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The Hexcastle is an atmospheric debut that blends lo-fi black metal with medieval-inspired dungeon synth, creating an album that feels less like a traditional collection of songs and more like an immersive ritual or sonic environment

An album Maximum Rock 'N' Roll deemed not punk enough to review, Unwound's 1994 sophomore effort was a lethal depth charge aimed at major label grunge and independent hardcore alike. From the off-kilter, vertiginous rhythm of "Entirely Different Matters" to the neck-snapping velocity of "What Was Wound" to the relentless pounding at the end of "All Souls Day," New Plastic Ideas is the Sonic Youth-loving older sister to Fake Train's postpunk- obsessed little brother.

DYING VICTIMS PRODUCTIONS is proud to present DEMON SPELL’s highly anticipated debut album, Blessed Be the Dark, on CD and vinyl LP formats. After the cursed EP Evil Nights in 2024, the coven of DEMON SPELL returns, unleashing a vision of dark, occult heavy metal born from dust, bone, and shadow. Appropriately titled Blessed Be the Dark, the Italians’ debut album is a descent into ritual fire and ancient doom, where the echoes of the grave sing once more. This is music for disciples of the timeless art of darkness.

With Blessed Be the Dark, DEMON SPELL deepen their devotion to a shadowed form of heavy metal rooted in the classic tradition yet veiled in occult and arcane tones, all performance with a provocative theatrical presence. Wholly untouched by modernity, their sound draws from the primordial essence of early heavy metal; one can imagine the cutoff year at 1985, or perhaps earlier. The record presents a more mature and refined vision of the band’s sound as first displayed on the quick-hitting Evil Nights, here exploring darker, more occult atmospheres while also offering raw, energetic passages that bring moments of levity and drive. Listening to DEMON SPELL in full-length form feels like entering an endless Sabbath, where past and present dissolve and the flame never dies. Blessed Be the Dark stands as a testament to heavy metal as ceremony—timeless, solemn, and possessed by the Spirit of the Night.

It's with great pleasure that we present the 100th release of Quintessentials! Happy 100! Started in 2008, Quintessentials` slogan was and still is "deep, raw and real". On the way to the 100th release, we discovered talents like (just to name but a few...) Anton Zap, Baaz, Ugly Drums, Mat Chiavaroli, Simon Hinter or The Black Fan, as well as featuring established producers like Luke Solomon (as Lukatron), Borrowed Identity, Alton Miller, Simoncino, Soul of Hex, Felipe Gordon, Javonntte, KRL, Andy Ash or Ralph Session. Quintessentials has never just released stricly one type of music, but put together cool tunes from the House spectrum: Deep House, NY House, Detroit House, Acid House, Chicago House....or do we wanna call it just "House music"? This classic old school 6-track compilation features again a multi house culture and fuses present and past! Quite essential we think!

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus.

Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trancelike spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album.

Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band’s fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release’s inner panels.

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. The compilation also features all-new illustrations from Alan Oldham, the Detroit-rooted visual artist who gave Djax-Up-Beats a distinctive visual identity from very early on, and design by Lost Communication. Each volume of the series also features liner notes from music journalist Oli Warwick. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. Volume 1 - The Acid Trip focuses on an area the label is best known for - acid house and techno. After the pioneering breakthroughs Chicago-based producers made with the Roland TB-303 in the late 1980s, acid music creation was starting to become more widespread when Djax-Up started in late 1990. The rebellious, rave-ready sound was an instant draw for label founder Miss Djax, and so her label ended up reflecting the development of acid as it spread from the Chicago roots across the world. Volume 1 - The Acid Trip looks at the diverse approaches to acid taken by artists on Djax-Up. Tracks on the compilation include an early outing from Ludovic 'St Germain' Navarre and Bjorn Torske's Ismistik alias, as well as Dutch pioneers such as Edge Of Motion, Spasms, Random XS and Acid Junkies, and Chicago heavyweights Mike Dearborn and Gene Hunt. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

From the quiet desolation of earlier Iterum Nata now rises something heavier – more aggressive and defiant. With “Heartwood”, Finnish multi-instrumentalist Jesse Heikkinen (The Abbey, Henget, ex-Hexvessel) reshapes his progressive rock and neo-folk foundations through the crucible of metal, layering doom-laden riffs and blackened textures upon the project’s introspective core.

