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Louis Philippe und The Night Mail sind zurück mit einem neuen, fesselnden Album, auf dem die Songs wieder einmal makellos sind. Die Reise geht dieses Mal weiter, weg vom Klassischen, hin zum Unerwarteten. Neue Synthesizer und Claps machen das Ganze unmittelbar und plötzlich, während Stimmen wie aus luftiger Höhe und scheinbar spielerisch-furchtlos durch das Album rufen. Neben den üblichen Geschichten, die man sich so erzählt, gibt es eine geheime, parallele Version der Pophistorie, die von den wahren Enthusiasten und Eklektikern geschrieben wurde. Von jenen, für die ein Dauerbrenner wie Pet Sounds nicht nur Anlass zu endlosen Behauptungen über seine Außergewöhnlichkeit war, sondern auch mündete in einer Aneinanderreihung harmonischer Reichtümer, die bis ins einundzwanzigste Jahrhundert reicht. In diesem alternativen Universum ist Philippe Auclair alias Louis Philippe, anglo-französischer Singer-Songwriter sondergleichen, seit vier Jahrzehnten eine bewunderte Größe. Philippes musikalische Anfänge liegen als Pop-Protagonist und Haus-Produzent bei Mike Always legendärem Label él Records. Von hier aus führten ihn seine Ausflüge in den Shibuya-Sound und zur Zusammenarbeit mit Leuten wie Bertrand Burgalat, Dave Gregory von XTC, Sean O"Hagan von High Llamas und Stuart Moxham von Young Marble Giants bis hin zu seinen jüngsten Abenteuern mit The Night Mail. The Night Mail kamen vor zehn Jahren zusammen, um ein Album mit dem unterschätzten Post-Glam-Genie John Howard aufzunehmen. Nach diesem einmaligen Projekt verbrachten sie ein paar Abende in London, um als Begleitband für Robert Forster und Louis Philippe zu spielen, und schlossen dabei eine Allianz mit Letzterem, die 2020 zu ihrem ersten gemeinsamen Album Thunderclouds führen sollte. Angesichts der Komplexität, den reichhaltigen Sound dieses Albums auf der Bühne zu realisieren, holte Philippe seinen langjährigen Partner, musikalische Koryphäe und Multiinstrumentalist Danny Manners an Bord.

The third vinyl EP from Vision Collective Recordings based in Cork City Ireland contains
four new tracks by four different artists/producers covering various styles within the deep
house, electronic music & house music spectrum

The Masters At Work – "Get Up" 7-inch vinyl is a dynamic hip-hop breakbeat release designed for DJs and beat enthusiasts. Featuring samples from "Funky Sensation" by the late Gwen McCrae, this track is a tribute to classic funk and breakbeat culture, infused with MAW’s signature groove-heavy production.

This must-have vinyl blends funk, hip-hop, and party breaks, making it a perfect addition to any DJ crate or vinyl collector’s stash. Ideal for turntablists and those who appreciate the golden era of breakbeat sampling.

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

Co-Accused are back for their first release of 2025 with a dose of raw and relentless techno from one of Glasgow’s most solid of underground forces Fear-E. 9 Darter EP presents four slabs of peak-time pressure, polished with the refined edge of the Posh End Music boss’s production. No surprise this EP is in parts inspired by the sounds of UK techno legend Dave Angel and in others of the general free-wheeling ethos of the 90s - feeling as relentless as a basement session in that golden era.

Fear-E has built a reputation as a beacon of putting out high quality club tracks through his career, releasing on the likes of Dame Music, Dixon Avenue Basement Jams and Dark Entries, while also running his own imprint Posh End Music alongside its hardcore-driven sister label Breakbeat Energy. His records are regularly supported by the likes of Dave Clarke, Ben Sims, The Hacker, Randomer, Jerome Hill, Marcel Dettmann, and James Ruskin, with airplay on BBC Radio 1 and 6 Music.

In the Andes of Peru, in a valley formed by the Huallaga River, lies the city of Huanuco. There, a little over fifty years ago, the emblematic cumbia band Los Darlings de Huánuco was born, and since then their compositions have gone around the world, bringing their homeland to the ears of music lovers and collectors. Adversities kept them away from music for two decades, but in spite of this, they marked a parallel path and created their own history in the maximum splendor of Peruvian cumbia. In a valley formed by the Huallaga River lies a temperate land located on the eastern slopes of the central Andes of Peru: Huánuco. A little more than seventy years ago, in that land of mountains and starry skies at almost 2,000 meters above sea level, Juan Nájera was born. A multifaceted musician by profession, he did not always have the privilege of being able to dedicate his life to music. For almost ten years he ran a family hardware store in Huánuco and then a mechanic shop on La Marina Avenue in Lima. He was also a truck driver. A decade of military dictatorships in Latin America made the artist's path very hard in the region, and Peru was no exception. Nájera was only nineteen when his first son was born. He had to make a living and the possibilities for entrepreneurship were slim. But if we go back in history, Juan Nájera was, first and foremost, a boy who dreamed of becoming a musician. Later, he was a boy who made it. Los Darlings de Huánuco managed to cross borders, not only in the capital of Peru, but also abroad. There are many collectors and music lovers around the world who seek and appreciate their songs, musical gems that have toured different latitudes and have managed to position this band from the Peruvian countryside in the most remote places on the planet. In a country characterized by its centralism, where opportunities in the countryside are much scarcer than in the capital, where the foreigner is greeted with more warmth than the local, and where getting ahead, especially in the musical field, implies an extraordinary effort, Los Darlings de Huánuco managed to take their sound to where they never thought it would be possible. From the Andes to the skyscrapers, from the heart of Huánuco to the immensity of other continents.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

MELODIES” is the first album released on the MOON label. The album was the first album released on the MOON label, and it marked a drastic change
in sound direction from the RCA/AIR era, as a result, the range of their work expanded, and the Christmas classic “Christmas Eve” was born from their work.
The result is a monumental masterpiece that will remain in the history of pop music. Includes “Christmas Eve” “High Air Pressure Girl,” “Merry Go Round”
and more. Includes detailed liner notes by Tatsuro Yamashita himself!

Luckily, we still have music… Laurent Garnier's COD3 QR returns in May with a stellar four-track vinyl release featuring U.S. luminaries, K' Alexi Shelby and DJ Bone, alongside French wizard Marc Bedikian and one of COD3 QR's star players, Squal G.

This edition explores identity, presence and the fragmentation of self.
It features a standout work by iconic Los Angeles photographer Parker Day, whose hyper-saturated portraits dissect the construction of persona and the tension between surface and essence.
Design is handled by legendary New York illustrator Braulio Amado, injecting the project with bold typographic energy and haunting visual language.

The zine includes poetry by Cristiano Grim, alongside original music by:
Foie Gras – drone and reimagined Americana from San Francisco / Los Angeles
Machino – Mexican electronic producer out of LA, blending distorted guitars, psychedelic riffs, and cinematic pulse into a sound that feels like driving through a neon fever dream
Valley Latini – dark Latin pop performer from New York
David Oliver Rose – post-punk rude boy from New York
Nick Hadad – dark ambient producer based in New York

FAKE4-MASK VS PERSONA presents a 25-page, 11x11” offset-printed, paired with a 12” 180g vinyl record featuring all contributing artists.
Audio mastering by Spaventi Studio.
It operates as both an aesthetic object and a critical inquiry, merging the disciplines of literature, music, photography, and design into a single act of publication as performance.

Claire Chicha aka Spill Tab is feeling more free than ever before. The LA-based, French-Korean songwriter and producer,has spent the past five years as spill tab honing a sound that is as raw-edged as it is refined, channelling low-slung guitar-strumming confessionals as well as the earworming melodic hooks of anthemic pop to produce a heady and distinctive mix.

Following the 2019 release of her intimate and infectious debut single “Decompose”, Spill Tab has evolved her spill tab project through three EPs: 2020’s synth-pop influenced Oatmilk, 2021’s playful, uptempo Bonnie, featuring Gus Dapperton and Tommy Genesis, and 2023’s co-produced, sonically-intricate Klepto, which gleefully meanders from the Hiatus Kaiyote-influenced jazz freakouts of “CRÈME BRÛLÉE!” to the guitar-chugging thump of “Splinter”. Live, meanwhile, Spill Tab has been tapped for her explosively energetic presence to open the North American leg of popstar Sabrina Carpenter’s tour, as well as touring through Australia with alt-rock trio Wallows.
With “PINK LEMONADE”, opening single from her forthcoming debut album “ANGIE” , spill tab’s freewheeling sound finds its fullest expression, harnessing this onstage experience and recorded experimentation with her bass-weight and pitched-up vocals. Here we find Chicha only ever chasing that “weird thing”, fizzing with an infectious enthusiasm and intricate musicianship. “The best songs come from writing the main idea in a day, as it’s so instinctual,” she says, such as “PINK LEMONADE” recorded “from a clip taken out of a 40-minute jam that we then chopped and spliced”.
Born to her French Algerian composer father and Korean pianist mother, Claire Chicha spent her early childhood in the mixing room of her parents’ LA post-production studio, bringing coffees to artists as they tracked scores for exciting new projects. “I hung out in that studio all the time until I was around 10 years old, absorbing jazz music my dad was into and classical music that my mom loved,” Chicha says. “My mom had a big hand in making me an adventurous kid, always trying new things from piano to harp and violin, forever soaking up new sounds.”

At 12, Chicha’s life was uprooted as she relocated to Thailand to live with her mother’s family following the collapse of her parents’ business after the 2008 recession. What followed was an unstable and formative few years of early teenagedom, navigating new cultures and life changes. In Thailand, Chicha began learning guitar to cover the Paramore and Green Day tracks she had grown to love while also becoming immersed in Thai traditional music. After a year, she moved once more to live with her aunt in Paris and there she was introduced to the classic sound of Serge Gainsbourg and Édith Piaf before ultimately returning to LA following the untimely death of her father.

“I had to become a real people person to fit in everywhere I was moving, and it immersed me into so many different styles of music,” she says. “I went from listening to the nasal singing of Thai traditional music at muay thai fights in Bangkok, to emotive classic French songs. It definitely informed the need to experiment with my sound as I became more interested in making music.”

