that, she realized she had to do better, and so she unveiled Public Void in September. She ditched the piano, played with software, and gave her music a texture that was bolder, weirder, and catchier. Together, the two projects and Scott’s other singles have combined to amass 150 million on-demand U.S. streams, according to MRC data. The landscape of TikTok is cluttered, and hits are ephemeral, but Scott’s strike a unique chord and her image is constantly growing. When asked if she considers that music will be her full time job, she pauses, reluctant to think too far ahead. “I think, for the near future, yes,” she ultimately answers. “I’m definitely not leaving college for it. But the next couple of years are locked in.”

Classic madness and violence! Death Metal history, the ultimate edition! Death Strike need little introduction to anyone who would consider themselves seasoned in the realm of Death Metal, the legendary Paul Speckmann’s debut foray into the genre has garnered pretty much cult status now as a genre classic and not without good reason. This reissue of 1991 album compiles the debut demo from ‘85 together with four other tracks for the rather aptly titled “Fuckin’ Death”, and being brutally honest, could you possibly have a more suitable description for the sensory annihilation present on these recordings? It’s that fact that half this material was recorded back in the mid-eighties that really makes it stand out, Death Metal was still in its infantile stages back then with extreme metal making a transition between the Crust influenced filth of Hellhammer and the ilk to a more brutal strain with bands like Possessed and Slaughter emerging out of the underground with a significantly more potent and brutal form of metal unlike anything heard before, and when you realize it came out at the same time as two monumental releases by the aforementioned bands you wonder why the fuck it never got quite as much attention as it was just as influential if not more so than those classics. If you’re one of the unenlightened still wondering who the fuck Death Strike are, “Fuckin’ Death” was essentially just the first Master album under a different moniker, and along with Master’s debut and “On the Seventh Day...” are Death Metal classics. The first four tracks as previously mentioned are from 1985 and astonishingly ahead of their time. It’s basically ‘Hellhammer on crack’, fast brutal and utterly primal Death Metal with that huge hardcore influence shining through. Paul’s vocals are a maniacal and wretched reverbed howl that just add to the chaos conjured with Kirk’s unbridled leads, the d-beat styled drumming and thundering, bowel shaking bass. Songs like “Pay to Die” and “Re-Entry and Destruction” are impossible not to like, it’s extreme metal heaven (or hell, whichever you prefer), straight-forward, catchy and downright punishing.

The Search for God is a wake-up call for a troubled world that’s still worth saving, animated by a belief in the power of small connections to add up to big changes. At 10 songs delivered in a brief 15 minutes, Jimmy Whispers’ long-awaited sophomore album feels present in a way that feels brand new for the cult auteur. Like many of us, Jimmy has been affected by the pressure of the past few years. After embracing sobriety in 2019, and now as a filmmaker sharing the stories of lesser known Los Angeles community members, he’s brought his dreaming down to earth, while turning its direction even further out.

Recorded with his longtime friend Ziyad Asrar of the band Whitney (and re-recorded after a hard drive incident destroyed the original files), The Search for God was created in the wake of Jimmy’s COVID isolation, and returns to some teen influences that are out of step with the chill/lo-fi LA indie rock scene he’s found himself lumped in with. Created mostly with two vintage synths, a single Roland CR5000 drum machine, and a busted karaoke machine, it channels Midwestern emo, the Beach Boys’ Smile, subtle nods at hyper-pop production, and forgotten jewel-box era college radio of the early aughts into a pure pop sound that transcends easy categorization.

The album’s standout single—and its statement of purpose—is “Hellscape,” which packs more into a minute and 40 seconds than you’d think possible: multiple immediately-unforgettable hooks, kaleidoscopic keyboards, and a bracing reminder that even the most transcendent moments are rooted in a world full of suffering. “This is a fucking hellscape,” Jimmy sings. “This is real life / this is happening.”

