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Plainly the most radical album of their career to date, Nell’ Ora Blu stands out from the sterile desert of rock ’n’ roll in 2024 like a gore-drenched beacon. What this scintillating detour tells us about the future of Uncle Acid & The Deadbeats remains a mystery, but after enjoying such rich and fruitful artistic indulgence, Starrs’ notoriety as one of heavy music’s most distinctive voices can only increase. An eccentric tour-de-force, Nell’ Ora Blu is the band’s magnum opus. You will have nightmares. Trust no one. Watch your back. Let the blood flow…

Sixth studio album from this globally recognised cult institution. Nell’ ora blu is an epic tribute to Italian crime cinema from the late 60s/early 70s. It features exclusive guest appearances from top stars of the Giallo & Poliziotteschi genres, including Franco Nero and Edwige Fenech.

Repress!

Wah Wah 45s are proud to present the full debut album from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

"The Eparapo project was conceived during a time of lockdowns & government scandals. The music that makes up this album was written and recorded against a backdrop of societal upheaval, culture wars and rising wealth inequality. With little scrutiny or resistance from the mainstream media, our human and democratic rights were being eroded and our institutions debased. Even our right to protest is now under threat. This is a call to action, an expression of frustration & anger at what our nation has become. It's saying that enough is enough, it's time to join forces and make our voices heard. It's time to take to the streets."Suman Joshi

The title track is an epic eleven minute musical representation of this frustration and anger, where the musicians really let loose and allow their voices to be heard. As the only instrumental track on the album it acts as a call to action that is central to this body of work. Featured vocalists on the album are Fela Kuti disciple and Wah Wah 45s artistDele Sosimi, who appears on the singlesBlack Lives Matter,From London To LagosandWho Invented Back & White?as well as a more recent recording,Follow The Money; and London based, Ghanaian born master percussionist and vocalistAfla Sackey, who takes lead vocals on the mournful yet somehow hopefulBeautiful City.

The rest of the group comprises of highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Osborn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

The album will be available digitally and limited edition vinyl LP, with striking artwork by our award winning designer Animisiewasz.

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

In a flurry of madcap sampling pitched towards the heat of the night, Pedro Zopelar builds on the premise of his 2022 electro- funk love letter Charme, shifting his approach towards a particular

90s flair and a method with a specific end result. Ritmo Freak took root in studio experiments for a momentous — and rare — live set at São Paulo festival Não Existe in 2023, where Zopelar was caught up in one of those right-place, right- time moments we carry with us through life. As he explains himself: “This album is dedicated to freaky club culture. While I was playing at the festival there was a crazy tropical storm outside and the room was packed with the freakiest crowd. I’ve tried hard to immortalize that feeling on this record.” With the intended energy in mind, Zopelar focused on a particular mode of production centred around 12-bit sampling from his ample record collection. Considering his background as a trained pianist, here his musical instincts are forced to work within the limitations of short, snappy cuts from dusty 12”s. The lo-fi sound sources and the resourceful ways Zopelar works them gives the record an unmistakable old-skool flavour which he applies to forthright house, techno and electro funk rhythms, always taking care to draw out the soul of the music.

The stylistic touchstones flow past thick and fast on Ritmo Freak. From the amped up fierceness of the title track with its gaudy, cut n’ paste, vintage techno flavour to the effervescent electro funk of ‘Gabriellinha’s Boogie’ on to the surreal Balearic inversion of ‘Distraction’, this is a high-velocity, endlessly charming record bursting with the musicality Zopelar has made his name on. As the driving force behind many warehouse parties in São Paulo,

Zopelar has been immersed in club culture for a long time, and his distinctive catalogue of jazz, funk, acid and techno has graced highly respected labels like Apron, Selva Discos and Mother Tongue. Throughout, he’s displayed an affinity for the tangled roots of the groove with an open-eared, big-hearted sound. That’s what comes through on Ritmo Freak

Promised Land is the long-awaited debut album from contemporary showstopper Vintage Culture. Enlisting the help of peers NomBe, Maverick Sabre, The Temper Trap, and Elderbrook, the album marks the producer and DJ's seguing from progressive house to electro, evincing a globetrotting, jetsetting sound that hardly ever fails to hold back on emotion. Including prior single 'Come Come' alongside newer, angelic progressive cuts like 'Weak' with Sabre, this is a stark debut from the Brazilian creative force.

Nadsvest is a black metal entity based in Serbia, comprised of Serbian native S and New Zealander A. S (Gorgoroth) and A (Barshesketh) crossed paths in 2015, and after a clear musical symbiosis had become evident, formed Nadsvest.

After an EP and a split with Portugal's Necrobode, Nadsvest crafted their definitive debut album. Musically, Nadsvest is a hellish combination of the first, second-wave and bestial black metal scenes, with unhealthy doses of heavy metal and nods to Serbian folk music, yet unmistakenly capturing that old school sound as only forged in Eastern Europe. Lyrical themes deal with the black arts through the lens of the darker aspects of Serbian folklore.

Conceptually, Slovo meseca i krvi is an epic poem exploring the stages in the process of awakening the primal werewolf force in the warrior, the triumph of the spirit and the ultimate sacrifice of the flesh.

Nadsvest is a black metal entity based in Serbia, comprised of Serbian native S and New Zealander A. S (Gorgoroth) and A (Barshesketh) crossed paths in 2015, and after a clear musical symbiosis had become evident, formed Nadsvest.

After an EP and a split with Portugal's Necrobode, Nadsvest crafted their definitive debut album. Musically, Nadsvest is a hellish combination of the first, second-wave and bestial black metal scenes, with unhealthy doses of heavy metal and nods to Serbian folk music, yet unmistakenly capturing that old school sound as only forged in Eastern Europe. Lyrical themes deal with the black arts through the lens of the darker aspects of Serbian folklore.

