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Nachdem das Alternative Rock Trio LOST ZONE aus Norditalien mit ihrem Debütalbum „Reslilience“ & der Deluxe Version „Resilience – Full Circle“ schon einen ersten kleinen Achtungserfolg landen konnte, kommt mit "Ordinary Misery" ein ein neuer Longplayer, dass sich mit seinen Elementen aus Moder-Metal & Alternative-Rock, nahtlos an die Vorgänger anschließt.
"Ordinary Misery" ist mehr als nur Musik; LOST ZONE fassen die „alltäglichen Bad News“ mit denen sich jeder von uns leider oft kommentarlos auseinandersetzt und einfach hinnimmt, zusammen und nehmen den Zuhörer mit in diese Stimmungen und Gedanken. Von aggressiven Shouts und Moshparts, bis hin zu ruhigeren Klängen zeigen LOST ZONE, wie moderne Rockmusik klingen kann!
Darüber hinaus verleihen die einzigartigen Gastfeatures dem Album eine zusätzliche Dimension, die es von anderen abhebt. Ob mit dem Berliner Crossover Act BLUTHUND oder Philip Wilhelm von Post-Hardcore Act FROM FALL TO SPRING.
"Ordinary Misery" ist erhältlich als CD, limitierte Vinyl für Sammler und natürlich als digitales Erlebnis für unterwegs.

Debut album from Italian trio of Gabriele Mitelli, Pasquale Mirra, and Cristiano Calcagnile, longstanding members of the Italian jazz community who over the past ten years have collaborated in various formations with the likes of Rob Mazurek, Jeff Parker, Alexander Hawkins, Damon Locks, Danilo Gallo, Chad Taylor and many others.

The Elephant was first formed in 2017 with one of their first performance at the Venice Biennale, within the French Pavilion as part of the opera set up by Xavier Veilhan. Since then the trio has continued to work together across different projects but never made enough time to record a full project.

This changed in 2023 and In The Room presents the trio's vision for jazz with an intimate collection of musical polaroids that reflect the expressiveness and potentiality of the music they love.

The album features vocals from Cristina Donà, Damon Locks, and Rob Mazurek.

This Is Street Funk” is part of a new series aimed at vinyl buyers who want a genre specific compilation to excite their ears. They will appeal to long-standing, discerning music acolytes and recent converts alike. Two sides of fantastic music, at an affordable price, hand-picked with TLC from Ace and its associated catalogues.

Compiled by Dean Rudland, who also writes the liner notes, “This Is Street Funk” brings you 14 tracks of hard hitting, heavy funk, and sums up the sound of 70s Black America. A combination of fatback drums, syncopated bass, rhythmic guitars and explosive vocals.

The line-up of tracks includes classics from the Fatback Band and Millie Jackson, dancefloor favourites from Billy Garner and Billy Sha-Rae and screaming organ instrumentals from the Fame Gang and Larry & Tommy.

This is fourteen tracks that defy you to start dancing.

Black Truffle is thrilled to announce a major archival release from legendary American composer and live electronics innovator Richard Teitelbaum, centred around his soundtrack for Suzan Pitt’s cult 1978 animation Asparagus. Best known to some listeners for introducing Europe to the Moog synthesizer as a founding member of Musica Elettronica Viva in Rome, Teitelbaum’s extensive and radically experimental body of work includes collaborative recordings with master improvisers like Anthony Braxton, Andrew Cyrille and George Lewis, intercultural experiments combining electronics with non-Western instruments such as the shakuhachi, works for computer controlled piano, and large-scale multi-media operas. Recorded at York University, Toronto in 1975–1976, ‘Asparagus (European Version)’ sprawls across both sides of the first LP. Discovered by composer Matt Sargent in Teitelbaum’s tape archive, this is a previously unheard major work for Moog modular and Polymoog synthesizers, unique in Teitelbaum’s oeuvre for its lushness and gently melodic quality. The music unfolds slowly, submerging lyrical melodies and burbling arpeggios into uneasy, glacially shifting harmonic swells, the luscious texture thickened with subtle changes of modulation and phase, calling up the shifting layers of Costin Miereanu’s classic Derives or the kosmische Musik tradition more than any academic synthesizer exercise. Teitelbaum incorporated much of this material into his soundtrack for Suzan Pitt’s Asparagus, which receives its first official release here. Asparagus, famously paired with David Lynch’s Eraserhead for a two-year run of midnight screenings at New York’s Waverly Theatre, uses hand-drawn and stop animation to unfurl an oneiric succession of images, beginning with a sequence in which the female protagonist defecates two stalks of asparagus, which multiply and float out of the toilet bowl to form the letters of the title. Teitelbaum’s soundtrack interweaves delicate drifting tones from the ‘European Version’ with contributions from Steve Lacy and Steve Potts on saxophones, George Lewis on trombone and Takehisa Kosugi on violin. Edited closely to the film, even without images the soundtrack proposes a surreal journey through floating synth tones, squealing horns, propulsive arpeggios, distant chatter, and an old-timey waltz. The final side of the set presents a new realisation of Teitelbaum’s text score ‘Threshold Music’, performed at a memorial concert at Roulette, New York in 2022 by Leila Bourreuil (cello), Alvin Curran (sampler and objects), Daniel Fishkin (daxophone), Miguel Frasconi (glass objects) and Matt Sargent (lap steel). The piece asks musicians to match their instrumental volume to that of the sounds of the environment in which they play, sometimes with the addition of recorded environmental sounds, reinforcing frequencies they encounter in listening deeply to their surroundings. Here the players use a field recording taken at Teitelbaum’s home in Bearsville, New York, their long tones and shimmering, glassy textures delicately emerging from the white noise of the location recording. Released with the full approval of both Richard Teitelbaum and Suzan Pitt’s estates, Asparagus is illustrated with striking images from Pitt’s film and accompanied by detailed liner notes by Francis Plagne. These previously unheard pieces shed new light on the work of a key composer in the American experimental tradition, offering up some of Teitelbaum’s most beautiful and engaging music.

