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"Traumazine" ist das zweite Studioalbum von Megan Thee Stallion. Die Leadsingle des Albums, "Sweetie Pie", mit Dua Lipa, erreichte Platz 15 der US Billboard Hot 100 und wurde in den USA und Kanada mit Platin ausgezeichnet. Das mit Gold zertifizierte Album debütierte auf Platz 4 der Billboard 200 Charts und erreichte damit ihre fünfte Top-10-Platzierung. Außerdem erreichte es Platz 3 in den US R&B/Hip-Hop-Charts und Platz 19 in Kanada. Vier weitere Singles wurden aus dem Album ausgekoppelt, darunter "Plan B" (#29 US Hot 100, #7 US Rap / Hip-Hop - Goldstatus), "Pressurelicious" (#55 US Hot 100, #14 US R&B/Hip-Hop), "Her" (#62 US Hot 100, #19 US R&B/Hip-Hop - Goldstatus) und "Ungrateful" (#82 US Hot 100, #29 R&B/Hip-Hop).

Dies ist das erste Mal, dass "Traumazine" auf Vinyl erhältlich sein wird.

Im hiesigen Indie-Punk-Kontext gab es in den letzten Jahren kaum einen Weg, der nicht an KOCHKRAFT DURCH KMA aus Duisburg-Marxloh vorbeigeführt hätte. Ob bei zahlreichen eigenen Shows oder noch mehr Festivalauftritten, oder auf Touren zusammen mit so unterschiedlichen Bands wie Team Scheisse, Kettcar, Das Lumpenpack, FJORT oder Adam Angst - Die Kochkraft war immer da und ist eine von den Bands die am Ende jede Person im Raum mitnimmt. Mit der ersten Single "Ehrlich" kündigt die Band ihr neues Studioalbum "Hardcore ever dies das" an, das über Hamburger Label Grand Hotel van Cleef erscheint.

Im hiesigen Indie-Punk-Kontext gab es in den letzten Jahren kaum einen Weg, der nicht an KOCHKRAFT DURCH KMA aus Duisburg-Marxloh vorbeigeführt hätte. Ob bei zahlreichen eigenen Shows oder noch mehr Festivalauftritten, oder auf Touren zusammen mit so unterschiedlichen Bands wie Team Scheisse, Kettcar, Das Lumpenpack, FJORT oder Adam Angst - Die Kochkraft war immer da und ist eine von den Bands die am Ende jede Person im Raum mitnimmt. Mit der ersten Single "Ehrlich" kündigt die Band ihr neues Studioalbum "Hardcore ever dies das" an, das über Hamburger Label Grand Hotel van Cleef erscheint.

Kills Birds gehen mit einer Intensität an ihre Songs heran, die so greifbar ist wie keine andere junge amerikanische Rockband. Angeführt von Nina Ljeti, einer bosnisch-kanadischen Filmemacherin, die die Los Angeles Times als "L.A.s elektrisierendste neue Rocksängerin" bezeichnete, gehören zur Band noch Jacob Loeb (git), Fielder Thomas (bass) und Griffin Kisner (drums). Kills Birds' Gigs sind emotional und kathartisch. Fing das Debütalbum "Kills Birds" (2019) noch das Versprechen ihres Grunge-inspirierten Sounds und Ljetis unerschrockener Texte ein, trieb der Nachfolger "Married" (2021) ihre musikalische Chemie auf neue Höhen. Ihre unerbittlichen Songs führen zu elektrisierenden Liveshows, die ihnen jede Menge Lob einbringen. Kim Gordon nennt sie "hot as fuck".

The idea of an acoustic album had long been dismissed by the artist himself. "I"m not a guitarist; I use the guitar to compose", he used to say, reluctant to expose this level of vulnerability. However, in 2023, during the Kyotophonie Festival in Japan, organized by photographer Lucille Reyboz and encouraged by producer Laurent Bizot (No Format!), something changed. Surrounded by the spirituality of a Zen temple and supported by his loyal musicians - Badié Tounkara on ngoni and Mamadou Koné on percussion - Salif agreed to bare himself like never before. The title So Kono, meaning "in the room" in Mandinka, reflects both the simplicity and depth of this album. Recorded in the intimacy of his hotel room, So Kono captures the very essence of Salif Keita: a powerful voice, shaped by trials and travels, elevated by minimalist arrangements. Blending reimagined classics and new compositions, this album resonates as a sincere and timeless work, reaffirming why Salif Keita is considered one of the greatest living singers, across all cultures and continents.

Limitierte Neuauflage auf goldfarbenem Vinyl samt Bonus-7" zur Feier des 10. Jubiläums dieses grossartigen Albums von Deutschlands bestem Funk-Ensemble. Elf filmreife Deep-Funk-Instrumentals, gefeierte B-Boy-Breaks und Dancefloor-Killer-Vocals von The Mighty Mocambos und ihren Featuregästen. Mit von der Partie sind Filmkomponist Peter Thomas, HipHop-Pate Afrika Bambaataa, die Rap-Legenden Charlie Funk aka Afrika Islam (Rocksteady Crew) und Donald D (von Ice-Ts Rhyme Syndicate), desweiteren Nichola Richards, Shawn Lee, DeRobert (vom Nashville-Label GED Soul), die Zulu Nation MCs Deejay Snoop und DJ Hektek sowie Orgel-Genie Guillaume Metenier.

