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Outway a duo of DJ/Producers based in London, formed by Mattia Lotta and Siro Pertile officially launches their debut EP for Cellaa Music.

They appeared on labels like Deeperfect, Basswalk, Noexcuse, High Pressure, Undertechnical, Pild records, Makossa,Beat It Music, Jekos Lab and so on ...
In their usual nonchalant style, you can expect deep driving arrangements. Through the precisely applied sub-basses and the unobtrusive synth pads, a first class sound-performance is guaranteed.

The EP contains A New Age,The Weapon, Ignorance and Ice Bell, four smashing tracks you will never get bored of. Put your sunglasses on for this after, and say goodbye to the last stars of the night.

Keep your eyes on this one!!!!

finally repressed !

After a lengthy break Mark Henning returns with his new label Swing and four on-point tracks. 'Stash House' kicks things off with a crisply produced groove with snatched male vocals and rounded bass keeping the swing high. 'Exit Acid' ups the energy levels with an acidic tinged b-line proving a grimier feel whilst flip side's 'James Hughes Blues' is all about the breakdown; a neat synth line and huge bass tones lending it a more anthemic edge. Lastly 'The Horror' opts for a lower key ride, fuller male vocal imbuing the track with a sleazier feeling.

repressed !

Cologne duo Andhim look to kick off 2012 in the same blistering fashion as they did last year, with an exclusive new ep for Terminal M. The duo's "Like A Wirsing" was the catalyst for a successful twelve months and a run of releases and remixes that lead to Andhim on the way to the top of the tech-house peak.

Sometimes, there is a certain attention for a new artist and you can actually feel that this one is about to go through the roof. This is exactly the feeling we have with Few Nolder right now. With releases and tracks on Boso, Suol, Cloud Vision and not to forget his little summer hit - IF' on Connaisseur in late August, the Vilnius resident has caught quite some attention over the last months. Now, he completes this successful and busy year with his frst full EP on Connaisseur called - Moli', featuring three new lovely tracks. One of Few Nolder's talents is to compose state-of-the-art music which also has a timeless approach. The a-side - Twin' is one of those tracks. Sounds and melodies which stick in your mind straight away and an on point buildup make - Twin' one of those universal tunes which can be played in every moment. - Sonar' on b1 is a bit more reduced and raw. Played at the right moment it is a heavy hitter, with its memorable break and the big synth theme. On b2 you will fnd the title track and maybe also the hidden hit of the release. The bittersweet - Moli" is a delicate extravaganza with big melodies and emotions.
The artwork is as always by Danish artist Sjulle

Following up from the stunning 'You Will Soon Find That Life Is Wonderful' 12' on Phonica's Special Edi- tions imprint, Sad City returns to the label with his new EP 'Introduction To Lisboa/ Sloe'.

Glasgow-based producer Gary Caruth has evolved a highly original sound; deep, lush and widescreen electronics, from melancholic to ecstatic. Sonically, he continues where his last record left off and feels like the perfect companion to that well-received debut for Phonica. The record as a whole is composed of field recordings, with the basis for the first half of the EP, 'Introduction to Lisboa,' utilising sound recorded in and around Lisbon. He explains, 'I wanted the music and field recordings to meld at times, to obscure what was conventionally the musical element and what were field recordings, blurring the line between found sound and composition in the creation of a whole other.'

Opening track 'Introduction To Lisboa' builds and builds from near silence to a cacophony of field record- ings and looped horns. It melds into 'Baixa Saxaphone', where carefully paced percussion patiently enters over a wash of synth. From then on a delicate balance of restrained percussion and spine-tingling atmos- pherics interplay before descending into a blissful outro.

As with the previous EP, the 12' is packaged in technicolour artwork by acclaimed London designer Jack Featherstone.

finally repressed !!

following the success of the first parquet most wanted ep, here comes the second volume with another 4 future classics!
finest melodic house & techno by EINMUSIK, SOLEE, WHOMI, DALE MIDDLETON and MASHK! Already huge DJ support by MARCUS WORGULL (INNERVISIONS), HOT SINCE 82 (NOIR MUSIC), JOHN DIGWEED (BEDROCK), MAX COOPER (TRAUM), BETOKO, SASHA, OLIVER SCHORIES (DER TURNBEUTEL), HERNAN CATTANEO, DEEP DISH and many more...