At high school in LA, Chicha joined one of the country’s foremost show choirs and realised a natural aptitude for stagecraft and performance as she sang medleys in competitions throughout the US. Going on to study Music Business at NYU, Chicha found a love for the alternative soul and singer-songwriting of the likes of Moses Sumney and Bon Iver, as well as developing her own sound while spending summers interning as an A&R at Atlantic Records and being exposed to the gamut of New York’s live music scene.

“I was going to so many shows as an A&R intern and seeing just how much a lot of music sounded alike,” she says. “It made me realise I wanted my music to feel different, to cut through the noise but still make something that felt honest to me.”

Beginning to independently release tracks, Soill Tab gradually built a loyal fanbase with the release of wistful early numbers “Calvaire” and “Cotton Candy” and soon found herself signed to a major label. Yet, as her career progressed through the COVID pandemic the demands of a corporate major began to conflict with her own searching style. “My last two EPs were under contract and it felt like I was always chasing the carrot,” she says, “I felt a certain pressure to put out tracks quickly and find that ‘hit’. It wasn’t the right environment to truly make what I wanted.”

Ultimately parting ways with her label, Chicha began work on a new album, exploring new sounds and ideas with her LA-based community of collaborators like producer David Marinelli, Solomonophonic, Wyatt and Austin and John DeBold, without expectation. “It became this beautiful experience of only following ideas that I really believed in and exploring all the musical avenues I hadn’t before,” she says. “I’ve never been more excited about songs and I’ve never felt like a project is more mine.”

Writing and recording while touring with Sabrina Carpenter and Wallows, Chicha road-tested her new tracks to see what might land best with an audience who had likely never heard her music before. “You have to win people’s hearts as an opener and you can see what resonates and what doesn’t,” she says. “I would watch people fall in love or not and it’s usually always the song you’re having the most fun with that does the best. That’s what I put on the record.”

« Angie », Spill’s Tab debut album is relased on because Music and expected for May 16th release.

SAMOSA RECORDS EARTH, WIND & FUNK VOL.2 - Pt.1

Samosa Records comes at you with all the elements for Earth, Wind & Funk Vol. 2 – a succulent double slice of vinyl heaven!

On side A1 label favourites Dirty Elements & Drunkdrivers start the party with the knee-slapping treat ‘Koko’. A bouncing bassline and some sweet clavinet keys act as the starters to this trip around the discophere. Lush strings and sassy vocals provide a delicious cherry on top. Mesmerising stuff.

For A2, Macchianera undergoes a De Gama Re-Groove with ‘Gotta Dance’, a deceptive 115bpm chugger that could travel the tracks for an eternity. Deep, groovy bass and soulful vocals combine perfectly in the build-up to the brass-soaked chorus line. Oh, and you know that rhythm guitar is gonna get you.

Side B1 finds Niels F. ‘Trying To Love’ with a little help from some De Gama Re-Drums. ‘Trying To Love’ breaks out into its stride from the off. With an almost ‘2-step’ vibe at the intro, ‘Trying To Love’ nicely builds to a rag time jam of lush strings, smile-inducing brass and a wicked vocal – all applied perfectly and filtered expertly. Let the good times roll!

B2 brings the Afro inspired delights of MP Soundworks and ‘Gotta Get It’. There’s a tribal vibe in the air at this party, a hypnotic runaway train of a track that makes full use of filtered build ups, looped vocal samples and a wicked, wicked bassline. Bouncier than supper-concentrated Zectron.

In Earth, Wind & Funk Vol. 2 Samosa Records has produced a stunning double slab release, featuring a good mix of some of the label’s most prolific artists and some welcome newcomers.

PHONOLAB is the new collaborative project from Anglo-Italian musician, solo artist and producer Gaudi and experimental electronica composer Eraldo Bernocchi Both fearless creators known for pushing the boundaries of sound for almost four decades, the duo's new album 'Disturbia' is set for release on the 11th April via Subsound Records and features contributions from heavyweights including Gerald Casale (Devo), Flowdan, Bill Laswell and the late Mark Stewart (The Pop Group).

With its eclectic blend of electronic innovation, deep basslines, and cutting- edge sound design, 'Disturbia' challenges and captivates listeners with its bold, genredefying vision, resulting in a deeply immersive and forward-thinking sonic experience. The title of the album was created by late post-punk pioneer and lead singer of The Pop Group, Mark Stewart, who was recording with PHONOLAB, shortly before he died. Some of the disruption and creative defance Stewart embodied can be heard throughout the album including tracks such as the glitchy 'Lapis Lazuli' and album title track, 'Disturbia.' The album acts as a homage to one of the most infuential post

Jump Source is back with their 6th instalment: a collection of 4 tracks fine-tuned for the chaotic club. “Bleach” and “Condenser”cyclically build tension through their sneaky yet brazen tangents – no momentum lost from start to finish. The latter was born from a session with frequent collaborator Sabola, exploring the possibilities of the Roland sh- 05, which would become the backbone of the song. On the b side, the pair enrolled Martyn Bootyspoon and Frankie Teardrop to deliver vocals that break the fourth wall, sending you down an introspective dance-floor experience. “On” takes the foreground approach, while “Get It Done” comfortably hangs back, but the question remains : “What are you on?

The incredibly elusive band Sault release their debut album 5 on Vinyl via independent record label Forever Living Originals. The record fuses African, soul, funk and post-punk vibes amongst other flavours. With support from Radio 6's Lauren Laverne and USA's KWRC and KEXP, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves

Dean Josiah Cover aka Inflo has been composing for Michael Kiwanuka, The Kooks, Tom Odell, The Jungle and Little Simz

Wairunga finds the Freddy juggernaut digging deep to debut five songs and revisit two classics captured in an outdoor performance sans audience but with wild weather elements playing an important creative role in producing this unique live album.

Recorded in Wairunga, high above Waimarama Beach in New Zealand, it is place etched into the DNA of Fat Freddy’s Drop who’ve roamed here for over 20 years; to party, relax between tours, make a song Wairunga Blues in its honour and even to get married. Farmed by the Parker family for a century, Wairunga is an oasis of green pasture and native tree filled valleys that fall away to the ocean below.

In inimitable Freddy's fashion the new tunes run a gamut of genre busting styles. Coffee Black is layered with cosmic hot buttered soul and cinematic wigged out psyche-blues while Shady continues Freddy's Afro-Acid adventures with Fitchie’s beat-making tapping into a South African township brand of techno Freddys experienced on tour.

Bush Telegraph is a reggae classic featuring MC Slave aka Mark Williams on the mic with freshly minted yum char spiced rhymes of hope. The other new tracks Leave Your Window Open and Dig Deep are loose rhythmic experiments that the band have been working on for a long time. Versions were developed, rehearsed, but then set aside – dismissed, demonised - only to be revived with new energy in some future moment of creative cohesion. The results are loose-limbed; broken and bruised beats smashing into subterranean bass and twisted up melodies.

Bones and Wairunga Blues are the two classics from Freddy's vast back catalogue. Off the Blackbird album, Bones has aged beautifully - like a fine wine - the song’s component parts matured and melded together in harmony and balance. DJ Fitchie rates this 2021 vintage superior to the 2013 original. Wairunga Blues has been a work-in-progress since it was released on Bays in 2015. Kuki dials up some appropriately off-kilter keys to match the wonky-funk laid down by Fitchie’s bass line and the horns. It’s a mighty comeback – and a fitting tribute to this magical place.

Sealed ! MINT from Label Stock.

This is as well YB70 number 16, the vinyl edition of the YB70 12 CD. Fat cutting and loud sound, for a superb record... Meet these Techno Indus, downtempo dark hardbreak, Breakcore Dub and others jewelry coming straigth from the Parazit/YB70 selector. Enjoy the 12th anniversary from SEPPUKU/PARAZIT parties in west France, where all these artists played melting the Industrial scene to the techno crowd... Notice the super sleeve. A sealed record... Important release !

Punching our ticket for the tenth trip on the Drum Chums line, we rattle past the control centre, where Approach Release delivers another masterclass in genre-blurring brilliance.
Darting through emotional New Beat, psychedelic soul, stomping Afro-disco and coastal cosmic, AR keeps things right on track and perfectly off the rails.

'So Wrong' starts the party with a growl and a gurn, all gnarly sequences and robotic drums until that mournful vocal moves us into a land of Lynchian longing. Teardrops on the dance floor, clouds in your coffee, it's, it's, Goth Italo folks.

Shifting tone like McCrae shifted gears, Approach Release moves on from Main-Room Gloom into the smooth and sensual soul of 'LuvLuvLuv'. Low-slung, lilting, loose and lysergic, this versatile version-excursion works wonders as warm up and rub down, its brilliant bedroom vocals floating atop the synthetic and psychedelic groove.

Over on the B-side, 'E-Killa' bursts out the speakers with about 100,00 volts of Afro-disco energy, each one perfectly harnessed to whip a crowd into a grinning frenzy. Armed with an unstoppable arrangement, vital vocals and a stomping rhythm section, this delicious drink of tropical pop just keeps on fizzing.

For an encore, Approach Release drops the deeply dramatic 'Lou Cee', a full-hearted bit of Balearique-brilliance stacked with enough synth strings, faux-accordion and earnest outpourings to give Chris Rea a run in the anthem stakes.

100% Drum Fun Guaranteed. .

POST HEAVEN is Jadu Heart's 5th studio album, but marks their first album since splitting as a couple, signalling the end of one chapter opening the door to another. The romance may be over, but the band endures.

The album release precedes the band supporting Fontaines D.C. across the entirety of their US tour this April with Carlos from Fontaines describing the band as 'one of his favourites out there at the moment'. The picture of Jadu Heart’s evolving emotional landscape of the new record POST HEAVEN has come into sharper focus following the release of singles 'Mild To Moderate Pain', 'AUX' and 'U' which have been played across the BBC Radio network, the band also recently played a session for Radio 1 at Maida Vale Studios playing tracks from the album and covering the Portishead track 'Glorybox'.

This is your favourite band's favourite band and POST HEAVEN will solidify their underground cult band status.

Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page. Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.

It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.

In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.

Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.

