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Weiter geht's mit den Ipecac ISIS-Neuauflagen: "In The Absence Of Truth" ist das Album der Band aus dem Jahr 2006, neu gemastert von James Plotkin. Die 2LP 140gr Vinyl kommt in einer Tip-On-Gatefold-Hülle in zwei Varianten: Standard-Schwarzvinyl und eine Indie-Exklusivausgabe in Eco-Mix-Rot. Das Album baut auf dem vorherigen Album der Band, ,Panopticon", auf und erkundet weiter den klaren Gesang von Leadsänger Aaron Turner (obwohl seine früheren Techniken, die mehr auf Schreien und Growlen setzten, auch noch vorhanden sind). Musikalisch ist das Album dynamisch und reicht von ausgedehnten musikalischen Ambient-Klängen bis hin zu fast tribalistischen Trommelrhythmen. Isis haben ihre langen Songs beibehalten; "In the Absence of Truth" ist mit fast 65 Minuten das längste Album von Isis. Obwohl die Band seit über einem Jahrzehnt nicht mehr existiert, ist ihr Einfluss auf den Metal immer noch spürbar, und die Verkaufszahlen machen es weiterhin zu einem der Top-Alben von Ipecac.

Weiter geht's mit den Ipecac ISIS-Neuauflagen: "In The Absence Of Truth" ist das Album der Band aus dem Jahr 2006, neu gemastert von James Plotkin. Die 2LP 140gr Vinyl kommt in einer Tip-On-Gatefold-Hülle in zwei Varianten: Standard-Schwarzvinyl und eine Indie-Exklusivausgabe in Eco-Mix-Rot. Das Album baut auf dem vorherigen Album der Band, ,Panopticon", auf und erkundet weiter den klaren Gesang von Leadsänger Aaron Turner (obwohl seine früheren Techniken, die mehr auf Schreien und Growlen setzten, auch noch vorhanden sind). Musikalisch ist das Album dynamisch und reicht von ausgedehnten musikalischen Ambient-Klängen bis hin zu fast tribalistischen Trommelrhythmen. Isis haben ihre langen Songs beibehalten; "In the Absence of Truth" ist mit fast 65 Minuten das längste Album von Isis. Obwohl die Band seit über einem Jahrzehnt nicht mehr existiert, ist ihr Einfluss auf den Metal immer noch spürbar, und die Verkaufszahlen machen es weiterhin zu einem der Top-Alben von Ipecac.

Nonesuch Records releases Let X=X, by Laurie Anderson with Sexmob. This triple-LP/double-CD set was recorded live during a 2023 tour by Anderson and the jazz band Sexmob – Steven Bernstein and Briggan Krauss on brass, Kenny Wollesen on percussion, Douglas Wieselman on winds and guitar, and Tony Scherr on bass. Its cover and interior packaging feature paintings by Anderson. The album features 23 songs, including many favourites from throughout Anderson’s career, performed in new arrangements – plus one by Lou Reed and Metallica, ‘Junior Dad’. Anderson and Sexmob play more US and international dates this spring and summer (details below).

The New York Times said Anderson and Sexmob’s concert at the Brooklyn Academy of Music (BAM) ‘wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening.’

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but... that doesn’t begin to describe what she creates... It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life.’

Anderson released her first album with Nonesuch Records, the critically lauded Life on a String, in 2001. Her subsequent releases on the label include Live in New York (2002); Homeland (2010); the soundtrack to her acclaimed film Heart of a Dog (2015); and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Nonesuch released a re-mastered edition of Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; the album includes Anderson’s beloved, surprise hit, song, ‘O Superman’, which also is featured on Let X=X. Her recent Nonesuch release was 2024’s Amelia, about renowned female aviator Amelia Earhart’s tragic last flight.

Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date. Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date.

Laurie Anderson was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson. That same year, she was awarded a Grammy Lifetime Achievement Award.

