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Rare artist is Elektroplasma ! And rare as well is remixer, Izsolocape... Who opens the EP with a hardcore industrial remix... followed by an Elektroplasma breakcore full-out track.... and then a pure beauty of kind stands on the full side Tune on the flip : L'Aube des Chaos. Total beauty !!

Strickly limited to 180 copeis (planned 200 but only 180 pressed finally !

Grinding industrial Acid mental Tekno... 2 tunes loud cut, with a sweet story telling...

Are you ready for this ?

Mastered by Stefan ZMK
Cut by Simon The Exchange

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. 

2 long industrial techno tunes

Hardcore time whatever... Bryan Fury loves Break and Hardcore, Dancefloor and Skillz... Exploring views to distort ways... Surprise you with a dark or cheezy dimension.

He did and will never let you down with his pityless drops...

A rare album from one of the soundmaster killing around !
And many collabs with people who can say : "waou.... too !"

Enjoy and play LOUD !

DJ Support: Alix Perez, Kasra, DJ Flight, Fabio, Grooverider, Simula, Bou, G Jones, Of The Trees, SHY FX, Enei, Workforce, Visages

A new various artists series from Gemini Gemini, focusing on a wide range of styles from established names as well as emerging talents. Part one is a 12 track compilation that moves through the soulful sounds of you'd come to expect from the likes of Halogenix, Monty, Satl, Verbz & Zar, plus soulful contributions from typically dancefloor artists like En:vy and Azotix, as well as music from fresh talents Archangel and Fonts. Moving through to the more ominous club sounds of Halogenix, Quartz and Koherent, and finishing off with the VIP of 2023's dubstep anthem, PFTD by Halogenix and Strategy.

Music possesses an incredible ability to transform raw emotion into an expansive array of expression. Nackley knows this ideation well. Having spent years working behind the scenes as an agent, Bordello’s latest discovery now steps fully into the spotlight with Anger Management, channeling the turbulence of transition into sound.

Cathartic and charged compositions are at the heart of this four-track release. Acid-dipped keys are both delicate and direct in the driving highs of Return of the Gecko, a track pulsing with raw energy. The crueler side of the music industry isn’t so much parodied here as it is dismissed entirely—Nackley lets the music do the talking. Sublime Desolation is pure dancefloor dynamite, where synth sirens detonate and explosive rhythm commands movement.

Been A Long Time arrives dripping in attitude. Breaks and a juddering bassline face off with a hustling 303 hook, harmonies weaving through deep sonic textures. A renewed confidence courses through the release as Nackley explores a range of styles, closing with the synth romance of Heartbreaker—an addictive blend of keyboards, guitar strings, and enveloping vocals are the emotive ingredients of this tear-streaked work of 1980s-inspired joy.
And joy is exactly what Anger Management delivers—a healing triumph and a bold debut declaration from a rising talent.

MARTHIAL joins NECHTO with ‘NECH029’, a four-track vinyl release blending tradition and futurism. The record pays homage to a genre central to MARTHIAL’s imagination, drawing on its history to shape a forward-thinking sonic vision. The Milan-born and -based artist describes the EP as “a reflection on change: everything transforms, everything evolves, and we are tasked with finding harmony between what has been and what could be”.
Born Alessandro Vaccari, MARTHIAL is a DJ, producer, and founder of Milan’s independent cultural hub, the Tempio del Futuro Perduto. Through this unique space and his 24/H Records label, MARTHIAL has collaborated with influential artists like Stanislav Tolkachev and Fabrizio Rat. His music evokes ethereal atmospheres and hypnotic rhythms, bridging Detroit-inspired soundscapes with innovative, interstellar journeys.
The EP represents a personal journey for MARTHIAL, who describes the process of revisiting this sonic language as an opportunity to redefine himself and his perspective on the world. By channelling the past as a guide and embracing the future as a responsibility, he crafts a cohesive narrative that combines deep emotional resonance with forward-thinking energy.
‘NECH029’ is a cohesive exploration of these elements, delivering pulsating energy and emotional depth across its four tracks: ‘Don’t Wanna’, ‘Soul Groove’, ‘The Dancer Gift’, and ‘Infinito Imperfetto’.

Long coveted by diggers, connoisseurs and beat makers, here we have the first-ever reissue of Amedeo Tommasi's "Industria 2000", released in 1974 via RCA's "Original Cast" series under his Jarrell alias. These 12 sonic experiments - totally devoted to synthesizers - offer tense tonalities, dissonant ambiences, complex textures, white noise rides and muted rhythms that can easily be seen as cornerstones of what would become later known as Industrial Music, also anticipating the sonic landscapes found in some of the early Warp Records releases.
Comprising 12 tracks entirely devoted to synthesizers, Industria 2000 explores a range of stark, tense tonalities and dissonant atmospheres. The album’s complex textures, white noise swells, and muted rhythms can be seen as precursors to industrial music, anticipating the aggressive, abrasive soundscapes that would later come to define the genre. It is clear that Tommasi's work was not only ahead of its time, but was also laying the foundations for the sound realms explored in the early days by major electronic record labels of the 1990s and future electronic pioneers.

Mit ihren unberechenbaren Live-Auftritten und Songs wie "Zurück zum Beton" und "Industriemädchen" sorgten S.Y.P.H. Ende der 70er für Furore - als eine der Bands, die rund um Düsseldorfs Ratinger Hof begannen, deutschsprachig zu texten. Die Band brach von Beginn an mit genre-konformistischen Erwartungshaltungen und machte Musik, die sich bei Rock, Punk und Kraut genauso bediente wie bei der Zügellosigkeit des Dadaismus und der Realität des Tagesgeschehens. Nach dem ersten Album und mehreren Singles (wiederveröffentlicht bei Tapete Records im Dezember 2024) produzierte die Band zwei weitere Alben - Pst und S.Y.P.H. (Album 4) - gemeinsam mit CANs Holger Czukay. Von 1978 bis 1981 entstanden neben Tapete Records veröffentlicht beide Alben gemeinsam mit einer Sammlung zuvor unveröffentlichter Raritäten - Punkraut 1978-1981. Auf dieser Compilation wurden rare und zuvor unveröffentlichte Aufnahmen aus den ersten drei Jahren der Bandgeschichte zusammengestellt: Die Songs "Blech" und "Mondpogo", 1978 live performt bei S.Y.P.H.s erstem Konzert im Düsseldorfer Carsch-Haus und fünf Aufnahmen, die zwischen 1978 und 1979 in Solingen entstanden. Außerdem gibt es drei Studio-Aufnahmen aus den Hamburger Container-Studios im Dezember 1981 - Aufnahmen aus einer Zeit, in der "sich die Band sowohl endgültig vom Punk als Musikrichtung verabschiedet hatte, als auch vom Einfluss des zwischenzeitlichen Produzenten Holger Czukay und einen völlig eigenen Stil gefunden hatte." (Kurt Dahlke, DAF)

On April 4th, Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes will release her fifth full-length album ‘A Requiem’. It comes alongside news of her signing to London imprint, One Little Independent Records. ‘A Requiem’ collects ten haunting, ambient soundscapes - incantations of dreams and nightmares, of death and grief, as well as power and autonomy. Carnal, transcendent cello drones are used to exorcise historical and generational traumas in an evocative and macabre piece of gothic experimentalism.