Again Mysteries delivers 3 exellent long dark atmospheric tracks upholding the established label philosophy. Mastered by Pozek. Artwork by Darkam.
The tribal triumvirate of C. Ysme, Kbyl and Yukai supply fuel for the nomadic war machine. Relentlessly driving, pushing forward at 150 bpm, only stopping for the next gathering in pirate utopia. A maelstrom swirling, drawing you in to the centre of the dance.
Darkness merchants and veterans Too Old Boyz team up with Kaoslog and descend into the catacombs to deal with the fear factor. In the blackness a synth melody shines like a greenish light. Amply named Adrenaline this track urges to keep on moving and confront the monsters. 150 bpm, epic and hard as nails.
After Mysteries #6, #10 and VC 27 Keflat 23 is back and ups the pace going 170 beats full on pumping tribalistic yet subtle in line with the spirit of Mysteries, carefully laying out a mental map of realms and conzepts unknown. Immer geradeaus but when you see the rabbit ask it for directions.
This release includes a 2 side poster, digital download code and artwork sticker.

Soul Clap and Haven Star join forces for vibrant collaboration ‘Gone Stumblin’ on Crosstown Rebels.

Landing on 23rd May 2025, the track brings together years of musical evolution, late-night studio magic, and the unmistakable essence of a true party anthem. Genre-blending US house visionaries Soul Clap return to Damian Lazarus’ Crosstown Rebels with a deeply groovy and emotionally charged new release, teaming up with South Florida’s rising star Haven Star for the striking ‘Gone Stumblin’ - ushering in a new chapter of collaboration and cosmic storytelling.

Rooted in a near-mythical session at Brooklyn’s legendary Marcy Hotel, ‘Gone Stumblin’ began its journey with keyboardist John Camp crafting the original chord progressions and top-line melody. After years of floating in digital limbo, the track resurfaced thanks to Soul Clap’s Charles Levine, who reimagined it with a fresh twist and brought in Haven Star—whose soulful delivery launched it into orbit.

At just 24, Haven Star brings fresh energy and vintage soul sensibility to the table—having shared the stage with legends like Patti LaBelle, Jeff Beck, and Sam Moore, while cutting her teeth across genres from orchestral pop to funk-fuelled house. The original mix merges heady keys and rich chords with a bouncing, crisp low end, while the ‘Dub’ strips it back and introduces trippy sonics and heavy low-ends for after-hours introspection. ‘Unifying Force’ leans into Soul Clap’s psychedelic ethos, before the ‘Bonus Version’ of the title cut offers yet another club-ready rework with added punch.

Continuing the Hyperspace instrumental ambient series tradition are two ensembles: Mindstreams, and the duet Squash and Biscuit. This LP features a full side for each artist and is pressed in lavender vinyl. Mindstreams is a vocalized ambient bed of sound by JP Berreondo and Stefanie Naifeh. From opera to avant-garde, neo-cabaret to singing world music in 15 languages, Naifeh journeys through a colorful mosaic of music. She began her classical training at the age of 8, performed with the San Francisco Opera in the children's choir in Carmen, and majored in opera at UCLA. She later formed the avant-garde, neo-cabaret band, The Underthings in 1987. Squash and Biscuit is a Los Angeles based husband/wife team featuring composers Shuwen Zhao and Brian Griffith. Recorded live from 2020-2021, each piece serves as a short investigation into the world between sound and music using found sounds, musical samples, instrument recordings, and voice manipulation. Limited to 300 copies

For customers of the Rush Hour shop, this item ships for its may 23rd release date. Any items ordered along with this will ship then also

A classic returns. Mystery, one of The RAH Band’s most beloved albums, celebrates its 40th anniversary with this long-awaited reissue - the album's first time on vinyl since its original 1985 release.

The RAH Band, the brainchild of producer and arranger Richard Anthony Hewson, has been synthesizing jazz, funk, and electronic pop into out-of-this-world tracks since the late 1970s. Mystery marked an important moment in Richard's career, following on from The Crunch & Beyond (1978), RAH (1980), and Going Up (1983). With this album, Hewson took his pop songwriting and commercial success to new heights while never compromising his unique and unbound production style.

At the heart of the album are eight perfectly crafted pop songs, each standing strong on its own, with no filler in sight. The lead single, Are You Satisfied?, set the tone for the album’s jazz-funk evolution, but it was Clouds Across The Moon, with its futuristic narrative of love and longing across the cosmos, that became a chart-topping phenomenon, reaching #6 in the UK. The track’s space-age storytelling cemented its place in pop history, with many still recalling that 1985 Top of the Pops performance as the moment they fell in love with The RAH Band - if you know, you know.

From the dreamy synth-jazz of Float, a club and radio favourite to this day, to the smooth saxophone solo on Out On The Edge, recently featured on Steven Julien (aka Funkineven)'s DJ Kicks mix, Mystery remains an essential album four decades later - a testament to the genius of one of the most quietly influential songwriter-producer-arrangers of our time.

The EP Mosaic marks the debut release of artist Yakoba on the Amsterdam-based label recursie. Spanning 30 minutes, the record features three house tracks and one ambient piece, drawing inspiration from diverse influences such as jazz, trip-hop, and dub. Each of the four tracks merges cohesive, dreamy, organic sounds with rhythmic layers that flow alongside melancholic and deep psychedelic nuances.

Lynn White hails from Mobile, AL and started singing at the age of six in her local church. She worked in Ike Darby’s record store where she would sing along to the sounds that were playing, and it wasn’t long before the owner decided to record her on his local label Darby Records in 1978 at the age of 25. Three singles and the highly collectable album “Am I Too Much Woman For You” ensued, but they didn’t bring much success to the label, which folded shortly afterwards. They did get married though.

Her sultry bluesy Darby-penned/produced “I Don't Ever Wanna See Your Face Again” was released in 1982 on another local label, Sho-Me Records, and it quickly came to the attention of Willie Mitchell, who signed her immediately to his Waylo imprint. A fruitful period followed with 7 albums and 12 singles released for the Memphis-based label during the rest of that decade. Her mid-paced “See You Later Bye” was a huge favourite with the modern soul scenes in Europe, and it was a pleasure to see White as part of Waylo’s A Memphis Soul Night - Live In Europe in 1990 when she appeared with Otis Clay, Ann Peebles and David Hudson, performing in Amsterdam, Rotterdam, Berlin and London; each artist doing a solo spot then all four joining together for some rousing soul medleys.

By now a Memphis resident, she switched to S.O.H. Distributions in 1990, which gave her more control of her output, and these two sides are from that period; “I Don’t Know Why” (1993), clearly her most popular track was only available as a 12” single, and featured the amazing but uncredited vocals of Farris Lanier Jr., who was lead singer of another Waylo act, Lanier & Co. Now very hard to find, this will be an eagerly awaited release as a 7” single. The flip is a gorgeous stepper written by George Jackson (previously recorded by Otis Clay) and from her CD only album The New Me (1990). White’s version just oozes with soul and makes for an essential double-sider.

In 2022, Osàre! Editions founder Elena Colombi approached artists and musicians with a prompt: Every body, everyone needs love to flourish. In her book The Will to Change, the eminent author and social activist, Bell Hooks, invites men to excavate their innermost selves, challenging the way that patriarchal society limits their capacity for intimacy, tenderness, care and emotion. As hooks lays out, feminist thought and work requires the collective participation of all genders in order to realise a liberated world. How can we imagine cross-gender solidarity through music and art? And how can we tell sonic stories that facilitate our full potential as desiring beings? These are the questions that The Male Body Will Be Next starts out from.

The title of the record draws connections between hooks' writing, a film by Rebecca Salvadori and Peter de Potter's stunning photo series of the same name. In de Potter and Salvadori's depictions, men's bodies appear as vulnerable, naked and exposed.

Divided into two parts, the first instalment of The Male Body Will Be Next hinges on colliding energies – the melding of club dance floors and haunting ambient textures, agile techno and noisy experimentation.

'The sun on my skin… it’s so warm and gentle,’ speak-sings Olivia Salvadori on ‘Su Di Te M’Infrango’, visualising utopias. Laurel Halo crafts a dreamscape spun from golden threads of synth and strings. Pensive and reflective, Ben Bertrand’s bass clarinet roams searchingly, its piercing tonality full of longing. Yet, in between these lucid, cinematic passages and spoken word, The Male Body Will Be Next finds space to dance together. Moving in fervent, rhythmic patterns, Sepehr’s ‘Divooneh’ pivots between tension and release. Filmmaker unleashes a wave of energy and The Spy delivers a potent take on vintage electro, the track title hinting at the double-bind of gendered expectations. Propelled between these eclectic styles, the record encapsulates the full spectrum of sonic expression.

13th release on OHM Series features great music by Modernism, Tim Kossmann, Ben kaczor, Kirill Matveev & Nikdo!
Another well selected release by label boss Bjarnar Johansson aka OHM!

Legendary Latin jazz percussionist Poncho Sanchez returns with his 31st recording, Live at The Belly Up Tavern. Recorded at the iconic venue in Solana Beach, California, this electrifying live album captures the raw energy and passion that have defined Sanchez’s storied career.
A GRAMMY Award winner for Latin Soul (Best Latin Album, 1999), Sanchez has spent decades honoring and expanding the Latin jazz tradition. With a discography that includes classics like Soul of the Conga, Latin Spirits, Out of Sight!, and Psychedelic Blues, his music bridges Afro-Cuban rhythms, hard bop, and soul, bringing the spirit of legends like Dizzy Gillespie and Chano Pozo to a new generation.
Following his tribute album Chano y Dizzy! and the dynamic Live in Hollywood, Sanchez once again delivers a masterful live performance, full of infectious grooves, rich storytelling, and blazing solos. Live at The Belly Up Tavern is a must-have for jazz lovers and fans of high-energy, soulful Latin music.

On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Froislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krodsherad Prestegård, which also inspired a poem of the same name by Jorgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time. From the opening track "Demring" (Dawn) to the closing "Skumring" (Dusk), the album embarks on a dynamic journey filled with masterful instrumentation and some of Froislie's most compelling songwriting to date. The album reaches its crescendo with "De tre gratier" (The Three Graces), named after the daughters of Zeus. Spanning 12 minutes, this opus encapsulates everything that makes "Gamle Mester" a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion, and the virtuosic bass work of Nikolai Hængsle. With "Gamle Mester," Lars Fredrik Froislie delivers an album steeped in history, mythology, and musical brilliance. A must-have for progressive rock enthusiasts and collectors alike.

