Buscar:karl

By the close of the Sixties, record retailer and jukebox businessman Karl ‘J.J.’ Johnson was firmly established as one of Jamaica’s leading record producers, having released a string of best-selling rock steady and proto-reggae 45s by such noted local acts as Lee ‘Scratch’ Perry, the Rulers, Carl Dawkins, the Kingstonians and the Ethiopians. Early in 1969, Trojan Records released an album containing a dozen of Johnson’s latest recordings in the new reggae style. Entitled Reggae Power, the LP was dominated by regular hit-makers the Ethiopians.

Reggae Power is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

Birimingham’s TRMNL Records returns with its third release this September, coming courtesy of Paris, France’s Djebali.

Djebali has been releasing his twist on House and Techno since 2008 via the the likes of Fuse London's label and sub-label Infuse, Burnski’s Aesthetic, Chez Damier’s Balance Music, REda daRE Records and of course his own self-titled Djebali label which has been the predominant home for his output over the past decade.

Here though we see Djebali join the roster of the fledgling TRMNL Records, launched by the Birmingham club night of the same name so far the imprint has unveiled two EP’s by East End Dubs and Samu.l to date and here the story continues.

Title-cut ‘Rave Vision’ leads with a squelchy acid bassline and robust drums running alongside gritty stabs, spacey atmospheric pads and choppy vocal samples. ‘Line 56’ follows, shifting focus to dubby stab sequences, heavily swung drums and a bumpy bass groove all flowing with a subtly nuanced feel throughout.

The Hypnotic floaty sounds of ‘Cotton Candy’ then round out the release, diving deeper via an amalgamation of airy synth flutters, resonant synth licks and snaking subs atop a shuffled drum groove.


DJ Support:

Marco Carola
Chris Stussy
Rich Nxt
Davide Squillace
Mahony
Ilario Alicante
Jorge Savoretti
Silvie Loto
Hermanez
Tobi Neumann


DJ Feedback:

Rich Nxt - Top groove!

Salvo Borrelli - una bomba !!!!

Carlos Valdes - dope!

Alejo Galvez - lovely grooves!

Hermanez - Loving the grooves.

Tobi Neumann - Decent grooving & sounding tracks..

Karlos Sense - Wow!!!.Amazing EP. bro!!!

Mirko - super ep!

Mancini - Great EP as usual from Djebali!!

Sasa - Solid EP

Adrian Barr - Solid release, cool club rollers

Jade - Brilliant !

Lis Sarroca - all nice!

Juliche Hernandez - MASTER Djebali!! Amazing!!

Ocean Lam - Lovely summer vibes! Rave Version is my fav,

Chris Davis - rave vision is amazing!

Jorge Savoretti - Love Line 56, Djebali groover all the way

Lele Sacchi - cool deep acid driver, reminiscent of early 00's brit electronic deep, yess.

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

New Sampler#25 on Robsoul Limited with Joss Moog, PS Project & more Jackin !

4/5 Mojo review: ‘Sparse, hypnotic big-room techno that builds from the bass drum up

Double LP is released on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent - an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley - one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Speaking to DJ magazine in 2014 Gez recalled his early days working with Mark Bell as LFO: “We were influenced by groups like 808 State. Unique 3, Nightmares On Wax and also stuff like Kraftwerk, Detroit techno and early electro. So when we first hooked up and made tunes together we just wanted to rock the dancefloor at our local club The Warehouse”.

Their eponymous track ‘LFO’ – a classic of the bleep and bass techno movement – was one of the first releases on the Warp label, gate- crashing the UK’s Top 20 whilst annoying Simon Mayo along the way. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form.

In eine Szene, die häufig von Schein und Dunkelheit dominiert ist, schickten die DESCENDENTS ab Mitte der 80er eine Portion dreckigen Humor, Songs über die junge Liebe und das junge Leben, unverschämt eingängigen Hooks, eine koffein-befeuerte Rhythmusgruppe und natürlich dem legendären Milo am Gesang. Es gab wieder Spaß im Punk. Das erstmals 2004 veröffentlichte Album ,Cool to Be You" zeigte, dass man erwachsen werden und einen ,richtigen" Job machen kann und trotzdem schneller und lauter spielt, als die nachgerückten Kids, die halb so alt sind wie man selbst. Es festigte ihr Vermächtnis als die Band, die den Pop" in den Punk brachte, ohne dabei die Punk-Kante zu verlieren. "Luckily, the only thing that has changed about the band is their switching of record labels from Epitaph to Fat Wreck Chords. Milo Aukerman, Bill Stevenson, Karl Alvarez, and Stephen Egerton continue to spit out hook-laden pop-punk with the energy and humor they have been known for since the early '80s. Like the Ramones before them, the Descendents' overall sound tends to be interchangeable, in the best possible way, with previous efforts. Why mess with a good thing? For instance, among these 14 tracks, "Nothing With You" can be compared to "Clean Sheets," while "Cool to Be You" and "Mass Nerder" are anthems à la "I'm Not a Loser" and "I Don't Want to Grow Up." - Zurück auf schwarzem und limitiertem farbigem Vinyl! Das entscheidenen Verkaufsargument: Jeder liebt die DESCENDENTS! Richtige Annahme, oder?

In eine Szene, die häufig von Schein und Dunkelheit dominiert ist, schickten die DESCENDENTS ab Mitte der 80er eine Portion dreckigen Humor, Songs über die junge Liebe und das junge Leben, unverschämt eingängigen Hooks, eine koffein-befeuerte Rhythmusgruppe und natürlich dem legendären Milo am Gesang. Es gab wieder Spaß im Punk. Das erstmals 2004 veröffentlichte Album ,Cool to Be You" zeigte, dass man erwachsen werden und einen ,richtigen" Job machen kann und trotzdem schneller und lauter spielt, als die nachgerückten Kids, die halb so alt sind wie man selbst. Es festigte ihr Vermächtnis als die Band, die den Pop" in den Punk brachte, ohne dabei die Punk-Kante zu verlieren. "Luckily, the only thing that has changed about the band is their switching of record labels from Epitaph to Fat Wreck Chords. Milo Aukerman, Bill Stevenson, Karl Alvarez, and Stephen Egerton continue to spit out hook-laden pop-punk with the energy and humor they have been known for since the early '80s. Like the Ramones before them, the Descendents' overall sound tends to be interchangeable, in the best possible way, with previous efforts. Why mess with a good thing? For instance, among these 14 tracks, "Nothing With You" can be compared to "Clean Sheets," while "Cool to Be You" and "Mass Nerder" are anthems à la "I'm Not a Loser" and "I Don't Want to Grow Up." - Zurück auf schwarzem und limitiertem farbigem Vinyl! Das entscheidenen Verkaufsargument: Jeder liebt die DESCENDENTS! Richtige Annahme, oder?

XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette tape early on in the label's history, while the two remaining pieces are presented by the label for the first time.

"The works Ir Himinn, Grooenn by Kristoffer Svensson, Disquiet (Heart) by Marta Forsberg and Lamé by Isak Edberg were first released on the compilation XKatedral Volume II in 2016. Svenssons piece from 2014 combines justly tuned gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edbergs pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally - Edbergs Lamé composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsbergs Disquiet (Heart) from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity.

Glory for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette compilation XKatedral Volume III in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon. Dissolving Ceremony, composed in 2012 by Edberg/Erlandsson/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, Dissolving Ceremony now stands on its own as a memory of a time and methodology from the not so distant past.

The newest piece in this set is Shipwrecks by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. This piece is a celebration of transposition and its immense capacity for timbral transformation using a vast array of instruments performed, recorded and electronically treated by the composer to form a liquid uncanny topography where a deeply personal harmonic language constantly shifts, slides and shivers."

Die XKatedral Anthology Series III ist die dritte Ausgabe einer Reihe von Archivveröffentlichungen, die Musik von Komponisten zeigen, die sich mit langsam sich entwickelnder harmonischer und klanglicher Musik beschäftigen. Die hier vorgestellten Stücke konzentrieren sich auf die Verwendung von synthetischen und akustischen Klängen sowie auf algorithmische Komposition als Werkzeuge für präzises Arbeiten im Bereich der spektralen Erforschung. Dieses Doppel-Vinyl-Set erscheint anlässlich des zehnjährigen Jubiläums des Labels und enthält Werke aus den Jahren 2014 bis 2025. Es wird zusammen mit Neuauflagen der XKatedral Anthology Series I-II veröffentlicht. "My Falling Sinks" von Kali Malone ist eine sparsame, absteigende Melodie für justierte Orgel, Cello und Akustikgitarre mit Lucy Railton und Stephen OüfMalley. Das Stück ist eine kompositorische Skizze in septimaler reiner Stimmung, die 2021 während eines Aufenthalts in La Becque auf einer experimentellen Stimmorgel in La Temple de La Tour-de-Peilz entstanden ist. ,Empyrean Flare" von Maria W Horn wurde 2022 für ,The Dawn Chorus" der Choreografin Stina Nyberg komponiert. Dieses Stück nutzt die von Arvo Pärt entwickelte Tintinnabuli-Technik, um vier Supersaw-Oszillatoren in langsamen diatonischen Arpeggios zu animieren, die um eine Moll-Tonika-Dreiklang kreisen, und destabilisiert das harmonische Gerüst durch Glissandi und verstärkt die Summe seiner Teile durch analoge Bandsättigung. ,Tessellation" von David Granstrom wurde im Sommer 2017 mit generativen Synthesemethoden komponiert. Die musikalische Periodizität und harmonische Bewegung, die in dem Stück zu hören sind, entstehen durch feste synthetisierte Bandschleifen, die einen Raum zwischen gegensätzlichen Welten erkunden. "To Whoever Shall Inherit the Earth" ist das erste Solostück von Jessica Ekomane und entstand laut der Komponistin fast zufällig. Das Werk wurde vor einem Jahrzehnt spät in der Nacht aufgenommen und fängt einen flüchtigen, zerbrechlichen und unwiederholbaren Moment ein, der genau so festgehalten wurde, wie er sich ereignet hat. Smoking Mother von Stephen OüfMalley wurde für Gisele Vienneüfs Der Teich / LüfEtang von Robert Walser geschaffen. Es wurde 2018 während eines Aufenthalts im SMEM-Synthesearchiv in Freiburg komponiert und im August 2020 bei EMS produziert. Das Stück greift auf Werke von Zia Mohuiddin Dagar, Krzysztof Penderecki und Popol Vuh zurück und erkundet gleichzeitig die Wurzeln des Minimalismus. ,Att boja sjalarna" von Mats Erlandsson wurde 2018 komponiert und ist Teil von ,On Eternity", einer Sammlung von vier Texten und vier zehnminütigen Kassettenloops, die 2021 von Irrlicht Forlag als limitierte Box-Set-Edition veröffentlicht wurde. Dieses Werk enthält Darbietungen von Gaianeh Pilossian und Sara Fors, jeweils auf der Violine und mit Gesang. This will be my last piece for organ wurde 2025 von Theodor Kentros komponiert und nutzt Gruppen von Cluster-Oszillatoren durch resonante Rückkopplung, um die schwankenden Frequenzen zu synthetisieren, die beim Verstimmen einer Orgel im physischen Raum zu hören sind. "Fault Lines" wurde von Daniel M Karlsson mit generativen Methoden komponiert, wobei ein deterministischer und endlicher Output für diese Veröffentlichung festgelegt wurde. Dieses Stück enthält Gesangsdarbietungen von Sara Fors, Ansis B.ti. und Art.rs C.ukurs.

Purple Haze started out in Linköping in 1981. When singer Christer Göransson joined them towards the end of the year, they soon changed their moniker to Genocide (after the Judas Priest song of the same name) and supported local metal heroes Axewitch. A final name change was to follow: In August 1983, the band, now called Mindless Sinner, recorded a four-track demo entitled »Master Of Evil«, consisting of the title track, “Broken Freedom”, “Key Of Fortune” and “Screaming For Mercy”. This attracted Swedish label Fingerprint Records, and they in turn released the NWOBHM-inspired material as a mini-album with an awful cover and getting the band’s name wrong (spelling it Mindless Sinners). By then, the line-up of the band was Anders Karlsson (bass), Magnus Danneblad (guitar), Jerker Edman (guitar), Tommy Johansson (drums) and vocalist Christer Göransson. »Master Of Evil« originally saw the light of day on Fingerprint in January 1984. Christer Göransson takes us back to the early days of Mindless Sinner saying: “We wanted to record an album, but we couldn’t afford the studio cost. We were lucky to win a music contest, and the price money paid for the studio. I remember walking into the studio, and we thought it was like a spaceship in there, with all the buttons and flashing lights everywhere. We recorded the four songs that would become »Master Of Evil«. We then gave the tape to the Axewitch guys, and they played it to their record label at the time Fingerprint/Web Records and they liked it so much that they signed us as well.” Over the years, the music of Mindless Sinner has often been compared to the Tygers Of Pan Tang from England but Christer Göransson doesn’t see too many similarities: “We really love Tygers Of Pan Tang but I don’t think they were a big influence. It was more Judas Priest, Iron Maiden, Saxon, Black Sabbath, Ozzy, Dio etcetera. That kinda stuff.” In addition to the four tracks of the original edition of »Master Of Evil«, the current High Roller Records pressing also contains the five songs of the band’s first demo tape from early 1983 (including “Mindless Sinner”, “Higher And Higher”, “We All Go Back”, “Heavy Metal Will Never Die” and “City Games”). All nine tracks were mastered by Patrick W. Engel at his Temple Of Disharmony in November 2025. Cutting by SST Germany on Neumann machines for maximum quality on all levels ... The ultimate audiophile re-issue of this Swedish metal classic!

