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LOVE, das neue – und möglicherweise letzte – Album von Dexys Midnight Runners, ist eine leuchtende Sammlung zutiefst persönlicher Geschichten aus Kevin Rowlands Leben: über Familie, Liebe und die Schicksalsschläge des Daseins. Songs aus drei Jahrzehnten treffen auf brandneues Material – von der irischen Einwanderer-Kindheit über einen Brief an seine Enkelkinder bis zur Zeit mit einem sterbenden Elternteil. Liebeslieder im weitesten Sinne, jenseits gängiger Pop-Romantik: keine Wird-sie-wird-sie-nicht-Romanze, sondern etwas Tieferes, das die volle Bandbreite menschlicher Beziehungen und Emotionen abbildet.
„Ich dachte plötzlich: Das sind alles Liebeslieder – nur eben verschiedener Art", sagt Kevin Rowland über die Entstehung des Konzepts. „Da wusste ich: Es muss LOVE heißen." Ein Liebesleben in Songform, erzählt von jemandem, der mit seiner wunderbaren Autobiografie Bless Me Father bereits gezeigt hat, wie offen er über sein Leben sprechen kann.
LOVE ist zugleich das erste Album unter dem vollen Namen Dexys Midnight Runners seit Don't Stand Me Down (1985). Produziert von David Holmes – langjähriger Fan und Wegbegleiter der Band –, mit Songwriting-Unterstützung der langjährigen Weggefährten Sean Read, Mike Timothy und Jim Paterson sowie Streichern von Brian Irving.

In Walter Benjamin’s seminal essay “Art in the Age of Mechanical Reproduction”, he posits that the aura of art objects is destroyed by the ability to photographically reproduce them. When you had to make a pilgrimage to a work it remained elusive, charged, ever distant; but when you can easily see a reproduction, such aura dissipates. What Benjamin did not anticipate is that in the age of AI and the frictionless fount of digital content, we have imbued mechanical and analog means of media production with aura. Film cameras from the last 100 years are in high demand (the point and shoot Olympus Mju I featured in Wim Wenders film Perfect Days still sells for $200), vinyl sales continue to grow year by year, 35mm and 70mm film screenings have become aura-drenched events people travel across country for, and as to the world of vintage and analog synthesizers, when a friend asked for the price on the Yamaha CS-80 synth used on Toto’s “Africa”, the answer was a cool $60,000.

Despite the ability to simulate almost any synthesizer on a computer, the original physical units retain their mystique. Perhaps this lies in the physical process, many of these synths are temperamental and difficult to fully utilize, and the effort and ingenuity can be felt in ways that will always be absent from easy digital simulacra. Perhaps there is an aura in their imperfection, as Brian Eno wrote: “Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided.” Some may call this nostalgia, but such sonic imperfections are the sounds of humans interacting with the physical world, and it is understandable to feel a pang of emotion and attachment in a time of exponential alienation.

Marche 22 was recorded over a week at the Museo Del Synth Marchigiano in Macerata, Italy. The museum is filled with rare and obscure synths (especially CRB, GEM & Elka) as well as salvaged materials from a nearby shuttered Farfisa organ factory, including MARS, an unfinished realtime audio processing application developed by IRIS - similar to the now well known MAX/MSP. Kyle Dixon and Michael Stein play a suite of pieces that encompasses the last sixty years of synthesizer music—there are nods to Cluster, Tangerine Dream, Jean Michel Jarre, and Morton Subotnick. Dixon and Stein are like jazz masters playing the American songbook with their own riffs and quotations. What shines through in these varied works that are sometimes rhythmic, sometimes melancholic, and sometimes both, is a soul, a spirit, an emotion vibrating through the tones like the charge of coming rain or the thrum of a distant train on the tracks. - Neil Fauerso

Studio Barnhus presents Fold, the first full-length release on the label from Stockholm-born, Berlin-based DJ and producer MOLØ: a patiently unfolding album of club-adjacent lullabies, soft-focus breakbeats and open-window electronics. Following 2024’s Aqua Lull and 2025’s Don’t Change EP with Slackin Beats, MOLØ returns to Barnhusgatan with her most fully realised work yet – an album built like a night slowly finding its shape, starting somewhere quiet and letting the music grow and shift. The result is Fold: eight tracks moving freely between rooms and tempos, held together by MOLØ’s sense of atmosphere, melody and pace. There are pads with endless skies in them, field recordings whispering from the corners, melodies suddenly appearing, having been waiting patiently for the right light.
As often with Studio Barnhus, friends old and new are invited in. Swedish jazz pianist Albin Söderbäck leaves his mark on Cloud and Sväva, bringing a warm, searching musicality that nods gently towards MOLØ’s favourite jazz-fusion records. On Le, Diane Emerita’s fragile voice slips in between the breaks, making the track feel at once human and unreal. Off The Meds frontman Kamohelo keeps it cool as ever on the dynamic stepper Bump.
Then there is Malmö, featuring Norwegian songwriter and vocalist Ane Brun. MOLØ sent Brun the instrumental because she could already hear her voice inside the music – what came back felt so natural, it was as if the whole track had been written around it from the start.
Elsewhere, DJ favourite Fluff captures a different kind of magic: made in MOLØ’s Berlin apartment one spring evening, barely changed since its first draft, then road-tested immediately on a late-night walk through the city with the demo on repeat, strangers moving through the frame.
Fold is a record about trusting the long way round. In a time of shrinking attention spans and growing impatience, MOLØ chooses the scenic route, with curiosity, generosity and enough confidence to let the listener get a little lost

Roy Montgomery, a key figure in the experimental underground rock scene, lives in Christchurch, New Zealand, just a short drive from the sea. Avant-garde vocalist and songwriter Martha Skye Murphy is based in London. Though geographically worlds apart, the pair inhabit an intimate and almost tactile shared sonic world. Their collaboration feels transformative, like the gradual shifting spell from night to day.

