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Maui Blue & Orchid Vinyl. Nachdem wir American Don mit (Steve) Albini fertiggestellt hatten, waren wir kurz davor, dass die Spannungen zwischen uns so groß wurden, dass wir uns trennen mussten. Ich (Eric) war überzeugt, dass wir bei den Aufnahmen die wahre Essenz der Songs verloren hatten. Es war keine einstimmige Entscheidung, mit Steve aufzunehmen. Wir haben das Album komplett mit Gitarrenloops geschrieben, und Team Storm & Stress wollte im Studio mit Pro Tools weitermachen, was sowohl zu dem passte, was wir machten, als auch zu dem, was wir erreichen wollten. Steve hatte gerade den großartigen A-Raum bei Electrical fertiggestellt, und Damon bestand darauf, dass wir dort die Drums aufnehmen würden. Er gab in dieser Frage nicht nach. Sobald wir dort ankamen, wurde uns klar, dass alle Songs, die wir mit unseren Pedalen in mehreren Overdubs geschrieben hatten, nur Mono-Gitarrenaufnahmen zuließen. Wir haben das Problem gelöst, indem wir die Songs zu einem einzigen Loop gespielt und alle Gitarren später überlagert haben, sodass ein volles Stereofeld entstand, das zu den grandiosen Drum-Aufnahmen von Steve passte. Dieser Ansatz hat unsere Spielweise total verändert. Das hat zwar magische Momente der Improvisation ermöglicht (Peter Criss Intro), aber als das Album fertig war, klang es aufgebläht und die Darbietungen waren träge. Ich war mir immer sicherer, dass der Sound des Akai Headrush und die Tempi, die er für Damon vorgab, das Herzstück dieser Songs waren. Ian stimmte mir zu. In einem gewagten letzten Versuch hatte ich die Idee, Greg Norman (der für Steve arbeitete!) anzurufen und ihn zu fragen, ob wir nach unseren nächsten Shows heimlich in sein Studio in S. Chicago kommen und das Album LIVE neu aufnehmen könnten. Es war ein riesiger Schritt, der niemals hätte funktionieren können, aber wie durch ein Wunder waren alle einverstanden, und wir versuchten es. Greg hat uns persönlich und professionell in unserer heißesten Phase eingefangen. Die Tempi sind schneller, und niemand hält sich zurück. Diese echten Live-Bänder zeigen die Songs genau so, wie wir sie auf Tour gespielt haben, wo sie zwischen Juni 1999 und Juli 2000 entstanden sind. Jetzt, 25 Jahre später, wurden die Greg-Norman-Aufnahmen entstaubt und digitalisiert. Mit Hilfe moderner Restaurierungswerkzeuge und dem Fachwissen von Sir Bob Weston konnten wir diese Aufnahmen zum ersten Mal neu abmischen und mastern. - Eric Emm, Bassist

Lo Recordings are very proud to announce the release of a beautiful collaborative project. A seamless sonic journey that guides us through the filmic landscape of a bygone era. Chiming in the past and resonating in the present.

Meg Morley and Haiku Salut combine their talents for the reimagining of a score for the 1930's silent film People on Sunday. Inspired by their live performance and screening of the classic at the Flatpack festival. The release was five years in the making as they set out to capture the compositions in the studio, blending Morley’s expressive piano with Haiku Salut’s textured electronics. The result has given rise to an album that belies its historic source with a fresh and clean sound and a complex ever moving series of compositions.. 'The Lost Score' is a vibrant contemporary album for our time.

Haiku Salut are an instrumental trio whose music blends electronica, neo-classical and folk into richly layered, cinematic soundscapes. Known for their enigmatic performances and live scores to silent films, they create immersive experiences that merge timeless visuals with modern experimental sound.

Meg Morley is a Melbourne-born London-based pianist, composer and improviser who pursues cross-cultural and interdisciplinary collaborations, focusing on storytelling. Her classically trained precision and jazz-inflected improvisations have brought her to prominence through her compositions for classical and jazz ensembles, accompaniment for dance companies (Pina Bausch, English National Ballet) and her internationally-acclaimed original scores for silent film.