That may sound like punk nihilism, but The Search for God is anything but. Every lyrical acknowledgment of how fucked things are right now comes with a promise that we can still make positive changes. Jimmy calls it “God”; you might call it Love or Peace or A Place In the Universe That Makes Some Kind of Sense.

Will The Search for God deliver whatever that is to you? Of course not. At its heart, it’s still just a really good pop album. But maybe that’s enough. For a minute or two at a time, Jimmy’s music cracks open a space where the divine can enter our lives. The utopia we’ve all been dreaming of is already here if we’re just willing to build it. Jimmy Whispers is there, ready to add his voice, whenever we want to reach out.

While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

Bunny White Vinyl! While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

Militarie Gun aus Los Angeles kündigen ihr Debütalbum ”Life Under The Gun” an, das am 23. Juni über Loma Vista Recordings erscheinen wird.

Außerdem kündigten Militarie Gun für den Juli zwei Deutschland-Shows mit Rival Schools an. Zuvor brechen sie zu einer Reihe von weiteren EU- & UK-Terminen auf, darunter eine bereits ausverkaufte Show in London.
Es ist fast unmöglich, ”Life Under The Gun” zu beschreiben, ohne sich in Widersprüche zu verstricken. Ist es ungewöhnlich aggressive Popmusik oder ist es ungewöhnlich eingängiger Hardcore? Ist es zutiefst intellektuell oder ist es befriedigend urwüchsig? Ist es ein verletzlicher Versuch, lebenslange Verletzungszyklen auszupacken, oder ist es eine Sammlung von weltbewegenden, absurden Punk-Hymnen? Die Antwort liegt auf der Hand: Es ist alles davon. Es ist Militarie Gun.

DSOTSV02 coming in hot with four underground bangers. One-to-watch N-Gynn brings the second vinyl release with his moody ‘Dark Side Of Time’ E.P., containing three slapping originals. The remix by Yamen & EDA wraps up the record with a solid house cut.

Lion Machine 23 is a four piece Rock band fronted by singer / guitarist & songwriter extraordinaire Daland based in North London, a mix between Oasis and Nirvana, who have already packed out venues across the city, as well as a recent tour of Argentina featuring a support for the Arctic Monkeys. This four song EP has been co-produced with West London’s finest, JBJ Studios Stormzy, Skrillex & more is due for release this Spring! UK dates incl festivals tbc.

2023s one to watch with true rock n roll style, prepared to get blown away by Lion Machine 23. `Liar’ kicks off with heavy grinding guitars, over which lead
singer Daland’s vocals laments the tone. Solid-driving strobe-lit bass completes the track with a rejuvenating catchy chorus when Daland belts out Liar you can’t help singing along.

Turning the noise up a notch on `The Mobile Phone’ lead singer Daland charismatically vocalises the good and bad of having technology at your fingertips. Bursting into a perspicuity of unending guitars and drums energise the track.

‘Always’ Summer festival anthem in the making, carries that feel good factor.

‘Fucking Under The Water’ Always a crowd pleaser.

Spanning some eight albums and multiple line-ups, "All Ages" contains the very best of Bad Religion"s Epitaph years. It includes live versions of "Do What You Want" and "Fuck Armageddon..." with artwork that is culled from original show flyers! The lyrics sheets are also the original hand-written versions; some of which were scribed on bedroom walls!

Super 10th relaese on this Nerland label for pure tekno acid sounds !

Nicholas Allbrook is a Western Australian native and a highly-accomplished Australian songwriter, and multi-instrumentalist. Since the beginning of his artistic career in 2005, Allbrook has brought community and collaboration to the forefront of his artistic method. Whether it was in the poignant lyricism of his solo musical endeavors (Ganough, Wallis and Fatuna/Wabi-Sabi) or in the production style of his band POND's latest album '9', Allbrook shows a deep understanding of the human experience and the importance of art in modern society. He has collaborated with Australian and international musicians alike, from King Krule to Cat Le Bon, Holy Fuck and Cuco. Emotional, geological, psycho-geographical: this is the terrain of Manganese, Allbrook's fourth album away from Pond life. A psyche-pop wonderland, Allbrook's new solo album is the sound of a musician with a symphony in his back pocket, the Eighties history of Oz-rock in his rearview mirror and modern Australia in his sights.

