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Tiger Stripes debuts on Rekids with ‘I Heard It Through the Bassline’.

Stockholm’s Tiger Stripes appears on Matt Edwards’ Rekids for the first time with the ‘I Heard It Through The Bassline’ two-tracker. The EP starts with the aptly named title track, defined by its deeply infectious bass, which propels forward along tight house grooves and classy gospel vocals. ‘I Heard It Through the Bassline’ is followed by Tiger Stripes’ ‘Everybody’s Doing It’, a stylish, low-slung people mover with the air of a vibey, dim-lit establishment or introspective late-night journey through the city.

Strange Idols label founder Tiger Stripes is a prolific producer, remixer, and DJ who has been active since the early 2000s. He’s collaborated with artists like Kerri Chandler and Jerome Sydenham and released music via heavyweight underground imprints, including Hot Creations, Get Physical, and Sydenham’s Ibadan. Now, he moves the needle again with the ‘I Heard It Through the Bassline’ EP on Rekids.

Berlin scene figurehead Gilles Aiken, AKA Edward, coming through with a massive Kalahari debut (and it’s safe to say he understood the assignment).

Booting off on a massive remix tip as the veteran producer reinterprets Mike Parker & Aric Rist’s Trybet project, but trust him to allow for a moment of dancefloor introspection. It’s prime early morning gear in a rousing juxtaposition of beatific string harmony and tough-as-nails deepness. Triumphant ‘window shutters open in the club at 5 AM’-type shit.

The other two are quintessential Edward: impressionistic, widescreen odysseys across lysergic terrain, but groove-forward where it counts. A pair of head-spinning explorations intended for the dancefloor, flush with shadowy flex, insectoid detail and tripped-out flourishes while keeping it funked-out in the tradition of Detroit.

The ‘Deep Sea Villain EP’ plumbs the depths of smudged abstraction, and as we’ve come to expect from Edward, it’s big on hallucinatory detail. It all oozes the multi-layered surrealism that typifies his best work. Proper transcendent biz.

Hot Creations latest Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.

The A Side features two notable figures in the electronic scene: Steve Bug and Denney, who team up with Mikey V creating an old-school house gem which has been going down a storm on dance floors. Next up is Collier’s rework of Joshwa ‘Bass Go Boom’, Collier comes in hot and heavy with booming low-ends and snaking bass grooves, infusing 'Bass Go Boom' with a quirky funk and a deep, dubby bounce!

On the flip and Vintage Culture & Vinter ‘High”, huge anthem finally gets a vinyl release. This hot as hell house anthem is an essential weapon! Finally Hot Since 82 ‘Sonedo’, dives deep into a lush bass-driven groove that envelops the senses, with rhythmic builds and playful percussion accents transporting listeners into an all-night hypnosis.

Rote splatter Vinyl. Nach über 16 Monaten ohne frische Musik sind KAFFKIEZ zurück und kündigen direkt ein neues Album für den 30.01.2026 an. Noch vor 5 Jahren waren die Shows dieser Band nur von Freunden & Verwandten besucht. Mittlerweile finden die Familientreffen der Rosenheimer Bande in großen Hallen statt und die ansteckende Leichtigkeit der Band verbindet weit über ihre Musik hinaus. Wie die Nachbarsjungs, mit denen man immer noch gerne eine Runde um den Block dreht, stehen KAFFKIEZ für eine durchdringende Befreiung von Alltagslasten und ein Augenzwinkern, das die Sorgen auf morgen vertagt. Die Jungs der Band machen klar, um was es ihnen geht. WIR. Ein Album das Zusammenhalt und Gemeinschaft durch und über die Musik hinaus manifestiert. Eine Einladung an alle Fans von lebenshungrigen Gefühlen, langen Sommerabenden und treibender Leichtigkeit. Wer schon länger Teil der KAFFKIEZ Family ist, wird sich über die gut bekannten und unaufhaltsam nach vorne marschierenden Rhythmen & die schrammelnden Gitarren direkt abgeholt fühlen. Doch der Sound des kommenden & dritten Studioalbums der Band hat an Druck und Kraft gewonnen. Elemente wie Bläser und Synths strecken die Hände in neue Richtungen aus ohne zu vergessen, wo sie herkommen. Ein Familienausflug der Extraklasse.

15 years since their fantasy disco scene-defining 1st volume, Johnny Jewel’s IDIB lasso Sally Shapiro, Desire, Farah, Lovelock and the kreme of their field for a 27-song, 2-hour re-up



Where previous volumes took their sweet time to arrive, ‘Volume 4’ graces the ‘floor only two years since the last, and nobody’s complaining. From its slo-mo, dry-iced covers of Jennifer Lopez’ ‘Waiting For Tonight’, Don Henley’s ’Boys of Summer’ and even flipping R.E.M.’s ‘Losing My Religion’, thru to exclusive pearls by our disco queen crush, Sally Shapiro, and Johnny Jewel as Desire, it’s the ideal soundtrack for late summer into silly season.

British singer-songwriter Lucy Kitt unveils her highly anticipated second album, Telling Me, a deeply personal collection that shifts focus from introspection to storytelling, capturing the lives and struggles of those closest to her. Drawing from her love of 70’s Laurel Canyon folk, 90’s indie rock, and country music, Kitt crafts narratives that blend her own experiences with compassionate observations of loved ones. Based on a raw acoustic “three chords and the truth” style of songwriting that ripples throughout, the album expands with full-band arrangements that give a huge range and richness to the sound.

Though influenced by American musical traditions, the Essex-native maintains her distinctive voice and authenticity, ensuring the music remains unmistakably her own. Following her 2018 debut Stand By, this new record represents a more mature approach to songwriting, written during her early 30s and completed in the 2021 lockdown – a storybook of songs capturing that moment in time.