Conceptually, Slovo meseca i krvi is an epic poem exploring the stages in the process of awakening the primal werewolf force in the warrior, the triumph of the spirit and the ultimate sacrifice of the flesh.

On L'arte della persuasione, he fuses two worlds with the full force of a beautiful blow. The result is captivatingly unclassifiable. Although Thormodsaeter composed L'arte della persuasione, the score provides the musicians with permissions to act spontaneously. The work will thus never sound the exact same way twice.

The current lineup of New Haven's long running Mountain Movers (guitarist/vocalist Dan Greene, bassist Rick Omonte, guitarist Kr yssi Battalene, & drummer Ross Menze) have been playing together for over a decade now, making their recorded debut on a slew of singles released from 2011-2013, but it wasn't until 2015's "Death Magic" (released on New Haven label Safety Meeting) that the potential of that iteration of the group became clear; Mountain Movers are a force of nature. The camaraderie & sensitivity to each others playing has only grown over time, cr ystallizing on the group's trio of albums for Trouble In Mind; 2017's eponymous "Mountain Movers" served as a reintroduction of the group to a larger audience, while 2018's "Pink Skies" raged like a group confident in its strengths, and 2020's prescient "World What World" - written & recorded before the world shut down - slightly shifted focus away from the jams & back toward the weight of guitarist/songwriter Dan Greene's poetic tales of magical realism. The band's ninth album "Walking After Dark" finds a happy medium between both aspects of the band's strengths; Greene's lyrical compositions and the group's long-form improvised jams. To those that are tuned in, that feeling of communion is evident in the Movers' playing. The members swap & cycle effortlessly through instruments without missing a beat, utilizing the downtime of lockdown to write & record every jam in their practice space. Those piles of tapes would eventually get edited & sequenced into "Walking After Dark", a tour-de-force double-album that balances fried, stony brilliance with outré excursions of experimental serenity. Consider the opening track "Bodega On My Mind" that ambles in like a road-worn traveller, its lysergic folk strums peppered with acidic lead lines from Battalene's Telecaster, eventually giving way to "The Sun Shines On The Moon, where the group's sizzling guitars are buoyed by Omonte's pillowy bass & Menze's percussion. From there on out, tracks like "Factory Dream" give the listener a taste of The Movers' modus operandi here; a mixture of (more) traditional song craft interspersed between long-form, improvised pieces of modern psychedelia. The group shuffles through instruments; synths, drum machines, auto-harp, various forms of percussion (and whatever else was laying around) as well as the trad guitar/bass/drums configuration to craft a suite of songs that - while not necessarily similar in composition - feel unified in their overall sonic scope. Tracks like the 14-minute "Reclamation Yard", whose deep-space electronic pulse is juxtaposed against side C opener "See The City "s persistent acoustic strum that showcase similar ideas of the `spirituality ' of losing ones self in repetition, but executed differently. In many ways "Walking After Dark"s duality feels like a merger of "On The Beach"-era Neil Young & the collective freak-outs of Amon Düül, taking inspiration in the `incorporeality ' of free music and lacing it with Greene's hazy, haunting lyricism and is an exciting step forward for a band that's already a few steps ahead. "Walking After Dark" is released on black double-vinyl in a full color gatefold jacket & includes an insert with artwork & lyrics by member Dan Greene.

Barro Music Label reaches its tenth reference with a tremendous EP in which the protagonist (even of the cover) is Nöle, the label's boss. In Electro Bloody Music, the popular DJ and producer from Pamplona delivers four original tracks accompanied by a fantastic remix by Delectro. The renowned Colombian producer, active since 2006, has released on some of the best international labels and with his 80s EBM, electro and techno influences, he is the ideal person to accompany the label boss on such an important release. As for Nöle, after the success of Mendekua, his previous work released in 2022, he does what he is the best at: dark and frenetic techno with EBM flavor, like the one he played during his long residency at Stardust and does now at Lasociación.

On the A-side of Electro Blood Music we find three originals, the first two could be included in the category of Techno Body Music while the third is more purely techno. The EP starts with BuruHilketa, a dark track with a certain experimental atmosphere endowed with an incisive synth line and disturbing vocal samples that accompany us during most of the composition. Shaktale, shares some of the atmosphere of the first track, as it also includes vocal samples and a eerie synthesizer melody quite catchy. It has quite a complex rhythm and an extremely careful production that we recommend listening with headphones to appreciate in detail. Cementerio caliente is powerufl techno track, with hypnotic synths and an acid touch and tremendously forceful. With this kick drum, you could definitely demolish a house!

On the B-side we find another original track titled Noisebuilder and the remix by Delectro. Noisebuilder, with its fat and aquatic basses starts off more techno but, little by little, it also includes EBM details. The track lives up to its name and the noise builds, little by little, layer by layer while the intensity keeps growing. With a hard-hitting beat, spiced in the background by synthesizers that help to create an atmosphere, it is one of the clearest bangers of the EP. Delectro delivers a remix a little more forceful and darker, a bombshell of pure Techno Body Music that closes this magnificent EP.

Release note: El Garaje de Frank

The quest for the transcendent is writ large throughout rock lore and legend, with the desire for
connection beyond this earthly plane indivisible from the electric charge of heavy amplification, This is
a mission fully understood by two skilled purveyors of their craft, Spell and Pøltergeist, who join forces
here on a seven-inch mission, utilising the psychic forces of sound and fury to forge a portal to other
dimensions.

Deluxe 180g vinyl. Art Edition LP includes set of six 12”x12” art cards.