After their stunning 2012 debut single "Wish" (FM X / Wish 001) and last year's "Diggin' On You" (D.O.C. 001), the incredibly gifted ELEKFANTZ return to the fore with what can only called a brilliant full-length premiere. The duo of Daniel and Leo first met 20 years ago, when they played together in a blues band. Leo continued his carreer as a professional musician while Daniel started to discover a new musical path.

The latter was born and bred at the electronic music temple in South America, later becoming a resident DJ and local hero, known as the right guy to prepare the dance floor and set up the right mood. He's one of the finest DJs of the Brazilian new wave of electronic aficionados. Leo is a professional drummer, singer and composer since the age of 15. He played and recorded with some of the greatest artists in Brazil.

Their debut album DARK TALES AND LOVE SONGS sports all the intimate melodies, lush harmonies and organic undertones that the duo has become know for and then some: from pop-infused songwriter house to highly emotive prime time anthems, you'll find lots to love about this expertly crafted collection of melodic gems. Engineered to perfection by label head GUI BORATTO, it's an exciting step for the imprint and the project alike - we can't wait hearing where they'll go next.

Cute Heels is the solo project of Bogota´ born, experimental producer Victor Lenis. Since the early 2000's Lenis has been working on a myriad of electronic projects, including the management of the labels Black Leather Records and Romance Moderne, in his current home of Brussels. Drawing on the influences of the radical punk scene that surrounded him growing up in Columbia while nurturing his passion for synthesizers and drum machines, Lenis developed the broody, gloomy brand of electro-techno that is Cute Heels. Deemed by Juan Atkins as ''the new blood and spirit for the next step in techno music'' Cute Heels has released various digital only releases over the years, as well as his first vinyl release, an EP on Gooiland Elektro. His debut album Spiritual, rides the line between cold electro-techno and left field electronic body music. Inspired by equal parts Liaisons Dangereuses and Drexciya, Spiritual takes the listener on a journey over 8 tracks and 40 minutes of music. Listening to "Spiritual" you can see why. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house and new wave; advanced electronics for the dance floor, pumping and sophisticated. The album was recorded and mixed by Victor at Sensorium Studio in Zagreb, Croatia in November 2013. Each song has been mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a custom-made jacket by our in-house designer Eloise Leigh and incorporates the geometry of analog synthesizers and celestial rose patterns. 

Huge follow-up single after last years "Glory Story" smasher - funky guitars & chords are screaming for the summer season.

/ VINYL ONLY / baby ford signature sound for ugold series a:SNAKES AND LADDERS: ..hypnotising extra-dry-style with a little floating reprise. Getting better and better every time listening to it..again and again.... those vocals..this hook.. and lots of space between. b. side: CURFEW spheric soundtrack for your own, personal... enlightenment.

Stefan Goldmann's very first release from 2001, thoroughly remastered. Long out of print, this has been extremely sought after classic vinyl. In their day, these tracks (together with Missing Days / That Ghost) created the prototype of today's stripped down house sound. Especially 'Gee Baby' has recently been rediscovered and became a signature tune of Ibiza's DC10 / Circo Loco with DJs like Raresh and Matthias Tanzmann - which made it swap back to its native Berlin and its legendary eternal afterhours. The A side's 'Closing In' with its broken funk predated a lot of convergence happening now between house and bass music. And last but not least, Stefan Goldmann provides a brand new, ultra-stripped down EDIT of the mesmerizing 'Read That Lips.' Essential all the way. Remastered by D+M's Rashad from the original DAT source and cut to premium vinyl, they are finally available again in unprecedented quality.

Als Compilation-Reihe im Jahre 2001 gegründet um ein paar lose Fäden unserer Stammkünstler zu verknüpfen, hat sich SPEICHER inzwischen zu einem Garanten für fortgeschrittene Tanzklänge aus aller Welt weiterentwickelt, der es KOMPAKT erlaubt Musiker aus allen Bereichen des elektronischen Spektrums einzuladen und zu fördern. Für SPEICHER 73 haben sich Hollands Synth-Epiker QUINCE sowie der in Berlin lebende Techno- und Modekünstler TOM PETERS hinters Mischpult begeben, um in zwei meisterhaft auskomponierten Tracks der Suche nach dem Horizont zu frönen.