Purple Haze started out in Linköping in 1981. When singer Christer Göransson joined them towards the end of the year, they soon changed their moniker to Genocide (after the Judas Priest song of the same name) and supported local metal heroes Axewitch. A final name change was to follow: In August 1983, the band, now called Mindless Sinner, recorded a four-track demo entitled »Master Of Evil«, consisting of the title track, “Broken Freedom”, “Key Of Fortune” and “Screaming For Mercy”. This attracted Swedish label Fingerprint Records, and they in turn released the NWOBHM-inspired material as a mini-album with an awful cover and getting the band’s name wrong (spelling it Mindless Sinners). By then, the line-up of the band was Anders Karlsson (bass), Magnus Danneblad (guitar), Jerker Edman (guitar), Tommy Johansson (drums) and vocalist Christer Göransson. »Master Of Evil« originally saw the light of day on Fingerprint in January 1984. This was followed by the second album »Turn On The Power« in 1986 as Christer Göransson explains: “Well, »Turn On The Power« was actually recorded in October 1984, the same year as »Master Of Evil« was released. But the record label was almost out of business by 1985, so as a result »Turn On The Power« didn’t come out until January 1986, and shortly after the label went bust.” Just like on the debut, the cover was once again pretty weird. “Same story,” says the singer. “Blame the label again. We wanted a band photo for the cover but once more Fingerprint didn’t listen. We didn’t know who this girl was at all. And once again we saw the cover for the first time when we visited our local record store.” “I guess »Turn On The Power« was more of a straight heavy metal album compared to »Master Of Evil«,” describes Christer Göransson the band’s follow-up record, “better playing and better songs on »Turn On The Power«. Even though we love »Master Of Evil«. I guess it didn’t sell that much as the label went bankrupt, but the reactions were great.” Mindless Sinner played as much as they could in Sweden at the time but didn’t venture outside their home country. Over the years, their music has often been compared to the Tygers Of Pan Tang from England but Christer Göransson doesn’t see too many similarities: “We really love Tygers Of Pan Tang but I don’t think they were a big influence. It was more Judas Priest, Iron Maiden, Saxon, Black Sabbath, Ozzy Osbourne and Dio.” Shortly after the release of »Turn On The Power«, the band cut their name short to Mindless. According to Christer Göransson, this is why: “It was the sign of the times really. We wanted a more melodic kinda style and we just thought it was better to change the name to Mindless. But looking back now we should have stuck to our guns.”

Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.

Faitiche welcomes a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.

TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.

Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?

Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.

JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?

CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.

JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?

CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.

Credits:

Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther

Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther

Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing

image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch

design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli

Wired was an ephemeral improvisational music project formed by Michael Ranta, Karl-Heinz Böttner, and Mike Lewis. On 28 April 1970, the trio recorded an extended studio session of approximately 140 minutes, in collaboration with Conny Plank, who engineered and mixed the recording in real time, incorporating elements of live electronics. This session was subsequently edited to album length and released in 1974 as part of the Free Improvisation 3LP box set issued by Deutsche Grammophon, alongside recordings by Iskra and New Phonic Art.

Owing to its exploratory electric sound world and Plank’s distinctive spatial production techniques, the Wired recording acquired a degree of underground cult status, particularly among listeners associated with krautrock and psychedelic improvisation.

Shortly after the studio session, Ranta and Böttner travelled to Japan, where they spent approximately six months performing with Karlheinz Stockhausen at Expo ’70 in Osaka. In addition to these activities, they engaged in various independent musical projects and performances.

The present release, sourced from the personal archive of Michael Ranta, documents a live duo performance by Ranta and Böttner, recorded on 27 July 1970 in an outdoor setting in Kyoto (the exact location remains unknown), before an audience of approximately 200 music teachers. The recording exhibits sonic and aesthetic characteristics closely aligned with the previously recorded studio material, retaining the distinctive “Wired” sound while situating it within a live, site-specific context.

Michael Ranta: percussion, voice, home-made instruments, tapes, tape delay, effects Karl-Heinz Böttner: guitar, organ, ocarina, voice, effects

Metaphon is pleased to present this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy, recorded in the 1970s and 1980s.

Liliane Donskoy (*1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis.

Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions.

Donskoy’s oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication.

Metaphon is pleased to present this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy, recorded in the 1970s and 1980s.

Liliane Donskoy (*1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis.

Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions.

Donskoy’s oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication.

This is the Dahmers third album “Creature Feature” and the band continues to dig deeper in to a world of dark things, the things that don't belong, provokes, gives you the creeps or just makes you want to look away. “Our vision has been to explore and develop the bands sound but also to maintain the bands profound and colorful essence. “We want people to get excited when they hear the album, take them with us to another planet and make 'em forget about all the trouble in the world for a while” - Christoffer Karlsson (Lead singer/guitar)
The album was recorded and co-produced by Johan Gustafsson aka “The Johan and only” from the Hives in studio Ingrid in Stockholm. There's a new level and feel to the production with guest musicians on some tracks. With instruments like brass, cello, flute and piano the songs reaches their full true potential, along with added synth elements this gives the band a fresh feel. There's a wide variety of songs on the album where every track has it's very own theme, sound and characteristics. Where deep subjects like darkness, sorrow and alienation are being explored along with the bands continuing homage to the classic slasher and giallo flicks of the 70's and 80's, but also songs about a Swedish fakir, cults, rats and creatures from outer space. This album is a celebration to trash culture and to the underdogs, all delivered with a catchy uplifting chorus that The Dahmers is known for.
Creature Feature will be released on the bands own label Eerie sounds and will be out on February Friday the 13th.

Sweden’s celebrated super-group Backlura unveils yet another brilliant collaboration
following up the success with Bob Hansson. This time Backlura are joined by two of the country’s most luminous musical voices: vocalist Isabella Lundgren and accordion virtuoso Lisa Långbacka.
Together they craft a timeless homage to ”Kärleken” (Love - in English), weaving stylish, emotionally charged reinterpretations of classics by legends such as Édith Piaf and Rufus Wainwright among others

With bands such as Hellhammer/Celtic Frost and Coroner, but also more obscure formations such as Fear Of God, Excruciation, and Infected, Switzerland has always been a fertile breeding ground for extreme metal. Messiah, originally formed in 1984, also played a major role in the development of thrash and death metal in Switzerland. They released two groundbreaking albums on Chainsaw Murder Records: “Hymn To Abramelin” in 1986 and “Extreme Cold Weather” a year later. In the early nineties, Messiah signed a contract with Karl Walterbach's label Noise Records, on which three more albums were released: “Choir Of Horrors” (1991), “Rotten Perish” (1992), and “Underground” (1994). The classic lineup of Messiah during the Noise era consisted of vocalist Andy Kaina, who passed away far too early in 2022, Steve Karrer on drums, Patrick Hersche on bass, and band founder Brögi on guitar. Many consider “Choir Of Horrors” from 1991, produced by Sven Conquest at Sky Trak Studios in Berlin, to be the pinnacle of Messiah's work. Messiah Infernal Thrashing Records (MITR) is now releasing the 35th anniversary edition of this classic on vinyl

From his roots in House, Alex Finkin is a renowned producer and creative director. Working in his Paris studio he has developed numerous projects, notably his own (Roseaux), as well as commissions for radio and television. Meanwhile, with 30 years of production and DJing under his belt, Rocco Rodamaal belongs to the elite circle of House innovators who continue to influence the scene. He's played alongside some of the best in the industry showcasing his versatility and deep understanding of the genre, and remixed artists including Marshall Jefferson, Kerri Chandler, Louie Vega & Moodymann, Todd Terry, Barbara Tucker and Robert Owens to name just a few. Alex Finkin befriended Rocco Rodamaal, who he met via the soulful Parisian club Djoon, where Alex was resident from 2006 to 2014. They have since collaborated on a number of projects together, including "In Da Hood" released on COD3 QR in 2023. Kenny Dope's "O'Gutta" remixes are a series of house and club-focused reworks characterized by raw, gritty and often stripped-back percussion, which he now brings to "In Da Hood".

Ross McMillan, known professionally as Carlos Nilmmns, is a Scottish electronic music producer, DJ and composer originally from Glasgow. Over the years he has collaborated with a range of notable artists, including Grammy-nominated and Grammy-winning figures, including Kenny Dope, Carl Craig, Kevin Saunderson and Davina Bussey, plus respected artists like Niko Marks, Rolando, Laurent Garnier, Santiago Salazar, Hardrock Striker, Karl The Voice, Zadig, Ben Sims, Andrés (who worked with Jay Dilla and Moodymann), and YouANDme. His music has been released on Planet E, Trax, Cocoon, Ornaments, Circus, Virgin, Skylax/Universal Music France and more. His style draws from house, techno and jazz influences, often combining analogue and digital production methods. A returning regular and COD3 QR favourite, he's back with another stunner in "Latin Quarter".

K' Alexi Shelby is a prominent figure in electronic music and with a career spanning decades, he's established a significant influence on House and Techno. Throughout his career he's worked with many well-known artists and remixed tracks that are now key pieces. The cultivation of his massive musical catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists such as The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Maurice Joshua, Terry Hunter, Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson, Will Smith and countless others. Already respected around the world as a true underground House legend, he delivered "Flame" in 2025 for COD3 QR. Now he's back with "When I", another deep and sexy cut.

Benny Rodrigues a.k.a. ROD unveiled his new moniker, The Lost Souldancer when he dropped "No More Voices" for COD3 QR last year. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He continues this ethos with the delicate and melodic closing track "Life and Death".

April Records proudly presents the new album from Stockholm Stockholm-based bassist and composer Jon Henriksson - a confident and flexible statement that deepens his place within contemporary Scandinavian jazz. Following the success of his 2023 debut Harmonia which placed second in Orkesterjournalen s Golden Album " readers " poll, Henriksson returns with music that foregrounds collective interplay, shifting forms, and a strong compositional voice. Born in Gothenburg and now active across Sweden and Europe, Henriksson has collaborated and toured with artists including Lars Jansson, Hakan Broström, Erik Söderlind, Klas Lindquist, Jonas Kullhammar and Christina von Bülow. Alongside leading his own ensembles, he remains a soughtsought-after bassist in a wide range of projects, balancing a deep connection to the jazz tradition with a modern, exploratory approach. Shapeshifter is built around a core quartet of tenor saxophone, piano, double bass and drums, expanded with guitar on three tracks and trombone on two. The album moves fluidly between contrasting moods, from forceful and driving to reflective and restrained, with each piece shaped by the musicians " intuition and responsiveness. The title reflects Henriksson s compositional philosophy: allowing roles, textures, and forms to evolve as the music unfolds.The ensemble brings together long long-standing musical relationships. Pianist Rasmus Sorensen and Henriksson have collaborated since their studies at Skurups Folkhögskola (Henriksson is a longstanding member of Sorensen s own trio), while drummer Jonas Bäckman forms part of a well well-established rhythm section partnership with the bassist across numerous projects including the Britta Virves Trio. Saxophonist Karl Karl-Martin Almqvist, a member of the Danish Radio Big Band, completes the quartet, with guitarist Pelle von Bülow and trombonist Rasmus Holm joining the session shortly before recording to expand the album s sonic palette where the music called for it. Originally conceived as a quartet album, Shapeshifter took its final shape in the lead lead-up to recording as additional instrumental colours were introduced organically. The piece Toninho , a tribute to Brazilian guitarist and composer Toninho Horta, features acoustic guitar and subtle wordless vocals, reflecting melodic influences that sit naturally within the album s contemporary jazz framework. Across the record, space, pacing, and interaction remain central. Rather than forcing constant motion, the music allows ideas to develop with clarity and intent, resulting in an album that highlights Henriksson s growing assurance as a composer and bandleader, while keeping the collective at its core.