The follow-up to Kee Avil's acclaimed 2022 debut Crease: "A stunning debut" (The Quietus); "A whiplash style of uninhibited exploration" (The Wire); "Kee Avil's debut is a force" (Foxy Digitalis); "A work of Frankensteinian wonder" (Electronic Sound); "A tightly coiled, finely wrought vision of avant-pop" (Exclaim); "A debut of fiendish creativity" (Bandcamp Album Of The Day / Albums Of The Year) Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk… and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements - guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months - a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. - jj skolnik

High Roller Records, reissue 2024, black vinyl, ltd 150, gatefold, lyric sheet, Hitten formierten sich im Jahre 2011 in Murcia, einer Stadt im Südosten Spaniens (nahe Alicante). Im selben Jahr erschien ihr erstes Demo namens »Darkness Queen«. Zwei EPs sowie das vollständige Album »First Strike With The Devil« (2014) folgten, bevor Hitten für die Vinyl-Veröffentlichung ihres Zweitlings »State Of Shock« einen Vertrag mit High Roller Records unterzeichneten.Mit mitreißenden Nummern wie “Don’t Be Late”, “Endless Race” und “Eternal Force” war »State Of Shock« eine klare Steigerung gegenüber dem naiven Erstling. Gitarrist und Bandgründer Dani Meseguer gibt Accept, Iron Maiden, Judas Priest und Saxon als Hittens musikalische Inspirationsquellen an, genauso wie US-Metal-Legenden der Kategorie Fifth Angel, Crimson Glory, Shok Paris und Metal Church.“Wir sind sehr zufrieden damit, wie »State Of Shock« aufgenommen worden ist”, erklärt Dani Meseguer. “Wir haben ein paar coole Festivals gespielt, sind in Europa auf Tour gewesen und sogar in Japan wollte man uns sehen.” Dennoch, die Zeit zwischen »State Of Shock« und dem brandneuen Album »Twist Of Fate« hielt für Hitten auch einen Tiefschlag bereit. Im September 2017 absolvierte Sänger Aitor seinen letzten Auftritt für die Band. Mit Alexx Panza stand aber sofort Ersatz parat. Dani Meseguer: “Alexx ist ein Geschenk des Himmels. Für uns war es einfach perfektes Timing.” “Wir sind mehr als glücklich mit dem Endresultat von »Twist Of Fate«”, fährt Dani Meseguer fort. “Vom Cover-Artwork bis zu den einzelnen Songs erfüllt die Scheibe höchste Qualitätsansprüche. Ich bin der festen Überzeugung, dass die Fans »Twist Of Fate« noch mehr mögen werden als »State Of Shock«. Der Mix (von Javi Félez) und das Mastering (Patrick W. Engel) sind einfach unglaublich. Die Platte hat alles, was ein gutes Metal-Album haben muss: verrückte Twin-Gitarren, emotionale Solos, spitze Schreie, schöne Gesangsharmonien und einen machtvollen Background-Gesang. Alexx als Sänger hat einen fantastischen Job abgeliefert. Seine stimmliche Bandbreite ist einfach enorm. Er ist in den tiefen Tonlagen extrem sicher aber beherrscht auf der anderen Seite auch diese high-pitched Screams, die wir alle so lieben.”

High Roller Records, reissue 2024, black vinyl, ltd 150, gatefold, lyric sheet, Hitten formierten sich im Jahre 2011 in Murcia, einer Stadt im Südosten Spaniens (nahe Alicante). Im selben Jahr erschien ihr erstes Demo namens »Darkness Queen«. Zwei EPs sowie das vollständige Album »First Strike With The Devil« (2014) folgten, bevor Hitten für die Vinyl-Veröffentlichung ihres Zweitlings »State Of Shock« einen Vertrag mit High Roller Records unterzeichneten.Mit mitreißenden Nummern wie “Don’t Be Late”, “Endless Race” und “Eternal Force” war »State Of Shock« eine klare Steigerung gegenüber dem naiven Erstling. Gitarrist und Bandgründer Dani Meseguer gibt Accept, Iron Maiden, Judas Priest und Saxon als Hittens musikalische Inspirationsquellen an, genauso wie US-Metal-Legenden der Kategorie Fifth Angel, Crimson Glory, Shok Paris und Metal Church.“Wir sind sehr zufrieden damit, wie »State Of Shock« aufgenommen worden ist”, erklärt Dani Meseguer. “Wir haben ein paar coole Festivals gespielt, sind in Europa auf Tour gewesen und sogar in Japan wollte man uns sehen.” Dennoch, die Zeit zwischen »State Of Shock« und dem brandneuen Album »Twist Of Fate« hielt für Hitten auch einen Tiefschlag bereit. Im September 2017 absolvierte Sänger Aitor seinen letzten Auftritt für die Band. Mit Alexx Panza stand aber sofort Ersatz parat. Dani Meseguer: “Alexx ist ein Geschenk des Himmels. Für uns war es einfach perfektes Timing.” “Wir sind mehr als glücklich mit dem Endresultat von »Twist Of Fate«”, fährt Dani Meseguer fort. “Vom Cover-Artwork bis zu den einzelnen Songs erfüllt die Scheibe höchste Qualitätsansprüche. Ich bin der festen Überzeugung, dass die Fans »Twist Of Fate« noch mehr mögen werden als »State Of Shock«. Der Mix (von Javi Félez) und das Mastering (Patrick W. Engel) sind einfach unglaublich. Die Platte hat alles, was ein gutes Metal-Album haben muss: verrückte Twin-Gitarren, emotionale Solos, spitze Schreie, schöne Gesangsharmonien und einen machtvollen Background-Gesang. Alexx als Sänger hat einen fantastischen Job abgeliefert. Seine stimmliche Bandbreite ist einfach enorm. Er ist in den tiefen Tonlagen extrem sicher aber beherrscht auf der anderen Seite auch diese high-pitched Screams, die wir alle so lieben.”