Convinced Friend is the musical project of singer-songwriter Austin Wilson. Originally from an oilfield town south of New Orleans, he relocated to New England in 2018 which led to a renewed commitment to songwriting. The result is a collection of largehearted indie rock songs. From the motorik pulse of album opener “White Collar’’ dissecting the alienation of modern work and wellness, to the dusky waltz of “Safeway’’ addressing lingering questions of long-term commitment, to the pensive and layered arrangements in “Open Bloom” and “When I Go”, the album incorporates a wide swath of dynamics centered on lush guitar work and a clear lyrical voice and resolve. RIYL: Pedro The Lion, Jose Gonzales, Jason Molina, Red House Painters.

The vinyl is pressed as a cream disc.

Convinced Friend is the musical project of singer-songwriter Austin Wilson. Originally from an oilfield town south of New Orleans, he relocated to New England in 2018 which led to a renewed commitment to songwriting. The result is a collection of largehearted indie rock songs. From the motorik pulse of album opener “White Collar’’ dissecting the alienation of modern work and wellness, to the dusky waltz of “Safeway’’ addressing lingering questions of long-term commitment, to the pensive and layered arrangements in “Open Bloom” and “When I Go”, the album incorporates a wide swath of dynamics centered on lush guitar work and a clear lyrical voice and resolve. RIYL: Pedro The Lion, Jose Gonzales, Jason Molina, Red House Painters.

SKRAECKOEDLAN - four bearded Swedes who's forged their unique sound of progressive stoner rock in the cold northern forests. Previous album Earth was a massive domestic success as it hit the hard rock charts in Sweden. We expect SKRAECKOEDLAN to continue growing as new fans discover Vermilion Sky, out after five years of silence. Five years. Is that a long time to wait? Generally speaking, yes. Probably. Well, maybe. Time is after all relative, so there surely isn't a fail-safe answer.

SKRAECKOEDLAN - four bearded Swedes who's forged their unique sound of progressive stoner rock in the cold northern forests. Previous album Earth was a massive domestic success as it hit the hard rock charts in Sweden. We expect SKRAECKOEDLAN to continue growing as new fans discover Vermilion Sky, out after five years of silence. Five years. Is that a long time to wait? Generally speaking, yes. Probably. Well, maybe. Time is after all relative, so there surely isn't a fail-safe answer.

Diggin In The Crates (D.I.T.C.) was born out of a group of artists who began making noise in the late ‘80s and into the next decade and beyond—namely Lord Finesse, Diamond D, and Fat Joe. After well-received albums, an official, wider collective was founded that also included O.C., Big L, Buckwild, and producer-rapper combo, Show & A.G. (originally known as Showbiz & A.G.).


The crew proceeded to drop a run of sublime records, including Show & A.G.’s Soul Clap EP (1992), their full-length debut Runaway Slave (1992), followed by Goodfellas in 1995. Show & A.G.’s next project, Full Scale, arrived in 1998 and featured appearances from O.C., KRS-One, Big Pun, the Ghetto Dwellas and verses from members of D.I.T.C. including Diamond D, Big L and Lord Finesse.


In 2002 a CD version titled Full Scale LP (using the same artwork) was released with 10 additional tracks which had originally been released on various 12" singles and projects in the late 1990s. The project had never been released on vinyl in its entirety – until now.
Production on Full Scale was handled by Showbiz and A.G. except for "Time To Get This Money" which was produced by long-time collaborator Ahmed, and "Hold Mines" and "Hidden Crates" which were produced by DJ Greyboy.


The assortment of guest features doesn’t detract from A.G., a masterful emcee with a no-nonsense style that is simple but impactful. Full Scale follows the tried and true blueprint from Show & AG’s earlier classics cementing its place in hip hop history.

LIVERPOOL’S LONG LOST 90’s INDIE ROCK NOISEMAKERS. COMPILING THREE SINGLES AND UNRELEASED TRACKS. “If these guys were American they’d have a massive following” STEVIE CHICK. Back in the 1990's PLAYHOUSE were Liverpool's premiere 'honey souled indie rock band' (NME, 1997). They had a devoted following around the country after supporting the likes of Sleater Kinney, Unwound, Penthouse, Pavement, Sebadoh, Feeder and Gary Numan. With three 7" singles under their belt and support from the NME and John Peel, the band were due to record their debut album until disaster struck when the drummer, Simon, broke his leg in a bizarre incident. Simon later went on to play with the rock band - Black Spiders and now performs under the name of Blobb Ross. Singer and guitarist Pete continues to write songs, over a 1000 at this point. He is Liverpool's most prolific and enigmatic figure, writing some of the most beautiful songs around. Bassist Jason went on to perform with Mugstar, Sex Swing, Klamp, Domes, Twin Sister & JAAW. 'Dynamo' compiles the three singles they released, alongside unreleased tracks, including a cover of Sebadoh's 'It's So Hard To Fall in Love'

Cookin’ is the first of four albums derived from the Miles Davis Quintet’s fabled extended recording session on Octobre 26, 1956; the concept being that the band

would document its vast live-performance catalogue in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band’s live sets –

as well as the overwhelming conviction in the quintet’s studio sides – would produce the lion’s share of the Cookin’, Relaxin’, Workin’ and Steamin’ albums.