Donovan Woods was curious: What if he re-recorded Both Ways, his acclaimed 2018 record that won him a Juno Award for contemporary roots album, and distilled its 12 songs to their bare essence? An “acoustic reimagining,” if you will. “We started from scratch,” he says, from the instrumentation to his vocals to a fresh understanding of the heartache and regret that underpinned those songs. “There are no recording elements carried over from that album. It’s all brand-new.” Woods ended up with The Other Way, his album that brims with inspired interpretations of Both Ways that are intimate yet startling in their urgency. Released on May 3, 2019 on Meant Well, this release is a reminder of why the Canadian artist has become such a sought-after songwriter whose work has been recorded by Tim McGraw (“Portland, Maine”) and Lady Antebellum’s Charles Kelley (“Leaving Nashville”), with Spotify streams approaching nearly 90 million. You’ve always been able to hear and connect with Woods’ words. But an odd sensation washes over you when the varnish is wiped off of Woods’ songs. Somehow the lyrics burrow with even greater resonance and then linger like little smoke rings. For a producer, Woods enlisted ace guitarist Todd Lombardo, who produced Woods’ song “Portland, Maine” in 2015 and wrote and played most of the guitar parts on Kacey Musgraves’ Grammy-winning Golden Hour. Woods gave Lombardo artistic license not only to change the chords and song structures but to overhaul the arrangements with acoustic instruments and Lombardo’s luminous guitar work as the centerpiece. “I think this album draws out the pain and the darkness of these songs,” Lombardo says. “The record is about loss and failure and feeling like you fucked it up, and there’s no mistaking that. You hear every single word – and feel it, too.” Coming on the heels of “Go to Her,” Woods’ first song of 2019, The Other Way is so revelatory that it makes you wonder why he didn’t try this approach sooner. “It’s always been an interesting idea to me, especially when you’re an artist like me who inherently disappoints some people anytime your sound gets bigger,” Woods says. “But a really good song is a good song in any arrangement. It’s like a beautiful hardwood floor. You can put any furniture in there, and it’s going to look good.”

Eine ins Ohr gehende Mischung aus hintergründigem Songwriting, warmem Pop, Soul und einer Prise Americana, und natürlich der einmaligen Stimme von Jenny Lewis, das ist „Joy’All“, das fünfte Solowerk der Künstlerin. Das Vorgängeralbum „On The Line“ (2019) wurde auf der Rolling-Stone-Liste der 100 besten Alben des Jahres geführt.

Die in Las Vegas aufgewachsene Singer-Songwriterin war zuvor schon Bandmitglied bei Rilo Kiley, The Postal Service, Jenny & Johnny und Nice As Fuck, und hat mit Größen wie Beck, Ringo Starr, St. Vincent, Vampire Weekend, She & Him, Brandon Flowers, Bright Eyes, Elvis Costello, Wavves und Bill Murray gearbeitet. Zuvor war sie als junge Schauspielerin in zahlreichen Kinofilmen und TV-Serien zu sehen.

Die erste Single aus dem neuem Album, „Puppy And A Truck“, bekam weltweite Aufmerksamkeit, weil darin niemand geringeres als Harry Styles zu sehen ist, für den Lewis einige Konzerte eröffnete.
Der intime, warme Live-Sound des Albums ist Markenzeichen des achtfachen GRAMMY-Preisträgers und Produzenten Dave Cobb (John Prine, Brandi Carlile, Chris Stapleton, Jason Isbell), mit dem Jenny das Album im legendären RCA Studio A in Nashville aufnahm.

Eine ins Ohr gehende Mischung aus hintergründigem Songwriting, warmem Pop, Soul und einer Prise Americana, und natürlich der einmaligen Stimme von Jenny Lewis, das ist „Joy’All“, das fünfte Solowerk der Künstlerin. Das Vorgängeralbum „On The Line“ (2019) wurde auf der Rolling-Stone-Liste der 100 besten Alben des Jahres geführt.