To give this vision its pulse, Heikkinen enlisted Ukrainian drummer Yurii Ciel (Stoned Jesus, Cailleach Calling, ex-White Ward), whose expressive performance transforms “Heartwood” into the most visceral Iterum Nata release to date. Together they carve a sound both expansive and immediate: progressive journeys steeped in folk atmosphere, driven by the weight and force of metal.

The record also features rare guest appearances: King Dude lends his commanding voice to “Forgiveness Undone”, Alexander Kuoppala (ex-Children of Bodom) unleashes a searing solo in “I Have Been Sacrificed”, and Sami Hynninen (Reverend Bizarre) delivers an unearthly vocal in “Only Ash and Bones Remain”.

“Heartwood” is an album hewn from fury yet tempered by revelation. Where past Iterum Nata releases drew from solitude and sorrow, here the wellspring is anger – but anger that points beyond itself, toward beauty, hope, and transcendence. It is a meditation on the spiritual war within the collective unconscious, channelled through music that flows between Anathema and My Dying Bride, Opeth and In the Woods…, Pink Floyd and Green Carnation.

Dread Spectre Council is Kenneth Amundsen"s solo-moniker compiling years of archival demos reimagined and re-recorded. First presented through the debut EP "Dystopia/Eons" (2024) feat. Dale Crover (Melvins/Nirvana/Redd Kross) on drums. Connected to bands like Mindy Misty, Le Corbeau and Izakaya Heartbeat, - He has sneaked around the Norwegian indie scene for the past two decades. On Thetans Kenneth plays all instruments, records and mixes himself in a solitary catharsis. Bringing emotive confessionals, barn-burners and sect nodding psychedelics together in a melancholy-stroked indie rock epos, "unshakably human" as described by Last Day Deaf . A gang of co-conspirators is lurking to join for future releases and tours.

Dread Spectre Council is Kenneth Amundsen"s solo-moniker compiling years of archival demos reimagined and re-recorded. First presented through the debut EP "Dystopia/Eons" (2024) feat. Dale Crover (Melvins/Nirvana/Redd Kross) on drums. Connected to bands like Mindy Misty, Le Corbeau and Izakaya Heartbeat, - He has sneaked around the Norwegian indie scene for the past two decades. On Thetans Kenneth plays all instruments, records and mixes himself in a solitary catharsis. Bringing emotive confessionals, barn-burners and sect nodding psychedelics together in a melancholy-stroked indie rock epos, "unshakably human" as described by Last Day Deaf . A gang of co-conspirators is lurking to join for future releases and tours.

Toronto-based musician and producer David Psutka’s long dormant Egyptrixx alias returns, with How Tidal. A compendium of sorts, which retells the story so far, reworks of highlights from his catalogue sit alongside brand new tracks, serving as a bridge between the past and the future, preceding more fresh music in 2026.
With the originals still sounding remarkably current, a straight best-of wouldn’t have been out of question, but ever the tinkering student of sound, Psutka thought he’d break them apart, just to see how he could put them back together again.

The music on is How Tidal is cutting-edge and futuristic, but never difficult, instead offering accessible gems where multiple strains of bass music are infused with a zingy, techno-pop bounce, whilst ambient moments gift sonic lozenges for maximum contentment. Psutka creates optimistically welcoming environments, where synthetic birds chirrup in cyan skies over babbling rainbow brooks, as 15 inch subwoofers boom by.

Egyptrixx gained renown across the 2010s with his hard hitting yet tranquil experimental dance music dubbed ‘celestial jeep music for a Saturn moon’. Colourful sound design was braided with dancefloor structures, creating an exhilarating tension between melodic and dissonant, euphoric and inward. The debut album Bible Eyes was released in March of 2011 to critical acclaim.

As Egyptrixx, Psutka has released four studio albums, collaborated, remixed, and toured with some of the biggest names in electronic music.
The widely acclaimed moniker is foundational to Psutka’s complex body of work that encompasses multiple solo projects, plus a diverse range of collaborative work. He has performed live at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival, and presented sound installations at Galeria Civica Commune di Modena and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. In recent years, the label has quietly established itself as a platform that facilitates many of Canada’s most exciting creative music projects.