What draws them together is the emotional force of each other’s music. Montgomery’s cyclical, decaying compositions are shaped through intricate guitar and piano work, blending post-rock, folk, and drone. Murphy, meanwhile, possesses a rare gift for transformation, from the intimate cracked whispers of 'At Dawn' to the hypnotic drift of 'The Play of Dark and Light'. On the latter, she evokes old maritime folk tales of fishermen lured into the darkness by the sea’s siren call. The song both seduces and warns, finding something magical and frightening in the temptation of drowning. Though her vocals often resemble fragments of words, consonants, or vowels, they frequently function as pure sound, drawing on glossolalia and prioritising feeling over any ‘learnt’ language.

Emotion and intuition are the driving forces behind Nebular, an album that oscillates between the intimate with the unknown. This spirit is reflected in its artwork. Murphy shared a painting by Irish artist Simon English depicting a solitary house bathed in dusky blue light, and the pair quickly settled on it as the cover image. Both were captivated by its atmosphere. Montgomery related it to the isolated, seemingly uninhabited houses he encounters while travelling through rural New Zealand—places that inspire a desire to knock on the door and discover what lies beyond. “Terra incognita springs to mind. A search into the unknown,” Murphy agrees.

The nocturnal and remote nature of the artwork mirrors the process of making Nebular. With Montgomery in New Zealand and Murphy in London, the album was created entirely through remote correspondence, with stems exchanged via email. Their messages were often written and read at different times of day, and, because of the time difference and the demands of daily life, replies usually were sent late at night and the music too often composed at nocturnal hours. Their exchanges took on the quality of pen pals sending letters across great distances. This suspended sense of time is echoed in Nebular’s sound, with its feeling of temporal drift and timelessness.

On Nebular, Montgomery and Murphy have harnessed raw emotion and launched it into a time capsule bound for the stars. It allows you to drift, to be present, and to feel; creating something timeless.

TRACKLISTING

GRAMMY®-nominierter und mehrfach mit Platin ausgezeichneter Künstler Lukas Graham kehrt mit Good
Times zurück – einem folk-inspirierten Album voller großer Pop-Hooks und sehr persönlichem Songwriting.
Aufgenommen mit einer wechselnden Gruppe von Musiker:innen in Nashville und New York, zeigt das
Album Lukas, wie er sich stärker seinen irischen Wurzeln zuwendet und gleichzeitig dem lebendigen, farbenreichen, lyrischen, eingängigen und zutiefst leidenschaftlichen Sound treu bleibt, der seine Karriere
geprägt hat.

Farbige Neuauflage des zweiten Pastel Ghost-Albums "Ethereality" (2018), auf dem die US-Musikerin noch tiefer in ihre charakteristische Traumwelt eintaucht, in der schimmernde Synthesizer, schattenhafte Texturen und entrückte Vocals die Grenzen zwischen Erinnerung und Fantasie verschwimmen lassen. Das ebenso eindringliche wie hypnotische Album vermittelt eine schwerelose Melancholie zwischen Dreampop und Synthwave und entführt die Hörer in eine Welt, die sich zugleich intim und entrückt anfühlt.

„Legend“ von Clannad ist das mit einem BAFTA-Award ausgezeichnete und ikonische achte Studioalbum
der Band aus dem Jahr 1984, das als Soundtrack für die britische Kultserie „Robin of Sherwood“ diente. Das
Album fängt die mystische und atmosphärische Essenz der Serie auf eindrucksvolle Weise ein und verbindet
dabei traditionellen irischen Folk mit zeitgenössischen Klängen. Clannad sind bekannt für ihren ätherischen
und eindringlichen Musikstil; sie setzen eine Mischung aus akustischen Instrumenten, üppigen Harmonien
und Synthesizern ein, um eine reichhaltige, jenseitige Atmosphäre zu erschaffen. Die Bandmitglieder –
Ciarán Brennan, Máire (Moya) Brennan, Pól Brennan sowie die Geschwister Noel und Pádraig Duggan
– gestalten eine Klanglandschaft, die den Hörer in die sagenumwobene Welt von Robin Hood entführt.
Schlüsselstücke wie „Robin (The Hooded Man)“ und „Together We“ demonstrieren Clannads Fähigkeit,
Erzählung und Melodie nahtlos miteinander zu verweben, und spiegeln dabei den Abenteuergeist und die
Romantik der Robin-Hood-Legende wider. Der Einsatz von Máire Brennans ätherischem Gesang verleiht
der Musik eine bezaubernde zusätzliche Ebene und verstärkt so die mystische Qualität des Albums.