On her new album, Two Whole Summers, Half A Life, Lisa Bassenge is once again accompanied by her trusted fellow musicians, pianist Jacob Karlzon and bassist Andreas Lang, with whom she has already realised numerous projects. Typical of Bassenge, the repertoire comprises a seemingly wild yet harmoniously connected mix of pop, singer-songwriter and jazz elements. The spectrum ranges from Elliott Smith to Duran Duran, from Billie Holiday to Björk. ‘It's always about the expressiveness of the songs – that's the common thread for us,’ emphasises the Berlin-based artist. The album features a track by Hank Williams as well as Madonna's ‘Frozen’ and “Catch” by The Cure. Two original compositions are also part of the recording: the title track ‘Two Whole Summers, Half a Life,’ a tribute to the power of friendship and youth, and the neo-folk ballad ‘I'm Getting Old.’ Both works impressively underline Lisa Bassenge's own artistic signature. For over two decades, Lisa Bassenge has stood for stylistic openness and a characteristic voice that lends new nuances to every song. Despite all the diversity, jazz remains the tonal basis. The Scandinavian-style relaxed sound of Karlzon and Lang lends the interpretations a soft, atmospheric depth.

Green Vinyl, limited to 500 copies. New album from the psychedelic, progressive folk rock band from Skien, Norway! The day belongs to the night The four songs on side A came about in November 2022 for a winter solstice celebration at Oslo Badstuforening. Our take on this was that the solstice invites reflections on the relationship between night and day. Does the day spring out of the darkness of the preceding night or does the night follow and swallow the light of the day? Is it Saturday Night or Sunday Morning? Are we running from the past or catching up with the future? Moving from A to B, Lidskjalv has existed as a demo since the 90s. Many versions have been made, but this is the first proper recording of the song. The passage of time is the future becoming the present. It moves forward in circles like a rolling wheel. Balder, Osiris and Jesus are all vegetation gods emulating the turn of the seasons in their eternal return. After the death of winter, life emerges anew. But not only this; there is also the promise of each dawn bringing a Better Day. According to Snorre, after the Fimbul Winter and Ragnarok, there is a new Earth. From the ashes emerges a better place. This holds also the idea of progress. It is at the core of being a prog band; each album is an improvement on the last, an exploration of new territory, a different perspective.

It's hard to fathom Martin Bramah's trajectory from his beginnings as a guitarist/writer behind two crazily influential postpunk albums - The Fall's Live At The Witch Trials and Blue Orchids' The Greatest Hit (Money Mountain) (vocalist on the latter too, of course) - then nearly three decades of sporadic-at-best activity, offering releases just frequently enough to remind fans of his peculiar brilliance . . . before another stay in the void. Chalk it up to what you want - Mark E. Smith's utter usurpation of The Fall, his split from partner Una Baines after Blue Orchids' debut, the vague collapse of rash experimentation in `underground' music as early `80s nu-pop and American college rock diluted any real spirit, a few failed attempts at working with with Mark again . . . and maybe just life getting in the way. A sense of lost opportunities isn't tough to justify. Inasmuch as Martin was originally the singer for The Fall - Mark began as guitarist but couldn't play! - and given that the group's mythology was born in an era before that gang of Mancunian misfits had even thought of playing, it's high irony that 49 years after The Fall began, Martin has both become wildly prolific and the leader of a band with more rights of inheritance to The Fall's credibility than any other living person could justify . . .yet the band isn't remarkable for that as it is for the range and wealth extent of their collective powers and talent: two great and original guitarists, three of the UK's most daringly-skilled drummers, a genuine bass legend, and a brilliant spare Blue Orchid guitarist. Four albums in, the HOUSE Of ALL is getting ambitious, with each album a subtle improvement on the last, forging a path away from their pasts without denying a thing. Inklings differs from the first three for not having being largely improvised at first, with sounds, rhythm, groove and melody later forged into songs. They rehearsed! They had fun doing it! They're going on an extended tour! There were even extra tracks! We'll leave it to fans and critics to sit down and analyse the specifics of it all, but Steve, Si, Pete, Phil, Karl and Martin have made a bold and powerful album unlike any other you'll hear in 2026 . . . stately, majestic, bold and worthy of a group of real survivors. In perverse form, the album will be officially announced and preceded by a song not on the album!

Benefit compilation with exclusive tracks from live performances & installations at eavesdrop festival 2024. All revenues go to charities providing medical aid and food sovereignty in Gaza.

In november 2024, eavesdrop festival presented its 3rd edition of contemporary electronic music and sound art, taking place in the striking architectural setting of silent green’s Betonhalle in Berlin. ”to eavesdrop” - is invoked as a mode of listening intently, attentively and with curiosity. With its ongoing commitment to adventurous listening cultures, the festival brought together a top-notch line-up of Berlin based and international artists, who share a common practice in electronic sound composition whilst spanning a diversity of inter-related contemporary tendencies. Whether it’s multi-award winning Mariam Razaei’s exceptional turntablism, Ilpo Väisänen’s legendary DIY analogue electronics, Jasmine Guffond’s generative sound installation, Nina Garcia’s extraordinary electric guitar manipulations, Lottie Sebes’ AI voice synthesis or Rashad Becker’s idiosyncratic synthesizer explorations, to name a few, eavesdrop invited listeners to consider, from multiple perspectives, new social and technical developments in international music and sound cultures.

This compilation documents those 2 nights with 9 exclusive tracks - 7 live performances and 2 stereo mixes from multi-channel installations, edited by the festival’s curator / organizer Jasmine Guffond, with a total running time of approx. 78 minutes. All revenues will go to charities providing medical aid and food sovereignty in Gaza: Medical Aid For Palestinians & Thamra.

“Tectonic” is a concise portrait of SIMON BERZ’s geological sound explorations across continents over the last 15 years: drums, electronics, and a set of electronically manipulated basalt stones from Iceland.

SIMON BERZ is a transdisciplinary drummer, sound artist, and music educator based in Switzerland and Berlin. Working at the intersection of improvised music, sound art, and performance, and deliberately crossing boundaries between disciplines, his aesthetics are shaped by a sustained engagement with natural materials, particularly stone, and their sonic transformation through electronic manipulation. Beyond his performance work, BERZ founded BADABUM as an art label and a music school.

For the last 30 years, BERZ has been performing in Japan, China, Russia, the USA, Cuba, Iceland, Turkey, and across Europe. He has collaborated with artists including BILL LASWELL,BABY SOMMER, DAMO SUZUKI (CAN), JAMES TURRELL, JIMI TENOR, JOHN SINGLAIR, JOJO MAYER (NERVE), KONDO TOSHINORI, KIDD JORDAN, LAUREN NEWTON, LEE “SCRATCH“ PERRY, MAURO PAWLOWSKI (dEUS), NILS PETTER MOLVÆR, NIKI GLASPIE, NORBERT MÖSLANG, PAUL LOWENS, PFADFINDEREI, ROB MAZUREK, SKÚLI SVERRISSON, and he was the live drummer for APPARAT. As BERZ understands artistic practice as energy emerging from nature and through dialogue with people, his recorded output is intentionally selective, with one highlight being “Beats versus Breath” with KONDO and LASWELL (2023). Alongside a regular drumkit and electronics, he has developed his own instruments such as the “Lithophon” in which resonating stones are turned into amplified sound through water drops, and “Tectonic”, a set of Icelandic basalt stones shaped through electronic manipulation. These self- built instruments form the material basis for his performances, installations, and sound recordings.

“Tectonic” is also the title of BERZ’s latest work: a summary of his geological sound explorations across continents. From Iceland to Indonesia and Bali, from New Orleans to China, in caves and at shores, BERZ carried his millions-of-years-old basalt stones as both instrument and collaborator. On Java, he met Baron, a builder of stone gamelan instruments. At the Pacitan Tabuhan Cave (Indonesia) he performed with MISBACH BILOK and WUKIR SURYADI (SENYAWA) who work with corals as instruments. BERZ brought these encounters and “field recordings” to the Stöðvarfjörður studio in Iceland, where he recorded with his “Tectonic” set-up, drums, and electronics. The music was later mixed in Berlin by DIRK DRESSELHAUS (SCHNEIDER TM). The resulting album moves from club-driven tracks to ambient passages, from gamelan-inspired textures to HipHop-like beat patterns. It resists easy categorization while staying direct and physical in its impact.

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

rot/schwarzes Marble Vinyl. Offensichtlich parkverliebt_ eine musikgewordene Parksituation: Du schlenderst langsam durch das zerbrechliche Idyll inmitten der Stadt, die Luft ist kalt und klar, die Arme hinter dem Rücken verschränkt. Hochgewachsene Bäume spannen den Raum auf, gedämpfter Stadtlärm mischt sich mit dem Rascheln der Blätter, mehr oder weniger verwirrte Tiere sehen aufmerksam in Deine Richtung. Du setzt Dich auf eine Parkbank, hältst inne und fängst an Dich darüber zu freuen, wie schön das alles eigentlich ist. ParkWalkers emopop/slowcore sound ist bestimmt durch zwei cleane Gitarren (Hannes & Nicola), eindringliche Basslinien (Arnaud), entspannte Drums (Armin) und der warmen Stimme von Nicola. Melodien, die hängen bleiben, in meist klassischer Songstruktur. Die lieben 90er oder Nullerjahre lassen grüßen, vielleicht fällt einem American Football, Snow Patrol ein oder fühlt sich an Death Cab for Cutie und Weakerthans erinnert. ParkWalker haben sich 2018 gefunden, und leben verteilt in Berlin, Stuttgart und Karlsruhe. Klar in der DIY-Szene verwurzelt haben sie viele Stunden auf Bühnen im In-und Ausland mit verschiedenen Formationen verbracht, u.a. Tidal Sleep. Nach ihrem Debüt "Distant Phenomena" im Jahr 2021 ist für Herbst 2025 das zweite Album "The Extra Mile" bei This Charming Records geplant. Das Album wurde in den RAMA Studios aufgenommen und von Christian Bethge (z.B. Messer) produziert und gemastert

Viktoria Tolstoy, celebrated for her expressive voice, emotional storytelling and cross-genre artistry, seamlessly blends jazz, pop and original songs.
Her standout tracks ‘Autumn Breeze’ (4.6M streams) and ‘Calling You’ (6.5M streams) have reached millions of listeners worldwide.
Collaborations with top Scandinavian and European jazz artists, including Nils Landgren and Esbjörn Svensson, have positioned Viktoria as one of the leading female voices in European jazz.
Jacob Karlzon, renowned Swedish pianist and composer, is recognized for his virtuosic technique, cinematic soundscapes and inventive harmonic language.
Their collaboration began in the mid-1990s, forming one of the most enduring and successful partnerships in Scandinavian jazz.
Their music bridges Nordic lyricism and modern jazz sophistication, appealing to both jazz and a wider crossover audience. A trusted name on the European scene, they continue to tour internationally and attract strong streaming and media presence.
Their new duo album reflects and renews that bond - an intimate conversation shaped by time, friendship, and change. The world has shifted since their last recording and so have they. Yet their shared musical language endures - evolving, deepening, and gathering new shades of emotion. There is a rare ease between them: two Artists who no longer need to explain, only to listen and respond.
The result is music that feels unforced, sincere and alive - born of trust and the courage to explore the unknown. In the end, it’s the simple beauty of reunion: two musicians meeting again, with everything they’ve lived and everything still to discover

Voivod wurde 1982 in Jonquière, Quebec, von Sänger Denis „Snake“ Belanger, Gitarrist Denis „Piggy“ D'Amour, Bassist Jean-Yves „Blacky“ Thériault und Schlagzeuger Michael „Away“ Langevin gegründet und nahm eine Reihe von Demos auf, bevor Brian Slagel auf die Band aufmerksam wurde und einen Vertrag mit Metal Blade Records unterzeichnete. Das Ergebnis war das furiose Debütalbum „War And Pain“, das im August 1984 veröffentlicht wurde. Zu dieser Zeit teilten sich alle vier Mitglieder eine Wohnung in Montreal und lebten von 150 Dollar Sozialhilfe pro Woche. Da sie die Schule bereits hinter sich hatten, konnten sie fast jeden Tag proben, was zur Entstehung ihres zweiten Albums „Rrröööaaarrr“ führte. Während der Aufnahme des Albums wurde fast die gesamte Ausrüstung aus dem Proberaum gestohlen. Um Geld aufzutreiben, organisierte die Band zusammen mit ihrem Manager Maurice Richard das legendäre „World War III“-Festival. Dort lernten sie Karl-Ulrich Walterbach kennen, der Voivod davon überzeugte, bei seinem Label Noise Records zu unterschreiben. Nach „Rrröööaaarrr“ von 1986 hieß Voivods zweites Album für Noise „Killing Technology“ und gilt weithin als der größte kreative und klangliche Sprung der Band. Es wurde in West-Berlin unter den wachsamen Augen von Harris Johns aufgenommen und kam 1987 auf den Markt. Weniger hektische Kompositionen wie „Tornado“, „Ravenous Medicine“ oder „Killing Technology“ hoben die Kanadier schnell von ihren Thrash-Zeitgenossen ab. „Rrröööaaarrr„ haben wir mit unserem Tontechniker in einer heruntergekommenen Schule ohne Geld selbst produziert“, erklärt Michael Langevin in dem Buch „Damn The Machine. The Story Of Noise Records“ des amerikanischen Autors David E. Gehlke. „Plötzlich hatten wir ein professionelles Umfeld, ein richtiges Studio mit einem richtigen Produzenten und ein Label, das die Finanzierung sicherstellte. Es ging Schritt für Schritt. Für „Killing Technology“ haben wir vielleicht ein bisschen langsamer gemacht. Wir konnten die Rollen spielen, und es hat viel Abwechslung. Es ist mein Lieblingsalbum und in meinen Ohren die perfekte Mischung aus Thrash, Prog und Hardcore. Es ist definitiv ein entscheidendes Album.“

Waiting is the essence of travel. Patience is its own reward.