Seeking solitude for what she knew would be an intense and cathartic writing experience, Trappes travelled to Scotland and isolated completely. Amidst meditative and psychedelic states, she channeled demons and accessed parts of herself she’d long desired to cleanse. During candle-lit recording sessions she found herself drawn to cello, an instrument she has no formal training in, she explains, “I always felt an affinity toward the cello, I embraced it, held it, and became one with it as a way to accompany my voice. The nerve-like strings of the cello became external chords of my vocal folds… I scratched on them, leaned into them, and conjured all of the textures I could muster”.

‘A Requiem’ is a musical service in honour of the dead, a sanctuary Trappes built for herself to explore familial chaos and history. “I was looking for an equilibrium between a ‘heaven' and a ‘hell’” she explains, “screaming out to the wisdom of our foremothers - surfacing and leading me into true strength and beauty. I listened to the sorrow closely. Death is a part of our reality. Inevitable. Omnipresent. But nightmares can be beautiful”.

She continues, “This album is my personal requiem for my parents, my ties to the land where I was born, along with all of my epigenetically connected ancestors before them. The songs helped me summon up the strength to move through my own awareness of mortality, death, and impending loss. This album is a living funeral. It’s a ceremonial collection of music. It’s an externalising of the power and strength to fight the generations of abuse and darkness that my parents self-admittedly played out in their parenting and to keep it away from my own social patterns and my psyche. It’s not an uncommon thing in the world and this lamented warcry goes out to everyone to help exorcise patriarchal, political, and religious systems of abuses of power”.

A sprawling patchwork of the artist’s dreams and fears, Parannoul’s third album After the Magic explores the enigmatic solo artist’s life in the wake of his second album’s overnight success.

Expanding on the shoegaze-shaded emo that made Parannoul’s To See the Next Part of the Dream so beloved by lo-fi and indie rock fans alike, After the Magic sees the anonymous auteur striving to write a follow-up as worthy of acclaim as the last.

Across the album’s ten songs, Parannoul plunges yet deeper into his diverse pool of influences, coming back to the surface with a record that captures and extends the magic of its predecessor. Unexpected flashes of orchestral ambient and glitched-out electronica meld seamlessly with Parannoul’s signature passages of noisy, distortion-laden shoegaze, offering a real time glimpse into the maturation of one of indie rock’s most exciting artists.

In the artist’s own words, “This album is not what you expected, but what I always wanted.”

Pat Kelly out of all the Jamaican singers was influenced most by the voice of American soul singer Sam Cooke.As were indeed many of the singers from that time,few however could carry out this daunting task as well as Pat Kelly.
His delivery was perfect and so was his ability to carry any song that came his way.
Pat Kelly (born 1949,Kingston,Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques,his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin.
Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 slot in Jamaica for the six weeks.
For this release we have focused on material that Mr.Kelly had recorded with legendary Jamaican prodcer Bunny'Striker'Lee.
A match made in heaven and one that produced some of their finest work.
Tracks such as 'One In a Million','One Man Stand','Man Of My Word','I Started a Joke'.. .
So sit back and you better get ready for an albums worth of great songs sung and delivered as only the great Pat Kelly could...
Respect Jah Floyd........

2025 Repress

You may know Aretha Franklin's scintillating "One Step Ahead" from its vital role in the Oscar-winning movie Moonlight. You may also know it as providing the beautifully melancholic backdrop for Mos Def's 1999 hit "Ms Fat Booty".

The inaugural Be With 7" is a special one indeed, containing the first ever officially licensed reissue of Aretha's all-time deep soul classic. "One Step Ahead" was not included on any of her Columbia studio albums, and remains one of her rarest releases.

On the flip, "I Can't Wait Until I See My Baby's Face" is a thrilling, goosebump-inducing killer and an unfairly slept-on rendition of this eternal track.

The single comes housed in a custom printed full-colour company sleeve and is limited to just 1000 copies.

Archival reissue of the garage-psych Zamrock masterpiece (1974)

PRESSED ON OPAQUE RED VINYL

“Electrified by a diet of James Brown, the Stones and Deep Purple,
WITCH were the stadium-filling kings of 70' Zamrock." - MOJO

Our comprehensive overview of Zambia’s premier garage-, psych-, prog-, funk-,afro-rock ensemble WITCH, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four WITCH albums available in archival reissue form. As with our box set, the audio is nigh-perfect - restored and remastered from the original master tapes. WITCH’s musical arc is contained to a five year span and, in retrospect, is a logical one. The band’s first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the WITCH band, or Zamrock in general.

Wie Hip-Hop nach Hamburg kam
Die Compilation ist als Zeitreise zu den Anfängen der Hamburger Hip-Hop-Kultur konzipiert und umfasst über 100 weitgehend unveröffentlichte Songs und Skits. Begleitet wird das Triple-Vinyl von einem 96-seitigen Booklet, das von den frühen Jahren von Hip-Hop, Rap und DJing in Hamburg erzählt. Präsentiert wird das Werk von den Herausgebern des Buchs und den Kuratoren der Museumsausstellung EINE STADT WIRD BUNT.

Kennt eigentlich noch jemand Easy Business? Was wie ein Ratgeber Video auf YouTube klingt, ist der Name einer der ersten Hamburger Rap-Gruppen. Die vierköpfige Formation aus Steilshoop gründete sich schon in den späten 1980er Jahren und begann bald erste englischsprachige Texte zu schreiben. 1989 nahmen sie gemeinsam mit Mario von Hacht den Song „Money“ in einem Jenfelder Jugendzentrum auf.
Als House-Produzent verfügte Von Hacht über ein vergleichsweise schon recht ansehnliches Produktions-Equipment. Selbst die legendäre Roland TR-808, analoger Drumcomputer und Allzweckwaffe von Hip-Hop-Produzenten, war bereits 1989 Teil seines Maschinenparks. Nur hatte er sie eben nicht für Rap genutzt – bis Easy Business anklopften. Und so öffnete ein Musik-Nerd und Technik-Freak dem Hip-Hop eine Tür in Hamburg. Von Hachts Offenheit für den neuen Musikstil sollte sich auszahlen: 1995 produzierte er mit „Nordisch by Nature“ den ersten Chartstürmer von Fettes Brot.