Through his project Lionlimb, New York based singer/songwriter/producer Stewart Bronaugh crafts unfurling soundscapes that feel mysterious and otherworldly, yet timeless and nostalgic at the same time. He presents his most ambitious vision of these inner vistas on his new album, Limbo, arriving May 24th on Bayonet Records. Inspired by a palette of '70s Italian film soundtracks, '60s girl group music, and funk and soul ballads, Bronaugh brings these influences together to invent an immersive sound all his own-with help from close collaborator Joshua Jaeger, whose live drums bring a rawness to Limbo's meticulously layered production. Led by the smoldering single "Dream of You," featuring Angel Olsen, Limbo taps into universal themes of romance, longing, and loss, while still offering a hazy escape from our present reality. Bronaugh penned the songs with "classic" songwriting in mind, transforming his personal struggles with grief and addiction into love songs. Using images inspired by nature (like the sun, moonlight, hurricanes, and deep water), he expresses being overtaken by a force greater than himself, as the psychedelic production evokes a sense of being plunged into this vast landscape. Limbo benefits from its eclectic influences, as Bronaugh overlays sitar-sounding guitar on top of funky basslines, melodramatic string arrangements, and fuzzed out guitar, making for music that could easily belong on Twin Peaks just as much as a Western cowboy film. An album of duets, Limbo features a host of female vocalists-Angel Olsen, Ewa Synowiec, to Bion augil, nderstad ocal periora ne Bill bout vocal sad ate another instrument* he explains. "When we first tried to have someone else sing, I liked it, because I felt more akin to a producer than a songwriter." There's a dreamy quality to how these singers trade off with Bronaugh, both parties expressing his inner emotions. Limbo is a culmination of Bronaugh's years of production experience, as he composed, produced, and mixed the project almost entirely by himself, with additional recording from Robin Eaton. Always inspired to make bold and experimental choices that capture his instincts in the moment, Bronaugh's production style is informed by "wanting to do the weird thing that engineers wouldn't approve of," as he describes it. "My favorite part of making music is the mistakes."

Born in Beirut, Lebanon, Rami Gabriel has been a motive force in rock n' roll, jazz, Arabic, and experimental music communities across North America for over twenty years. In that time, he has released numerous projects across genres and under many names. On his debut LP for Sooper Records, Rami trips all the breakers. In his own name and voice for the first time, That's what I been sayin' is not so much a debut as a conflagration in Rami Gabriel's worldly underground. Drawing on Punk, Krautrock, Dub, No Wave, and lo- fi, the territory occupied by That's what I been sayin' is astringent, minimal, and buzzing with the sound of machines dancing in the wind. "I'm used to putting out records based on genre," says Rami of his multiple endeavors. "I was listening to one of the `70s Brian Eno records where he took his experimental work and his songs and put it all together, and I was thinking, `Why don't I try to put all the different ways I've been working for the last couple years onto one record?'" That's what I been sayin' ignites this vision with an album that ranges from the motorik-driven krautrock of "Like a monk" to the unexpected trance-like pairing of "Buzuq synth." That's what I been sayin' is a furnace of Rami's insuppressible impulses, where he undertakes to ask and answer: what is left of punk but making do with what is at hand? At times direct and scorching, at others meditative and wandering, That's what I been sayin' compresses Rami's understanding as a composer, musician, and singer into a restless, 11-track love letter to the underground. For Fans of The Fall, Haruomi Hosono, Brian Eno, and Scientist.

030/313 – Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early 90s compilations like “Tresor II – A Techno Alliance”, they present a 12” mini compilation with exclusive material from both cities.
The compilation opens with “I.D.L.E.”, a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It’s followed by another true Detroiter: Ectomorph’s “Searching (Live At Globus)”, a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika’s case was lost on a flight. The A-Side stays in Detroit and finishes with “Your Body”, an exclusive track by AMX, also known as The AM, one of Detroit’s freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. “Your Body” is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno.
DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total “Dynamic Instability”. Magic & furious. The thrill continues with “Metal Goat”, by JakoJako, one of Berlin’s brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno–a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It’s floor proven. An overall cachet of “030313” - the small compilation with a huge techno heart.

In the Merry Month of May is the final studio recording of the late, great Tony Conrad, and the first duo release with Jennifer Walshe, one of Conrad"s most important collaborators in the final decade of his life. A wild, improvisatory flaying of song; the sheer sonic force recalls the ecstatic charge of Conrad"s Slapping Pythagoras, with Walshe"s clarion voice at the heart of it. A one-of-a-kind concoction whipped up by two fearless and often peerless souls. It"s a joy to hear their manifest mutual regard and commitment to busting a gut.

In 2024, Vredehammer, the mighty force from the deepest North returns. Vredehammer explore the depths of darkness and despair, painting a chilling sonic landscape that captures the essence of true black metal. Vredehammers upcoming album "God Slayer" is poised to deliver nothing short of blackening excellence, Vredehammer continues to push the boundaries of extreme metal, seamlessly blending elements of blackened death metal, thrash, and melodic death metal to create a sound that is both relentless and captivating. With one of Scandinavia's finest BM drummers, Nils 'Dominator' Fjellström, on drums, combined with the unparalleled musical songwriting and guitar skills of Per Valla, this album is not to be missed. Vredehammer about the album: "With the Godslayer album I wanted to take a step back regarding tempo, not focusing so much on fast songs. There is definitely some fast stuff in there, but my main objective was to create memorable songs and guitar riffs with a lot of punch and power to them. This time Vredehammer had the pleasure of having Nils "Dominator" Fjellström doing drums for the album. Having played with Nils on other occasions, I was excited to see how he would perform when the music didn't just consist of fast black metal stuff, which is known to be his specialty. He definitely rose to the occasion and contributed with some great ideas for the drums."