Die in Las Vegas aufgewachsene Singer-Songwriterin war zuvor schon Bandmitglied bei Rilo Kiley, The Postal Service, Jenny & Johnny und Nice As Fuck, und hat mit Größen wie Beck, Ringo Starr, St. Vincent, Vampire Weekend, She & Him, Brandon Flowers, Bright Eyes, Elvis Costello, Wavves und Bill Murray gearbeitet. Zuvor war sie als junge Schauspielerin in zahlreichen Kinofilmen und TV-Serien zu sehen.

Die erste Single aus dem neuem Album, „Puppy And A Truck“, bekam weltweite Aufmerksamkeit, weil darin niemand geringeres als Harry Styles zu sehen ist, für den Lewis einige Konzerte eröffnete.
Der intime, warme Live-Sound des Albums ist Markenzeichen des achtfachen GRAMMY-Preisträgers und Produzenten Dave Cobb (John Prine, Brandi Carlile, Chris Stapleton, Jason Isbell), mit dem Jenny das Album im legendären RCA Studio A in Nashville aufnahm.

Blanck Mass (Fuck Buttons, Benjamin J Power, The Editors) hat die neue Amazon Prime Serie 'The Rig' mit Iain Glen und Emily Hampshire in den Hauptrollen vertont.

The Rig Synopse: "Als die Besatzung der in der Nordsee stationierten Bohrinsel Kinloch Bravo auf das Festland zurückkehren soll, zieht ein mysteriöser Nebel auf und unterbricht die Kommunikation mit der Außenwelt. Die Besatzung wird daraufhin an die Grenzen ihrer Belastbarkeit und Loyalität getrieben und in eine Konfrontation mit Kräften jenseits ihrer Vorstellungskraft gezwungen."

Der Soundtrack ist auf 2 x transparentes grünes Vinyl gepresst und in einer breiten Hülle mit doppelseitig bedrucktem Einleger und digitaler Download-Karte untergebracht.

- Col. 2LP: (transparentes grünes Vinyl)

Co-released via Spinny Nights and Memorials Of Distinction, the debut release from fresh Bristol blood 'Grove' is now available on vinyl in the 'Big & Bad Edition' served with extra cuts & remixes, printed sleeve & printed inner.

Black vinyl pressing 2022! "Funny to think there was a time not so long ago when Stiff Richards was a name that required explanation - but not to you, of course, o punk connoisseur. This is your territory, after all. Music is your oxygen and the sound of the underground is your clarion call. You can explain the distinction between 'Know Your Product' and 'No, You're Product'. Hey, you're probably pretty good-looking too. You know your shit, either way. So no wonder you're drawn to this relative holy grail of modern garage rock - the 2017 self-titled debut album by the aforementioned Stiff Richards. Originally released on their own Stiff Records (and again by Legless in 2020), it lays down all the elements that made last year's mighty 'State of Mind' LP such an instant classic. OK, we've established you know the drill, but let's recap: scintillating Aus-punk that recalls the heroic high-speed riffs of their countrymen The Saints and Radio Birdman. It sounds like Royal Headache covering Motörhead, or maybe the other way around. It's a full-on riot in 30 minutes - the rawest of rock'n'roll bleeding into the grimiest of power chords with hooks for days. You already know you're gonna love it. Whether going full-throttle and aiming straight for the nerve receptors that get your head a-nodding and your toes a-tapping - like on sub-three-minute highlight 'Strung Out' - or sludgin' their way through groovier cuts like 'Bustin' Out', they're never less than a treat that's guaranteed to get your serotonin flowing and your speakers up to 11 (or beyond). As a certain similarly-named record label once said, if it ain't Stiff, it ain't worth a fuck. Frightfully rude, but that's rock music for you, I suppose. Get it in your ears." - Will Fitzpatrick.