As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band – consisting of Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano),

Paul Chambers (bass) and Philly Joe Jones (drums) – to work so efficiently both on the stage and the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions

scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with ingenuity and precision is expressed in the consistency and singularity of each

solo as it is maintained from one musician to the next without the slightest deviation. « Blues by Five » reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each others’ thoughts musically.



Cookin’ features the pairing of « Tune Up / When the Lights Are Low » which is, without a doubt, a highlight no only of this mammoth session, but also the entire tenure of Miles Davis mid-‘50’s quintet.

All the éléments converge upon this fundamentally swinging medley. Davis’s pure-toned soloes and the conversational banter that occurs with Coltrane, and later Garland during

« When the Lights Are Low », resound as some of these musicians’ finest moments.

For fans of: Adolescents, Fear, Idles, Agent Orange, Christian Death, Rocky Horror, Magazine. LP on Blue, White, Red blended vinyl. True Sounds of Liberty date back to 1978 and the birth of punk rock/hardcore in Los Angeles. Playing with the fury of their hardcore contemporaries but with a goth/death rock image and poppier melodies, T.S.O.L. quickly set themselves apart from the pack and made it a mission to continually explore new sounds and styles. On this, their 12th long-player, the band has combined a handful of recent singles alongside all-new recordings helmed by Paul Roessler at Kitten Robot Studio. Fronted by singer Jack Grisham alongside guitarist Ron Emory and bassist Mike Roche (all from the band’s first line-up), they are joined by longtime keyboardist Greg Kuehn and Antonio Hernandez on drums. New punk anthems such as “Low-Low-Low,” “Never Go Home” and “The Way You Groove” are paired with covers of “The Rhythm of Cruelty” (Magazine), “1 Thing” (Amerie), “Sweet Transvestite” (yes, that one, featuring Circle Jerk Keith Morris as Brad) and a reasonably straight-forward reading of “What a Wonderful World.” Punk Rock means giving the high sign to the rules, and this is most definitely punk rock.

Sophomore album originally released in 1983 from Austin, TX, skate-punk stalwarts, Big Boys, now available on limited edition 180 gram pink vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Where's My Towel / Industry Standard LP, No Matter How Long The Line Is At The Cafeteria, There's Always A Seat! LP

Debut album originally released in 1981 from Austin, TX, punk visionaries, Big Boys, now available on limited edition aqua blue vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Lullabies Help The Brain Grow LP, No Matter How Long The Line Is At The Cafeteria, There's Always A Seat! LP

SKRAECKOEDLAN - four bearded Swedes who's forged their unique sound of progressive stoner rock in the cold northern forests. Previous album Earth was a massive domestic success as it hit the hard rock charts in Sweden. We expect SKRAECKOEDLAN to continue growing as new fans discover Vermilion Sky, out after five years of silence. Five years. Is that a long time to wait? Generally speaking, yes. Probably. Well, maybe. Time is after all relative, so there surely isn't a fail-safe answer.

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics. 2024 welcomes the new 12” on the label with 4 hot and rare gospel disco/funk tunes to uplift your sets and throw people’s hands in the air!

“The Top” is an uplifting and relentless disco roller for incendiary peak times, “Hear my prey” suits the openings with its midtempo funky groove. On the flipside, “Lil Longer” gets deeper and moodier for the most demanding djs out there while “Giving It Up” rounds things up with its lovely boogie vibes.

All tracks have been carefully edited by Andrea Passenger without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors! 12” limited to 300 copies (no digital).

MASA 006 delves deep into the sound of Leipzig resident HAL and includes two additional collaborations with his long-time friend & studio partner Perm. It's an elegant selection of tracks produced between 2018 and 2023, some of them recovered from long-lost hard drives and carefully remixed with the help of T I N's keen ears.

An always-present groove, magnetic synth-scapes, and saturated ambiance set the pace throughout the EP while the warm and fuzzy sound makes for timeless joy, blending throbbing techno with deep house and dubby nuances, giving every beat a distinct texture.

On Rotation returns with the second instalment of its Genetic Memories V/A series, showcasing the diversity of the label’s sound through 4 floor-focused cuts from a spectrum of global talent.

Fresh from dropping an EP with our good friends space:lab, Rambal Cochet delivers a mind-melting A1 to start things off. Deep, tasteful and making full use of his trademark sound design, “Meteora” is one for the witching hour!

Bolam steps up next with the party-starting “Dream Machine”. Colourful synths sit atop driving breaks, with the peak-time energy dialled up to 11.

Flipping the record reveals a darker, hazier sound. Moisk’s “GooSE Attack” is reminiscent of long nights (and mornings, and afternoons) in the smoky clubs of Berlin and Amsterdam, while the dark, rolling tech house of “X-Stream” by Aussie heroes Primitive Needs is pure afters’ fodder - a real B2 killer for those who know.

On Rotation is a Leeds-based event & mix series turned label, with 6 genre-defining releases featuring scene stalwarts such as Adam Pits, Solar Suite, Anderson, Roza Terenzi and Hybrid Man, Jamie Leather & more.

