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Through a collaboration with Cincy label Chiefdom Records comes a fresh 45 on Colemine from Doctor Bionic. Both cuts from this 45 feel Colemine-core: funky, dirty drums, jazz keys and guitar, and a groove that just won't quit. Put "Expert Witness" on during your next DJ set and watch the floor fill up. Ohio's take on much of the funky west coast jazzy funk over the last couple of decades. Doctor Bionic is nothing short of prolific, having released over 10 albums in the last five years. Keep your eyes on this up and comer on the scene. And don't forget to flip it over for the nightcap. "Mistake" is a mellow guitar driven tune to close out the night in a melancholy way. Sparkling Rhodes, sparse guitar, and driving drums are the order of the day.

3FD hits the emotional double-digit landmark with 3FD10 and welcomes t3x3 to the label, who delivers four cuts of pure, unadulterated swing and high-pressure energy. Oldboy on remix duties!

Nearly 15 years have passed since the original version of this LP was released (the first iteration as a 4X12" LMTD set back in 2012), and it has truly aged like fine wine! This release features five timeless cuts from the mind and soul of cv313 and a truly mesmerizing otherwordly dub of the illusive radius project, mixed and recorded near the heart of Detroit! (with nearly all of the tracks making their debut on wax) This entire project has been beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. You can just drop the needle and close your eyes for a near 20 minutes of fathomless sonic depth, massaging your brain and mind, a deep dive into an immersive analogue world. A new addition to this newly minted vinyl iteration of the "Altering Illusions" series now includes cv313's blistering analogue assault on the darkest radius bit in the interpolation tapes series. Expect sub-harmonic deep space exploration in some seriously out-there electronic quadrants, some of the deepest techno reductions ever captured to tape!

Thoughts:
"Altering Illusions Chapter One cv313 is every bit as strong and essential as the debut cv313 album it supplements and acts as a nexus between cv313 material old and new.It is quite unlike anything cv313 has released before or since, a beautiful hybrid of cv313 textures, dense, whirring drones from Alva Noto’s Xerrox series of ambient albums and Thomas Koner’s panoramic soundscapes." -IGLOO MAGAZINE

a A1. cv313 “isis” original mix 10:47

c B1. radius “interpolation tapes” cv313 rewire 20:06

e C2. cv313 “irradiate dub” 5:58
reduced 20:24

a A1. cv313 “isis” original mix 10:47

c B1. radius “interpolation tapes” cv313 rewire 20:06

e C2. cv313 “irradiate dub” 5:58
[reduced] 20:24

[a] A1. cv313 “isis” [original mix] 10:47

[c] B1. radius “interpolation tapes” [cv313 rewire] 20:06

[e] C2. cv313 “irradiate [dub]” 5:58
[reduced] 20:24

Title track Tokyo Midnight opens with a groovy guitar riff and continues into an upbeat rhythmic workout, complete with a funky bassline and ululating keyboards. Yurika’s enchanting voice ties things together in a soft yet hypnotic musical whirlwind.

On the B-side, Nasnusa, a beautiful guitar solo flows into a captivating rhythm inspired by traditional Mizrahi music. Yurika’s delicate vocals evoke a love story: a couple watches the sunset as the gates to a new world begin to open. As Nasnusa fades into the light, her lover recalls her beauty and reflects fondly on the wonderful time they shared together.

Founded by Amir Sadot and Ilan Smilan, Sababa 5 have been playing together for two years and recently built their own recording studio. “We just wanted a place to record our music where the whole band could fit together in the same room… so we built the place ourselves! Mind you, there’s not a lot of space… in fact, we’re a bit crammed in there, but that’s how we like it.” Sababa 5’s musical style has been shaped by all its members and continues to evolve while always remaining deeply groove-centric. Their sound is rooted in surf rock and retro funk, drawing strong inspiration from Arabic folk and funk music of the ’60s and ’70s, as well as artists from that era such as the legendary Aris San.

Yurika is a Japanese performer born and raised in Tokyo. During her teenage years, she discovered belly dancing and quickly fell in love with the art form. She later travelled throughout the Middle East to deepen her studies, learning from choreographers such as Orly Portal and performing alongside renowned artists including Raquy Danziger, Boom Pam, and Ouzo Bazooka.

,The Ecstatic", das ursprünglich im Juni 2009 erschien, gilt als wegweisendes künstlerisches Statement von Mos Def (heute bekannt als Yasiin Bey) - ein facettenreiches Comeback, das seinen Status als eine der abenteuerlustigsten und intellektuell engagiertesten Stimmen des Hip-Hop bekräftigte. Das Album erschien ein Jahrzehnt nach seinem gefeierten Debüt ,Black on Both Sides" und wurde weithin als sein stärkstes Werk seit Jahren angesehen; es erntete nahezu einhelliges Lob für seine lyrische Bandbreite, die vielseitige Produktion und den thematischen Anspruch. Musikalisch webt ,The Ecstatic" einen globalen Klangteppich, der von einer Reihe zukunftsweisender Produzenten geprägt ist, darunter Madlib, J Dilla, Oh No, Preservation, Mr. Flash, Chad Hugo (von The Neptunes) und Georgia Anne Muldrow. Die daraus entstehende Klanglandschaft ist sowohl in der Hip-Hop-Tradition verwurzelt als auch genreübergreifend und integriert Elemente aus Jazz, Soul, nahöstlichen Einflüssen und experimenteller Sample-Arbeit. Tracks wie ,Supermagic" und ,Twilite Speedball" strahlen eine lebendige, rastlose Energie aus, die den weitreichenden kreativen Spielraum des Albums widerspiegelt. Textlich durchstreift yasiin bey mit seiner charakteristischen Schärfe persönliche, politische und philosophische Themen und setzt sich mit poetischer Dringlichkeit mit sozialer Ungleichheit, westlichem Imperialismus und Fragen der kulturellen Identität auseinander. The Ecstatic setzt eher auf Risiko und Komplexität als auf Nostalgie und bleibt ein ausgereiftes, tief empfundenes Werk, dessen Ehrgeiz, Tiefe und anhaltende Resonanz seinen Platz als herausragender Eintrag im Werk von Mos Def und in der modernen Hip-Hop-Geschichte gefestigt haben.