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Ultra cult classic kat williams 'that track by kat' massively played for 15 years everywhere in the world by ricardo villalobos comes up with 2 F.T.G (aka Fuckthegovernment) versions on B side.

Something never heard before from man of the moment Nikki Nair (or anyone else, for that matter): Whimsical glitchpop-blues with Nikki singing full vocals for the first time on record - lamenting the 9-to-5 struggle, yearning for summer & getting fucked up on the beach.

The idiosyncratic, strangely addictive original comes with a b*nging remix from Stockholm avant-techno ledge Peder Mannerfelt going full chaotic evil mode, warping Nikki's vocals into a menacing call to arms for the modern hedonist.

Defamator is the long-time-coming debut project of 24-year-old Chloe Gallardo. It tells a story of betrayal in love and friendship and the painful reality of overcoming love lost and former heartbreak.


Drawing influences from artists such as Broadcast, Grouper & My Bloody Valentine Gallardo adds her own haunting, folk-style vocals and hyper-specific lyrics to create a sonic unique to her. A style that she describes in her words as “dark shoegaze bedroom indie pop”.

Album opener “Bloodline” epitomises this bittersweet modus operandi. 15 seconds into its dainty acoustic strum , Gallardo adamantly sulks “I’m fucked up” - the salvo of a lyric about feeling like a family disappointment. As the track lifts up into a cascading gaze-pop rush, recalling the likes of Bachelor and Snail Mail, we’re blessed with a pristine elegance that belies the song’s raging core.
“I have always written music this way.”, she says of this fundamental contradiction. “It’s funny because I try so hard to write darker sounding songs and they always come out way too pretty. So, I’ve resorted to writing the most gut-wrenching and intense lyrics to compensate.”

Written mostly during peak-pandemic times in Gallardo’s bedroom - (“you can hear how scared and alone I was.”) - the songs that made their way onto Defamator arose from a concerted period of healing. Drawing from the teachings of therapy, the songwriting process gave her the means to channel some deeply entrenched emotional scars.
This venting of anger is implicit throughout the record. The album’s title - Gallardo’s own neologism - uses the concepts of “defamation” and “defamatory speech” to innovate a kind of pejorative accusation. As a result, it is like we are actively listening to Gallardo forcefully take command of her past. Of the title track she explains: “The song Defamator is about someone who spoke untruthful things about me in order to manipulate me and the way people perceived me and I felt that was an underlying theme in most of the album.”

Recorded at Jazzcat Studios in Long Beach California with Jonny Bell (Hanni El Khatib, Adult Books, etc.) Defamator marks Gallardo’s first time in a “legitimate recording studio”. And it shows. Bell’s production is vital moving part here. There’s more stripped back affairs - ‘There Will Be Blood”; ”The Way’ - songs which gently seethe and purr like Grouper’s spectral dream-pop; Gallardo’s fluttering folk-ish voice gloriously pushed to forefront.

Emerging from Yorkshire, UK, Druum & Melatron fuse punk intensity with electro and techno beats, igniting a sonic rebellion that transcends genres. This groundbreaking duo captivates audiences with their cathartic live performances, challenging societal frustrations through Melatron's thought-provoking lyrics. With vinyl releases 'Weapons of Mass Subversion' and the upcoming 'Where Did All the Punks Go?' under their belt, Druum & Melatron are set to redefine the electro-punk landscape on a global scale.

2023 Repress

DJ ARG is back on Dream Ticket and once again he is Not. Fucking. Around. Four headmelters from the master himself that traverse breaks, house, techno and booty. Hardware was indeed harmed in the making of this record. Live with it!