Marbled vinyl, limited to 600 copies. On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Froislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krodsherad Prestegård, which also inspired a poem of the same name by Jorgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time. From the opening track "Demring" (Dawn) to the closing "Skumring" (Dusk), the album embarks on a dynamic journey filled with masterful instrumentation and some of Froislie's most compelling songwriting to date. The album reaches its crescendo with "De tre gratier" (The Three Graces), named after the daughters of Zeus. Spanning 12 minutes, this opus encapsulates everything that makes "Gamle Mester" a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion, and the virtuosic bass work of Nikolai Hængsle. With "Gamle Mester," Lars Fredrik Froislie delivers an album steeped in history, mythology, and musical brilliance. A must-have for progressive rock enthusiasts and collectors alike.

Australia's left-field club renaissance keeps flowering, and Horatio Luna's cult 2020 debut Yes Doctor remains an essential root document. The LP welds dub-soaked bass pressure, broken-beat jack and smoky nu-jazz improv onto a house chassis—picture Moodymann deep cuts drifting through Dadawah's spiritual haze. Championed by Gilles Peterson after Luna appeared on Brownswood's Sunny Side Up compilation—where drummer Phil Stroud and synth maestro Dufresne also featured—the record was pieced together across 2019 during a run of late-night sessions while Hicks was living in the La Sape house. La Sape's brand-new 2025 pressing (cat. SAPE00825) uses freshly cut plates and presents the full ten-track programme on 140 g black vinyl. The package features subtle touch-ups to the jacket artwork and refreshed centre-label stickers while preserving the original aesthetic. "Yes Doctor is my coming-of-age—mixing every style I could think of into house, pushing aesthetic boundaries, making 'un-boxable' music," Luna says. File next to Theo Parrish and Yesterday's New Quintet: DJs will lock onto the title track's seven-minute bruk workout, while deeplistening customers will cherish the front-to-back journey in groove alchemy.

Revered as one of London’s ‘leading disco labels’, The Disco Express slows no signs of slowing down. Steaming in HOT with with seven Summer sizzlers, the much loved label serves up certified dance floor heat ahead of the sunny season.

Oozing in top tier quality, the Summer Heatwave vinyl compilation encompasses the best new music forthcoming on The Disco Express. Including superb remixes by the scintillating Bosq and Dr Packer, Summer Heatwave features 100% original music by label regulars Magnolia, Maryag, Rayowa, Third Attempt and label boss Bustin’ Loose.

Pulsating with pure infectious Summer grooves, this compilation is truly essential for Disco, Nu-Disco and House music lovers worldwide

Im klassischen, nicht-popkulturellen Sinne bezieht sich der Begriff "Schamanismus" in erster Linie auf die spirituellen Praktiken der indigenen Völker Sibiriens. Schamanen interagieren als Beschützer ihrer Gemeinschaften über veränderte Bewusstseinszustände mit der Geisterwelt. Auf ihrem Album "Songs of the Shaman" interpretieren NYTT LAND traditionelle schamanische Gesänge und Zaubersprüche der mandschu-tungusischen Sprachgruppen unter Sibiriens Ethnien. Bei diesen Liedern kommen sehr alte musikalische Techniken wie Kehlkopfgesang und Trommeln zum Einsatz. Alle Gesänge wurden in der jeweiligen Originalsprache aufgenommen. Damit will die Band deren ursprüngliche Kraft bewahren, die auch aus der Intonation sowie dem Sprachrhythmus der Worte entsteht. Diese Sammlung alter Magie in Form von Geisterbeschwörungen, Abwehrzaubern und Segensprüchen wurde sorgfältig ausgewählt und schließt Schadflüche bewusst aus. NYTT LAND sind eine rituelle nordische Folk-Band, die das Ehepaar Natalya und Anatoly Pakhalenko im August 2013 in der westsibirischen Stadt Kalachinsk gründete, welche am Ufer des Flusses Om und als Station der Transsibirischen Eisenbahn errichtet wurde. Nach drei in Eigenregie veröffentlichten Alben, "Nytt Land" (2013), "Hávamál" (2015) und "Scopun: Songs from the Elder Edda" (2016), erschien im Jahr 2017 mit "Fimbulvinter" ihr Debüt bei einem Label, auf das kurz darauf das Album "Oðal" (2018) folgte. Während NYTT LAND auch weiterhin Werke in Eigenregie veröffentlichten, traten die sibirischen Elemente in ihrer Musik auf ihrem dritten Label-Album "Ritual" stärker als jemals zuvor in den Vordergrund.

Im klassischen, nicht-popkulturellen Sinne bezieht sich der Begriff "Schamanismus" in erster Linie auf die spirituellen Praktiken der indigenen Völker Sibiriens. Schamanen interagieren als Beschützer ihrer Gemeinschaften über veränderte Bewusstseinszustände mit der Geisterwelt. Auf ihrem Album "Songs of the Shaman" interpretieren NYTT LAND traditionelle schamanische Gesänge und Zaubersprüche der mandschu-tungusischen Sprachgruppen unter Sibiriens Ethnien. Bei diesen Liedern kommen sehr alte musikalische Techniken wie Kehlkopfgesang und Trommeln zum Einsatz. Alle Gesänge wurden in der jeweiligen Originalsprache aufgenommen. Damit will die Band deren ursprüngliche Kraft bewahren, die auch aus der Intonation sowie dem Sprachrhythmus der Worte entsteht. Diese Sammlung alter Magie in Form von Geisterbeschwörungen, Abwehrzaubern und Segensprüchen wurde sorgfältig ausgewählt und schließt Schadflüche bewusst aus. NYTT LAND sind eine rituelle nordische Folk-Band, die das Ehepaar Natalya und Anatoly Pakhalenko im August 2013 in der westsibirischen Stadt Kalachinsk gründete, welche am Ufer des Flusses Om und als Station der Transsibirischen Eisenbahn errichtet wurde. Nach drei in Eigenregie veröffentlichten Alben, "Nytt Land" (2013), "Hávamál" (2015) und "Scopun: Songs from the Elder Edda" (2016), erschien im Jahr 2017 mit "Fimbulvinter" ihr Debüt bei einem Label, auf das kurz darauf das Album "Oðal" (2018) folgte. Während NYTT LAND auch weiterhin Werke in Eigenregie veröffentlichten, traten die sibirischen Elemente in ihrer Musik auf ihrem dritten Label-Album "Ritual" stärker als jemals zuvor in den Vordergrund.

Pavilions neue Compilation "Break The Glass, Burn The Cage (The Sound Of Indie Punk Rock)" feiert alles, was Indie und Punk ausmacht. Die Welt der engen, verschwitzten Grassroots-Locations mit elektrisierenden Gitarrenriffs, mitreissenden Basslines und den Stimmen der Bands, die man unbedingt gehört haben muss. Mit herausragenden Tracks von Lime Garden, SPRINTS, Lambrini Girls, Sunflower Bean, English Teacher, Dream Wife, Panic Shack oder, Big Joanie kanalisiert die Compilation die rohe Energie und den rebellischen Geist, die man nur erlangen kann, wenn man sich tief um die Ungerechtigkeiten und den Hass in dieser Welt kümmert. Es ist eine Soundreise durch die Angst, Leidenschaft, den Spass und die Freiheit, die man findet, wenn man "es dem Mann zeigt".

"Break The Glass, Burn The Cage (The Sound Of Indie Punk Rock)" wird am Internationalen Frauentag 2025 als Charity-Album angekündigt, alle Tracks wurden freundlicherweise von den Bands kostenlos gespendet. Somit geht der gesamte Gewinn aus jedem Verkauf an die beiden ausgewählten Wohltätigkeitsorganisationen, die ihr Möglichstes tun, um Frauen und Mädchen aus allen Schichten und Altersgruppen zu helfen, von häuslicher Gewalt über Trauerfälle bis hin zu Obdachlosigkeit und Krieg – Brighton Women's Centre & War Child. Das Album erscheint als recyceltes Vinyl und CD in limitierten Auflagen.

Katagory V sind eine Progressive-Power-Metal-Band aus Salt Lake City in Utah. Anfang 1999 gegründet, sind bis dato fünf Studioalben erschienen: Auf "Present Day"(2001) folgten "A New Breed Of Rebellion" (2004), "The Rising Anger" (2006), "Hymns Of Dissension" (2007) und schließlich "Resurrect The Insurgence" (2015). Nun hat die Gruppe einen Vertrag mit High Roller Records unterschrieben, dessen erstes Resultat das brandneue Werk "Awaken A New Age Of Chaos" ist. Die Platte wurde von Dustin Mitchell (Bass), Curtis Morrell (Gitarre) und Matt Suiter (Schlagzeug) eingespielt, allesamt Teil der Originalbesetzung, plus Sänger Albert Rybka sowie Neuzugang Dan Coxey an der zweiten Gitarre. Das Album ist im Streamline Studio in Salt Lake City aufgenommen und von der Band selbst produziert worden. Für das Mastering zeichnete Alan Douches (Fates Warning, Cannibal Corpse) verantwortlich. Mit Riffmonstern wie "Empire Of Ignorance" und "Blood Siphon" oder melodischen Stücken wie "Absolute Divide" oder "Through Fate's Eyes" entpuppt sich "Awaken A New Age Of Chaos" als Meisterwerk des modernen Progressive Power Metal. In der Vergangenheit wurden Katagory V gerne mit Fates Warning, Queensryche, Hades, Sanctuary und Lethal verglichen. Laut Bassist und Gründungsmitglied Dustin Mitchell durchaus zutreffend: "Die genannten Bands haben uns ganz ohne Zweifel beeinflusst. Aber auch eine Menge Speed-, Thrash- und Doom-Bands der späten Achtziger und frühen Neunziger. Dazu Thrash-Metal-Gruppen der alten Schule - Realm, Death Angel, Helstar, Flotsam & Jetsam sowie Atrophy - und ferner auch härtere Melodic-Hardrock-Formationen, speziell aus Deutschland, da denke ich an Bonfire oder Jaded Heart." Das sollte all denjenigen, die mit Katagory V noch nicht vertraut sind, einen guten Eindruck davon geben, wie die Band klingt. Alles in allem ist das neue Werk "Awaken A New Age Of Chaos" von einer überraschend dunklen Grundstimmung geprägt: "Oh ja, dem stimme ich ausdrücklich zu", bestätigt Dustin Mitchell. "Diese Platte ist viel düsterer und auch zorniger als alles, was wir in der Vergangenheit gemacht haben, vielleicht mit Ausnahme unseres zweiten Albums. Im Verlauf unserer Karriere haben wir einige Tiefschläge einstecken müssen, weswegen die Band die letzten zehn Jahre auf Eis gelegen hat. Es ist also nur natürlich, dass sich die Wut darüber auch in unser neuen Musik Ausdruck verschafft hat."