Kalita are proud to announce the first ever 7” single reissue of what is possibly the most coveted gospel disco record in existence, the Al-Dos Band’s soulful masterpiece ‘Doing Our Thing With Pride’. This iconic reissue is backed by the band’s previously unreleased recording ‘Love Jones Coming Down’. At long last, Kalita revives this South Carolinian grail single, housed in a limited-edition picture sleeve. Originally penned and produced in 1976 by husband-and-wife duo William and Elizabeth Robinson in Greenville, South Carolina – a city steeped in musical heritage – the record was released in a run of just 200 copies the following year on their own label, Warmer Productions. ‘Doing Our Thing With Pride’ epitomises the best in uplifting crossover gospel disco, equally suited to both peaceful listening and dancefloor action. Despite garnering some attention upon its original release, the single struggled to make headway against the prevailing music forces of the time. Coupled with mounting academic and familial obligations, the release faded into obscurity, eventually becoming a highly sought-after gem, commanding exorbitant prices whenever an original copy surfaced for sale—a rarity that occurred only once every decade. Now, following their successful unearthing of the band’s unreleased album in 2021, Kalita present this remarkable record in a limited-edition 7” picture sleeve single.

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

Am 17. Mai begrüßt die Band die Veröffentlichung ihres zweiten vollständigen Albums Under The Crooked Claw über Nuclear Blast Records.

Vollgepackt mit straffen, präzisen Songs, die mit schlagkräftigen Refrains und blitzdurchzogenen Leads geladen sind, bietet jeder der 13 Tracks eine neue Horrorkurzgeschichte, die die perfekte Mischung aus Heavy Metal, Punk und Rock'nRoll oder, wie Waste es nennt, "primitiver Heavy Speed" mischt. Die Band präsentiert die erste Single mit dem Titel "Rite For Exorcism" zusammen mit einem brillant augenzwinkernden Videoclip, der von Norman Cabrera inszeniert, von Maya Kay produziert und von Rob Lucas bei Wolfpack Studios gefilmt wurde. Das Powertrio, vervollständigt durch Schlagzeuger Chris Marshall, zog im Juni 2021 nach Philadelphia, wo Arthur Rizk die Grundtracks für Under The Crooked Claw aufnahm.

Yavé Rust nahm später in Richmond Lead-Gitarren und Gesang auf, um schließlich von Rizk gemischt und von Joel Grind gemastert zu werden.

Die Kunstwerke für das Album wurden von Brandon Holt gezeichnet und von Margaret Rolicki koloriert

Vinyl only, no digital.

Demolition Squad were lost in the realms of time. That was until Vinyl Fanatiks tracked down DJH, whose Dad owned the record shop Dance Force in Kings Lynn in the early 90s and started a record label in the back of it. DJH was 15 when he wrote his debut EP for the label – The Bass Project. That white label was selling for £300 a copy on Discogs and was recently re-released and quickly sold out on Vinyl Fanatiks (VFS006).

Off the back of the success of his EP, DJH wanted to track down the Demolition Squad and about a year later he found one of the band, who reached out to the other band members and everyone agreed… the time was right for a repress, 29 years after its original release.

With copies on Discogs reaching £60, this EP is a proper dose of UK hardcore.

Enjoy the vibez.

Donny McCaslin is an artist consistently at the forefront of musical innovation. Building on the foundation laid by his critically acclaimed 2023 album "I Want More," described by Mojo Magazine as an "emotive electro-jazz" masterpiece and celebrated for its adventurous spirit by De Volkskrant, Donny McCaslin continues to chart new territories in sound with his latest 7in vinyl and digital release, "Kid." This new project, encompassing the tracks "Kid" and "Maxine," which not only encapsulates the direct, bold, and charismatic essence of McCaslin's sound but also signals his relentless pursuit of artistic growth, refusing to rest on the laurels of past achievements.

"Kid" is a testament to the fruitful collaboration between McCaslin and Tim Lefebvre, reflecting a deepening of their artistic development as collaborators, writers, and bandmates. This instrumental track, enriched by David Fridmann's visionary production, explores the complexities of musical narrative through its intricate harmony and dynamic saxophone lines. The bass subs introducing an electronic vibe into the track signify the duo's forward-thinking approach, blending genres and sounds into a cohesive whole. The saxophone, treated with effects of delays and reverb, veers away from traditional jazz solos, creating textures that support an overarching sound world, inviting listeners to immerse themselves in the music rather than focusing on individual performances. "Maxine", on the other hand, presents a more introspective journey. Originating from a track sent by Colby Keyz, McCaslin develops this piece into a poignant love song, layered with saxophone melodies and solos that evoke a deep sense of longing and emotional depth.

The production, handled masterfully by Steve Wall, enhances the track's unique sounds, demonstrating McCaslin's ability to create profound musical experiences even in the absence of live band interaction. Together, "Kid" and "Maxine" highlight McCaslin's virtuosity and innovation as a musician. His commitment to evolving his sound and the depth of his collaborations exemplify why he remains a progressive force in the music world. With "Kid", Donny McCaslin reaffirms his position as an artist unafraid to explore, develop, and redefine the boundaries of contemporary music, making this release an essential addition to the collections of aficionados and newcomers alike.

Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

In a partnership between Lost Realm Records and Classic Metal Records, we bring you the vinyl edition of Sacred Alien's first studio album "The World Doesn't Care About You" In 2020 we already had the opportunity to work with these NWOBHM legends, with the vinyl release of "Legends" (compilation of studio and unreleased songs recorded between 1980 and 1983), which was a success given the tremendous acceptance by fans and followers of this British band.

An edition that was sold out in less than 2 months! "The Universe Doesn't Care About You" is the logical continuation of the band's legacy. With a total of 9 songs, Sacred Alien once again offers us a sonic journey between parallel universes, extraterrestrial forces and the meaning of life.

The singles also smashed onto Spotify's New Music Friday, All New Rock, The Rock List and shockwave playlists, alongside support from DORK Magazine, The Punk Site, Noizze and many more alternative tastemakers. Featuring the high- pitched snarl of Jamie Glass, the melodic guitar stylings of James Simpson, the rhythmic force of Rob Simpson on drums, and the ribcagerattling basslines of Oliver Nunn, Indoor Pets have finally returned triumphant from their self- imposed hiatus with the promise of tour dates, a behemoth sophomore album, and a far darker mood.

Maximilian Skiba, an Eminent Figure in the World of Electronic Music, Makes a Triumphant Return to Skylax After an Absence Spanning Over a Decade. His Resurgence Is Nothing Short of Exceptional, as He Joins Forces With the Legendary Snax to Deliver a Musical Offering That Rekindles the Very Essence of House Music's Illustrious origins.
Skiba's Two New Tracks, "Pushing My Buttons" and "In Motion," Serve as a Compelling Testament to His Impeccable Craftsmanship as a Producer. the Influence of the Pioneering triumvirate—Larry Levan, Ron Hardy, and Frankie Knuckles—is Palpable Within These Compositions. Both Tracks Are a Masterful Blend of Nostalgia and Innovation, Perfectly Aligning With the Playlists That Once Defined the Heyday of House Music's Most Celebrated luminaries.
"Pushing My Buttons" and "In Motion" Evoke an Air of Sophistication, Exuding a Smooth, Velvety Quality That Transports Listeners to the Cherished Era of Original Disco. Drawing Parallels to the Timeless Classics Like Dinosaur’s "Kiss Me Again" or Loose Joints "Is It All Over My Face", Skiba's Creations Pay Homage to the Bygone Era While Injecting a Modern Edge. This Phenomenal Ep Goes Beyond Skiba's Original Works, Offering Two Exceptional Remixes That Elevate the Experience. the First Remix, a Balearic Interpretation by the Emerging Talent Maltitz, Adds a Refreshing Dimension to the Tracks. the Second Remix, Helmed by the Skilled Apollon Telefax, Ingeniously Transforms the Already-Classic Tunes Into an Explosive Italo-Disco Sensation. These Remixes Seamlessly Weave Together the Past and the Present, Creating a Bridge Between Different Eras While Keeping the Music timeless.
In Essence, This Ep Is Not Just a Musical Offering; It's a Journey—a Seamless Fusion of History and Innovation That Transports the Listener to an Era of Musical Brilliance, All the While Redefining the Boundaries of Contemporary Sound. Skiba and Snax's Collaboration Is Not Merely a Comeback; It's a Testament to the Enduring Legacy of Electronic Music, Encapsulating the Spirit of House Music's Golden Age While Breathing New Life Into Its Timeless Allure....

10 track retrospective from UK thrash metal pioneers ONSLAUGHT! This killer set includes tracks from the earliest demo and the studio albums "Power From Hell", "The Force", "In Search Of Sanity" and "Killing Peace".



[a] 1.1VISIONS OF OUR FUTURE [THE SHADOW OF DEATH]
[b] 1.2THE BLACK HORSE OF FAMINE [THE SHADOW OF DEATH]
[c] 1.3THERMONUCLEAR DEVASTATION [POWER FROM HELL]
[d] 1.4SKULLCRUSHER II [POWER FROM HELL]
[e] 1.5FIGHT WITH THE BEAST [THE FORCE]
[f] 1.6LET THERE BE DEATH [THE FORCE]
[g] 1.7LIGHTNING WAR [IN SEARCH OF SANITY]
[h] 1.8IN SEARCH OF SANITY [IN SEARCH OF SANITY]
[i] 1.9PAIN [KILLING PEACE]
[j] 1.10DESTROYER OF WORLDS [KILLING PEACE]

Embarquez pour une odyssée cybernétique avec "Cyberpunk 2077 : Phantom Liberty (Original Score)", où les rythmes résonnent dans le paysage sonore de Night City. Alors que V se plonge dans les affaires des Voodoo Boys à Pacifica, le LP se transforme en une relique sonore reflétant le quartier sans foi ni loi de Dogtown. Le vinyle noir de 180g prépare le terrain pour un voyage auditif de haut niveau, plongeant les auditeurs dans l'essence des Boostergangs, des Corpos et de l'insaisissable Blackwall. L'insert 12" de l'album, présenté dans une pochette simple, dévoile les crédits musicaux, transportant les fans au coeur de l'intrigue cybernétique. Le titre principal "Phantom Liberty" de Dawid Podsiadło, ainsi que des hits comme "Force Projection" et "Hardest to Be", occupent le devant de la scène, élevant cette édition collector au rang de complément indispensable pour les passionnés de l'univers de Cyberpunk 2077. Plongez dans cette révolution sonore, où chaque morceau devient un portail vers le royaume cybernétique, faisant de cet album une expérience captivante pour ceux qui recherchent l'essence de Night City.