Inkl. 12" Booklet. Alte Straßenköter-Weisheit: Die besten Partys sind immer die, zu denen man nicht eingeladen ist. Man braucht sich keine Gedanken um die Abendgarderobe zu machen, hat außer einem halbvollen, abgestandenen Wegbier nix in der Hand, was als Mitbringsel herhalten könnte, bedient sich gleichwohl mit absoluter Selbstverständlichkeit am Schnapsregal des Gastgebers, hinterlässt als Überraschung für den Tag danach eine Stange Mittelstrahl im Zahnputzbecher und tanzt vor allen Dingen möglichst auf allen Tischen so, dass man immer mit dem Kopf voran in der Hochzeitsbowle landet. Die Zuschauer sollen sich schließlich an diesen wunderschönen Abend erinnern können. Möglichst für immer. BUBONIX aus Limburg machen das, um das oben skizzierte Wedding-Crasher-Prozedere mal durch die Subkultur-Szene-3D-Brille mit einer Tüte Popcorn in der Hand anzuschauen, seit Jahren nicht anders. Jene bandgewordene Voodoo-Zeremonie des Punk und Hardcore um Sänger und Vorzeige-Wildsau Thorsten Polomski hat eigentlich immer schon auf jeder Party den größten Eindruck hinterlassen, und das obwohl (oder aber eben gerade weil) sie eigentlich nie und nirgendwo so richtig reingepasst hat. Das war schon auf alten Scheiben wie "Please, Devil Send Me Golden Hair" oder dem letzten Album "Capsaicin" der Band vor gut 15 Jahren nicht anders. Und jene wunderbar unbedarfte Assitüde treibt die frisch reunierte, um zwei alte Bandmitglieder geschrumpfte Combo (Sarah De Castro und Nenad Grbavac) auf ihrem neuen Album "Through The Eyes" so sehr auf die Spitze, dass man mit debilem Grinsen und ungläubigem Kopfschütteln vor dem Plattenspieler hockt und die HC-Punk-Referenz-Synapsen im Kopf so wild flackern und blinken wie die Weihnachtsbeleuchtung auf einer Front Porch irgendwo in Texas. Welcome back, BUBONIX _ ach nee: FUCK LOVE, MAKE VIOLENCE TO ÄRSCHE! (Ingo Donot)

Blue Vinyl

Inkl. 12" Booklet. Alte Straßenköter-Weisheit: Die besten Partys sind immer die, zu denen man nicht eingeladen ist. Man braucht sich keine Gedanken um die Abendgarderobe zu machen, hat außer einem halbvollen, abgestandenen Wegbier nix in der Hand, was als Mitbringsel herhalten könnte, bedient sich gleichwohl mit absoluter Selbstverständlichkeit am Schnapsregal des Gastgebers, hinterlässt als Überraschung für den Tag danach eine Stange Mittelstrahl im Zahnputzbecher und tanzt vor allen Dingen möglichst auf allen Tischen so, dass man immer mit dem Kopf voran in der Hochzeitsbowle landet. Die Zuschauer sollen sich schließlich an diesen wunderschönen Abend erinnern können. Möglichst für immer. BUBONIX aus Limburg machen das, um das oben skizzierte Wedding-Crasher-Prozedere mal durch die Subkultur-Szene-3D-Brille mit einer Tüte Popcorn in der Hand anzuschauen, seit Jahren nicht anders. Jene bandgewordene Voodoo-Zeremonie des Punk und Hardcore um Sänger und Vorzeige-Wildsau Thorsten Polomski hat eigentlich immer schon auf jeder Party den größten Eindruck hinterlassen, und das obwohl (oder aber eben gerade weil) sie eigentlich nie und nirgendwo so richtig reingepasst hat. Das war schon auf alten Scheiben wie "Please, Devil Send Me Golden Hair" oder dem letzten Album "Capsaicin" der Band vor gut 15 Jahren nicht anders. Und jene wunderbar unbedarfte Assitüde treibt die frisch reunierte, um zwei alte Bandmitglieder geschrumpfte Combo (Sarah De Castro und Nenad Grbavac) auf ihrem neuen Album "Through The Eyes" so sehr auf die Spitze, dass man mit debilem Grinsen und ungläubigem Kopfschütteln vor dem Plattenspieler hockt und die HC-Punk-Referenz-Synapsen im Kopf so wild flackern und blinken wie die Weihnachtsbeleuchtung auf einer Front Porch irgendwo in Texas. Welcome back, BUBONIX _ ach nee: FUCK LOVE, MAKE VIOLENCE TO ÄRSCHE! (Ingo Donot)

SAR04 introducing the brand new project SS96, dedicated to the way that connect two cities of South Italy.