Media Puzzle is a mysterious figure in Lismore’s nightlife, named after the Irish horse that claimed victory in the 2002 Melbourne Cup (naturally). 

Over the last 3 years, Media Puzzle have churned out 3 scuzzy post-punk albums and 2 blisteringly short, and fun EPs. “Residing somewhere between Suicide’s dark melodies, and Uranium Clubs remote eccentricities”, the last two releases landed an exclusive vinyl feature in Rough Trade, and a solid 7.6 score from Pitchfork, praised for its “uncanny creativity that egg-punk weirdos love to tout”.

Having carved out a space between drum machine-riddled egg-punk and fuzzy scuzz-pop, their newest record is a departure from previous efforts, and it seems, a maturing…

After a year of DIY recording and touring, media puzzle grace the track with their 4th (and still somewhat speedy) album, “New Racehorse”. Ditching the previous drum machine-focused, egg-punk fashion.. This fourth album is the most collaborative yet, mixing oddball pop and garage punk.

Lido Pimienta is unafraid to explore the depths of her creativity. After last year"s La Belleza, a transcendent new album created in conversation with European classical music and her personal life - Lido steps into a new revolt rhythm. The trailblazing GRAMMY-nominee and Polaris-Prize winning multidisciplinary returns with a brand-new album Caribenya. The new album"s title is a playful portmanteau of the word "Caribe" and "Enya", a nod to the mysterious Irish singer Pimienta is a fan of. The esoteric figure of Enya has loomed over Pimienta, who listens to her music to concentrate while writing. Often compared to Björk and Natalia Lafourcade in part due to her scope, generation, and ambition of her work, Pimienta prefers to align herself with the legendarily reclusive ambient diva before anyone else. On Caribenya, Lido is a modern master of, is sharpened by her soaring vocals. It is an album that relies on joyous resistance, on the moments of escape on the dancefloors and beaches and living rooms of our loved ones as the world burns. An iconoclast who creates music and fine art drawn from her experience as a Caribbean woman from Colombia. Caribenya on vinyl and CD brings together the symphonic beauty of La Belleza and the hypnotic propulsion of Caribenya available together for the first time exclusively on physical formats.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

Newly signed to EMI Records, seven-piece boyband December 10 are ushering in a new era in pop music. Formed on camera during Netflix’s Simon Cowell: The Next Act (released globally on 10 December 2025), the hugely fun, utterly joyful, incredibly charismatic, often rambunctious and completely endearing group consist of Cruz (20), Danny (17), Hendrik (19), John (17), Josh (17), Nicolas (17) and Seán (19).

Within weeks of the series airing, the pace was relentless. December 10 sold out their Introducing! run of live dates across the UK and Ireland, adding extra shows twice in response to demand before all 13 dates sold out within minutes; built a huge online following, with millions of followers across social media; and released their debut single “Run My Way” on 30 January 2026.

Since then, the band have released the singles “Infinity (123)” and “Angel”, landed in the Official UK Top 10 best-selling vinyl singles of 2026 so far, and made their festival debut at Ultra Teens Fest Japan, performing to a crowd of more than 12,000 fans.

Summer 2026 will see December 10 embark on their headline UK and European tour, December 10: The Next Step, (which kicks off in Amsterdam on 26 June and wraps up in Dublin on 21 July,) release their debut EP, On Your Side, on 10 July, and make appearances at Summer Sonic Festival in Japan and Reading & Leeds Festival in the UK.

They’re not just brilliant singers, but accomplished musicians too, playing 14 instruments between them: Nicolas plays guitar and harmonica; Danny plays guitar; Josh plays guitar, cajón and drums; Hendrik plays guitar, bass and piano; Seán plays guitar, piano and harmonica; while John was due to take Grade 8 clarinet and piano this year - until life got a bit busy.

December 10 are very much a boyband for our times: a truly inclusive group representing Chorley, Rochester, Dublin, London, Lisbon and Walsall, with Irish, Brazilian, Indian, Nigerian and Jamaican heritage between them, and musical influences that are just as expansive.Pre-order our debut EP ‘On Your Side’ now!

Get your hands on the new mint green vinyl!

Mint Green Vinyl with printed inner lyric sleeve

Das Debütalbum „Thin Lizzy“ der irischen Rockband Thin Lizzy erschien am 30. April 1971. Im August
desselben Jahres folgte die EP „New Day“, produziert und aufgenommen von Nick Tauber in den Decca
Studios.
Diese Deluxe-CD- und LP-Veröffentlichungen zum 55. Jubiläum von Thin Lizzys Debütalbum enthalten
Raritäten, BBC-Sessions und bisher unveröffentlichte Musik Richard Whittaker hat einen neuen Stereo-Mix
des Albums erstellt, der auf der CD sowie in den 2-LP-Versionen enthalten ist.
Die 4-LP-Version enthält das Album sowie drei CDs mit seltenem Material, von dem einiges zum ersten Mal auf Vinyl erscheint.
Auf dieser LP haben Thin Lizzy alles in ihre Musik gesteckt und sind dabei Risiken eingegangen. Die
LP ist leidenschaftlich, energiegeladen und unverwechselbar. Die 3-CD-Version enthält ein Blu-ray-Boxset
sowie ein Hardcover-Buch mit ausführlichen Liner Notes von Mark Blake von Mojo und Erinnerungsstücke.