Backyard Babies was formed in 1987 in Nässjö and can by rights be called Sweden’s most influential glam punk act. Between 1994 and 2019 they released eight studio albums of which Stockholm Syndrome is their fifth. Here we have another collection of bangers brought to you by the babies with reckless abandon. This time they invited a whole slew of guest musicians such as the Ramones, Danko Jones, The Cardigans, Turbonegro, and The Hellacopters, elevating the whole affair to another level with no signs of stopping. This is the first time the album is available again on vinyl since ten years and features the songs "Minus Celsius", "A Song for the Outcast", and "Everybody Ready?!". Stockholm Syndrome is available as a limited edition of 1000 individually numbered copies on crystal clear & black marbled vinyl and includes a 4-page booklet with lyrics.

Yeun Elez opens a breach: that of a forgotten threshold, a gateway to Hell concealed beneath the peat and legends of the Breton marshes, from which Hoel Moce borrows the name for this project.

Born from Celtic tales passed down in hushed tones, it summons wandering souls, suspended spirits, and those who have already reached the end of their journey. Having escaped from Techno Thriller, Hoel founded Yeun Elez in 2022, as an autonomous and haunting sonic territory.

Surrounded by talented collaborators (Maria: NaturaMorta, Lou Savary de Reymour), he weaves a ritualistic and visceral music, traversed by dreamlike landscapes, misty battlefields, and a fantastical medieval Brittany.

Between pagan symbolism and spectral visions, the project explores the murky depths of the human condition. Thus, birth, love, decline, death: the themes emerge as archaic truths. Betrayal and revenge exist alongside devotion and the quest for an ideal that transcends us.

Mixed by Luc Bersier (Reymour) and then mastered by Tioma Tchoulanov (UVB76, Nze Nze), this album by Yeun Elez doesn't reconstruct the past: it invents it to better haunt it.

Music like a rite of passage, both rooted and timeless, like an inner journey, dark and necessary, to a place where myths refuse to die.

MYRYRS3 presents a calculated compilation of cuts pulled from a variety of styles and backgrounds for their third and largest release to date. Having been quiet on the release front since 2023, this collection sets a calibrated tone for a label in its growth stage. Comprising present, esoteric, and regional techno expressions. Remaining grounded in their cultivation of a space where dancefloors and artistic endeavours share conversation, this release opens the room to an array of talent who approach the idea from varying angles of the dancefloor.

A Pandora's box of modern and daring ideas awaits inside MYRYRS3.

Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. Kobaia was released spring 1970 and 1001 Centigrades was released April of 71.

Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. Kobaia was released spring 1970 and 1001 Centigrades was released April of 71.

Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. Kobaia was released spring 1970 and 1001 Centigrades was released April of 71.

“If I never make it home, thank you for everything.” — “Ten Years” It’s hard to believe twenty years have passed since The Academy Is… released their breakthrough debut Almost Here, a record that quietly shaped an underground era. In the years since, the band grew up, lived full lives, and ultimately found their way back. Almost There serves as a conceptual companion to their debut, reexamining the past from the present with clarity, reflection, and experience. “Almost Here was about leaving home,” William Beckett reflects. “This album is about finding your way back.” The songs capture the bittersweet truth that time moves fast, carrying a quiet urgency to chase what matters before it slips away.

Pariah’s cult album re-issued! “Blaze of Obscurity” brings you pure Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. There’s Heavy Metal, Power Metal, Thrash Metal, Death Metal, the list seems almost endless. Sub-genres are important in metal and bands are quickly classified and labeled. Pariah (the last re-incarnation of Satan) is one of few bands that are difficult if not impossible to classify. Is it Heavy metal? NWOBHM? Thrash Metal? Pariah did not make it easy to describe their sound. It might be too sophisticated to simply label it Heavy Metal, which in its infancy was a rather simple affair.

They don’t sound like any Metal band out there, perhaps discounting some of the more aggressive and technical ones, and then the signature NWOBHM sound is added. The guitar playing by Russ Tippins and Steve Ramsey is undeniably what defines Pariah as well as Satan in the past. Undeniably, Satan has gone a long way; from humble NWOBHM beginnings, to Experimental/Melodic Mettal (in Blind Fury) and something that could be described as a NWOBHM/Thrash Metal hybrid (“The Kindred”). It’s as if they’ve been experimenting trying to find their identity, and theyfinally found it. Stylistically, “Blaze of Obscurity” could be seen a step back to “Suspended Sentence”, but this time around they got everything right, down to the last note. Those who have heard Satan know what to expect: great guitar playing.

And sure enough, “Blaze of Obscurity” is a demonstration of guitar mastery and is overall a very guitar-driven album, with plenty of mind-boggling riffs and solos are all over the place, but more importantly, it’s a demonstration of some amazing songwriting as well. This is easily Pariah/Satan’s creative peak and one of the most consistent albums I’ve ever heard, featuring eight great and conceptually perfect songs with lyrics that come across as sophisticated and thought-provoking. It is not fair to put the entire spotlight on Tippins and Ramsey though since the drumming and bass work from Sean Taylor and Graham English really shines. The rhythm is fast and tight, keeping it focused, aggressive and intense till the end. Vocalist Michael Jackson (yes, that’s his name) has to be commended too as this is easily his careers best performance.

The verdict: “Blaze of Obscurity”: the level of musical genius expressed here, along with near flawless songwriting, is more than enough to skyrocket it to heights reserved only for classics. Probably not your choice for some light listening those quiet Sunday evenings, but those who take a more serious, intellectual approach when selecting their music will find very much to appreciate here.
Tracklisting

The Evolution Has Begun. Dedicated with love and honor to the memories of Peter Steele and Keith Alexander, Carnivore A.D. emerged as a post armageddon neo barbaric soundscape - a relentless force keeping the primal energy of Carnivore alive on stages and festivals around the world. Formed by NYC Hardcore and Metal veterans Baron Misuraca (vocals & bass – ex-SHEER TERROR), Chuck Lenihan (guitar – ex-CRUMBSUCKERS), and Joe Cangelosi (drums – ex-KREATOR, WHIPLASH, MASSACRE). Co-founded with full endorsement by original drummer Louie Beateaux, Carnivore A.D. has honored its roots by performing the explosive and brilliant works of Peter Steele with intensity, respect and raw power. But now, with the release of their first-ever studio EP "Transmutation", Carnivore A.D. transcends tribute.

They have challenged themselves to write new material - not to replace the original legacy, but to continue its spirit through their own lens. While the legacy of Carnivore remains sacred, Carnivore A.D. has become something more than its origin - a band with its own scars, its own instincts, and now, its own songs. “Think of Carnivore AD as a renowned dining establishment where it’s Chef passed on years ago but the recipes remain and folks still want to dine there instead of cooking the food themselves. And Chef Pete wouldn’t mind because his friends are making it with love.”- Louie Beateaux.

DYING VICTIMS PRODUCTIONS is proud to present MIDYRASI’S KULT’s highly anticipated debut album, Italian Dark Sound, on CD and vinyl LP formats. MIDRYASI'S KULT are revolutionary and uncompromised. Featuring veterans from such Italian doom stalwarts as Doomsword, Midryasi, Agarthi, and Fiurach, their unique blend of elements from the NWOBHM, doom metal, and early black metal – all fused in their distinctive national dark-sound tradition, which includes such cult legends as Black Hole and Death SS – results in an obscure, hypnotic, and exciting formula. In March 2025, after just one week on Bandcamp, MIDYRASI’S KULT were intercepted by Caligari Records, who released on cassette their debut demo, Mountain Devil. Featuring three songs in a concise 15 minutes, this demo reaped international acclaim for its originality and attitude. But that was but a foretaste of darker delights to come. Witness the first full-length of MIDRYASI’S KULT, Italian Dark Sound.

Truly titled, Italian Dark Sound is an intoxicating spelunk into catacombs both idiosyncratic and indefinable. Totaling 32 time-/mind-expanding minutes, the eight primary tracks here – the outro is titled “The Lost Son of Sylvester Anfang,” which should offer an obvious clue to the black-metal-minded out there – each offer something different from the next, and yet all add up into a shadowy experience that’s both rocking and atmospheric. In fact, if one were to single out an aspect between the demo and album, it’s that MIDYRASI’S KULT exude more energy on this full-length without sacrificing any of their occult aura. But, just like that demo, Italian Dark Sound features supremely pro production – gritty, earthy, and yet kaleidoscopic in texture – under the guidance of Gabry "The Way" Strada, head of RDF Studio and who’s now collaborating on the upcoming Doomsword new album. In the vein of an open artistic project, all the artwork is made by vocalist / bassist Geilt himself, and up to 11 musicians have been involved in these recordings

EvilDead fans, listen up: 27 March 2026 will see the re-release by the American thrash metal act of their cult album ‘Annihilation Of Civilization’ including a number of bonus tracks. The original recordings date back to 1989 and have been remastered by Bill Metoyer (Slayer, Armored Saint). Remastered, 4 Bonus Tracks

EvilDead fans, listen up: 27 March 2026 will see the re-release by the American thrash metal act of their cult album The Underworld’ including a number of bonus tracks. The original recordings date back to 1991 and have been remastered by Bill Metoyer (Slayer, Armored Saint). Remastered

Boutique-pressed 7" vinyls A-side: "Wonderin'" / B-side: "Dream"

Drawing influence from the likes of CAN, Faust, Mahavishnu Orchestra, and David Vorkhaus, Shakti Soundsystem traverses the borderlands of psychedelic rock, Krautrock, jazz fusion, and ritual improvisation. But this isn't a retro trip—this is future folklore.

Each track is a trance in motion, built on hypnotic basslines, spiraling melodies, and moments of ecstatic dissonance. The instrumentation is as unconventional as the process: Bulbul Tarang, modular synths, guitars, drums, and vocals that oscillate between invocation and surrender.



Their first singles have already made waves across tastemaker blogs and listener-curated Spotify playlists, includingNeo-Psychedelia, Psych Rock Melting Pot, Rock for when 26 King Gizzard albums aren't enoug and Psychedelic & Space Rock.

"Wonderin',"described by Analogue Trash (UK) as "an absorbing, psychedelic jam that thrives on hypnotic repetition and a raw, live energy,"introduced their trance-infused sound to a wider audience.
"Silver," hailed by RMAS (Mexico) as"a hypnotic journey between Krautrock and spoken word... a sonic delirium that recalls CAN and the free spirit of the European underground," cements their place in the modern psych scene.

WILDFIRE is the long-awaited new studio album from Loreen, set for release on 27th March. Marking her first full studio album in nearly a decade, WILDFIRE is a powerful and intimate body of work that explores emotion, perception and inner transformation, a record that allows the full emotional spectrum to exist, from vulnerability and pain to freedom, love and truth.

The album features the global phenomenon “Tattoo”, alongside fan-favourite “Is It Love” and the transcendent new single “Feels Like Heaven”, co-written with Sia. Together, the tracks reflect Loreen’s unique ability to fuse raw emotional honesty with cinematic pop, creating music that is both deeply personal and universally resonant.

Loreen is the only female artist to have won the Eurovision Song Contest twice and has amassed over 9 billion streams worldwide. “Tattoo” topped radio airplay and singles charts in five countries, further cementing her status as one of the most distinctive and influential voices in modern pop.

With WILDFIRE, Loreen returns with an album that is fearless, expansive and profoundly human

April Records proudly presents the new album from Stockholm Stockholm-based bassist and composer Jon Henriksson - a confident and flexible statement that deepens his place within contemporary Scandinavian jazz. Following the success of his 2023 debut Harmonia which placed second in Orkesterjournalen s Golden Album " readers " poll, Henriksson returns with music that foregrounds collective interplay, shifting forms, and a strong compositional voice. Born in Gothenburg and now active across Sweden and Europe, Henriksson has collaborated and toured with artists including Lars Jansson, Hakan Broström, Erik Söderlind, Klas Lindquist, Jonas Kullhammar and Christina von Bülow. Alongside leading his own ensembles, he remains a soughtsought-after bassist in a wide range of projects, balancing a deep connection to the jazz tradition with a modern, exploratory approach. Shapeshifter is built around a core quartet of tenor saxophone, piano, double bass and drums, expanded with guitar on three tracks and trombone on two. The album moves fluidly between contrasting moods, from forceful and driving to reflective and restrained, with each piece shaped by the musicians " intuition and responsiveness. The title reflects Henriksson s compositional philosophy: allowing roles, textures, and forms to evolve as the music unfolds.The ensemble brings together long long-standing musical relationships. Pianist Rasmus Sorensen and Henriksson have collaborated since their studies at Skurups Folkhögskola (Henriksson is a longstanding member of Sorensen s own trio), while drummer Jonas Bäckman forms part of a well well-established rhythm section partnership with the bassist across numerous projects including the Britta Virves Trio. Saxophonist Karl Karl-Martin Almqvist, a member of the Danish Radio Big Band, completes the quartet, with guitarist Pelle von Bülow and trombonist Rasmus Holm joining the session shortly before recording to expand the album s sonic palette where the music called for it. Originally conceived as a quartet album, Shapeshifter took its final shape in the lead lead-up to recording as additional instrumental colours were introduced organically. The piece Toninho , a tribute to Brazilian guitarist and composer Toninho Horta, features acoustic guitar and subtle wordless vocals, reflecting melodic influences that sit naturally within the album s contemporary jazz framework. Across the record, space, pacing, and interaction remain central. Rather than forcing constant motion, the music allows ideas to develop with clarity and intent, resulting in an album that highlights Henriksson s growing assurance as a composer and bandleader, while keeping the collective at its core.

Celebrating the 30th anniversary of Enlace Funk magazine, they present the world's first Flamenco-Jazz compilation, featuring 16 tracks from between 1978 to 2025, released on vinyl for the first time. A musical dialogue between Flamenco and Jazz, unique in the world, a journey through some of the most important artists of this style, starting with the seminal work of the group Dolores in 1978, and continuing to examples of the current sound of this exciting fusion. Includes tracks never before released on vinyl by artists such as Jorge Pardo, Chano Dominguez, Pedro Ojesto, and Marc Miralta. The first volume of Flamenco-Jazz aims to showcase this unique style that has proven to be a bridge of communication and dialogue between flamenco and jazz musicians, creating an inimitable sound that is constantly evolving and transcending barriers. We take as our starting point a 1978 recording by Dolores, featuring Paco de Lucía, which later led to the formation of her legendary sextet with musicians who had participated in this recording. Of course, this first volume wouldn't be complete without other masters like Josemi Carmona, Pedro Ojesto, and Marc Miralta. And of course, a new generation of names that have elevated the genre to its current status, such as flautists Trinidad Jiménez and Sergio De Lope, Juanfe Pérez and Juan Pérez Rodríguez from Huelva, Pablo Martín Caminero from Vitoria, and Miquel Alvarez from Valencia. Not forgetting innovators like Antonio Lizana and Enriquito, who are crossing borders and sharing their unique style. Ltd ed.classic black vinyl double LP in gatefold sleeve

180g, Gatefold, schwarzes Vinyl. Fünfzehn Jahre nach Personal Jesus kehrt Nina Hagen mit HiGHWAY TO HEAVEN zu ihrer großen Gospel-Leidenschaft zurück. Gemeinsam mit Produzent Warner Poland, ihrer Band sowie Freundinnen wie Nana Mouskouri und Gitte Hænning interpretiert sie Klassiker neu - von Mahalia Jackson über Sister Rosetta Tharpe bis zu Kitty Wells. Das Album verbindet Southern Gospel, Americana, Reggae und Punk: Von der kraftvollen Neubearbeitung von "Somebody Prayed for Me" bis zur Americana-Version von "Never Grow Old" und einer deutschen Fassung von "Everybody Wanna Go to Heaven". HiGHWAY TO HEAVEN ist ein lebendiges, genreoffenes Gospel-Rock-Pop-Album, voller Spielfreude, Spiritualität und unverkennbarer Nina-Hagen-Persönlichkeit.

180g, Gatefold, White Vinyl, limitiert auf 1000 Exemplare. Fünfzehn Jahre nach Personal Jesus kehrt Nina Hagen mit HiGHWAY TO HEAVEN zu ihrer großen Gospel-Leidenschaft zurück. Gemeinsam mit Produzent Warner Poland, ihrer Band sowie Freundinnen wie Nana Mouskouri und Gitte Hænning interpretiert sie Klassiker neu - von Mahalia Jackson über Sister Rosetta Tharpe bis zu Kitty Wells. Das Album verbindet Southern Gospel, Americana, Reggae und Punk: Von der kraftvollen Neubearbeitung von "Somebody Prayed for Me" bis zur Americana-Version von "Never Grow Old" und einer deutschen Fassung von "Everybody Wanna Go to Heaven". HiGHWAY TO HEAVEN ist ein lebendiges, genreoffenes Gospel-Rock-Pop-Album, voller Spielfreude, Spiritualität und unverkennbarer Nina-Hagen-Persönlichkeit.