Es sind Geschichten wie diese aus der Gründerzeit des Rap in Hamburg, um die sich die 3-Vinyl-Compilation EINE STADT WIRD BUNT dreht. Unter den über 100 Songs und Skits aus den frühen Jahren des Rap in Hamburg finden sich neben dem Song „Money“ von Easy Business auch ein Mitschnitt eines Auftritts der Gruppe in der Fabrik im Mai 1991.
Von frühen Aufnahmen von MC Africa True, der später unter dem Namen Nana einige Hits landen würde, bis zu den Britcore-Veteranen von Readykill, von 2 Ruff, deren Mitglied Simple Simon zu den ersten Hip-Hop-Produzenten der Stadt gehörte, bis zu den Reim Banditen, die als eine der ersten hiesigen Bands mit einem Majorlabel-Vertrag als Hamburger Antwort auf die Fantastischen Vier positioniert werden sollten, vereint das Triple-Vinyl eine einzigartige Sammlung musikhistorischer Zeitdokumente. In Kombination mit dem begleitenden Booklet vermitteln sie ein authentisches – und überaus unterhaltsames – Bild von den Anfängen des Rap in Hamburg.

Nach dem preisgekrönten, 2021 erschienenen Buch „EINE STADT WIRD BUNT. Hamburg Graffiti History 1980-1999“ und der gleichnamigen Ausstellung, die bis Anfang Januar 2024, als eine der erfolgreichsten aller Zeiten, im Museum für Hamburgische Geschichte gezeigt wurde, folgt mit der Compilation nun also eine weitere Dokumentation Hamburger Subkultur Geschichte der 1980er und 1990er Jahre. Im Fokus diesmal: die Pioniere des Rap in der Hansestadt.
Zum Team hinter dem Triple-Vinyl gehören neben den vier Herausgebern von EINE STADT WIRD BUNT. Oliver Nebel, Frank Petering, Mirko Reisser und Andreas Timm drei ausgewiesene Kenner der deutschen Hip-Hop-Szene. Oliver Herbst, einst DJ der Hip-Hop-Band City Nord, betreibt heute ein Musiklabel, auf dem die Platte erscheint, und konnte im Zuge der Recherche an viele alte Kontakte anknüpfen. Ebenfalls mit an Bord: der langjährige Chefredakteur des Hip-Hop-Magazins Backspin Dennis Kraus und der Musikjournalist und Moderator Falk Schacht.
Über einen Zeitraum von über zwei Jahren hinweg hat sich das Team auf Recherche begeben. Sie nahmen Kontakt zu Bands, Rapper*innen, DJs und Produzenten auf, die in den 1980er und 1990er Jahren in und um Hamburg aktiv waren. Sie sichteten und archivierten unzählige Stunden von Radio-Shows, Tapes, Demo-DATs und Live-Mitschnitten und führten Interviews mit Hip-Hop-Pionieren aus der Hansestadt. „Unser Ziel war es, ein kaum beleuchtetes Kapitel Hamburger Subkulturgeschichte zu erzählen“, sagt Mirko Reisser.
Begleitet werden die Platten deshalb von einem rund 80-seitigen, reich bebilderten Booklet im Vinyl-Format, das in aufwändig recherchierten Texten nachzeichnet, wie der neue Musikstil ab Mitte der 1980er Jahre in Hamburg langsam heimisch wurde. Zu den zentralen Themen dieser Erzählung gehört die Abwesenheit von technischem Equipment – und der Umgang der jungen Szene mit diesem Mangel.
Ein Vierspur Kassettenrekorder musste für die ersten Aufnahmen im Kinderzimmer reichen. Und wer DJ werden wollte, übte Scratchen mit dem Plattenspieler der Eltern. Anders als heute, wo man mit einem Smartphone in der Hand theoretisch ein Millionenpublikum erreichen kann, stellte die Aufnahmetechnik damals eine große Hürde dar. Wer jedoch über die technischen Voraussetzungen verfügte, Songs aufzunehmen, wurde schnell zur Anlaufstelle für die junge Rap-Szene.
Parallel zu dieser Ära der Technik-Autodidakten, öffneten die Rapper*innen der frühen 1990er Jahre ebenfalls ein Fenster in eine neue Welt: Indem sie anfingen, auf Deutsch zu rappen, grenzten sie sich bewusst von den amerikanischen Vorbildern ab und schufen ein ganz neues Selbstbewusstsein der jungen Subkultur. Und ganz nebenbei auch ein ganz neues Bewusstsein für die Möglichkeiten der deutschen Sprache. „Hier wurde etwas gänzlich Neues erschaffen“, sagt Oliver Herbst.

Viele Künstler, die auf der Compilation vertreten sind, dürften heute nur noch echten Hip-Hop-Nerds bekannt sein. Doch es finden sich auch bekannte Namen auf der Tracklist. Jan Eißfeldt etwa, der heute solo als Jan Delay oder als Teil der Beginner Konzerthallen füllt. Oder Fettes Brot, die von einem Hip-Hop-Trio aus dem Hamburger Umland zu einer der erfolgreichsten deutschen Popbands der Gegenwart heranwuchsen. Oder Deichkind, die zu einem massentauglichen Universal Kunstprojekt avanciert sind.

Wie schon das gleichnamige Buch und die Museumsausstellung, so blickt auch die Compilation EINE STADT WIRD BUNT. hinter die Kulissen einer jungen Subkultur – und erzählt parallel spannende Kapitel Musik-, Technik- und Stadtgeschichte aus der Hip-Hop-Hochburg an der Elbe.

INTERPRETEN
Fettes Brot, Absolute Beginner, Deichkind, Das Bo, Ferris MC, Mr. Schnabel, Sleepwalker, Kastrierte Philosophen, Mellow Mark, David Fascher, Easy Business, Reim Banditen, Readykill, TobiTob, I.L.L. Will, City Nord, MK Cram (Poets of Peeze), Dialektik, 2 Ruff, Nina, Flashmaster Ray, Dennis Deutschland, 2BIAS, MC Africa True alias Nana, Vers Chaoten, Die Erstausgabe, THC (Ter Hartchor), R.A.F. (Reimende Antifaschisten), Direkt Aktion, Fogmoor, Syren, Mental Disorda (Crime Code Barets), Dennis the Menace, Selma, 08/15, Hamburg Royal, Skunk Funk, B-Low, Gizmo, AJ, SMG, Phantom Black, Leon Le Pro alias EL’OMC, Paolo 77, Monti, Hanseknaller, Schlechta Umgang u.v.a.

ZITATE VON
André Luth, Jan Eißfeldt, Mathias Arfmann, Ale Dumbsky, David Fascher, Fatih Akin, Carsten Bohn, Schiffmeister (Björn Beton), Pasha Kamber (DJ MPK), Boris Ekambi, Sleepwalker, Mr. Schnabel, Nana Abrokwa, Simon Vegas u.a.