Doomed Utility is the debut album by Alex Wang, a bass-heavy, noisy, and abstract work that blends industrial and club music into an unsettling soundscape.

Sound existed before there were human ears to hear it—ancient and eternal, as silence itself. In the first few hundred thousand years after our cosmos was born, a deep hum traveled through a plasma of hot particles, eventually finding its way into our machines. Now, computers weave a web of sound around us, abstracting from meaning, pleasure, or melody, crafting disharmonies that dig into us raw.

In Doomed Utility, that primordial hum resurfaces—fractured, raw, and discordant—pulling us into rhythms of exhaustion, exhilaration, and annihilation.

This is a sound that doesn’t merely enter us; it claims us. It lingers, waits—hungry. It tears through cognition and rips through bodies. We may have no obvious use for it, but it has a use for us.

Computer sound perpetuates itself through our ears, our thoughts, and our human culture. It recalls all things, binds all things, moves all things. We are its resources, its vessels for messages not yet decoded, and for purposes yet unknown.

Denzel Curry's forthcoming King Of The Mischievous South Volume 2 finds him presenting a sequel to the project, and bringing back the sound, that helped launch his career. While the first installment of King Of The Mischievous South was performed from the perspective of his Raven Miyagi persona, a name bestowed upon him by Raider Klan founder SpaceGhostPurrp, Volume 2 finds Curry operating under his Big Ultra persona -- an elevated version of Raven Miyagi that is bragadocious and revels in the success that Curry has seen over the last decade of his career. Creating King Of The Mischievous South Volume 2 has been a goal of Curry's for some time, though his earliest attempts to do so ultimately morphed into other projects, namely his 2016 album Imperial and 2020's 13LOOD 1N + 13LOOD OUT. It wasn't until he stopped overly attempting to create Volume 2 that its songs started to emerge naturally. 

Given the project's sound, which pays homage to the great musical heritages of the South -- from Memphis to Houston and Curry's own South Florida -- its features include the region's greats, both old and new, as well as others whose style is indebted to the South's musical legacy. Features include fellow former Raider Klan member Key Nyata, Memphis stalwarts Juicy J and Project Pat, Texas' Maxo Kream, That Mexican OT and Mike Dimes, North Carolina’s TiaCorine, Atlanta's 2 Chainz and Kenny Mason and South Florida's Ski Mask The Slump God and PlayThatBoiZay, as well as ASAP Ferg and ASAP Rocky, among others. The project more broadly and the intentional inclusion of Rocky and Ferg is Curry's attempt to show what could have been had relationships not soured with SpaceGhostPurrp, fulfilling the promise that existed at the rise of their respective careers in the early 2010s.  

With all of the otherworldly adventures Denzel has taken listeners on over the course of his last few conceptually-driven albums, this project serves as a showcase for the fun, spontaneity and technical mastery that has made him one of rap's most in-demand talents over the course of the last decade. 

Catching Flies' (aka Produzent/DJ George King) Musik ist ein bassig-melodisches Amalgam aus brütender Elektronik und komplexen Rhythmen mit Anklängen aus Hip-Hop, House, Soul und Jazz. Er veröffentlicht auf Ninja Tune, Anjunadeep, Cercle und seinem Label Indigo Soul, kollaboriert mit Sofia Kourtesis, Hot Chip, Pretty Girl und DJ Seinfeld und zählt Diplo, Bonobo, Keinemusik, Maribou State, Jungle und Nils Frahm zu seinen Fans. Nach "Silver Linings" (2019) und "Tides" (2024) folgt nun sein neuester Longplayer, den er wie folgt ankündigt: "Ich habe nach einer Tour an der US-Westküste ein Airbnb in Ojai gemietet und ein Beat Tape gemacht. Es ist eine Ode an die Downtempo-Beats-Szene der 1990er/2000er, mit der ich aufgewachsen bin."

Peter Matson is a Brooklyn, NY based musician, producer, DJ, and founder and leader of the seminal NYC post-punk dance outfit Underground System.

Hotel PMis the debut LP from Matson and third release with Bastard Jazz having released two EPs Short Trips in 2019 and The Right Way in 2022.

Album features a who's who of artists collaborating with Matson including Toribio, Kendra Morris, Pahua, The Phenomenal Hand Clap Band, and core members of The Rapture, Ibibio Sound Machine, Poolside, and Sly5thAve.

Including Bastard Jazz, Matson has released music with Soul Clap, planet e, Razor N Tape, Heist Recordings, Heavenly Sweetness, and Hell Yeah.

Recording, production and mixing by Ross Orton (M.I.A., Arctic Monkeys) and Ewan Pearson (Depeche Mode, Confidence Man) between London, Sheffield, UK, Mexico City and Oaxaca, Mexico and Peter's home of New York City.

Press, Radio, and Sync support include Apple Music's WWDC22 Keynote Speech, Rolling Stone, DJ Mag, NTS, Worldwide FM, BBC Radio 6, KCRW, Ibiza Global Radio and more.