Two people. A Telecaster guitar with a few effect pedals. A drum machine. An audio interface is connected to a laptop. The ingredients are simple yet effective.

But any suggestion of four-track cassette machines and vintage bedsit productions is quickly dispelled by digital dubbiness and refined arrangements. A tail of reversed echos. The crystalline flourish of octave-pitched delays. Riddled hi-hats tickle and taunt. A bass drum asserts its space.

Winkler's guitar patterns have a fragmented, almost haphazard connotation. Searching in a shimmer of reverb. Until the beat, the framework, sets in to reveal structure. Intentionality. Reihse's programmed rhythms go just to the point of a groove, holding the moment of tension, knowingly delaying the gratification. Beats that have scratchy patina anda subtly playful edge; their crispness stands in contrast to the contemplative drift of the guitar. Is it a trance? Or a dance? Yes.

There are some apparent references here: a good portion of Les Disques du Crépuscule, some kraut-esque electronica, even a smidgen of Morricone / Spaghetti Western, blending into a kind of Musique Noir – yet these serve as a set of orientational coordinates, rather than quotations.

This is so far the most assured release by Periode, perhaps eschewing some of the naiveté that was wilfully cultivated in earlier output – there is no cheeky cover version this time. And no singing either. The nine pieces have the quality of a series, a variation on a mood, or a subset of moods. What emerges is an inviting swagger in the face of bleakness. There is a profound melancholy, but it is not the darker kind, and does not exclude humour.

First impressions may suggest that this is purely nocturnal music. Yet it equally evokes the harsh sunlight and baking summer heat. Or a rainy day. And transportation: the music suggests the motion of travel, even if that travel only happens within the mind. And waiting. Waiting while doing nothing much. Because that's all you can do. (Alexander Paulick)

Zeitkratzer director Reinhold Friedl and his ensemble present new compositions, grounded on Domenico Scarlatti's piano sonata F-minor K.466. Commissioned by the dance company Rubato and dedicated to Mario Bertoncini (1932-2019).

Little is known about Domenico Scarlatti (1685-1757). His music is, so to speak, left to its own devices: free, cheeky, playful, sonorous, surprising. Harmonically strolling again and again into unforeseen regions, the ear leads, not the theory; and also the fingers get their right: playful and haptic it goes. Scarlatti explained, "since nature has given me ten fingers and my instrument provides employment for all, I see no reason why I should not use all ten of them."

Freedom, friction and listening pleasure instead of convention: "He knew quite well that he had disregarded all the rules of composition in his piano pieces, but asked whether his deviation from the rules offended the ear? He believes there is almost no other rule than that of not offending the only sense whose object is music - the ear."

Reinhold Friedl applied this principle and composed the music for a choreography by dance company Rubato. Dance music drawn from Scarlatti, who was so inspired by dance music. The material of the piano sonata F-minor K.466 is twisted anew in all its richness, shifted back and forth, declined, frozen, noisified, sound structures extracted, floating. Those who know the sonata, will more than smell it’s shadows. Dedicated to Mario Bertoncini (Gruppo di Improvvisazione Nuova Consonanza) who was particularly fond of K.466, on which all the music presented here is grounded.

"Wild flowers", Barbara Zubers had once called Scarlatti's music. Let them bloom.

With their highly anticipated fourth album, The Third Sleep, Norwegian progressive rock band Oak delivers a striking exploration of societal complacency and the struggle of the individual. The album contrasts light and darkness, both thematically and musically, seamlessly blending folk-inspired acoustic passages with the raw intensity of progressive metal, evoking echoes of Opeth and beyond. Expanding on the lyrical themes of The Quiet Rebellion of Compromise, The Third Sleep ventures deeper into the subconscious, weaving suggestive and poetic storytelling with sharp social commentary. More outward-looking than its introspective predecessor, the album invites the listener to engage, interpret, and reflect. With a rich musical foundation that spans classical piano, electronica, progressive and hard rock, Oak has carved out a distinctive sound-both captivating and challenging in equal measure. Recorded in Ljugekroken (Oslo), the album was mixed by David Castillo (Katatonia, Leprous, Opeth) and mastered by Jacob Holm-Lupo (White Willow, Donner) at Dude Ranch Studio, Sandoya. Prepare to experience The Third Sleep, a thought-provoking journey through sound and emotion.

Schon in den späten Achtzigern waren Teile von Ampyre in Gruppen wie Tindale Creek, Silk´n´Steel oder Dark Haze aktiv, die Veröffentlichungen vorweisen konnten. Mit Sängerin Elke Grötzinger, die auch heute noch erfolgreich mit FRONTROW WARRIOR die Bühnen rockt, hatte man dazu einen perfekten Fang gemacht. Somit hatte man im Raum Stuttgart direkt einen guten Start und volle Häuser, trotz starker Konkurrenz.

Für das im Marquee Studio produzierte 5-Track-Demo griff man tief in die Tasche, was zu einem dementsprechend professionell klingenden Ergebnis führte. Das musikalische Können und ein für diesen Stil perfektes Songwriting hätten eigentlich für den großen Knall sorgen müssen, doch 1991 änderte sich die musikalische Landschaft und auch der melodische Metal musste gegen Grunge, Crossover, sowie Thrash- und Death Metal antreten. Das Label Golden Core machte diese Aufnahmen erstmals zugänglich und die Reviews in Magazinen wie Rock Hard oder Break Out waren traumhaft. Aus der Schweiz stammten Sacrifice, die sich 1984 mit einer selbstproduzierten Single vorstellten und dann einen Deal mit dem GAMA Musikverlag bekamen. „On The Altar Of Rock“ erschien 1985 auf dem GAMA-Label Camel und platzierte die Band in der damaligen Heavyrock-Szene.

Die Mischung aus melodischem Hardrock und Heavy Metal macht den Reiz dieses Albums aus. Geschicktes Songwriting mit vielen Hooklines paart sich mit dem spielerischen Können.

Die Wiederauflage auf Golden Core enthält als Bonus die zwei raren Tracks der 12“ Single und ist remastert. Ende der Siebziger befanden sich The Teens auf dem Siegeszug und dominierten die Jugendhefte wie die Bravo. Natürlich sollte es nicht lange dauern, bis man Konkurrenz bekam. Speedy waren eine waschechte Band, die beim Musizieren in ihrem Proberaum entdeckt wurde. Kurze Zeit später wurde die erste Single „Willy Is Back“ von Didi Zill (Birth Control, The Nighthawks) produziert, der auch als Fotograf für die Bravo bekannt war. Man schaffte es ohne Umweg in die Kultsendung Ilya Richer´s Disco. Dies führte zur ersten und leider einzigen LP „Much Too Young To Rock´n´Roll“ und zur gleichnamigen Single mit dem Knaller „Fight Like A Fighter“ auf der B-Seite.

Beide Tracks schafften es erneut ins TV (eine Ferienshow mit Karl Dall und zum zweiten Mal die Sendung Disco) – das Thema Speedy brodelte! Leider entschieden sich die Eltern der minderjährigen Musiker gegen eine Tournee mit Def Leppard, was die Karriere beendete. Die Wiederauflage enthält als Zusatz auch die Songs, die es nur als Single gab.

White Vinyl Repress

World Party was a musical group, predominantly the solo project of its sole consistent member, the songwriter, producer and multi-instrumentalist Karl Wallinger. Wallinger started the band in 1986 in London after leaving the Waterboys.

Featuring the #2 most downloaded/ streamed hit Is It Like Today?, small limited runs of each World Party album (5 total) will be pressed on white vinyl, with the run marketed as “The White Albums”, cheekily referring to Karl’s re-recording of The Beatles and his fans eternal quest to hear them.

MORBID JESTER „Until The Battle Is Won“ - Dieses Kleinod deutscher Metalkunst erschien 1994 auf CD und wurde von S.L. Coe in den Dust Studios produziert. Eben jener dürfte eingefleischten Metalfans noch als Sänger auf der zweiten LP von ANGEL DUST, sowie von SCANNER ein Begriff sein.

Rund 2000 CDs konnten von der Eigenproduktion (!) abgesetzt werden, darunter auch viele Exemplare in Griechenland und vor allem Japan, wo die Band ein Geheimtipp wurde. Das Coverartwork stammt von niemand geringeren als Ken Kelly (Manowar, Kiss). Auftritte mit u.a. SAXON waren nur eine logische Folge. MORBID JESTER vereinen auf „Until The Battle Is Won“ Elemente des German Metal mit einer US-MetalPräzision, was für eine ganz eigene Mischung sorgt. Die transparente und dennoch druckvolle Produktion mit einem natürlichen Drumsound, wie man ihn heute oft vermisst, lässt das Songmaterial glänzen. Das respektvolle Remastering für diese Wiederveröffentlichung bringt all die Vorteile noch ein Stück weit nach vorne. Der Stilmix aus Progressive Rock und Heavy Metal wurde von Bands wie Dream Theater kultiviert, aber keinesfalls erfunden. In ihrer Konsequenz waren SPHINX im Jahr 1981 ihrer Zeit um einige Jahre voraus. Die Band aus dem Raum Stuttgart, 1977 gegründet, bestand zum größten Teil aus italienischen Gastarbeitersöhnen, was der Gruppe einen internationalen Flair verlieh. „Rock Made In Italy“, wie man auf der Originalhülle von „Here We Are“ lesen kann, war also nur ein Promotiongag, oder eben nur die halbe Wahrheit.

Ganz besonders auch deshalb, weil der Gitarrist Thomas Metzger niemand Geringeres als Tommy Newton ist, der später mit der Band Victory, anschließend auch als Produzent bekannt wurde. „Here We Are“ erschien 1981 bei Peak, einem Label der Firma GAMA, die zu diesem Zeitpunkt noch ganz neu im Geschäft war und ein solch erstklassiges Produkt noch nicht durchsetzen konnte. 1985 erschien die LP als „Burning Lights“ ein zweites Mal. Mausoleum und auch Camel (ebenso ein GAMA Label) versuchten mit einem typischen Heavy Metal-Coverartwork und umgestellter Tracklist dem Album eine zweite Chance zu geben. 1984 veröffentlichte die Band STARSTRUCK aus Karlsruhe ihr einziges Lebenszeichen: Die LP „Thru´ To You“. Aufgenommen wurde die Platte im Spygel Studio mit Engineer Batze Kramer. Eben dieser hat auch kultige Scheiben von Bands wie Tyrant, Stormwitch, Bloody Six, Vampyr, Gravestone, Restless oder Necronomicon veredelt. „Thru´ To You“ ist purer Zeitgeist und dazu passt auch das
Cover, welches beim genauen Hinschauen viel Humor beweist. Stilistisch wechselt man geschickt zwischen Hardrock und Heavy Metal.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

Progressive rock may rarely grace the mainstream spotlight, but its devoted global community continues to thrive, and few bands embody that spirit better than Airbag. Since their debut EP, Safetree (2007), and first full-length album, Identity (2009), the Norwegian quintet has steadily built a worldwide following with their cinematic soundscapes, soaring melodies, and timeless songwriting. From All Rights Removed to The Century of the Self, each release has cemented Airbag's reputation as one of the most vital acts in modern progressive rock, earning critical acclaim and packing venues across Europe and beyond. Now, 16 years and five studio albums later, Airbag returns with their first official live album, captured during a powerful performance at Poppodium Boerderij in Zoetermeer, The Netherlands in 2024. This double CD / double vinyl release showcases the band at their best, raw, immersive, and sonically stunning. The recordings have been meticulously mixed to preserve the atmosphere and authenticity of the live shows. For collectors, the vinyl edition is a must-have: A deluxe gatefold cover with an exclusive booklet and a limited first pressing on coloured splatter vinyl, a beautiful piece for fans and audiophiles alike. Whether you've followed Airbag from the beginning or discovered them along the way, this live album is a celebration of a band that continues to defy trends, connect deeply with fans, and delivers music that stands the test of time.