PRODUCER
Mario von Hacht (Super Mario), Sleepwalker, B-Base, Bubblez, TobiTob, X-Ray, Simple Simon

Produziert von Will Yip (Turnstile, Title Fight, Mannequin Pussy, etc.), der auch schon an der 2023er "Psychic Dance Routine" EP der Hardcore-Band Scowl aus Santa Cruz mitgewirkt hat, findet man auf "Are We All Angels" die giftige und antagonistische Band, die ihre Aggression durch eine expansivere Version ihrer selbst leitet. Das Album wurde von Rich Costey (Fiona Apple, My Chemical Romance, Vampire Weekend, etc.) gemischt. "Are We All Angels" ist geprägt von Entfremdung, Trauer und Kontrollverlust, und setzt sich größtenteils mit ihrem neu gefundenen Platz in der Hardcore-Szene auseinander, einer Gemeinschaft, die die Band in den letzten Jahren sowohl umarmt als auch zu einer Art Blitzableiter gemacht hat. Auf "Are We All Angels" erkunden Scowl auf Schritt und Tritt ehrgeizige neue Richtungen und verbiegen Genre-Normen. Sängerin Kat Moss macht die am unmittelbarsten erkennbare Entwicklung, indem sie einen strukturierteren und manchmal zarten Ansatz wählt. Sie spielt mit Harmonien und melodischem Feingefühl, das selbst die eingefleischtesten Scowl-Fans überraschen dürfte. Moss nennt eine breite Palette von Einflüssen außerhalb des harten Rock - alles von Billie Eilish bis Radiohead, Car Seat Headrest bis Julien Baker. "Die meisten von uns waren wirklich keine geübten Musiker, als die Band begann", gibt sie zu. "Es war in dieser Hinsicht sehr Germs-esque, wie die erste Hardcore-Band eines Babys, was großartig ist. Jetzt wissen wir vielleicht immer noch nicht, was wir tun, aber wir haben eine bessere Vorstellung davon, was wir tun wollen." Instrumental gibt die Band Einflüsse von Negative Approach, Bad Brains, Hole, Mudhoney, Garbage, Ramones, Pixies, Sonic Youth, Rocket From The Crypt und anderen an. Bassist Bailey Lupo merkt an: "Das Songwriting für die neue Platte war das bisher kollaborativste in der Geschichte von Scowl. Jeder hat so viele Ideen eingebracht, und wir konnten sie alle in Ruhe analysieren und uns Zeit nehmen. Wir haben alle so unterschiedliche Geschmäcker, Einflüsse und Persönlichkeiten, und das kann man auf diesem Album wirklich in jeder Ecke hören." Selbst durch diesen eklektischen Ansatz verlieren Scowl nichts von ihrer Schärfe und schaffen es immer noch, die Wut und Frustration zu vermitteln, die dahinter steckt. Sie sind zutiefst dem Ethos des Punk und seinem Gemeinschaftssinn verpflichtet. "Hardcore und Punk haben uns geprägt, wie wir arbeiten, was wir als Band tun wollen und wie wir uns beteiligen", sagt Greene. "Im Kern sind wir eine Punk- und Hardcore-Band, unabhängig davon, wie sich der Song verändert." Das Album wird von dem bereits veröffentlichten "Special" eröffnet, einen Song mit großer, hymnischer Energie, der die rohe Intensität von Scowl beibehält. Scowl haben sich schnell als einer der dynamischsten und fleißigsten Acts in der Rockszene etabliert und ausgiebig in den USA und international mit Bands wie Limp Bizkit, Destroy Boys, The Bronx, Militarie Gun, Show Me The Body, Zulu, Touche Amore, A Day To Remember, Speed, Sunami und vielen anderen getourt, sowie Festivalauftritte beim Coachella, Reading & Leeds, No Values, Outbreak, Primavera und Sick New World, um nur einige zu nennen, absolviert. Die Band - Malachi Greene (Gitarre), Bailey Lupo (Bass), Cole Gilbert (Schlagzeug), Mikey Bifolco (Gitarre) und Kat Moss (Gesang) - gründete sich 2019 und feierte 2021 mit ihrem Debütalbum "How Flowers Grow" ihren Durchbruch. Seitdem sind sie unaufhaltsam auf dem Vormarsch.

Wie so viele Coming-of-Age-Geschichten mit nachhaltigem Eindruck spielt das neue Album der Brooklyner Band Momma in einem bezaubernden und turbulenten Sommer. "Welcome To My Blue Sky" wurde mit der gesamten Band live im Studio aufgenommen und von Bandkollege Aron Kobayashi Ritch produziert. Mit Hilfe des Drummers Preston Fulks gelangen Momma 12 kraftvolle Songs, die die rohe Dringlichkeit des Rock mit den eindringlichen Melodien und straffen Arrangements des Pop kombinieren – eine Dynamik, die aus ihrem Engagement entstand, das direkteste Ventil für ihren emotionalen Ausdruck zu finden. Jeder Track ist zugleich geteilte Erinnerung, gemeinschaftlicher Erguss und fesselnder Reisebericht voller Selbstbewusstsein und Sensibilität. Das Ergebnis ist ein mutiger Sprung nach vorne für eine der kreativsten, kompromisslosesten und einzigartigsten Stimmen im Indie-Rock.

Entering its 26th year of activity, the morphing, Los Angeles based experimental outfit, Sissy Spacek, joins Shelter Press with Entrance, among the project's most captivating outings to date. Encountering the duo of John Wiese and Charlie Mumma joined in various configurations by an incredible cast of collaborators - Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh - collectively transformed into a series a deeply intimate and delicate gestures of musique concrète, Entrance radically repositions the possibilities presented by group improvisation outside of time and place. Founded at the end of the last millennium, the Los Angeles based project, Sissy Spacek, initially emerged from the knotted, fiery context 1990s American noise and grindcore, producing sheets of visceral sonority that quickly set the scene on its head. Going through numerous evolutions, before eventually settling as a duo of John Wiese and Charlie Mumma - joined by a rotating and often recurring cast collaborators - over the last 25 years the band has continuously entered states of evolution that have defied the expectations of its own context, seeding the sonic extremes noise with subtle and sophisticated approaches to free improvisation and musique concrète. Fiercely positioning its efforts within the outer reaches of contemporary experimental music, while resisting the constraints of a singular sound or proximity, Wiese regards Sissy Spacek as being primarily centred around the practice of musique concrète and the pursuit of extremes. From its earliest releases - collage treatments of material gathered from the band's full throttle practice sessions - the project's conceptual framework has continuously evolved within a deeply engaged process of experimentation, not only reworking tactical approaches, but also definitions and perception regarding the location and action of their work. In recent years, this has led to an increasingly varied and diverse output. Percolating within, is a thread marked by a striking sense of delicacy and intimacy, driving forward while doubling as an unexpected challenge, in real time, to perceptions connected to the band's past. Entrance is the most recent of these. Embarking upon the four compositions that comprise the finalized four sides of Entrance, Wiese and Mumma enlisted longstanding collaborators, Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, and C Spencer Yeh, as well as new initiate, Ralf Wehowsky (of the seminal German electronic noise collective P16.D4), requesting a contribution of sounds from each, determined by a general set guidelines that dictated certain qualities the given sonorities, while allowing for the expression of each player's distinct creative voice. The sets of resulting recordings were then chopped, harvested, manipulated, and reassembled as the four tape compositions that make up the album - Web Of Unfolding Appearance, Figure Of Reflected Light, Trancher And The Inheritors, True Dimension (From The Opaque - Spike) - each blurring the lines of authorship and clear creative proximity in remarkable ways. Where historical gestures of musique concrète tend to draw upon non-instrumental sound sources - regarding its sonorous material as raw elements, unburdened by inherent meaning or association, to be transformed and imbued with musicality - Sissy Spacek turns this position on its head. Entrance comprises works of musique concrète that not only draw upon instrumental sound sources, with all their possible meanings or associations, but also individual characters and personalities of their players, crediting each resulting piece to its respective configuration of contributors. As such, Entrance is an effort of sound collage defined by a rare sense of intimacy and humanity: four pieces that often take on the resemblance of group improvisation, but have, in fact, been assembled outside of time and place. Bent under the ever-present hand of Wiese's tape treatments and manipulation, each of the album's four compositions unfurl startling states of sonic abstraction and percolating texture, marked by a striking sense of hard-shifting structure, that culminate as tense, driven manifestations of ambient music: scrapes, squeals, rattles feedback, rolling drums, bouncing tones, whispers, bent electronics, electric artefacts, and seemingly everything else under the sun, configured into immersive, sublime mediations in sound from the most improbable events.