- Voice of the Beehive's sophomore album. 1991's Honey Lingers, saw the UK/US pop-rock band build further on their signature mix of jangly guitars, upbeat rhythms, and melodic pop hooks, edging closer to a glossier, more mainstream sound
- Working with producers such as Don Was (The B-52s, Bob Dylan), Hugh Jones (Echo & The Bunnymen, The Charlatans) and Alan Tarney (A-ha, Saint Etienne), its 3 singles - 'Monsters And Angels', 'I Think I Love You', and 'Perfect Place'- all broke the UK Top 40.
- 'Monsters And Angels' was also a significant top ten Modern Rock track at US radio as well as breaking the US Top 100.
- The album saw the band build on the indie-rock of their debut to bring in more mainstream pop influences.
- The album sold over 60,000 copies in the UK, enjoying silver sales.
- These new versions see the album remastered :
1. re-issued on vinyl for the very first time, pressed on limited edition hot-pink vinyl..
2. The expanded - 37 tracks- and remastered double CD delves into the archives to uncover B-sides, acoustic versions and alternate takes, as well as live tracks from an iconic 1991 performance at The Kentish Town & Country Club recorded for BBC Radio One.

It’s always fun to let our audience peer through the party peephole with some hot behind-the-scenes info. For months, Black Light Smoke’s Control EP has supplied several of label head Tiga’s secret DJ weapons. In fact, he’s been sneaking out constantly after 9pm to play it out anywhere they’ll have him. And it’s little wonder to those who wonder why, as the Chicago-born producer’s top-flight mix of EBM, electro and Benadryl-soaked vocals has all the right people dancing.

Leadoff track "New York Is Dead” eulogizes the famous Big Apple Dance Party Scene in a way that will confuse the many who have embraced the city’s thriving “Groove With the Avengers” day rave series in Times Square. But the nihilism-liking doesn’t stop there, with the Friday-Til-I-Die attitude of “Black Hole at the Disco,” the pleather-dreaded post-cyberpunk of “Last Song Before Sunrise”, and the oxygen-deprived acid of “Break Your Back” culminating in the 11:45am-peak-time industrial trance of closer “Mind Control.”

Because we want this to be available to as many inhabitants of the blasted apocalyptic landscape we have pencilled in for 2034 or so, we have decided to make this release available both digitally and on vinyl. So whether you’ve managed to jack in illegally to a Spotify Wind Farm or you’re relegated to the hand-cranked misery of a Victrola while living in a barn or something, we’ve got you covered!

Artwork and Typography by Stefan Marx

Four new and ultra deep italo-deephouse cuts from Jacy aka Giacy Bozzi from Bari in Southern Italy.

Jacy is running his own label Home Of House Records and is well-known in his comfort-zone, the very Underground. May it be for his contributions to the amazing „Welcome To Paradise“ Compilation Series on Safe Trip, being featured on Volume I, II and III or his records on Kalahari Oyster or Hot Haus Records.

All of these come with Jacy signature sound– timeless and deep tunes to stay, intense balearic feels that guide you through the night and revive the golden-era of House music.

Smallville 68 as always comes with a Full Cover Artwork by Stefan Marx.

Genau genommen stammt die Idee zu Who Believes In Angels? von drei befreundeten Musiker:innen:
Neben Elton John und der 11-fachen GRAMMY-Gewinnerin Brandi Carlile aus dem US-Staat Washington
war auch der vielfach preisgekrönte US-Produzent und Songwriter Andrew Watt (zweifacher GRAMMYGewinner) von Anfang an am kreativen Prozess beteiligt. Ihre Vision war eine echte Zusammenarbeit: Sie
wollten einen Longplayer aufnehmen, der ein echtes Gemeinschaftsprojekt ist, der durch und durch auf den
Faktor Kollaboration setzt. Konkret schwebte ihnen ein Mix aus Stücken vor, bei denen mal Elton, mal
Brandi am Mikrofon den Ton angeben sollte, wobei die Songtexte sowohl von Brandi als auch von Eltons
angestammtem Kreativpartner Bernie Taupin stammen sollten. Als Produzent und Co-Songwriter kam
obendrein Andrew Watt ins Spiel, dem als kreatives Bindeglied und Vermittler eine zentrale Rolle zukam.
Schon im Oktober 2023 kamen sie alle in den Sunset Sound Studios in Los Angeles zusammen, und nach 20
Tagen war schließlich alles im Kasten. Unterstützung bekamen sie dabei von weiteren Weltklasse-Musikern
– u.a. von Chad Smith (Red Hot Chili Peppers), Pino Palladino (Nine Inch Nails, Gary Numan, David
Gilmour) und Josh Klinghoffer (Pearl Jam, Beck).
Erhältlich als CD I LP I CD Box (CD & DVD & Aufklappbare Box)