Pablo Bozzi returns to his own imprint with Wired, four tracks of progressive house built for the long arc of a night — patient, physical, unafraid of melody.
“This one captures the full range and vibe of what I’ve been working on lately. I’m very happy with how it came together and hope you like it too.” — Pablo Bozzi

Klaus Kotai, a Viennese who had made Berlin his home, found a receptive audience in Cologne as early as the mid-90s with his records on Elektro Music Department. This club and label conglomerate, run with co-producer and DJ Mo Loschelder and the artist Daniel Pflumm, was working towards a radical streamlining of techno. A certain kinship with the pre-Kompakt sound of Cologne could not be denied. They exchanged greetings from afar.

Then came the 2000s, an exciting era for club music, rich in innovation and characterised above all by the burgeoning genres of minimal and electro clash. In 2002, Kotai’s ‘Sucker DJ’ was released, featuring the brilliant remix by Marcin “Highfish” Kozlowski, on WMF Records – the label belonging to the eponymous cult Berlin club. A true hit that struck a perfect balance between both worlds and was played across genres by virtually every DJ.

Exactly 20 years after the last re-release on Elektro Music Department (also distributed by Kompakt at the time), it’s now time for ‘Sucker DJ’ to make a comeback. Judging by Marco Cariolaa’s ‘Cringe Vibes’, it’s needed more urgently than ever.

Remastered, with new artwork by Daniel Pflumm, and still “fucking up your place”.
Der Wiener Wahlberliner Klaus Kotai stiess in Köln schon Mitte der 90er Jahre mit seinen Platten auf Elektro Music Department auf offene Ohren. Dieses mit Co-Produzentin & DJ Mo Loschelder sowie dem Künstler Daniel Pflumm betriebene Club-/Label-Konglomerat arbeitete sich an einer radikalen Entschlackung des Techno ab. Eine gewisse Seelenverwandtschaft zum Kölner Prä-Kompakt-Sound war nicht von der Hand zu weisen. Man grüßte sich aus der Ferne.

Dann kamen die 2000er, eine aufregende, an Innovationen nicht arme Ära für Clubmusik, die vor allem von den aufblühenden Genres Minimal und Electro Clash geprägt war. Im Jahr 20 02 kam dann Kotais ‘Sucker DJ’ mit dem kongenialen Marcin “Highfish” Kozlowski Remix auf dem zum gleichnamigen Berliner Kult-Club gehörenden Label WMF Rec ords heraus. Ein echter Konsenshit, der äußerst komfortabel zwischen beiden Welten saß und genreübergreifend von nahezu allen DJs gespielt wurde.

Genau 20 Jahre nach der letzten Wiederveröffentlichung auf Elektro Music Department (damals ebenfalls im Kompakt Vertrieb) ist es nun an der Zeit, dass der ‘Sucker DJ’ zurückkommt. Wenn man sich Marco Cariolaa’s Cringe Vibes so anschaut, wird er dringender gebraucht denn je.

Neu gemastert, mit neuem Artwork von Daniel Pflumm und immer noch “fucking up your place”.

For the 10th Anniversary of the iconic and unique For Honor, Kid Katana Records teamed up with Ubisoft to bring you this high quality album on an exclusive double vinyl. With over 35 million players since its release, For Honor has kept on bringing new content in the game, enriching the players’ experience with new Heroes, Factions and Music to keep the battle for survival and honor alive.


The physical edition is a premium 2LP designed in close relationship with the game's creative team:


● Track selection handpicked by For Honor team, including 2 new tracks (Year 10 exclusive) and a track never released before from Y1 Season 7
● 2 Golden vinyls
● Exclusive cover art with glossy effect on the logo
● Exclusive 16-page booklet with insights on each faction’s music, liner notes
from the game’s creative team and composers Luc St-Pierre, Danny Bensi and
Saunder Jurriaans



The tracklist is a selection of music from the 10 seasons of the game, one side per faction:

BBE Music’s celebrated J Jazz compilation series reaches its fifth and final volume in early 2026, culminating in a track list that maintains the exceptionally high standard first set with volume one back in 2018. This final volume features a selection of tracks that is as diverse as it is deep, reflecting the rich and varied Japanese jazz scene that spanned from the late 1960s to the late 1980s, a golden era of innovation and creativity. J Jazz volume 5 sees compilers Tony Higgins and Mike Peden dig ever deeper into their respective record collections to reveal tracks that encompass myriad styles including white hot jazz funk fusion from Toshiyuki Honda (Eastern Legacy) and Mikio Masuda (Sonic Barrier), super rare ethnic jazz crossover by Christal Zone - their one-off 45 promo release from 1971, Rai Rai, a deconstructed and abstract jazz classic by Yasuhiro Kohno with his solo piano rendition of My Favourite Things, and Mile and Half’s skin-tearing, shredding freak-out from their mega rare private press album.

A track that is so relentless, it leaves the listener in need of oxygen and a Valium. These hand-picked selections sit alongside other specially chosen numbers that embrace hard-driving samba (Seiichi Nakumura’s Judy’s Samba), epic head-nodding soul jazz (Masaru Imada’s World Line), psychedelic private press fusion (Aoyama Gakuin 101’s Fervor), angular post-bop tear-ups (Akira Miyazawa’s Nijimasu), intense and insistent fusion (Motohiko Hino’s Olive Step), serene cinematic pianism (Hideo Ichikawa’s On the Trade Wind) and tripped-out hallucinogenic tribal funky jazz (Masahiko Sato’s Garandoh’s Africa to Africa). Most of the tracks on this collection are being reissued for the first time, many of them only available previously on extremely limited and mega-rare private press or independent releases. J Jazz volume 5 is a fitting end to a compilation series that helped create a new audience and appreciation of Japanese jazz Some of the albums the tracks are drawn from are featured in the large format book J Jazz: Modern and Free Jazz from Japan 1954-1988, by Tony Higgins and Mike Peden, published by BBE Music in 2024. With almost 7000 words of extensive sleeve notes, J Jazz volume 5 comes in a triple 180g vinyl set inside a deluxe gatefold sleeve with obi strip, and comes with a 4-page insert, with photographs from the renowned Tokyo Jazz Joints project. It is also available as a double CD and digital download. Mastered at the Grammy-nominated Carvery Studio by Frank Merritt, this latest collection is a worthy successor to the preceding four volumes that set the bar so high. The J Jazz series is curated for BBE Music by Tony Higgins and Mike Peden.

