Search:gen

Beatservice are delighted to present the debut album from the irrepressible Norwegian outfit, b0ka, with 13 genre-surfing tracks lovingly presented on the gloriously pop-centric 'Forever, My Friend'.

Friends since as far back as kindergarten, the b0ka players released a selection of highly regarded singles between 2013 and 2016, with their music arriving via prestige imprints including Eskimo, Paper Recordings, Diamond Club, and their own b0ka Recordings. They've since pursued a diverse range of projects, including Lakehouse, OJKOS, Bjørnar Sira and Den Kosmiske Overorden, with their expansive sounds routinely winning admirers throughout the global music community. The pandemic-induced lockdowns allowed the band an opportunity to re-visit long lost b0ka projects: reviewing dusty hard discs before funnelling the best morsels into the Sagrada Jukebox mixtape earlier this year. It was during this journey of sonic rediscovery that the masterfully diverse 'Forever, My Friend' was ushered into existence.

Drawing on all-manner of far-flung influences and brilliantly assembling the components with a pop-ready sophistication, this is spectacular work from b0ka, marking their return to release action in breathtaking style.

“Come, Sweet Death” alternates between brutality and winding single string melodies that brings you back to the golden age of Swedish Death Metal! They say that the more things change the more they stay the same. If there’s one thing that has remained stable despite living in 2023 is that we love Swedish Death Metal. The style has become a favorite of ours over the past 35 years. Something about the guitar tone just makes you want to devour any release that can be described as “Inspired by early Entombed and Dismember”. The good thing is that there’s an incredible wealth of bands that draw from that well. The bad thing is that said wealth leads to a lot of bands becoming indistinguishable due to how same they are. Thankfully, Imperishable’s “Come, Sweet Death” manages to stand out from the pack, in no small part due to breaking away from the genre’s usual trappings. And in a way this is no surprise since the band members were or are involved in Vampire, Portrait, Nominon and Dr. Living Dead! As you might have already gathered, the band draws a lot from the Stockholm scene, more specifically Dismember, that is undeniable. What’s really interesting though is that they draw from their later, and more melodic influenced era as much as from the early days. Imperishable, like their peers effortlessly blends the aggressive buzzsaw riffing with leads brimming with melody, which most modern bands in the style avoid in favor of pure aggression. Said blend can be seen throughout their debut album, though it can be felt more on the longer tracks, like “Teeth of the Hydra” and “Fangs”, where the band has more room to develop their ideas and mix grinding Death Metal with NWOBHM-inspired leads and riffs. In short: Imperishable has great songs, great melodies, well-arranged structures and still is brutal, just like the great old bands were. And the production is spot on for this release. It is good to hear a band experiment beyond the confines of the original old school Swedish Death Metal sound. “Come, Sweet Death” is an extremely promising release, and a small breath of fresh air in an otherwise stale scene. Imperishable’s love for the more melodic aspects of the style make them worth keeping an eye on now and in future.

For his new album, Without People, Donovan Woods explains: “Anything but protest music feels out of place right now. In the middle of a pandemic, as the truth of our environmental devastation sinks in, in the thick of protests reshaping our thoughts on policing and crystallizing the reality of white supremacy at work in all corners of our society, it feels silly to write about relationships. I was thinking about that when the title “Without People” came to me. It made me think about the intrusion of real life, other people’s needs and opinions into our internal worlds. It made me think about life as a series of lessons that all seem to be about learning to cope without people you love. And it made me think about how beautiful the world could be without us, and how we’re perhaps the first generation to consider that notion as a real possibility.”

Rob Grant präsentiert sein atemberaubendes Debütalbum ”Lost At Sea”.
Grant hatte nie den Plan, Musiker zu werden. Er hat keinerlei musikalische Ausbildung genossen. Noten lesen kann er nicht. Aber wenn er sich an ein Klavier setzt, geschieht etwas Magisches. Die Noten strömen aus ihm heraus und es entsteht eine Komposition nach der anderen.

Als Vater der internationalen Ikone Lana Del Rey hat er eine ganze Reihe von Talenten eingeladen, an der Entstehung des Albums mitzuwirken.

Seine Tochter Lana Del Rey ist als Autorin und Produzentin tätig, während Jack Antonoff, Luke Howard, Laura Sisk und Zach Dawes an der Produktion beteiligt sind.
Sein Album inklusive der Tracks ”Hollywood Bowl” und ”Lost At Sea”, mit Vocals seiner Tochter Lana Del Rey, erscheint am 09. Juni und ist vorbestellbar auf CD und Vinyl.

The Complex Inbetween is a mesmerising journey inspired by the spirit of krautrock early electronic music and experimental rock. JeGong return with their second full- length album which sees them continue their musical journey inspired by the spirit of krautrock, early electronic music and experimental rock. With The Complex Inbetween Dahm Majuri Cipolla (MONO, Watter) and Reto Ma"der (Sum Of R, Ural Umbo) put a dazzling spin on the timeless music of genre innovators like Can, Faust and Neu!, incorporating noisier and more abrasive elements to create a mental odyssey into the uncanny. Born from the collision of the most unreal moments of Ma"der's free-flowing musical associations with Cipolla's stick-wielding hands, these eight compositions form the duo's own mythical realm after the rhythm has been set. As the cradle of electronic music, krautrock is often viewed by outsiders in terms of the mechanical rather than the human, yet Ma"der and Cipolla manage to uncover a human side that has always been present in the music of their forebears. That driving beat which powers album opener «Come To The Center» was never meant to be called `Motorik', as explains its inventor Klaus Dinger of Neu! in one interview. "It is very much a human beat. I like to call it the endless straight. It's a feeling like a picture." With Cipolla behind the kit the machine becomes human, testifying to the power that rhythm can hold over us as a deeply communal obsession. Like their debut, The Complex Inbetween shows the profound knowledge these two musicians have of their source of inspiration as well as their tremendous skill in applying its principles. With the piece «Night Screaming Moves» JeGong expands their sound with atmospheric drone rock elements. A feedback laden guitar motif surrounds the oscillations of mellotron sounds, behind it pounds a slow motion drum beat that is reminiscent of dragging, shuffling footsteps in the dark of night. Evoking feelings of trench coat wearing film-noir or the cloying darkness of cult 70s horror flicks, «Night Screaming Moves» shows that not only are the duo of Ma"der and Cipolla experienced musicians, but cinephiles and soundtrack lovers with a strong sense for moods and emotions. RIYL Neu!, Cluster, Tangerine Dream, Swans, Mogwai, Sonic Youth, John Zorn Ltd Coloured Vinyl!

Oorsprong is a tube, a line in a forest, a sound sculpture. Acoustics to be revealed. Activated by entering, it becomes a giant flute producing a tone that is so low, the body crashes into waves of pure pressure instead of sound. Untranslatable energy. CERCHI CERCHI by Lukas De Clerck (FKA: Bloedneus & de Snuitkever) is a quest in a forest to find traces of that untranslatable sound, its impact, its imprint, its memory. A hide and seek in which the body is concealed in the instrument, becoming its second voice, hidden but exposed.


I
whistling, organ pipe, voice
A whistle, a whisper, a play of breath. Echoes of a low pulse, colliding into each other.
Party in the background, a coach blows a whistle, a haunting scream echoes the whistling from inside, kids returning from a party.

II
voice, whistling
To give away your voice, a gesture. The initiative for an introduction.
Birds chirping, an F16 piercing through the sky.

III
kaval
A circular breath gently caresses a line of circles, making its surface ringing.
Birds chirping, voices of kids, kids shouting, the door of Oorsprong closes.

IV
oorsprong, two bass recorders
When tuning becomes rhythm, when rhythm becomes a beat of breath. A beat underneath the beating of tones. Feedback of flutes.
The clanging of 2 bass recorders, the ventilator of Oorsprong is turning on.

Fredfades is finally ready with his second album as a solo artist. The producer and DJ and has remained active as a musician ever since his debut single in 2008. Since he released his debut solo album 'Warmth' six years ago he's ben diving into a bunch of different genres and cross-ing musical landscapes such as ambient, hip-hop and house, which has led to releases and productions across labels like his own Mutual Inten-tions imprint, as well as bigger labels like Stones Throw, Fresh Selects and Jakarta Records. This sonic voyage has resulted in ‘Caviar’ - an album that tells the story of a producer who's ready to let go of his youthful love and indulge himself to electronic music.

Fredfades name is more often seen on foreign club posters than back home in Norway. This has colored the musical expression of the Oslo-born multi-artist, and on ‘Caviar’ he is gathering inspiration from every corner of the world where he has traveled. You can clearly hear the inspi-rations from the sounds of Rome, Manchester, South-Africa, Detroit, New York, Berlin, Paris and the Balearic ocean, which are all well repre-sented throughout the album's eight tracks. If you close your eyes and put your ears close to the speakers you will hear loons, running water, African percussion instruments, roaring saxophones, bit-crushed samples, moaning women, TB 303’s, bottom-heavy basslines and recordings of whales communicating at the bottom of the ocean. Everything seamlessly put together for Fredfades’ own sonic world view. The album features a bunch of talented friends of Fred, such as Telephones or the vocalists MoRuf and Kristian Hamilton.

Despite being known as more of a progressive and edgy DJ that haunts down a lot of indie and private press electronic music, Fredfades has cultivated a more elegant and controversial output in his own music. His progressions often consist of dwelling jazz chords from electric pianos or mellow sub-filtered synth patches that creates space where he can unleash rowdy basslines, rhythm sections and leads just as confident and captivating as the man himself. On the jazzy ‘Tenerife 1994’ you can hear a tribute to one of Fred’s greatest heroes in music: Pharoah Sanders, while on ‘My Heart Is On The Edge’ and ‘Summer of Love’ the energy and euphoria is boiling over and directs your mind towards the summer raves which Fredfades is known to throw down in Oslo.

On the LP covers backside Fredfades is posing with a Korg Wavestation in front of the block where he grew up in the suburbs outside Oslo, while the front cover is showing an airbrushed illustration of Caviar from sturgeon - ‘From block to Beluga’. The black vinyl contains magic grooves created by an electronic musical convertite, with the power to transport the listener from a perpetual winter to the 90s warm dance floors and the 'Second Summer of Love’.

Few bands have as enduring a legacy in the acoustic/newgrass/jam band
scene as Colorado-based Leftover Salmon
Carrying the torch passed down by the progressive bluegrass pioneers, The
Seldom Scene and Newgrass Revival, Leftover Salmon are true architects of the
contemporary jam grass scene, inspiring the careers of a generation of artists
including Billy Strings, Greensky Bluegrass and Yonder Mountain String Band.On
'Grass Roots', Leftover Salmon reflect on its bluegrass and festival campground
origins with a set of songs that draws from the repertoires that The Salmon
Heads and The Left Hand String Band played when they first jammed in a
Telluride Bluegrass Festival campground. Collaborating with jam scene icons Billy
Strings, Oliver Wood, and Darol Anger, and with the recent addition of Jay Starling
on resophonic guitar, lap steel and keys to the band's official line, Leftover Salmon
have all the instrumental firepower needed to deliver hard driving versions of
bluegrass standards and grassed- up versions of songs from Bob Dylan, David
Bromberg, and The Grateful Dead.
Featuring special guests BILLY STRINGS, OLIVER WOOD and DAROL ANGER

Warmongers run the newspapers, the daily podcasts, the social media feeds. Capital creates and harvests our despair. Cultural heroes are as money-mad as bankers, standing on corpses, wearing diamonds. The songs of this age are hopeless. In this world of lies, Spider Bite celebrate truth: raw, ragged, and full of brave energy, bravely dreaming of possible futures in the immediate and active now, in this exact and ever active present: after the flood, in the ruins of love.

Spider Bite is the sound of Daniel Romano (The Outfit, Ancient Shapes, Attack In Black), Ian Romano (Daniel Romano’s Outfit, Career Suicide) and Steven Lambke (Constantines) returning to their roots in the thriving pit of DIY punk with a perspective, skill, and energy that can only be gained from long experience in music, art, and stubborn cultural creation. Spider Bite began in the depths of the first COVID-19 lockdown, a world poised between protests and rebellions, when a fearful silence held its breath, twitching the curtains, and strange imaginations ran unleashed through dark streets. Long-time collaborators Daniel Romano and Steven Lambke, who together established the artist run record label You’ve Changed Records in 2009, and monster drummer Ian Romano chose this moment to indulge their shared love of energetic street punk, releasing the self-titled debut as a Bandcamp-only release in May 2020. The album was enthusiastically embraced and even cracked the best of lists on some of the more adventurous independent music blogs.

But still. Time passes. More wars. More storms. More ruin caused by greed. Spider Bite reconvened in the spring of 2022, recording The Rainbow and The Dove, an album that assembles the wisdom teachings of punk elders into a passionate rejection of settler-colonialism, environmental racism, and the general exploitation of the world by monarchs and resource extraction companies. Every moment is historical. Spider Bite celebrate a continuity of protest and refusal, and the communal joy of loud energy. Animated by a surprising humor and immense instrumental power, Spider Bite create a vibrant portrait of living in violent times.

Solo-Debütalbum von Wobblers Lars Fredrik Frøislie! Frøislie passt perfekt in die Prog-Rock-Tradition der 70er Jahre, in der der Keyboarder zwischen den Alben der Hauptband ein Soloalbum machten, und dies ist Musik, die Frøislie während der Pandemie größtenteils alleine gemacht hat.
Viele alte analoge Keyboards wie Cembalo, Mellotron, MiniMoog, Yamaha CP70 und Hammond-Orgel sind Bestandteil dieses warmen 4-Track-Albums. Mit Nikolai Hængsle (Elephant9, Needlepoint, Bigbang) am Bass!
Limitierte LP-Versionen auf Vinyl in Dunkelgrün! Die CD ist bereits erschienen.
Für Fans von Wobbler, Yes, Gentle Giant u.a.

Nachdem die dänische Melodic-Death/Thrash-Metal-Band AVARICE in den örtlichen Clubs Feuer und Flamme war, ist sie nun endlich bereit, ihr mit Spannung erwartetes selbstbetiteltes Debütalbum im Jahr 2023 zu veröffentlichen. Das Album enthält zehn knallharte Tracks, die sich um die mythologischen Geschichten der Antike über Bestrafung und extreme Gier drehen - daher der Band- und Albumname "Avarice". Für die Aufnahme und Produktion des Albums hat sich die Band mit dem erfolgreichen dänischen Produzenten Chris Kreutzfeldt (CABAL, Ghost Iris und Møl - um nur einige zu nennen) zusammengetan. Das Album unterstreicht in perfekter Weise den Status von Avarice als Vorreiter des Old-School-Death/Thrash-Sounds der 2000er Jahre - allerdings mit einer neuen und kraftvollen Interpretation des Genres.

Das Album fängt die brutale, intensive und rohe Live-Energie von Avarice ein und lässt sich von Pionieren wie Slayer, Sepultura, HateSphere und Power Trip inspirieren.
Avarice wurde 2007 von ein paar Teenagern gegründet, im selben Jahr, in dem das Kollektiv auch den Aarhus Metal Contest gewann und Shows und Festivals mit Bands wie Kreator, Soilwork, Volbeat, Mnemic, Dawn of Demise und Mercenary spielte. Nach einer mehrjährigen Pause wurde Avarice 2021 wieder ins Leben gerufen, und in diesem Jahr wurde die EP "Reborn in Blood" veröffentlicht. Die EP wurde sowohl von den Fans als auch von den Kritikern erstaunlich gut aufgenommen, was sie auf ihren Weg zu UPRISING! Records führte.

Nachdem seine intime Underplay-Show-Tour „SHHH“ im März binnen Sekunden ausverkauft war, kündigt Archy Marshall sein mittlerweile viertes Studioalbum „Space Heavy“ als King Krule an. Erscheinen wird es am 9. Juni bei XL Recordings. Zehn Jahre nach der Veröffentlichung seines umjubelten Debütalbums „6 Feet Beneath the Moon“ zeigen die 15 neuen Songs den britischen Songwriter auf der Höhe seines Schaffens.



Entstanden ist das Album zwischen 2020 und 2022, als Archy Marshall sowohl London als auch Liverpool seine Heimat nannte und viel Zeit auf den Reisen von einem zum anderen Ort verbrachte. Während diesen Trips entstand seine Faszination für „the space between“, wie er es nennt: die Orte, die von Träumen voller Liebe verfolgt werden, während sich Archy in seinen Texten mit persönlichen Verlusten befasst. Nachdem die Texte fertig waren, entstand die Musik gemeinsam mit dem Produzenten Dilip Harris sowie seiner langjährigen Band, bestehend aus Ignacio Salvadores (Saxophone), George Bass (Schlagzeug), James Wilson (Bass) und Jack Towell (Gitarre).



In den 15 Songs von „Space Heavy“ verbinden sich viele Elemente seiner bisherigen Karriere mit dem klanglichen Kosmos, der ihm das Attribut als eine der Stimmen seiner Generation einbrachte. Die dichten Lyrics seines Debüts, die Verschiebung seines Sounds bei „The OOZ“ (2017), die Ursprünglichkeit von „Man Alive!“ und die rohe Verletzlichkeit, die er auf „You Heat Me Up, You Cool Me Down“ zeigte, fließen in den Sound seines neuen Albums ein.



Mit der Albumankündigung erscheint die erste Single „Seaforth“ mitsamt Video, bei dem seine regelmäßige Kollaborateurin und Visual Artist Jocelyn Anquetil Regie geführt hat.

From 1989 onwards, Richard was an obsessive collector of house and techno music, frequenting legendary London record shops such as Fat Cat, Silverfish, Trax and Red Records. He took record buying trips to NewYork to find second-hand disco, house and techno 12”s, which were lying around in bargain bins. The selection for this compilation are his own personal favourites from that era.

Back then, electronic dance music was young, innocent and fun; it hadn’t been analysed, theorised and fragmented into the multi-genre industry it is today.


What you hear on this compilation reflects what he was playing at that time; joining the dots between ambient, techno, tribal house, breakbeat and early trance productions from the UK.

Much house and techno from the US, Belgium, Germany and Holland has been well documented, but some of the more obscure British productions are lesser known and need to be showcased.

Hopefully, these tracks will inspire and educate a new generation of electronic music fans who weren’t born then and also trigger some acid flashbacks for the older,ravers as they take a trip down memory lane.

Erstauflage auf farbigem "Red & Blue" Vinyl. Jubiläums-Edition zum 30. Jahrestag des Debütalbums von Six Finger Satellite, The Pigeon Is the Most Popular Bird, mit einer brandneuen, vollständig remasterten CD und einer Doppel-LP-Neuauflage. Die 1990 in Providence, Rhode Island, von J. Ryan (Sänger/Keyboard), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gebildeten Six Finger Satellite wurden für die Weapon EP schnell von Sub Pop unter Vertrag genommen. Nach Weapon machte sich die Band daran, ihr Debütalbum mit Bob Weston (von Shellac, die später eine Single The Bird Is the Most Popular Finger zu Ehren von Six Finger Satellite benannten) zu produzieren. Das 1993 veröffentlichte The Pigeon Is the Most Popular Bird war die erste Veröffentlichung, die den abenteuerlichen, bissigen Geist und Sound von Six Finger Satellite wirklich einfing. Das Album ist ein Meilenstein des lauten, beunruhigenden Post-Punk, mit Einflüssen von Gang of Four, The Birthday Party und Wire, aber auch mit einer gesunden Dosis der eigenen, einzigartigen Klangfeindlichkeit der Band. Zwischen den spröden Rocktracks finden sich auf The Pigeon Is the Most Popular Bird einige Keyboard- und Studioexperimente, die auf den späteren Alben der Band stärker hervortraten und LCD Soundsystem, DFA Records und einen Großteil des Post-Punk-Revivals der frühen 2000er Jahre vorwegnahmen. Pitchfork bezeichnete The Pigeon Is the Most Popular Bird zu Recht als "eine der besten Noise-Rock-Platten der 90er Jahre" und schrieb, dass "die Übergänge von albern zu bissig den unvorhersehbaren und ätzenden Ansatz von Six Finger Satellite hervorheben - dies war das erste von mehreren Beispielen dafür, wie sie Underground-Trends verschmähten, und ihre aufregendste bittere Pille, die es zu schlucken galt".

STELLAR CIRCUITS wurden 2015 gegründet, um die konzeptionellen Gegensätze von grooveorientierter Musik und progressiver Technik zu verbinden. Im Laufe des Quartetts ist es ihnen gelungen, ihre eigene Prophezeiung zu erfüllen, indem sie einen Kernsound formuliert haben, der komplex und vielschichtig ist und gleichzeitig eine Hörbarkeit bietet, die weit über das Rock-Genre hinausgeht. Lebendig, intellektuell, groovig, technisch und melodiös sind nur selten Indikatoren, die alle verwendet werden können, um die akustische Essenz einer Band zu beschreiben. Im Fall von STELLAR CIRCUITS ist diese seltene Kombination in allem, was sie tun, auffallend und definitiv vorhanden.

Das Quartett aus North Carolina, bestehend aus dem Sänger Ben Beddick, dem Bassisten Jesse Olsen, dem Gitarristen Jared Stamey und dem Schlagzeuger Tyler Menon, bildet eine effektive und unvergleichliche Einheit, die zweifellos neue Hörer begeistern und langjährige Anhänger mehr als zufrieden stellen wird. Mit 11 Original-Tracks, die selbst die anspruchsvollsten Aficionados beeindrucken werden, macht "Sight to Sound" die globale Musiklandschaft darauf aufmerksam, dass STELLAR CIRCUITS endgültig angekommen sind.

With its cinematic mood and compelling groove, “Bona Fide" is a fitting title track for the debut album from the duo Michael Leonhart (producer/multi- instrumentalist) & JSWISS (emcee). The high level of lyricism and dynamic feel are key characteristics of the work they create together. "Bona Fide" is defined as “genuine"and “real", an apt description of the partnership. Leonhart & JSWISS come together from two different musical worlds, organically intersecting at a place where their outlooks and backgrounds create genre-bending music. It's the type of record that's gold for a pure hip-hop head, but also has an energy and groove that anyone with a heartbeat can get into. The Side B “Instrumental” showcases the rock-solid swagger of Nicholas Movshon (drums), Elizabeth Pupo-Walker (congas) and Leonhart (bass) with flourishes of harpsichord and upright piano along with dusty choir and strings courtesy of Leonhart’s mellotron. TRACKLIST: 1. Bona Fide 2. Bona Fide (Instrumental)

Moments! Not just a music company but also a series of events under thesame name, releasing only outstanding works by musicians performing atthose events. When the award-winning producer, and an internationallyacclaimed DJ, Guy Mantzur, started a new enterprise, Moments, he had highgoals for a new endeavor. Since then, every label's release has pushed theenvelope.

According to numerology, eleven is the first of the Master numbers, and theeleventh release is nothing short of pure mastery. Tel-Aviv-based ChicoShuella, better known as Chicola, is one of the jewels in the crown of theIsraeli DJ scene. With a couple of decades under his belt and a stellarreputation, his debut brings a special touch to the label's exciting catalog.

Chico's debut on the label brings a three-track concept that takes theaudience on a twenty-minute journey. The opener, Dear Kobe, a collaborationwith Yoav, is a masterful work based on abstract emotions and spacy synthwork. The second track, Every Pain Got A Name, speeds up the tempo andreaches for the psychedelic atmosphere breaking the rules of the genre. Theclosing song is an ambient version of the middle piece, focusing on narrativelyrics and grandiosity.

Moments! Every second counts.

The name NxxxxxS (pronounced "N-Five X-S”) sounds like it could be an equation, or a mystery. But to begin to unravel the identity of the French producer who just signed to Because Music and Mad Decent (the label founded by Diplo), you first have to look for clues on YouTube and Soundcloud, where so many underground artists have found a place to hone their craft. In the ten years preceding the release of his second album Short Term Agreement in 2023, NxxxxxS built up a solid reputation for himself in the international vaporwave, vaportrap & phonk scenes. This is no small feat considering he didn’t have any real knowledge of production or composition before deciding to take on these classic genres of “Internet music”.
The Paris native first gained exposure when he started making beats on YouTube, taking his inspiration from American rappers of the blog era - when artists, especially in hip hop, used digital technology to break away from traditional distribution models - like Mac Miller or Odd Future. Building on this initial success, NxxxxxS turned to Soundcloud, an essential platform for music enthusiasts, tastemakers or anyone on the lookout for the sounds of tomorrow.
Following in the footsteps of The Alchemist and other producers of the same ilk, NxxxxxS soon became one of the pioneers of vaporwave and vaportrap music. Featured prominently in modern productions, these styles originated on social media platforms such as Reddit or Tumbler in the 2010’s and are recognisable by their frequent use of commercial samples ranging from the 70’s to the 2000’s (taken from jingles, lounge, jazz or elevator music). Altered, chopped up and slowed down to around 60 to 70 BPM to match hip-hop standards, the music offered a critique or satire of capitalism, consumer society and any culture that grew out of it, most notably yuppies from the 80’s.
NxxxxxS put his own spin on the recipe by creating a new world filled with soaring melodies and countless references to movies and horror scenes, and eventually released his debut album Fujita Scale (a scale used to measure the damage inflicted by tornadoes) in 2014. The album reached a worldwide audience because of its composer’s story and of the secrecy around his French nationality, and even won over unexpected fanbases such as the highly closed off Chinese market. Fujita Scale landed on one of China's streaming platforms, making NxxxxxS an identifiable artist in Asia who went on to tour his album three times across the continent.

NxxxxxS kept the ball rolling, collaborating on a new series of more accessible projects, which aimed to be less niche in terms of the references or sub-genres they tapped into, so he could find a new audience. This led to his first hits, “Synthetic Corporation” - which would also become the name of his label - “Remember Last Summer” and “Formatted Excess”, as well as his most popular track to date, “Playa Shit”, with over 11M streams on Spotify. The upcoming album’s title, Short Term Agreement, is a playful reference to his unyielding desire for independence and productivity, and his eagerness to preserve the personal freedom he turned into strength.
Yet NxxxxxS is never one to refuse support, and he has now joined forces with Because Music & Mad Decent to further establish himself as a producer at the international level - alongside Diplo especially, who is a case in point - so that this understated and ever prolific artist can meet his ambitions of widening his audience and have his name known by all.
And so the tracks on Short Term Agreement serve as the foundation for NxxxxxS' new identity, featuring a rich and diverse array of sounds thanks to the numerous guests involved: London rapper Jeshi - a new British rap phenomenon also freshly signed to Because Music, French rappers 8ruki & Bitsu, Canadian Freddie Dredd and American underground talents Pollari . Avoiding the pitfalls of a compilation-like producer album, NxxxxxS has once again carved out his own style from the modern hip hop rule book.

In other words, NxxxxxS’ constant evolution has brought us this much closer to solving the mystery that is his name.

LDI Records is thrilled to present its latest release: 'Phantom Operation'. An EP by the rising electro talent, D3070. Hailing from Italy and inspired by the sounds of Detroit, D3070, aka Alboren Bani, is quickly making a name for himself in the electro scene with his fresh approach to the genre.

'Phantom Operation' features four original tracks and two remixes by The Exaltics and Lloyd Stellar. The EP showcases D3070's signature sound and style, combining haunting synths, driving rhythms and an overall ominous atmosphere that is sure to captivate fans of the genre.

The addition of the two remixes by The Exaltics and Lloyd Stellar add a unique dimension to the EP.

Wie? Schon wieder Kärbholz? Kam nicht gerade erst Kapitel 11: Barrikaden; und jetzt schon wieder? Wer hat sich denn da vertan?
Eine wohl kalkulierte Promokampagne oder doch ein mathematischer Totalausfall? Im Hause Kärbholz scheint mit dem ersten Lockdown der kreative Funke einen Flächenbrand ausgelöst zu haben. Abwarten was die Zeit bringt, diese jedoch nicht verschwenden war das Kredo und so hat die Band im letzten Jahr nicht nur Material für einen Longplayer komponiert. Nein, Songs für ganze zwei volle Alben sind entstanden; alle relevant und keiner, von dem man sich hätte trennen können. Der einzige Weg für Kärbholz: Double In, Double Out.
Die Songs, die in einer Episode geschrieben worden sind, wurden vor Produktionsbeginn auf die zwei Alben aufgeteilt: Kapitel 10 und Kapitel 11. Und genau in dieser Reihenfolge erfolgten die finalen Aufnahmen gemeinsam mit den Produzenten Alexander Dietz und Eike Freese. Woche um Woche wohnte, lebte und arbeitete man zusammen. Kapitel 10: WILDE AUGEN wurde fertiggestellt - Halbzeit - und ab in die Herstellung.
Weiter ging es mit Kapitel 11: Barrikaden und genau dem Moment, in dem sich alles ändern sollte...
Während der finalen Studiophase zum eigentlich zweiten Album "Kapitel 11: BARRIKADEN" machte sich dieses Gefühl breit… dieses Gefühl, das jeder hatte, aber niemand wagte:
Dieses zweite Album ist eigentlich das perfekte ERSTE Album. Dies sind eigentlich die Songs, mit denen man aus der Stille heraustreten will und sollte, die sich dafür einfach aufdrängten.
Kapitel 10: WILDE AUGEN ist rudimentärer und ungestümer. Es ist der ungezogene Bruder mit den zerrissenen Hosen. Aber auch das musikalische Bindeglied zwischen heute und gestern, erinnert es doch vielleicht am ehesten an das Album RASTLOS von 2009.

Aber was tun? Kapitel 10: WILDE AUGEN war bereits produziert. Das Vinyl lag schon auf dem Tisch. Und darauf stand nun mal: KAPITEL ZEHN! Unumstößlich und unumkehrbar. Und mag hier auch niemand als mathematisches Wunderkind gelten, 10 kommt VOR 11.

Aber wie war das noch vor ein paar Jahren…"Immer mehr Herz als Verstand…"

Also was soll's! Ihr kennt Kapitel 11? Dann lernt nun Kapitel 10, die WILDEN AUGEN kennen. Diese Augen sind hungrig, wollen mehr und drehen sich im Kreise… da kümmert es doch am Ende nicht… dieses kleine bisschen Mathematik.

As Generationals, Grant Widmer and Ted Joyner have been stretching the boundaries of pop music for over a decade. From Con Law, their ebullient 2009 debut, to their adventurous and groove-infused LP from 2019 Reader As Detective, the New Orleans based duo have made songs that are consistently immediate and memorable. Even though their music always sounds effortless, they approach their songwriting with an auteurlike perfectionism: constantly tweaking and fine-tuning their craft. Their


forthcoming LP Heatherhead showcases the band at the height of their powers: writing joyous & catchy ear-worms that straddle the line between classic songwriting and modern pop sounds.

Tommy Prine’s debut album is not only a long-awaited introduction but a testimony to Prine’s twenties and the loss, love, and growth that has defined them. Co-produced by close friend and kindred musical spirit, Ruston Kelly, and beloved Nashville engineer and producer, Gena Johnson, the album is rich and dynamic, from cathartic jams to nostalgic storytelling. The son of late songwriting legend, John Prine, Tommy Prine grew up in Nashville surrounded by music, art and writing. As a child, he thought all parents were musicians, as his father “going to work” meant performing shows for adoring fans and writing songs. Tommy learned to play guitar by watching his father play, copying the ways his fingers moved and inadvertently developing his own singular style. Summers spent in his mother’s homeland of Ireland lent their own inspiration too and ten straight years camping at Bonnaroo introduced Prine to a swath of music not belonging under the greater Americana umbrella and his musical tastes grew to become decidedly eclectic, spanning John Mayer, Outkast, Bon Iver, the Strokes and more. In a way, what makes Prine’s own music so special is how he’s navigated life and creativity apart from his family’s name—as he once said, on stage, to a disorderly request for one of his dad’s songs, “You’re not about to get an hour of John Prine Junior.” It wasn’t until Prine reached his mid-twenties, though, that he considered a career of his own in music and began to share with others the songs he wrote in private. It took a long while for Prine to even share the songs he’d been writing about the triumphs and tragedies of his life, only recently deciding to let his friends and now-collaborators Ruston Kelly and Gena Johnson hear what he’d been putting together. This Far South is an emotionally complex but universally accessible debut that sonically brings together a colorful patchwork of musical influences and lyrically explores existential questions and emotional experiences.

The sun is shining, the heat is enveloping the body, something is still wrong. « L’Ete Suivant » (The Following Summer), the fourth album of the French quartet Limousine still maintains, as its predecessors, this mystery around indolent music difficult to circumscribe, between jazz, pop, easy-listening.

Limousine is a parallel project but essential for the musicians who participate. It is a recreation, a group without a singer, who over the years has become a ritual for these four boys trained in jazz, who have since drifted to many different shores, and who also follow varied careers - within well-known formations and with famous artists (Poni Hoax, Jeanne Added, Thomas de Pourquery, Joakim).

"The following summer ..." is today the fourth Limousine album after "Siam Roads" in 2014, already published at Ekleroshock. Where this previous project revolved around a trip to Thailand, an initiatory meeting with a traditional musician from the region of Isaan, this new record follows no path except that of fantasy and loitering. It is the result of a simple working method: the quartet met during the last three summers, between the end of July and the beginning of August, in the same studio of the 18th arrondissement of Paris.
In general, it is at this time of the season that Paris begins to empty and the atmosphere of the capital oscillates between lightness, spleen, impatience and serenity. It is among others what resonates in this disc: a form of graceful detachment, an exhilarating nonchalance.

Morgan Wallen veröffentlicht sein mit Spannung erwartetes zweites Album „Dangerous“. Der Künstler schrieb die Songs zum größten Teil selbst und wurde in dieser Zeit zum ”am schnellsten aufsteigenden jungen Star des Landes” (Variety). Morgan sagt über sein Album „Ich wollte auch, dass die Lieder mehrere Lebensphasen ansprechen und mehrere verschiedene Klänge haben, je nach meinen Einflüssen und je nachdem, was mir Spaß macht.“ Das Doppelalbum spiegelt somit den unverkennbaren Sound, den Wallen und Produzent Joey Moi auf seinem Platinum Debüt-Album „If I Know Me“ geschaffen haben, wider. Als Vorgeschmack auf „Dangerous“ sind bereits 8 Songs erschienen, darunter die Single „Somebody‘s Problem“ sowie die beiden aktuellen Country-Radio-Singles von Wallen - Top 3 ”More Than My Hometown” und Top 30 ”7 Summers”. Außerdem ist die Country-Album-Version der 3X Platinum Diplo-Kollaboration ”Heartless” enthalten. Künstler wie Ashley Gorley, Shane McAnally, Eric Church und Jason Isbell wirkten bei „Dangerous“ mit. Außerdem sind selbstverständlich Morgan’s engste musikalische Vertraute Hardy, Ernest und Ryan Vojtesak dabei. Wallen ist der Künstler des Country Genres mit den meisten Streams auf allen Plattformen, welche sich auf weit über 3 Billionen belaufen. Außerdem wurde er im November 2020 mit dem CMA Award als „New Artist of the Year“ ausgezeichnet.

The atmospheric aquatic adventures of the World Aquanaut Security Patrol (WASPs) provided the perfect grounds for the evolution of Barry Gray’s own musical odyssey. After navigating otherworldly vistas with experimental minimalism in Fireball XL5, Gray anchored Stingray’s underwater exploits with a cannon of earth-bound incidentals. Employing flutes and gentle woodwind sounds to set the scene, Gray’s music drew attention to the wonder of the series premise, employing lush heavenly strings for the series’ closing theme, ‘Aqua Marina’ (a croon brought to life by in-demand vocalist Gary Miller). The off-duty exploits of the WASP characters also allowed Gray to return to his jazzy routes, with the production team adding a loving reference to the composer in the episode Tune of Danger with a ‘Graystein’ Piano. Episodic melodrama was once again brought to life with bold brass, and driving military marches would establish the WASPs’ base, Marineville, and an unforgettable Match of the Oysters (in The Secret of the Giant Oyster). The DNA of the which would foreshadow the iconic theme for the Andersons’ next series…

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues, and folk styles that
would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career
“Ol’ 55” (famously covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope That I
Don’t Fall In Love With You”. Reissued for the first time as a double LP to commemorate the 50th anniversary of the
landmark debut with newly half speed mastering at Abbey Road Studios

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues, and folk styles that
would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career
“Ol’ 55” (famously covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope That I
Don’t Fall In Love With You”. Reissued for the first time as a double LP to commemorate the 50th anniversary of the
landmark debut with newly half speed mastering at Abbey Road Studios

Limited to 1000 copies on Sea Blue vinyl! There's freedom to be found in consistency. Until recently, Juan Wauters may not have agreed with this statement. As a touring musician and multinational citizen, transience had always come naturally to him. Circumstance, however, recently prompted him to reconsider the benefits of staying in one place. His most introspective work to date, Wauters' sixth solo album Wandering Rebel finds the artist taking stock of how he's changed, how the world sees him, and what he wants out of life. Written mostly during an extended break from touring, the songs on Wandering Rebel are candid reflections on subjects like career ("Wandering Rebel"), romantic commitment ("Amor Amor"), mental health ("Nube Negra") and the personal toll of touring ("Let Loose"). On "Modus Operandi," he voices his frustration with New York's fairweather residents, who fled the city at the onset of the COVID-19 lockdown. Vocal contributions from fellow New Yorker Greta Kline (Frankie Cosmos) add to the chorus of playful disapproval. On the singalong-worthy "Millionaire," he turns his eye to the west coast: "It's hard to get around Los Angeles / If you don't have a car / I'm staying in a privileged part of town / It's suspicious for me to be walking." The clarity with which Wauters approaches these subjects lyrically is reflected in the music as well. His trademark eclecticism is still present (fans of Real Life Situations' spirited hip-hop should look to track 6, "Bolero"), but it's more refined this time, anchored in his signature Latin-influenced indie folk. Wandering Rebel is peppered with delicate additions that add depth throughout: rain sounds and hand drums on "Nube Negra," a strings section on "Modus Operandi," a gentle vibraphone on "Amor, Amor." Some of these are classic Wauters touches, but others are owed to outside influences, like production from Brooklyn-based Carlos Hernandez (Ava Luna, Carlos Truly) and Brazilian indie artist Sessa, as well as vocal contributions from Kline, Luz Elena Mendoza (Y La Bamba), Zoe Gotusso, and Super Willy K. Throughout Wandering Rebel, Wauters attempts to reconcile the stability he's come to enjoy with the nomadic restlessness that's characterized his life thus far. In the end, though, it's the interplay of both of these elements that makes the album so strong.

Known for its groundbreaking techno releases, Infrastructure New York, is relaunched! Celebrating 27 years of Function releases this year and the label's 25th anniversary, the label will serve as an outlet for his new material, reissues of out-of-print classics from Synewave, Sandwell District and Ostgut Ton (and of course, Infrastructure), as well as developing new artists. As a member of the Sandwell District collective, David Sumner aka Function, from 2007 onward was instrumental in cultivating and ushering in a new sound of dark, cerebral hypnotica - forcing the hand of change in global techno. Green EP serves as a testament to this, further exploring these depths. The EP pays homage to the day when David arrived in Berlin with his green suitcase where his record "Isolation" on Sandwell District was released, hitting the ground running and springboarding into an incredibly successful career, becoming a stalwart DJ/producer, after years as a struggling artist. Green EP encapsulates the same raw power and hypnotic energy of his genre-defining Sandwell District releases Isolation, Anticipation and Variance, updated with a modern flair. Subject f (Function) has clearly transcended, as expressed through the opening track "Initiation" arriving at his "New Designation". On the b-side Function communicates his divine alignment through the broken beat, etheric "Aeternum (Meridian)". Finally, Function closes Green EP with a live extraction of "Desire and Memory", a brooding club stormer in contrast to the more experimental leanings of the original version, which appeared on Rrose's label Eaux. One thing is clear: Function is back on track and more on form than ever!

Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

Eric Johnson, der mit einem Grammy ausgezeichnete Multi-Genre-Gitarrist, liefert mit Yesterday Meets Today & The Book of Making zwei Geschwister-Alben, die während des Pandemie Lockdowns fertiggestellt wurden. Johnson hat Inventur gemacht - sowohl emotional als auch musikalisch - und die vielen unvollendeten Tracks, Outtakes, Demos und klanglichen Ideen in seinem Archiv durchforstet, um die 18 Songs zusammenzustellen, die schließlich auf den Alben landeten: "Jedes Mal, wenn ich eine Platte mache, mache ich normalerweise zwei Platten; ich lagere einige der Stücke, die ich nicht verwendet habe, im Tresor", erklärt Johnson. Mit dem Luxus der Zeit war Johnson in der Lage, zwei vollwertige Alben abzuliefern, wobei weitere Tracks Ende des Jahres als EP veröffentlicht werden sollen.

Verpackung: Schwarzes Vinyl mit Standardgewicht. Standard-Hülle. Inklusive 11x11 Einleger mit Lyrics und Album Credits

Endlich ist sie erhältlich: Die limitierte Vinyl-Edition von The Book Of Making.
Eric Johnson, der mit einem Grammy ausgezeichnete Multi-Genre-Gitarrist, liefert mit Yesterday Meets Today & The Book of Making zwei Geschwister-Alben, die während des Pandemie Lockdowns fertiggestellt wurden. Johnson hat Inventur gemacht - sowohl emotional als auch musikalisch - und die vielen unvollendeten Tracks, Outtakes, Demos und klanglichen Ideen in seinem Archiv durchforstet, um die 18 Songs zusammenzustellen, die schließlich auf den Alben landeten: "Jedes Mal, wenn ich eine Platte mache, mache ich normalerweise zwei Platten; ich lagere einige der Stücke, die ich nicht verwendet habe, im Tresor", erklärt Johnson. Mit dem Luxus der Zeit war Johnson in der Lage, zwei vollwertige Alben abzuliefern, wobei weitere Tracks Ende des Jahres als EP veröffentlicht werden sollen.

Verpackung: Schwarzes Vinyl mit Standardgewicht. Standard-Hülle. Inklusive 11x11 Einleger mit Lyrics und Album Credits

Often dubbed reggae's answer to the Buena Vista Social Club, the notorious Jamaican collective prove that they are still on top of their game with a new album, which journalist David Katz already declaring it was "their best one yet".

In addition to the usual cast of Inna de Yard legends, this new album features the pristine vocals of '70s icon Johnny Osbourne and '60s memorable duo Keith & Tex. Thirteen songs of pure emotions, exceptional musicality and authenticity gathered on a riveting album which promises to be a firm favourite amongst reggae lovers and general music fans alike.

Often dubbed reggae's answer to the Buena Vista Social Club, the notorious Jamaican collective prove that they are still on top of their game with a new album, which journalist David Katz already declaring it was "their best one yet".

In addition to the usual cast of Inna de Yard legends, this new album features the pristine vocals of '70s icon Johnny Osbourne and '60s memorable duo Keith & Tex. Thirteen songs of pure emotions, exceptional musicality and authenticity gathered on a riveting album which promises to be a firm favourite amongst reggae lovers and general music fans alike.

Born in Argentina in 2017, Blanco Teta is more than just a band. The project melts experimental rock, punk-pop and trash noise to develop a statement that pass over genre limits. The quatuor digs with intensity into noise, dance, avant-garde but also into politic with a clear speech on transfeminism. From the suburbs of Buenos Aires to some of the most interesting European festival, passing by an outstanding KEXP session, the live iteration of Blanco Teta proposes something so fresh crossing border of performance to create an immersive experience at high level of energy and madness.

Rompe Paga is their third record material but also their first LP. Going from trashy skate-punk vibe tracks to serious noise experiences, the band experiments with no limit. Using a lot of glitches effect or digital mixing tools as autotune, the album is a real mind blower. With very political lyrics, Blanco Teta goes further than just a punky project, it demonstrates the power of music and put the audience into something real.

'In Thy Domain' is a concept album and audio-visual work by British artist Fred Mann. The 12-track, double-vinyl album is a cinematic voyage tracking the evolution of mankind, key themes of human advancement, technology, life after AI, and beyond.

The album traverses multiple genres - including ambient, electronica, broken-beat techno, and experimental drone - to create an immersive musical experience that mirrors the dynamism of human evolution.

The work aligns with the latest scientific knowledge, drawing inspiration from the tipping points of human civilization and the defining timelines that have shaped our species. The music is complemented by a series of artworks and scrapbook images, visible in the vinyl gatefold, which symbolize each track and its corresponding era.

Many of the tracks feature additional production, synthesizers, flute and clarinet by Chris Taylor (Grizzly Bear / Warp), and additional production and drum programming by Inland (Ed Davenport / Counterchange).

Fred Mann premiered ‘In Thy Domain’ live in Prague, October 2019, alongside Alessandro Cortini for Dietl Archive x Polygon.

The album version comes presented on heavyweight double vinyl in a gatefold sleeve designed by the artist himself.

This blue coloured vinyl is exclusive to Indie stores, very probably including a DLC as extra bonus. The classic third album from the Black Lips, originally released in 2005 and now back on vinyl and part of a series of Fire re-issues celebrating 20 years of the legendary garage rock gurus from Atlanta, Georgia. 16 tracks of grimy and chaotic punk, scuzzy and raw, and catchy as hell. The band at their trashy best, more melodic but every bit as psychotic. If The Royal Trux had listened to the Troggs instead of the Rolling Stones, they might have recorded this album. This baby is a masterpiece. Unapologetic southern-fried twang, crunching through the gears in a blitz of grimy bravado. Their music twitches with an engaging, wired vigour." **** Uncut - "Their strongest effort to date." All Music