Das Debütalbum „Thin Lizzy“ der irischen Rockband Thin Lizzy erschien am 30. April 1971. Im August
desselben Jahres folgte die EP „New Day“, produziert und aufgenommen von Nick Tauber in den Decca
Studios.
Diese Deluxe-CD- und LP-Veröffentlichungen zum 55. Jubiläum von Thin Lizzys Debütalbum enthalten
Raritäten, BBC-Sessions und bisher unveröffentlichte Musik Richard Whittaker hat einen neuen Stereo-Mix
des Albums erstellt, der auf der CD sowie in den 2-LP-Versionen enthalten ist.
Die 4-LP-Version enthält das Album sowie drei CDs mit seltenem Material, von dem einiges zum ersten Mal auf Vinyl erscheint.
Auf dieser LP haben Thin Lizzy alles in ihre Musik gesteckt und sind dabei Risiken eingegangen. Die
LP ist leidenschaftlich, energiegeladen und unverwechselbar. Die 3-CD-Version enthält ein Blu-ray-Boxset
sowie ein Hardcover-Buch mit ausführlichen Liner Notes von Mark Blake von Mojo und Erinnerungsstücke.

Known to many a canny Bandcamp digger through his excellent Lost Acid series of digital albums, Jim Thompson is a London based producer, skater & graphic designer. His debut vinyl release came last year on Ooze Records, run by Laurence, an estimable selector based in the excellent Palace Records store in Brixton.

The release caught the attention of System One head D. Howard who followed the trail & found High Score Table from Jim’s Glytek Audio album, a thoroughly captivating mid tempo acidic chug with aching pads & an old school charm; exactly the kind of track that needs to be played on vinyl at an after hours in a basement.

A conversation began, pints were downed & the idea was spawned; lets make a killer ep with another Glytek cut, The Hollow Tree, 2 phenomenal new cuts - the muscular sub acidic tweaker Cruiser and Numerology, a late night trippy gem - and 2 remixes including top tier Irish electro don, Cignol, who has made some of the finest cuts to grace the System One basement over the last few years.

An accomplished video producer, Jim has made videos to every track, stand by for these, the first one for the CIgnol remix drops May 22 & its a peach ! System One is a new label dedicated to soulful electronic music, late night grooves & intergalactic beats, drawing its inspiration from the early 90s techno & ambient sounds of Uk, Frankfurt, Detroit & beyond

Mark Jenkin, the BAFTA Award winning director, editor, screenwriter, cinematographer and musician, presents the score to his new film, Rose of Nevada on Invada Records. Unique among British feature filmmakers for the analogue way in which he crafts his films - all three feature films have been shot on 16mm using a Bolex clockwork camera – as well as his multifaceted roles as the writer, director, director of photography and editor of the film, once more he is responsible for handling the sound design and composing the original score.

The new score mirrors the techniques employed in the film, with analogue synthesisers drawing the listener into nebulous hypnotic tones and delicate movements.
Composed, produced, engineered and performed by Mark Jenkin using synthesiser, guitar, percussion and loops & effects, the environmental recordings remind us of the context in which the music was originally borne, but as the score ebbs and flows between ambient tranquil seas and crashing storms, it affirms its presence as a powerful stand-alone piece of work.
The score’s physical release follows the Cornish director’s third feature film: the time-travelling Rose of Nevada cinematic release in UK and Irish cinemas on 24 April, with a BFI Blu-ray and BFI Player release in the summer.

Der Soundtrack zur irischen Komödie ""The Spin"" (2024) in der Regie von Michael Head, der zahlreiche Auszeichnungen bei diversen unabhängigen Filmfestivals von Belfast über Chicago bis Toronto gewann und auch auf dem Filmfest Bremen lief. Die Originalmusik wurde von Mark McCausland (McKowski) komponiert und produziert und enthält Gastbeiträge von: Howe Gelb, Jolie Holland, John Parish, Nick Power, Dave Murphy, Pieta Brown, Dead Goat, Steve Wickham, Gemma Doherty, Laura McFadden, Brenock O’Connor und Drew McConnell. Die LP erscheint auf farbigem Ecomix-Vinyl, bei der jedes Format ein Unikat ist.

Originally released on Umor Rex on cassette a year ago, “El Sol de los Muertos” deeply shaped the evolution and vision of Mexican producer Concepción Huerta’s sonic work, becoming a reference point for a kind of experimental sound deeply connected to Latin American critical thought. This is the second album in a series of four special, limited reissues to be released in 2026 to mark the 20th anniversary of Umor Rex.

Crafted entirely through subharmonic structures and tape manipulation, “El Sol de los Muertos” stands as Concepción Huerta’s most abrasive and emotionally charged work to date, rooted in drone, musique concrète, and visceral textures. The album reflects on dispossession, extraction, and colonialism, while connecting deeply with Latin American critical thought and Indigenous resistance across the region. Inspired in part by Eduardo Galeano’s work, it is not a manifesto, but an invitation to reflection, memory, and vigilance against the enduring forms of fascism and colonialism.