Manchester emcee Black Josh joins forces with New Orleans analog instrumental warrior Wino Willy on collaboration project "Today's The Day". Since the epic opening joint "Habitat" and throughout the 7 joints on this project the two show an incredible chemistry, with the English lyrical maverick delivering some incredible wordplay on Wino Willy's grimy productions. As a member of Cult of The Damned and Levelz, and one of the standout artists of the Blah roster, Black Josh has been killing it whatever the backdrop and this record is no different, with fellow nationals Lee Scott and SonnyJim joining on the first single "E R M8" as well as Da$h on "Vince Carter". An electrifying collaboration by two masters of their craft!

With words as weapons and public infrastructure as his blank slate, John Fekner's City Squad are always questing for the ineffable, even as they yearn for concrete change - Make no mistake, Idioblast is a serious party where everyone is welcome.

Released in 1984, Idioblast is a lost classic, a future shock narrative ahead of its time, and yet completely of its era, like few artifacts before or since. The cover tips you off from the jump--a crude but effective collage featuring classic Fekner slogans like Toxic Junkie, Growth Decay and Soft Brains Watch The Screen And Buy The Jeans. In an uncanny and tragic coincidence, the very first lyric on the album--"The place to be is on the space shuttle/if you're brave enough to get on it"--seems to anticipate the Challenger disaster just two years later.

But for the most part, the tracks on Idioblast directly reference the concepts that inspired Fekner's visual art. Musically, "Rapicasso" utilizes pneumatic pounding with an industrial edge as Fekner equates the great and controversial painter with risk-taking graffiti kids bombing trains and billboards across the city. Art is in a constant state of exploding--forms, paradigms, outdated ideas.

Splitting the difference between hip-hop and new wave, the Santaniello-sung "The Beat" is like Thomas Dolby meets Run-DMC and should've been a radio staple for at least one sticky summer. It could soundtrack either a couples roller skate or a drug-fueled evening out. Channeling Fekner's slogan-stencil aesthetic, "Travelogue The 80's" is a tour de force reminiscent of Negativland's experiments in audio culture jamming. As Fekner details, "I grabbed all of the sounds via a shortwave radio picking up transmissions from LaGuardia airport and the TV. I recorded and edited on a Sony Pro Walkman and an Aiwa dual cassette deck."

“Dissociative Being” is the 2nd single from the Ohio based metalcore band Like Moths To Flames - taken from their new album The Cycles Of Trying To Cope – out May 10th. This release follows their 2020 album ‘No Eternity In Gold’ which received praise from Wall Of Sound “LMTF deliver their signature sound, but still manage to dial it up a few notches. I genuinely think that metalcore fans will be debating their number one metalcore album of the year” and The Music “Like Moths To Flames have positioned themselves back on the path of success and memorability, crafting a release that laughs in the faces of their many lacking core peers. There might be “no eternity in gold,” but there just might be an eternity in this kind of tightly-wound, well-rounded modern metalcore.” When speaking about the meaning of track “Dissociative Being” singer Chris Roetter states, “Blood leaves a stain that's often hard to remove. Much like the scars that people leave when they're destructive with their life. This song is about someone who's destroyed everything they had left. Being so parasitic with their life that it bleeds into the lives of others - - - - - - - - - - - - - - - - - - - - - - “Kintsugi” is the latest single from the Ohio based metalcore band Like Moths To Flames and will be used to launch their new album The Cycles Of Trying To Cope – out May 10th. This release follows their 2020 album ‘No Eternity In Gold’ which received praise from Wall Of Sound “LMTF deliver their signature sound, but still manage to dial it up a few notches. I genuinely think that metalcore fans will be debating their number one metalcore album of the year” and The Music “Like Moths To Flames have positioned themselves back on the path of success and memorability, crafting a release that laughs in the faces of their many lacking core peers. There might be “no eternity in gold,” but there just might be an eternity in this kind of tightly-wound, well-rounded modern metalcore.” When speaking about the meaning of track “Kintsugi” singer Chris Roetter states, “When things go wrong, I think we are left to pick up the pieces and forced to choose which piece to leave with. If it's not possible to leave with everything the way it was before it broke, how do you know what piece to hold onto? “.

You may ask yourself what lies beyond the cumbia? What psychedelic permeations reveal themselves in the breaks of the modern day tropical wave? La Banda Chuska's debut single on Names You Can Trust provides a glimpse into the broad benchmarks of this new noise and language, channeling and surfing through a barrel of rip-roaring guitar licks to create something decidedly distinct and du jour at the same time. Just imagine if the B-52s got trapped in some sort of demented Pacific-Peruvian time warp and were forced to shred their way back into existence, bongos in tow. Come along for this excellent adventure and experience for yourself, the tropical waviness of La Banda Chuska's colorful crush.

Social Engineering brings together thirteen text fragments from so-called phishing emails.
Using speech synthesis, they are spoken, sung, and/or transformed into abstract textures.
The result is a 36-minute language and sound collage devoted to the dark forces of phishing

Originally released on tape by SicSic in 2014, Aprilnacht commemorates a decade of music from Brannten Schnüre and marked the spring in a tetralogy of albums about the four seasons when it came out. Back then the Würzburg-based project consisted solely of Christian Schoppik, who later welcomed Katie Rich to take over the vocals. He used to perform as Agnes Beil, but dropped the name when, while making this album realized his music was becoming "much gentler and more fragile". Aprilnacht already captured the particular musical ideas that Schoppik would thoroughly keep exploring, delving deeper and deeper into the use and manipulation of samplers from sources so diverging as to wander between the five continents to post-war German family television and cult cinema. Heir of the ritualistic intensity of Coil, of the intricate sampler assemblies of Ghédalia Tazartès', and of the dusty, dismal old ballads from around the world, Brannten Schnüre manages to make these paths cross in a territory that is as inherent as it is uncanny; sieged by the past and intimate as a hearth. An organic approach to folk, ambient, and sound collage, where ethereal yet thoroughly textured pieces coalesce in enthralling, delicate, and innermost musical rituals.