Genau genommen stammt die Idee zu Who Believes In Angels? von drei befreundeten Musiker:innen:
Neben Elton John und der 11-fachen GRAMMY-Gewinnerin Brandi Carlile aus dem US-Staat Washington
war auch der vielfach preisgekrönte US-Produzent und Songwriter Andrew Watt (zweifacher GRAMMYGewinner) von Anfang an am kreativen Prozess beteiligt. Ihre Vision war eine echte Zusammenarbeit: Sie
wollten einen Longplayer aufnehmen, der ein echtes Gemeinschaftsprojekt ist, der durch und durch auf den
Faktor Kollaboration setzt. Konkret schwebte ihnen ein Mix aus Stücken vor, bei denen mal Elton, mal
Brandi am Mikrofon den Ton angeben sollte, wobei die Songtexte sowohl von Brandi als auch von Eltons
angestammtem Kreativpartner Bernie Taupin stammen sollten. Als Produzent und Co-Songwriter kam
obendrein Andrew Watt ins Spiel, dem als kreatives Bindeglied und Vermittler eine zentrale Rolle zukam.
Schon im Oktober 2023 kamen sie alle in den Sunset Sound Studios in Los Angeles zusammen, und nach 20
Tagen war schließlich alles im Kasten. Unterstützung bekamen sie dabei von weiteren Weltklasse-Musikern
– u.a. von Chad Smith (Red Hot Chili Peppers), Pino Palladino (Nine Inch Nails, Gary Numan, David
Gilmour) und Josh Klinghoffer (Pearl Jam, Beck).
Erhältlich als CD I LP I CD Box (CD & DVD & Aufklappbare Box)

DJ Support: Dave Lee, Danny Krivit, Dj Harvey, Brian Tappert, Michael Gray, Opolopo, Jimpster, Moplen, Birdee, Hot Mood, Richard Earnshaw.

Amazing Jazz-Funk mini Album from Italian Musician Paolo Fedreghini aka FAM Disco. 'Jazz On The Moon' is a 6 tracks ep full of emotional sounds. Live Horns,bass,guitars and synthesizers take us to a magic Journey. A project well done with a touch of class. All tracks encapsulate the essence of Jazz Funk Disco and should appeal to a wide range of music fans old and young.

Selena Gomez and Benny Blanco team up to release their first project as a couple, "I Said I Love You First" set to be released on March 21st via SMG Music LLC & Friends Keep Secrets under exclusive license to Interscope Records. The album celebrates the pair's love story, giving fans a unique window into their relationship. This album came together organically as a direct result of the comfort that they both felt when working together creatively, allowing them to produce art that authentically reflects their experiences. It chronicles their entire story - before they met, falling in love, and looking to what the future holds.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."

Toulouse appears to be a proper soundsystem town, a real Dub and Bass music hot spot. We were happy to get in touch with with Stefan Dubs from the former Folklore crew, running a handmade soundsystem with up to 6 full super scoops. He released several records under Folklore and later Maquis Son SistÈm, started a liveact which meanwhile runs under SÚn Du MaquÌs, organises soundsystem gatherings and raves around town with the ComitÈ Des FÍtes collective.

Luckily we were able to invite Jan Loup and him to Leipzig in 2023 to shake Bassmaessage with their soundsystem, including the amazing multi-track tape into vintage FX & mixing desk performance. If you ever have the chance to catch them live, you'll hear a special vividly rooted analogue sound, incorporating modern influences, covering various BPM from 120 to 170, but definitely bass heavy all along!

Irie skanks keep you floating along "Mogale Stepper", which shows SÚn's warm but forward bass abilities and the knowledge to keep it steppy without any militant aggressive kicks. "Puur Dub" has a the same instant reminiscence of digital reggae skanking, but adding a brilliant layer of Think break incarnations on top - killing advanced sub connoisseur meetings with ease. On the first check this plate may appear a bit different from the label's cutalogue, but if you settle in these lush textures and twisted dubs you'll see: this is a definitive 45seven sound!

Foreigner's Double Vision album achieved success through a combination of well-crafted songs, strong songwriting, talented musicians, extensive radio airplay, and favorable timing within the music industry.

Double Vision, released in 1978, followed up the group's blockbuster debut with an album of FM mega-hits. Songs such as "Hot Blooded," "Double Vision," and "Blue Morning, Blue Day" became radio staples and resonated with a wide audience. Lou Gramm's powerful vocals and Mick Jones' guitar playing were key components of the band's sound, and their musical prowess was evident throughout the album.

The album peaked at No. 3 on the Billboard 200 chart and earned platinum-selling certification just a week after its release, and now has marked 7x platinum for sales in excess of 7 million units. "Hot Blooded," reached No. 3 on the Billboard Hot 100 chart. In September, it was followed by "Double Vision," which charted at No. 2. This was the highest position Foreigner had attained to that time. The third and final single, "Blue Morning, Blue Day," was released in December and climbed to No. 15 on the chart.

Foreigner was known for their energetic live performances, and they toured extensively to promote Double Vision. Their live shows helped to further connect with fans and promote the album.

Analogue Productions is proud to offer the definitive reissue deluxe 45 RPM 2LP of Double Vision. For Foreigner fans, this is a can't-miss addition to your album collection.

It was quite unexpected to see the very prolific and talended Pieter Kock featuring on Macadam Mambo - which is usualy used to new-comers - as he has released a lot in the past 2 years on very nice labels like RIO, Meakusma or Moonwalk X. But, the demos that he sent were so good that there was no question about doing something. And with a lot of possibilities, to prepare a double album that is now composed of 15 quality tracks for 1h20 of music... What vibes are in here! It’s heavy, loudy, loopy, mental, smokey, and always surprising. Pieter has is very own universe, and is without doubt one of the most interesting electronic musician at the moment.

Should we ask you to give chance to this opus, and tell you you won’t regret it ? We don’t think we need to do so... J

MMOTTORR is a new collaborative project between Tr One and New Jackson and the 1st EP marks an exciting fusion of both artists' sounds combined with a fresh take on machine music, blending influences from Chicago and ghetto house, deeper acid textures, techno and use of classic samplers and voice modulation to create 4 dancefloor orientated tracks.