Every so often an album of such deceptive genius, of such aesthetic clarity, comes across our desk and transfixes us. Thought Leadership's III Of Pentacles is one such work of art. It's an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. The first time we heard III Of Pentacles, we nearly wept at the thought that something so beautiful, so bursting with real hope, could even exist in this brutal world. To quote the Quietus, "imagine if Stockport was situated somewhere along the Pacific Coast Highway rather than the M60, and you’ll have some idea of the coordinates to the post-industrial, sunburnt dream space opened up here."

So, who is Thought Leadership? What do we know about them? They reside in Stockport and are obsessed with ethereal guitar records. That’s about it. That and these X ideas shared with you, the listener.

Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column’s classic “LC” was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs.

Ushered in on 808 kicks, “I” opens the record as a beautiful Sketch for Stockport; a chiming maj7 chord dripping in chorus and delay sets us on our way. The Vini Reilly comparisons are unavoidable. “II” is all John McGeoch, with its trippy goth-psyche arpeggiated pattern cascading across the stereo image. Do those drums swing? But goths don’t swing?! They do here. We’re treated to a bit of crunch on the lead guitar part and some really lush reverb. We even step forth into shoegaze territory, albeit briefly, for the middle eight. “III”, a firm Be With favourite, continues the dreamy psyche leanings of the previous track, with an even bigger melody this time. We’re hearing The Teardrop Explodes on quaaludes here. A proto-dream pop cut soaked in melancholy. But watch out! The coda finds Johnny Marr has gotten into the ‘ludes and gatecrashed the final bars with some incredibly ignorant B minor pentatonic noodling.

“IV” ditches the drum machine for the first in a suite of three beatless electric guitar duets. The first of these semi-improvised rubato ideas is a striking departure from the earlier playful pieces, coming over emo and moody. Greyscale sulking for Stratocaster. Sign us up. “V” contains some really lyrical phrasing; a gorgeous conversation between two guitars. Real Stopfordian Primitive; meditative, crude, rain-soaked. We cycle through the same feels, then end on an alluring chord that breaks the pattern. Sometimes thoughts are like this. “VI” creeps in all plaintive, then a huge reverberating descending guitar line comes tumbling in like something off those classic Dif Juz 12”s. There’s some Maurice Deebank in there too, for sure, and the coda nods to early Meat Puppets.

“VII” rounds out the A Side, and succinctly presents a summary of all ideas explored thus far on our journey. The drum machine is back, this time with some wispy delay, before both guitars enter together playing interlocking lines. As we start, we end, with the delayed 808 guiding us out.

Opening Side B, “VIII” sees us embark on the other side of our journey as we slow down and space out. The drum machine is here, but the guitars are different now. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Side B is one for headphones for sure. “IX” is almost too exquisite for words. A New Age Mixolydian voyage through the cosmos. If you’re unmoved by the end you’ve probably got no pulse. We were left blunted ineffable by this one, such is the smudged elegance radiating from this idea. All hail the Thought Leader.

“X” is a full circle moment, and a fitting end. If you’ve not already elsewhere across the platter, you will be getting heavy Robin Guthrie vibes from this piece. Like the rest of Side B, this improvised jam sticks within a framework of related chords but the celestial energies channelled might invite us to wander “outside”, especially when the Tubescreamer is engaged.

RIYL Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike and adjacent guitar musicks – but, ultimately, this is just its own thing; such is the strength of ideas presented. "It’s good music to chill out to." (??)

Be With is honoured to present the first ever vinyl release of III Of Pentacles, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. They inform us that they shuffled their tarot deck to ask what the album should be called and the card you see on the cover popped out. The III Of Pentacles tarot card represents teamwork, shared vision and the ability to achieve goals through collaboration. We like to think Thought Leadership and Be With have nailed this one.

- 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!

"Children Will Be Furious" ist bereits das dritte Album der Hamburger Band Palila. Das Indie Rock Trio entwickelt sich in Sachen Punch, Druck, Groove und kompositorischer Dichte immer weiter und erschafft noch rauere und zum Teil angriffslustigere Songs als zuvor. Palila nennen Bands wie Built To Spill, Guided By Voices, Dinosaur Jr., Nada Surf, Pixies oder die frühen Smashing Pumpkins als Einflüsse, schaffen aber ihren ganz eigenen Sound, der sie bereits u.a. auf das Orange Blossom Special und das Rolling Stone Beach gebracht hat.