Musically, Telling Me showcases Kitt's stripped-down acoustic foundations, while incorporating fuller arrangements that blend her love of Nick Drake, Bob Dylan, Gram Parsons, Joni Mitchell and Joan Baez, with music she loved as a teenager such as The Lemonheads and Veruca Salt. The album features collaborations with an impressive roster of musicians, including Jay Starkey on drums, Nashville-based pedal steel virtuoso Spencer Cullum, Treetop Flyer’s Sam Beer and longtime collaborator Pat Kenneally on drums and piano.

Recorded between 2021-2023 at London's Lightship 95 studio at Trinity Buoy Wharf, the album was co-produced and engineered by Dave Holmes, with some musicians contributing remotely from Nashville and London.

Kitt's commitment to authenticity extends to every aspect of the album, from the down-to-earth, home-based album artwork which represents her life right now as a musician and a working mum, with all the wonderful chaos that comes along with it. Also her decision to maintain her natural accent throughout her vocals. "I have always retained my authentic self in my songs," she explains. "Always singing with my own accent, despite the influences of all the bands and artists over the years."

Kitt has been songwriting and performing for over 20 years, starting in a riot grrl band in her teens in her hometown of Romford, Essex, before evolving into the thoughtful folk storyteller she is today. A semi-finalist at the BBC Young Folk Awards in the early 2000s, she has performed at major festivals including Glastonbury and Cambridge Folk Festival, building a reputation for intimate, lyrically-focused performances.

Telling Me is a resplendent collection of songs, capturing the human experience with great empathy, honesty and musical sophistication that has become Lucy Kitt's signature.

Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

“’Death & Connection’ is a body of work born from the absence of the people who no longer hold space in our lives”, comments the band. “This record was created from a necessity to express and soothe our deepest losses; however, that was never the intention — we simply set out to make an album we wanted to hear.” With “Death & Connection”, Shields invite the audience to experience the next evolution of their sound – mature, refined and fearless. Throughout the band’s career Shields toured with bands such as Ice Nine Kills, Born Of Osiris, Chelsea Grin, Veil Of Maya, Escape the Fate or Loathe.

Auf ihrem dritten Album bei Oh Boy Records und ihrem fünften seit Beginn ihrer Karriere vor einem Jahrzehnt stellt Emily Scott Robinson erneut ihre Meisterschaft als Performerin und Geschichtenerzählerin unter Beweis. Mit Appalachia - aufgenommen in den Dreamland Recording Studios mit dem Grammy-nominierten Produzenten Josh Kaufman - öffnet sich Robinson für Experimente und singt mit ihrer kristallklaren Stimme über Widerstandsfähigkeit, Liebe, Trauer und Hoffnung. Robinsons Talent ist keine Überraschung - sie ist mittlerweile eine erfahrene Tournee-Künstlerin, sowohl im In- als auch im Ausland. Ihre Alben ,Traveling Mercies" (2019) und ,American Siren" (2021) landeten jeweils ganz oben auf den Jahresendlisten ,Best Country and Americana Albums" des Rolling Stone und ,10 Best Country Albums" von Stereogum. Sie wurde von der Washington Post, Billboard, American Songwriter und No Depression gelobt und erreichte mit ihrem Song ,Let 'Em Burn" Platz 19 der NPR-Liste ,100 Best Songs of 2021". Es war ihre 2020 veröffentlichte Single ,The Time for Flowers", eine Hymne der Hoffnung, die sie zu Hause inmitten der globalen Pandemie aufgenommen hatte, die die Aufmerksamkeit von Oh Boy Records auf sich zog, dem 1981 von John Prine gegründeten Independent-Label. Robinson ergriff die Gelegenheit, sich dem freigeistigen und beliebten Plattenlabel anzuschließen, das das Erbe ihres Helden weiterführt. Robinson ist überzeugt, dass die Songs auf ,Appalachia" die besten sind, die sie je geschrieben hat - sie singt über ihre an Demenz erkrankte Großmutter, einen Saloon voller schillernder Charaktere, in dem nur Bargeld akzeptiert wird, und über ihre Dankbarkeit für das Leben trotz aller Schwierigkeiten. Das Album enthält ein Duett mit dem Grammy-Gewinner John Paul White, das die Liebe feiert, die mit Narben und Alter einhergeht, sowie eine Hymne für alle, die jemals gescheitert sind oder hinter ihren Erwartungen zurückgeblieben sind. ,Es gibt etwas, das ich bei jeder Platte, die ich mache, tue", sagt sie. ,Ich verwebe ein Gebet darin und bitte darum, dass all diese Songs ihren Weg zu allen finden, die sie brauchen. Ich bitte diese Songs, von Nutzen zu sein, den Menschen zu helfen, Freude zu finden und zu erleben."

2025 Repress

From the opening bars of this debut album you instantly just know it's going to deliver the tunes, and it doesn't let up until the last note. The Allergies' modus operandi is taking vintage sounds and reshaping them for modern dance floors, and they go about it with style.

Effortlessly fusing Funk, Soul, Disco, Hip-Hop and Breaks, DJ Moneyshot and Rackabeat provide the perfect brand of feel-good, energetic ear candy that will leave a smile on your face and give you happy feet. But that's not all..., they have teamed up with some top MC's in HypeMan Sage and BluRum13, as well Andy Cooper of Long Beach's world-renowned rap group, Ugly Duckling.

Two years have passed since haruka nakamura released the “Light years” series, a four-part project created in collaboration with THE NORTH FACE Sphere,
tracing the cycle of the seasons. During the two years that followed, he continued to produce beat-based sketches — melodies and fragments born in daily life,
films, and other creative projects — sampling and reworking his own material as an ongoing personal practice.

These works now come together as the culmination of his collaboration with THE NORTH FACE Sphere: the twin albums “ALL DAY” and “ALL RAY,” featuring
sixteen tracks in total.
Compared to his previous works, the melodies and rhythms here resonate more vividly and memorably. Both albums gaze toward the light of the seasons,
yet each expresses a distinct tone and atmosphere.

As a prelude to these albums, eight singles will be released consecutively over eight weeks.
The artwork combines photographs taken by haruka nakamura with watercolor-inspired designs by suzuki takahisa (16 design institute).
Together, the eight singles and two albums create a cohesive visual and sonic world through ten unified jacket artworks.

Hamada Kingo's urban mellow masterpieces are released on a 7-inch disc for the first time selected by Muro.

Featuring 2 slow jams from his late 80's work, A-side "Dream Is Alive" is from the soundtrack album 'Earthian' released 1988, and the B-side "Yokaze No Information" is taken from Heart Cocktail originally in 1985.

Als Blackwater Holylight vor drei Jahren ihre Heimatstadt Portland, Oregon, verließen, war es ihr Ziel, der Tristesse des pazifischen Nordwestens und dem beruhigenden Komfort des Vertrauten zu entfliehen. Mit dem Ziel, das sonnigere Klima von Los Angeles zu genießen, fand sich die Band nicht nur in einer wärmeren Umgebung wieder, sondern auch in einer völlig neuen Landschaft - einer ohne Arbeitsplätze, langjährige Freundeskreise und die bequeme Zuflucht alter Gewohnheiten. Und genau hier, unbelastet von der Zufriedenheit der Sicherheit, begann Blackwater Holylight fleißig an ihrem vierten Album ,Not Here Not Gone" zu arbeiten. Wie schon ihre früheren Werke beschäftigt sich ,Not Here Not Gone" mit der Dualität von Licht und Dunkelheit - bedrohliche Riffs bilden das Fundament für betörende Melodien, dichte Wände aus Shoegaze-Gitarren paaren sich mit luftig-leichten Synthesizern, und schwere Themen werden durch sirenenhafte Gesänge vermittelt. Im Laufe des Albums verspürt der Zuhörer mal ein Gefühl der Stärke, mal ein Gefühl der Verletzlichkeit. Wie Schlagzeugerin Eliese Dorsay es beschreibt: ,In einigen Songs sind wir die Raubtiere, in anderen die Beute." Die Gegenüberstellung von Selbstvertrauen und Unsicherheit ist nirgendwo so deutlich zu spüren wie bei einer lebensverändernden Entscheidung, was vielleicht erklärt, warum der Umzug der Band ihr Studium der Kontraste auf ,Not Here Not Gone" zu neuen Höhenflügen intensiviert hat . ,Not Here Not Gone" wurde im Sonic Ranch außerhalb von El Paso, Texas, von Sonny Diperri (Narrow Head, DIIV, Emma Ruth Rundle) aufgenommen, wodurch die Band erneut ihre Komfortzone verlassen und sich an einem Ort isolieren konnte, an dem sie sich ausschließlich auf ihre Kunst konzentrieren konnte. Das Ergebnis ist das Kronjuwel von Blackwater Holylights Diskografie - eine reichhaltige und eindringliche Studie in tonalen Hell-Dunkel-Kontrasten, in der das Licht seinen Weg aus den Schatten findet.

Auf ihrem Debütalbum ist eine lange Liste von Elite-Musikern aus der Daptone-Familie zu hören, die alle mit ihrem Talent dazu beigetragen haben, Pazners kreative Vision zu verwirklichen. Das Album wurde mit großem Beifall aufgenommen und erlangte schnell den Ruf als eines der besten Instrumental-Soul-Alben des Jahrzehnts – mit Rezensionen von Pitchfork, American Songwriter, Brooklyn Vegan, Rolling Stone u.v.a.. Im digitalen Bereich wurde das Projekt durch ein unglaublich starkes organisches Wachstum bei den DSPs unterstützt, wobei die Streaming-Zahlen alle Erwartungen übertrafen und es zu einem Durchbruchserfolg sowohl für Daptone als auch für Pazner machten. Nach dem Erfolg seines Debütalbums verbrachte Pazner die nächsten Jahre damit, den musikalischen Kosmos zu erkunden – er schrieb Songs mit Lee Fields und begleitete ihn als Keyboarder auf Tournee. In dieser Zeit gründete er auch eine Familie. Diese Reihe von einschneidenden Lebensereignissen bereitete den Boden für das kommende Album „In Search of a Revival“ (Daptone Records).
Dieses Mal, ganze 10 Jahre nach der Veröffentlichung des selbstbetitelten Debütalbums, komponierte, arrangierte und produzierte Pazner das gesamte Album selbst. Mit einer Mischung aus Musikern, die bereits auf dem Debüt zu hören waren, sowie einer Handvoll Freunden und Mitwirkenden, die er auf seiner musikalischen Reise kennengelernt hat, bildete er ein 17-köpfiges Ensemble aus den besten Musikern der Szene. Während „The Olympians“ stark vom klassischen Soul-Stil von Curtis Mayfield und James Brown beeinflusst war, lehnt sich „In Search of a Revival“ an die goldene Ära der Wrecking Crew, die üppigen Texturen der Gold Star Studios, Vintage-Filmmusik und die eher unbekannten Ecken der cineastischen Klanglandschaften an. Von den kaskadenartigen Harfenklängen, die „Sirens of Jupiter“ eröffnen, bis hin zur treibenden Horns von „Sagittarius By Moonlight“ liefern The Olympians einen ganz eigenen neuen Sound: einen alten Traum vom fernen Griechenland, gemalt in üppigen, filmischen Arrangements über harten Rhythmen. In Search of a Revival ist auf dem besten Weg, ein weiterer Daptone-Klassiker zu werden – ein Album, das nicht nur die Traditionen des Instrumental-Soul würdigt, sondern auch einen kühnen neuen Standard für das Genre in den kommenden Jahren setzt.

Auf ihrem Debütalbum ist eine lange Liste von Elite-Musikern aus der Daptone-Familie zu hören, die alle mit ihrem Talent dazu beigetragen haben, Pazners kreative Vision zu verwirklichen. Das Album wurde mit großem Beifall aufgenommen und erlangte schnell den Ruf als eines der besten Instrumental-Soul-Alben des Jahrzehnts – mit Rezensionen von Pitchfork, American Songwriter, Brooklyn Vegan, Rolling Stone u.v.a.. Im digitalen Bereich wurde das Projekt durch ein unglaublich starkes organisches Wachstum bei den DSPs unterstützt, wobei die Streaming-Zahlen alle Erwartungen übertrafen und es zu einem Durchbruchserfolg sowohl für Daptone als auch für Pazner machten. Nach dem Erfolg seines Debütalbums verbrachte Pazner die nächsten Jahre damit, den musikalischen Kosmos zu erkunden – er schrieb Songs mit Lee Fields und begleitete ihn als Keyboarder auf Tournee. In dieser Zeit gründete er auch eine Familie. Diese Reihe von einschneidenden Lebensereignissen bereitete den Boden für das kommende Album „In Search of a Revival“ (Daptone Records).
Dieses Mal, ganze 10 Jahre nach der Veröffentlichung des selbstbetitelten Debütalbums, komponierte, arrangierte und produzierte Pazner das gesamte Album selbst. Mit einer Mischung aus Musikern, die bereits auf dem Debüt zu hören waren, sowie einer Handvoll Freunden und Mitwirkenden, die er auf seiner musikalischen Reise kennengelernt hat, bildete er ein 17-köpfiges Ensemble aus den besten Musikern der Szene. Während „The Olympians“ stark vom klassischen Soul-Stil von Curtis Mayfield und James Brown beeinflusst war, lehnt sich „In Search of a Revival“ an die goldene Ära der Wrecking Crew, die üppigen Texturen der Gold Star Studios, Vintage-Filmmusik und die eher unbekannten Ecken der cineastischen Klanglandschaften an. Von den kaskadenartigen Harfenklängen, die „Sirens of Jupiter“ eröffnen, bis hin zur treibenden Horns von „Sagittarius By Moonlight“ liefern The Olympians einen ganz eigenen neuen Sound: einen alten Traum vom fernen Griechenland, gemalt in üppigen, filmischen Arrangements über harten Rhythmen. In Search of a Revival ist auf dem besten Weg, ein weiterer Daptone-Klassiker zu werden – ein Album, das nicht nur die Traditionen des Instrumental-Soul würdigt, sondern auch einen kühnen neuen Standard für das Genre in den kommenden Jahren setzt.

Joe Claussell reimagines 3 tracks from Patrick Gibin's 2024 successful debut album 'Strength In Numbers' for Mother Tongue. These are not simple remixes but complete translations into the NYC legend's own language where the words Cosmic and Spiritual go hand by hand. The depth of these new versions is another testament of Joe's ability to always push the Sound to new heights!
'Let It Go' is manipulated into a dancefloor opus rich of sonic surprises and magnificent synth workouts.
'Joint Purpose' is present here in two versions, the deep and complex 'Teenage Music' mix and the thunderous 'Dub Dub' take which is exactly how it's called: an epic out of body bass experience.
'In This Together' comes in a full 15 minutes suite with tempo and mood changes which echoes the best 70's fusion and finally in a more ethereal form ('Voice Of Innocence Version') to close the double pack.
A breathtaking travel into Claussell's endless creative imagination where boundaries are won and Music is all that matters!

Lofi-surf producer Shimon Hoshino presents the pre-release single "Nagisa" as a 7-inch vinyl, featuring one of South London’s most promising artists, edbl.

The track combines Shimon Hoshino’s beautiful piano melodies and slow-tempo lofi beats with edbl’s soulful, mellow guitar, creating a gentle wave-like groove that rises
and falls like the shore. The laid-back sound feels comforting, wrapping the listener in a musical embrace that stretches endlessly like the sea.

Another track, "Pages in the Breeze" was inspired by Shimon Hoshino’s home base in the Shonan area, particularly the multi-use commercial complex Shonan T-SITE,
which supports local life while proposing new lifestyles. The track captures the warmth of turning book pages and the gentle flow of everyday moments, resulting in a
soothing sonic experience.

The artwork and design are by UNCUTS, a graffiti artist active on the Chilly Source label.

Known for their warm harmonies, live energy, and poetic lyrics, Boy & Bear explore on Tripping Over Time themes such as embracing life's journey and its contradictions: "It's about the subtle lessons of life. Often you don't realise you've gone through something until you've truly experienced it. You keep learning, stumbling forward, and embracing the chaos with a smile. It's optimistic, nostalgic and playful, just like life itself," says frontman Dave Hosking. The record feels like one big celebration of joy, laced with a bittersweet, happy-sad energy. Since their breakthrough with the double-platinum debut Moonfire, Boy & Bear have released multiple #1 albums and earned a reputation as one of Australia's most compelling live acts.

The Ruins Of Beverast narrate fables of the darkest secrets in human history and present. ‘Tempelschlaf’ is The Ruins Of Beverast’s seventh full-length output and sees the band continue with their sonic morbidity, noises and melodies of a human habitat in its sunset era, while maintaining and refining the widescreen low end that has been sustaining their sound from the beginning. On the instrumental side, ‘Tempelschlaf’ is stripped of some fat, forging the songs with a reduction in length and layers, cautiously leaning towards the stage part of things. While synths and samples have always played an adamant role in The Ruins Of Beverast’s sound, they reach yet another level of psychedelia and insanity on ‘Tempelschlaf’. The Ruins Of Beverast were formed in early 2003 and named after the most bloodcurdling occasion of the collapse of the giant bridge Bifröst. This incident bears analogy to the musical aura of The Ruins Of Beverast, which builds a sonic landscape of massive, surreal, barren mountain formations. Seven full-length albums and several EPs, splits and compilation releases have been published through Ván Records so far. As a live act, The Ruins Of Beverast became a strong force after Roadburn 2013, a festival the band have played again since with exclusive shows. The Ruins Of Beverast have embarked on several European tours with acts like 1349, Grave Miasma and King Dude, as well as a highly acclaimed US tour that eventually concluded with an iconic show at Fire In The Mountains festival. The band have played such well-established club shows and festivals as Hellfest, Inferno, Incubate, Party.San Open Air and Beyond The Gates, to name just a few.

Black Vinyl

Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives.

»Encontro que Tenho« and »Profissões«: these titles are specific to this release. Having failed to locate the respective poems after a thorough search in E.M. de Melo e Castro’s body of work, it was deduced both texts were created for the occasion.

Even without a full contextualisation, the sound transmits the spirit of cultural agitation proper to these sessions. When this show happened, Anar Band were Jorge Lima Barreto (ARP Odyssey synthesizer) and Rui Reininho (Ibanez double-neck guitar), with the addition of E.M. de Melo e Castro, whom we shall call a poet but whose creative intervention was far reaching. Besides poetry, also continued his efforts in linking up diverse artistic areas (painting, drawing, collage, performance, video) and his official training in textile engineering. He was one of the artists featured in Henri Chopin's »OU Revue« in 1966, establishing his natural connection to the European concrete/visual/sound-poetry avant-garde. Melo e Castro was also proficient in the agitation of minds and political awareness. A good example in »Profissões«, where initially separate professionals (an intellectual, a fisherman, a soldier, a factory worker) are gradually mixed in a show of interdependency. Symbolically, through his words one listens to a transformation of society, although the same conclusion arises twice: surplus always finds its way to the hands of the capitalists.

That was the state of affairs many were looking to change, an economic and social malaise that the 1974 Revolution in Portugal fully uncovered, when dissident voices could finally be heard in public. Each in his own way, all three participants in this recording were non-believers in the structure of society such as it was presented. Through his books and press writings, mainly concerned with Jazz, Jorge Lima Barreto pushed his way into Portuguese artistic and critical circles since the late 1960s. Consciously and unwittingly, he collected enemies and pointed them by name, people he labelled as reactionary, people who delayed progress, social and cultural mixes, the avant-garde; they even delayed the chaos from which new forms and attitudes arise.

Rui Reininho, a non-conformist by heart, experienced incomprehension from an early age. His anarchic ways, a tendency to baffle others, were revealed through the choice of clothes and accessories, public behaviour, and »real life« performances. Just as Lima Barreto, and even together with him, he enjoyed provoking the extremes: Maoists on one side, right-wing conservatives on the other. He translated leftist books and joined Anar Band precisely on the day a duck or swan or goose (one of them) was thrown on stage in Porto, 1976.

This record documents a concrete action, a snapshot of the agitation, something we have no problem calling punk activism, something which allowed two people with little to no musical training to play and record music. By then, Anar Band had managed to release their only LP in 1977. It’s this performance, however, that reveals the naked rawness of the music: improvisation, mutual listening, and choice of intervention between both musicians and Melo e Castro, clearly sensing when the synth has to change tone, the voice has to make pauses, the guitar punctuates both and finds the space to… scream. The sound was captured by the film crew, adding to the rawness: the instruments are palpable, the voice often too close to the mic. Everything was preserved. First time on disc.

Ace’s small but ever-evolving “Black America Sings…” series has been quiet of late, but it springs back into action this month with the 2-LP and CD releases of “Highway Of Diamonds” – a second dip onto the catalogue of Bob Dylan, as reimagined by some of the foremost African-American artists of the 20th century.

From almost the start of his songwriting career, Dylan’s words and music have impacted on black American music, with ‘Blowin’ In The Wind’, speaking to an America that was still mostly segregated and becoming an anthem for all colours and creeds. As Dylan’s own career progressed, so did the number of covers he received, with a significant amount coming from what might be termed ‘non-traditional’ sources such as those heard here.

The 20 songs on “Highway Of Diamonds” continue the story that was told in part on the earlier “How Many Roads” compilation, with an almost entirely different selection of artists lending their voices to some of the best songwriting of the 20th century, and an almost entirely different selection of songs (with the exception of ‘Blowin’ In The Wind’ itself, which provides a common thread linking the story told across the two sets).
Big names from the worlds of soul, gospel and jazz, timeless songs and, for many, new ways of appreciating ever-durable material make “Highway Of Diamonds” as essential a purchase as its predecessor.

As ever, the great audio is complemented by a handsomely illustrated package on both CD and double vinyl, with a plethora of illustrations and in depth song-by-song-and-track-by-track annotation by Ace legend Tony Rounce.

From Ace Records’ early days, there’s always been a place in our hearts for music’s feminine side. A year having flown by since the release of our last compilation spotlighting the US girl group sound of the 60s – think castanets, anguished teen sirens, Svengali-esque producers and mini-sonatas about dreaming, dancing and moody boyfriends (sometimes deceased) – means the time has come for a new vinyl-only volume.

As 1968 drew to a close, the golden age of girl groups had seemingly been and gone: the Shangri-Las, Ronettes and Chiffons, for example, hadn’t had a hit record of note since 1966. Then along came ‘Condition Red’, a cleverly produced psychodrama performed by the Goodees, who grace the front cover and open the top side of this new comp in dramatic style. Over on the generally more soulful second side, Les Chansonettes are first up with ‘Don’t Let Him Hurt You’, a big production stomper written with Martha & the Vandellas in mind.

Elsewhere, Beverly Williams performs the very Lesley Gore-like ‘One Way Street’; ‘Go Away’ by the Murmaids (of ’66) is a lavishly produced number with a chamber pop vibe; ‘What Did You Do Last Night’ by the Drake Sisters was recorded in Phase-O-Phonic Sound; the lyrics of Denita James’ ‘Wild Side’ call to mind genre classics such as ‘He’s A Rebel’, ‘Out In The Streets’ and ‘Chico’s Girl’; and the Sweathearts close the show with a gorgeous harmony-filled update of the mid-50s oldie ‘Eddie My Love’. As usual in this series, the inner sleeve features a picture-packed 4,000-word track commentary by long-serving compiler Mick Patrick.

"Ballad of a Small Player" ist eine der großen Veröffentlichungen von Netflix im Jahr 2025. Der Film mit Colin Farrell erzählt die Geschichte von Brendan Reilly, einem in Ungnade gefallenen irischen Finanzier, der sich als der aristokratische "Lord Doyle" ausgibt und in Macau lebt, nachdem er vor seinen Finanzverbrechen im Vereinigten Königreich geflohen ist. Reilly wechselt zwischen Hotels und Kasinos, während seine Abhängigkeit von Alkohol und Glücksspiel wächst.

Die Musik für diesen Film wurde von Volker Bertelmann komponiert, einem der bekanntesten zeitgenössischen Filmkomponisten. Nach "Conclave" und "All Quiet on the Western Front" ist dies die dritte Zusammenarbeit zwischen dem Komponisten und dem Regisseur Edward Berger. Bertelmann verleiht dem Film eine angespannte, paranoide Atmosphäre, die die Welt von Brendan Reilly perfekt einfängt.

"Ballad of a Small Player" ist auf Translucent Red Vinyl erhältlich und enthält eine Beilage.

In 1991, Chris Whitley made his debut with the beautiful album Living with the Law, which immediately showcased his brilliant songwriting and unique guitar playing. Blending blues, roots and folk, the debut was positively received by critics and aficionados of these more traditional genres. Growing up, Whitley listened to Southern radio, which played artists such as Muddy Waters, Howlin' Wolf, Bob Dylan and Jimi Hendrix. His career started by playing with artists like Arto Lindsay and Michael Beinhorn. Interestingly, Whitley lived in Belgium for a short time in the 1980s, where he started his career playing guitar for 2 Belgen and Nacht und Nebel. In the 1990s, he started his solo career at Kingsway Studio in New Orleans, owned by none other than Daniel Lanois. The result was an album characterized by the use of traditional instruments such as the slide guitar and banjo. All of this is accompanied by his splendidly timbred voice and honest lyrics exploring themes such as freedom, desire and human struggle. Sadly Chris Whitley passed away in 2005, but his influence on contemporary songwriters and blues artists remains strong. a_Living with the Law is available as a 35th anniversary edition of 1000 individually numbered copies on gold coloured vinyl and includes an insert.

In der Evolutionsbiologie beschreibt der Begriff ,Spandrel" die Merkmale eines Organismus, die nicht fürs Überleben wichtig sind und keinen offensichtlichen Zweck haben. Das Wort kommt aus der Architektur und bezeichnet die dreieckigen Räume in den Ecken eines Bogens: kleine ästhetische Elemente, die für Symmetrie sorgen und Grenzen markieren. Die Musikerin und Sängerin Evita Manji stellt auf ihrem Debütalbum eine undurchsichtige Frage und fragt sich angesichts eines großen Verlusts, welche Teile von uns zum Durchhalten beitragen und welche vielleicht nur Deko sind. Ihre Tracks, die aus den Dämpfen zeitgenössischer Clubmusik, Barock-Pop und experimentellem Sounddesign zusammengesetzt sind, sind für Manji eine Möglichkeit, ihre Beziehung zur Welt im Allgemeinen und zu sich selbst im Besonderen zu untersuchen, Kontrollsysteme zu zerlegen und die Vernetzung hervorzuheben. Manji ist seit einigen Jahren eine ätherische Präsenz in der Szene und arbeitet als Soundkünstler und Kreativdirektor mit zahlreichen Künstlern zusammen. Letztes Jahr starteten sie ihre eigene Plattform myxoxym, wo sie zwei Singles aus ,Spandrel?" veröffentlichten und eine ambitionierte Fundraiser-Compilation mit Rainy Miller, Palmistry, Cecile Believe und anderen zusammenstellten, um Geld für den griechischen Tierschutzfonds ANIMA zu sammeln. Manji trat weltweit auf Festivals wie Unsound, Lunchmeat und Rhizom auf, spielte in Clubs in Berlin und London und wurde ausgewählt, die Plattform Shape+ im Jahr 2022 zu vertreten. Diese Erfahrungen fließen in ,Spandrel?" ein und helfen ihnen, ein komplexes künstlerisches Gewebe zu weben, das weit unter die Oberfläche des Daseins blickt und versucht, das Unheil des globalen Klimawandels mit Themen wie Selbstverwirklichung, Liebe und körperlicher Autonomie in Einklang zu bringen. Das Album beginnt mit dem Titeltrack, einer einleitenden Zusammenfassung, die die Zuhörer auf das vorbereitet, was sie gleich hören werden. Manjis Gesang schwingt mit einem eingestöpselten Gefühl kybernetischer Melancholie und filtert die Flut von Rhythmen und harmonischen Themen der Welt zu geschmeidigem, clubtauglichem Pop, der von ihrer fortschrittlichen Klangwelt getragen wird. Von dort aus werden wir in die Traurigkeit des atmosphärischen Klagelieds ,Pitch Black" hineingezogen, einer Meditation über den Tod, die tiefe Bässe unter Schichten von choraler Glückseligkeit versinken lässt und an die Kirche und die Tanzfläche erinnert, ohne die Kraft der beiden gegensätzlichen Elemente zu opfern. Ihre Dunkelheit wird in ,Oil Too Much" von innen nach außen gedrängt, einem Kommentar zur Ölindustrie aus der Perspektive des Tierreichs, der gleichzeitig als neonfarbener Ausdruck der zeitgenössischen Depression dient. Aber in ,Body/Prison" klingt Manji am offensten, spricht ehrlich über die dunkelsten Momente ihres Lebens und gesteht ihre tiefsten Gefühle über sengende, von Trance inspirierte Synthesizer und groteske Percussion. ,Spandrel?" ist ein Album, das Zeit braucht, um sich zu entfalten, und Manjis Themen hallen durch eine Geschichte wider, die älter ist als die Popmusik. Es ist tragisch, romantisch und poetisch und weigert sich entschieden, sich von den drängendsten Themen unserer Zeit abzuwenden.

Erstmals steht Yannick Nézet-Séguin beim Neujahrskonzert am Pult der Wiener Philharmoniker. Der Kanadier, schon seit Langem dem Orchester verbunden, ist Chef der Metropolitan Opera in New York und des Philadelphia Orchestra. Er bringt im Goldenen Saal des Wiener Musikvereins neben populären Titeln wie "Rosen aus dem Süden" oder der "Fledermaus-Quadrille" fünf Novitäten, die dort erstmals erklingen - darunter auch Kompositionen der US-Amerikanerin Florence Price (1887-1953) und von Josephine Weinlich (1848-1887), die das erste europäische Damenorchester gegründet hatte. Das Neujahrskonzert ist eines der größten Events der klassischen Musik; es wird in über 150 Länder übertragen und hat über 150 Millionen Zuschauerinnen und Zuschauer.

Das jährliche Neujahrskonzert in Wien ist seit mehr als acht Jahrzehnten, seit 1939, ein großes Ereignis, das im Fernsehen und im Radio übertragen wird und Millionen von Zuschauern in über 90 Ländern der Welt erreicht. Das Konzert wurde bisher von weltberühmten Dirigenten wie Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, Franz Welser-Möst, Gustavo Dudamel und anderen geleitet. Als musikalische Botschafter Österreichs senden die Wiener Philharmoniker den Menschen in aller Welt einen Neujahrsgruß im Geiste der Hoffnung, der Freundschaft und des Friedens mit beschwingter und unbeschwerter und zugleich nostalgischer und tiefgründiger Musik aus dem großen Repertoire der Familie von Johann Strauß und seiner Zeitgenossen.

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

On her debut LP 'Memoria', songwriter/producer Lilian Mikorey aka PILLBERT contemplates themes of identity and belonging, hardships and heartbreak in her signature blend of bendy folk guitars, field recordings and intimate vocals.
Moving to London from Munich, not yet 20 years old, Mikorey realized she was leaving her home behind for good. The subsequent state of being lost and alone in a place too temporary to start building the foundation for a new one led her to question the concept of home itself.
Is it friends? Family? A house?
"I started collecting objects, bones, sticks, stones and kept them close", she says, as to create a cosmos traveling with her.
"I was tracing the actual feeling of being home to the point where I built a dreamhouse in my head, as an idea, just to evoke that feeling." Soon enough she would learn that yielding to the yearning of actually going to that house, must be an inevitably sad experience.
A photo she took on a family visit to East-Munich became a reference and starting point for Memoria. It was a small house in her neighbourhood, the windows lit as dusk sets in. To Mikorey, it looked haunting, radiating warmth but somehow looking abandoned at the some time.
"I wanted to make music that sounds like this photo"
She started recording the sounds of the objects she had gathered and of her surroundings, building an archive and sonic material to work with.
From her mid-teens she had learned to produce with Ableton and now she picked up the guitar, too, learning it autodidactically by playing around, creating sounds.
At some point in the process, she realized it's okay to be lost for a while and by enduring the feeling, there's room for something new to grow, far off from any general idea of what home should mean.

The album, over the course of 10 tracks, traces these three phases of building a home in your head, realizing it's not a remedy, nor forever and coming to terms with it. You've grown in the process and the album is a guiding light for everyone who strives to do so, too.

Berlin-based composer and vocalist FRANKIE, also known as Franziska Aigner, and Dominican-American producer Kelman Duran meet at the Twelve Apostles Church, in the Berlin district of Schöneberg, sometime in 2022, at the beginning of the spring season. They were each asked to engage the space’s solemnity, and its reverence, through distinct performances. Their chance encounter, abounding with mutual curiosity towards each other’s practices, smoothened the path for a years-long collaboration, culminating in McArthur, their first joint album. Following a period of exchanging musical fragments and prompts at a distance, Aigner and Duran come together in Athens, and later in Los Angeles, to prepare the stuff and material for the album, slowly developing a body of work informed by shared hauntings, and a commitment towards the disjointed and the residual. Aigner describes her process as writing “into the negative space” of Duran’s beats—filling in, if not invigorating, their thudding and inflections, but without rearranging the integrity of the whole. The result is an album where time and geography are made elastic, and where sonic improvisations become a site for quiet, and cryptic, articulations of intimacy.

Having taken their name from a line in Hooray For Hollywood – inspired by the song’s jarring use in Robert Altman’s Philip Marlowe detective movie The Long Goodbye – there is an aptly cinematic quality to Any Young Mechanic’s music.
With intricate scenes, enthralling narratives and unique characters cropping up across the lyrics, and a kaleidoscopic yet coherently interwoven spectrum of moods and emotions stretching through the music, the Adelaide five-piece bring a fresh language to folk music’s natural propensity to spin a good yarn.
So rather than offering borrowed references illuminated by the cosy flickers of campfire flames, on their debut album The Modern Shoe Is Ruining The Foot, the Australian band’s urgent songs conjure up vivid, widescreen vistas that blend the genre’s enduring charms with a musical dexterity and sharp vision reaching beyond folk’s usual corners.
“We are trying to make folk music for now,” suggests frontman Sam Wilson. “Turning it on its head in a new, sometimes uncanny way, because we don't want to just do the old thing again. I don't think it’s interesting to make things again, so we’re searching for a contemporary edge.”
The roots of this original yet inclusive approach, in part, go back to the Adelaide music scene that helped to forge Any Young Mechanic.

Apt title for this previously unreleased diamond from Jah Life's mid 80s sessions at Channel 1 with the Gifted Roots Band, which we return to after a long while. Absolutely killer rhythm with brilliant added melodica, the late Nathan Skyers in top form, a really underrated singer. Truly one of our favorite unreleased finds to date. The Nathan Skyers and the next cut by Patrick Cool are each backed with different dub mixes.

Joe Morgan's "Basement Session" has the trademark Wackie's sound, deep and deeper. Its got great lyrics about the runnings of NYC basement sessions in the 1970's, a wicked dub to match, and a tough rhythm laid by the Reckless Breed band. Released on the "Bullwackie" label using the stock font and layout of one of NYC's long-shuttered pressing plants, according to Mr. Barnes this one was released "right before I got my logo."

Part two of the FOX FIRE series is here, with more killer 1970's roots from Clive Matthews and Trevor Byfield. 'My Girl Has Gone' is Clive Matthews' first recording, originally released in the mid '70s on the Percival label, and recorded at Dynamic Sound with the Now Generation Band.

Part two of the FOX FIRE series is here, with more killer 1970's roots from Clive Matthews and Trevor Byfield. 'Jah Guide' is classic roots, originally released only on a UK 12-inch on the Ethnic Fight label.

2026 Repress

Wer auf Hardrock und traditionellen Heavy Metal steht, sollte sich den Namen Wings Of Steel genau merken. Die beiden ersten Alben der amerikanischen Band, »Gates Of Twilight« (2023) und »Winds Of Time« (2025), fanden in der Szene großen Widerhall.

Wings Of Steel nehmen ihren Anfang, als sich Sänger Leo Unnermark und Gitarrist/Bassist Parker Halub beim Musikstudium in Los Angeles über den Weg laufen. Beide verbindet dieselbe Vision und ähnliche musikalische Vorlieben. 2019 beginnen sie, gemeinsam Songs zu schreiben. 2022 erscheint die erste, selbstbetitelte EP von Wings Of Steel.

Wings Of Steel erhalten in der Fachpresse durchweg wohlwollende Kritiken, speziell in Kontinentaleuropa, wo das deutsche Rock Hard den Gesang von Leo Unnermark bewundernd als Kreuzung aus Geoff Tate und Bruce Dickinson beschreibt.

Über High Roller Records erscheint die ursprünglich von der Band in Eigenregie produzierte Debüt-EP mit den Songs „Stormchild“, „Wings Of Steel“, „Rhythm Of Desire“, „Khamsin Riders“ und „Black Out The Street“ nun zum ersten Mal offiziell als internationale Lizenzpressung.

Die ideale Gelegenheit also, um sich mit dem frühen Material dieser herausragenden neuen Band vertraut zu machen.

Neon Yellow Vinyl

High Roller Records, neongelbes Vinyl, limitiert auf 450 Stück, 425 g/m² schwerer Kartonumschlag mit 5 mm Rücken, Textblatt, 8-seitiges Booklet, Poster. Transfer, Audio-Restaurierung und Mastering durch Patrick W. Engel bei TEMPLE OF DISHARMONY im April 2025. Schnitt durch SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Neuauflage!

Die hochgeschätzten Euro-Metal-Pioniere OZ wurden 1977 in der kleinen finnischen Stadt Nakilla ursprünglich als Cover-Band gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape DeMartine (Tapani Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Nachdem man in jedem Winkel des Heimatlandes Finnland live gespielt hatte, zogen OZ 1983 nach Stockholm um und unterschrieben einen Vertrag bei Börje Forsbergs Label Tyfon Grammofon AB Börje Forsberg, auch als The Boss bekannt, war der Sohn von Bathorys Quorthon.

In der Folge avancierten OZ zu einer der wichtigsten Heavy-Metal-Bands Skandinaviens und nahmen insgesamt fünf Studioalben auf, eher im Winter 1991/92 das Ende kam.

Nach »OZ« (1982), »Fire In The Brain« (1983) sowie »III Warning« (1984) war »Decibel Storm« 1985 das vierte Album der finnischen Schweden.

High Roller Records, Picture Disc, limitiert auf 500 Stück, handnummeriert, Deluxe-Plastiktüte, Kartoneinlage. Alle Titel wurden im September 2022 von Patrick W. Engel bei TEMPLE OF DISHARMONY gemastert. Geschnitten von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen... Die ultimative audiophile Neuauflage dieses zeitlosen französischen Metal-Klassikers!