Recorded by Concepción Huerta in 2024 between Berlin, The Hague, and Mexico City. Original master and remastered for vinyl by Rafael Anton Irisarri at Black Knoll Studio, New York. Volcano photography by Magaly Ugarte. Design by Daniel Castrejón in Mexico City.

Back to Titanic is the second soundtrack album released for the ultimate classic film Titanic. Composer James Horner created a new suite of light and dark music to represent "the soul” of his original score. The inspiration used in composing the original soundtrack formed the basis for the new pieces Horner developed for this album. It features a piano solo performed by James Horner in “The Portrait” and newly recorded suites by the London Symphony Orchestra and the Choristers of King's College.

The first highlight is the opening 19-minute suite, "Titanic Suite", which captures the essence of the film. The other major suite is the final track, titled “Epilogue - The Deep and Timeless Sea”. James Horner returns to the main Titanic theme in a subtle way, honoring the losses of the disaster.

The soundtrack of Back to Titanic is available as a limited edition of 1500 individually numbered copies on violet vinyl. The records are packaged in a deluxe sleeve finished with linen laminate and includes a 4-page booklet with liner notes by director James Cameron.

Recollections VII-VIII marks the fourth in a planned series of 7” releases, each built from Glonti’s expanding archive of Soviet-era recordings. The artwork by Dmytro Nikolaienko (Day Night) once again reflects the utilitarian aesthetic of Soviet-era record design.

In 2018, Glonti started collecting LPs of Soviet-era Georgian composers at Tbilisi’s “Dry Bridge” flea market.The records mostly consisted of classical and chamber music released on Melodiya, the singular, state owned record label of the USSR. It was through this process that the idea of Recollection was born, as Glonti aimed to create an album that would utilize samples from his growing collection.

Under the mentorship and executive production of Grammy-winning hip-hop producer 9th Wonder (Jay-Z, Destiny's Child, Kendrick Lamar) come North Carolina's fastest-rising hip-hop duo! THE ZENITH is produced entirely by 9th's daughter JADA and includes 15 tracks of lyrical raps from Fayetteville's own S14H over JADA's smooth sampling.
With features from established and revered hip-hop acts such as Murs and Swank & King Draft as well as from fellow members of THE COLLECTIVE, KMac, Carri Starr, and Iris Moon, THE ZENITH is living proof that the soul of lyrical hip-hop lives on in the next generation through artists like JADA X S14H.

Irish band Dea Matrona return with their second album, Hate That I Care. Darker and more emotionally intense, the record finds Mollie McGinn and Orláith Forsythe coming into their own, embracing alt-rock with a sharpened edge. Written with a deeper awareness of the world around them, Hate That I Care explores desire, rebelling against expectations and the complicated process of self-discovery.

Transparentes blaugrünes Vinyl mit O-Card. Oliver Coates' Original-Soundtrack zu Pillion (dt.: Sozius"), einem britisch-irischen Spielfilm von Harry Lighton aus dem Jahr 2025. Der Liebesfilm handelt von einem schüchternen jungen Mann, der sich auf eine unterwürfige SM-Beziehung mit einem älteren Motorradfahrer einlässt.

Reissued! Transcendence through repetition beamed via an aesthetic vision steeped in mystery: welcome to the world of Newcastle-Upon-Tyne's Smote, an entity opening up uncanny new psychic pathways. `Genog' - the outfit's second release on Rocket Recordings following 2021's eerie transmission `Drommon' - shows that Smote's elliptical casting of bleak magick is only growing more powerful as it gathers momentum. The brainchild of Daniel Foggin, Smote has evolved seemingly of its own volition. "I had the idea for years" he relates, "I love Pärson Sound, Träd, Gräs Och Stenar, Traditional Irish Folk and all sorts of different Drone and Folk music. It was simply finding the opportunity to sit down and get recording. A very heavy influence that affects Smote is fantasy as a genre, and the atmosphere that can be created via story-telling." The musical approach of Smote may have started out as a resolutely DIY one, yet from the humble origins of bedroom and rehearsal room recordings, the band has now become a full-fledged and powerful live band, whose appearances at festivals like Roadburn, Le Guess Who and Brave Exhibitions have already caused a considerable stir.The five vivid extrapolations on Genog conjure differing spiritual realms, yet combine and coalesce to offer one unified vision, building furious momentum in a manner that unites the pastoral with the arcane and otherworldy. Earthy, ritualistic and richly cinematic in aspect, Genog is an avatar guiding the listener to dark and beguiling imaginary landscapes. 2026 bone colour vinyl repress

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

'The Endless Dance' is the first collaborative album from Northern Irish producer and composer Hannah Peel and Chinese percussionist Beibei Wang. The record is grounded in the strength of ancient concepts, but comes alive with the joy and freedom of play as together, Peel and Wang travel through the 24 solar terms of the Chinese calendar with a cornucopia of sound in tow – synths and prepared piano alongside traditional and unconventional percussion.