2025 Repress in Arctic Pearl Vinyl
Alles fließt, nichts bleibt wie es ist. Diese philosophische Erkenntnis gilt auch für das dritte Studioalbum der aufstrebenden niederländischen Rockband DOOL. Der treffende Titel "The Shape of Fluidity" zielt keineswegs nur auf die musikalische Innovation. Sondern das Album dreht sich um Themen wie persönlicher Wandel, physische Veränderung, psychologische Weiterentwicklung und die sich erneuernde Welt um uns herum. DOOL und insbesondere Sänger/in und Gitarrist/in Raven van Dorst stellen Fragen: Wie wirkt sich der Wandel auf uns aus? Wie bleiben wir uns selbst in einer Welt treu, die so unglaublich herausfordernd und aggressiv gegenüber dem Individuum ist? Wir müssen so fließend wie Wasser sein, um in diesem Ozean von Möglichkeiten und Ungewissheiten erfolgreich zu navigieren - und Frieden mit Chaos und Unbeständigkeit zu schließen. Musikalisch setzen DOOL den auf den beiden vorangegangenen Studioalben eingeschlagenen Weg fort, der emotionale Rockmusik mit Elementen aus dem Metal kombiniert. Dabei demonstrieren die Niederländer eine auffällige Reife und Kontrolle im Songwriting, die aus Jahren der Erfahrung gewachsen sind. "The Shape of Fluidity" zeigt eine eklektische, aber nahtlose Verschmelzung von Progressive und Post-Rock sowie Doom und Heavy Metal, die mit einer stets präsenten Eingängigkeit und hintergründigen Dynamik kombiniert sind. Es ist offenkundig, dass sich das Album thematisch mit dem Konzept der Identität vor dem Hintergrund einer sich ständig verändernden Welt befasst. Die Texte des Albums sind eng mit der Biografie von Leadsänger/in Raven verknüpft. Von Geburt an intersexuell, entschieden die Ärzte chirurgisch, dass der Säugling als Mädchen durchs Leben gehen solle. Dies führte zu einer Existenz auf der Suche nach der eigenen Seele, dem Kampf gegen Tabus und die Überschreitung von Grenzen, bis Raven vor kurzem beschloss, das zurückzufordern, was andere versuchten hatten, ihnen wegzunehmen - und ihre hermaphroditische Natur zu akzeptieren. Der Bandname DOOL leitet sich vom niederländischen Wort für "Wandern" ab. Bereits das im Jahr 2017 erschienene Debütalbum "Here Now, There Then" landete einen sofortigen Volltreffer. Der frisch-wilde Rock- und Metalsound aus den Niederlanden wurde von den renommierten deutschen Magazinen Metal Hammer und Rock Hard zum "Album des Monats" gekürt. Auch Vice (US), Aardschok (NL) und De Volkskrant (NL) überschütteten die junge Band mit Lob. Mit ihrem zweiten Album "Summerland", das 2020 erschien, übertrafen DOOL die ohnehin schon hochgesteckten Erwartungen. Es gab weitere "Album des Monats"-Auszeichnungen in den deutschen Magazinen Rock Hard (10/10) und Sonic Seducer sowie eine #2 Soundcheck-Position in Metal Hammer (DE) und Metal.de, und eine weitere #1 im polnischen Metal Hammer - mit einem Berg herausragender Kritiken auf beiden Seiten des Atlantiks. Mit "The Shape of Fluidity" bieten DOOL sehr viel mehr als nur verdammt coole Musik. Die zusätzlichen Dimensionen von Tiefe und Bedeutung sind Teil ihres einzigartigen Reizes und kommen auf dem neuen Album deutlich zum Vorschein. Mögen sich alle, die wandern, unter der fluiden Flagge von DOOL versammeln!

The Passion of the Christ is a 2004 biblical drama film by Mel Gibson with music composed by John Debney. The soundtrack received an Academy Award nomination for Best Original Score and it was on the first place in both Top Christian Albums and Top Soundtracks in 2004. In 2005, the album won a Dove Award for Instrumental album of the year at the 36th GMA Dove Awards. The soundtrack succeeds as a coherent, moving, well-executed musical statement whether or not one has seen the film. The album is a combination of folk instruments, Eastern-tinged harmonics, solo, and choral voices. Debney worked together with Indian master violinist and vocalist L. Shankar, and singer/double-violinist Gingger Shankar. The Passion of the Christ is available as a limited edition of 750 numbered copies on gold coloured vinyl and includes a 4-page booklet.

"Jellywish" is the fifth record from NY based indie folk quartet Florist, out April 4th 2025 via Double Double Whammy. "Jellywish" sees a departure of Florist's former foray into meandering soundscapes and improvisational tendencies of their previous self-titled album, instead embracing shorter stripped back song structures and an emphasis on melody. The result is a succinct and focused 10 track album showcasing Florist's dynamic growth and Emily Sprague's gift of empathic songwriting.

Teen Jesus and the Jean Teasers are a powerhouse, celebrated for their raw emotion and incisive social observations. Their talent has earned them nominations for Best Independent Punk Album or EP at the AIR Awards, Emerging Songwriter of the Year and Song of the Year at the APRA Awards, along with nods from the J Awards and Rolling Stone Awards. Recognised as Spotify's RADAR Artist, their rising global influence is undeniable.

Following their award winning 2022 EP, Pretty Good For A Girl Band, their debut album I Love You charted at number 6 on the ARIA Albums Chart, marking a significant milestone. The accompanying tour saw them sell out iconic venues like 170 Russell in Melbourne, the Metro Theatre in Sydney, and The Triffid in Brisbane. They capped off the year supporting the Foo Fighters at AAMI Park in Melbourne and launched into 2024 by supporting The Vaccines across the EU/UK. They will support Pearl Jam on select dates in the United States mid-2025.

I Love You showcases the bands growth, with each member contributing to songwriting. It stands as a definitive statement of their sound—joy, rage, and euphoria, delivered with precision and heart. Teen Jesus and the Jean Teasers continue to make waves, solidifying their place in the music industry.

Die schwedische Rock-Band Spiders präsentiert ihren neuen Longplayer 'Sharp Objects'! Wie bei ihren früheren Veröffentlichungen ist der Sound von Spiders tief im klassischen Rock'n'Roll verwurzelt. 'Sharp Objects' bietet jedoch etwas Neues, indem es Einflüsse aus der New-Wave- und Garage-Rock-Szene der frühen 80er Jahre einfließen lässt. Klingt wie Blondie, Dead Boys, The Hellacopters oder Bikini Kill.

Mit ihren unberechenbaren Live-Auftritten und Songs wie "Zurück zum Beton" und "Industriemädchen" sorgten S.Y.P.H. Ende der 70er für Furore - als eine der Bands, die rund um Düsseldorfs Ratinger Hof begannen, deutschsprachig zu texten. Die Band brach von Beginn an mit genre-konformistischen Erwartungshaltungen und machte Musik, die sich bei Rock, Punk und Kraut genauso bediente wie bei der Zügellosigkeit des Dadaismus und der Realität des Tagesgeschehens. Nach dem ersten Album und mehreren Singles (wiederveröffentlicht bei Tapete Records im Dezember 2024) produzierte die Band zwei weitere Alben - Pst und S.Y.P.H. (Album 4) - gemeinsam mit CANs Holger Czukay. Tapete Records veröffentlicht beide Alben gemeinsam mit einer Sammlung zuvor unveröffentlichter Raritäten - Punkraut 1978-1981.

Mit ihren unberechenbaren Live-Auftritten und Songs wie "Zurück zum Beton" und "Industriemädchen" sorgten S.Y.P.H. Ende der 70er für Furore - als eine der Bands, die rund um Düsseldorfs Ratinger Hof begannen, deutschsprachig zu texten. Die Band brach von Beginn an mit genre-konformistischen Erwartungshaltungen und machte Musik, die sich bei Rock, Punk und Kraut genauso bediente wie bei der Zügellosigkeit des Dadaismus und der Realität des Tagesgeschehens. Nach dem ersten Album und mehreren Singles (wiederveröffentlicht bei Tapete Records im Dezember 2024) produzierte die Band zwei weitere Alben - Pst und S.Y.P.H. (Album 4) - gemeinsam mit CANs Holger Czukay. Tapete Records veröffentlicht beide Alben gemeinsam mit einer Sammlung zuvor unveröffentlichter Raritäten - Punkraut 1978-1981.

THE NIGHTINGALES veröffentlichen ihr erstes Studioalbum seit dem viel gelobten Vorgänger "The Last Laugh" von 2022. Ihr neues Album "The Awful Truth", das am 4. April bei Fire Records erscheint, ist eine moderne Music-Hall-Interpretation mit Popsongs und 80er Nostalgie. Gefeiert in dem exzellenten, von Stewart Lee erzählten Film "King Rocker of 2020", in dem der Vorhang für die Magie des "altgedienten Punk/Alternative-Rock-Freiwilligen" (The Quietus) Robert Lloyd gelüftet wurde, sind THE NIGHTINGALES so aktuell wie eh und je, denn sie veröffentlichen eine scharfes Statement-Album auf die moderne Zeit, die zu Recht als "The Awful Truth" betitelt wird. Das Eröffnungsstück "The New Emperor's New Clothes" ist ein beschwingter, mitreißender Ausbruch mit einem dröhnenden Klavier, das den Song einleitend begleitet und dann in wilder, improvisierter Popmusik endet. Die Band über den Track: "A stream of consciousness. Initially inspired by the tawdry but tractable trend of the vacant, voluntarily egged on by ego hungry politicians, pop stars, beauties, ballers, ingrowing haters and hard-nosed influencers. One hundred percent on point with the nonsense of neo populism and savagely edited to fit the music, it is far from silky, it is futile and silly. Real rock 'n' roll." In den frühen 80er Jahren genossen sie Kultstatus als Lieblinge der glaubwürdigen Musikszene und wurden von John Peel angepriesen, der über sie sagte: ,Ihre Auftritte werden dazu dienen, ihre Exzellenz zu bestätigen, wenn wir weit genug von den 1980er Jahren entfernt sind, um diese Zeit rational zu betrachten, und andere, unendlich viel bekanntere Bands als Scharlatane entlarvt werden." Ihre Zeit ist in der Tat gekommen. The Nightingales sind Robert Lloyd, Andreas Schmid (Faust) am Bass, Fliss Kitson (Violet Violet) am Schlagzeug und Gitarrist James Smith (Damo Suzuki). "They genuinely sound more vital than ever." Uncut - "One of rock's unsung heroes" Esquire - "Still stunningly relevant" London Evening Standard - "Lloyd is the most underestimated songwriter of his generation" The Independent

'Wherever You Are' is a new solo piano album, played and composed by John Foxx. Most of the recordings were made at home and in the early hours of morning in the weeks following his rare live performance at Kings Place, London in October 2023, as part of the BBC Radio 3 'Night Tracks' event. 'Around dawn is the best time to play piano,' says Foxx. 'Self-critical mechanisms mostly dormant, so I'm free to invent and enjoy for a while. The piano faces a window overlooking a valley surrounded by hills, where the sun comes up. There's often an early mist in the valley - and quite often, it rains. Some notes and sounds resonate with remembered experiences and you get glimpses of times and people. It's valuable. Quiet. Free association, myriad moments orbiting - and off you go.' He adds: 'Lately I'm realising how we get formed by other people. Everyone we know or knew, who affects the way we think and the way we see things - even in a small way, has a voice, and all those voices remain in a sort of lifelong conversation. I hear them all the time. It's not at all frantic, it's more oceanic - calm and pleasant and it eventually makes us the way we are. Luckily, I seem to have met - and meet - mostly good, generous, bright people and I'm still learning a great deal from all of them. They give you the touchstones, the maps, the weather. It's how we find our way. So - simply, thanks. Wherever you are.'

Die Berliner Post-Punk-Band The Underground Youth um den Musiker und Autor Craig Dyer meldet sich mit ihrem zwölften Studioalbum „Décollage“
zurück. Das von Dyer selbst geschriebene, aufgenommene und produzierte Album ist eine Übung in künstlerischer Dekonstruktion, sowohl im Namen
als auch in der Form, und markiert eine entscheidende musikalische Wende. „Décollage ist die Kunst, ein Bild zu erschaffen, indem man Teile eines
bereits existierenden Werks herausreißt, abreißt oder entfernt. Meine Idee war es, diese Technik auf die Musik anzuwenden“, erklärt er. „Ich baute
Wände aus statisch überzogenen Hip-Hop-Drum-Samples, Schichten von Streicherarrangements im Stil von Lee Hazlewood und von Serge Gainsbourg
inspirierten Mellotron-Melodien auf, dann begann ich, diese schönen, chaotischen Wände aus Lärm abzureißen und legte einen neuen Sound für The
Underground Youth frei.“
Von Momenten geisterhaften Minimalismus bis hin zu ausladenden Crescendos aus Lärm und Melodie haben die Songs hier eine schattenhafte,
traumhafte Qualität. Neben Dyer besteht The Underground Youth aus der Schlagzeugerin und bildenden Künstlerin Olya Dyer, dem Gitarristen
Leonard Kaage (der auch bei der Postproduktion des Albums mitwirkte) und der Bassistin Samira Zahidi. Ursprünglich als Soloprojekt von Dyer im Jahr
2008 gegründet, hat die Band inzwischen 11 - mittlerweile 12 - Studioalben und 4 EPs veröffentlicht und dabei einen einzigartigen Sound entwickelt,
der im Laufe der Jahre von cineastischer Lo-Fi-Psychedelia über rauen, melancholischen Post-Punk bis hin zu Gothic-Folk-Noir reichte.

16 GB Flash Drive, golden key USB.
Includes all the tracks on DUPLOC released since DUPLOC100 up to and including DUPLOC140.
183 unique tracks in WAV.
Individually numbered (edition of 300) with wooden box.

The term Miao is a very ancient Chinese misleading pseudo-ethnic categorisation, what we call the Hmong in western languages, a term recognised by colonial French Indochina. Miao became a generic term which does not reveal the diversity of 38 subgroups or 9 million people, mostly in Southern China Guizhou Province.

China having moved towards the market economy, a large number of minority regions have marketed a commodity available only to them: their ethnicity itself. Ethnic tourism has developed in a big way in China since the 1990s for Chinese and foreign tourists, and is often promoted as the way to create income in those areas for development. I usually stay away from ethnotouristic shows and try to get music which is not a commodity! I was based in Dali, Yunnan, China between 2006 and 2013.

*180g virgin leaded vinyl in a deluxe textured heavy gatefold cover, with paste-on artwork and special anti-static innersleeve.* Note: The pressing is absolute on point!!!!

Vincent Gallo and Harper Simon with a beautifully recorded suite of songs and instrumentals.

" More than two decades since he blew minds with a suite of brilliant releases on Warp, Vincent Gallo returns to the world of music at long last in Butterfly, his duo with Harper Simon, with the project’s full-length debut, “The Music of Butterfly”. A gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, while interweaving fascinating flirtations with minimalism and experimentalism, it’s a truly captivating piece of work that’s hard to get off the turntable after the first needle drop.