The word Asapani is part of the artistic vocabulary of Paolo "Batà" Bianconcini, percussionist of the La Scimmia Records collective, founding member of the Circolo Psiconautico and part of the Neapolitan bands Parbleu, Funkin' Machine and Nu Genea. This ancient-sounding term is a creation of the artist, who defines it as a word of nature, but also the (italian) acronym of Listen to the Silence, Listen to the Peace, Listen to the Inner Nothingness. More than a simple term, an exhortation.

The music contained in Asapani was written and produced between 2022 and part of 2023 by Paolo “Batà” Bianconcini who together with the Circolo Psiconautico (Paolo Petrella on bass and synth, Pietro Santangelo on wind instruments and Roberto Porzio on synths) and takes shape from observation of time and the infinite possibility we have of blocking its fragments and making them our own and then sharing them in another form. The intent is to transport the listener outside of himself, through sound vibrations, during the span of four long tracks that melt into each other feeling like one singular body of work.

This album spans several genres, but at the same time is unique in its style. Spiritual jazz blended with primitive settings, achieving a sensation of sonic primitivism. The listener is projected into a circle of musicians who, sitting around a fireplace, are transported towards infinity by their internal vibrations.The research starts from the four elements of nature (water, fire, earth and air) and thus uniting and fusing with each other they make us question our existence, our depths.
As Batà himself explains, starting from the four fundamental elements in order to keep the search for the fifth element constant.

A location, Melizzano, on the western slopes of Monte Taburno, where the Batahaus stands, the physical and spiritual home of Batà, a magical place in which the Circolo Psiconautico meets, with the aim of navigating the waves of the unconscious and composing music which, through contamination and experimentation, captures the moods of the moment and projects images and colours from the inside out that speak to everyone. Like a real club, the Psiconauti come together to give each other the chance to explore together, create suggestions and get excited among friends.

The long awaited, latest and, quiet frankly, greatest EP from Al Storm & Diakronik smashing the lighter side of hardcore with massive vocals and ginormous pianos! These are floor fillers of epic proportions!

Kaleida are the transatlantic duo whose darkly mystic soundworld finds glimmers of hope in the disquiet. Span- ning an ocean, the pair have nurtured a long-distance partnership that withstands the shifting patterns of life. They first formed in 2013 when a friend introduced them over email. Christina Wood was working in the Indone- sian forest while recording demos in her bedroom each night, and Cicely Goulder had been composing for film productions in London. Despite the miles between them, they found an instant musical chemistry.
Kaleida first came to international renown in 2014, when their single “Think” went viral overnight and was featured in the soundtrack for the cult Keanu Reeves film, John Wick. Their debut album Tear The Roots arrived in 2017 and crystallised the pair’s moody pop aesthetic, which merges Wood’s sylph-like, operatic vocals with Goulder’s neo-Noir electronica. The record earned the duo their sec- ond spot in a film soundtrack, this time for Atomic Blonde with a tender take on Nena’s 1980s anti-war classic “99 Luftballons”. It was followed in 2020 by the pair’s second album Odyssey dubbed “a consummate work of electronic artistry.” Their new album In Arms is a record that leans into a near transcendent spiritualism, where their minimalist production conceals a raw, celestial power. With a departure from their previously insular way of working, they invited other musicians into the production process, most notably producer Johan Hugo (Self Esteem, M.I.A, Skepta).

Serving up eleven tracks of rhythmic garage-psych goodness, ‘Boots N Cats’ is the third full-length from Melbourne outfit Beans and the first of two albums set for release in 2024. The long-awaited follow-up to 2018’s ‘Babble’ and 2020’s ‘All Together Now’, it’s a record that finds Beans frontman (and The Murlocs drummer) Matt Blach putting percussion at centre-stage. “I’ve always wanted to make a drum-based album, dedicated around the beat first and then everything else follows”, Blach says, explaining his desire to explore “different production approaches, like hip-hop and crunched drums, and show an admiration and appreciation for the likes of The Meters, Wu-Tang and James Brown” as much as the acid-soaked 60s/70s rock you’d expect. What emerges from the beat-first approach on ‘Boots N Cats’ charts mutant garage-rock boogies ('Groove', 'Silhouette') and festival tent psychedelia ('Haunted', 'Dreaming Daisy'), by way of blissed-out funk instrumentals ('One To Four', 'Siamese Blundstone'). The line is constantly skirted between a loose, carefree vibe and interesting, meticulous musicianship – never falling into the trap of taking itself too seriously. It’s a sunny kaleidoscope of chugging guitars, driving basslines, soaring organs and warm, echo-soaked vocals – driven always by the tightly-wound rhythms and grooves that Blach has been in pursuit of since he was a kid: “The title of the album comes from me learning drums from my dad. He had a background of German heritage and during lessons would jokingly say ‘nein, boot’n’cats’n’ like a simple 1,2,3,4

Kat is unashamedly bold & confident in her abilities as a vocalist and songwriter, effortlessly merging Soul, and classic R&B which transpired throughout the mature and well rounded 10 tracks from her debut opus released in 2021.

Her long awaited second album Honestly is the perfect evolution, moving through into Blues and Gospel. “After Frank White Sheffield Blues legend and mentor died, Nick and I went back to our roots and decided to scratch that Blues/Gospel itch that Frank had given us a taste for.