Watershed is the ninth studio album by Swedish progressive metal band Opeth. Watershed is the first studio album by Opeth to feature guitarist Fredrik Åkesson and drummer Martin Axenrot, who replaced longtime guitarist Peter Lindgren and drummer Martin Lopez. The artwork for the album was made by Travis Smith in collaboration with Mikael Åkerfeldt. Opeth is a band that has been taking amazing chances and managed to not only win new fans, but not alienate older ones. A perfect blend of the death metal of Still Life and Blackwater Park, the monolithic riffage of Deliverance and Ghost Reveries, and the prog/classicism of Damnation combined with classic Deep Purple, Pink Floyd, and Scorpions. Watershed is available as a limited edition of 4.000 individually numbered copies on silver & black marbled vinyl, includes a 4 page booklet and a poster and the sleeve has a special linen laminate finish.

Für Mandy, Indiana, ist die Wahrheit der einzige Weg. Auf "URGH", ihrem ersten Album bei Sacred Bones präsentiert, sich das Quartett - bestehend aus Sängerin Valentine Caulfield, Gitarrist und Produzent Scott Fair, Synthesizer-Spieler Simon Catling und Schlagzeuger Alex Macdougall - als eine Kraft von unheimlicher Natur, die ein Album geschaffen hat, das ebenso sehr ein Aufruf zum Handeln ist wie eine Reise in die Vergessenheit und Transzendenz. In den zehn Tracks verwebt die Band ihre eigene unkonventionelle Sprache zu einem Mantra für Selbstbestimmung und Widerstandsfähigkeit und schafft so eine Vorlage für eine bessere Zukunft, bevor alles in Dunkelheit versinkt. Ein Großteil des Albums wurde während eines Aufenthalts in einem unheimlichen Studiohaus am Stadtrand von Leeds geschrieben und anschließend in Berlin und Greater Manchester aufgenommen. Es war eine intensive Umgebung, was zum Teil auf die gesundheitlichen Probleme zurückzuführen war, mit denen Caulfield und Macdougall während des Schreib- und Aufnahmeprozesses zu kämpfen hatten. Dennoch bleiben Mandy, Indiana kompromisslos. Caulfield setzt ihre Stimme als verzerrtes Instrument und Waffe ein, die zwischen verspielt und vernichtend oszilliert. Der pulsierende Sirenenton von ,Magazine" steht neben dem zerhackten Vocal Fry von ,try saying" und der sich wandelnden Wildheit von ,ist halt so", das die Dringlichkeit von Protestbewegungen kanalisiert, auf den Widerstand gegen den Völkermord in Gaza verweist und gleichzeitig allgemeinere Kämpfe thematisiert, während der letzte Track ,I'll Ask Her" eine bewusste Direktheit ist, die die toxische Boy-Club-Kultur anprangert, und eine hartnäckige Abrechnung, die über dem gesamten Album schwebt. Obwohl es immer noch unbestreitbare ,Knaller" gibt (wie der zerfetzte Rap von ,Sicko!" mit Billy Woods), wirkt "URGH" oft wie präzise geschnitztes Kino. Vom sprühenden Techno von ,Cursive" bis zu den dekonstruierten Feedback-Loops von ,Life Hex" bewegt sich das Album zwischen industrieller Katharsis und filmischer Unruhe und spinnt eine Spannung, die Fair als ,Remix seiner selbst" beschreibt. Diese kontrastreiche Palette ist sowohl ein notwendiger Aspekt des Albums als auch das zugrunde liegende Bindeglied. Obwohl "URGH" sehr persönlich ist, spiegelt es den gewalttätigen, zerbrochenen Zustand der Welt wider. Caulfields Texte setzen sich mit Gewalt, systemischer Gleichgültigkeit und der Allgegenwart von Schmerz auseinander, betonen aber auch Momente der Schönheit und Solidarität. URGH gehört in die physische Welt, und das Artwork von Carnovsky mit einer anatomischen Illustration von Andreas Vesalius unterstreicht die viszerale Auseinandersetzung des Albums mit dem Körper und seinen Grenzen. URGH ist sowohl jenseitig als auch physisch und kathartisch, sowohl ein erster Schritt zur Heilung als auch eine Weigerung, das Gespräch sterben zu lassen.