Radio Slave reissues 2000 and One’s ‘Tropical Melons’ with remixes from Bart Skils and Mark Broom, Dylan Hermelijn, aka 2000 and One, also contributes a new mix of the 2007 hit

2000 and One’s noughties track ‘Tropical Melons’ lands on Rekids 31st July 2026, reissued with a new mix from the artist, Dylan Hermelijn, himself alongside fresh remixes from label debutant Bart Skils and Rekids regular Mark Broom. Originally released via Hermelijn’s 100% Pure in 2007 and championed by the likes of Sven Väth, ‘Tropical Melons’ remains a genre-blurring club cut that has lost none of its impact, now re-released and building on the reissue of 2000 and One’s ‘Wan Poku Moro’ on Rekids in 2024.

Opening the record, Bart Skils adds to the already heavily synth-laced original, sharpening its edges while preserving the lose-your-mind energy that made it such a standout. Mark Broom follows with his signature drum work: raw, muscular and driven by a jackin’ groove as the original’s dubbed-out melody washes over its rhythm. On the flip, Dylan Hermelijn revisits the track himself with a new 2026 mix, cleaned up and nudged forward with a subtle increase in pace, while keeping the irresistible pull of his original fully intact.

Dutch Jungle heavyweight FFF steps into Hardcore territory for his debut on Hardcore Energy. HEV002 delivers four rave-fuelled cuts that fuse his unmistakable breakbeat science with uncompromising Hardcore energy.

Chin Up, Beautiful, Jutes’ fourth album, invites fans to experience a futuristic, post-apocalyptic world, drawing inspiration from Deftones, The Neighourhood and The Walking Dead. Featuring the singles “Disassociate, “White Butterflies,” and “Chin Up, Beautiful,” the vinyl comes in a Limited Edition Silver Galaxy color, and includes 3 exclusive tracks. This August, Jutes embarks on his biggest North American tour yet, following a sold out UK/EUR tour and multiple Summer Festivals including

Chin Up, Beautiful, Jutes’ fourth album, invites fans to experience a futuristic, post-apocalyptic world, drawing inspiration from Deftones, The Neighourhood and The Walking Dead. Featuring the singles “Disassociate, “White Butterflies,” and “Chin Up, Beautiful,” the vinyl comes in a Limited Edition Silver Galaxy color, and includes 3 exclusive tracks. This August, Jutes embarks on his biggest North American tour yet, following a sold out UK/EUR tour and multiple Summer Festivals including

Phosphor returns with its fifth release and a new chapter for the label’s founders, Blue Vision. As their second EP on the imprint, Machines Will Transform Us (PHP005) confirms the project’s direction: a precise balance between club-driven tech house and more immersive, hypnotic electro textures.

Across the EP, Blue Vision asks a simple question: after spending our days connected to algorithms and modern machines, can repetitive rhythms and mechanical grooves on the dancefloor turn us into machines once again, or instead help us reconnect with ourselves?

Machines Will Transform Us (A1) opens the EP with a driving Italo bassline and tight, tech-driven drums. Melodic 80s synths contrast with sharper electro elements, gradually building tension before a final drop designed for peak-time impact. The track sets the tone for the release: machines transform us as much as we transform them.

Then comes Just a Game (A2), blending spacious 90s progressive and synthwave influences over a rock-solid club bassline and crisp drums. Playing with atmosphere and emotion, the track explores the feeling that we are never too far from a simulation, that maybe everything is just a game. Perfectly suited for introspective yet intense moments, it acts as an ideal bridge between harder tracks in a set.

On the flip side, I Love Acid (B1) is direct, hypnotic, and designed to lock the dancefloor into a steady flow. Stripped back to punchy drums and a raw acid line, it takes a minimal approach that works equally well in early hours or late-night sets. Behind the title lies the idea of acid as both machine energy and mental escape, where repetitive sequences blur the boundary between human emotion and mechanical movement.

As a final touch, Scan Your Brain (B2) shifts into deeper, more immersive territory. Analog pad textures create a drifting atmosphere over a hypnotic bassline and electro drums. With this closing track, Blue Vision answers their initial question by imagining the dancefloor as a space to disconnect from rigid thinking. The vocal serves as a reminder that the brain is constantly overloaded, and that dancing becomes a way to let go, reset, and reconnect.

Nach dem "makellosen und zeitlosen Soul" (The Guardian) des 2019er-Vorgängers "American Love Call" öffnet "Private Space" von Durand Jones & The Indications die Tür zu einer breiteren Palette von Klängen und führt die Band kühn in eine synthielastigere Soul-Welt aus mit Streichern durchsetzten Disco-Beats. Das harmonische Zusammenspiel zwischen Aaron Frazers sanftem Falsett am Schlagzeug und Durand Jones' kräftigem Gesang sitzt noch immer tadellos und wird von Blake Rhein (Gitarre), Steve Okonski (Tasten) und Mike Montgomery (Bass) perfekt abgerundet. The Indications bleiben auch auf ihrem dritten Album wahre Meister darin, Revival-Sounds mit einer modernen Haltung zu verschmelzen. "Private Space" atmet den Geist der vergangenen Disco-Ära und die zehn Tracks liefern so eine dringend benötigte Dosis Eskapismus nach diesem turbulenten Jahr 2020. Das Album entstand nachdem die Band einen Großteil des Jahres getrennt voneinander verbracht hatte. Die Freude des Wiedersehens und am kreativen Miteinander ist auf "Private Space" jederzeit spürbar. Der hoffnungsvolle Sound setzt auf die Idee, dass Freude uns befreien kann. Die Kraft eines guten Songs, ein Licht in der Dunkelheit zu sein. Bandleader DURAND JONES fasst es treffend zusammen: "At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me."

No Use For A Name were one of the first bands on Fat Wreck Chords and remain a cornerstone of the label roster. Their unique take on California punk/skate punk emphasized equally innovative and catchy melody, paired with top-flight musicianship. Of course, a lot of what made this possible was the vocal range and imaginative song writing of Tony Sly. Despite his tragic passing in 2012, Tony's presence can still be felt today, as his influence is evident in the work of many other artists. Leche Con Carne is a blistering punk rock record, the band's third studio album, and a blend of Bad Religion-esque riffage and edgy vocals that hit between singing and yelling. The record features some of the bands' biggest hits, the love song "Soulmate", the story-telling cautionary tale "Justified Black Eye", and the popular Bob Marley cover of "Redemption Song." 30 years since its first release, Leche Con Carne feels as omnipotent as ever. An essential Fat Wreck Chords release, and a classic album in the No Use For A Name discography. Produced by Ryan Greene (NOFX) and Fat Mike, Features hit singles "Soulmate," "Justified Black Eye," and "Redemption Song", for fans of Bad Religion, The Offspring, Green Day, Grape coloured 2026 vinyl.

