Suche:k brand

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

Everything Is Recorded, the collaborative music project centred around producer Richard Russell, returns with a brand new single, “Porcupine Tattoo” - a stripped-back lament featuring two American musical icons - Noah Cyrus and Bill Callahan - who appear on record together for the very first time. The collaboration came together while Russell was hosting sessions for a forthcoming Everything Is Recorded album, one set to build on previous acclaimed releases including 2018’s eponymous, Mercury Prize-nominated debut album. Reaching out to Callahan - an artist he’s long admired and whose song “I’m New Here” was covered by, and provided the title for, Gil Scott-Heron’s final, Russell-produced studio album - Russell asked the simple question “who would you like to write a song for?”. “Noah Cyrus” was Callahan’s reply. The final single features Callahan’s original demo vocal, pitched down and resting on layers of sub bass and complemented by Cyrus’ crystalline counterpoint vocal. It was recorded during a rainy week of sessions in a bungalow at Los Angeles’ Chateau Marmont, which Russell described as “comfortable but haunted”. The song continues a lineage of Russell productions – from “I’m New Here” to Bobby Womack’s “Deep River” and Damon Albarn’s “History of a Cheating Heart” – that explore a sparser, more acoustic side of his sound. The limited edition 7” vinyl single is released on XL Recordings in partnership with Drag City, Bill Callahan’s long term label home. The 7” exclusively features a second collaboration between Everything Is Recorded and Callahan in the form of “Norm”, a tribute to the Austin-based singer songwriter’s favourite comedian Norm MacDonald”

fabric, the iconic hub of electronic music culture, proudly announces its latest addition to the fabric mix series: "FABRICLIVE. presents Pola & Bryson". This mix will be a dynamic exploration of contemporary drum & bass, fluid in genre, rich in emotion, and sharp in sound design. It navigates the space between soulful reflection and controlled chaos, painting a vivid picture of contrast and transformation.

Showcasing a unique blend of melancholy, emotion, and euphoria that elegantly yet purposefully harnesses the immense power of electronic music, UK-based duo Pola & Bryson have solidified themselves as one of the most talented production duos flying the flag for the genre today.

Throughout the mix, you’ll hear liquid textures layered with depth and warmth, tracks that breathe with shimmering pads, smooth rolling drums and emotionally resonant melodies. These moments evoke late night introspection and spacious clarity, tapping into the more human, melodic side of drum & bass.

But the mix doesn’t stay in one mood for long. It periodically plunges into darker, more technical territory, where the basslines twist, the rhythms fracture and tighten and the atmosphere becomes tense and futuristic. Here, the emotional gives way to the mechanical, driving energy through razor-sharp precision and relentless force.

Experimental soundscapes weave throughout, blurring genre lines and adding moments of unpredictability. At times ambient and abstract, other times intensely rhythmic, the mix balances structure with freedom, always pushing forward without losing emotional weight.

For 25 years, fabric has stood as a cornerstone of the UK’s drum and bass movement, a place where the genre has not only thrived but evolved. More than just a club, fabric has been a vital incubator for underground sounds, consistently championing drum and bass alongside a wide spectrum of electronic music. From early pioneers to cutting-edge innovators, its legendary room two has become hallowed ground for DJs and ravers alike. As a bastion of innovation and inclusion, fabric has shaped the soundscape of UK nightlife, influencing global trends while staying fiercely true to its roots.

In addition to the mix album, fabric and Pola & Bryson unveil the brand new original single "Worlds Apart" an emotional vocal lead anthem featuring the incredible vocals of Emily Makis. The track balances Emily’s heartfelt lyricism with Pola & Bryson’s signature crisp liquid drums and deep and intoxicating basslines. The 2 acts first combined on the track "Complete" alongside Monrroe and followed it up with the certified hit, "Phoneline", dubbed by Radio 1 as the D&B Anthem of 2023. With a history of making pure magic happen when they join together in the studio, "Worlds Apart" certainly delivers on those high expectations.