Katagory V sind eine Progressive-Power-Metal-Band aus Salt Lake City in Utah. Anfang 1999 gegründet, sind bis dato fünf Studioalben erschienen: Auf "Present Day"(2001) folgten "A New Breed Of Rebellion" (2004), "The Rising Anger" (2006), "Hymns Of Dissension" (2007) und schließlich "Resurrect The Insurgence" (2015). Nun hat die Gruppe einen Vertrag mit High Roller Records unterschrieben, dessen erstes Resultat das brandneue Werk "Awaken A New Age Of Chaos" ist. Die Platte wurde von Dustin Mitchell (Bass), Curtis Morrell (Gitarre) und Matt Suiter (Schlagzeug) eingespielt, allesamt Teil der Originalbesetzung, plus Sänger Albert Rybka sowie Neuzugang Dan Coxey an der zweiten Gitarre. Das Album ist im Streamline Studio in Salt Lake City aufgenommen und von der Band selbst produziert worden. Für das Mastering zeichnete Alan Douches (Fates Warning, Cannibal Corpse) verantwortlich. Mit Riffmonstern wie "Empire Of Ignorance" und "Blood Siphon" oder melodischen Stücken wie "Absolute Divide" oder "Through Fate's Eyes" entpuppt sich "Awaken A New Age Of Chaos" als Meisterwerk des modernen Progressive Power Metal. In der Vergangenheit wurden Katagory V gerne mit Fates Warning, Queensryche, Hades, Sanctuary und Lethal verglichen. Laut Bassist und Gründungsmitglied Dustin Mitchell durchaus zutreffend: "Die genannten Bands haben uns ganz ohne Zweifel beeinflusst. Aber auch eine Menge Speed-, Thrash- und Doom-Bands der späten Achtziger und frühen Neunziger. Dazu Thrash-Metal-Gruppen der alten Schule - Realm, Death Angel, Helstar, Flotsam & Jetsam sowie Atrophy - und ferner auch härtere Melodic-Hardrock-Formationen, speziell aus Deutschland, da denke ich an Bonfire oder Jaded Heart." Das sollte all denjenigen, die mit Katagory V noch nicht vertraut sind, einen guten Eindruck davon geben, wie die Band klingt. Alles in allem ist das neue Werk "Awaken A New Age Of Chaos" von einer überraschend dunklen Grundstimmung geprägt: "Oh ja, dem stimme ich ausdrücklich zu", bestätigt Dustin Mitchell. "Diese Platte ist viel düsterer und auch zorniger als alles, was wir in der Vergangenheit gemacht haben, vielleicht mit Ausnahme unseres zweiten Albums. Im Verlauf unserer Karriere haben wir einige Tiefschläge einstecken müssen, weswegen die Band die letzten zehn Jahre auf Eis gelegen hat. Es ist also nur natürlich, dass sich die Wut darüber auch in unser neuen Musik Ausdruck verschafft hat."

For its latest release, Last Year in Marienbad welcomes back French producer Moonee, who delivers an EP brimming with his signature blend of euphoric and emotive grooves.

One of François Lefevre’s main aliases, Moonee explores the airier side of dance music, crafting deeply immersive sonic experiences that evoke introspection and escapism. While initially focused on deep house, his sound has evolved across recent releases, particularly on his Sandquest LP for OATH. His finely curated approach highlights fluid, intuitive soundscapes that invite repeat listens.

His new EP, Brotherhood, is perhaps his most refined and carefully poised work to date. The title track’s Glitched version opens with a sense of urgency, combining a stepping garage beat, lo-fi vocal snippets, and deep basslines. Existenzfollows, elevating four-on- the-floor energy with intricate rhythmic textures and a rich, orchestral-like melodic palette. Panorama rounds off the EP’s initial arc with playful vocal samples and an uplifting bassline—perfect for late-night city wanderings.

Closing out the release, Oath affiliate Moomin reinterprets the title track with an electro-infused remix. More understated than the original, his version builds gradually, offering a masterclass in energy control.For those seeking enriching grooves, entrancing melodies, and warmth, Brotherhood delivers. It’s a journey through electronic currents, shifting effortlessly between moments of calm and surging energy—press play and dive in.

In May 2000, pop princess supreme Britney Spears released her second studio album Oops!... I Did It Again, which features Stronger, Lucky and the title track Oops!... (red leather jumpsuits and the necklace from The Titanic were never looked at the same again!). The massive commercial success debuted at #1 in 20+ counties, selling 1.3 million copies in its first week, breaking the SoundScan record for highest debut album sales by a female artist.

Britney’s record was broken 15 years later in 2015 by Adele’s 25. Considered one of the best-selling albums of all time, to date, it has sold ~20 million copies worldwide. 25 years later, with Britney’s trailblazing influence still being seen in pop artists today, we are delighted to release a 25thANNIVERSARY EDITION 2-LP DELUXE vinyl release. Featuring an alternate cover, a 20-page booklet of never-before-seen and rarely seen photos of the era PLUS 2 new remixes, “Stronger (Adamusic Remix)” & “Oops!...I Did It Again (Pessto Remix)” on black vinyl

The anniversary edition comes in a gatefold-sleeve on clear / golden marbled vinyl with an exclusive poster. It all started in Gothenburg, Sweden back in 2003. After various incarnations the band we've now come to know as EF hit their stride by opening up their heavy distorted guitar palet to a much richer, textural approach with haunting melodies and harmonies. The band started touring and built up a dedicated fanbase throughout the years. The experience and confidence gained from these 22 odd tours have taken them all over Europe and Asia. It has shaped them to become the explosive, energetic and cathartic live band they are now today. As it goes with age and experience also comes growth. Although the sound of the band has evolved away from the hardcore infused post-rock of their early days, EF have always kept their hardcore d.i.y. ethics alive. By running their own record label, And the Sound Records, and setting up their own worldwide distribution they sold thousands of records along the way. In 2010 EF started to collaborate with German label Kapitän Platte by releasing the third album "Mourning golden morning" on vinyl. Now 15 years later, especially as the record is long time out of print, it's time to celebrate this anniversary with a new edition of this album that reached in the meantime the status of a post-rock masterpiece, to name in a row with bands like Caspian, Mogwai or Explosions in the sky.

„Bell Bottom Country“, passend benannt nach der Beschreibung ihres Sounds und Stils, ist typisch Lainey – Country mit besonderem Flair. Das Album spiegelt Laineys enorme Entwicklung der letzten Jahre, ihre Tiefe und ihren facettenreichen Charakter mit Elementen aus 70er-Jahre-Rock, Reggae und Funk wider – und bleibt dabei bis ins Mark Country.

Wilson gab ihr Schauspieldebüt in Staffel 5 der Erfolgsserie „Yellowstone“ als Musikerin Abby, wo sie erstmals „Smell Like Smoke“ sowie „Watermelon Moonshine“ und „Hold My Halo“ vom Album präsentierte.

Kindred Spirits is a covers album by American Roots Rock Band Larkin Poe. Featuring covers of songs by Lenny Kravitz, Neil Young, Phil Collins and Elvis Prestley to name a few. Originally released in 2020.

Upit Sarimanah's self-titled album is here, a captivating collection of songs that reimagined what Sundanese music really means. Originally released by Mesra Records, it finally got repressed by LaMunai Records after out of circulation for decades. Born Suryamah on April 16, 1928, in Sadang, Purwakarta, Upit Sarimanah was a famous Indonesian singer, particularly known for her traditional Sundanese songs in the 1950s. She was a prominent figure at RRI Jakarta from 1950 to 1984 and also led the Gamelan Siliwangi.

Tàrrega 91’s straightforward take on Discharge-inspired hardcore punk is a glass of fresh water in a polluted sea of bands trying to break through the algorithm and grab a few seconds of our ever-decreasing supply of attention. There are no gimmicks on Ckaos Total, just simple three and four-chord riffs, a driving drumbeat (you can guess which one), and thoughtful lyrics delivered with power and passion. Tempos vary from fast, to really fast, to ultra fast, with most songs in the latter category. Without studio effects, silly costumes, or metal chops to distract, the focus falls on the songs themselves, which distill a profound sense of hopelessness and frustration into a few defiant words to yell into the void. In their lyrics and artwork, Tàrrega 91' continues to draw inspiration from the 1991 uprising in their town that ended with the arrest of 86 young people, a history that makes them keenly aware of exactly what they’re pushing against. While so many contemporary bands emulate the aesthetics of punk’s classic era, on Ckaos Total Tàrrega 91 taps into the power of bands like Discharge, Wretched, and MG-15 by creating simple, sincere—and sincerely pissed—protest music.

"Music collectors have the chance to rediscover a lost gem from the golden age of psychedelic rock. This Half-Speed Mastered Edition offers the ultimate listening experience of the Texan band"s legendary 1967 debut-and only-album. Originally pressed by the International Artists label, Power Plant has gained mythic status among fans of the genre, often fetching up to $2,000 for an original pressing. But this exclusive reissue surpasses even the most sought-after versions, delivering a superlative experience that uncovers astonishing stereo details never before heard. Recorded at the height of the Texas psych-rock explosion, Power Plant stands as the only album on the International Artists label to rival the cult-like fascination surrounding the 13th Floor Elevators. Fronted by George Kinney, The Golden Dawn crafted a sound both haunting and transcendental, blending poetic lyrics, distorted guitars, and dreamlike vocals. Fans old and new will be transported back to the heart of the 1967 psych revolution, reliving this masterpiece as it was meant to be heard.

This music shouldn't be a collector-only affair: to celebrate the birth of MKNK, his first label in 20 years, Manu le Malin is unveiling Derniere Danse Part I, a four-track collection of sought-after and difficult to find past releases, all remastered by Scan X and Deathmachine.

Energy 52's Café Del Mar is one of the most iconic tracks in dance music. Over the years, Café Del Mar has achieved legendary status, regularly featuring in lists of the greatest dance tracks of all time. To put it simply, Café Del Mar is a cultural phenomenon, encapsulating the spirit of an era and influencing generations of artists and fans alike. This 10 inch release includes the new remixes from UK producer Amirali and Latvian DJ REZarin.