Grammy award-winning titan of dance music Purple Disco Machine joins the illustrious list of Defected House Masters with a celebratory compilation. The German producer, DJ and global household name Tino Pointek, AKA Purple Disco Machine, is the blueprint for what makes a successful dance music artist in the modern age; respected on the underground scene while achieving major crossover success with remixes for the likes of Sir Elton John, Dua Lipa and Mark Ronson. The crate digging kingpin of house and disco first landed on Defected over a decade ago, and has since delivered remixes of iconic tracks like Fatboy Slim’s ‘Praise You’ and the London label’s top tracks including Shakedown’s ‘At Night’ and ‘Coma Cat’ by Tensnake – as well as striking originals like ‘Beat Fantasy’. From edits of the classics to remixes of the modern, as well as uplifting originals, Purple Disco Machine has birthed a distinct sound that is instantly recognisable, one that is not afraid to reference or not reference and is always bursting with joy. Across Defected presents House Masters: Purple Disco Machine, the full breadth of the iconic German selector’s sound is felt from the 2019 smash hit ‘Dished (Male Stripper)’ to deep cuts like his re-work of Fallout’s ‘The Morning After’ as well as remixes of legendary tracks like ‘Lola’s Theme’ by The Shapeshifters and Spiller’s ‘Groovejet’ featuring Sophie Ellis-Bextor. Defected presents House Masters: Purple Disco Machine is here to showcase the sound of a bona fide electronic maverick in full.

Die chinesisch-amerikanische Band Bear kehrt 2026 mit ihrem dritten Album ,Dim Sum & Then Some" zurück, das im Mai 2026 beim britischen Kultlabel Moshi Moshi erscheint. ,Dim Sum & Then Some entstand am Tag nach der Fertigstellung unseres Albums Wah!!! aus dem Jahr 2024. Wir hatten viel Freude und waren noch immer sehr inspiriert. Das Album beschäftigt sich mit Themen, die uns am Herzen liegen - Essen, kleine Freuden, unbeschwerter Spaß, China, Liebe, Hymnen und Märchen. Es ist eine Collage unseres Lebens, destilliert zu Positivität und Unbeschwertheit." Sie werden oft so beschrieben, als hätten The Flaming Lips, Dusty Springfield und The Beach Boys ein Kind mit Care Bear gezeugt. Das Album ist voller Humor, Groove, Skurrilität und Niedlichkeit, mit melodisch reichhaltiger Instrumentierung, einem Hauch von Psychedelia, einer Prise Funk und vielen Texten darüber, sich den Bauch mit Essen zu füllen.

Es war eine einfache Idee: ein Festival zu schaffen, das brillante Musik und Kunst aus aller Welt vereint, entstanden außerhalb des Mainstreams entstanden – Musik, die nicht im Radio gespielt wurde und in Plattenläden noch schwerer zu finden war... Das allererste WOMAD-Festival fand am Wochenende vom 16. bis 18. Juli 1982 in Somerset, Großbritannien, statt. Mit dem Traum, „Weltmusik nicht nur als Beigabe zu einem Rockfestival zu präsentieren, sondern zu beweisen, dass diese großartigen Künstler selbst Headliner sein können”.

An den drei Tagen fand im Showering Pavilion auf dem Festivalgelände eine „Abendkonzertreihe“ statt. Am Freitagabend traten Tian Jin (eine Gesangs- und Tanzgruppe aus China), Simple Minds und Peter Gabriel mit einem „speziellen Festival-Set mit Nicht-Album-Material“ auf.
Live at WOMAD 1982 ist eine Aufnahme dieses Freitagabendkonzerts. Bei dem Nicht-Album-Material handelt es sich um sieben der acht Songs, aus denen das Album Peter Gabriel 4 (Security) bestehen würde. Ein Album, das erst zwei Monate später veröffentlicht werden sollte.

Peter Gabriels Live at WOMAD 1982 versetzt uns nicht nur zurück in die Geburtsstunde eines Festivals, das mittlerweile mehr als 160 Ausgaben in 27 Ländern veranstaltet hat, sondern auch in die Premiere eines Albums mit Songs wie "The Rhythm of the Heat", "San Jacinto" und "Shock the Monkey", die zu zentralen Werken im Schaffen Gabriels geworden sind. „Live at WOMAD 1982“ ist mehr als nur ein Live-Album, es ist ein entscheidender Moment, der zum ersten Mal auf CD und LP erhältlich ist.