EP 1 features four tracks from the Irish artists that push the boundaries of hardware based production, offering a captivating exploration of sound and influences from both artists.

The lead track U LIKE IT RAW (RED HOT) offers a ghetto house influenced track with a booming low end and persistent bassline containing a dual pitched vocal to devastate dancefloors.

Following that is RED EYE DRIVE a high tempo 4/4 drum machine and tom driven track with hints of hi tech soul and classic acid.

On the B side we have WANNADO - A booming 808 and snare combination contains a powerful yet melodic acid line which ups the heat and energy with a crescendo of sampled sound and fizzing low end.

Finally on a deeper level HEADZ VOL.3 takes it back to a classic "plus 8" and Detroit influenced track with a recurrent wave of sound and synthesis building and weaving towards the end of the record.


The EP will be available on limited vinyl and digital starting exclusively with bandcamp. Thanks for supporting underground music. "

“Trash Island” is the second collaborative mixtape from Drain Gang. It features the biggest hit in the Drain Gang catalogue “Western Union”, which has accumulated millions of streams on DSPs. Featuring Yung Lean alongside key DG members Bladee, Ecco2k and Thaiboy Digital, this title is hotly anticipated by the fanbase. This will be the first time the mixtape is available on vinyl.

Bladee is a founding member of the music group and cultural phenomenon Drain Gang. Following Bladee’s first-ever run of physical titles at retail last year, which was a huge success (over 8000 units sold, #24 in the 40 Vinyl Albums Chart), his fifth album “The Fool” is now going to be pressed for the first time ever on vinyl. Featuring fan favourite tracks like “Hotel Breakfast” and “Trendy”, demand for this release is very high.

American Standard is the second studio album by American post-grunge band Seven Mary Three. It was released in 1995. The album would be Seven Mary Three's breakthrough success, rising to number 24 on the Billboard 200 and was certified platinum in the United States and Canada. Many of the songs were rerecorded versions of tracks off Seven Mary Three's independent debut, Churn. The album's biggest hit single was "Cumbersome" (#1 on Billboard's Hot Mainstream Rock Tracks, #7 on Hot Modern Rock Tracks, and #39 on the Billboard Hot 100).Other Billboard-charting singles were "Water's Edge" (#7 on Hot Mainstream Rock Tracks and #37 on Hot Modern Rock Tracks), and "My My" (#19 on Hot Mainstream Rock Tracks).

Rock and Rock roots, deep down under You'd better believe it! The roots of Australian rockers AC/DC lie in the whirlwind of original fifties rock and roll.
In the early days the group would cut their teeth on the club circuit with a live set that would include a handful of band originals,a few Rolling Stones numbers plus many crowd pleasing Rock and Roll classics.
The Sydney club and bar scene was rough so you had to get the punters on your side.
With their original singer Dave Evans at the helm the group who play residencies at the likes of the New Hampton Court Hotel in Sydney entertaining with their own brand of loud guitar takes of 'Carol' and 'Bye Bye Johnny'by Chuck Berry,'Tutti Frutti'by Little Richard,as well as rocking standards like 'Shake,rattle and roll' and 'Blue Suede Shoes'.
Cranking out cover versions didn't die even when the group composed more original material,a version of 'School Days' by Chuck Berry would appear on their second album' TNT',whilst 'Baby Please Don't Go' would be pulled from their original 1975 debut album'High Voltage' and issued as a single in America.
These roots are the reason that AC/DC have become one of the best loved bands on the planet who never fail to deliver the goods everytime.......

SC returns with a full length LP showcasing his vast armoury of musical ability in a controlled, contemplative reflection of his inner self, laid bare in breaks-driven form for the enjoyment of Spatial fans new and old - continuing the ongoing celebration and evolution of classic atmospheric drum & bass.

A1 - Fear of the Deep

Curious, high twinkling bells cautiously introduce Fear of the Deep, reminiscent of classic sci-fi movies building atmosphere and intrigue, before the hi-hat heavy, snappy break previously used in Spatial classic Essence (also by ASC) makes a welcome return. The 2-step - occasionally broken - beat pattern drives the track along with a darkly, investigative energy, while a typically deep bassline rumbles beneath, setting the scene perfectly.

A2 - Concentric Circles

A change of pace for ASC here with Concentric Circles, exploring a jazzier spectrum of influences not often broached in his production adventures, with broken scattershot beats toying and playing around a wealth of reverberating brass samples to create a minimal yet quietly imposing undertone. Double bass props up the composition wonderfully, completing an exquisitely quirky entry to the LP.

B1 - Say It

Opening with rousing strings and quietly ominous effects, ASC utilises a unique fusion of melancholic atmospherics, jazzy basslines and a classic old-school breakbeat to form Say It. Dense, purposeful kicks stomp across the mix as the strings and synthwork wash in the foreground, developing a sombre, contemplative tone to the track throughout, before a wonderful outro ending with those delightful strings.

B2 - Virtual World

Filtered Hot Pants breaks gently ease their way to the forefront of a beautifully constructed intro to Virtual World, trademark crispness and intricacy etched onto the beats effortlessly, as we've come to expect from ASC. Delicately nuanced vocal samples combine with an intense concoction of synths and micro-melodies, dancing over the sharp breaks and a suitably earthy undertone bassline.