At long last, our unofficial companion piece to "Rocks & Mountains" sees the light of day. Another mystical dubplate tune by an unknown artist, "Warrior" developed a reputation among the most dedicated students of dubplates. The mysterious artist credit comes from a master tape box labeled with several Sly & Robbie dubplate tunes, in fact the very same tape which yielded our "Rocks & Mountains" master! However, part of the tape had been erased and re-used, so only a few seconds of the tune remained! It was heartbreaking, but enough to keep us hunting for the tune. It's now a few years after that near miss, and we finally secured a crisp master to bring this tune out. Hard, minimal, dubplate style roots from Sly & Robbie at Channel 1. Ciddy Bop, who are you?

Sex Mask ist eine dreiköpfige Post-Punk/Alternative-Rock-Band aus Melbourne, Australien, deren Musik als Mischung aus introspektiven Texten und innovativen Sounds im Kontext absurden Punks beschrieben wird. Mit Singles wie "TV Movie", "How To Be Cool At Parties" und "Birds" hat sich die Band eine wachsende Hörerschaft aufgebaut, und trat mit Fcukers, BIG SPECIAL und Fat White Family live auf. Derzeit läuft ihre erste UK Tournee mit Auftritten bei Dot To Dot, Great Escape, Get Together sowie einer erste Headliner-Show in London. Parallel erscheint eine limitierte 7"-Single mit ihrem 2022er Indie-Hit "How To Be Cool At Parties" sowie dem bislang unveröffentlichten Track "Circe" samt Faltposter.

Your Grandparents sind von der Zeit fasziniert. Sie kann weder erschaffen noch getötet werden; es gibt nie genug von ihr, aber sie kann sich ewig hinziehen. Zeit ist eine Art Währung, die man sparen, ausgeben und verspielen kann. Am Ende macht sie uns alle zu Narren. Das Trio aus Los Angeles - der Produzent Cole Thompson und die Sänger/Rapper DaCosta und Jean Carter - setzen sich auf ihrem Debütalbum "The Dial" intensiv mit diesen unterschiedlichen Ideen auseinander. Die Platte ist eine Meditation über die Zeit, aber sie zeigt, dass man in der Gegenwart verwurzelt bleiben muss, um das Konzept und all seine Qualitäten wirklich zu begreifen. Die Gruppe, die sich in der Schule in Culver City kennengelernt hat und jetzt Mitte/Ende 20 ist, macht seit einem Jahrzehnt Musik und hat geduldig zugesehen, wie sich die Teile ihrer Karriere zusammenfügten. Es scheint, als würden sie ihre genre-agnostischen, aber im Hip-Hop verwurzelten Songs dem Kosmos entreißen, einen Moment der Inspiration aufgreifen - ein Loop hier, eine Textzeile dort - und in einem Bewusstseinsstrom fortfahren. "The Dial" nahm langsamer Gestalt an, mit dem, was DaCosta "fokussierte Intentionalität" nennt. Your Grandparents hackten auf dem Material herum und achteten darauf, kein einziges Element zu überstürzen. Das Ergebnis ist atemberaubend: eine kaleidoskopische Reise durch Herzschmerz und Freude, Momente der Frustration und Hoffnung. Ihr Gesang wechselt mühelos zwischen elastischen Band-Rap-Flows und goldfarbenen Melodien, während die Produktion durch die Zeit reicht und Einflüsse - von House zu G-Funk über Boogie im J Dilla-Timing bis hin zu ESG-informiertem Dance-Punk - zu einem einzigartigen Ganzen verschmilzt.

“In my category, I’m the one and only,” proclaimed Oakland legend Too $hort on his 1990 single “Short But Funky.” Few disagreed then, and even fewer would do so decades later. First appearing in the mid-1980s, slinging homemade tapes out of his car trunk, the man born Todd Shaw has always stayed true to himself. Although he is known more for the dirty side of his rap game, on “Short But Funky,” he also reminds listeners of an important fact: “There’s a serious side to everything I say.” Short Dog’s In The House, was $hort’s sixth studio album, and his second for the Jive label. By the time it hit, he was a West Coast legend, but his rep was growing Eastwards, as the rest of the country started opening its ears to new sounds. Peaking at #20 on the national Billboard 200 chart, the album was exactly what his dedicated fans expected funky, 70s drenched beats made for cars on the boulevard, and no nonsense lyrics that made more sense and dropped more knowledge than he was ever given credit for. For examples of his conscious side, look no further than the P-Funk fueled “It’s Your Life” or the album’s lead single, “The Ghetto.” The album’s second single “Short But Funky” landed somewhere in the middle of $hort and Todd Shaw, talking about where he was at as the new decade broke, and making it clear that he wasn’t going anywhere. His mortality was mainly on his mind after rumors had surfaced the year before that he had died in a crack house. He speaks directly to this crazy episode on “Dead Or Alive.” And although it’s mostly a solo affair, he brings in some heavy artillery and a lot of not for the kids profanity on “Ain’t Nothin’ But A Word To Me,” featuring none other than Ice Cube In between, $hort distributed plenty of tales and charisma for fans to eat up, continuing to build his legendary status as one of the rap trailblazers of the era. Get On Down has repressed this 1990 Bay Area classic album on Blue and Ruby Color-In-Color vinyl

The deadbeat Danish duo return to serenade us with their signature sound of fuzzed-out garage-rock guitars, falsetto vocal supremacy, and an unyielding rhythm section. Gabestok find themselves lodged at the pinch point between the grandiose and the garage, crafting songs that are at once eminently epic yet raw and direct. Alle Dør I Fremtiden is a road trip into oblivion, always accelerating toward some unknown precipice until inevitably driving you over the edge. Laying in the wreckage of an old car smelling of stale cigarettes and beer you wonder what happened, then flip the record and start again.
A short conceptual album steeped in hopelessness, regression, power, and the almighty battle against mob mentality in the wake of advancing technology and knowledge. Set amidst a geomagnetic storm on a desolate, scorched Earth, we follow an obsessive collector who has amassed a vast physical repository of lost knowledge now esoteric in an era of hard drives and remote storage. Books, piles of papers, and artefacts are all locked away in his private Citadel, far removed from a population of spiritless people, trapped within their own thought-prisons, fiercely guarded by corporate algorithms.
Fire and flames come in many disguises and eventually We All Die in the Future.

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Corsican artist Barbara Carlotti does wonderful, slightly melancholic chansons. Her noble timbre was an almost perfect match for the subtly arranged tones of her debut album "Les Lys Brises". With the follow-up work "L'Idéal", Carlotti has gained even more class. Both albums have been released on the English 4AD label, which proves that pop need not fear any language barriers. And a great singer like Barbara Carlotti certainly doesn't. Further albums on e.g. Atmospheriques, Elektra France and Les Maison Des Reves did follow, in 2025 Carlotti returns with new French Pop chansons now. This limited two track 12" showcases two titles from her current March 2025 album and is exclusive to RSD 2025

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

Deranged Records and Forward! Records will release Wildhoney's first LP, Sleep Through It. The group formed in late 2011, aiming to write pop songs with the energy and malcontent of hardcore punk, but without its entrenched masculinity. The five-piece has since become one of the loudest—and sweetest—bands in its hometown of Baltimore. Sleep Through It expands on two excellent 7-inches and one cassette EP, drawing influences from '60s girl groups, '80s post punk, indie pop, and shoegaze. New songs like first single "Fall In" showcase just how well Wildhoney combines wall-of-sound power with delicate passages and gorgeous vocal melodies. Older songs such as "Super Stupid" and "Seventeen" return on the LP, newly realized and sounding better than ever. Throughout the album, the group's blasts of distortion and use of dense textures are balanced with beautiful pop tunes and chiming guitar work. The swirl of noise surrounding singer Lauren Shusterich's voice is not unlike the best of the Cocteau Twins, or even Deerhunter, especially on the soaring title track. Sleep Through It was recorded at Beat Babies Studio in Woodstock, Md., with Chris Freeland (Lower Dens, Wye Oak). The album is Wildhoney's first with synthesizers and features liberal amp and pedal experimentation. The recording process was intense and fast, cramming lots of work into a small amount of time. That hectic schedule is impossible to hear on the LP, which unravels at its own dreamy pace.

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

1982 4-Piece Demo' is the first official, fully-licensed and unreleased material to be released under the name Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band's mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn't a complete picture. Bryson and McDowall's growing friendship, having met some years earlier on the punk scene, became a creative partnership: Bryson's art school background and McDowall's history in avant-punk group The Poets meant Strawberry Switchblade was a band pitted against many established norms. The band's very first incarnation, an all-female 4 piece, recorded one demo at Glasgow's Hellfire Club and played a handful of gigs. Friends Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry Switchblade would eventually pair down to a duo and go on to chart success but it's in these raw, passionate recordings that the songwriting and vocal elements were being hammered out and explored in real time.


Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

15th Anniversary Edition. Lime Green Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

The 11th release on Random Vinyl finds Pax Romax featuring Brian Ice paying to respect to an original masterpiece while also serving it up for a new generation of ears. First up is the extended remix of 'Fade To Grey' which is a deep and cosmic disco workout with libidinous vocals. '2067' is a second production by Pax Romax that layers up jittery arps and twirling pads with a low-slung disco groove. The "Steve's Strange mix" is a codeine paced retro-future disco trip with standout synths and the Master Mix is more airy with lush pads up top was made by the late great Marc Hartman who passed away in August 2024 at only 58 years of age and serves as "Marc's epic swan song as we say, in Dutch," explains his label partner.

Rinse France branches out with a brand new label of its own and who better to inaugurate it than Paris-based Beatrice M. The producer makes a knowing nod to dubstep's golden era on this debut with the first version of 'Magic.' It is built on steppy rhythms with seriously wobbling basslines that are all-consuming. Glitchy effects and shimmering synths finish it in style and leave you dreaming of dubstep dances gone by. The B-side is a Techno Mix that reimagines the original with a driving four-on-the-floor rhythm and plenty of richly atmospheric pads.

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

Limited edition test pressing, featuring Reggae legends...