Was ein Abriss! Weniger ist dann manchmal doch mehr - so gelernt an dem Beispiel von Park+Riot aus Leipzig. Samuel und Micha machen Gitarre und Drums, und das reicht hier um ordentlich Randale loszutreten. Irgendwie erinnern sie an mid 90er Chaoscore, mit einer irren Schippe Postrock und den nötigen kleinen Melodien, die die Songs im Kopf hängen bleiben lassen. Trotz alledem sind die Songs enorm dicht und stimmig, wirken nicht zusammengestückelt oder heterogen. Was die Songs eint ist auf jeden Fall ein Gespür für Rhythmik und Melodie, was auch den zerfahrensten Song irgendwie wieder auf die Spur bringt und fast schon Pop-Momente erklingen lässt. So treffen bei "The End" zum Beispiel Spoken Words-Part auf black metallige Knüppel-Attacken, bei "Clouds" treibende Schweden-Core Parts auf postmetallisches Atmo-Geklimper um dann wieder mit viel Effet Fahrt aufzunehmen und schliesslich in einem deftigen Neckbreaker-Mosh zu enden - Toll! Hier sind drei Bands in einer vereint, und die eine hat obendrauf noch was zu sagen. Wenn bei "Long Run" der ganz Laden den Refrain mitgröhlt, weiß der Letzte spätestens, dass er bei einer ganz wichtigen Sache mit dabei ist.

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of »using the studio as a compositional tool« and recorded and released three Dome albums on their own label in the space of 12 months: »Dome« (July 1980), »Dome 2« (October 1980) and »Dome 3« (October 1981). A final fourth album, »Will You Speak this World: Dome 4« was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

For Forever folds time and space. While the sounds and stories will be recognizable to fans, they arrive with considerable bruises incurred on the journey from Set Free until now.

For those unfamiliar with The American Analog Set, this should be a simultaneously dark and vibrant introduction. Troubled lyrics permeate throughout, and the accompanying sounds are occasionally damaged and snarling. Not all things languid and dreamlike from past records have been abandoned or forgotten, but the dreams represented here are darker.

While the previous eras of the band are referenced, they are carried forward and incorporated without a hint of patronizing nostalgia. For Forever is a document of a group that acknowledges their past while they advance into new territories and evolve.

This release is entirely new material and is not connected to the forthcoming Numero reissues of the band's first three records.

“Mother”, Logic1000’s debut album. “I felt so much love and inspiration entering into motherhood that I just needed to create something really powerful,” explains Samantha Poulter, the Berlin-based DJ and producer , who grewed up in the Sydney suburbs of Yarrawarrah and Botany Bay and better known to fans as Logic1000. “And with a lot less free time, you really make sure you make the most of any moment you get.” That vitality and renewed sense of purpose is captured on Mother.Preceded by the single ‘Grown On Me’, the 12-track set is a laser-focused “love letter to house music”, written in collaboration with her husband and long-time creative partner Thom McAlister (Cop Envy, Big Ever). Finding Poulter further fine-tuning her inventive, multi-genre approach, it’s a crucial contribution not just to the world of dance but to the canon of art inspired by parenthood. As Poulter herself puts it, a little awed, “I never thought I would be capable of something so powerful.”

Talman15 Courtesy of Our Long Time Friend Jorge Savoretti ( Bass Culture, Savor ) - Including a Phat Remix From Reflex Blue ( Craigie Knows, Limousine Dream )....

Epischer, gewaltiger Doom mit Anspielungen auf Candlemass, Bolt Thrower, My Dying Bride und Iron Maiden! Die US-Doom-Crew Stygian Crown aus Los Angeles kehrt mit ihrem lang erwarteten zweiten Album 'Funeral For A King' auf dem etablierten Label Cruz Del Sur zurück, einer beeindruckenden LP, die auf der Grundlage von epischem Doom- und Death Metal basiert. Der Nachfolger ihres vielbeachteten Debüts aus dem Jahr 2020 bleibt dabei der weitläufigen Doom-Vorlage der Band treu, die auch Elemente des klassischen Metal und Death Metal enthält, aber driftet gelegentlich auch in traditionelles Metal-Territorium ab. Das Album wurde in fünf verschiedenen Studios von Los Angeles bis Melbourne, Australien, aufgenommen. Neben dem CD-Jewelcase gibt es auch eine schwarze Vinyl inkl. Download uns Poster.

Rock Hard:
"...Für den Zweitling hat der Fünfer seine selbst proklamierten, allerdings bereits auf dem Vorgänger höchstens marginal heraushörbaren Death-Metal-Einflüsse noch weiter zurückgestellt. Hier regieren Doom- und Epic Metal in Reinstform. Einen charmanten Farbtupfer setzen die im kurzen Intro ´Let Thy Snares Be Planted´ sowie dem anschließenden Longtrack ´The Bargain´ zum Zuge kommenden Streichinstrumente, die dezent und nicht selbstzweckhaft eingesetzt werden, während der Fokus auf den schweren Gitarren und der fantastischen Arbeit von Sängerin Melissa Pinion verweilt. Was für ein Auftakt ins Doom-Jahr 2024!"