Reissue. This is MEPHISTOFELES at their druggiest best - you can practically hear the sizzle of something brown cooking on its grooves - and thankfully, they've kept their doom locked in the garage. Mephistofeles continue to maximize the ROCK aspect of their sound over the doom here, with their swagger truly something to behold as those solos just soar downward into the abyss and the rhythm section push and pull right behind. If anything, Violent Theatre is a sterling example of true ensemble playing. Mephistofeles are nothing if not dependable, but just check out the 14-minute epic "Communion of the Vile" for the band really going for it. No other words needed: MEPHISTOFELES are cult for a reason, and Violent Theatre simply proves it further.

Reissue. Violet vinyl, limited to 350 copies. This is MEPHISTOFELES at their druggiest best - you can practically hear the sizzle of something brown cooking on its grooves - and thankfully, they've kept their doom locked in the garage. Mephistofeles continue to maximize the ROCK aspect of their sound over the doom here, with their swagger truly something to behold as those solos just soar downward into the abyss and the rhythm section push and pull right behind. If anything, Violent Theatre is a sterling example of true ensemble playing. Mephistofeles are nothing if not dependable, but just check out the 14-minute epic "Communion of the Vile" for the band really going for it. No other words needed: MEPHISTOFELES are cult for a reason, and Violent Theatre simply proves it further.

Continuing the primordial descent that kicked off in earnest with their 2023 debut album, Pulsations From the Black Orb, ASTRIFEROUS return with their second full-length, Atavistic Unraveling. Much like that celebrated debut, the Costa Ricans’ sophomore album is perfectly titled: truly, the sensations one finds spread across this dread landscape are an Atavistic Unraveling. Thankfully, ASTRIFEROUS’ foundation has changed little – the swarming morbidity of early ’90s Finnish death metal fused with classic South American madness – but there are (dread) developments that prove the band are just now hitting their stride.

Despite its title, Atavistic Unraveling shows ASTRIFEROUS at their tightest and sharpest, with chops and execution meeting at a nexus of impossibly horrific proportions. Duly armed, the quartet take their songwriting to strange, skronking lengths, rendering their angularity both an unsettling and utterly attacking thing. Likewise, the slight cleaning-up of production has paid dividends, allowing these malformed ruminations to fully seep into the listener’s psyche – mangling the mind, wracking the body – whilst emerging with just enough linear propulsion to land the record on the right side of art rather than riff salad.

Collectively, these changes have made ASTRIFEROUS even more world-eating than before, further cementing their homeland’s death metal scene as one of the most potent around. Atavistic Unraveling awaits those who dare…

Anne has a passion for writing in alternative open tunings and her eclectic musical influences span blues, jazz, folk and country. Her new album Cigarettes and Smokescreens showcases her talent for storytelling. When not playing sold- out stages across the UK, you can find Anne in a field in the middle of nowhere with her two retired horses. This special album is now available as a vinyl LP pressed at Seabass Vinyl in Scotland, following an initial CD only release.

Anne Gair has toured extensively across the UK. She has played iconic venues including The Glasgow Royal Concert Hall, King Tuts Wah Wah, The 100 Club and The Voodoo Rooms. She has played festivals including Belladrum and Celtic Connections. "Anne has got the most stunning voice, It's very Joni Mitchell- esque. (Her music) is beautiful storytelling and gorgeous melodies." -- Anna Foster - BBC Radio "A voice that just soothes your soul" - Rambling Folk "(Anne's) voice is beautiful, just gorgeous" - Nerina Pallot

Citizens anhaltende klangliche Weiterentwicklung und ihre konsequente Weigerung, jemals zweimal dasselbe Album zu machen, haben ihnen den Ruf eingebracht, eine der konstant fesselndsten Bands der modernen Rockmusik zu sein. Genau dieses kompromisslose Bekenntnis zu ihrem Handwerk führte zu ihrem neuen Album Halcyon Blues. Es ist eine dynamische und selbstbewusste Kulmination all dessen, was zuvor kam - und macht unmissverständlich klar: Bei aller klanglichen Rastlosigkeit wussten Citizen immer genau, wer sie sind.Von Beginn an war die Band - Sänger Mat Kerekes, Gitarrist Nick Hamm, Bassist Eric Hamm sowie die neueren Mitglieder Gitarrist Mason Mercer und Schlagzeuger Ben Russin - fest entschlossen, ihrer Kreativität kompromisslos zu folgen, wohin auch immer sie sie führen würde. Über die Jahre bewegten sie sich souverän durch rohen Emo, bedrohlichen Post-Hardcore, hymnischen Alternative Rock, garageartigen Indie-Pop und vieles mehr.Halcyon Blues vereint nun Elemente aus dem gesamten bisherigen Katalog der Band zu einem geschlossenen, unmittelbar befriedigenden Album, das einfach unverkennbar nach Citizen klingt. Während frühere Citizen-Alben oft wie direkte Reaktionen auf den jeweiligen Vorgänger wirkten, fühlt sich Halcyon Blues an, als würde die Band ihr gesamtes bisheriges Werk umarmen und geschlossen weitertragen.Aufgenommen von Kerekes in seinem Heimstudio in Toledo und anschließend von Tom Lorde-Alge (U2, Weezer, Blink-182) gemischt, greift das Album die Dringlichkeit und Wildheit der frühen Citizen-Veröffentlichungen auf und verbindet sie mit der epischen Weite und den unbestreitbaren Hooks ihres jüngeren Schaffens. Das Ergebnis sind große Rock-Songs mit entsprechend großen Emotionen. Doch auch die jugendliche Frustration der frühen Jahre ist gereift - ersetzt durch eine nuanciertere, wenn auch nicht weniger scharfzüngige erwachsene Perspektive.