C1 - Eons

The classic, intense atmospherics continue with Eons, a spacey piece introduced by a memorable melody, tinged with purpose and allure. This melody continues through sci-fi computer FX reminiscent of early 720, and persistent backdrop synths as we are treated to a gentle flurry of perfectly edited amens leaping and falling over subtle, juddering basslines creating that elusive blend of both headphone and dancefloor appeal.

C2 - Timeslides

ASC flexes the timeless Hot Pants break again - crisply edited with a sharpness in the mix which is simply to die for - in Timeslides, a track which continues the brooding, introspective tone of the LP. Utilising a varied array of samples and effects which will transport you straight back to that unmistakable era of 90's atmospheric heaven with several nods to forefathers of this wonderful sound - just how we like it at Spatial.

D1 - Lightspeed

Take a moment to appreciate the bells tolling, glimmering and colliding during an enchanting intro, freely crafting layered melodies without a care as ASC presents us with an immensely memorable piece in Lightspeed. Long, elongated vocals drift and swirl through the airy soundscape, all punctuated by finely tuned and arranged Circles breaks, energetically deployed for the discerning breakbeat aficionado.

D2 - Nightvision

Intensity is dialled up to 11 in Nightvision, a deeply atmospheric track which showcases a perfect, symbiotic combination of melancholy, drama and raw energy. The lively breaks take center stage over a heavy, consistent 808 bassline with enveloping masses of atmospherics circling, gripping your attention, joined by dreamy vocal samples deployed subtly in an ever-changing tone to close the LP in style.

Words by Chris Hayes (Spatial / Red Mist)

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse).

Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the monicker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them a influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London.

Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmush and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing: “It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.”

They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”.

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego.

Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release - to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only).

Das Universum hat alles in ihrer Macht stehende getan, um dieses Album zu verhindern: die harte Hand des Kapitalismus geschwungen, Nachwuchs hervorgerufen, gar Siechtum ins Leben gesandt. Genützt hat es alles nichts, denn das Prinzip Freundschaft und zweieinhalb Hände voller Lieder waren stärker. Kurzum: Herrenmagazin veröffentlichen nach neun Jahren Pause ein neues Album. Wieso tun sie das? Um einen Punkt zu setzen? Eine Klammer zu schließen? Einen Strich unter irgendetwas zu machen? Vielmehr geht es um die Freude an der Musik und an der gemeinsam verbrachten Zeit. So einfach kann es sein und ist es diesmal auch.

Toy Tonics Music Berlin presents "Para Mytho Disco". The 2nd "Kapote" album of label founder and creative director Mathias Modica.
Keyboarder, DJ, producer, music nerd, graphic designer, multi-instrumentalist, sub-culture impressario and artist (formerly known as Munk of Gomma records.)

Kapote & Toy Tonics
In the last years Kapote was in the spotlight mainly for building the Toy Tonics label with his friends. Developing a platform for new positive quality dance music with a human touch. Toy Tonics is the opposite of the dark, druggy Techno and Trance sounds of the last years.
The warm inclusive music of Toy Tonics represents a new vibe that a young generation of diverse, stylish and culturally intersted generation of dancers loves now. Kapote's Toy Tonics became the key label for that vibe. (In 2024 Toy Tonics made 150 Toy Tonics events in 18 countries. With more than 150.000 people dancing. 90 millions streams on their music.)
Toy Tonics is more than a music label: It's a audio - visual universe. A community, almost a movement.
Based on a new positive attitude and aesthetic diversity. Mixing musicianship with DJ culture, analogue music with electronic, ideas from the past with sounds from now. To create something new. Connecting dance music with graphic design, art and underground fashion.
Kapote and his gang release vinyl, posters, shirts, art fanzines and make exhibitions and partys.

Toy Tonics started in Berlin as a underground niche project. But now became the key label of the new house, wild style disco and organic dance music scene.
Probably one of Berlin's biggest electronic music phenomena along with Keinemusik and Live from Earth.

It went fast: 2020 Kapote's crew started to make small parties in Berlin's off spaces. The "Toy Tonics Jams". The parties became "talk of the town", and Berlin clubs like Griesmühle and Panorama Bar invited the crew. Then international clubs and festival called. Toy Tonics were invited to SONAR (playing the mainstage with Kaytranada and DJ Tennis), KALA festival, Montreux Jazz festival.
Now TT has a residency at Panorama Bar Berlin and sold out events in Europe leading clubs like Phonox in London, Rex Club in Paris, Tunnel in Milan.
Toy Tonics now is the reference brand of a new generation of music loving dancers. Similar to Gomma records, Kapote's former label (2003 - 2015) that was one of the key labels of the "indie dance" scene of the Y2K years (along with DFA and Output Records).