Die aus Marokko stammende und in L.A. lebende Singer-Songwriterin, Ami Taf Ra veröffentlicht ihr Debütalbum „The Prophet And The Madman“ Ende August auf Brainfeeder!

Inspiriert von Khalil Gibrans bahnbrechendem Werk, „Der Prophet“, wurde das Album von Ami Taf Ra vom legendären Saxophonisten und Komponisten Kamasi Washington produziert, mit dem sie häufig zusammenarbeitet. „The Prophet And The Madman“ ist eine zu eine Reise über elf Tracks, an denen unter anderem Ryan Porter, Miles Mosley, Brandon Coleman, Tony Austin, Taylor Graves, Cameron Graves, Ronald Bruner Jr., Allakoi Peete, Kahlil Cummings und Kamasi Washington beteiligt sind. Die LP ist ein kühnes Statement einer Sängerin, die in den Traditionen arabischer Größen wie Fairuz, Umm Kulthum und Warda verwurzelt ist und sich dennoch furchtlos auf neues klangliches Terrain begibt. Es ist ein Album, das nicht nach Antworten, sondern nach Präsenz sucht - eine Hingabe an die Reise, nicht an das Ziel.

Im Laufe ihrer Karriere hat Ami Taf Ra auf Bühnen in aller Welt gestanden und das Publikum in Dänemark, der Türkei, Marokko, Belgien, Israel, dem Libanon und Jordanien begeistert. Sie ist auf angesehenen Festivals wie dem South East Jazz Festival und dem Haarlem Jazz Festival in den Niederlanden aufgetreten, ebenso wie mit dem niederländischen Royal Metropole Orchestra in der königlichen Konzerthalle der Niederlande, dem weltbekannten Concertgebouw, und dem Dutch Blazers Ensemble. Ami Taf Ra war mit Kamasi Washington auf ausgedehnten Tourneen unterwegs und trat gemeinsam an namhaften Orten und auf Festivals in den Vereinigten Staaten auf, darunter City Winery in Boston, das Hollywood Bowl Jazz Festival und die Just Jazz Concert Series in der Mr. Musichead Gallery in Los Angeles. Darüber hinaus ist sie mit einer Vielzahl von Musiker:innen aufgetreten, darunter Posaunist Ryan Porter, Saxophonist Rickey Washington, Perkussionist Kahlil Cummings, Bassist Ben Williams, Schlagzeuger Jonathan Pinson und Pianist Jamael Dean.

Within the nine carefully composed tracks of Young Bones, Mel D’s characteristic voice stands out in all its facets, varying from fragile to powerful, haunting to playful, but most of all soulful. With a voice that’s both extraordinarily clear and melancholic, Mel D is something surprisingly rare: a singer whose artistic expression goes beyond the mere use of her voice. On Young Bones, Mel D uses contemporary figures, rephrasing them into timeless formulas. Her unique musical language embodies references to genres like Indie or Alternative. In other moments, her sound leans baroque, then jazzy, soulful, and contemplative. Each song represents an ode to being connected: to the world, other people, and most of all to the beauty of music. Mel D draws her inspiration from struggles felt in the current world climate: “I have felt overwhelmed by the world we live in and its countless challenges,” said Mel D. “As if we’re all a bit directionless in our own lives.” Nevertheless, Mel D uses her musicality as a tool for resistance - using it to transform sadness and anger into creativity, and to give world-weariness a voice that seduces, comforts, and inspires. On Young Bones, Mel D sings us to a place where we might find hope - with songs rooted in concern, solidarity, humanness, and empowerment, inviting the listener to lean into those feelings. Bring the Witches Back, a hymn to witchcraft, is a quiet song that summons the return of witches with feminist urgency, for more love and magic to open ourselves towards each other and the world. Soft, a soulful song with a tender melody, gently lulls the listener into an in-between dimension, full of opportunities. Meanwhile, in the coming-of-age ballad, Slowly Growing, she raises questions about belonging and identity, pointing directly at our emotional core. Where Do You Look When It Hurts? speaks to the sensation of exhaustion and emptiness, offering musical warmth and a sense of community in moments of lethargy. Finally, listening to the album, one always feels in good company. Playfully working in folk and electro-pop elements, Mel D takes us on a ride toward love and a sense of belonging, particularly on the track We win. Young Bones was recorded in Zurich and Paris with two outstanding producers of our times: Renaud Letang, who has previously collaborated with Feist, Chilly Gonzales or Lianne La Havas, and Dino Brandão. The latter recognized Mel D’s artistic uniqueness during their first meeting, inviting her to a recording session in his studio and bringing her into the band of Swiss superstar, Faber. Mel D’s solo project was more a product of coincidence than planning, as she says, even though an undisputed talent and passion for music had always been apparent throughout her youth. During her studies in fine arts in Zurich, she founded the electronica-duo mischgewebe, and composed soundtracks for theater and movie productions, as well as for exhibitions. Long before forming her current artistic identity, she went by the nickname Mel D, in a humorous reference to the Spice Girls. Although her personality and musical language suggest thoughtfulness and a melancholy touch, Mel D acknowledges that an honest laugh is never out of place, making her sympathetic and approachable.

Recently I was approached by my old friend Travis Millard to make some original music for Freedom Finger - a crazy space-shooter video game he had been developing with Jim Dirschberger and Wide Right Interactive game studio. I was able to land 6 instrumentals that pop up at various points throughout the gameplay.As the game was being rolled out, the idea arose to have me do 3 more tracks - this time fully fleshed out songs with lyrics mostly inspired by Freedom Finger's gameplay. These tracks would accompany some brand new levels that would be made available as downloadable content for the game.We have decided to release all of the music I have done for Freedom Finger as a 10" vinyl EP available through Rhymesayers Entertainment. This includes the 3 full length vocal tracks, as well as the 6 shorter beats that loop throughout the game. Some of these tracks also feature additional instrumentation from my friends and frequent collaborators, Grimace Federation.Furthermore, Jim has directed a video for the song Drums on the Wheel - featuring Freedom Finger gameplay, and some brand new visuals drawn by Travis and animated by Steven Gong.The game is an absolute blast, and I hope you enjoy this music. All relevant links below. <3Love,A.R.

Though Toronto rockers Hot Garbage’s signature tinge of moody, heavy psychedelia remains present on Precious Dream, their forthcoming sophomore album careens at high speeds into a darker world of searing post-punk riffs, grappling with themes of dread, loss, the resilience of the human spirit and the highs and lows of solitude. From the onset, elegant yet brutalist sonic architectures provide the scenery for an escape route, while cryptic poetic spurts act as surreal signage. By the end of the journey, we are left with a strangely pleasant void, but also with an uncontrollable urge to backtrack into the outfit’s beautiful 36-minute musical trap. True to form, prolific producer Graham Walsh (Holy Fuck, No Joy, !!!, etc.) – with whom, Hot Garbage recorded their critically-acclaimed debut full-length, RIDE – does right by the band, masterfully harnessing the four-piece’s unique brand of rock & roll, setting in motion a parallel universe where phones are not what they seem, lobotomy has its merits, lower is actually better, and tunnels stretch the very fabric of spacetime. Fans of Sonic Youth, Frankie and the Witch Fingers or Joy Division should welcome a confused stroll down this romantic if dystopian opus, for a cathartic and tender sense of resolution awaits.

Saint Etienne kündigen mit 'International' ihr 13. und zugleich letztes Studioalbum an, das am 5. September 2025 bei Heavenly Recordings erscheint. Nach 35 Jahren Bandgeschichte, unzähligen Stilwechseln und Projekten jenseits der Musik ziehen Sarah Cracknell, Bob Stanley und Pete Wiggs damit einen Schlussstrich unter ihr gemeinsames Schaffen im Studio. International ist ein stilistisch vielseitiges Album, das von langjährigen Weggefährten, Heldinnen und Freundinnen mitgestaltet wurde – darunter Confidence Man, Vince Clarke, Erol Alkan, Paul Hartnoll (Orbital) und Nick Heyward. Die Songs spiegeln sowohl den nostalgischen Rückblick als auch die ungebrochene kreative Neugier der Band wider. Mit dem bewegenden Abschlusstrack Last Time verabschiedet sich das Trio endgültig von seinen Fans – aufrichtig, wehmütig und voller Wärme.

Saint Etienne kündigen mit 'International' ihr 13. und zugleich letztes Studioalbum an, das am 5. September 2025 bei Heavenly Recordings erscheint. Nach 35 Jahren Bandgeschichte, unzähligen Stilwechseln und Projekten jenseits der Musik ziehen Sarah Cracknell, Bob Stanley und Pete Wiggs damit einen Schlussstrich unter ihr gemeinsames Schaffen im Studio. International ist ein stilistisch vielseitiges Album, das von langjährigen Weggefährten, Heldinnen und Freundinnen mitgestaltet wurde – darunter Confidence Man, Vince Clarke, Erol Alkan, Paul Hartnoll (Orbital) und Nick Heyward. Die Songs spiegeln sowohl den nostalgischen Rückblick als auch die ungebrochene kreative Neugier der Band wider. Mit dem bewegenden Abschlusstrack Last Time verabschiedet sich das Trio endgültig von seinen Fans – aufrichtig, wehmütig und voller Wärme.

LTD Clear Vinyl
Nach der limitierten EP "The Grand Designer" im Juni 2025, präsentiert Adrian Sherwood nun mit "The Collapse Of Everything" sein brandneues Werk, gleichzeitig sein erstes Soloalbum seit 13 Jahren und das vierte seiner langen Karriere. Auf diesem sorgfältig konzipierten Album lotet der Meisterproduzent und Mixologe mit seinem stets experimentierfreudigen Sound neue Grenzen aus. Obwohl die Musik auf "The Collapse Of Everything" von einem natürlichen Gespür für Dub geprägt ist, überschreitet sie fliessend Genregrenzen und vereint nahtlos verschiedenste Einflüsse, die Sherword in seinem Leben gehört und produziert hat. An den Aufnahmen beteiligt waren einige seiner langjährigen Mitstreiter wie Doug Wimbish (Living Color, The Sugar Hill Gang, Tackhead), Mark Bandola (The Lucy Show), Ivan "Celloman" Hussey, Alex White (Primal Scream, Fat White Family) und Chris Joyce (The Mothmen). Desweiteren flossen Beiträge der jüngst verstorbenen On-U-Legenden Keith LeBlanc (Sugarhill Gang, Tackhead) und Mark Stewart (Pop Group) ein.

Adrian Sherwood war in den letzten Jahren sehr beschäftigt mit Kollaborationen mit anderen Künstlern, von Remixarbeiten für Popkünstler wie Halsey, über von der Kritik gefeierten Full-Length-Dub-Rekonstruktionen für die Indierock-Titanen Spoon und Panda Bear & Sonic Boom, bis zur Produktion gefeierter Alben für die Reggae-Ikonen Lee "Scratch" Perry und Horace Andy am Ende ihrer Karriere ("Midnight Rocker" wurde vom Guardian zum weltweiten Album Nr. 1 des Jahres 2022 gekürt). Was bedeutet, dass Sherwood seit "Survival & Resistance", das fast auf den Tag genau vor 13 Jahren erschien, kein Album mehr als Solokünstler herausgebracht hat.

Siebdruckcover, gedruckt in der Küche des Labelbosses. Plus Sticker. Nach 4 Livekonzerten Anfang des Jahres als Gästeband der Antilopengang fassen "Die Benjamins" die ihnen eigene Live-Energie in zwei neue Songs: "Wer liebt dich in 10 Jahren" und "Pas de deux". Folgerichtig wurde im Proberaum alles live eingespielt, aufgenommen von Moses Schneider. "Wer liebt dich in 10 Jahren" Annette Benjamin, ehemalige Sängerin der legendären Punkband "Hans-A-Plast", fragt: Wer liebt dich in 10 Jahren? In einer Gesellschaft, in der viele eine nicht enden wollende Jugend anstreben. Was bleibt? Mit Zeilen wie "heute underground - morgen schlecht gelaunt" stellt sie die Halbwertszeit der Szene infrage. "Deine Freundin ist jung, küss ihren Mund, kauf einen Hund". Dass solche Textzeilen nicht ins schlagerartige Abrutschen, sondern extrem bissig funktionieren, ist Verdienst des Zusammenspiels aller Bandmitglieder. Thomas Götz und Julian Knoth zurren den Song auf eine postpunkige Art zurecht, Max Grubers geschmackvolle Knochenbrechergitarre setzt die Akzente, und Charlotte Brandis 80's-Synthesizer rundet ab - fertig ist der Sound von DIE BENJAMINS. "Pas de deux" ist eine Hetzjagd.Durch die fest verzahnten Riffs pflügt Annette Benjamins helle Stimme, die von Gewalt, von Dominanz und wahrscheinlich auch von Liebe erzählt: "Schnell bist du ihm zuwider / dein König zwingt dich nieder". Ein Männerchor, der "pas de deux" brüllt, die souveräne Aufteilung der einzelnen Bandmitglieder zu einem knurrenden Ganzen - das ist Punk in Bestform. Mitglieder: Annette Benjamin, Max Gruber (Drangsal), Julian Knoth (Die Nerven), Thomas Götz (Beatsteaks), Charlotte Brandi

Das brandneue Wiener Musikprojekt "ALLES EXHAUSTED" präsentiert zeitgemäßen Shoegaze-Sound mit deutschen Texten. Entstanden als loses Netzwerk aus Musiker*innen der Gruppen Culk, Jansky, Pauls Jets und Fuzzybrains präsentieren sie mit der Single "Alles so verbraucht" auf Siluh Records das allererste Lebenszeichen. Am 5.9.2025 erscheint ihr selbstbetiteltes Mini-Album "ALLES EXHAUSTED" als auf 50 Stk. limitiertes Tape. Unter dem Namen "ALLES EXHAUSTED" formiert sich ein Netzwerk von Wiener Musiker*innen. Es ist keine Band im engeren Sinn, sondern funktioniert eher wie eine lose Bande, die sich 2025 irgendwo zwischen Müdigkeit und Experimentierfreude gebildet hat. Es ist die Gewissheit der spürbaren Kraft des gemeinsamen Lärmens im Proberaum, die sich als primäre Motivation erwies. Nicht aus Kalkül, sondern aus Erschöpfung. Aus dem Reflex heraus, dass etwas Neues passieren muss, um alles drum herum abzuschütteln. Und genau diese pure Energie ist auf dem sieben Songs umfassenden Mini-Album zu spüren. Ein Daumen hoch, während die Welt uns dazu zwingt, uns im ewigen Hamsterrad weiter zu verausgaben. Die massiven Gitarrenwände nehmen kathartische Züge an, während der weiche Gesang die Gewissheit vermittelt, einem lauten Monster mit Sanftmut die Stirn bieten zu können. Für jedes Lied sind andere Stimmen am Mikrofon und alle eint der Drang, sich die brachiale Wall Of Sound zu eigen zu machen. Gemeinsam erkennen sie schließlich, warum immer wieder Weitermachen der beste Weg ist, um den Druck der Welt und die verbundene Ohnmacht zu bekämpfen.

In celebration of !K7"s 40th anniversary year, Jayda G"s seminal DJ-Kicks is re-issued on a beautiful gold 2LP with a brand new Jayda G DJ-Kicks playing card. Jayda G"s mix takes you on a journey that moves through loved classics and new bubblers. This includes original productions from HAAi, DJ BORING, LNS and Australia- based friend Jennifer Loveless.

Am 5. September erscheint zum ersten Mal seit fast 25 Jahren eine brandneue Sammlung der beliebtesten
Songs von Yusuf / Cat Stevens aus seiner fast 60-jährigen Karriere. ”On The Road To Find Out: The
Greatest Hits wird in mehreren Produktformaten veröffentlicht und präsentiert einen der größten britischen
Künstler und sein phänomenales Werk, das von Titeln wie ”The First Cut Is The Deepest”, ”Where Do The
Children Play?”, ”Wild World”, ”Moonshadow”, ”The Hurt” und ”Father and Son” geprägt ist. Außerdem
sind weitere zahlreiche Songs enthalten, angefangen bei seinem Debüt ”Matthew & Son” bis hin zu ”King
Of A Land” aus dem Jahr 2023.
Die einzigartige Sammlung erscheint weltweit als 1CD,2CD,2LP und 4LP und bietet in Remaster Qualität mit jeweils 24 Songs und 78 Minuten ein besonderes Hörerlebnis.
Außerdem dazu ein Booklet mit allen Lyrics zu den zeitlosen Songs sowie Notizen von Yusuf Cat Stevens
selbst.
Die perfekte Ergänzung für jede Plattensammlung!

Am 5. September erscheint zum ersten Mal seit fast 25 Jahren eine brandneue Sammlung der beliebtesten
Songs von Yusuf / Cat Stevens aus seiner fast 60-jährigen Karriere. ”On The Road To Find Out: The
Greatest Hits wird in mehreren Produktformaten veröffentlicht und präsentiert einen der größten britischen
Künstler und sein phänomenales Werk, das von Titeln wie ”The First Cut Is The Deepest”, ”Where Do The
Children Play?”, ”Wild World”, ”Moonshadow”, ”The Hurt” und ”Father and Son” geprägt ist. Außerdem
sind weitere zahlreiche Songs enthalten, angefangen bei seinem Debüt ”Matthew & Son” bis hin zu ”King
Of A Land” aus dem Jahr 2023.
Die einzigartige Sammlung erscheint weltweit als 1CD,2CD,2LP und 4LP und bietet in Remaster Qualität mit jeweils 24 Songs und 78 Minuten ein besonderes Hörerlebnis.
Außerdem dazu ein Booklet mit allen Lyrics zu den zeitlosen Songs sowie Notizen von Yusuf Cat Stevens
selbst.
Die perfekte Ergänzung für jede Plattensammlung!

Love & Rage, the brilliant 2024 debut album from London Queercore trio Shooting Daggers turned many heads with its jaw dropping depth and melody as well as blinding energy, feminist fury and angst. It has to be said that the band are not just bashing it out here. The playing is knockout and the vocals in particular are a standout. Singer Sal proving that she can do hard and fast and cool and melodic with equal aplomb. Add in some really inventive vocal arrangements and harmonies, and you have a band that is pushing that hardcore envelope big time. 2nd edition in Pink vinyl, full colour single outer sleeve, with a full colour printed inner sleeve, with an exclusive A4 poster included as well as a full download code. `Shooting Daggers may well have already made 2024's finest punk album'- Metal Hammer 'a ferocious brand of self-styled queercore punk rock that takes no prisoners' - Kerrang. 'a truly empowering album' - Noizze.

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Techno pioneers Chris Liebing and Speedy J (aka Jochem Paap) reunite as Collabs 3000 for their 2025 EP, a brand new four-track release and their first new studio material together in nearly two decades.

Channeling the raw, improvisational energy of their recently revived Collabs 3000 live sets, these tracks build on the legacy of their acclaimed collaboration with a fresh, future-facing edge. The EP precedes the full remastered reissue of the electronic techno masterpiece, Metalism, out 14th November 2025, and celebrates a partnership that helped to define the sound of early '00s Techno.

pressed on a strictly limited vinyl run of 500 copies worldwide and released via NovaMute.