Citizens anhaltende klangliche Weiterentwicklung und ihre konsequente Weigerung, jemals zweimal dasselbe Album zu machen, haben ihnen den Ruf eingebracht, eine der konstant fesselndsten Bands der modernen Rockmusik zu sein. Genau dieses kompromisslose Bekenntnis zu ihrem Handwerk führte zu ihrem neuen Album Halcyon Blues. Es ist eine dynamische und selbstbewusste Kulmination all dessen, was zuvor kam - und macht unmissverständlich klar: Bei aller klanglichen Rastlosigkeit wussten Citizen immer genau, wer sie sind.Von Beginn an war die Band - Sänger Mat Kerekes, Gitarrist Nick Hamm, Bassist Eric Hamm sowie die neueren Mitglieder Gitarrist Mason Mercer und Schlagzeuger Ben Russin - fest entschlossen, ihrer Kreativität kompromisslos zu folgen, wohin auch immer sie sie führen würde. Über die Jahre bewegten sie sich souverän durch rohen Emo, bedrohlichen Post-Hardcore, hymnischen Alternative Rock, garageartigen Indie-Pop und vieles mehr.Halcyon Blues vereint nun Elemente aus dem gesamten bisherigen Katalog der Band zu einem geschlossenen, unmittelbar befriedigenden Album, das einfach unverkennbar nach Citizen klingt. Während frühere Citizen-Alben oft wie direkte Reaktionen auf den jeweiligen Vorgänger wirkten, fühlt sich Halcyon Blues an, als würde die Band ihr gesamtes bisheriges Werk umarmen und geschlossen weitertragen.Aufgenommen von Kerekes in seinem Heimstudio in Toledo und anschließend von Tom Lorde-Alge (U2, Weezer, Blink-182) gemischt, greift das Album die Dringlichkeit und Wildheit der frühen Citizen-Veröffentlichungen auf und verbindet sie mit der epischen Weite und den unbestreitbaren Hooks ihres jüngeren Schaffens. Das Ergebnis sind große Rock-Songs mit entsprechend großen Emotionen. Doch auch die jugendliche Frustration der frühen Jahre ist gereift - ersetzt durch eine nuanciertere, wenn auch nicht weniger scharfzüngige erwachsene Perspektive.

Citizens anhaltende klangliche Weiterentwicklung und ihre konsequente Weigerung, jemals zweimal dasselbe Album zu machen, haben ihnen den Ruf eingebracht, eine der konstant fesselndsten Bands der modernen Rockmusik zu sein. Genau dieses kompromisslose Bekenntnis zu ihrem Handwerk führte zu ihrem neuen Album Halcyon Blues. Es ist eine dynamische und selbstbewusste Kulmination all dessen, was zuvor kam - und macht unmissverständlich klar: Bei aller klanglichen Rastlosigkeit wussten Citizen immer genau, wer sie sind.Von Beginn an war die Band - Sänger Mat Kerekes, Gitarrist Nick Hamm, Bassist Eric Hamm sowie die neueren Mitglieder Gitarrist Mason Mercer und Schlagzeuger Ben Russin - fest entschlossen, ihrer Kreativität kompromisslos zu folgen, wohin auch immer sie sie führen würde. Über die Jahre bewegten sie sich souverän durch rohen Emo, bedrohlichen Post-Hardcore, hymnischen Alternative Rock, garageartigen Indie-Pop und vieles mehr.Halcyon Blues vereint nun Elemente aus dem gesamten bisherigen Katalog der Band zu einem geschlossenen, unmittelbar befriedigenden Album, das einfach unverkennbar nach Citizen klingt. Während frühere Citizen-Alben oft wie direkte Reaktionen auf den jeweiligen Vorgänger wirkten, fühlt sich Halcyon Blues an, als würde die Band ihr gesamtes bisheriges Werk umarmen und geschlossen weitertragen.Aufgenommen von Kerekes in seinem Heimstudio in Toledo und anschließend von Tom Lorde-Alge (U2, Weezer, Blink-182) gemischt, greift das Album die Dringlichkeit und Wildheit der frühen Citizen-Veröffentlichungen auf und verbindet sie mit der epischen Weite und den unbestreitbaren Hooks ihres jüngeren Schaffens. Das Ergebnis sind große Rock-Songs mit entsprechend großen Emotionen. Doch auch die jugendliche Frustration der frühen Jahre ist gereift - ersetzt durch eine nuanciertere, wenn auch nicht weniger scharfzüngige erwachsene Perspektive.

Auf ,Revelations of Divine Love", Jason Calhouns fünfter Veröffentlichung bei Dear Life Records, hat Calhoun ein besonders kraftvolles Album zusammengestellt, das surrt, summt und leuchtet. Im Gegensatz zu seinen jüngsten Werken, die sich um ausgedehnte, hypnotische Kompositionen drehen, wecken die vierzehn Tracks hier sofort deine Aufmerksamkeit und Neugier. Ihre Prägnanz unterstreicht nur eine seiner größten Stärken: die Fähigkeit, einen verfliegenden, flüchtigen Moment einzufangen und festzuhalten. Der Titel ist eine Anspielung auf die britische Anachoreta Julian von Norwich, deren gesammelte Schriften mit demselben Titel die frühesten sind, die jemals von einer Frau in englischer Sprache verfasst wurden. Hier dient er als verbindendes Thema für Calhouns ganz eigene Palette aus unruhigen Texturen und zaghaften Melodien. Das ist zweifellos persönliche Musik, aber sie fühlt sich auch greifbar an, fast wie Toffee in ihrer Präsentation - und bei einer so kraftvollen Kombination fällt es schwer, beim Hören ein Lächeln zu unterdrücken. Zum Beispiel, wenn der eindringliche Puls, der ,last one" trägt, plötzlich seine Farbe wechselt, während sich gähnende Töne offenbaren, oder wie ,eye dilation" auf Zehenspitzen in den Raum schleicht, wobei jede Note wie ein sorgfältig gewählter Schritt klingt. Obwohl das Album niemals gekünstelt oder überladen wirkt, bleibt es entschlossen intim.

"I miss Conway. We all miss Conway. We miss him a lot. Things are not the same without him." Nick Cave

Maverick folk artist and touring veteran Rev Hammer has been writing and releasing music for over 40 years. He regards his music not so much as a passport to fame and fortune but as a ticket to ride and has enjoyed numerous tours, collaborations, and projects over his long and varied career. The Old Crow Folk Club album features 23 of his songs re-imagined by friends and artists including Justin Sullivan (New Model Army), Mark Chadwick (Levellers), Maddy Prior (Steeleye Span), Simon Friend (Levellers), Seth Lakeman, John Jones (Oysterband), Dan Donnelly & Jon Sevink (Levellers), Nick Harper, Kathryn Roberts & Sean Lakeman, Nick Parker,

In the early 1960s, beat groups from the Dutch Randstad dominated the national charts. Yet far from the big cities, in the clubs of Drenthe, one band was already being billed as “Beatgroup Number One”: Cuby + Blizzards. But frontman Harry Muskee never embraced that label. Raised on broadcasts from The Voice of America, he possessed a deeper understanding of the blues than most of his contemporaries. Muskee didn’t want to sing ‘songs,’ as he called them, he wanted to sing the blues, raw and unfiltered, in the tradition of Howlin’ Wolf, John Lee Hooker and Muddy Waters.