Kapote created a multi-cultural movement with graphic designers, photographers, illustrators from the Berlin scene.
They publish the Toy Tonics Pocket Poster magazine, posters and design shirts. They organize the Toy Tonics Pop Up Galleries mixing music and art. In underground venues in Berlin and in new gallery spaces and museums around Europe.
Toy Tonics has been invited by Palais de Tokio museum in Paris, Triennale Museum Berlin, Design week Milano to create events.
The new Kapote album
The 12 tracks have a very own style. Based on dance music, but going much further. "Para Mytho Disco' is a futuristic mix of sounds. It's far away from the dark monotone techno and trance music from Kapote's hometown Berlin. Instead, he creates warm friendly atmospheres full of sonic colours and little musical surprises.
Kapote's knowlege of music history and his backround as a jazz piano student and son of classic music composer is clearly inside this music. Before turning into a DJ and electronic music producer he has been playing in bands since he was 13 years old.
The album is full of emotional chord progressions played by Kapote on various keyboards. Sometimes reminding music from the past, without being retro at all. The basslines and melodies are inspired by jazz fusion from the 1970ies. And he programmed syncopated grooves that come from afro-american dance music. There are influences from Japanese electronic music (Yellow Magic Orchestra), from 1980s Synthwave and from 1990s electronica (like Squarepusher and Luke Vibert).

Kapote plays keys, bass, flutes and percussions, he plays synth solos and sings on a few tracks. The complexity of the arrangements makes this music never boring. Lot of melodies and solos that catch the listener. Colourful soundscapes that make you want to listen or dance to this album more, and discover details also after you heard it several times.

Kapote background

Before starting Toy Tonics, Kapote used to run a label called Gomma. He produced four albums under the name Munk and music for other artists.
He produced music with Peaches, Franz Ferdinand founder Nick McCarthy, with New York street art legend The Rammellzee, Italian actress Asia Argento, the first three albums of WhoMadeWho and worked with LCD Soundsystem (listen to "Kick out the chairs", the Munk song with James Murphy )
In those "Gomma days" Kapote aka Munk was also one of the main DJs for VICE magazine parties and made music for art projects and fashion brands (Margiela, Prada, Colette).
In 2015 he stopped Munk and Gomma and started Toy Tonics. He found young producers and helped to develop their sound (Coeo, Cody Currie, Gee Lane, Barbara Boeing, Sam Ruffillo). Later he founded the sublabel Kryptox to release music by Berlin based bands that make new forms of jazz or neo classical sounds.

Under the name Kapote Mathias didnt release much:
Only his Kapote debut album "What it is" (2019) and an EP called "Electric Slide" (2022) and a collabo EP with Italian producer Sam Ruffillo ("Robot Salsa").

An although his Munk and Kapote music was an underground phenomena his music has always been a favourite of many great people from the scene.
Supported by DJs like Harvey, Chromeo, Moodymann, Jennifer Cardini, Gerd Janson, MYD, Andrew Weatherall to Blessed Madonna, Justice and Laurent Garnier… to name just a few.

Cactus Lee ist texanische Musik in ihrem Kern, eine Mischung aus Austin-Nachtclub-Vibes und staubiger Dancefloor-Energie. Cactus Lee ist ein Projekt des Austiner Songwriters Kevin Dehan und spiegelt eine tiefe Liebe zu texanischen Country-Songwritern wider, die mit dem kühnen Geist von Outlaw- und Outsider-Einflüssen verwoben ist. Mit einem Sound, der gleichzeitig kindlich, verträumt und scharfsinnig ist und an Ikonen wie John Prine und Tom T. Hall erinnert, hat sich Cactus Lee seit seiner Gründung 2019 eine unverwechselbare Nische in der Musikwelt geschaffen. Über sechs Alben, darunter zwei Veröffentlichungen im Jahr 2023, ein Live-Album und mehrere EPs, waren Dehans Songwriting und seine auf vier Spuren selbst aufgenommenen Bemühungen die Grundlage für ein sich ständig weiterentwickelndes Projekt. Auf dem neuen, selbstbetitelten Album Cactus Lee beschäftigen sich die Songs mit Themen wie Liebe, Verlust, Familie und Selbstfindung und bieten flüchtige Momentaufnahmen von Charakteren und Momenten, die von einem einladenden texanischen Charme durchdrungen sind. Das Eröffnungsstück "Rabbit" stellt einen verliebten, aber schwer fassbaren Protagonisten vor, der durch Bukka Allens Akkordeon und Adam Amrams ansteckenden Rhythmus zum Leben erweckt wird. "Sister" ist ein zartes Versprechen auf bessere Zeiten und gemeinsame Momente, perfekt für offene Straßen und luftige Tage. Roll Maggie" mit seinem Zusammenspiel von Saxophon und Steel-Gitarre erforscht das Glücksspiel der Liebe als ein aufregendes Glücksspiel. "Got A Heart Like Rainwater Blues" zelebriert die unnachgiebigen Bande einer Familie auf der Flucht, durchdrungen von einer bluesigen Unverwüstlichkeit. "Lorelei" zeichnet das rätselhafte Porträt einer fesselnden Figur, untermalt von Doo-Wop-Harmonien. "The Fiddler" fängt die hypnotische Magie einer Tanzfläche ein, untermalt von einem eindringlichen Bratschensolo. "Twenty Dollars", das das Album abschließt, ist eine zutiefst persönliche Ode an Dehans Tochter Jolene. Das selbstbetitelte Album von Cactus Lee unterstreicht die Fähigkeit von Kevin Dehan, die Essenz des texanischen Twang in Songs zu destillieren, die weit über den Lone Star State hinaus Anklang finden, und zwar durch eindrucksvolle Texte und eine durchdachte Instrumentierung.

The Darkness"s new album "Dreams On Toast" marks a bold new chapter for the band. With their signature blend of flamboyant rock anthems and tongue-in-cheek lyrics, this album cements their place at the pinnacle of British rock. Expect soaring guitar riffs, infectious hooks, and a nostalgic yet fresh take on the genre that will resonate with longtime fans and new listeners alike.

The Darkness"s new album "Dreams On Toast" marks a bold new chapter for the band. With their signature blend of flamboyant rock anthems and tongue-in-cheek lyrics, this album cements their place at the pinnacle of British rock. Expect soaring guitar riffs, infectious hooks, and a nostalgic yet fresh take on the genre that will resonate with longtime fans and new listeners alike.

Released in 2018, the Original Blunted Breaks Vol.1 compilation was a landmark release in the future jungle revival,
collating the sounds of the rapidly emerging underground in long player format and extending the reach of the modern
Productions behind the clubs and hardcore vinyl enthusiasts to the likes of BBC Radio 6, with guest Dead Man’s Chest mix and album feature on Tom Ravenscroft’s show.

In the ensuing years, contemporary jungle music has continued to gain in popularity with a rapidly expanding global influence and reaching younger audiences who’ve adopted it as the sound of now.

In 2025, Western Lore continues to push the freshest rising talent alongside now established stalwarts, continuing its role as a modern tastemaker in both jungle music and the wider electronica scene. This 4 track LP sampler is a flavour taster for the next iteration of the Blunted Breaks compilations, with Vol.3 due late Spring 2025.

Mr. K with two slices of Philadelphia disco, from smooth and slinky on our A-side to all-out floor pounding disco madness on the B.

Janice McClain, rightly adored for her Garage classic “Smack Dab In The Middle” (feat. on MXMRK-2068) but her second single is a real under-the-radar treat. The comfortably laid back groove somewhere between a stepper and simmering midtempo disco, classy and danceable as the finest Philly soul. Originally on a small LA-based label in 1983 (and sounding like it could have come out a good five years earlier), written and produced by McClain’s uncle Milt Tennant and his writing partner Thom Page, the same team responsible for “Smack Dab” — all Philadelphia rooted, so the sound should come as no surprise. Add McClain’s heartfelt and uplifting vocal and we easily have a lost classic. Mr. K’s edit trims the rare 12-inch version down for maximum sonic fidelity for its first appearance in a 7-inch format.

The flip side vibe goes in a completely different direction, although once again has its roots in Philly. The disco remake of the standard “Brazil” was a massive hit for the Ritchie Family in 1975, topping Billboard’s dance charts and getting deep into the Top 20 on the Hot 100. The group itself was a studio concoction led by veteran producer Richie Rome, with legendary trio Sweethearts of Sigma handling vocals — you’ll recognize their trademark harmonies from other huge classics like “Ain’t No Stoppin’ Us Now” and “Love Is The Message", studious listeners will detect a lot of similarities in the vamp section of “Brazil” and “Love Is…” as the MFSB house band launches into their trademark groove. This vamp section is unfortunately truncated on the original 7-inch single, but the always-attentive ear of Mr. K picks this point to begin his edit, starting where the original single faded out and giving us a full four-plus minutes of galloping disco delight.

Two flavors, both as tasty as it gets, all on one compact piece of wax! Another essential addition to your collection.

13 was The Doors’ first compilation album, featuring tracks from the psychedelic rock legends’ first five albums.

The compilation starts with the epic Light My Fire, written by Doors guitarist Robby Krieger, and features other classics such as People Are Strange from Strange Days, Touch Me from The Soft Parade. It also contains the blues rock classic Roadhouse Blues from Morrison Hotel; which last year celebrated its 50th anniversary.

13 is now on vinyl for the first time in 37 years and includes newly remastered audio on 180gram black vinyl.

Finger Lickin Good by Dennis Coffey, released 27 September 2024.

Goldstar takes perennial New Yorkers, IMPERIAL TRIUMPHANT's exploration of the extreme and arcane and delivers the band’s most focused, authentic and accessible work to date. While the triumvirate has expanded the language of extreme music with albums including Alphaville (2021) and Spirit of Ecstasy (2023) via musical improvisation and a visual obliqueness that extends to their haunting masked performances, this is their defining moment. Also joining the Decibel magazine vaunted ensemble are Meshuggah drummer Thomas Haake and legendary drummer, Dave Lombardo, both of whose presence makes it clear that musically, IMPERIAL TRIUMPHANT are in a class by themselves. From album opener “Eye of Mars” to the stirring “Hotel Sphinx” and the death metal scraping “Rot Moderne”, this is the sound of IMPERIAL capitalizing on months of churning up the road in the company of Behemoth, Carcass and Zeal & Ardor. In their vision of urban disorder, IMPERIAL TRIUMPHANT's monolithic cityscapes are dark as any of their extreme or black metal brethren.

The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound - or more accurately, the Young Widows feel - is in full battering ram motion on their fifth studio album. The heaviness of Power Sucker isn't mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career. Historical accomplishments aside, Power Sucker has the shock and wonder of a new band's debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.

The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound - or more accurately, the Young Widows feel - is in full battering ram motion on their fifth studio album. The heaviness of Power Sucker isn't mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career. Historical accomplishments aside, Power Sucker has the shock and wonder of a new band's debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.