Label boss Antony Reale has the pleasure to share synthesizers with south Italian deepness Maestro Nicola Loporchio. Timeless house music for your pleasure.

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Mark Hawkins readies ‘Venn Diagram’ album for Aus Music this May.
Mark Hawkins’ early releases on labels such as Djax Up Beats and Ugly Funk lit flares in the world of
underground techno, with a sense of humour and tougher-than-thou sonic palette enforced via his jacking live
sets. Across the following decades, Mark has delivered razor sharp cuts that encompass pretty much
anything that has an electronic heart - leaving his own unique trail for others to follow via his work for labels
as diverse as Dixon Avenue Basement Jams, Sonic Mind, Mistress Recordings, Houndstooth and Aus.

With his latest album, it feels like Mark has pushed ahead with a change of direction he started with 2021’s
‘The New Normal’. ‘Venn Diagram’ carries on this journey into uncharted lands; molten, distorted drum
assaults weave around glistening melodies, kitchen sink soul glides below fractured sound pools. Opener
‘Verblex Oscillos’ immediately demands your attention grabbing, with a so-happy-it’s-sad melody spiralling
around a cascade of tough-as-fuck dance floor destroying beats, along with ‘Isolated’s urgent combination of
strings, acid and chicago-tough electro beats.

Other cuts on the album share a similar approach, ‘Maladayfun Friction’s restless energy derives from a fusion
of skittering drums and deranged synths and ‘Still Have Time’s dreamy super saw pads and plaintive vocal
espouse a kind of wasted elegance, roaming the city nightlife in a Gucci dress and Doc Martin boots.
‘Nlasckhdsjk’ and ‘Frederikalstublieft’ propel forward with such a sleek and effervescent aesthetic, recalling
fast drives along picturesque European highways or heady take-offs to unknown urban territories. The
aesthetic becomes more elegant on the album’s centrepoint tracks ‘Rebula Conundrum’ and ‘Nlasckhdsjk’,
where optimistic bleeps, bass and 707 drums underpin jazzy chords and soaring leads.

Other tracks show the arc of Mark’s direction of travel, with soulful vocals that share a well of deep-rooted
optimism that was so evident on his breakthrough 2016 Social Housing album. ‘L.O.V.E.’ breaks into
post-Sophie territory with a catchy modulated vocal joyfully two-stepping across to the nightclub bar and
‘How Do I Know’ providing a heart rending torch song for 6am kicking-out-time refugees to help them find
their way back home.

High Roller Records, black vinyl, ltd 300, original mix + bonus track + 14 tracks unedited rough mix, 425gsm 5mm spine cover, lyric sheet, poster, disco bag, mastered and restored by Patrick W. Engel at Temple of Disharmony

High Roller Records, swamp green vinyl, ltd 300, original mix + bonus track + 14 tracks unedited rough mix, 425gsm 5mm spine cover, lyric sheet, poster, disco bag, mastered and restored by Patrick W. Engel at Temple of Disharmony

The follow-up to 2015’s Just Like You, Coming Home finds the band
exploring its sound, all the while retaining the signature ethos
and aesthetic that has won the love and loyalty of its incredibly
invested fans and followers.
Frontman Ronnie Radke previously told Alternative Press that the
album is “a huge left turn. It sounds like nothing we’ve ever done.
Every song is very vibey. There’s more feeling in it.”
He continued, “We’re challenging ourselves now more than we ever
have in the weirdest ways possible, because you would think writing
the craziest solo or riffs would be the challenging part. But the
challenging part is trying to stick to a theme and not go all over
the place like we would normally do.”