Ein Album zum Schlafen und Wachen, zum Gehen und Fahren, zum Jagen und Fischen, zum Herumlungern vor einer Raststätte in der verwunschenen Tundra. In Fahrstühlen okay, zum Abendessen nicht so toll. Auf Caveman Wakes Up, dem neuen Album von Friendship und ihrem zweiten für Merge Records, wird die historisch weit gefasste Definition von Country-Musik noch weiter gefasst. Shambolische Gitarren werden durch Flötenpads ausgeglichen, trübe Poesie trifft auf eine Motown-Rhythmusgruppe, ein Song über Jerry Garcia und die First Lady Betty Ford wird mit einem Schlagzeugsolo ausgeblendet, als käme Talk Talk aus einem schmuddeligen Keller in Philadelphia und würde von James Tate gespielt. Der zerklüftete Bariton des Songwriters Dan Wriggins schneidet durch elf düstere, wirbelnde Country-Rock-Songs mit tiefgründiger lyrischer Substanz und Aufrichtigkeit. Wie ein Wecker, der am Rande eines Traums eingebaut ist, gehört "Caveman Wakes Up" gleichermaßen zum bewussten und zum unterbewussten Verstand, voller Hintergründe, durchdrungen von Referenzen und Experimenten, beiläufig und als düstere Warnung vorgetragen und vor allem der kreativen Seele der Musik gewidmet. Im Laufe der Jahre hat sich diese Hingabe ausgezahlt. Friendship ist zu einer Art umgekehrter Supergroup geworden, in der die Band selbst und jedes einzelne Mitglied im Zentrum einer zunehmend prominenten Szene junger Folk- und Country-Musiker und Songwriter steht. Der Schlagzeuger Michael Cormier O'Leary leitet das Instrumentalkollektiv Hour und betreibt zusammen mit dem Bassisten Jon Samuels das Label Dear Life Records, das Freunde und Kollegen beherbergt, die Friendship zu einem wichtigen Einfluss zählen, darunter MJ Lenderman, Florry, und Fust. (Samuels spielt auch die Leadgitarre bei MJ Lenderman and the Wind). Die Band 2nd Grade des Gitarristen Peter Gill ist ebenfalls aktiv und macht zahlreiche Aufnahmen. Wriggins begann mit dem Schreiben der Songs von "Caveman Wakes Up" auf einer verstimmten klassischen Gitarre von Lenderman und beendete es auf einem kaum gestimmten Klavier in einer Wohnung, die er mit G DeGroot von Sadurn teilte. Im Sommer 2023 hatte Wriggins gerade den Iowa Writers' Workshop verlassen, wo seine Liebe zur Poesie und sein Misstrauen gegenüber der akademischen Poesiewelt gleichzeitig wuchsen. Eine Beziehung ging in die Brüche, und Wriggins übernachtete mehrere Wochen in North Carolina im Haus von Lenderman und Karly Hartzman (von Wednesday ), wo er die ersten Demos von "Resident Evil", "All Over the World" und "Love Vape" aufnahm. Wriggins kehrte nach Philadelphia zurück, und die Band machte sich an die Arbeit, um neue Ideen zu entwickeln. Schließlich nahmen sie das Album in fünf Tagen mit Tontechniker Jeff Ziegler (Mary Lattimore, War On Drugs) auf, den Gesang mit Bradford Kreiger, dem Techniker von Love the Stranger. Orgel, Geige (Jason Calhoun) und Flöte (Adelyn Strei) wurden von Lucas Knapp in einer Kirche in West Philadelphia aufgenommen. Textlich bewegt sich "Caveman Wakes Up" auf vertrautem Friendship Terrain - das Heilige wird profaniert und das Profane geheiligt. "Caveman Wakes Up" zeigt Friendships besonderes Genie für visionäre Arrangements, die über Generationen hinweg dem Folk-Rock-Kanon von Neil Young, Joni Mitchell und Emmylou Harris ebenso verpflichtet sind wie Indie-Größen wie Yo La Tengo und den Merge-Labelkollegen Lambchop oder Zeitgenossen wie Lomelda und ML Buch. Mehrere der Songs verwenden Fade-Outs, die im Text von "Love Vape" scherzhaft erwähnt werden, und es gibt andere Elemente, die von Motown und 70er-Jahre-Balladen übernommen wurden: festgefahrene Schlagzeugmuster, Bassintervalle, gefühlvolle Streicherarrangements. Jede Referenz wird über das Genre hinausgeschoben, verwirbelt und wiederholt, zu etwas Neuem, das eindeutig zum Friendship-Sound gehört. Bei "Free Association", "Artex" und "Wildwood in January" ist der Groove so festgelegt, dass andere Klänge nahtlos kommen und gehen können: Mellotron-Flächen, Klavierwirbel und -stiche und klare Gitarrenmelodien, wimmelnde Texturen, die sich als Einheit tarnen. "Caveman Wakes Up" das bisher am weitesten fortgeschrittene Werk von Friendship, ein weiterer Beweis für die Hingabe und Sorgfalt der Band.

Risk/Reward is the brainchild of New York based, London-born underground music scene veteran and Archivio Records owner Daniel Dutts.

The label fuses leading contemporary artists, with iconic 90s producers to create a playful yet sophisticated sound, firmly focused on creating dance floor magic!

The first EP showcases rising Philadelphia talents Post Play (Sweater & John Raffaele), whose previous excursion on Small Moves became a much sought after cult classic.

Danger is what’s commonly known by DJs as a “sure thing”, guaranteed to get the most stubborn of crowds moving. A cheeky bass groove, quirky stabs, hip hop breaks and scratched vocals, create a vibe best described as “if DJ Premier made a track for Wiggle in the late 90s”

Go blends vintage Nu Groove style NYC house with progressive and techy elements to create a unique dancefloor monster. warping speed garage style sub bass combines with punchy stabs, lush pads, trippy synth leads and skippy, swinging drums, creating an atmospheric but driving track, that keeps you guessing til the very end.

Bushwacka! channels his Plank-era heyday to create a remix of Danger that delivers multiple “what the f#%k was that?” moments, as he takes you on a breakbeat voyage with crisp percussion, devastating low end, hypnotic ragga vocals and a didgeridoo no less! A reminder of the man’s genius and genre-defining sound.

What I Meant To Tell You merges warm, J Dilla style sampled chords, with punchy 808s, a deep and warm bassline, dreamy pads and enchanting male/female call and response vocals. Perfect for a warm up or deep in the afters.

With heavy support from the likes of Dyed Soundorom, Tini, Harry McCanna and more, the Post Play boys are ready to add another buy on sight record to their growing discography.

Rico Nasty returns with a new studio album, LETHAL due out May 16th on Fueled by Ramen (Atlantic Music Group).

Rico Nasty is known for her own particular brand of rage-rap and for her outrageous on-stage, online, volume-up persona. But as she grew up, she started to feel trapped by the character she created. LETHAL is a reckoning of who Rico is at 27 with the trap-pop teen persona she created more than a decade ago. Executive produced by GRAMMY nominated producer Imad Royal, the album still features all the hallmarks of a Rico Nasty record - female rage, heavy guitars, humor - but there are also notes of femininity,

introspection and a more complex framing of all the angles of Rico - the performer, the mother, the adult.

LETHAL is Rico Nasty’s third studio album following her debut album, Nightmare Vacation and her 2022 follow-up to Las Ruinas.

"Kunst zu kreieren ist für mich ein ständiger Kampf den Fokus zu behalten; denn wir leben in einer Zeit voller Unterbrechung und Zerrüttung, äußert sich die Tune-Yards Sängerin Merrill Garbus über ihr sechstes Album "Better Dreaming". Mit einer klaren Haltung zu Antifaschismus, Befreiung und Anderssein präsentiert das neue Album einige der eingängigsten und funkigsten Pop-Momente von Tune-Yards bisher - und ja, tanzen kann man dazu auch. Die Songs entstanden für Garbus und ihren Bandkollegen und Partner Nate Brenner mit ungewöhnlicher Leichtigkeit - sie ließen die Musik einfach fließen und folgten jeder kreativen Spur, die sich ergab. Nach der Isolation in der Pandemie und der langen Pause von Tourneen und Live-Shows war das Bedürfnis, sich von Musik bewegen zu lassen, stärker denn je. Auch die einzigartige Erfahrung, ein menschliches Wesen heranwachsen zu sehen, prägte den Entstehungsprozess. Ihr gemeinsames Kind, heute drei Jahre alt, ist auf dem Song "Limelight" zu hören - ein Song, der aus gemeinsamen Tanzmomenten zur Musik von George Clinton entstand. Die Songs wurden als Duo aufgenommen und basieren - mit einer Ausnahme - auf Merrills Drum-Loops und Rhythmusstrukturen, ähnlich wie auf ihren frühen Alben_Ç»"Bird-Brains"_Ç»und_Ç»"W H O K I L L". Der Opener_Ç»"Heartbreak"_Ç»baut riesige Vokalharmonien um einen druckvollen Beat aus Klicks, Pops, Samples und gedubbten Snares. Garbus besingt darin Herzschmerz als Antrieb, als Herausforderung - Zeilen wie "Watch me survive another heartbreak"_Ç»wirken wie ein Aufruf zum Weitermachen. Das treibende_Ç»"How Big is the Rainbow"_Ç»setzt auf Four-on-the-Floor-Rhythmus und versprüht Disco-House-Energie - mit der Atmosphäre eines queeren Club-Hits voller Strobo und Intensität. "Better Dreaming"_Ç»ist ein kraftvolles Manifest für Selbstliebe, kollektives Handeln, Befreiung auf der Tanzfläche sowie die Hoffnung auf eine bessere Zukunft. Angesichts der Herausforderungen und Unsicherheiten der Gegenwart stellt sich Tune-Yards die Frage: Wie viel echte Energie und Freude lassen sich durch Musik überhaupt transportieren? Mit seinem mitreißenden, lebensbejahenden Art-Pop für eine Welt im Umbruch macht_Ç»"Better Dreaming"_Ç»genau das.