Für Mandy, Indiana, ist die Wahrheit der einzige Weg. Auf "URGH", ihrem ersten Album bei Sacred Bones präsentiert, sich das Quartett - bestehend aus Sängerin Valentine Caulfield, Gitarrist und Produzent Scott Fair, Synthesizer-Spieler Simon Catling und Schlagzeuger Alex Macdougall - als eine Kraft von unheimlicher Natur, die ein Album geschaffen hat, das ebenso sehr ein Aufruf zum Handeln ist wie eine Reise in die Vergessenheit und Transzendenz. In den zehn Tracks verwebt die Band ihre eigene unkonventionelle Sprache zu einem Mantra für Selbstbestimmung und Widerstandsfähigkeit und schafft so eine Vorlage für eine bessere Zukunft, bevor alles in Dunkelheit versinkt. Ein Großteil des Albums wurde während eines Aufenthalts in einem unheimlichen Studiohaus am Stadtrand von Leeds geschrieben und anschließend in Berlin und Greater Manchester aufgenommen. Es war eine intensive Umgebung, was zum Teil auf die gesundheitlichen Probleme zurückzuführen war, mit denen Caulfield und Macdougall während des Schreib- und Aufnahmeprozesses zu kämpfen hatten. Dennoch bleiben Mandy, Indiana kompromisslos. Caulfield setzt ihre Stimme als verzerrtes Instrument und Waffe ein, die zwischen verspielt und vernichtend oszilliert. Der pulsierende Sirenenton von ,Magazine" steht neben dem zerhackten Vocal Fry von ,try saying" und der sich wandelnden Wildheit von ,ist halt so", das die Dringlichkeit von Protestbewegungen kanalisiert, auf den Widerstand gegen den Völkermord in Gaza verweist und gleichzeitig allgemeinere Kämpfe thematisiert, während der letzte Track ,I'll Ask Her" eine bewusste Direktheit ist, die die toxische Boy-Club-Kultur anprangert, und eine hartnäckige Abrechnung, die über dem gesamten Album schwebt. Obwohl es immer noch unbestreitbare ,Knaller" gibt (wie der zerfetzte Rap von ,Sicko!" mit Billy Woods), wirkt "URGH" oft wie präzise geschnitztes Kino. Vom sprühenden Techno von ,Cursive" bis zu den dekonstruierten Feedback-Loops von ,Life Hex" bewegt sich das Album zwischen industrieller Katharsis und filmischer Unruhe und spinnt eine Spannung, die Fair als ,Remix seiner selbst" beschreibt. Diese kontrastreiche Palette ist sowohl ein notwendiger Aspekt des Albums als auch das zugrunde liegende Bindeglied. Obwohl "URGH" sehr persönlich ist, spiegelt es den gewalttätigen, zerbrochenen Zustand der Welt wider. Caulfields Texte setzen sich mit Gewalt, systemischer Gleichgültigkeit und der Allgegenwart von Schmerz auseinander, betonen aber auch Momente der Schönheit und Solidarität. URGH gehört in die physische Welt, und das Artwork von Carnovsky mit einer anatomischen Illustration von Andreas Vesalius unterstreicht die viszerale Auseinandersetzung des Albums mit dem Körper und seinen Grenzen. URGH ist sowohl jenseitig als auch physisch und kathartisch, sowohl ein erster Schritt zur Heilung als auch eine Weigerung, das Gespräch sterben zu lassen.

Predatory Void returns with their third record, an EP titled `Atoned in Metamorphosis`, a concentrated statement of intent that compresses the band's restless energy into four precise movements. The music negotiates extremes: patient, reverb-saturated passages give way to sudden, metallic eruptions; subterranean basslines provide narrative weight beneath volatile guitar textures, vocals growl, wail and lament as drums alternate between measured architecture and volcanic release. The result is an austere, immersive sound that is both incandescent and violently sharp. Conceptually the EP takes on the ugly shadow of the unconscious and cathartically wrestles the demon onto canvas. Calling on elements from sludge, doom and black metal, as well as the unrelenting energies of hardcore and contrasting slower, haunted atmospheres, Predatory Void's signature sound is as volatile and piercing as ever. Concise, tight compositions that hook you in melody and then rage in filthy agony. The music can be confrontational, but it is never gratuitous_force is deployed to clarify rather than to overwhelm as emotional depth is at all times the compass. The production aesthetic prioritises fidelity to performance: takes are preserved for their immediacy, dynamics remain uncompromised, and the mix privileges contrast so that quiet moments carry as much dramaturgical weight as full-band climaxes. `Atoned in Metamorphosis` consolidates Predatory Void's forward motion and stakes a claim for a sound that prizes architectural heft and textural nuance in equal measure. Listeners should expect an immediate physical response in what is undeniably an ardent expression, and enjoy the reward of cumulative detail, for the EP dares you to listen closely: to feel transitions as processes, and to accept tension as a pathway to release. Predatory Void invites engagement, not escape, and demands to be met on its own terms, boldly. RIYL Hexis * CELESTE * Wallowing * LLNN * Downfall of Gaia * Witching

Predatory Void returns with their third record, an EP titled `Atoned in Metamorphosis`, a concentrated statement of intent that compresses the band's restless energy into four precise movements. The music negotiates extremes: patient, reverb-saturated passages give way to sudden, metallic eruptions; subterranean basslines provide narrative weight beneath volatile guitar textures, vocals growl, wail and lament as drums alternate between measured architecture and volcanic release. The result is an austere, immersive sound that is both incandescent and violently sharp. Conceptually the EP takes on the ugly shadow of the unconscious and cathartically wrestles the demon onto canvas. Calling on elements from sludge, doom and black metal, as well as the unrelenting energies of hardcore and contrasting slower, haunted atmospheres, Predatory Void's signature sound is as volatile and piercing as ever. Concise, tight compositions that hook you in melody and then rage in filthy agony. The music can be confrontational, but it is never gratuitous_force is deployed to clarify rather than to overwhelm as emotional depth is at all times the compass. The production aesthetic prioritises fidelity to performance: takes are preserved for their immediacy, dynamics remain uncompromised, and the mix privileges contrast so that quiet moments carry as much dramaturgical weight as full-band climaxes. `Atoned in Metamorphosis` consolidates Predatory Void's forward motion and stakes a claim for a sound that prizes architectural heft and textural nuance in equal measure. Listeners should expect an immediate physical response in what is undeniably an ardent expression, and enjoy the reward of cumulative detail, for the EP dares you to listen closely: to feel transitions as processes, and to accept tension as a pathway to release. Predatory Void invites engagement, not escape, and demands to be met on its own terms, boldly. RIYL Hexis * CELESTE * Wallowing * LLNN * Downfall of Gaia * Witching

Black Vinyl

Das Album enthält Material aus allen Songwriting-Phasen der Band, einiges davon stammt aus den Zeiten von „Deprived“ und „Bringer of Drought“ sowie natürlich aus „Foreordained“, erklärt Gitarrist Samuel Dufour.

„Gateway“ wurde von dem langjährigen Mitarbeiter Xavier Berthiaume (Gevurah, Sanctvs) während derselben Session wie „Foreordained“ aufgenommen, gemischt und gemastert, wodurch die beiden Alben einen einheitlichen Klang erhalten und „Gateway“ die etablierten Erzählungen abschließen kann. „Wir betrachten es als das Ende eines Kapitels für die Band“, fährt Dufour fort. „Das heißt nicht, dass unser zukünftiges Material sich komplett von unserem bisherigen unterscheiden wird, ganz im Gegenteil, aber wir haben beschlossen, es beim nächsten Mal ein wenig anders anzugehen, indem wir neue Elemente hinzufügen, die bisher in unserer Musik noch nicht vorkamen, verschiedene Dynamiken ausprobieren und mit einer neuen Stimmung experimentieren.

Thematisch baut „Gateway“ auf Ideen auf, die erstmals auf „Foreordained“ untersucht wurden: „Der Song ‚Revival‘ aus ‚Foreordained‘ inspirierte das Thema des Albums, nämlich die Tatsache, dass Menschen seit Anbeginn der Zeit versuchen, ewig zu leben – oder ihr Leben auf unnatürliche Weise zu verlängern –, oft aus Gründen, die noch absurder sind als das Streben nach ewigem Leben selbst“, erläutert Dufour.

„Wir haben dies als Hauptthema verwendet und das Konzept weiterentwickelt, indem wir die abstoßendsten Formen der Grausamkeit untersucht haben, zu denen Menschen fähig sind – selbst wenn sie die Wissenschaft als Mittel einsetzen, um die Barbarei gegenüber ihren Feinden zu verlängern.“ Visuell setzt das Album die Zusammenarbeit von Phobocosm mit Lauri Laaksonen (Desolate Shrine, Convocation, Pestilent Hex) fort. „Auf den ersten Blick sieht man, dass es sich um ein Tor zu etwas Unheilvollem handelt, aber was dahinter liegt, bleibt dem Hörer überlassen.“ Phobocosm wird „Gateway“ mit ausgewählten Auftritten in Nordamerika unterstützen, gefolgt von Terminen in Europa im Jahr 2026.

Introducing Luka Lickshot aka Luke Palmer aka the Wolverhampton Wolverine, prolific reggae DJ and genre warping producer of all things low end inclined.

In previous incarnations Luke has released hypnagogic house for labels such as Workshop and Third Ear, but with his debut LP release ‘Shots Fired’ he takes a sharp turn into the leftfield.

Sonically triangulating early 80s Manc post punk existentialism, 90s darkside trip hop and UK (On-U) sound system culture, the result is something like a more ruffneck Massive Attack jamming with Dome in the Black Ark.

‘Shots Fired’ was forged in an underground Peckham hideout, under strict parameters of time and space, fusing conventional instrumentation with digi know-how, improvised vocals, one take licks and dub fx. Pretty much impossible to pigeonhole the ten tracks but adjacent to / resonant with Giulio Erasmus, DJ Marcelle, Tricky, ‘Hex’….

First EP from a new project formed in 2023 by Allan Crockford (The Galileo 7, The Prisoners,The James Taylor Quartet etc) and Ian Button (Papernut Cambridge, Swansea Sound, Death In Vegas etc)

Both writers bring their influences to the four songs here, with dual lead vocals and a mix of Medway psych, horror- garage, and kitchen sink new- wave pop vignettes. There's paranoia and psychosis, a cautionary tale about gullibility, and a love song straight out of 1978...

Recorded in Rochester and Folkestone, and released jointly on Button's Gare du Nord and Crockford's Fool's Paradise labels, this 7" is the first to be pressed on the new bioplastic compound Evo-vinyl.

Rustic helvetic black metal, deeply rooted in medieval lore and tales of pestilent witchcraft. A fericious array of piercing riffs, marching percussions and tortured howls

Liebe, Schmerz, das Tiefgründige, das Alltägliche: nyxy nyx ist für die Träumer und wahren Gläubigen. Tief im Kaninchenbau, gefangen in einer Schlinge, verwischen die zyklischen Riffs und Selbstreferenzen des Projekts die Grenzen zwischen Zeit und Realität und versetzen die Zuhörer in eine Déjà-vu-Falle aus unheimlichen Melodien und nebligen Blicken. Die für ihre Zeitlichkeit bekannte Band aus Philadelphia hat jahrelang an ihrer degenerativen Diskografie gearbeitet. Tracklisten werden geändert, Master ausgetauscht und Songs neu aufgenommen. In vielen Fällen ist eine Veröffentlichung nur für diejenigen zugänglich, die über einen Download oder eine physische Kopie verfügen. Zum ersten Mal überhaupt wird nyxy nyx sich zu einer vertraglich abgesicherten Unendlichkeit verpflichten. ,Cult Classics Vol. 1" erscheint bei Julia's War Records. Brian Reichert, Tim Jordan (Sun Organ), Benjamin Schurr (Luna Honey) und Alex Ha (ex-Knifeplay) werden von Madeline Johnston (Midwife) und Josh Meakim (A Sunny Day in Glasgow) für das erste Studioalbum von nyxy nyx in voller Besetzung unterstützt. Aufgenommen von Dan Angel, ist ,Cult Classics Vol. 1" die härteste Version von nyxy nyx und fängt ihre schlammige und transzendente Live-Energie ein - die perfekte (Wieder-)Einführung für Fans und Neulinge gleichermaßen. nyxy nyx startete 2014 als Performance-Kunstprojekt von Brian Riechert und Drew Saracco. Das Duo spielte Noise- und Underground-Punk-Shows und arbeitete mit vielen Freunden und Gastmusikern zusammen. Home-Aufnahmen, Kassetten und CDs von ,nyxy nyx" wurden von Labels vertrieben, aber die meisten sind DIY: handgemacht, mit Freunden geteilt und in kleinen Bibliotheken zu finden. Bis 2020 stellte nyxy nyx eine Live-Band zusammen, spielte regelmäßig, tourte an der Ostküste und nahm dann ,Cult Classics Vol. 1" auf. Jeder Song auf diesem Album wurde live gespielt, aber keiner zweimal gleich.

Fragments was a completely new way of working for us. We’ve always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined.
It’s a formula we’ve used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our support- ers rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we’d try a few things and ask for feedback.
"Fragments" was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting.
And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realised we could re-organise and remaster the individual tracks into a coherent album, captur- ing a specific moment in time and drawing a line under the first phase of the project.
Like our "Allegory" EPs, we’ve tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time.
Fragments is our journey through many changes, both self-im- posed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it.




b A2















r D1 b Yes Hello (Remastered BONUS) 1:53
s D2 No JuJu (Man Power Version - Remastered BONUS) 4:27
t D3 Cup Noodle (Unemployed Youth Version - Remastered [BONUS]) 5:43
[u] D4 Black Smoke (They Never Got Started) (Remastered [BONUS]) 2:18
[v] D5 Concrete Concentration (Remastered [BONUS]) 3:21
[b] They All Live In The Past (Remastered [BONUS]) 1:06

Leuchtend rotes Vinyl | Gatefold | 180g | limitiert auf 200 Stück weltweit Die musikalische DNA der Edgar-Wallace-Filme - jetzt als streng limitierte Vinyl-Edition. Peter Thomas" Soundtrack-Klassiker verbinden Soul-Jazz, Easy Listening und psychedelische Spannung zu einem einzigartigen Hörerlebnis. Die Edition enthält Titel aus 17 Wallace-Filmen, darunter "Der Zinker", "Der Hexer" und "Die seltsame Gräfin", ergänzt durch rare Bonusstücke. Verpackt im stilvollen Gatefold mit Illustrationen von Adrian Keindorf. Ein audiophiles Denkmal für den Sound der deutschen Krimi-Kultur.

Difficult as it may be to imagine, there was a time when Sun City Girls did not exist. Prior to the Bishop brothers teaming up with drummer/shaman Charlie Gocher to form SCG's classic trio lineup, there were various ad-hoc assemblages of local Phoenix-area freaks and weirdos – groups which existed only long enough to play a single gig, open mic or house party before disbanding without a trace. Hatched from this milieu was Paris 1942, a short-lived band formed by guitarist Jesse Srogoncik that included Alan Bishop, Richard Bishop and former Velvet Underground drummer Maureen Tucker.

Paris 1942 would play only four shows in as many months, but between April and August of 1982, the band would gather several times a week in Tucker's living room, where the group feverishly wrote and rehearsed with a kind of quotidian discipline. While P42 didn't release anything during their brief tenure, a 7" EP and LP (both self-titled) surreptitiously surfaced on the Majora label in the mid to late '90s. Until now, those two titles – as well as an appearance on Placebo's Amuck comp in late '82 – would be the only documented evidence that this improbable, serendipitous and magnificent band ever existed.

While those expecting P42's music to sound like a tantalizing combination of Sun City Girls' iconoclastic hoodoo havoc and the Velvets' primal drug-chug certainly won't be disappointed, Paris 1942 more often than not transcends even these nearly impossible expectations. Srogoncik's songs, in particular, are a revelation, displaying as much in common with the exuberant raunch of The Gun Club and the chapbook punk of Peter Laughner as they do any of the more obvious touchstones.

The group's foresight to document and capture this meeting of musical minds – a meeting as unlikely as it was short-lived – provides a missing link between the Velvets and the Voidoids, between the Dead Boys and the Dead C, between ESP-Disk' and DNA. Far more than a historical curiosity, Paris 1942 provides a fresh perspective on an embryonic and sadly vanishing US underground. It is music that blinks at the past and anticipates a thousand possible futures.

– James Toth (excerpt from the liner notes)

Limited to 250 copies. Death comes to us all. Emmerhoff & The Melancholy Babies do not shy away from this irrefutable fact. The band, celebrating their 30th anniversary in 2026, may now rightly consider themselves distinguished "elder statesmen" of rock. With such perspectives also comes the recognition of the transience of life. There are now more funerals than weddings lingering on the horizon, and the ranks of both the idols of our youth and contemporaries on the music scene are beginning to thin. "The Dying of The Light", its title taken from Dylan Thomas' iconic poem, contemplates and embraces the twilight of life, but also, in the spirit of the poem, fighting spirit and stubborn resistance to the inevitable. Death will come, but until then we will create music and celebrate life. October 2025 will see the release of the band's seventh studio album, recorded at Duper and Solslottet Studios in Bergen, produced by Iver Sandoy and Jorgen Træen.. The music reflects the sombre thematic while also being vital and vigorous. The range is wide, from delicate contemplation to powerful outbursts, strictly composed in one moment and loosely improvised in the next.