After his first two one-off singles "Black Pegasus" and "Day Without You" introduced DJ Swagger's massive songwriting abilities and love for recording instruments, his first album on Kommerz Records, "Chemistry Forever", showcases his background in UK-leaning elec- tronic music as well as new tendencies towards neo soul, indie pop and jazz. Welcome DJ Swagger to the Kommerz Records stage and prepare for the album to drop on March 22nd.
The 25-year-old from West Germany's Bielefeld is pretty much the archetype of a so-called Wunderkind. At his young age the producer, DJ, multi instrumentalist and songwriter released more than 40 vinyl records including two solo albums and endless rave tracks since turn- ing 16. As of most recently and even though coming from an electronic music background DJ Swagger's creative agenda ventured more and more into classic songwriting and taking over the role of lead vocalist of his one-man-band. His third solo album "Chemistry Forever" show- cases this transformation from UK-influenced electronica towards neo soul and indie without losing its listeners at any point. His subtle melancholic vocal performance and the just as subtle, yet constant pop appeal make this equation solve itself magically. From electro, 2 step and breakbeat over hip-hop, indie and R&B to a final bebop (!) madness - "Chemistry Forever" is a trip for music lovers while each and every song has heavy potential to be listened to on repeat.
Besides his own vocal performances DJ Swagger also invited rappers TripSixVivo (London), Vitus04 (Bielefeld), Kaba (Paris) and poet Dainell Aiken (NYC) for mesmerizing guest perfomances. Additional production work came from Hamburg dance producer Speckman and jazz outfit Jonas Gersema Trio.
Aaaand since we called him a Wunderkind: Be aware that he's not only a next level musician, but studied graphic designer, illustrator and most likely many more things. Just an example: Most recently he sold self-made perfumed candles through his D.I.Y. label and fashion brand Goddess Music. He obviously designed everything around the album, directed the music videos and merch drops are to be expected.
For us, brothers Lukas and Jonathan, the love story goes way back though. In the midst of the long gone lo-fi house hysteria (2017-2018) we discovered the Bielefeld native's dance floor productions, which fused hip-hop braggadocio with pumping electronic music. We kept following up on his ever evolving musical journey into new genres and felt super honored when he reached out to release his upcoming projects via Kommerz.

Auf 'Good Morning Seven', dem zweiten Longplayer auf Polyvinyl, teilt das australische Duo Good Morning einige seiner bisher schönsten, komplexesten und ehrgeizigsten Songs und liefert ein Doppelalbum ab, das den Hörer in eine Welt unerschütterlicher Klangtiefe und klanglicher Meisterwerke einlädt. Aufgenommen in ihrem Melbourner Heimstudio, wurden die 17(!) Songs später in Joshua Tree, Kalifornien, von der Band und Tyler Karmen (My Morning Jacket, Sharon Van Etten, Devendra Banhart) gemischt. Good Morning traten 2018 in Erscheinung und spielten seitdem auf Festivals wie Roskilde, Nine Lives und Tropicalia.

"Jolifanto" takes its name from the first verse of "Karawane", a seminal Dadaist phonetic poem by Hugo Ball. When Ball first recited it in 1916 at the Cabaret Voltaire, both the author and the audience embraced a trance that left Ball exhausted, requiring assistance off the stage as the audience claimed the spotlight.

Over a century later, by a series of fortuitous events, "Jolifanto" is also the title of an album featuring two powerful musical entities. Artists stemming from diverse backgrounds converge with a shared experimental spirit, curiosity and passion for exploration in their music.

"Jolifanto" is an unexpected explosion propelled by (poly)rhythm, expanding into seemingly distant territories under the influence of flamenco. The Dadaist spirit permeates the work, where a constant tension between the improvised and the meticulously planned is evident. ZA! and Perrate together form an organism traveling from the roots to the rave, with nothing sounding out of place because the place is yet to be defined.

Perrate witnessed ZA!'s concert in a festival he attended as part of the audience. The Catalans surprised him with a proposal that he found radical and unclassifiable. Later, after being invited to prepare a collaboration for the Música y Museos season in Seville, Perrate decided to move off the beaten path, approaching ZA!, who quickly embraced the proposal. Exchanges of ideas and audio tracks ensued in a short time and they quickly  found out that they were in the same wavelength. A week before the concert, they met in the same physical space for the first time, dedicating a couple of days to composition and preparing the gig at La Mina Studios in Seville. The concert took place, hailed as "the best concert most attendees had experienced in a long time", as reported by the Diario de Sevilla. That energy needed to be captured, and so it was, at the Happy Place studio in Seville, where the album was recorded between March 6th and 9th, 2023.

The Catalan duo ZA!, "the duo that mash up terrace-chant mayhem with... everything else" (The Wire #384), has operated independently and self-managed since their inception in 2004. They overlap genres and amalgamate sounds that move, with intensity, between wild jazz, post-rock and avant-garde electronics, among other influences. In their acclaimed latest work, they have revived the Phoenician language, exploring Mediterranean sounds alongside MegaCobla and Tarta Relena.

Perrate, active since the late 90s, explores the outer edges of flamenco without forsaking its profound essence rooted in lineage and tradition, evident in every note of his voice. His latest work, "Tres golpes" (Lovemonk/El Volcán, 2022), named flamenco album of the year by Babelia/El País, and one of the albums of the year for BBC3's Late Junction, reflects an innate curiosity, possibly the seed of all the fortuitous events leading to this album.

The encounter between Perrate and ZA! is the result of serendipitous events interwoven with the narrative of artists dedicated to experimentation and radicalism in all its forms.