"Kunst zu kreieren ist für mich ein ständiger Kampf den Fokus zu behalten; denn wir leben in einer Zeit voller Unterbrechung und Zerrüttung, äußert sich die Tune-Yards Sängerin Merrill Garbus über ihr sechstes Album "Better Dreaming". Mit einer klaren Haltung zu Antifaschismus, Befreiung und Anderssein präsentiert das neue Album einige der eingängigsten und funkigsten Pop-Momente von Tune-Yards bisher - und ja, tanzen kann man dazu auch. Die Songs entstanden für Garbus und ihren Bandkollegen und Partner Nate Brenner mit ungewöhnlicher Leichtigkeit - sie ließen die Musik einfach fließen und folgten jeder kreativen Spur, die sich ergab. Nach der Isolation in der Pandemie und der langen Pause von Tourneen und Live-Shows war das Bedürfnis, sich von Musik bewegen zu lassen, stärker denn je. Auch die einzigartige Erfahrung, ein menschliches Wesen heranwachsen zu sehen, prägte den Entstehungsprozess. Ihr gemeinsames Kind, heute drei Jahre alt, ist auf dem Song "Limelight" zu hören - ein Song, der aus gemeinsamen Tanzmomenten zur Musik von George Clinton entstand. Die Songs wurden als Duo aufgenommen und basieren - mit einer Ausnahme - auf Merrills Drum-Loops und Rhythmusstrukturen, ähnlich wie auf ihren frühen Alben_Ç»"Bird-Brains"_Ç»und_Ç»"W H O K I L L". Der Opener_Ç»"Heartbreak"_Ç»baut riesige Vokalharmonien um einen druckvollen Beat aus Klicks, Pops, Samples und gedubbten Snares. Garbus besingt darin Herzschmerz als Antrieb, als Herausforderung - Zeilen wie "Watch me survive another heartbreak"_Ç»wirken wie ein Aufruf zum Weitermachen. Das treibende_Ç»"How Big is the Rainbow"_Ç»setzt auf Four-on-the-Floor-Rhythmus und versprüht Disco-House-Energie - mit der Atmosphäre eines queeren Club-Hits voller Strobo und Intensität. "Better Dreaming"_Ç»ist ein kraftvolles Manifest für Selbstliebe, kollektives Handeln, Befreiung auf der Tanzfläche sowie die Hoffnung auf eine bessere Zukunft. Angesichts der Herausforderungen und Unsicherheiten der Gegenwart stellt sich Tune-Yards die Frage: Wie viel echte Energie und Freude lassen sich durch Musik überhaupt transportieren? Mit seinem mitreißenden, lebensbejahenden Art-Pop für eine Welt im Umbruch macht_Ç»"Better Dreaming"_Ç»genau das.

Yuno's full-length debut, Blest, out May 16 on Sub Pop, finds the enigmatic indie-pop visionary transforming the emo-tinged suburban malaise of his 2018 Moodie EP into more expansive, widescreen pop drama - suited for big moves and bigger stages. The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability. Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, "Blest," the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, "True," in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of "Gimme Ocean," he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to. All songs on Blest were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty's in Durham, NC. Blest was mixed by Steve Vealey and mastered by Joe La Porta.

Mit ihrem siebten Studioalbum katapultiert die Berliner Band Kadavar ihren Sound in neue Dimensionen. Inspiriert von einem Zitat ihres Bassisten Simon 'Dragon' Bouteloup, „Ich will einfach nur ein Sound sein“, schaffen sie ein Manifest für Freiheit, Transformation und radikale Präsenz. Keine Konzepte, keine Grenzen: Das Album ist ein musikalisches Ritual des Übergangs, das sich nahtlos zwischen Rockhymnen, Balladen und epischen Momenten bewegt - immer voller Schwung und Veränderung.

Unterstützt von Produzent Max Rieger und begleitet von Gitarrist Jascha Kreft zelebrieren Kadavar die ewige Verwandlung des „Ewigen Jetzt“. Ein Soundtrack für die Widersprüche der Zeit, der alles hinter sich lässt, was nicht Musik ist - kraftvoll, verletzlich und immer bereit für einen Neuanfang. Es ist ein Liebesbrief an den Moment, an Berlin und an das Leben selbst - voller Liebe, Verlust, Narben und dem bittersüßen Gefühl der Vergänglichkeit. Kadavar laden uns ein, loszulassen und eins zu werden: mit der Musik, mit dem Jetzt, mit dem Klang.

"Something Soft", das zweite Album der irischen Post-Punk-Brandstifter M(h)aol, ist alles andere als soft. Von der ersten Note des Eröffnungsstücks von "Something Soft" bis zu den verzerrten Schreien des letzten Stücks fühlt sich die Platte antagonistisch gegenüber dem Konzept der Sanftheit an, klanglich und thematisch. Es ist eine unapologetische Annäherung an intersektionellen Feminismus, Tierschutz, Konsum und den Kampf um einen Platz in einer Welt, der es an Empathie mangelt. Was M(h)aol bietet, ist Katharsis in zwei Formen: die Art, die man bekommt, wenn man anderen gegenüber offen ist, und die Art, die man bekommt, wenn man mit Recht etwas kaputt macht. Wut und Empathie effektiv zu kanalisieren ist ein Akt der Widerstandsfähigkeit, und um "Something Soft" zu machen, mussten M(h)aol besonders widerstandsfähig werden. Nach ihrem gefeierten Debüt "Attachment Styles" änderte sich das Line-up von M(h)aol und bestand nun aus dem Kerntrio Constance Keane (Schlagzeug/Gesang, sie/ihr), Jamie Hyland (Bass/Gesang, sie/ihr) und Sean Nolan (Gitarre, er/ihm). Dieser Prozess veränderte die Herangehensweise der Band an das Songwriting und die Auftritte und führte zu einem unerwarteten Durchbruch. "Something Soft" zeichnet sich durch einen dringlicheren Sound aus, der sich eng um den Rhythmus von Hyland und Keane legt. In Songs wie "Pursuit" und "Snare" verbindet sich Keanes Gesang mit dem Schlagzeug, als würden ihre Worte durch ihr Spiel zum Leben erweckt und direkt aus ihrem Körper kommen. Vor dem Hintergrund dieser ängstlichen und schwadronierenden Tracks nimmt ihre Stimme den Raum eines inneren Monologs ein, in dem sie von einem angespannten Heimweg und von der Misogynie im Green Room aus einer Position der drolligen Beobachtung heraus erzählt - eine universelle Erfahrung, die in spezifischen Details wiedergegeben wird. Wie seine Vorgänger "Attachment Styles" und die "Gender Studies" EP wurde auch "Something Soft" von Jamie Hyland aufgenommen. Es ist die technisch ausgefeilteste der bisherigen M(h)aol-Aufnahmen, denn die Band, zu der auch Sarah Deegan vom Pixie Cut Rhythm Orchestra am Bass gehört, zog in das Dubliner Ailfionn Studio, wo sie die räumlichen Gegebenheiten und das Studio-Equipment nutzten, um ihrem Sound mehr Nuancen zu verleihen. Die zusätzlichen Sessions und das Können hinter den Reglern waren ein Segen, aber für eine Band, die es gewohnt ist, unter extremem Zeitdruck zu arbeiten, war dies eine unerwartete Herausforderung: Konnten M(h)aol das Gefühl der Unmittelbarkeit beibehalten, das ihre Musik bis zu diesem Zeitpunkt geprägt hatte? Songs wie "DM:AM" zerstreuten diese Sorge schnell, indem sie innerhalb von 20 Minuten aus einem Drone entstanden, den Nolan spielte, während Hyland ihr Aufnahme-Equipment aufbaute und sich beeilte, den Song einzufangen, sobald Keane und Deegan dazukamen. Eine der geisterhaften Hymnen von "Something Soft", "1800-Call-Me-Back", begann als Scherz, dass die Band einen Fußballgesang schreiben sollte, wurde aber weitaus komplexer - die köstliche Balance aus Chaos und Klarheit, die sie gefunden haben, wäre ohne Zeit unmöglich gewesen. "I Miss My Dog" ist weniger spontan, aber seine Meditation über Trauer baut sich in einem halsbrecherischen Tempo auf, von Rückkopplungen über Keanes Schlagzeugspiel und Gesang bis hin zu einem spektakulären Schluss, der die Trauer in Bass und Gitarre erstickt, eine der größten technischen Leistungen von M(h)aol bis heute. Der Feinschliff unterstreicht den schelmischen Charme von M(h)aol und lässt das Intime hymnisch wirken, indem persönliche Erfahrungen genutzt werden, um die allgemeinen Systeme, unter denen wir leben, zu beschreiben. Für diejenigen, die sich in den Songs von M(h)aol wiedererkennen, ist das Hören von "Something Soft" wie ein Sprung in einen lang laufenden Chat-Thread, voller Wut und Humor.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

Die aus der estnischen Metalszene stammende Band PRIDIAN wird ihr Debütalbum "Venetian Dark" über Century Media Re-cords veröffentlichen. Ihr moderner, energiegeladener und atmosphärischer Metalcore mit futuristischem Einschlag erinnert an Genre-Größen wie Northlane, Spiritbox und Architects. Beim Songwriting legen PRIDIAN den Schwerpunkt auf cineastisches Storytelling und ein starkes narratives Konzept in ihren Texten, ihrer Musik und ihren visuellen Elementen. "Wir wollen Songs schreiben, nicht nur instrumentenbasierte Musik. Wir könnten technische Sachen schreiben, weil wir alle unsere Instrumente beherrschen, aber gute Songs, interessante Strukturen und gute Geschichten sind wichtiger."Der Albumtitel "Venetian Dark" wurde von einer Farbe inspiriert, die sich in Jörgs Kopf festsetzte und sich langsam zu ihrer end-gültigen Form mit den allgemeinen Themen des Albums entwickelte. Das Album wurde komplett von PRIDIAN geschrieben und produziert, die viel individuelle und gemeinschaftliche Arbeit in die Entwicklung der Tracks gesteckt haben. Tracks wie "Out For Blood", "DINY" und "Void Resonance" vereinen chaotische, energiegeladene Riffs mit EDM-artigen Synthies, krachenden Break-downs und atmosphärischen Elementen. PRIDIAN schöpft aus dem Metalcore der 2010er-Ära, dem Djent und dem von Deftones inspirierten Post-Hardcore und lässt sogar eine Korn-ähnliche Nu-Metal-Kante erkennen, vor allem beim schweren, aber ein-gängigen "Darker Tides". Das Zwischenspiel "Synthetic Salvation" unterstreicht den kühnen Ansatz der Band, wie Laur erklärt: "Einige Tracks sind mehr Produktion als Song... das ist kein Metal, aber das ist mir egal. Es ist uns egal, was andere sagen." Abgemischt von Matt Thomas (Kingdom Of Giants, Invent Animate), bietet "Venetian Dark" eine hochmoderne Produktion in Be-zug auf Ausgewogenheit und Modernität. Venetian Dark" ist als Standard CD Jewelcase, als limitierte transparent blau-schwarz marmorierte LP, sowie als digitales Album erhältlich.

2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.

“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.

Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.

These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.



Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa