A pure goa-trance-classics compilation; back on vinyl with Astral Projection, MFG, Xenomorph, Shakta, Oforia,... !
This compilation opens with a track of Roy Sasson, who was famous in the 90s as part of Shidapu. Here he opens with a deep & groovy psychedelic dancefloor monster. The second track has a darker atmosphere, is super powerful but also melodic and spiralling! Xenomorph hasn't released any music for a long time, but he clearly kept his magical touch! That darker touch is carried on by Battle of the Future Buddhas, who went towards pure acid 303 territories in his haunting track! Shakta brings back some sunshine with his funky uplifting "Expedition To Earth"! Now after this first part of the CD come two of the most famous Goa-trance names ever: Astral Projection & MFG! They both do what they do best: creating wonderful melodic soundscapes! Sensitive, emotional & harmonious trancy music for people that want to feel a sunny dancefloor through music! Then RA mixed his known euphoric type of melodies & chords with a more modern sound! The result? Music that will do the trick on every dancefloor around the world. The ender is a more floating, warm track of Oforia, who showcases his more mellow style :)
We hope to create the same heartwarming feeling in your heart, as the one we had when we heard goa-trance for the first time! Enjoy and make sure to land again after reaching the sky!
Edgar debuts on Dark Entries with Pavor, an 11 track LP of sleazy disco, warped synthpop, and gothic cumbia. Veteran musician Luis Gutierrez has spent the past two decades touring in bands, running Lalalandia Studio, and building his practice in Oakland and Guadalajara. But now, for his first solo outing, he has become Edgar, a pop star who knows no limits! “Edgar feels mightier than anyone but is always reduced to his vices” says Gutierrez, and Pavor delivers vices in spades. From the opening salvos of “Otra Agua,” it’s clear we’re in for a wild ride: seasick synths slide along slamming disco beats, menacingly chanted vocals sit amid a flurry of careening horror movie samples. The mischief does not abate as we’re guided through a demented funhouse of genre detournements.
Edgar puts his indelible fingerprints over every inch of this vinyl, from uptempo numbers like the spooky chip-tune frenzy of “Nunca Mas” to the twisted cumbia of “Panteon.” We’re even treated to a fairly faithful (and majestic) Spanish-language cover of Amanda Lear’s “Follow Me,” here titled “Sigueme.” EBM, space disco, and horror movie soundtracks all find their way into the mix on Pavor, but the diverse palette comes together perfectly, like a Yello album for the 21st century. Pavor comes housed in a sleeve designed by Eloise Shir-Juen Leigh and features a photograph by Izaak Schlossman. Also included is an insert with lyrics and notes. On Pavor, Edgar brings us a healthy dose of pure excess, reminding us that dread can be a hell of a lot of fun.
Assembler Code - We've Felt This One Coming For A Minute Now. After An Unstoppable Run Of Releases Along Side Jensen Interceptor On Labels Such As Cultivated Electronics, Private Persons & Boysnoize Records, Ac Is Finally Flying Solo With This 4 Track Electro Assault Masterpiece 'mental Escape'.
Plugging Into The Title Track 'mental Escape', It's A Rugged Machine Driven Work Out Through Idm & Industrial Landscapes Formulated To Present His Vision Of Futuristic Electro Whilst Still Providing All The Nostalgic Rother & Drexcyian Nods We All Love.
Now That The Tone Has Been Set, 'simulant' Follows Suit. Entering The Celestial Sphere Via Some Haunting Sci-fi Strings, We're Slapped In The Face With Slamming Percussion Followed By A Relentless Acidic Modulated Baseline That Takes Us From One Planet To The Next At Light Speed.
The Journey Wouldn't Be Complete With Out His Old Partner In Crime Jensen Interceptor Coming On Board For A Ride. 'type 2' Is A Classic Case Of Past Meets Present. Scrapyard Industrial Groove Ready To Split Speakers At Your Next Warehouse Party Married With A Selection Of Classic Alpha Sounds To Keep All The Purists In Check.
The Thunder Continues To The Very End. If You're A Tape Saturation Fiend Begging For Your Next 808 Crack Hit, Prepare To Have Your Back Bent In Half With Euphoria As Soon As 'hal's Machine Tool' Is Injected Into Your Ears. In Short, 4 Minutes & 44 Seconds Of Hard Nasty Robotic Electro Booty Sweat.
Local Tapes.Montenegro is a compilation of the independent music scene in Montenegro. It features 10 tracks by artists from different cities, recorded between 2024 and 2026. The tracks are in Montenegrin, English, and Russian.
The release captures a moment of the local scene and brings these projects into one coherent document of time and place.
Jnbo ist der Künstlername von Henry Jenkins, einem Komponisten, Produzenten/Toningenieur und Bassisten aus Melbourne/Naarm. Jenkins ist den meisten als Produzent/Toningenieur hinter Surprise Chef, Karate Boogaloo und der für den Grammy nominierten Frollen Music Library bekannt. Als hauseigener Toningenieur für Aufnahmen und Abmischungen bei College In-House-Aufnahme- und Mix-Ingenieur bei Knowledge Records hat Jenkins die klangliche Grundlage für die instrumentale Cinematic-Soul-Bewegung von Melbourne/Naarm geschaffen. Auf ,& Friends" setzt Jenkins seine Fähigkeiten für seine eigenen brillanten Kompositionen ein. Das Album umfasst 12 introspektive Instrumentalstücke - tiefe, cineastische Odysseen, die von Romantik und Aufrichtigkeit durchdrungen sind und jenen unverkennbaren ,Freak Funk Bump" haben. Jenkins erklärt die Konzeption von ,& Friends": ,Ich wollte ein Album schreiben, auf dessen Aufnahme ich mich mit meinen Freunden freuen würde. Die Musik, die ich schrieb, hatte eine Funk-Sensibilität in Bass und Schlagzeug, kontrastiert durch einen eher cineastischen Ansatz in Bezug auf Harmonie und Melodie, mit Gitarren, die sich dazwischen schlängeln und gleiten. Ich habe versucht, diesen Kontrast zum Charakter des Albums zu machen. Ich fand, dass jeder Song die gleiche Instrumentierung und die gleichen Musiker haben sollte. Das wurde zu einer angenehmen kreativen Herausforderung: Wie viel Variation konnte ich im Laufe des Albums aus denselben acht Instrumenten herausholen? Ich wollte innerhalb dieser engen Grenzen so viel Vielfalt wie möglich finden." Jenkins hat diese Prinzipien bei den Aufnahmen zu ,& Friends" angewendet und langjährige Musikpartner wie Hudson Whitlock, Darvid Thor und Callum Riley (Karate Boogaloo), Lachlan Stuckey und Jethro Curtin (Surprise Chef), Lewis Coleman und Lena Douglas (The Cactus Channel) zusammen, um unkonventionelle Arrangements für drei Gitarren, Klavier, Streichersynthesizer, Hammondorgel, Schlagzeug und Bass zu verwirklichen, wobei Jenkins selbst den Bass und die Produktion übernahm. Das Ergebnis ist ein auffallend einzigartiges Album: Mal gibt's malerische Stimmungen, mal funkige Rhythmen, die zum Mitwippen einladen, wobei die drei Gitarren und drei Keyboards genau im Stereofeld angeordnet sind. Das Album zeigt die Einflüsse des Filmkomponisten Bernard Herrmann, des Lounge-Pioniers Les Baxter und Lamont Dozier von Motown, zusammen mit den exzentrischen Eigenheiten von JNBO. Für Fans von Surprise Chef, El Michels Affair, Menahan Street Band, Les Baxter, Bernard Herrmann.
Terence returns with a new five track EP. This release confirms his instinct for creating effective dance floor tracks, that move between mental tension, raw energy and hypnotic sound.
Sublunar, the label founded by Sciahri, is proud to present the debut EP of Australian artist Connor Wall with Equals. Known for his releases on Phorum and Moving Pressure, Connor Wall is one of those artists capable of crafting a deeply personal and hypnotic sound, where each track unfolds as a journey of its own.
The EP opens with Oak, a minimal yet driving and atmospheric piece, before moving into Invert, a powerful track built around a unique and relentless escalation of tension. On the B-side, Equals sets the tone with growing intensity and hypnotic vocals that carry a story meant to be experienced until the very end. Construct follows with darker, more obscure vibes, delivering a deeply hypnotic and mental atmosphere, before the EP concludes with The End, a truly mystical journey that captures the essence of an artist able to transform sound into narrative.
Phosphor returns with its fifth release and a new chapter for the label’s founders, Blue Vision. As their second EP on the imprint, Machines Will Transform Us (PHP005) confirms the project’s direction: a precise balance between club-driven tech house and more immersive, hypnotic electro textures.
Across the EP, Blue Vision asks a simple question: after spending our days connected to algorithms and modern machines, can repetitive rhythms and mechanical grooves on the dancefloor turn us into machines once again, or instead help us reconnect with ourselves?
Machines Will Transform Us (A1) opens the EP with a driving Italo bassline and tight, tech-driven drums. Melodic 80s synths contrast with sharper electro elements, gradually building tension before a final drop designed for peak-time impact. The track sets the tone for the release: machines transform us as much as we transform them.
Then comes Just a Game (A2), blending spacious 90s progressive and synthwave influences over a rock-solid club bassline and crisp drums. Playing with atmosphere and emotion, the track explores the feeling that we are never too far from a simulation, that maybe everything is just a game. Perfectly suited for introspective yet intense moments, it acts as an ideal bridge between harder tracks in a set.
On the flip side, I Love Acid (B1) is direct, hypnotic, and designed to lock the dancefloor into a steady flow. Stripped back to punchy drums and a raw acid line, it takes a minimal approach that works equally well in early hours or late-night sets. Behind the title lies the idea of acid as both machine energy and mental escape, where repetitive sequences blur the boundary between human emotion and mechanical movement.
As a final touch, Scan Your Brain (B2) shifts into deeper, more immersive territory. Analog pad textures create a drifting atmosphere over a hypnotic bassline and electro drums. With this closing track, Blue Vision answers their initial question by imagining the dancefloor as a space to disconnect from rigid thinking. The vocal serves as a reminder that the brain is constantly overloaded, and that dancing becomes a way to let go, reset, and reconnect.
Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease
Dj Junk returns with a 4 track EP featuring Le Voie Le Solei, Rave / breakbeat hardcore piano track with Classic piano, tuff breaks, atmospheric synth and mentasm noises to make a rave banger. So Many Times, a 90's style jungle techno rave track with big piano and full vocal with some hardcore rave noises over slamming break beats.
The Flipside features The Landlord, an old skool style rave / break beat hardcore track with the landlord piano sample, vocals, mentasm noises with tuff break beats, and finally, Spellbound, a 90's style rave / hardcore breakbeat piano track with a classic piano sample with some 91 rave business and super tuff breaks.
Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.
A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.
Recorded in 1989, this is one of the rare and sought after recordings by Larry Heard. Never been available since 1990 and a departure from his more familiar style that he released as Mr Fingers, Fingers Inc. and The It). Gherkin has been an outlet for his more experimental and techno-orientated productions. 6 tracks on this record, and everyone seems to have their own favorite... but worth mentioning are the dramatic opener ''Meltdown'', the cosmic ''Saturn V'' and the incredible extra terrestial ''Strange Creatures''. Tracks that are the foundation of the house we live in! - essential!
Coming correct with a heavily garnished follow-up to his first drop of neo-junglist delicacies, Skins is back with a second volume of Sauce Direct. The name tells you all you need to know about the school of breakbeat science he's coming from, but the learned craft of drum edits is offset by a mischievous thirst for disruption, presenting the matter on this platter as a stand-out serving on the plentiful menu of modern-day jungle.
'Strictly Hardcore' brings together the heavy weather of quintessential dub techno with deft, stepped breaks for a brooding heads down tear-out while 'Lost In The Sauce' revels in vintage synth melancholia as a unique backdrop to Skins' own brand of rabid Amen chops.
'Reaper's Kiss' switches stance with some heavy sub wobble and the teased flicker of Apaches in a patient half-time roll out of serious soundsystem reverence. There's space for some snappier breaks in the second half, but this cut is testament to Sauce Direct being a space for wider ideas beyond textbook jungle.
'Double Dose' keeps the stylistic dexterity on lock with a swerve towards trance-speckled lead lines, deployed with a necessary restraint to play nice on top of the nimble breaks. It's an approach which could be so easily overcooked - in Skins' hands the balance of flavours is on point, capping off another essential round in this must-check series of white label delicacies for heads with real taste.
Alex Jungle returns to Kniteforce after a small break, with some BIG breaks. Chapter Two (there is no Chapter One...yet) sees Alex drop four incredible breakbeat tracks, leaning into the happy vibe but always tough and technical and with a style unique to himself..the only thing better than this Chapter Two Ep would be...Chapter Three....
Kora Koumakan, or Word of the Kora, is a boundary-pushing Afro-Manding group from Conakry, Guinea. Led by master kora player and composer Sekouna Conte, Kora Koumakan channels Guinea's rich musical heritage into modern compositions, creating a sound that is both deeply rooted and forward-looking. Inspired by Guinea's iconic Ballets Africains and legendary artists like Bembeya Jazz National and Mory Kante, the band masterfully blends contemporary instrumentation with traditional West African instruments - handmade by the band themselves - including the kora, djembe, and balafon. Since 2018, they have been touring extensively across West Africa, honing their sound and earning a nomination for Best Band at the 2025 Guinea Music Awards.
This inaugural limited edition vinyl release on Jambulance Movement Records features two standout remixes by London's Tigerbalm and Ben Gomori, which transform the band's original Afro grooves into hypnotic house tracks already making waves on dancefloors worldwide. Tigerbalm's remix expertly layers the original percussion around a driving 4/4 beat, with the ethereal kora and powerful vocals weaving through the rhythm to create compelling dancefloor energy. Ben Gomori's remix takes a more atmospheric route, anchored by a groovy bassline loop with layered guitar and keyboard melodies that add depth and movement, gradually building into immersive moments of tension and release. The record also includes instrumental versions of these remixes, with the band's EP of original tracks set to drop in early 2026.
Jambulance Movement Records is a social enterprise record label and recording studio based in Guinea. Their mission is to empower the next generation of emerging African artists by providing free professional recording services. Operating a solar-powered mobile studio and a static studio in Conakry, the label discovers new talent through casting events across the country. Selected artists receive comprehensive training and mentorship, with the overall aim to foster sustainable careers for young African artists.
'Nicolò's Static forays deep into liminal space, where signal decays, rhythm stutters and sub-pressure thrums.
'The four-track EP is the inaugural transmission from Nicolò’s own Exploring Records. Melancholy bleeds through the frequencies, yet the pulse remains restless, insectoid, off- kilter.
'Here we pace darkened corridors of flickering projections and half-remembered futures, setting the direction for what’s next...'
'A Senegalese Griot singer, an Amsterdam improviser and a Puerto Rican jazz drummer find each other on an open playground, a stage built for improvisation, an old cinema now used for minute made story telling.
'Equipped with an m'bira, a xalam, a drum kit, a voice, percussion, house hold tools and an electric clavichord on 220 volt, they sit down and take off: Wrrrrrraaang!
'Singer and percussionist Mola Sylla is in many ways a musical explorer. Born and raised in Dakar, Senegal, he grew up in the tradition of the griots. Griots play conveying stories – sometimes decorated with music, theater and dance – which all play an important role in West African culture. His rhythm and melodic compositions differ from the western agreed schedules and provide surprising twists.
'Puerto Rican drummer Frank Rosaly has been involved in the improvised and experimental music scenes since 2001 when he became an integral part of Chicago's musical fabric, navigating a fine line between the vibrant improvised music, experimental, rock and jazz communities.
'Oscar Jan Hoogland is the sound of Amsterdam in person. He is an instant composer and inventor of his own instrument by joining a clavichord, a keyboard instrument from the 17th century, to 220 Volt electricity. As the last student of the late pianist, composer and improvisor Misha Mengelberg he tears like a tornado through the Amsterdam jazz and impro scene.
'Together they are Mother Tongue.'
Interweaved yields the first volume of a new series curated by Brawther and one that underlines its credentials as an outlet for fresh new underground talent. Three producers here - Frederik Anthony, Mahar, and ICTV - were finalists in the 2023 "Minimal" Producer Challenge judged by Cassy, Losoul and Daniel Paul. Anthony opens with 'Interiddim', a lithe broken beat here through with warm chords. Mahar's 'Relaxed' is a silky and minimal dub tech cut and Omar Fayyad's 'A Mutual Thing' offers trippy late-night charm. Finally, ICTV's 'Oracle Night' is also deep and dubby but a little more menacing.
‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS
‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE
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.
Stay tuned for further news over the coming months.
PREVIOUS PRESS:
‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN
‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK
‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS
“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.
"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW
"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW
Not long after the well-received 'Bottlemess Brunch' and 'Billa' dropped, the FLDIN2 label is back with another killer drop. This one, we're told, draws on Fold producer Rob's early immersion in pirate radio and record-collecting years in suburban London during the early 2000s. Lovers of Ben UFO, Joy Orbison and Floating Points will all be into the lo-fi designs, not to mention the irresistible garage, tech and dub swagger he packs into these jams. 'Lotion' is a crispy, tightly coiled and skeletal UKG sound underpinned with wobbly low ends and sprinkled with chopped vocal fragments that make for a ghostly groove. 'Soft Launch' is fuller, with a more boring emotional impact from the yearning vocal stabs that are teased and buried throughout the mix.
There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique — and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game,” the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions.
Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3,000 numbered copies, and featuring the bonus track “Diddley Daddy,” Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing — impeccably controlled, tense, brooding, steamy, smoldering, haunted — situated amidst stripped-down backdrops that allow every note to fully bloom and decay.
While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc.
The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.
Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off.
Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes.
Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.
That approach bolsters the title track, which suggests calm yet moves on ominous currents — its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed,” sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint.
Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway.” On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect.
“Trouble going 'round,” Isaak croons right as the album begins. “Trouble going down.” Damn straight.
As Deep Dive Corp., Peter Musebrink and Björn Gerhard spent the 2000s making slow, warm downtempo. Box of Frox was the same two men doing the exact opposite: fast, progressive, techy, trancy, hypnotic and relentless.
Box of Frox left behind just two records, a single and this album, before disappearing for good. Floordiving went out of print, and there it stayed. It's become one of those records people keep looking for and rarely find. Originals barely turn up, and when one does, it's gone quickly and for serious money.
Tremendo brings it back in two parts, four tracks at a time, the way they deserve to be heard. This is Part 1, remastered and back on vinyl for the first time in over twenty years.
Four beings from the same universe, long unable to collide on the same planet, are released on the one record. This is music at the intersection of underground junglism and the existentialism of cosmic nomads, where every sound is precisely in its place and, at the same time, adrift in chaos.
Music: Stanislav Sevostianikhin, Dmitrii Vasilev, Zemine Ibadullaeva, Eduard Iskhakov.
2026 WOW Signal Records
Executive production by MixCult Records
One of our most anticipated releases to date comes from electro titan X-Truder with an in your face, pull no punches 5-tracker that leaves no survivors. Industrial and mechanical in nature, this release doesn’t let up and will be a dance floor weapon for years to come.
Back after its first release, Life Enigma returns for a second chapter: a dark and warped dispatch from the void.
This time, the London-based artist of many aliases Zuul takes the reins, exploring moodier territory at the low end of the frequency. The result is three slow-burning, horror-flecked cuts that sit somewhere between electro and new wave, each driven by a sinister vocal. The release is rounded off by a more dancefloor-oriented remix from C.ru.z on the B2.
On the A-side, My Mind Is Mean is a driving, sub-heavy opener with menacing synths that do the title justice. It's Hell In There, It's Horror shifts into something more melodic and upbeat, with eerie textures and an ominous undercurrent.
And when we thought things couldn’t get any meaner, Ask Me sinks into haunted, mid-tempo bass hypnosis on the flipside, while C.ru.z’s remix leans further into its darker side with an even nastier groove.
Mutual Rytm welcomes new school tastemakers Klint and Hemka to sub-label Versus for imprint’s second drop. SHDW’s Mutual Rytm welcomes back two standout label alumnus for the second edition of Versus, a newly-launched conceptual sub-label focused around two artists whose sound works individually and in unity. Hemka made an impressive and well-received debut with her full solo EP back in 2025, while Klint appeared on ‘Federation of Rytm IV’. Both artists hail from France, and have crafted a well-earned reputation for their own distinctive approaches to sound design - pairing locked in grooves with cosmic synth escapes. Across the EP, each artist delivers three individual takes on techno to make for an essential collection of high-end cuts, exploring the label’s ethos of creative symbiosis between two artists on one shared release. Klint’s tracks lean towards minimal yet highly effective, dance floor-focused DJ tools, starting with the lithe, stripped back menace of ‘Prism’, before the sparse eeriness of ‘Dobermann’ keeps you looking over your shoulder while remaining trapped in the groove. Third cut ‘Romance’ is more bold and muscular, with contoured drums and icy pads ramping up the tension and energy. Hemka then dives deeper into a hypnotic and anthemic direction while introducing her own voice into the mix. ‘Leave It’ is textured, percussive deep techno with shadowy whispers, while ‘Breathe’ has a dark, grinning undercurrent and scintillating snares fluttering over the drums. ‘Mindness’ then pairs spoken word atmospherics with taught drum pressure and an ethereal backlit glow. In addition, Klint's digital only cuts ‘1112’ and ‘Blue’ marry minimal synths with meticulously defined drums that hit hard, while Hemka's ‘Push’ is an anxious percussive trip, contrasting with the introspective emotional core of ‘Live To Tell’.
Weight meets wriggle on DJ Life's five-tracker for Haŵs, and oh boy is it hefty. Gritty basslines get right under the skin, swinging drums sit deep in the pocket, and skippy FX keep things light on their feet. A murky, moody streak runs through the record, with an electric tension giving even the loosest grooves a touch of menace. Fat low end and a restless edge, with enough bite to leave a mark. Serious tackle with a wicked sense of swing, primed for the dancefloor. Use at your own peril, you’ve been warned!
MARK DE CLIVE-LOWE, acclaimed jazz visionary, and AMMA WHATT unite for a soulful, jazz-infused house journey of lush musicianship and timeless vocals. With stunning remixes from OSUNLADE and CARLOS MENA. Crafted for both the dancefloor & deep listening. With gorgeous full pic jacket!
Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.
A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.
After a year in the making, Laolu completes his Mascara EP with the release of its final single, ‘Mental'. A beautifully instinctive collaboration with Benni Ola that captures the magic of spontaneity and creative connection.
The foundations of the track were first laid in Bali, where Laolu began experimenting with a guitar recording from another project. Drawn to Benni Ola’s unmistakable vocal energy after repeatedly playing his music, the producer immediately felt a connection between the unfinished instrumental and Benni’s voice. Months later, the pair met during a writing camp in Portugal, instantly establishing a creative chemistry that would eventually lead them to Los Angeles, where Mental was recorded in a single, fluid session.
Built around intuition and emotion rather than overthinking, the collaboration unfolded almost effortlessly. What began as a loose idea quickly transformed into a record overflowing with memorable hooks, as both artists leaned fully into the moment and trusted the energy in the room. Benni Ola described the experience as feeling “electrified” from the instant the track played, recalling the session as something almost channelled rather than consciously written. One of those rare creative moments where everything simply falls into place.
That sense of immediacy and freedom runs throughout Mental. Warm, soulful, and emotionally charged, the track balances hypnotic grooves with expressive vocal delivery, creating a record that feels both intimate and euphoric.
Together with previous singles Mascara and Velvet Blooms featuring Paul Brenning, Mental completes the ‘Mascara' EP. A rich and deeply expressive body of work that highlights Laolu’s ability to fuse emotion, groove, and collaboration into something truly timeless.
As with all releases on Siembra, the single is tied to artwork inspired by Magic Carpet - a painting by Laolu’s late father, created in Nigeria in the early 1980s. It’s a personal and cultural thread running through each release, defining the visual identity of Siembra as the label evolves.
Polygonia & MTRL - Division / Taris EP incl. Remixes by Claudio PRC and Mary Yuzovskaya
A1. Polygonia - Division
Right from the start the listener is cast into orbit with driving percussion and abstract sound effects. Soon they are followed with a morphing bass sound and cymbals which lock the groove into place, cranking the drive to the max. As the track progresses the landscape of sound reveals its nature with metallic quality, like schrapnel from a barren city. Truly a Deep Techno banger which will without a doubt fill a dance floor.
A2. MTRL - Taris
The listener is slowly submerged into the waves of percussive bass sounds and menacing sweeps of noise which remind of a storm in a desert, the horizon only slightly glimmering behind the veil of sand. Soon the listener is introduced with a pounding kick drum, almost making the landscape seem even more ruthless as the track progresses.
Quality, heady Deep Techno.
B1. Polygonia - Division Claudio PRC Remix
The hypnotic Techno maestro Claudio PRC twists the idea of the original track into a mind explorative voyage with a triplet feel. The remix is shrouded in melancholy with distant pad sounds, which add a nice tension to the track. As usual, a brilliant remix from Claudio PRC.
B2. MTRL - Taris Mary Yuzovskaya Remix
On the remix the Berlin based producer is molding the source material into a driving and psychedelic track, functional yet synapse tingling. Now the bass has a bit more liquid-like quality and the overall soundscape is more abstract. Hallucinatory effects of noise are filling the spaces between the sounds, almost like being surrounded with faint whispers. Driving and psychedelic Deep Techno done with finesse.
Damage Code is the result of the convergence of two long-standing figures from the underground industrial and EBM scene: Carlos Grabstein (89s✝) and Ben Bunzen (Hammershøi). Released in partnership with Miseria records, their first collaboration unfolds through proto-industrial sequences, oppressive atmospheres, repetitive structures, and distorted transmissions, all wrapped in body-driven percussion that pulls the listener into a controlled state of sensory overload. Harsh yet precise, ritualistic yet futuristic, the record advances with relentless intensity while maintaining a raw, physical energy throughout. Somewhere between the diseased electronics of Front Line Assembly and the primitive industrial tension of Esplendor Geométrico, Digital Slave channels a sound that is both confrontational and hypnotic. With “Digital Slave”, Damage Code opens a new portal into industrial body music: dense, punishing, and engineered to trap the mind inside its circuitry. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
Sindh presents the Vagali EP, a striking continuation of his tunnelling, futuristic take on techno. Growling synths, driving basslines, alien atmospherics and finely tuned percussion define a sound that feels unmistakably his own.
Following his Komudo series — which has built a devoted following since its debut in 2024 — this latest release leans further into his signature sound design, pairing hypnotic sequences and menacing synth lines which feel right
As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.
The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.
"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."
TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.
TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.
TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.
TRON: Divergence (Companion-Album zum Soundtrack)
Mit „Tron: Divergence“ veröffentlichte Nine Inch Nails das Companion-Album zum Soundtrack des aktuellen TRON-Films Tron: Ares, dem neuesten Kapitel des legendären Sci-Fi-Franchise, das 1982 mit Tron
begann und 2010 mit Tron: Legacy fortgesetzt wurde. „Tron ARES: Divergence“ vereint neue Songs und
Remixes. Darunter Tracks, die im Film selbst zu hören sind und zusätzlich neue Interpretationen von einer
stilistisch vielfältigen Riege an Kollaborateur:innen. Mit dabei sind u.a. Boys Noize, The Dare, Pixel Grip
und Chilly Gonzales, die dem digitalen TRON-Universum ihre ganz eigene klangliche Handschrift verleihen.
Das physische Album wird am 5. Juni erscheinen.
The Nighttripper is back with two new cuts alongside two remixes of his classic track Tone Exploitation. From peak-time techno pressure to raw uptempo Detroit-inspired energy, this release delivers on all fronts with special mention for the title track Sinister World.