Türkisfarbenes Vinyl, Gatefold, inkl. Insert. Willy Astors Humor ist seit Jahrzehnten ein Markenzeichen: verspielt, sprachverliebt und voller Leichtigkeit und hat damit seit Dekaden ein Alleinstellungsmerkmal. Doch jenseits seiner Wortakrobatik ist Astor stets auch ein ernstzunehmender Musiker und Gitarrist mit ausgeprägtem Sinn für harmonische Weite. Was er nun gemeinsam mit seinen langjährigen Weggefährten Roberto di Gioia und Ferdi Kirner auf seinem Werk "The Sound Of Islands Vol. VII" vorlegt, überrascht selbst versierte Kenner seiner Musik: ein Album von bemerkenswerter Ruhe und Klarheit. "Sound Of Islands Vol. VII" ist ein instrumentaler Hörgenuss. Das neue Werk holt einen perfekt runter, ist eine wahre Wohltat für gestresste Seelen und strapazierte Ohren.

Munich's machine enthusiasts 9ms return to Squama with their third album 'Lunch'.
More heterogenic than its predecessors, the album incorporates Dub-infused IDM, cinematic slow jams and off-kilter drum workouts giving the daring DJ plenty of material to treat dancefloors and listening rooms alike.
On their previous albums Pleats (2021) and II (2023) Florian König and Simon Popp mapped out the musical symbiosis between man and machine, using motion sensors to translate their bodies' movement while playing drums into sound. On Lunch the conceptual centerpiece is the pendulum. Neither man, nor machine, its steady movement is converted into analog voltage with what's called a gyroscope, allowing it to trigger and control any parameter in the duo's setup.
The album was conceived over the course of a year in weekly morning sessions that had to be wrapped up by lunch due to family obligations. The temporal limits, as paradoxically is often the case, turned out to be quite liberating and resulted in a more playful and fearless process.
"We worked pretty efficiently, but since there was no deadline for the album to be finished, the whole process felt very light". The duo also freed themselves from the limitations of having a recording setup that's reproducible for touring.
"We didn't think about the live aspect at all this time." So for every session they would choose from a wide array of instruments and machines, an abundance that has inspired the record's artwork, overflowing with words from the list of gear used on the record.
Sonically, 9ms keep on forging their own niche with thick, compressed drums set against wide stereo-processed soundscapes and a genuine curiosity that's pleasantly contagious.

In an age that demands hyper acceleration, kinetic flashes and byte voracity, Blak Saagan sticks out like a sore thumb with a sprawling body of work that requires attention and unlocks profound symbols and meaning with every passage. After a 5 year gap, the Venetian composer returns with his most personal and openly political statement yet, ‘Un Sequestro Lungo 10.000 Anni’, a staggering 108 minute triple album soundtracking a dystopian city through flashes of futuristic fourth world visions, warehouse 80s rave-ups, meditative trance and dark rumblings. Following his acclaimed ‘Se Ci Fosse La Luce Sarebbe Bellissimo’ was never going to be an easy feat but Samuele Gottardello (Blak Saagan) approached the fresh canvas with a renewed sense of commitment sparking a dense parallel world inhabited by paranoia, control and repression. A world that is relieved by the figure of a woman with the body of a bird emerging from the asphalt and freeing humanity from the “sequestro” (kidnapping) to which it has long been subjected. Dystopia pushed to the limits and sadly close to our current affairs.

Corona Vinyl, Limited to 1000 copies. To celebrate the 20th anniversary of their album Carnival of Rust, Poets of the Fall will release a special new vinyl edition of the record. The anniversary pressing features a previously unreleased single, "Black Waters", presented as a final added chapter to the album's story. Unearthed from the original recording sessions and completed in the present day, the track feels less like an outtake and more like a voice that finally found its moment. The anniversary vinyl will also feature a newly edited cover design, offering the audience a fresh visual take on the classic record.