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

REPRESS. Greenferno is the second studio album by the Polish stoner doom band Belzebong. Recorded in early 2015 and the first release to feature second drummer Hexy Dude. Belzebong are a stoner metal band from Kielce, Poland. Since the band's formation in 2008 they currently have three albums under their belt and have toured Europe on multiple occasions. Along with their weed-themed instrumental doom the band is best known for their "Dude" pseudonyms, keeping their faces obscured whether by hair or fog and tongue-in-cheek nature to their music as implicated in many interviews. All of their music to date, barring samples, is instrumental.

Neon green vinyl, limited to 300 copies. REPRESS. Greenferno is the second studio album by the Polish stoner doom band Belzebong. Recorded in early 2015 and the first release to feature second drummer Hexy Dude. Belzebong are a stoner metal band from Kielce, Poland. Since the band's formation in 2008 they currently have three albums under their belt and have toured Europe on multiple occasions. Along with their weed-themed instrumental doom the band is best known for their "Dude" pseudonyms, keeping their faces obscured whether by hair or fog and tongue-in-cheek nature to their music as implicated in many interviews. All of their music to date, barring samples, is instrumental.

Manchester-based Aiden Francis is at the forefront of the current prog house sound. His new EP cements that position with four more immersive club cuts doused in melody and subtle euphoria as well as hints of old school rave. 'Circuit Kween' is a punch one to start the harks back to classic Sasha & Digweed, 'Kompackt' hits its stride with an urgent low end and snappy finger clicks, 'Twizted' has a warped baseline and dark energy and 'Hex Klub' shuts down with more zoned out and trance infused feels with plenty of colour.

The official soundtrack to the first season of the acclaimed historical drama Vikings is now, for the first time, available on vinyl, offering fans and collectors a rich and immersive listening experience. Composed by Emmy Award-winning composer Trevor Morris (The Tudors, The Borgias, Dragon Age: Inquisition), the score captures the raw intensity, emotional depth, and mythic atmosphere that helped define the tone of the series. From sweeping orchestral moments to brooding ambient textures, the music reflects the harsh beauty of the Viking world and its complex characters. One of the standout tracks is the opening theme, “If I Had A Heart” by Swedish artist Fever Ray, whose haunting vocals and minimalist electronics set the tone for the series. The track became iconic, earning recognition for its unique contribution to the show’s identity. The series itself has received widespread acclaim and multiple awards, both for its storytelling and technical execution, with the music playing a vital role in its success. Vikings (Music From The TV Series) is available for the first time on vinyl as a limited edition of 750 numbered copies on blue coloured vinyl. This 2LP package includes a 4-page booklet with pictures and liner notes by Trevor Morris.

It’s time. Miami’s son, Nick León, is set to release his highly anticipated album “A Tropical Entropy” en su casa, TraTraTrax. After two #1 tracks of the year, “Xtasis” and “Bikini,” Nick expands his "Arquitectronica" sonic universe to an exploration of decay, disillusionment, and psychedelia.
Inspired by Joan Didion’s novel ‘Miami’ and his unique energy, as well as altered states of consciousness—both chemically induced and sleep-deprived—the album reflects León’s personal experience of witnessing life and love fall apart against the backdrop of a crumbling society. The album is a manifesto from start to finish featuring stellar collaborations with Ela Minus, Casey MQ, Erika de Casier, Xander Amahd, Jonny from Space, Esty & Mediopicky, and Lavurn.

You'll find hazy tracks for the body and the mind; tracks to dedicate and feel deeply; tracks for heartbreak and tracks with the promise of future love. You will find themes of memory, sleep deprivation, decaying wildlife, and the suburban still life of Florida. “A Tropical Entropy” captures the haunting feeling of watching life unfold like a broken video recording—frozen in the orange hue of a never-ending sunset, signalling the final days of an apocalypse. In the meantime, León and TraTra will continue to establish their influence on the global circuit and their mission to keep releasing edgy music that connects la mente con el qlo.