Their debut single “Stumble & Fall” was recorded in the Bavohuis, a simple gym hall in Amsterdam, with Addy Kleingeld as producer. But the debut album Desolation marked a turning point, recorded at the Phonogram Studios in Hilversum with renowned blues producer Tony Vos, it captured the band exactly as Muskee intended.

The resulting album became a jewel of Dutch music history. Never before had the Netherlands heard a blues singer who poured his emotions into a recording with such conviction and authenticity. Muskee even outshone his British peers. Eric Burdon (The Animals), Paul Jones (Manfred Mann), Mick Jagger (The Rolling Stones) and Van Morrison (Them).

At the 1968 Grand Gala du Disque (the Dutch equivalent of the Grammys), Muskee received an Edison Award for Desolation, handed to him by cabaret artist Wim Sonneveld, whose lukewarm speech couldn’t diminish the significance of the moment.

Sixty years later, the legacy of this groundbreaking album still resonates, an essential document of European blues and a defining moment in the story of Cuby + Blizzards.

This 60th anniversary edition of Desolation is now available as an expanded 2LP-set including the original 1966 album plus fifteen bonus tracks. The gatefold version features songs “Things I Remember”, “Stumble & Fall”, “L.S.D. (Got A Million Dollars)”, is a limited edition on blue vinyl and includes new liner notes by Dutch Blues authority Johan Derksen.

The sleepy calm of Klondyke, Louisiana, is shattered when an unknown man ruthlessly shoots his way out of a courtroom, abducting a girl hostage at gun-point and tearing out of town in a stolen car. Who is he? What is his concern with the girl, with a multi-millionaire’s secluded house, and with a great oil rig out in the Gulf of Mexico?

Fear Is The Key is a 1972 British action flick directed by Michael Tucher starring Barry Newman (Vanishing Point) and Suzy Kendall, based on Alistair MacLean's 1961 eponymous novel. The film is probably best remembered for its spectacular and lengthy car chase sequence, which necessitated a ten-minute plus action cue that demanded split-second timing so that each bar would blend perfectly with the chase sound effects. Realizing composer Roy Budd was just 25 years old when he recorded this score, makes it all the more impressive. Fun fact: this is the feature film debut of Sir Ben Kingsley so make sure to give it a whirl, especially if you're into hard-driving British jazz. In any case, this soundtrack too will surely satisfy fans of the jazz-funk and library music found on labels such as KPM and Music De Wolfe.

The soundtrack of Fear Is The Key is available as a limited edition of 500 individually numbered copies on pink marble vinyl and includes an insert with liner notes.

Nothing have always been rule-breakers. Shoegaze renegades who've rebuilt the stereotypically lightweight genre in their own bloodyknuckled American image. Outlaw poets spilling existential dread on mile-wide canvasses of fuzz and reverb. Beginning as a Philly-born bedroom solo project in 2010, Nothing's music has always captured the full scale of the human condition, both the blaring anger and the whispering sadness. a short history of decay, Nothing's fifth solo album and first for Run For Cover Records, widens that aperture even further, providing the most hi-def rendering of Nothing to date. The band have never sounded this colossal, never felt this intimate, never been this honest. With the strongest arsenal in Nothing's ever-shifting lineup locked in -- guitarist Doyle Martin (Cloakroom), bassist Bobb Bruno (Best Coast), drummer Zachary Jones (MSC, Manslaughter 777), and third guitarist Cam Smith (Ladder To God, also of Cloakroom) -- singer-songwriter Domenic "Nicky" Palermo knew he had the manpower to make the band's most ambitious record yet. Co-written and produced with Whirr guitarist Nicholas Bassett, and with additional production and mixing work from Sonny Diperri (DIIV, Julie), a short history of decay, is the most evolved musical statement in Nothing's catalog. Songs like "Cannibal World" and "Toothless Coal" are cataclysmic lashings of mechanized industrial-gaze that sound like My Bloody Valentine -- except more extreme. On the other end of the spectrum, the ornately morose "Purple Strings" boasts a beautiful string arrangement that includes harpist -- and two-time Nothing contributor -- Mary Lattimore. That baroque delicacy permeates other a short history of decay, highlights, particularly "The Rain Don't Care," a lilting ballad that channels the worn-down elegance of Mojave 3, and also "Nerve Scales," a pattering bop that resembles Radiohead in its marriage of otherworldly atmosphere and mortal precision. Palermo calls the new record "a final chapter." Not the end of Nothing, but the conclusion of a story that began with Nothing's 2014 debut, Guilty of Everything -- another album about time, regret, and confronting uncomfortable truths -- and now resolves with a short history of decay,. As much a snapshot of Palermo's past as it is a leap into Nothing's future.

Longform: Across two decades, the California-born hardcore outfit CEREMONY has earned its standing as one of punk’s most adaptable and unflinching bands, always ready to meet the moment without surrendering its principles. True to form, CEREMONY's seventh album, Tell Me Your Dream pushes the group’s punk-forged intensity all the way to the fore, capturing the quintet at its most expressive, expansive, and timely. “We’re living in an era of mass uncertainty,” says CEREMONY vocalist Ross Farrar. “In punk, I don’t see how you can’t respond. It’s taken over our lives in so many different ways — economically, politically, spiritually. We want people to wake up and get into what’s happening.”  Ferociously alert, Tell Me Your Dream reunites CEREMONY — Farrar, guitarist-keyboardist Anthony Anzaldo, guitarist Andy Nelson, bassist Justin Davis and drummer Jake Casarotti — with producer John Reis for ten songs of searing breadth. That means everything from bristling hardcore to moody post-punk — all while taking fundamental inspiration from Discharge, Crass, and other anarcho-punk troupes that first helped certain members of CEREMONY find their own political voices back when they were teenagers. The result is a culmination of the band’s 21 years together, if not some kind of riddle: CEREMONY knows how to make a return-to-form sound like evolution — and vice versa.

This limited vinyl edition of Brain Invaders offers another chance to experience the album in
its most iconic format. Faithful to the original release, it features high-quality pressing andpackaging, making it a must-have for collectors and fans alike. Part of Be the Change, a project conceived and developed by Rude Cares to raise awareness about climate change and environmental sustainability within the music
community, this exclusive eco-friendly variant is more than just a vinyl release. Created in collaboration with artists who share this vision, each edition supports a more sustainable future: a donation is made to Green Future Project for every release, and 100 new trees are planted to fully offset the project's residual environmental footprint. A timeless album with the same energy and impact that made it a fan favorite, Brain
Invaders remains an essential addition to any punk rock vinyl collection—now with a positive
impact beyond the music.