Oklahoma-based dream-pop duo Sports share their long-awaited self-titled album, "Sports". The 12-track project brings together a run of acclaimed singles released over the past year alongside a collection of brand-new songs that show the band sharpening and expanding their sound.

Erstes Album von Leuten, die man von Bands wie Kid Dynamite, Midtown und The Gaslight Anthem kennt, spielen melodischen Punkrock, in den man sich sofort verliebt. Ungelogen - auch wenn der Bandname etwas anderes vermuten lässt.

Intimacy is manifested in every moment of Radiator, the debut album from Philadelphia's Sadurn. This feeling of closeness, of being able to lend your every sense to one's confessions of internal conflict, is due in large part to the circumstances under which this album was created. Much of the world fell apart in 2020, but Sadurn tucked themselves away in a Pocono's cabin, creating and recording what would become their first full-length. Within the confines of their close quarters, passing animals as the only auditory witness to a makeshift recording studio created by moving furniture, Sadurn created an album that will break your heart and then slowly piece it back together.Sadurn started as the solo project of Genevieve ??DeGroot. Picking up guitar in 2015, DeGroot started writing songs, eventually playing DIY shows throughout the city of Philadelphia. With time, the direction, sound, and members of Sadurn changed. The beginning of 2020 was meant to serve as their debut as a four member band (Jon Cox on guitar/tenor guitar, Tabita Ahnert on bass, and Amelia Swan on drums), but the world had other plans and the group adapted.Taking influence from artists like Gillian Welch, Alex G, and Jason Molina, Sadurn's emotive indie rock explores the struggles and eventual beauty of grappling with multiple emotional realities, particularly when it comes to relationships. That conflict, the idea of being forced to choose, even when terrified, is present on singles like "Radiator" and "Golden Arm." The latter is an unhurried ballad that shows its truest colors with time, eventually blossoming with unexpected admissions of desire and uncertainty. Indecision, heartbreak, and attempting to live out your days against the actual backdrop of a gradually worsening hellscape is a shared commonality among us all, but on Radiator Sadurn breaks down walls that others so often put up. It's a fleeting, impactful glimpse at one's whole heart, and its sweeping, special nature is evident from the moment the album opens.

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

To celebrate the 20-year anniversary of our label Jamaican Recordings and to mark the sad one year passing of the musical maestro reggae producer Bunny `Striker’ Lee, we have pulled together a brand new collection of some great Bunny Lee rhythms.

Our label started way back with initial meetings with Bunny Lee and a promise to keep his music available, out on the streets. He will be sorely missed but will live on through his extraordinary musical legacy and we hope to add to this by including this release to the stable of an unbeatable catalogue.

Legendary record producer Bunny `Striker’ Lee’s vast selection of rhythms were ever present at any Sound Clash or Dance worth talking about in the early to mid-1970’s.
Where the version found on the b-side of a single or special dub cut on acetates, would be played to win over the people and conquer the dance. Bunny Lee was the undisputed rhythm master and on this special release he is also the MC telling the crowd how it is and that any rival sound system should watch out as he has the rhythms that can reign supreme. The band cutting these timeless rhythms were a group of top Jamaican musicians Bunny had put together called The Aggrovators.

The Aggrovators were a group of reggae musicians that usually featured Carlton `Santa’ Davis on drums playing alongside Robbie Shakespeare on bass, with other musicians added like Earl `Chinna’ Smith on guitar and Tommy McCook and Vin Gordon and Lennox Brown added for horn arrangements. Keyboards and organ duties normally fell
to musicians Ansel Collins and Bernard ‘Touter’ Harvey. The band was named after singer Eddie Grant had repeated the phrase to Bunny Lee on one of his many trips to England, that such and such artist was giving him `Aggro’. This was a term used in England in the 1970’s by the Skinhead followers of reggae music. A term shortened
from the word `Aggrovation’, meaning trouble, fighting or making the situation worse. Bunny Lee was so taken with this term that on returning to Jamaica, not only did he name his group of musicians the `Aggrovators’ but he also named his record shop situated at 101 Orange Street `Agro Records’.