The album cover paintings reveal the temper: dreary old towns where shadows come to dim the slow passage of crepuscular colors, a soft area of reanimation where wind and light come close and foresee the night of spring. Aprilnacht was inspired by the stories of German philosopher and writer Friedrich Alfred Schmid Noerr, whose work exhaustively examines the conflict between paganism and Christianity, safeguarding myth in a way that Schoppik describes as boldly modern, humorous and unpredictable in its variations of the Germanic folklore motifs. "I wanted to do the same with the music," he states, and the music here could as well be suitable for a night when household deities welcome wandering will-o'-the-wisps, water nymphs, and gyrovagues to discuss Perchta's leadership of The Wild Hunt, but this album is not a folk tale, it's not an elegy to worlds already gone, hidden in years; it's an intersection of routes that open mysteriously before our ears like a congregation of vapors. Aprilnacht is a gathering of voices; "There are too many children, and none of them keeps quiet," reads the last verse of «Requiem für eine Ringelnatter.»

Sensuality drips over the music to celebrate both the voluptuousness and tragic quality of nature; "It's raining on me, urine from your flowers," Schoppik sings in «Urin deiner Blüten» and later on, faced with a snake's erotic features, as if he wanted to be embraced by it: "Your quick, sharp tongue and your warm venom; that's what the pond is missing." Orality is where this profusion of contents thrives. When the voices get closer and condense, the words reveal the saliva employed to pronounce them; we feel the mouth and the tongue, but when breath envelops them in sorrow and softens their edges, they sound distant, diffused in the atmosphere, letting go of the body that held them. These two vocal facets oscillate permanently and interact naturally with the fertile assembly of samplers and instruments that develop throughout the album, which condense and disperse impersonating each other, interweaving to search for a specific syntax. Tangled whisperings of enigmatic phrases, timid voices that stick out to check the scene but hide away quickly, shivering trance chants and monastic ambiances, distant screams and clamors in between chaos and warfare swirl until bursting into subtle songs where even Mother Mary comes forth softly. Soothed by foggy atmospheres and crackling punctuations, these voices shape a vulnerable crowd, an occasion of fragility. Along this swarm of songs thrown into thin air, accordions sound like heavy-breathing lungs; clarinets sigh like curtains shaking; violin solos wander around like bees; Gjallarhorns cries distend like fleeing cattle; glockenspiels evoke remote music boxes and inherited toys; backward emanations emerge like slender waves retreating. On the banks of stretching loops and ember textures is where the songs slowly nest, collecting the words to find their tone.

A poem by Jorge Teillier says, "To talk with the dead you have to choose words that they recognize as easily as their hands recognized the fur of their dogs in the dark. To talk with the dead you have to know how to wait: they are fearful like the first steps of a child. But if we are patient one day they will answer us with a flame that suddenly revives in the fireplace." This may be Brannten Schnüre's main purpose: To find the voice to speak to those of whom we were a vision. Not in mourning, but acknowledging the obscure and volatile nature of spring's regenerative force, searching for the treasure of balance, as evidenced in the lyrics of «Requiem für ein Schwalbennest,» "Its nest was destroyed so many times before it was finished, and despite that, the shallow builds as if it is infatuated." The same idea is here in the words of Schmid Noerr, who made poetry an act of resistance to the horror of Nazism; "Since having seen the ability of a brilliant spirit to die, with a calm mouth that everyone saw, health is true again and we affirm it, even if rivers of blood flow." And as we call for the dusk's kindness, waiting to return home and eat with our kin by the stove, our ears become used to the games of the night. We feel like we're rowing on wetlands, while the "moon musick" keeps us vigilant against the slightest movement of water or sweet moan because eeriness here is imperative for survival. Do not succumb to the insipid howl of death, for nothing may last but mutability. You see, the rock has moved a little during the night; the rest is just wind fleeing from the void.

Step into a time machine and groove back to the electrifying era of the mid-80s, where undiscovered US tracks found their sonic sanctuary on Morgan Kahn’s groundbreaking Street Wave record label. The reverberations of this musical revolution rippled from the gritty streets of NYC, transcending borders to captivate the entire globe. Picture it: 808s pulsating, synthesisers painting the airwaves with vibrant hues of rhythm and nostalgia. In the heyday of the eighties, rap wasn’t just a genre – it was a movement, a cultural force with a message that resonated through the beats and break moves. The lyrical poets of the time wove tales of real-life struggles and triumphs, creating a tapestry of sound that still echoes with relevance today.

Fast forward to the present, and the spirit of the 80s lives on in a classic track that encapsulates the magic of that unforgettable era. The torchbearers of timeless tunes, High Fashion Music, recognised the gem that was waiting to be polished. Enter Ben Liebrand, a musical maestro tasked with breathing new life into this iconic piece. Liebrand, has conjured three versions of this classic anthem. First up, the Nu-Disco funk-boogie rub, a groove so infectious it’ll have you hitting the dance floor in a heartbeat. Then, there’s the percussive-led Funk Mix – a rhythm-driven journey that takes the original to new heights. And for the pièce de résistance, the outrageously good nu vintage Electro Mix, a sonic masterpiece that bridges the gap between the past and the present with unmatched finesse.

Join us on this sonic voyage, fast forward into the future, as we celebrate the resurgence of an 80s cult classic, transformed by the wizardry of Ben Liebrand.