In the arts, the lines between genius and madness, as well as fact and fiction, often blur. Such, it seems, has always been the life of the artist, filmmaker, actor, musician, and composer Vincent Gallo. A cult figure and a member of various creative undergrounds for the better part of half a century, Gallo has courted controversy, ruffled feathers, and made some of the most singular statements to flirt at the outer edges of popular culture that can be called to mind. Arguably most well known for his work in film, during the late '90s and early 2000s - notably with his soundtrack for “Buffalo 66” and a suite of releases on Warp - Gallo became something of a sensation in the world of independent music for a visionary, incredibly unique and sensitive approach to sonority. For a time, the world was abuzz, waiting on bated breath for more, and yet time passed. Bar a few fragments, appearing here and there, almost nothing has been heard from Gallo, within the world of music, for more than 20 years. That is, until now, with the release of “The Music of Butterfly”, the debut full-length of Butterfly, his duo with Harper Simon: beautifully produced and issued by Family Friend Records - Gallo’s own label, founded in 1981 - in a deluxe edition that simply left us speechless: 180g vinyl in textured heavy gatefold cover with paste-on artwork and thick anti-static innersleeve. More or less picking up from where we last encountered him, spinning captivating melodies and gentle song-craft within the quieter temperaments of DIY, left-field pop, once again, and at long last, Vincent Gallo, encountered in an incredibly successful collaboration with Harper Simon as Butterfly, reminds us that he’s as much a force within the realm of music as he is within film. Not to be missed. This one isn’t going to sit around for long.

Vincent Gallo’s biography reads like the stuff of blaring beauty: a figure of moderate fame in his own right, who has remained at the centre of cultural ferment as the decades have rolled by. Born in 1961, in Buffalo, New York, as the story goes he ran away to New York City at the age of 16 and fell into the brewing counterculture of the Downtown scene, William Burroughs and John Giorno, in addition to the cream of his own peers, and began making paintings, music, and experimenting with film. In addition to being a member of the now legendary band Gray, with the artist, Jean-Michel Basquiat, and the filmmaker, Michael Holman, Gallo appeared in the cult 1981 film “Downtown 81”, before slowly beginning a career as an actor and catching the eye of Claire Denis, who brought his talents into the broader cultural gaze. Catapulted into the public by his own subsequent career as a filmmaker with “Buffalo '66” (1998) and “The Brown Bunny” (2003), both of which were marked by controversy and praise, Gallo further captivated the public with a partially brilliant, if not relatively brief, flurry of activity in the realms of music.

While Gallo had already been making music for roughly two decades at the time of his release of the “Brown Bunny” soundtrack, and the four release issued by Warp in rapid succession between 2001 and 2002 - “When”, “Honey Bunny”, “So Sad”, and “Recordings of Music for Film” - the almost fanatical fandom reached a fever pitch at the moment, allowing him, for some, to be regarded as much, if not more, as a musical artist than an actor and filmmaker. Anyway you cut it, in a few short years, he proved himself to be a polymath of rare talent. Somewhere along the way, while both were working as members of Yoko Ono's Plastic One Band, Gallo met the New York based, highly regarded singer-songwriter, guitarist, and producer, Harper Simon, who also happens to be the son of Paul Simon. The pair fell into an incredibly fruitful duo collaboration, which came to be called Butterfly, and “The Music of Butterfly” being their debut full-length release.

Written, performed, and recorded by Vincent Gallo and Harper Simon in New York City between the winter of 2018 and the spring of 2019, the ten tracks comprising “The Music of Butterfly” are cumulatively a gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, making one feel like barely a moment had passed since we’d encountered his graceful hand at song-craft. Stripped back and raw, while retaining a sense of warmth and intimacy, across the length of “The Music of Butterfly” the duo of Gallo and Simon weave something completely captivating at the juncture of minimalism, experimentalism, and pop: meandering moments of texture and tone, slowly forming toward flirtations of melody that flower into song and back again. Somehow playful and light, while also remarkably emotive and personal, it’s almost as though each of these tracks crystallised out the air, unlabored and exactly as they should be without a note or beat more.

An engrossing immersion into both Gallo and Simon’s remarkably accomplished minds, having followed the path toward one another after radically different experiences and careers, “The Music of Butterfly” is one of those records that’ll be hard to get off the turntable after that first needle drop, and rarely leave the listening pile for some time to come. Issued by Family Friend Records in a beautiful deluxe edition that is unmatched even among the most stunning recent productions we can call to mind - 180g vinyl in textured heavy gatefold cover with paste-on artwork and thick anti-static innersleeve - it’s lovely to have Gallo back in the musical mix after so many years. "

Almost as soon as Σtella Chronopoulou began writing Adagio, her fifth album as Σtella, she knew the time had finally come to sing in Greek, her native tongue. It would be a first. She started the record almost by accident in 2019, during an 11-hour boat ride to the island of Anafi. Σtella had recently gone through a patch of personal turmoil and needed a break from home. On the ferry, she pulled out her cell phone as the boat clipped through the Mediterranean and began with a simple melody, steadily piecing together a rough instrumental. As psychedelic keyboards twinkled and swayed above staccato drums, the track suggested some deep exhalation, as if Σtella were letting go of long-unnecessary baggage. For a spell, she set the instrumental aside. She wasn’t ready yet, or in a rush. Σtella, after all, grew up in a slow place. During her youth in a relatively rural suburb of Athens, Greece, she and her friends played unfettered in empty streets, not worried about cars or permission, and living felt easy. But in the last decade life has steadily become busier for Σtella, now based in the heart of Athens. She has become one of modern Greece’s most popular musical exports, with three sophisticated, playful pop albums rendered with international élan. After her Sub Pop debut, Up and Away, in 2022, she catapulted beyond three million monthly Spotify listeners. That success was a blessing, but Σtella sometimes found herself pining for the slower pace of her youth. That longing is the thread that loosely binds together her fifth album, the entrancing Adagio. Borrowing its name from the term for music that’s meant to be played slowly, Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!’s Rafael Cohen and British songwriter Gabriel Stebbing, Adagio is a 27-minute meditation on love and desire, rest and time. Though the bulk of it is sung in English, Σtella delivers her first two songs in Greek here—“Omorfo Mou,” the one that began on the boat, and a cover of a 1969 cult classic of the Greek New Wave, Litsa Sakelariou’s “Ta Vimata.” It is a sign of the self-assurance that radiates throughout these tender and smitten little tunes. Start to finish, Σtella sounds more at ease and comfortable than she’s ever been on Adagio. These fetching songs will not slow her career or grant her that title track’s wish. But, for half an hour, Adagio adds a measure of warmth to the world, with time loosening its grip even if it doesn’t slow down.● Athens, Greece-based Σtella’s new album Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time.● Features Rafael Cohen and British songwriter Gabriel Stebbing.• Σtella’s breakout hit “Charmed” from her 2022 album Up and Away has nearly 100 million streams, and was recently featured in the hit Max show Industry.• On Spotify, Σtella has 3.4 million followers, 66k monthly listeners.

LORCO aims to evoke an ancient Naturalism, like a relic brought back to light from the depths of the sea, a buried simulacrum rescued from the pyre that sought to erase the philosophical legacy of Giordano Bruno.
"Stories are battle axes to be unearthed" (Wu Ming).

In Giordano Bruno Will Have His Revenge on Rome, the human presence is sparse. Voices are rare, words remain in listening.
It’s industrial music played “as forests think” (Eduardo Kohn), speaking the language of waterfalls, hurricanes, and serene lakes Far from the factories, it listens to something we still belong to.