This exclusive vinyl edition of Call Your Friends brings the album back to fans and collectors in a carefully crafted format. Faithful to the original release, this pressing celebrates the record’s distinctive sound and energy while offering a premium physical edition made for vinyl enthusiasts. Part of Be the Change, a project conceived and developed by Rude Cares to raise awareness about climate change and environmental sustainability within the music community, this limited eco-friendly variant connects the power of music with a commitment to a more sustainable future. Created alongside artists who share this vision, each release supports environmental action through a donation to Green Future Project, while 100 new trees are planted to fully offset the residual environmental footprint of the project. A vibrant and memorable album that captures the band’s personality and evolution, Call Your Friends remains a must-have for fans—now available in a special edition that extends its impact beyond the music.

Zum 30-jährigen Jubiläum des Rebellions in Blackpool spielt die Düsseldorfer Punkrockband DEAD DATES. Passend dazu bringt die Band mit ihrem Label ,Sunny Bastards Records" aus Essen eine EP mit rein englischen Texten heraus. Überraschend, da ihre Texte sonst zu 80% auf Deutsch sind. Sänger Opa: ,Unsere Vorfreude aufs Rebellion ist riesengroß, daher wollten wir uns selbst ein kleines Geschenk machen. Es geht also nicht darum unser Terrain zu vergrößern, denn wir werden auf der nächsten LP auch wieder fast nur deutsche Text haben.". Nicht nur an der Musik haben die DEAD DATES intensiv in den Düsseldorfer Wild Wood Studios gearbeitet. Besonders an den Lyrics hat Sänger Opa zusammen mit englischen Freunden länger gesessen: ,Es sollten keine 0815-Texte mit den üblichen Punkparolen werden. Besonders bei Blackpool neigen ja viele Bands, besonders deutsche, dazu, irgendeinen Quatsch mit Lieblingsort, saufen und Prügeleien zu singen oder wie schön angeblich diese Stadt ist. Von diesem Blödsinn und Klischees wollten wir uns fernhalten. Daher habe ich den Blick bei ,Blackpool" auf andere Sachen gelegt." Die DEAD DATES spielen melodischen Punkrock. Ehrlich, authen..sch, energiegeladen. Seit ihrer Gründung 2022 haben sich die DEAD DATES mit ihrer Energie, ihrem Humor und ihrer Leidenschaft auf der Bühne einen echten Namen als absolute Liveband erworben. Die mehrheitlich deutschen Texte gehen über das Leben, die Menschen und auch Politik. Zahlreiche Konzerte und Touren mit bekannten deutschen, englischen, amerikanischen und karibischen Bands (u.a. Planlos, Upright Ci..zens, Razors, Erec..on, Chelsea, On the huh, The Sensi..ves, The Bolokos), Auch das bei Sunny Bastards in 2024 erschienene Album ,Lang genug gewartet" kam in der Öffentlichkeit sehr gut an und ist fast ausverkauft. Im August 2026 spielen die Dead Dates auf dem Rebellion in Blackpool, einem der größten Punkrockfes..vals Europas. Im Herbst sind weitere Gigs in UK geplant. Zudem waren die DEAD DATES 2024 als erste deutsche Band für drei umjubelte Gigs auf Guadeloupe in der Karibik. Anfang 2027 erscheint ihr neues Album ,Leben ist anders".

Zum 30-jährigen Jubiläum des Rebellions in Blackpool spielt die Düsseldorfer Punkrockband DEAD DATES. Passend dazu bringt die Band mit ihrem Label ,Sunny Bastards Records" aus Essen eine EP mit rein englischen Texten heraus. Überraschend, da ihre Texte sonst zu 80% auf Deutsch sind. Sänger Opa: ,Unsere Vorfreude aufs Rebellion ist riesengroß, daher wollten wir uns selbst ein kleines Geschenk machen. Es geht also nicht darum unser Terrain zu vergrößern, denn wir werden auf der nächsten LP auch wieder fast nur deutsche Text haben.". Nicht nur an der Musik haben die DEAD DATES intensiv in den Düsseldorfer Wild Wood Studios gearbeitet. Besonders an den Lyrics hat Sänger Opa zusammen mit englischen Freunden länger gesessen: ,Es sollten keine 0815-Texte mit den üblichen Punkparolen werden. Besonders bei Blackpool neigen ja viele Bands, besonders deutsche, dazu, irgendeinen Quatsch mit Lieblingsort, saufen und Prügeleien zu singen oder wie schön angeblich diese Stadt ist. Von diesem Blödsinn und Klischees wollten wir uns fernhalten. Daher habe ich den Blick bei ,Blackpool" auf andere Sachen gelegt." Die DEAD DATES spielen melodischen Punkrock. Ehrlich, authen..sch, energiegeladen. Seit ihrer Gründung 2022 haben sich die DEAD DATES mit ihrer Energie, ihrem Humor und ihrer Leidenschaft auf der Bühne einen echten Namen als absolute Liveband erworben. Die mehrheitlich deutschen Texte gehen über das Leben, die Menschen und auch Politik. Zahlreiche Konzerte und Touren mit bekannten deutschen, englischen, amerikanischen und karibischen Bands (u.a. Planlos, Upright Ci..zens, Razors, Erec..on, Chelsea, On the huh, The Sensi..ves, The Bolokos), Auch das bei Sunny Bastards in 2024 erschienene Album ,Lang genug gewartet" kam in der Öffentlichkeit sehr gut an und ist fast ausverkauft. Im August 2026 spielen die Dead Dates auf dem Rebellion in Blackpool, einem der größten Punkrockfes..vals Europas. Im Herbst sind weitere Gigs in UK geplant. Zudem waren die DEAD DATES 2024 als erste deutsche Band für drei umjubelte Gigs auf Guadeloupe in der Karibik. Anfang 2027 erscheint ihr neues Album ,Leben ist anders".