Regis and Surgeon return as British Murder Boys with their first 12” since 2014, unleashing two relentless club detonations that fuse industrial ferocity with punk immediacy. On »Now, This Is You«, boulder-heavy kicks, gnashing arps, and Karl O’Connor’s snarled vocals collide in a 150 BPM storm. The flip, »Get In Line«, hits straighter but no softer, driven by pounding bass and sour bleeps that conjure a delirious late-night energy. Brutal, swaggering, and unfiltered — BMB at their most uncompromising.

A new release from Fox & His Friends Records, Chapters (Screen & Stage Dancefloor Jazz from Yugoslavia 1971-1984) by Ozren Depolo brings to light a trove of previously unreleased music spanning more than a decade of his work in film, theater and television. This gatefold audiophile 180g LP, including a 12-page booklet with archival photos and detailed liner notes, offers for the first time a full album composed exclusively of Depolo's own authorship, drawn from master tapes held in private and institutional archives. Mastering and cutting was done by Frank Merritt from The Carvery Ozren Depolo rarely pursued opportunities to record original material, in part due to a general lack of interest among local publishers in jazz discography. Yet he was more than a gifted composer: he was also an accomplished saxophonist, clarinettist, flutist, pianist, arranger and occasionally, a jazz journalist who contributed articles to specialized programs on Radio Zagreb. Depolo also played in international big bands alongside jazz greats such as Clark Terry, Oliver Nelson and Gerry Mulligan, as well as in formations led by Bosko Petrovic, including the Nonconvertible All Stars and the B.P. Convention Big Band. He was a member of ensembles including The Alfi Kabiljo Orchestra, The Dragutin Diklic Ensemble, Jugoslovenska Pop Selekcija, The Stipica Kalogjera Octet, Vaclav Zahradnik & His East All Stars Band and the Zagreb Jazz Quintet. As both composer and arranger, he produced a significant body of work for large jazz orchestras and small ensembles. He was deeply engaged in jazz improvisation and avant-garde classical music, recording numerous chamber pieces for saxophone. A long-standing member of Acezantez, Zagreb's renowned contemporary music ensemble, he also collaborated with international figures such as Ted Curson, John Lewis, Johnny Griffin, Art Farmer, Leo Wright, Art Taylor, Slide Hampton and Lucky Thompson. This selection also includes his collaboration with Igor Savin and jazz vocalist Zdenka Kovacicek who were played on Karl Lagerfeld's fashion shows. The release demonstrates how Depolo was able to shift fluidly between idioms: from driving big-band passages to intimate chamber-like arrangements, from funk-tinged motifs to lyrical, impressionistic soundscapes. This stylistic breadth, always anchored in his deep jazz and funk sensibility, gave his music an adaptability perfectly suited to the hybrid world of stage and screen. The LP highlights that versatility while also presenting the coherence of his artistic voice, one that had gone unrecognized precisely because it was dispersed across so many contexts.

Micor ist eine Band aus Karlsruhe, deren Frontmann Robert Besta (bekannt aus ,Back in Action"/Netflix und seit 10 Jahren bei ,Die Fallers") ist und zu der Johannes Frisch, Stefan Breuer und Marcus Franzke gehören. Im Mittelpunkt stehen Bestas Texte und Kompositionen, deren Musik literarische Tiefe mit roher emotionaler Kraft verbindet und einen ebenso intimen wie weitläufigen Sound schafft. Micor schafft reichhaltige, atmosphärische Klangwelten, die cineastisch und immersiv wirken und den Zuhörer in einen Raum der Reflexion, des Geschichtenerzählens und der Resonanz einladen. Mit ihrer unverwechselbaren Stimme und ihrem künstlerischen Anspruch sticht Micor als einzigartiges Musikprojekt mit einer starken, wiedererkennbaren Identität hervor.

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.

Quattro Racconti" is a new version of the debut solo album from Wobbler's Lars Fredrik Froislie - This time in Italian, with Stefano "Lupo" Galifi from the legendary Museo Rosenbach on vocals! "Fire Fortellinger" became a great success when released in 2023, and when the opportunity for Lars to do one of the songs in Italian with Galifi, he did - and the 10" release of "Un Posto Sotto il Cielo" came out. And later, when Wobbler played a festival in Italy in 2024, Froislie went to visit Galifi and to record vocals for the rest of the album. The result is stunning! FROISLIE who is himself a huge fan of Italian Prog in general and of MUSEO ROSENBACH in particular, explains: "When I wrote "Et sted under himmelhvelvet", I imagined an Italian version in my head with just STEFANO "LUPO" GALIFI'S vocals. Not so surprising, perhaps, since he is one of my favourite vocalists. I have loved his slightly raspy, but powerful and soulful vocals, ever since I discovered MUSEO ROSENBACH as a teenager. When the opportunity presented itself, I thought it couldn't hurt to ask him, and it gave me much joy that he was actually willing to sing on this. He brings a new dimension to the songs, and it's incredible that he actually sings just as well today as he did 50 years ago. For me, it was both emotional and surreal to hear a voice I have known and loved throughout much of my life, singing my songs."

"Visual artist, musician and composer Satch Hoyt will release a new 10” vinyl album, Un- Muting, on 3 October 2025 on newly minted record label traza, run by Andrea Zarza Canova and distributed by Honest Jon’s Records. This album is the first to document Hoyt’s ongoing, long-term project of un-muting historical African instruments held in Western museum collections and includes his composition: Un-Muting Beyond Misspelt Borders.
Originally commissioned by Nottingham Contemporary for the exhibition Your Ears Later Will Know to Listen, Hoyt’s composition invites listeners to engage with what he calls ‘sonic restitution’, a performative challenge to the silent confinement of instruments within Western conservation standards and ethnographic museums, awakening and celebrating the hybridity, resilience and creativity of the transnational African diaspora.
The composition began with a recording session in October 2023 at the British Museum in London, where Hoyt was granted access to a selection of African instruments held by the British Museum’s Department of Africa, Oceania and the Americas. In the presence of curators and conservation staff, he played the instruments without written scores, responding instead to their physical and sonic presence.
The recordings were then further developed in Hoyt’s studio, combined with additional performances on both African and Western instruments from his own collection."

For Hoyt, un-muting is both a creative and political act:
"To Un-Mute is to gain access into ethnographic museum collections where I play and simultaneously record the abandoned ancient African musical instruments. These restituted recorded motifs and rhythms accompany my live concerts and recordings. Un-Muting is also concerned with the chapters of patriarchal and racist supremacy which accompany the instruments’ abductions, vehemently opposing the current continuum of this supremacy, its ongoing colonial expansion and continued capital extractivism. It remains focused on the retention of spiritual belief and stalwart visions of liberation leading to eventual global emancipation and self-realisation."
- Satch Hoyt, June 2025

The 10” vinyl record includes a newly commissioned text by critic and scholar Tavia Nyong’o.
The album will be released on vinyl and digital formats on 3 October to coincide with the opening of Satch Hoyt’s solo exhibition Satch Hoyt: Afro-Sonic Mapping Chapter 4 at KARST Plymouth.

Ancient African instruments: Trumpets (Kuba), Sanzas (Chokwe, Lega, Kongo, Yao), Ilimba (Nyamwezi), Whistles (Chokwe, Luba, Pende, Bambara), Talking Drum (Yoruba), Slit Drum (Kuba, Yaka, Tetela, Songye), Bell (Tetela), Rattles (Yoruba, Luba, Bamileke, Pende) and Flutes (Kuba, Kongo, Mossi, Bambara)

Western instruments: Flute, Electric Flute, Roland Handsonic, Synthesizers, Glockenspiel, Wooden Xylophone and assorted hand percussion

Composed, arranged, produced and performed by Satch Hoyt
Engineered and co-produced by Dirk Leyers
Recordings of musical instruments held by the Department of Africa, Oceania and the Americas at the British Museum by Adam Laschinger
Studio recordings of African instruments from Satch Hoyt's collection by Dirk Leyers
Uncredited Female Chant on wax cylinder recording by Karl Edvard Laman (c. 1910), held by the Berlin Phonogramm-Archiv
Additional sound design and production by Call & Response Studios
Mixed by Hendrick Valera (Cali, Colombia)
Mastering and lacquer cut by Kassian Troyer at Dubplates & Mastering
Cover art: Satch Hoyt, Score #1, 2020
Design by Elisabeth Klement
Direction by Andrea Zarza Canova

180 Gramm schweres schwarzes Vinyl. Violence Fog, eine sehr kurzlebige, aber kraftvolle Psychedelic-Rock-Band aus Baden-Baden, wurde 1969 gegründet. Die Besetzung umfasste Wolfgang Höfer (Gesang/Flöte), Karl-Heinz Höfer (Gitarre/Flöte/Gesang), Enno Dernov (Gitarre), Hilmar Beine (Bass) und Herbert Brandmeier (Schlagzeug). Ihre Musik mischte rohe, verzerrte Gitarrenklänge und britisch/amerikanisch beeinflusste bluesige Soli zu einem Sound, der von energiegeladenen Riffs bis zu stimmungsvollen und hypnotischen Psych-Jams reichte. Die Band baute sich schnell eine treue lokale Fangemeinde auf und spielte oft in Jugendzentren, Musikclubs und sogar bei Filmpremieren, wo ihre trippige psychedelische Lichtshow ihre Live-Auftritte begleitete. Ihr Repertoire umfasste sowohl Eigenkompositionen als auch Coverversionen von Songs wie ,Paint It Black". Violence Fog wurden bekannter, als sie am 23. April 1971 im Studio Ul des SWF-Radios in Baden-Baden fünf Titel aufnahmen, die ihr energiegeladenes Zusammenspiel aus schwindelerregenden Dual-Lead-Gitarren, Lautstärkedynamik und einer stimmungsvollen Rhythmusgruppe dokumentierten. Trotz ihres Talents und ihrer wachsenden Bekanntheit löste sich Violence Fog kurz nach Abschluss der SWF-Aufnahmen auf, was vor allem auf andere berufliche Verpflichtungen zurückzuführen war. Obwohl ihre gemeinsame Zeit nur von kurzer Dauer war, bleibt Violence Fog ein faszinierendes Kapitel in der lebendigen Psychedelic-Rock-Geschichte Deutschlands. Das Archiv-Plattenlabel Ancient Grease Records hat sich auf die Veröffentlichung seltener Heavy-Rock- und Psych-Musik aus den 1970er Jahren aus aller Welt spezialisiert. Begleitet wird das remasterte Audiomaterial von reichhaltigen visuellen Elementen und ausführlichen Liner Notes, um die unbekannte Musik dieser Ära für Sammler und neue Fans gleichermaßen wiederzubeleben und zu feiern.

"The Burning Bright Light" is a mind-meld between improvisation trio "Dromedaries" (saxophonist Keir Neuringer of Irreversible Entanglements, Shayna Dulberger on double bass, and percussionist Julius Masri) and sci-fi writer/vocalist "Alexoteric" (Alex Smith), evoking epic sci-fi cinemascapes, vocabulary- and reference-rich underground writing, the liberatory jazz tradition, and playful avant-garde experimentation.

Recorded in a single high-voltage burst of cosmic collaboration on an October afternoon at Philadelphia's Rittenhouse Soundworks, "The Burning Bright Light" is a sonic document like no other. A mind-meld between improvisation trio »Dromedaries« and sci-fi writer/vocalist "Alexoteric" (Alex Smith), the album emerges organically on a foundation of speculative fiction, free jazz interaction, avant-garde textures, and freestyle refrains.

GERMAN salestext
„Louder Than Hell“ ist das achte Album der True und Heavy Metal Legenden MANOWAR aus dem Jahr
1996. Es ist das erste Album mit Karl Logan als Gitarrist der Band , steht zugleich für die Rückkehr von
Drummer Scott Columbus und umfasst die Hits Brothers of Metal”, “The Gods Made Heavy Metal“ sowie
das ikonische “Return of the Warlord”.
Der lang erwartete Release fällt auf das 30 Jahre-Jubiläum des Albums. Zum ersten Mal erscheint das Album als limitierte Gatefold Doppel-Vinyl - mit rot-schwarz strukturiertem 140 gr Vinyl, das jedes Exemplar
zu einem Einzelstück macht.
Der Vinyl Release wird auf den offziellen MANOWAR Social Media-Kanälen und Heavy Metal Influencern
weltweit angekündigt werden.
ENGLISCH sales text
Louder Than Hell is the 8th album by the True and Heavy Metal legends MANOWAR. Released in 1996 it
is the first album with guitarist Karl Logan and marks the return of drummer Scott Columbus. It features
the celebrated hits ”Brothers of Metal pt 1”, “The Gods Made Heavy Metal“ and the iconic “Return of
the Warlord”.
The highly awaited release of the vinyl celebrates the 30th anniversary of the album, which will be released for the first time in a limited double gatefold edition with a broken black and red look in 140 gr
vinyl - making each LP a unique piece.
The release of the vinyl will be promoted through the offcial MANOWAR social media channels as well as
by big heavy metal influencers all over the world.

Back on limited classic black vinyl, includes the original 8 track album. At the forefront of the Paisley Underground scene, The Dream Syndicate are one of the most revered indie-rock bands of the 1980s. Medicine Show is the band's second album. Remastered from the original reel-to-reel tapes and featuring liner notes by Steve Wynn. Medicine Show has always been a controversial album, even before it was recorded. The indie rock darlings became the first Paisley Underground band to sign to a major label, hire a mainstream rock producer, change bass players, and spend months recording the album - after having banged out their previous one, The Days of Wine and Roses, in mere hours. After succesful debut and waves of positive press and , A&M Records signed the Dream Syndicate and they went into the studio with producer Sandy Pearlman, who spent five months in the studio guiding the band through their second LP. ... Medicine Show was greeted with openly hostile reviews, largely because it sounded practically nothing like the album that sent tongues wagging two years earlier. ... [...] sounded big and polished, but also dusty and weathered, with the terse, nose-thumbing lyrics of the debut replaced with dark, complex narratives full of bad luck and bad blood backed with booming drums and roaring guitars that were significantly more rockist than what Steve Wynn and Karl Precoda brought to their earlier recordings. Viewed in the context of Wynn's career, Medicine Show marks the spot where the lyrical themes and musical approach of his later work would first come into focus, but it still doesn't bear much resemblance to what the Dream Syndicate would create on their subsequent albums in its grand, doomy tone and obsessive but curiously unobtrusive production style. [...] there are a few great songs scattered throughout (especially "Merrittville" and "Armed with an Empty Gun"), and once it works its way in, the 8:48 of "John Coltrane Stereo Blues" is as potent a guitar workout as anything this band would ever release. [...] Lots of bands let loose with a major-label budget for the first time have made lavish records that didn't quite work, but unlike most of them, Medicine Show doesn't sound like a grandiose waste of money. Instead, it's a widescreen guitar spectacle [...] and if it doesn't always work, enough of it does to make it worthy of serious reappraisal. - allmusic.com

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

ORBIT CULTURE läuten eine neue Ära ein. Das Century Media-Debüt des schwedischen Quartetts, "Death Above Life", ist nicht nur ein Statement, wie weit sie es gebracht haben, sondern es ist der Sound von Metal in seiner modernsten Form. "Das Album steht für einen Neuanfang", sagt ORBIT CULTURE-Gitarrist, Sänger und Songwriter Niklas Karlsson. "Es ruft positive und negati-ve Emotionen hervor, aber insgesamt bedeutet es eine Veränderung zum Besseren. Es fühlt sich an wie eine Wiedergeburt." Vom Opener "Inferna" über den stampfenden Titeltrack bis zum melancholischen Schlussstück "The Path I Walk" ist klar: ORBIT CUL-TURE sind in Bestform.
Neben ihrem DIY-Ethos und ihren kompromisslosen Dark-on-Dark-Visuals prägt laut Karlsson seine Vorliebe für Soundtracks und cineastische Soundscapes ihren Sound und Vision. Komponisten wie Hans Zimmer (Dune, Interstellar) und Howard Shore (Der Herr der Ringe) hätten einen großen Einfluss auf die Band. "Wahrscheinlich deutlich mehr als aktueller Metal", sagt Niklas. "Jeder von uns würde sich lieber den Soundtrack von 'Inception' anhören, weil er zeitlos ist. Wenn ich beim Schreiben nicht wei-terkomme, bieten mir z.B. Cello oder Klavier neue Möglichkeiten. Wir schreiben einfache Riffs und Strukturen, und wenn wir uns dabei von einem Künstler wie Hans Zimmer inspirieren lassen, kommt ein Song wie 'Inferna' heraus, weil wir den Chorus größer und cineastischer machen."
Produziert von der Band und gemixt von Buster Odeholm (Vildhjarta, Humanity's Last Breath, Thrown), ist "Death Above Life" ein Statement für den Metal, seine Gegenwart und Zukunft. Es ist ein entscheidender nächster Schritt für ORBIT CULTURE, da sie sich selbst und Metal als Ganzes frischer definieren. "Wir spielen Metal", sagt Karlsson. "Wir haben Einflüsse von Djent, von Me-talcore und melodischem Death Metal. Wir bleiben uns selbst treu, und ich denke, die Leute sind genau danach hungrig."
"Death Above Life" ist erhältlich als: Ltd. CD Digipak, Gatefold 2LP, Digital Album.

END[GER] Die Band Wednesday aus Asheville, North Carolina errichtet im Laufe der zehn Songs von "Rat Saw God" einen Schrein voller aufregender Details: Halb lustige, halb tragische Botschaften aus den Südstaaten, die sich klanglich irgendwo zwischen dem wimmernden Skuzz von Neunzigerjahre-Shoegaze und klassischem Country-Twang entfalten - mit verzerrter Pedal Steel und Frontfrau Karly Hartzman, die mit ihrer Stimme, den Lärm durchschneidet. Ein Song von Wednesday ist wie ein Quilt. Eine Kurzgeschichtensammlung, eine verschwommene Erinnerung, ein Flickenteppich aus Porträts des amerikanischen Südens, der disparate Momente einfängt und als Ganzes doch irgendwie einen Sinn ergibt. Karly Hartzman, die Songschreiberin, Sängerin, Gitarristin und Leiterin der Band, ist eine Geschichtensammlerin als auch eine Geschichtenerzählerin: Eine aufmerksame Beobachterin von Menschen und witzigen Bemerkungen. "Rat Saw God", das neue und beste Album des Quintetts aus Asheville, ist ekphrastisch, aber ebenso autobiografisch und vor allem sehr einfühlsam. Es wurde in den Monaten unmittelbar nach der Fertigstellung von dem zweiten Album der Band, "Twin Plagues", geschrieben und innerhalb einer Woche im Drop Of Sun Studio in Asheville aufgenommen. Die Songs auf "Rat Saw God" erzählen keine Epen, sondern das Alltägliche. Sie sind lebensnah, erzählen vom wahren Leben, sie sind verschwommen und chaotisch und seltsam zugleich - was Hartzmans eigenem Ethos entspricht: "Everyone's story is worthy. Literally every life story is worth writing down, because people are so fascinating." A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Den Grundstein für ihre musikalische Karriere legten SPRINTS zweifelsohne mit ihrem Debütalbum 'Letter To Self' im Jahr 2024. Allein in diesem Jahr tourte die Band um Frontfrau Karla Chubb zwei mal durch Europa, UK und die USA. Das neue Album 'All That Is Over' ist ein bemerkenswertes zweites Werk, das die Dynamik der Band noch weiter vorantreibt, noch nuancierter klingt, aber nichts an Rohheit einbüßt.

Während viele Bands nach einer solch hektischen Anfangszeit ausgebrannt wären und eine Pause bräuchten, wurde Karla umso produktiver und kreativer. 'There was just so much happening and so much to process,' erklärt sie. 'I was going through a big break up with my partner who I’d been with for eight years; Colm had left the band; we’d really progressed into being professional musicians, and I was at the start of a new relationship. But then you’d look outside and it’s like the world has never been uglier. I was writing every day because there was so much going on.' In diesem Spannungsfeld aus Wut, Ambitionen und tausend weiteren Gefühlen dazwischen legt 'All That Is Over' die Karten auf den Tisch. Das Album wurde in Tourbussen, bei Soundchecks und in Echtzeit geschrieben. Vor dem Hintergrund einer Litanei von Grausamkeiten - dem Krieg in Nahost, den Waldbränden in Los Angeles, Trumps Executive Order, die die Rechte von Trans-Personen schneidet - versuchen SPRINTS, einer verrückt gewordenen Gesellschaft einen Sinn zu geben.

Das neue Album 'All That Is Over' der irischen Band SPRINTS erscheint am 26. September 2025 via CITY SLANG (in den USA über Sub Pop Records). Im Sommer ist die Band mit Fontaines D.C. bei einigen Konzerten in Deutschland live zu sehen.

Den Grundstein für ihre musikalische Karriere legten SPRINTS zweifelsohne mit ihrem Debütalbum 'Letter To Self' im Jahr 2024. Allein in diesem Jahr tourte die Band um Frontfrau Karla Chubb zwei mal durch Europa, UK und die USA. Das neue Album 'All That Is Over' ist ein bemerkenswertes zweites Werk, das die Dynamik der Band noch weiter vorantreibt, noch nuancierter klingt, aber nichts an Rohheit einbüßt.

Während viele Bands nach einer solch hektischen Anfangszeit ausgebrannt wären und eine Pause bräuchten, wurde Karla umso produktiver und kreativer. 'There was just so much happening and so much to process,' erklärt sie. 'I was going through a big break up with my partner who I’d been with for eight years; Colm had left the band; we’d really progressed into being professional musicians, and I was at the start of a new relationship. But then you’d look outside and it’s like the world has never been uglier. I was writing every day because there was so much going on.' In diesem Spannungsfeld aus Wut, Ambitionen und tausend weiteren Gefühlen dazwischen legt 'All That Is Over' die Karten auf den Tisch. Das Album wurde in Tourbussen, bei Soundchecks und in Echtzeit geschrieben. Vor dem Hintergrund einer Litanei von Grausamkeiten - dem Krieg in Nahost, den Waldbränden in Los Angeles, Trumps Executive Order, die die Rechte von Trans-Personen schneidet - versuchen SPRINTS, einer verrückt gewordenen Gesellschaft einen Sinn zu geben.

Das neue Album 'All That Is Over' der irischen Band SPRINTS erscheint am 26. September 2025 via CITY SLANG (in den USA über Sub Pop Records). Im Sommer ist die Band mit Fontaines D.C. bei einigen Konzerten in Deutschland live zu sehen.

Essential Liverpool psychedelic folk collective mapping their territory with a record rooted in place and memory.
For fans of: CSNY, Tim Buckley, Talk Talk, The Byrds, Sufjan Stevens and Love.
Like Tame Impala doing Nick Drake covers.
Professor Yaffle have created their most focused and expansive work yet. Following acclaimed previous releases, ‘Everyone Wants to Dream’ finds the band at their creative peak.
The album turns on Everton Brow - an unremarkable Liverpool hill offering the city's finest view. Rogers returns to this vantage point throughout eight tracks, using it as both setting and metaphor for looking back on life without nostalgia. From here, you can see the Mersey stretch toward Snowdonia, the city spread below like a living map.
'Lost in a Dream (On Everton Brow)' weaves Lee Roger’s lyrics as an eighteen-year-old lyrics with newly composed music. 'Everyone Wants to Dream' confronts the disorientation when your children grow and your role shifts. 'On Top of the World' becomes what Rogers calls 'a stoned love letter to Liverpool'.
This is Professor Yaffle's first release with Violette Records, marking the beginning of a partnership between two Liverpool entities who've circled each other for years before finding their moment.
Featuring a 1979 Karl Hughes photograph of a policeman surveying Liverpool from Everton Brow, capturing something essential about the record: that those who maintain order might dream the biggest dreams of all.
"Songs that speak clearly about things that are difficult to articulate - the changing nature of purpose, the ways we dream our fears away, the view from unremarkable hills."
Because sometimes you need to be above it all to see what's been right in front of you.

1982 was a decisive year for The Fall. Their critically acclaimed album ‘Hex Enduction Hour’ was released in March on Kamera Records, closely followed by ‘Room To Live’ in September of that year. ‘Hex Enduction Hour’ was the fourth studio album by The Fall, building on their lo-fi production and featuring a two-drummer line-up. The album was recorded in Reykjavik, Iceland and Hitchin, Hertfordshire. Featuring the classic line-up of Mark E. Smith alongside Steve Hanley (bass), Craig Scanlon (guitar), Karl Burns (drums), Paul Hanley (drums) and Marc Riley (guitar). This is another fine addition to Cherry Red’s series of deluxe Fall re-issues – “Fall Sound Archive”. ‘Hex Enduction Hour’ and ‘Room to Live’ are also available on a 7-CD boxset – “1982” Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics. “They are always different; they are always the same.” John Pee

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Released exclusively in Germany in March 1966, "Black Monk Time" by The Monks has become a cult classic -praised as a groundbreaking forerunner to punk and krautrock. Though the album was overlooked at the time, its bold sound and sharp lyrics have earned it lasting influence and critical acclaim. The Monks were five American G.I.s stationed near Heidelberg, West Germany. Originally performing as a typical beat group under the name the 5 Torquays, they evolved into something far more radical. After discovering guitar feedback by accident and embracing a raw, percussive approach, they caught the attention of two German ad men-Walther Niemann and Karl Remy-who became their managers and helped reinvent their identity. Dressed in monks' robes with tonsured hair and noose neckties, the band developed a confrontational, rhythm heavy sound. Nowhere is this clearer than in the album's opening track, 'Monk Time,' which captures their entire aesthetic in under three minutes. A pounding, repetitive groove of bass and drums anchors the track, layered with distorted guitar bursts, percussive electric banjo, chaotic organ stabs, and unrestrained, shouted vocals. It's a declaration of intent-urgent, jarring, and unforgettable. Their sole studio album, produced by Jimmy Bowien and recorded in Cologne in late 1965, defied musical norms. From the explosive opener 'Monk Time' to the fierce 'Complication,' "Black Monk Time" rejected flower power for something more urgent-anger, humor, and innovation. At the time, Polydor Records deemed the music too radical for American audiences, delaying its U.S. release. Despite its initial commercial failure, the album is now seen as a pivotal moment in rock history-loud, strange, and unapologetically ahead of its time. The Monks' story is as unlikely as their sound: five ex-soldiers and two ad executives creating one of the most daring records of the '60s. The band never sparked the revolution they hinted at, but decades later, "Black Monk Time" still resonates. This is your chance to experience the album that dared to be different - don't miss it. Remastered sound from the tapes, pressed on 180g vinyl.

Recorded from late 1996 through early 1997, Hold Onto I.D., The Shadow Ring's fourth album, marks the apogee of the trio's experimental rock epoch - their last record clinging to their factitious bandness before they let all song and structure go awash in sonic malaise for their final run of releases on Swill Radio. The surrealist dreams of City Lights and Put the Music in Its Coffin give way to pseudo-expressionistic lyrics mired in the banality and bleakness of the everyday, set against the backdrop of the Coombe House (as pictured on the album's cover). While Hold Onto I.D. is the group's most overtly autobiographical release to date, Lambkin's lyrics obfuscate his expressionist tendencies filtering them through the codes and languages of officialdom, linking the "inner self" with documents of the state_identification cards, National Insurance numbers, and British passport numbers. Having moved out of their parents' homes and into the top floor of the famed Coombe House, Graham Lambkin and Darren Harris set out to rework material drafted over the previous year, aided by Tim Goss, still safely in residence at the "Valebrook Inn." While the familiar sounds of Harris's deadpan recitation and Lambkin's electric guitar, amateurishly strummed, dominate the album, the emotive interludes of Goss's keyboards populate the record along with of home-cooked tape experiments and dime-store concrète. Originally released on CD and supported by a US tour with friends Scott Foust and Karla Borecky's Idea Fire Company, Hold Onto I.D. is perhaps the band's best-known and most accessible album. (The Shadow Ring's sole representative on a streaming platform, it was once acknowledged by the Guardian as one of "the 101 strangest records on Spotify.") Offered here for the first time on vinyl, Hold Onto I.D. is an essential album for both completists and the uninitiated alike. Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

Seit 2021 tauschten sich Musiker/-innen aus Kassel, Hamburg und Berlin über Songideen, Demoaufnahmen und Skizzen aus. Aus dem losen Austausch entwickelte sich über 4 Jahre hinweg ein kollaborativer Arbeitsprozess, unabhängig von Labels und kommerziellen Strukturen. Das Ergebnis: ,Have Mind - Will Travel" von THE SUBDIVISIONS bietet 19 englischsprachige Songs - laut, direkt, ohne Umwege. Die Texte bewegen sich zwischen Gesellschaftskritik, persönlichen Einblicken und zynischem Humor. Inhaltlich geprägt ist das Album vor allem vom Wuppertaler Punk-Aktivist Karl Nagel (APPD, Chaostage, Autor, Sänger), dessen lyrische Handschrift sich durch alle Stücke zieht. The Subdivisions besteht aus den vier sehr unterschiedlichen Musiker/-innen: Karl Nagel - Gesang (ex-Militant Mothers, Morbid Outburst, Kein Hass Da), Katharina Neuner - Bass (Lost Lyrics), Stoffel - Gitarre (Yacöpsae, Razors), Christian Bass - Schlagzeug (Heaven Shall Burn, Negativ Null) Trotz der unterschiedlichen Hintergründe entsteht ein gemeinsamer Sound - roh, aber kontrolliert, laut, aber fokussiert. Keine glatte Produktion, sondern eine bewusste Entscheidung für Ecken und Kanten. ,Have Mind - Will Travel" ist kein Konzeptalbum. Es bietet 19 Songs, die ein Spektrum zwischen Widerstand und Rückzug, Aufbruch und Erschöpfung abdecken und deren Texte bewusste Kontraste setzen und zur Auseinandersetzung herausfordern.

One of the absolute classics from the Swedish prog-rock scene, for the first time ever on vinyl! The Hemulic Voluntary Band (2007) is the fourth studio album by Swedish progressive rock band Ritual. Its title references a fictional brass band from Tove Jansson's Moomin universe, but the music leans more toward folk, symphonic rock, and '70s-style prog, resulting in a richly imaginative sound. Although not a concept album, it's thematically tied by literary influences and a sense of childlike wonder. Drawing on Jansson's work, the lyrics explore imagination, nature, and the fantastical. Ritual's songwriting focuses on storytelling and emotional depth, creating an immersive experience. Critics praised the album's inventive arrangements and emotional range. It's mix of complexity and accessibility appeals to both prog fans and casual listeners, with a strong balance of technique and feeling. In short, The Hemulic Voluntary Band showcases Ritual's skill at crafting intricate yet heartfelt music. Its fusion of folk, rock, and prog, paired with thoughtful lyrics, makes it a standout in the genre.

Banana Stand vinyl. I Was Trying to Describe You to Someone is Wednesday's second fulllength album & first as a full band. The Asheville, NC quintet (guitarist/ vocalist Karly Hartzman, lead guitarist Daniel Gorham, pedal steel guitarist Xandy Chelmis, bassist Margo Schultz & drummer Alan Miller) maximizes the dark dissonance of a three guitar attack to highlight the emotionality of Hartzman's bell-clear vocals & wisps of half-recalled memories & literary references that make up her lyrics. I Was Trying to Describe You to Someone's eight songs meld elements of shoegaze, grunge, indie pop & southern American culture into a uniquely personal style of modern rock music that resonates with power & tenderness. The ever-darkening & deepening of Wednesdays' sound on I Was Trying to Describe You to Someone owes a debt of influence to The Swirlies, Arthur Russell, Red House Painters, Tenniscoats, Ana Roxanne, Acetone, & their continued collaboration with MJ Lenderman (who lends backing vocals to the songs "Billboard" & "November"). I Was Trying to Describe You to Someone was recorded at Hartzman's home with engineering assistance from her roommate Colin Miller. The depth & clarity of the recordings balance the distorted volume of Wednesday's live performances with the intimacy of Hartzman's voice. Her words hold the center of the chaos, unobscured by the power of the band. Hartzman describes her lyrics as "attempts to access old personal memories & do them justice through prose, with inspiration from the writings of Richard Brautigan, Flannery O'Connor, David Berman & Tom Robbins, & movies like Steel Magnolias."

GAUPA, deren Name im Deutschen "Luchs" bedeutet, kehren mit abgespeckter Besetzung auf dem neuen Mini-Album "Fyr" zurück, wobei die Schweden damit zugleich auch ihr bislang fettestes und stärkstes Material servieren. Der Titel ist ein vielschichtiges Rätsel und Wortspiel in schwedischer Sprache: "Fyr" kann die Zahl "4" meinen und sich somit auf das Mini-Album als ihre vierte Veröffentlichung beziehen. Andere mögliche Bedeutungen sind "Leuchtturm", "Lichtzeichen" und "Feuer", die ihrerseits ebenfalls zur Musik und zur Lyrik passen würden. Der neue und von GAUPA bewusst dafür ausgewählte Tontechniker Karl Daniel Lidén hat den Tracks auf "Fyr" einen rauen, aggressiven Sound verpasst. Gleichzeitig bleiben auch die Kernelemente des musikalischen Ansatzes der Schweden präsent. Dazu zählen eine fesselnde Komplexität, spacige und trippige Strophen, die auf einem stetigen Strom von Psychedelik reiten, sowie Kaskaden harter Stoner-Riffs. Sängerin Emma Näslund hat sich zur Lyrik von "Fyr" durch Ursula K. Le Guins preisgekrönten Science Fiction Roman "Das Wort für Welt ist Welt" inspirieren lassen. Ihre Texte beschäftigen sich mit dem Konzept der Zeit und der Frage nach der Wirklichkeit, die sich in verschiedenen Variationen in allen Songs des Mini-Albums finden. Seit der Veröffentlichung ihrer selbstbetitelten EP im Jahr 2018 haben GAUPA der Stoner und Psychedelic Rock Szene neue Wege gebahnt und einen einzigartigen Kosmos geschaffen, der durch bezaubernden lyrischen Surrealismus und bewusstseinsverändernde Sounds definiert ist. Mit ihrem Debütalbum "Feberdröm" rückte die Band im Jahr 2020 durch ihre herausragende Mischung aus Progressive, Doom, Stoner Metal und Folk-Elementen, über welcher der mitreißende Gesang von Frontfrau Emma Näslund thront, ins internationale Rampenlicht. Der zweite Langspieler "Myriad" (2022) erreichte mit dem Track 'Exoskeleton' über eine Million Streams auf Spotify (der EP-Song 'Febersvan' steht mittlerweile bei über 4 Millionen). Obwohl GAUPA "Fyr" als "Patchwork" beschreiben, woran jedes Mitglied einen gleichwertigen Anteil hat, wirkt das Mini-Album insgesamt wie aus einem Guss, womit die Schweden die Messlatte für ihre zukünftigen Werke sehr hoch legen. Die physische Version von "Fyr" enthält einen zusätzlichen Bonustrack.

Singles, seltene Tracks und B-Seiten aus der gesamten DOZER-Geschichte anlässlich ihres 30-jährigen Jubiläums! Zur Feier ihres 30-jährigen Bestehens präsentieren DOZER "Rewind to Return", ein Doppelalbum mit Singles, raren Tracks und B-Seiten aus ihrer langen Geschichte. "Rewind to Return" ist weder ein chronologisches Dokument noch eine umfassende Zusammenstellung aller Nicht-Album-Tracks, sondern eine sorgfältig durchdachte Auswahl der Lieblingsstücke der Band, die aufgrund ihrer Bedeutung und Wirkung ausgewählt wurden. Diese Sammlung wurde von Karl Daniel Lidén brillant remastert und ist die bestmögliche Erinnerung an DOZERs umfangreichen Katalog und ihr unantastbares drei Jahrzehnte andauerndes Vermächtnis an der Spitze des Heavy Undergrounds. Enthält mehrere nie zuvor veröffentlichte Tracks, alle komplett remastered! Transparent rotes Zweifach-Vinyl(Gatefold) sowie einzelne Digipak-CD erhältlich.

Singles, seltene Tracks und B-Seiten aus der gesamten DOZER-Geschichte anlässlich ihres 30-jährigen Jubiläums! Zur Feier ihres 30-jährigen Bestehens präsentieren DOZER "Rewind to Return", ein Doppelalbum mit Singles, raren Tracks und B-Seiten aus ihrer langen Geschichte. "Rewind to Return" ist weder ein chronologisches Dokument noch eine umfassende Zusammenstellung aller Nicht-Album-Tracks, sondern eine sorgfältig durchdachte Auswahl der Lieblingsstücke der Band, die aufgrund ihrer Bedeutung und Wirkung ausgewählt wurden. Diese Sammlung wurde von Karl Daniel Lidén brillant remastert und ist die bestmögliche Erinnerung an DOZERs umfangreichen Katalog und ihr unantastbares drei Jahrzehnte andauerndes Vermächtnis an der Spitze des Heavy Undergrounds. Enthält mehrere nie zuvor veröffentlichte Tracks, alle komplett remastered! Farbige Zweifach-Vinyl-Editionen (Gatefold) sowie einzelne Digipak-CD erhältlich, diese ist Red/Black Color Merge Vinyl (limitiert)!

The discovery of Doris Dennison's score represents a genuine musicological breakthrough—what once would have been "a tree falling in the woods" thirty years ago now holds the potential to render "a thunderous clap in our minds." While researching Anna Halprin's lesser-known collaborators, scholar Tom Welsh uncovered the archives of AA Leath, one of Halprin's principal dancers. Buried within these materials was Dennison's handwritten score for Earth Interval, dated May 1956. Born in Saskatchewan, Canada, in 1908, and raised near Seattle, Dennison (1908-2009) encountered John Cage while teaching Dalcroze eurythmics at the Cornish College of the Arts. She joined Cage's earliest percussion quartet—alongside Margaret Jansen, the composer and his wife Xenia—in the group widely regarded as having performed the first complete concert of percussion music in the United States. This historic December 1938 concert was followed by tours and the landmark May 1941 performance at the California Club, comprising Cage and Lou Harrison's Double Music, the premiere of Cage's Third Construction, and Harrison's 13th Simfony.

As Bradford Bailey observes in his extensive liner notes, Earth Interval demonstrates "an extraordinary balance of elements that imbues the piece with a sense of clarity, directness, and constraint that is both distinct and ahead of its time." The work's most remarkable innovation lies in its approach to extended techniques, particularly Dennison's notation for the central movement: "In 2nd movement, 1st player lowers + raises a gong into a tub of water while beating." This technique, absorbed from Cage's experimental vocabulary, generates what Bailey describes as "fields of acoustic abstraction that bend and warp time through sustained resonances, beat, and space." The temporal sophistication of these manipulations anticipated Karlheinz Stockhausen's Mikrophonie I (1964) and Annea Lockwood's water-based sound investigations by over a decade. After joining Mills College as dance accompanist, Dennison maintained crucial connections to the Bay Area's experimental scene, collaborating with figures like Merce Cunningham and programming Cage's music throughout the 1950s.

Comprising three movements—Land Form, Air Tide, and Earth Play—Earth Interval is scored for recorder, drums, gongs, maracas, muted gongs, and bowl gongs. In total, the piece is just under eight minutes: "a fleeting glimmer of moment in time, a life spent at the cutting edge, and a singular creative vision that packs a powerful punch." When viewed in historical context, placed in contrast to roughly contemporaneous avant-garde percussion works by Cage, Harrison, Louis Thomas Hardin (Moondog), and Harry Partch, or important precursors like Edgard Varèse's Ionisation (1931) and Henry Cowell's Ostinato Pianissimo (1934), it's clear that Dennison was following her own path. Earth Interval is not derivative. It is a precursor to what was yet to come, alluding to developments of avant-garde and experimental music that wouldn't begin to appear on the cultural landscape until the 1970s and '80s, with the emergence of Post-Minimalism and more idiosyncratic artists and ensembles like Midori Takada, Ros Bandt, Peter Giger, Frank Perry, Christopher Tree, Michael Ranta, Gamelan Son of Lion, and Niagara.

This recording by Chicago's Third Coast Percussion, captured in March 2022, represents the first complete documentation of this pioneering work. The ensemble's interpretation reveals the piece's remarkable contemporaneity while maintaining its historical specificity. Where Cage, Harrison, and Partch employed "self-consciously off-kilter polyrhythms," Dennison's rhythmic sensibility anticipates minimalist developments by nearly a decade, yet integrates "forceful rests, as well as sharp shifts in sonic character, tempo, and meter, that break the momentum and breathe a sense of life into the piece's structure." This positions her work closer to Post-Minimalism decades before its emergence. The architectural approach demonstrates Dennison's understanding that "the composer almost entirely disappears" in favor of phenomenological listening experience, creating what might be called an egoless music that places its realities and meaning entirely in the ear of the beholder. The present recording, realized by Chicago's distinguished Third Coast Percussion ensemble, represents a significant achievement in experimental music scholarship and performance practice. As specialists in the Cage tradition and contemporary percussion repertoire, Third Coast Percussion approached Earth Interval with the historical sensitivity and technical precision required to illuminate Dennison's subtle compositional innovations. The March 2022 recording sessions, engineered by Colin Campbell, capture both the work's intimate chamber music qualities and its bold exploration of extended techniques. The ensemble's interpretation reveals the piece's remarkable contemporaneity—its ability to speak directly to current musical concerns while maintaining its historical specificity.

This recording serves multiple scholarly functions: it provides the first complete documentation of Dennison's compositional voice, offers insight into the broader network of experimental music practitioners surrounding Cage and Harrison, and demonstrates the sophisticated level of compositional thinking that was occurring within the Bay Area's dance-music collaborations of the 1950s. The work's emphasis on phenomenological listening—what might be called an "egoless" approach to musical experience—places it within a lineage of American experimental music that prioritizes perceptual process over compositional personality. The work's original obscurity—limited to AA Leath's performances at venues like the 1957 Pacific Coast Arts Festival at Reed College—paradoxically allowed it to remain "entirely on its own terms," free from the constraints of historical categorization. Drawing on Jacques Derrida's Archive Fever, the argument emerges that "the archive can acknowledge, celebrate, and resurrect" overlooked voices, transforming our understanding of experimental music history. The present Blume edition, featuring Third Coast Percussion's authoritative interpretation, includes a lavishly illustrated 16-page booklet designed by Bruno Stucchi / dinamomilano, containing complete scholarly apparatus, historical photographs, and detailed production notes. This recording enables "cross-temporal intersectionality," allowing Dennison to "belong to a newly formed and more dynamic understanding of the present and past," demonstrating how forgotten voices can reshape entire historical narratives when given proper scholarly attention and performance advocacy.

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This project aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects. Following the outstanding success of the first chapter of the project, From Then 'Til Now (2024), Fruits Records is pleased to reveal the dub album From Dub 'Til Now. A veritable immersion in the mythical sound of Kingston studios in the late 1970s. Dub master Roberto Sánchez sublimates the work of the Roots Architects with wildly inventive sound experiments. Reminiscent of the finest years of King Tubby, Lee "Scratch" Perry and Scientist.

The project is the brainchild of Swiss keyboardist and producer Mathias Liengme. In 2013, he travelled to Kingston, Jamaica, to produce The Inspirators project, an all-star album gathering Leroy ”Horse-mouth” Wallace, Lloyd Parks, Earl ”Chinna” Smith and Sangie Davis, the four of them acting both as musicians and vocalists. This first experience in Kingston studio life paved the way to what would become the Roots Architects project. In February and March 2017 Mathias Liengme travelled for the fifth time to Kingston to record as many of reggae’s greatest living veteran musicians as he could. With the help of a few of these Architects like Robbie Lyn, Fil Callender or Dalton Browne, he managed to gather over 50 session musicians aged 60 to 85 on nine instrumental songs.

Roots Architects are legends back together in Kingston studios doing what they do best: creating in-strumental music all together!

Metal Hall of Fame inductee, Blaze Bayley, releases a brand new studio album Entitled `Circle of Stone'. The album features guest vocalist Niklas Stalvind of Swedish metalheads Wolf, alongside a variety of additional vocal & instrumental contributors. Having started his career as a professional singer with Wolfsbane in 1984, Blaze went on to front Iron Maiden, touring worldwide and releasing two studio albums - `The X Factor' and `Virtual XI', both of which achieved top twenty status in many countries. During his time with Iron Maiden, Blaze co-wrote the single `Man on the Edge' (from `The X Factor' album), a top ten hit in the UK, as well as charting successfully across Europe. Following his exit from Iron Maiden he has pursued a solo career, beginning with his now legendary solo debut album `Silicon Messiah' in 2000, followed by a further eleven studio albums, including especially his sci-fi based `Infinite Entanglement' trilogy (released in consecutive years 2016-2018) and the critically-acclaimed `War Within Me' released in 2021. Starting in 2013 and exclusively since 2016, Blaze records and plays live with Manchester (UK) melodic metal band Absolva, featuring lead guitarist Christopher Appleton and his brother LukeAppleton who is formerly of American metalheads Iced Earth. This consistent line-up is completed by drummer Martin Mcnee and bassist Karl Schramm.

KITCHEN FUNK: The Groove Legacy of Funk, Hip-Hop, and House
Founded in 1999 in Lorient by Tabasko and Ramirez, key figures in the Breton underground scene, KITCHEN FUNK fuses hip-hop, soul, funk, acid jazz, and house music into a unique sonic universe. Combining punchy rhythms with captivating grooves, the duo made a name for itself in the 2000s, marked by the excitement of clubs and radio stations.

"LETUGO": A Forgotten Treasure Finally Rediscovered
Among their notable collaborations, "LETUGO," recorded with Karl the Voice, embodies the very essence of KITCHEN FUNK. This powerful track, blending funky vibes and soulful energy, didn't receive the promotion it deserved upon its release.

25 years later, the story takes an unexpected turn. After rediscovering local archives, RAMIREZ and JULIEN LO BONO decided to reissue "LETUGO" on vinyl to mark the project's anniversary. The initiative sparked immediate interest: Breton radio stations picked it up, and the record finally found its audience, proving that KITCHEN FUNK's groove is timeless.

A resounding success with "PUSSY CALL"
Before this resurgence, KITCHEN FUNK had made a lasting impression with "PUSSY CALL", a hit that received critical acclaim on Europe 2, NRJ, and RADIO FG. This success allowed the duo to sign with CHRYSALIS PUBLISHING and then 909 RECORDZ (WARNER FRANCE), confirming their place in the French music scene.

A promising future
And this is just the beginning... Boosted by this renewed interest, KITCHEN FUNK is preparing new projects, supported by Jean Jérôme, a key player in the success of "PUSSY CALL." A return to the stage is in the works, ready to rekindle the flame of funk, hip-hop, and house music for a new generation of enthusiasts.

New from UK Garage legends Karl Brown and Crazy Bank plus a remix from old school NYC House hero Tommy Musto

Green vinyl, limited to 500 copies. Helheim, one of the founding pioneers of the Norwegian viking metal genre, are ready to release their 12th studio album "HrabnaR / Ad vesa". On this record, Helheim has made a split album with themselves. For the first time, the main songwriters V'gandr and H'grimnir have divided the album in two, where they solely take care of the vocals on the part they represent musically. This has resulted in two very different expressions - not uncommon for this band, but never as clearly as here. The first half, "Hrabnar", contains four stand-alone songs written by H'grimnir. The second part, "Ad vesa", is about the four components in Norse mythology that we know collectively as the human soul. In pre-Christian Norway, the concept of the soul was not a singular, unified entity, but a composite of many elements, of which the four key components were Fylgja, Hamr, Hugr, and Hamingja. Founded in 1992, Helheim are known and renowned all over the world for their authenticity and integrity when it comes to portraying their Norse heritage. Constantly growing and evolving, and staying clear of musical trends and fads, they've carved their own way for more than 30 years. This split album is no exception. Recorded in Duper and Solslottet Studio in 2024/2025, the album was engineered, produced, mixed and mastered by Iver Sandoy.

TWICE A MAN pflanzten die Saat für "The Coloured Breeze Is a New Dimension" mit dem Song 'Dahlia', einem "neuen" Stück, das sie zur Ergänzung der Albumkompilation "Songs of Future Memories" geschrieben hatten. Drei Jahre lang düngte und hegte das schwedische Dark-Electronic-Trio den Keim, bis er feste Wurzeln in ihrem musikalischen Erbe fand und damit begann, neugierige Ableger in neue fruchtbare Böden jenseits der zuvor errichteten Klanggartenmauern zu senden. "The Coloured Breeze Is a New Dimension" ist ein organisches Gebilde, das etwas Neues schafft, indem es seine musikalische DNA auf verschiedene Weise rekombiniert. Als Ergebnis erblühen die frischen Songs in vielen elektronischen Farbnuancen. TWICE A MAN waren schon immer Vorreiter. In ihrem Heimatland Schweden waren sie die anerkannten Pioniere der elektronischen Musik. Und schon lange bevor es in Mode kam, positionierten sich die Schweden als selbstbewusste Umweltschützer. Musikalisch wurden sie liebevoll mit Bezeichnungen versehen wie: "Ultravox auf Gras - wenn auch melancholisch und ohne zuckriges Pathos" oder "wie ein trauriger Gary Numan, aber mit einem warmen, organischen Touch". In ihrem Sound finden sich auch sanfte Anklänge an TANGERINE DREAM, KLAUS SCHULZE und THE HUMAN LEAGUE neben vielen anderen möglichen Referenzen. Als sich Sänger, Gitarrist und Keyboarder Dan Söderqvist im Jahr 1977 mit dem Synthesizer-Spieler Karl Gasleben zusammenkam, gründete das Duo zunächst COSMIC OVERDOSE, die erste elektronische Band Skandinaviens, aus der dann TWICE A MAN hervorging. Während ihrer bemerkenswerten Karriere veröffentlichten die Schweden zahlreiche Alben, inklusive spezieller Projekte, und zwei Kompilationen. Sie spielten zahllose Konzerte und schufen den Soundtrack für sieben abendfüllende Theateraufführungen im Königlichen Dramatischen Theater in Stockholm, Musik für Filme, Ausstellungen, Tanzaufführungen und sogar Computerspiele. Die Natur spielt auch in den Texten und im Sound von "The Coloured Breeze Is a New Dimension" wieder eine große Rolle. TWICE A MAN haben ein musikalisches Äquivalent dazu geschaffen, Trost in der Natur, Kunst und der Freude an Büchern zu finden, um zumindest für eine Weile den Übeln der modernen Welt zu entkommen.

Mr. Tophat & Art Alfie return with a bang! Fresh off a short hiatus, the duo drops a box of fierce, grooving house cuts packed with signature Karlovak energy--raw, rhythmic, and irresistibly funky. Classic vibes with a fresh twist. The boys are back, and they mean business.