Das vierte Album des amerikanischen Singer-Songwriters und Produzenten Sam Evian erscheint im Frühjahr. Zusammen mit seinen engsten Freunden
und Kollaborateuren (darunter Liam Kazar, Sean Mullins, El Kempner von Palehound und Adrianne Lenker von Big Thief) wurde das Album in den
frühen Wintermonaten des Jahres 2023 über einen Zeitraum von 10 Tagen in seinem idyllischen Flying Cloud Recording Studio in den Catskills
Mountains live aufgenommen.
Das Ergebnis ist Evians bisher bestes Album: eine kathartische Rockplatte, die Power-Pop, schillernde Gitarren, raue Psychedelik und Sams
mittlerweile gefragte Grooves miteinander verbindet. Die Musik ist sowohl frisch als auch vertraut, klanglich inspiriert von seiner Vorliebe für die
Produktion der frühen 70er Jahre und kreativ angetrieben von dem freigeistigen Prozess, der in der Beatles-Dokumentation Get Back dargestellt wird,
sowie von seinem Drang, loszulassen.

SOYUZ (СОЮЗ) stole our hearts back in 2022 when we released their album Force Of The Wind to critical acclaim. Here we proudly present the predecessor to that LP, the band’s sophomore long player from 2019 that was previously only available digitally. It captures a pivotal evolving period in the band's career, the recordings giving a snapshot of what would become their sound on Force Of The Wind, yet with echoes of avant-psychedelic-pop footprints from yester years.

Produced at a time when band leader Alex Chumak had moved from Minsk to Kyiv, torn between the need to try something new and the homesickness it brought about. Travelling back to Minsk almost weekly, Alex joined fellow band members Mikita Arlou and Stanislav Murashko to lay down II at Studio 42. The album captures these transient feelings, contextualised through the broad scope of influences the band were nourished by. From MPB to Ethio-Jazz and the Italian library soundtracks of Piero Piccioni and Piero Umiliani, the album shines with touches of joy from across the globe.

The opening track 'Verocai' is a tribute to the Brazilian maestro and 'Mirouze', whilst being named after a French favourite of the band, Jean-Pierre Mirouze, pays clear homage to Milton Nascimento and Lô Borges. A ghostly sample and invisible connection to music made miles away in a different era that has influenced and become part of the band’s lives. This is further reinforced in the album's enchanting closer, the aptly titled 'Nascimento', another nod to the great Brazilian musician and singer.

The beginnings of the cinematic, soul-laden jazz SOYUZ are now known for, are on display across the likes of ‘Lyric’ and 'Motive I'. The latter an orchestrated jazz instrumental with sensuous string sections, all of which were recorded on the warmth of a Studer reel-to-reel and waltzing Rhodes keys.

SOYUZ’s wide-ranging palate is further demonstrated in tracks like ‘Business Partners’ with its Krauty, kosmische, new wave production featuring Inturist, and the oh-too-short Anatolian-influenced interlude 'Corrida'. Elsewhere, 'Tezeta' and ‘ES-2 Jazz’ hint at the psychedelic haze of soul-funk, with the former featuring verses from Serbian rapper Petar Martic.

For this new physical and digital release, the whole album was mixed from scratch by Ryan Power before Joker worked his magic on the remaster. More excellence is to come from SOYUZ, but in the meantime, we are thrilled to present this essential recording from the band’s foundational years, mixed to a level that does it the justice it deserves.

Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.

Perc Trax hits 100 releases with Perc returning with his first album in seven years. 'The Cut Off' is Perc's fourth album following 'Wicker & Steel' (2011), 'The Power & The Glory' (2014) and Perc Trax's best ever selling release 'Bitter Music' (2017).

'The Cut Off' see's Perc deliver his most dance floor focused album to date, serving up enough energy to keep contemporary dance floors moving, whilst avoiding both the cliched 90's throwback hard techno formula that is dominant right now and the stuckist 'real techno' blueprints that are still endlessly regurgitated having been established over 30 years ago.

Across the album Perc's well established industrial credentials collide with giant sized synth riffs, driving acid lines (a first for a Perc album) and all manner of drones, choral performances, urban textures and even a dentist's drill (on 'Static'). Gliding arpeggios and slow moving melodic lines feature more on this album than ever before without dulling the sharp edges of Perc's music.

'The Cut Off' more than any previous Perc long player is an album that focuses on the club, the dancer and the dance floor. Yes, there are moments of respite between the classic Perc percussive workouts, but they are far outnumbered by the varied collection of club tracks that come at the listener from every angle.

Collaborations include Sissel Wincent, a regular collaborator with Peder Mannerfelt. Perc remixed Peder & Sissel's 'Sissel &Bass' track to great effect in 2019 and now Sissel returns the favour appearing on 'Static', the album's only full vocal track. Also collaborating with Perc is EAS, one of America's fastest rising techno artists who delivers the raw acid lines that power album highlight 'Cold Snap'. Finally London based metal vocalist Leandro Bastos adds his abrasive vocal tones to 'Imperial Leather', the first single to be taken from 'The Cut Off'.

The 'Cut Off' was recorded in Perc's own studio and mixed by Perc at Map Studios in London. The album was mastered by Matt Colton at Metropolis Studios. Album design was handled by Lucas Grassmay, who previously worked on I Hate Models' debut album on Perc Trax in 2019. The album will be supported a run of dates around the world where Perc will be performing a special live set based around the album as well as his infamous DJ sets.