Dudley Perkins, aka Declaime, is a visionary wordsmith and sonic architect who has been a pivotal figure in the underground hip-hop scene since the mid-90s. Renowned for his introspective lyricism, intricate rhyme patterns, and innovative production techniques, he has consistently pushed the boundaries of the genre. Declaime's music is a fusion of soulful samples, jazzy undertones, and raw, unfiltered emotion.

His ability to seamlessly blend intricate beats with thought-provoking verses has earned him a dedicated following and critical acclaim. Throughout his career, Declaime has collaborated with a diverse range of artists, including Madlib, Oh No, Georgia Anne Muldrow, Flying Lotus, knxwledge, Aloe Blacc, Kankick, Saul Williams, Latoya Williams, Hudson Mohawk, Casual and many other notable names. His solo projects and collaborative efforts have left an enduring impact on the hip-hop landscape, inspiring countless artists and shaping the sound of future generations.Dudley has unveiled his latest 9-track album titled "Flatulent," set to be released on the esteemed Urbnet label. The album, produced by German beat maker and producer Der Brxwnsxn, highlights Declaime's signature blend of intricate rhythms, haunting samples, and ethereal melodies.

Hagridden' is the second full-length from Scottish sisters Bratakus. Fiercely political and unapologetic, the duo made up of siblings Brèagha Cuinn (guitar and vocals) and Onnagh Cuinn (bass and vocals) deliver ten songs that combine garage rock and feminist punk with the same deft poise as forerunners The Distillers, The Donnas, Bikini Kill and X-Ray Spex.
In 2019, a BBC news report called Bratakus "the UK's most remote punk band". Formed in 2015 outside a small whiskey village called Tomintoul in the Scottish Highlands, the sisters (then 14 and 8 years old) have maintained a DIY ethos in everything they've done. Recording at home, self-releasing music, booking their own tours and with no drummer available locally, the duo turned their limitation into a statement, performing live with a drum machine and cementing their reputation as an uncompromising force within the punk scene.
'Hagridden' marks a new beginning for the two sisters, introducing real drums to the recording process (including a guest appearance from Chris Dangerous of Swedish rock band The Hives) plus a more focused approach to songwriting. The message and music are just as loud, but the execution is now deadlier than ever.

Blau-weiße Corona-Vinyl Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey).

This double LP yellow vinyl 20th anniversary release of G. Love's "Lemonade" celebrates one of his most beloved and successful records. The release accentuates G. Love’s unmistakable blend of blues grit, hip-hop cadence, and sun-kissed songwriting and captured a creative peak that welcomed an all-star cast of collaborators including Jack Johnson, Ben Harper, Marc Broussard, Blackalicious and more. Critics praised its warmth and ease, often calling it one of G. Love’s most effortlessly joyful projects, and fans have carried its songs with them for two decades.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album proper, 'All Clouds Bring Not Rain'. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it's striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you're somewhere in the right ballpark. The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. Verity's distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs' more unorthodox elements are arranged, which is where Matthew's unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that's accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows. "Exciting and unpredictable" The Guardian "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus "Stunning, kaleidoscopic tunes" Electronic Sound "Engagingly eclectic" UNCUT "Divinely tuneful yet confrontational" The Wire "Kaleidoscopic art-pop and adventurous psych-rock with an immersive, experimental aura." KEXP.

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their low-fi indiepop roots. The French/American duo (Guillaume on guitar and vocals, Erica on drums and vocals) manage to create a sound like no other band. When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums. How can a duo achieve so much? UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. These shows are highly recommended!
The new album is more diverse that the last, with the high-tempo indiepop of first single ‘Breakfast’, the majestic, Yo La Tengo-like dreampop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’. Final track ‘OOO’ is a bold piece of Krautrock-inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct.

‘Clipping’, the album title, refers to the discipline of pruning growth back, removing dead wood to create a perfectly shaped tree with abundant blossoms: an accurate description of the album, and of the songs that hang from its elegant branches. The album artwork is by Erica: Special Friend are in control of every aspect of this elegant artefact.
‘Clipping’ was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. Set in an isolated rural environment conducive to immersion, the band had seven days in the studio—significantly more than for previous records—allowing for greater care in the recording process, particularly for vocals and arrangements. Several tracks feature synthesizers and organs, acoustic guitar, and even an electric bass on “Sanctuary,” a first for Special Friend. Overall, the record benefits from a more developed and detailed production while preserving the band’s direct approach and spontaneity.

The album was mixed by Syd Kemp, who has worked with artists such as Thurston Moore, Ulrika Spacek, Caroline, Crack Cloud, and Vanishing Twin.
Special Friend’s previous album on Skep Wax, ‘Wait Until The Flames Come Rushing In’ was an underground hit, with a significant amount of airplay in the UK and in the US.
‘Clipping’ is a co-release with Howlin Banana Records and Hidden Bay Records (both in France). Skep Wax is proud to present the album in the UK and in North America.

He rose to fame after appearing on the sixth series of Britain's Got Talent in 2012 as half of the classical duo Jonathan and Charlotte. He subsequently went solo and his debut album, Tenore, was released in the UK in 2014. Three subsequent albums followed and for 2026 comes his brand new album, Speaking To You. A magnificent collection of new recordings of some really well known favourite songs performed brilliantly

Lush in strings and pedal steel, the nine-track 'How I Became A Wave' album features contributions from some of Ireland's most accomplished musicians, headed up by Pat Carey, and featuring string and piano arrangements by Cormac McCarthy (RT Concert Orchestra). 'How I Became A Wave' will be available as a limited edition 12" gatefold vinyl that brings together music and visual art, featuring cover artwork based on the original oil painting 'Towards Pabaigh' by Scottish artist Ellis O'Connor, design by West Cork creative Megan Clancy, insert image by Cork- based artist Leslie Allen Spillane, and handwritten liner notes and lyrics from Pat Carey, who steers How I Became A Wave as a collaborative, multidisciplinary project. Pat Carey says: "At the heart of How I Became A Wave is a sense of collaboration - of connection between artists. Inviting artists of different disciplines into the creative process has been key to the journey. Understanding how other people see, hear and feel my work has been enlightening, affirming and vital, making sure that what we have created is a living body of work that I hope will continue to be expressed in changing ways."

While many have tried to emulate the ancient German (black)thrash sound, CRUEL FORCE brimmed with an authenticity that could not be denied, as well as songwriting that added to that noble tradition rather than lazily picking at its corpse. Their two successive albums, 2010's The Rise of Satanic Might and 2011's Under the Sign of the Moon, made CRUEL FORCE a certifiably CULT name in the international metal underground. Sadly, the band fell into a hiatus following that second album, but returned reinvigorated with the comeback 7" EP Across the Styx in 2022 and, a year later, the glorious full- length Dawn of the Axe at the hands of new label home SHADOW KINGDOM. Continuing to make up for lost time, CRUEL FORCE storm back with swords gleaming high on their fourth full- length, Haneda.

Where a line could be drawn between the band's "first era" of The Rise of Satanic Might / Under the Sign of the Moon, so continues this Second Era that began with Dawn of the Axe - one that harkens to the "Jurassic period" of heavy metal, when everything was rawer, less polished, and more energetic and powerful. As displayed by that pivotal predecessor, Haneda further proves that CRUEL FORCE are more so an old-style speed metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there's a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder.

However, it must be stressed that, while it follows logically from Dawn of the Axe, Haneda is very much its own headspace, its own continuation of a still-vital aesthetic. At times more epic, exuding both more and different atmospheres, CRUEL FORCE here take the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond; indeed, the whole record is like a journey through mystical realms. Although no concept album, Haneda is very conceptual in its aesthetics, even down to its production: BIG and naturaltoned, from the guitars to especially the drums, everything here is as '80s and authentic as possible, underlining

An album with reflection, resilience, journey, and elemental connections at its core, Hollow Chapters is a collection of original songs written and performed by the Marsh Family - Dad (Ben, 49), Mum (Danielle, 48), sons Alfie (19) and Tom (18), and daughters Ella (16) and Tess (14). Recently featured in The Observer, the multiinstrumentalist family group of six from Kent have a significant international online following passionate about their mix of folk- pop harmonies, uplifting messages, authentic imperfections, and sense of connection and heart. Hollow Chapters ranges across genres (from acoustic protest songs to funk and reggae rock), but has a vintage organic style, rooted in natural analogies, ideas of journey and lifecycle, and epic and inspirational themes. It promises to move people emotionally, whether through ballads about departed loved ones or stirring tracks designed to forge collective action and hope. The songs tell stories using the different voices of family members, drawing inspiration from poetry, landscape, and artefacts.

Razor, a thrash metal legend! The most valuable Canadian export since the Toronto Maple Leafs. When Dave Carlo and his band took to the stage at the legendary Headbangers Open Air Festival a few years ago, the crowds went completely wild. This enthusiastic reaction suggests that Razor may have more fans today than they did in their heyday in the mid-1980s. So the re-release of “Shotgun Justice” on vinyl comes just at the right time. The album comprises 14 tracks and features immortal classics such as “United by Hatred,” “Stabbed in the Back,” and “Brass Knuckles.” Shotgun Justice was originally released in 1990 on CD only on Dave Carlos' own label, Fist Fight Records (distributed in North America by Fringe Records). It was the first Razor album with Bob Reid on vocals (who had replaced Stace McLaren, aka Sheepdog).

DJ Support: Ben UFO, Palms Trax and more…

Alex Kassian reunites with Hiroaki Oba as Opal Sunn. Following on from their massive 2024 hit Elastic this latest offering ‘Liquid’ is the second in a trilogy of releases on the ‘buy on sight’ Test Pressing Records. Having taken their live set to the world finest clubs & with Elastic being an end of night anthem for DJ’s such as Palms Trax and Ben UFO. This highly anticipated new release builds on their sound and is sure to be another hit with DJ’s and record buyers alike

DYING VICTIMS PRODUCTIONS is proud to present ZERRE’s highly anticipated second album, Rotting on a Golden Throne, on CD and vinyl LP formats. From the cellars of Würzburg, Germany, ZERRE have been keeping the torch of old-school thrash metal burning while carving their own vicious path. Their sound draws on the razor-sharp aggression of classic Metallica and Exodus and the stomping groove of early Faith No More: no frills, no mercy. Their third full-length, 2024’s Scorched Souls, tore through the scene and earned critical acclaim for its searing riffs and unflinching energy. Now, ZERRE take a decisive step forward with Rotting on a Golden Throne. Darker, more overtly political, and more aggressive than its predecessor, this fourth full-length dives headfirst into the rot of power, corruption, and human decay – a brutal soundtrack for a world teetering on the edge. Onstage, ZERRE embody the chaos of their music: riff-driven assaults, breakneck tempos, and a raw intensity that leaves no room to breathe. On record, while those influences still remain, but the DNA has been splintered into something more unique and definitely more powerful: thrashing, yes, but within a crossover framework that feels titanic. The production is razor-sharp, but with ominous atmosphere to spare; the execution is even sharper, as the drumming especially pulses like a dread locomotive; and vocals spit forth venom, raging against a machine fatted by suffering. As the throne collapses, ZERRE deliver the anthem of its fall. Keep on Rotting on a Golden Throne!

Over six years have passed since HAGZISSA's successful debut album, They Ride Along. Some may have even declared the Austrians as dead in between; however, HAGZISSA never ceased to wander the borderlands of the here and beyond. In silence and yet in turmoil, too, a nightmare has been slain and gutted - in necromantic pride, its offspring gleams and dances to never-ending music of the night!

HAGZISSA's brand-new Revelry of a Maltreated Jade EP is a showcase of a pack in motion, marking this as the last recording with A White Pawn (Kringa, Weathered Crest et al.) and the first with V.Adalbert II (Sněť, Bahratal et al.). The four-song work is immediately recognizable as HAGZISSA: a now-trademark style of eyrie, olde-worlde black METAL that's obscure, enigmatic, and unbound. Here, intensities are both reigned in and let loose to roam even wilder, as Iron Curtain heavy metal magick weaves a spell perhaps even more potent than said full-length. The result is somehow more approachable and more foreign, but compellingly potent either way.

With heads both in the past and the future, thus passes the glory of the world and dives deep into another plane! Can't you hear their flutes and horns and whispers? So come, then, and join in boisterous battue!