The album is collaged together from recordings made over five days at legendary rural studio Real World, a setting which aligned with the duo’s inspiration from the natural world creating a permanent record of their shared musical landscape, informed by the flora and fauna that emerge and retreat through the seasons.

Both genre-defying, storied artists in their own right, Peel and Wang met while working on Manchester Collective’s 2023 album NEON and 'The Endless Dance' certainly represents a step-change from the duo’s shared classical backgrounds – but their knowledge and training is also the foundation of its freewheeling audacity, giving them the confidence to trust their instincts.

The album is produced by Mike Lindsay LUMP, Tunng, Guy Garvey, Jon Hopkins who, with free rein, brings added energy and creativity to the album, whilst Peel & Wang are also joined by Hyelim Kim on Daegeum, a Korean flute with “colourful overtones on every note”.

Track to track, 'The Endless Dance' is unpredictable and unexpected, which is in part due to the genuine curiosity and outside perspectives that each player brought to the sessions. “I am so familiar with Chinese heritage, but I don't see how it can present in electronics, for instance,” says Wang. “Hannah comes in with that direction, to imagine what the sounds could be together.” The characterful richness of the album stems from the commonalities they found in the sessions. “We both come from cultures where story is really important,” explains Peel. “The attention to detail comes from telling a story, and one note can set that off in a different direction.”

'The Endless Dance' is a major work from two accomplished, singular artists - but it’s also the sound of mutual curiosity and shared fun, or as Wang puts it: “Two women talking in totally different language that had a wonderful chat.”

Seit über 30 Jahren ist Simon Joyner eine Ausnahmeerscheinung - ein vollkommen unabhängiger Künstler, der sich ganz auf sein Handwerk konzentriert. Der in Omaha lebende Singer-Songwriter veröffentlichte Anfang der 90er Jahre erstmals Musik und ist seitdem seinem Weg treu geblieben. Joyners Songs voller stiller Freude und Herzschmerz haben verschiedene Generationen von Künstlerkollegen geprägt und zeigen sich als offensichtlicher Einfluss bei Acts wie Bright Eyes oder Kevin Morby sowie als Anklänge gemeinsamer Perspektiven bei den nachfolgenden Lenkers, Oldhams und Molinas. "Tough Love", Joyners 19. Studioalbum, setzt diesen Aufwärtstrend fort. Obwohl es untrennbar mit der persönlichen Trauer von "Coyote Butterfly" aus dem Jahr 2024 verbunden ist - dem autobiografischen Album, das Joyner nach dem Tod seines Sohnes aufgenommen hat - erforscht dieses neue Album das Konzept der ,tough love" als Dichotomie, die auf verschiedene fiktive Beziehungen angewendet wird, darunter romantische, familiäre und politische. Dieser Balanceakt zeigt sich in lebhaften Schilderungen alltäglicher Herzensschmerzen und in der Auseinandersetzung mit politischer Wut und dem Verrat am amerikanischen Traum. Eines der Wunder von Joyners Werk ist, dass sich seine Muster nicht wiederholen, sondern wandeln. Anspielungen auf Cohen, Dylan und die Velvets sind seit den frühen Lo-Fi-Tagen Teil seines Songwritings, doch die Art und Weise, wie diese Vorbilder einfließen, verändert sich ständig. Während Joyners raue Akustiksongs im Rampenlicht stehen, werden sie von E-Gitarren angestachelt und sind von experimentellen Tendenzen durchdrungen. Die Rocksongs bilden einen Mittelweg zwischen minimalistischen Grooves, die von Velvet Underground der Loaded-Ära übernommen wurden, und der ekstatischen rhythmischen Verrücktheit von Can. Wenn wir beim vorletzten Track, ,Anniversary Song", angelangt sind, haben die geisterhaften Vocals und die Scratches des mikrotonalen Synthesizers die Grenzen zwischen Joyners Folk-Sänger-Herz und seinem Avantgarde-Geist verwischt. All das mündet in den 20-minütigen Titeltrack, der "Tough Love" abschließt - ein erschütternder Sturz in einen scheinbar bodenlosen Abgrund aus Reue, Überlebensschuld und unverblümter Trauer. Er leiht sich eine repetitive Struktur aus Lou Reeds erzählter Suite ,Street Hassle" und kombiniert sie mit dem seitenfüllenden Zeugnis von Dylans ,Sad-eyed Lady of the Lowlands", Joyner erzählt dazu aus der Perspektive seines verstorbenen Sohnes, der zu seinem Vater spricht, all seine Fehler darlegt und schonungslos hervorhebt, dass nichts davon rückgängig gemacht werden kann. Bald jedoch öffnet sich diese Qual zu etwas Transzendentem, sowohl in ihrer eleganten Bildsprache als auch in ihrer ätherischen Atmosphäre. Die letzten Momente des Albums gewähren die Erlaubnis zur Selbstvergebung und hoffentlich eines Tages auch zum Verständnis. Dieses kathartische Ende bringt all die verworrenen Gefühle, die sich durch "Tough Love" ziehen, auf den Punkt. So wie Joyner das Songwriting aus ungewöhnlichen Blickwinkeln angegangen ist, die sich jedes Mal ändern, wenn er zur Gitarre greift, um ein neues Album aufzunehmen, so verändert sich auch auf "Tough Love" seine Beziehung zu Trauer, den alltäglichen Kämpfen und dem ewigen Streben nach etwas Besserem.