Much like the North Carolina wilds it reflects, Needlefall waxes and wanes from mysterious and unsettling to ecstatic and awe-inspiring, capturing the sacred dimensions of the natural world. Magic Tuber Stringband draw on a host of fellow travelers to realize Needlefall"s intricate arrangements, exemplifying the diversity of contemporary folk movements, placing their work in the tradition of modern innovators like Moondog, Harry Partch, Pauline Oliveros, and labelmate Sally Anne Morgan. The vast forests and mountains that inspire the band as a metaphor for living music traditions - ever-changing and yet still standing, shaped over time by human hands while equally shaping the human experience. Magic Tuber Stringband, from North Carolina, are Courtney Werner and Evan Morgan, accompanied by their regular bassist Mike DeVito. Morgan is an organizer within the local music community, and Werner is a dedicated naturalist involved in local land stewardship. Needlefall answers the question "what does a modern string band sound like?" with powerful new arrangements of traditional songs and transcendent originals. The album is teeming with life, translating abundant ecosystems into arcing melodies and shimmering, mystic drones. The band explains: "If you spend enough time out in the woods you inevitably see or hear things that are hard to explain. I"ve been in caves where it"s total darkness and you"re enveloped by the disorienting sound of dripping water. The natural sights and sounds in these places are often repetitive, percussive, expressive, sometimes unsettling - the way that water carves patterns into rock or tree trunks appear in endless rows."

Plizzken are back in a big way with their eagerly anticipated second LP, Do You Really Wanna Know? These German punks' debut LP was the first full length where lead singer Sebi sang entirely in English. Since that album's release to great acclaim from the international street punk commu- nity, Sebi suffered the setback of a debilitating workplace accident, but triumphantly rose above all expecta- tions for recovery, making a hard-hit- ting new record with his long-running band Stomper 98 to boot! Returning their focus to Plizzken, Sebi and the crew are locked in and razor tight, crafting 13 brand new tracks of anthemic working class street punk that will thrill their fans while taking them by surprise. What will strike listeners immediately is a renewed focus on melody and hooks. In short, these songs are CATCHY! By the time the handclaps come in on the fourth song, "Memory Lane," you may just find yourself dancing around the room to these tunes. Likewise for the post-punk/new wave influenced groove that drives tracks like "I Don't Wanna. "Without sacrificing the realism and grit with which they face the world and sound the alarms for the working class to rise up, Plizzken sound renewed, positive, and keen to encourage everyone ready "TO FIGHT THE GOOD FIGHT," as the gang vocals on "Mad World" put it. Although they are all punk rock veterans with decades playing music, Do You Really Wanna Know? has the energy of a hungry young band who are not about to waste a new lease on life. Combining street level punk rock 'n roll with a genuine pop sensibility and a rabble-rousing spirit, executed with the chops of seasoned players, Do You Really Wanna Know? is truly a record that will have old fans dancing and singing along with fists in the air, hand in hand with what is certain to be an army of new ones.

M. Ward returns with a stunning new album, More Rain, for release on Merge Records on March 4, 2016. Ward has released a string of acclaimed solo albums over the past several years, along with five LPs with Zooey Deschanel as She & Him and a 2009 collaborative album with My Morning Jacket's Jim James and Bright Eyes' Conor Oberst and Mike Mogis under the moniker Monsters of Folk. In addition to his celebrated work as a musician, Ward is an accomplished producer, handling those duties for such luminaries as Mavis Staples, Jenny Lewis, and Carlos Forster as well as his own musical projects.This album, Ward's eighth solo affair, finds the artist picking up the tempo and volume a bit from his previous release, 2012's A Wasteland Companion. Where that record introspectively looked in from the outside, More Rain finds Ward on the inside, gazing out. Begun four years ago and imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice, it soon branched out in different directions, a move that he credits largely to his collaborators here who include R.E.M.'s Peter Buck, Neko Case, k.d. lang, The Secret Sisters, and Joey Spampinato of NRBQ. The result is a collection of upbeat, sonically ambitious yet canonically familiar songs that both propel Ward's reach and satisfy longtime fans.



a [MORE RAIN]

[a] [MORE RAIN]

Much like the North Carolina wilds it reflects, Needlefall waxes and wanes from mysterious and unsettling to ecstatic and awe-inspiring, capturing the sacred dimensions of the natural world. Magic Tuber Stringband draw on a host of fellow travelers to realize Needlefall"s intricate arrangements, exemplifying the diversity of contemporary folk movements, placing their work in the tradition of modern innovators like Moondog, Harry Partch, Pauline Oliveros, and labelmate Sally Anne Morgan. The vast forests and mountains that inspire the band as a metaphor for living music traditions - ever-changing and yet still standing, shaped over time by human hands while equally shaping the human experience. Magic Tuber Stringband, from North Carolina, are Courtney Werner and Evan Morgan, accompanied by their regular bassist Mike DeVito. Morgan is an organizer within the local music community, and Werner is a dedicated naturalist involved in local land stewardship. Needlefall answers the question "what does a modern string band sound like?" with powerful new arrangements of traditional songs and transcendent originals. The album is teeming with life, translating abundant ecosystems into arcing melodies and shimmering, mystic drones. The band explains: "If you spend enough time out in the woods you inevitably see or hear things that are hard to explain. I"ve been in caves where it"s total darkness and you"re enveloped by the disorienting sound of dripping water. The natural sights and sounds in these places are often repetitive, percussive, expressive, sometimes unsettling - the way that water carves patterns into rock or tree trunks appear in endless rows."