We have compiled some great tracks recorded by this fantastic group of musicians. With the added extra magic of Mr Bunny Lee calling it out as only he can on the microphone.
Yes Run Sound Boy Run the version master is here…Respect

Mit "We Will Survive This" veröffentlichen 1816 ein Album, das seine Kraft aus Verletzlichkeit, Beharrlichkeit und leiser Zuversicht schöpft. Die Band - bestehend aus der Sängerin Wenche Losnegard, dem Bassisten und Hauptkomponisten Audun Ellingsen, Cellisten Gregor Riddell und Schlagzeuger Erik Nylander - knüpft an ihr gefeiertes Debüt an und vertieft die charakteristische Verbindung aus Kammermusik, Jazz und alternativer Pop-Sensibilität. Der Name 1816 verweist auf "das Jahr ohne Sommer" - ein historisches Sinnbild für Umbruch, Erschütterung und Überleben. Vor diesem Hintergrund erforscht das Album Themen wie Unsicherheit, Entbehrung und die fragile Hoffnung in Zeiten, in denen die Welt aus den Fugen zu geraten scheint. Die Musik reflektiert diese Stimmungen, ohne sie direkt zu kommentieren: stille Passagen treffen auf dynamische Ausbrüche, offene Formen auf dichte Klangszenen. Die Texte bewegen sich zwischen persönlicher Introspektion und alltäglicher Lebensnähe; literarische Anklänge - von Byron bis Dolly Parton - verleihen ihnen zusätzliche Tiefe. Gäste erweitern den Klangraum behutsam, ohne den unverwechselbaren Stil der Band zu überlagern. "We Will Survive This" ist ein berührendes, bewusstes Album über das Annehmen von Grenzen - und den Mut, dennoch aufzustehen.

Tomorrows Wish were a group from Atlanta Georgia that consisted of vocalist Lester Carr & backed by Mary Spencer & Kimberlyn Williams.

With the help of Manny & Emandolynn Music Soul Direction bring you these 2 tracks mastered from almost lost tapes and present them to you on 7” vinyl for the very first time.

“Weird, rowdy and just a little bit black metal” – TWIN SERPENT’s sophomore album out in May via Svart Records Facilitating country influences and the energy of punk, Twin Serpent is a noisy but cute outsider band that manages to blur genre boundaries. Inspired by the likes of The Taxpayers and 16 Horsepower, this crust-country band applies lo-fi black metal aesthetics without having to bathe in blood. Songs about love, betrayal and defiance are delivered with acoustic to amp-wall dynamics, duelling vocal harmonies, shrieking solos and distorted banjos. The debut album Feels Like Heaven, North Of Hell (2022, Loyal Blood Records) was described by the press as genre-defying and compared to bands like GY!BE and Tom Waits. The sophomore TRUE NORWEGIAN BLACKGRASS turns the volume to twelve and the trainbeat races down the tracks at a derailing speed. Covering topics on windmill resistance, porn industry and post-Trump America accompanied by playful country punk with a twinkle in the eye, laced with cosmic and occult undertones. “We’re super happy to finally unbox our sophomore weirdo rocker! And we’re specially stoked to do so on the amazing Svart Records! This particularly hits home with Timo who was born in Finland.

There’s even a song in Finnish on the album, which came out great! The artwork is amazing and everything is there for a reason. We recorded it during the year of the serpent at Piir studio, just a 5-minute walk from our home in Svartlamon, Trondheim, NO. Vebjørn Svanberg Numme aka the wizard technician did an amazing job capturing the essence of the Twins during a hot summer week. 12 songs about love, betrayal and black holes with country licks, rock’n’roll kicks and heaps of punk attitude is the result and we’re super proud to present the first tease from it! We’ve kept things close to home as our resident artist Hanna and designer Tony did the cover art! It’s weird, rowdy and just a little bit black metal", comments the band on the new album. With a slew of sold out shows in their hometown of Trondheim, the band is delighted to spread their cosmic gospel to the people! Twin Serpent goes hard with in-your-face attitude and fits in barn dances as well as punk festivals!