Dead Calm is a band from Liam McCay... a young, prolific Irish musician from County Donegal, known for creating music under numerous aliases, most notably Sign Crushes Motorist, Dead Calm, and Take Care, exploring genres like slowcore and indie rock with poignant, introspective, and often melancholic themes, gaining significant online traction while maintaining a low-key, hobbyist approach to his rapidly growing career. He began with the fiddle, pivoted to guitar during the pandemic, and has since released extensive work, even turning down record deals to keep his creative process personal.

Dead Calm is a band from Liam McCay... a young, prolific Irish musician from County Donegal, known for creating music under numerous aliases, most notably Sign Crushes Motorist, Dead Calm, and Take Care, exploring genres like slowcore and indie rock with poignant, introspective, and often melancholic themes, gaining significant online traction while maintaining a low-key, hobbyist approach to his rapidly growing career. He began with the fiddle, pivoted to guitar during the pandemic, and has since released extensive work, even turning down record deals to keep his creative process personal.

Originally released in 2014 on cassette and digital only, Till Human Voices Wake Us was the first album by the Iranian artist on Umor Rex. It became a key work in our catalog, and now, 12 years later, it is available on vinyl for the first time. This is the first in a series of four special, limited reissues to be released in 2026 to mark the 20th anniversary of Umor Rex.

Till Human Voices Wake Us comprises ten tracks with a clear and carefully structured script, based on poems by T.S. Eliot, highlighting Siavash Amini’s work as a composer for theater, film, and art exhibitions. His music deliberately leans toward ambient expressions, at times recalling Morricone’s Western film scores. The interplay between synthetic and digital elements, together with multilayered, soul-healing electric guitar passages, creates an opulent sonic texture that moves between dramatic and melancholic moments with a finely constructed, fluid dynamism.

There is an emotional depth in each piece, guided by tonal variations and shifting textures that turn the music into a mental journey, with landscapes, a sense of cold resolution, and the quiet inevitability of an ending. Till Human Voices Wake Us was Amini’s first album on a non-Iranian label. Following this release, he has also published work, in addition to Umor Rex, on labels such as Room40, Hallow Ground, and Opal Tapes, among others, and is now considered one of the most prominent figures in Iran’s experimental music scene.

All music by Siavash Amini. Original master by Nicholas Szczepanik. Remastered for vinyl by Rafael Anton Irisarri. Artwork by Daniel Castrejón.

"Already established within Iran’s music scene, Siavash Amini has crafted a powerful signature sound that blends meticulously assembled ambient synthesis with languid electric guitar melodies, recalling Lanois and Eno’s classic Apollo." — THE QUIETUS (Tristan Bath)

Seit ihrer Gründung im Jahr 2016 haben die Londoner High Vis ihre Palette an progressivem Hardcore mit Nuancen von Post-Punk, Brit-Pop, Neopsychedelia und sogar Madchester-Groove verfeinert und einen Mittelweg zwischen Hooks und Wut, Melodien und Moshpits gefunden. Sänger Graham Sayle beschreibt ihr drittes Album Guided Tour als eine Achse der konkurrierenden Kräfte: "Es versucht, eine hoffnungsvolle Platte zu sein, während es gleichzeitig wütend macht." Die Band, die von Schlagzeuger Edward 'Ski' Harper, Bassist Jack Muncaster und den Gitarristen Martin MacNamara und Rob Hammaren komplettiert wird, ist tief in der britischen und irischen DIY-Hardcore-Szene verwurzelt und wird von Rastlosigkeit und rechtschaffener Wut gleichermaßen inspiriert. Die 11 Songs des Albums umfassen das gesamte Spektrum zeitgenössischer Gitarrenmusik, die durch Erfahrung, Kameradschaft und gesellschaftliche Frustrationen geschärft wurde. Von schwungvollem Streetpunk ("Drop Me Out", "Mob DLA") über schrillen Indie-Spott ("Worth The Wait", "Deserve It") bis hin zu Heavy Alt ("Feeling Bless", "Fill The Gap") und shoegazeartigem Spoken Word ("Untethered") - die Chemie der Gruppe verwandelt jeden Stil in ihre einzigartige Intensität.

Mit weltweit über 55 Millionen verkauften Tonträgern, 14 Nummer-1-Singles und sieben Nummer-1-Alben feiert die irische Band Westlife ihr über 25-jähriges Bestehen mit der Veröffentlichung von "25 - The Ultimate Collection", einem Rückblick auf ihre gesamte Karriere.
Diese Vinyl-Edition enthält Hits aus allen Schaffensphasen sowie zwei brandneue Titel, die speziell für dieses Jubiläumsprojekt aufgenommen wurden.

This isn’t a compilation—it’s a vinyl conversation between cities, generations, and musical bloodlines. This inaugural release embodies the spirit of collaboration, community, and cross-generational artistry that defines each artist’s deep musical legacy.