Zur Feier des 60-jährigen Jubiläums von „It’s The Great Pumpkin, Charlie Brown“ erscheint diese erste
Zoetrope-Ausgabe des Albums mit Vince Guaraldis zeitloser Filmmusik. Mit klassischen Szenen aus dem
Special auf jeder Seite enthält dieses Album Halloween-Klassiker wie „Graveyard Theme“, „The Great
Pumpkin Waltz“ und „Linus and Lucy“ sowie weitere Titel und alternative Takes. Für das volle ZoetropeErlebnis filmt die sich drehende Schallplatte mit der Videokamera eures Handys bei 30 fps und lasst die
Magie beginnen!

2026 Repress

Peter Brown's P&P label is possibly the most collectible of all the Disco-era independent labels. The distribution was always patchy, the records would often appear out of nowhere and then disappear equally fast. Many of the artists were one-off productions or working under hastily conceived pseudonyms.

In short, P&P has all the ingredients of the perfect label for diggers everywhere with records still being discovered some 40 years later. Little is known about Marta Acuna but plenty is known about the production team of Patrick Adams and Lonnie Johnson who were just way ahead of everyone else on this spacey Disco jam from 1977. It's been consistently popular on the cooler dance-floors for the last 20 years but suddenly the 7" has sprung into demand. A mint copy isn't far off £100 these days, so it seemed a good time to finally make the 7" available again.

As per usual, this will be on the original 7" P&P label and mint (which is near impossible to find these days). Always handy to have a guaranteed banger on a crisp 7" pressing and that P&P label looks so good. Black Vinyl in P&P Disco Sleeve.

Zum erstenmal seit 2007 wieder da, überhaupt zum ersten Mal auf Vinyl! Auf ihrem dritem Album *Cherlokalate* ,verwandelt Jane Weaver Songs in zerbrechliche und funkelnde Wiegenlieder" (The Guardian). Inspiriert von Folk-Kultfiguren wie Karen Dalton und Linda Perhacs, bilden diese zehn Lieder eine einzigartige Reflexion über persönliche Höhen und Tiefen - voller Glück und Schmerz, Leidenschaft und Wehmut. Eine intime Reise voller ätherischer Folk-Anmut, veredelt durch eine großartige Produktion, sehnsuchtsvolle Pedal-Steel-Klänge, Violinen und - stellenweise - eine eigenwillige, transformierte Variante von Rock im Stil von Velvet Underground. "Imagine Julie Driscoll locked in a studio with American Spring and Broadcast." Uncut

Within the broad church of metal and its many offshoots – rock, doom, stoner and all the rest – it remains a minor thrill to stumble across a group who seem to exist at a slight tangent to everything else. Crumbling Ghost is one such anomaly. Crumbling Ghost are not newcomers. They've been operating for some time, releasing records sporadically, Four' is in fact their fourth release. Along the way they've accumulated a fervent coterie of followers, not to mention the occasional nod of approval from tastemakers such as Stuart Maconie, Stewart Lee and Tom Ravenscroft. And though they've appeared at Roadburn, shared stages with Hawkwind and even Damo Suzuki, they remain (possibly by design) curiously under the radar.
The group's core idea is deceptively simple: traditional folk material refracted through the haze and heft of heavy, fuzzy stoner rock with a chunk of psyche and a smattering of doom. But crucially, this is done without the costumery and theatrical tics that often accompany such collisions. No mock pagan pageantry, no graveyard cosplay, no cartoon Satanism.
What Crumbling Ghost latch onto is not folk as a museum piece, but as a lived experience, the dramas rooted in the culture, stories, and daily lives of ordinary people, the folklore, the tales of love and death, murder and adultery, freedom and oppression. Singer Katie Harnett says. "Doting mothers, possessive, violent partners, vulnerable women, seasonal workers and Royal scandals this album is our representation of the trials and tribulations of human existence and universal experiences that still feel relevant today.

Guitarist John adds. "Themes of murder, betrayal, loss, jealousy, and love are found across the record. In particular, the songs of Martin Carthy have been a particular source of inspiration".
The result is a set of murder ballads, supernatural reckonings and cautionary tales, all wrapped in slabs of heavy, thumping fuzz and atmospheric sonics. Harnett's voice sits at the centre: unmistakably folk rooted, but shorn of prettification, melodic yet capable of real bite.

The album opener 'Bows Of London' is a murder ballad of sisterly hatred and grim sibling rivalry, centred on a haunted fiddle fashioned from a dead sister's bones. The loping relentless, hypnotic backing chillingly and perfectly accompanies the narrative. Of course, the story doesn't end well. 'Bill Norrie' follows, a hooky melody propelled by an insistent bassline and a haunting psych tinged haze punctured with sheets of noise.. The story of young Bill Norrie who sends a token to a married woman, whose jealous husband beheads him, without knowing he was his wife's son from an earlier affair. An instrumental palate cleanser arrives in the shape of 'Valtz Efter Tor Lohne' a Norwegian traditional the band jokingly describe as a "banger".
Then we have 'Lovely Joan' which offers a rare note of sly triumph: a quick witted woman outmanoeuvres a predatory nobleman, escaping with his ring and his horse. Muscular riffs give this tale of empowerment a welcome sense of teeth. 'Gower Wassail' is a traditional Welsh folk tune that captures the raucous spirit of communal ritual, noise making and drink fuelled hope for a good harvest. Captured perfectly here by CG complete with wah wah guitar and a drunken groove catching the song's celebratory chaos. Then we have a little gem in 'Last Of All Sleep' , an original band composition and a genuine highlight: a heavy lidded, shoegaze tinged folk reverie, equal parts distortion and delicacy. It's a drop-dead gorgeous shoegaze-tastic psychedelic grunge mini epic. The album closer 'The Unquiet Grave' is a very apt place to finish. It's about a young man whose constant grief at the death of his true love disturbs her eternal sleep so she cannot rest. Even though the playout on this track, complete with a demonic repeated riff and feedback feels suitably bleak, even this song allows a glimmer of release ... we think.
And there we have it, 7 songs, 7 worlds, all honed to perfection by producer Wayne Adams (Green Lung/Big Lad) that will reward every repeated listen.

Folk and metal/heavy rock do have a connection of course, just look at Green Lung and their 'folk horror' infused musical universe, but Crumbling Ghost are a very different beast.
'Four' amply and beautifully demonstrates that when it comes to 'folk horror' there's nothing quite as horrible as folk ... Here, the horror such as it is, and it must be said, the moments of light, comes not from theatrics, but from the songs themselves – which, after all, is where it's always lived.
Crumbling Ghost are John Mosley – Guitar / Donny Hopkins – Guitar / Ruth O’Loughlin – Bass / Katie Harnett – Vocals / Matthew Atkins- Drums.