A statement on wax bringing together Glenn Underground, Coflo, Jon Dixon, Kevin Reynolds and sillygirlcarmen, this four-song project documents the shared language of five Artists through deep house, jazz roots, and forward-looking soul. Though these artists have shared DJ booths and dance floors around the world, this release marks a rare moment where their creative voices intertwine on wax. Each track stands on its own, but together they form a continuum—past, present, and future etched into wax. Pressed with intention and made for real systems, this release exists for the heads, the selectors, and anyone who still believes vinyl is where the story lives. Meant to be played—not archived. The kind of tracks that feel alive in the room and grow every time you hear them.

‘Ease’ EP tracks:
Glenn Underground ‘Dive (Into The Deep)’; the Chicago legend & Strictly Jaz Unit co-founder combines deep house, freeform jazz & soul, here in a jazz-infused, laid-back, hypnotic melange of house beat, synth chord riff, rippling arps, with a whisper of disco in the bassline and 80’s electro in the high, singing strings.

Coflo x sillygirlcarmen ‘Never Forget (That Feelin’)’; East Bay CA-based Coflo combines Hawaiian & Portugese roots with a global reach. A collaborative skipping house beat, pattering percussion & melodic jazz synth piano embrace sillygirlcarmen’s soulful voice and heartfelt lyrics. This collaboration marks a merging of emotional storytelling and percussive sophistication.

Jon Dixon ‘Saturday At Northland’; Detroit’s modern jazz & techno fusionist, rooted in long study and prestigious performance of classical & jazz piano both in orchestral and electronic contexts, employs his keyboard virtuosity in a thrilling wave of melodic piano improvisation & complex lively percussion, combining sheer craft with spiritual heft.

Kevin Reynolds ‘I Got Music’; from an Irish/US Detroit family, producer/live artist Reynolds blends techno, jazz, soul, from influences as diverse as 90s underground techno, Kraftwerk & John Coltrane, and roles/performances in multiple prestigious venues & positions. Here, a stealthy beat & Kraftwerk-evoking robotic electro synth theme are joined by a dual vocal used as a riff, while clusters of piano chords flower into jazz motifs.

After their last album six years ago, "Primal Forms," the new album by Phantom Horse, finally arrives. The German duo of Ulf Schütte and Niklas Dommaschk have long established a reputation for expertly crafted, hypnotically slow-burning electronic music, and we do not hesitate to say that "Primal Forms" stands among the epitomes of their discography.

The sequencing of "Primal Forms" cannot be underestimated. It is an album in the classic sense. It demands to be listened to in its entirety, which also points to a closer affinity with Krautrock. Likewise, a touch of dub is perceptible, wafting around the songs, which, as usual, bear clandestine titles. It is not unreasonable to see in these compact compositions a clear statement against multitasking.

Phantom Horse are not trumpeters of dystopia. They present themselves resolutely, almost stoically, turned away from the world. This turning away is clearly a statement that can be contemplated in the Mariana Trench as well as in comet belts. In any case, it is best experienced in a space without any human beings. This does not mean that grumpy hermits are tinkering with synths behind closed shutters, armed with wooden walking sticks. This is still open minded music with a connection to current developments. The approach itself is what is audible, and with it, Phantom Horse proves once again that their main connection to time is timelessness.

In an age of all-encompassing distraction on every sensory, thematic, and semantic level, Phantom Horse explores the possibilities of reduction, searching for simplified melodic arcs without resorting to the vocabulary of classical minimalism. The overall impression is more electronic; the slowly shifting, polyrhythmic compositions repeatedly lead to a peculiar danceability. However, these are perhaps the dances of mechanical birds, undeterred by anything.

Written and produced in Hamburg, Nijmegen and Ojén by Niklas Dommaschk & Ulf Schütte
Mastering by Rafael Anton Irisarri at Black Knoll
Artwork by Daniel Castrejón

Teenage Drug is the second studio album by the Irish indie-punk band Sultans of Ping F.C, originally released in 1994. The album continues the band's established sound across its 14 tracks, focusing on tight song structures and arrangements.

The album builds on the band's energetic indie-punk style, with sharp guitar riffs and songs containing the band's playful approach to lyrics. It features the singles "Teenage Punks", "Michiko" and "Wake Up And Scratch Me" and established the band's presence in the mid-1990s Irish and UK indie scene.

Teenage Drug is available as a limited edition of 1000 individually numbered copies on translucent blue vinyl and includes an insert.

“III” is an intimate, cinematic and dream-like body of work — written, produced and mixed by Morita Vargas, and recorded in Buenos Aires between 2014 and 2025. The album was mastered by Rafael Anton Irisarri at Black Knoll Studio (NY), adding depth and clarity to its carefully built sonic landscape.

The visual world of the record is an essential part of the release. The cover artwork was crafted by Juliana Guglielmi, Ariadna Aylen Barrios, and Noelia Garreffa, whose combined vision creates a unified visual narrative that reflects the album’s emotional depth and atmospheric essence. The LP layout and full manufacturing realization were carefully executed by Ilja Tulit, translating the complex design ideas into their final tangible form of a vinyl release.

“III” marks a special release for Hidden Harmony Recordings. Morita Vargas was among the first artists released when the label began in 2020–2021, and her work played an important role in shaping the spirit and direction of Hidden Harmony.