Weltweit von DJs zum Einsatz gebracht, sind QUINCE's Techno-Etüden ein bekannter Klang im elektronischen Kosmos, dank starker Releases auf respektierten Labels wie etwa DELSIN oder MUSIC MAN RECORDS. Seine Produktionen beeindrucken generell mit ihrer profunden Kenntnis der großen Skylines, doch irrt der holländische Meister hier ein wenig ab von seinem Kurs durch 4/4-Welten und verliert sich stattdessen in den weitläufigen Kellerkorridoren des wolhltemperierten Schaffelbeats. LOST baumelt fast acht Minuten lang von der Klippe und gibt sich ganz als kubistisches Märchen vom einsamen Helden im dunklen Wald: in Erwartung einer zu errettenden Prinzessin bahnte der sich einen abenteuerlichen Weg durchs Unterholz und berichtet nun von unermeßlichen Schätzen und Momenten großen Glücks. Schon massiv gut, wenn sich die eigene, jahrelange Live-Erfahrung so anstandslos in perfekte DJ-Munition ummünzen last.

Zwei Stunden nördlich von Berlin liegt Kartlows kleiner Ortsteil Unnode, wo der ansonsten eher umtriebig veranlagte TOM PETERS wohlverdiente Ruhe in den Alltag eines DJs, Produzenten und angehenden Modezaren einkehren last. Hier, in inspirierender Nähe zur Ostsee, entwirft er die Skizzen für die meisten Tracks; so auch für TAKE YOUR CHANCE, dessen Silhouette sich deutlich geprägt sieht von der Weite der lokalen Natur. Toms Produktionen weisen alle Anzeichen transzendentaler Melancholie auf, verfehlen jedoch nie das urbane Momentum: sein Beitrag für SPEICHER 73 präsentiert eine simple, doch weitläufige Melodie, deren Haar vom Beat elegant zurückgebunden wurde, Futter für die Beine und die Seele. Ganz wie die handgedruckten Botschaften seiner eigenen Modeserie SAVE FASHION, vermag nämlich auch Toms Musik auf dem dünnen Seil zwischen dem Einfachen und dem Mehrdeutigen zu balancieren... dream on, dreamer.

We kick off 2013 in style with an Ep from Kiiroy. It´s always exciting for us to be introduced to a new artist. Especially when we are blown away by their Music. For his debut on Cellaa Music Kirroy brings a bouncing track which is perfect for all floors. Please help this new label get off to the best of starts by listening well and leaving considered and constructive feedback. Thank you.

30 years old Kiiroy is using freaky instruments and concrete sounds, our lovely boy, always keepin his distinctive funky´n´groovy attitude. Deep, fresh and seductively satisfying, this tune was designed for the discerning Dancer.

A bumper remix is lead by Stefano Libelle who bring a trademark deep house tune with a weighty, warped bassline and euphoric break. Here he strips the original to it´s essential parts. The super dry kickdrum and percussion in combination with the dark bassline together create Stefano´s own deep-house vision.

deutsch:
Wir starten mit einer EP von Kiiroy stylisch ins Jahr 2013. Für uns war es schon immer aufregend, neue Künstler vorzustellen, ganz besonders, wenn uns ihre Musik umhaut. Für sein Debüt auf Cellaa Music präsentiert Kiiroy einen bouncigen Track, den man auf jeden Floor einsetzen kann. Wir bitten euch, unser neues Label bei seinem Start zu unterstützen, indem ihr euch den Track genau anhört und uns Vorschläge und konstruktive Kritik zukommen lasst. Vielen Dank!

Der 30-jährige Kiiroy verwendet eine freaky Instrumentierung und harte Sounds. Unser Liebling, der stets bei seinem bezeichnenden, funkigen und groovigen Stil bleibt. Die Melodie ist deep, frisch und verführerisch und somit ideal für den anspruchsvollen Zuhörer.

Stefano Libelle liefert mit seinem Remix ein schönes Deephouse-Stück ab. Mit einer deepen, verschrobenen Bassline und euphorischen Breaks reduziert er das Original aufs Wesentliche. Die supertrockene Kickdrum und die Percussion in Verbindung mit der dunklen Bassline sind die Zutaten von Stefanos ganz eigener Deephouse-Vision.

Raumakustik should be a notion - at the latest after their successful
single "Glaub Mir Doch" this year. The duo from Dresden, Germany
was always on the go in 2011 with several releases and remixes for
Labels like Deich Records, Klang Gymnastik or Keimzelle. And right
before 2012 they strike back with "Traumtanzen". This is pure
dancefloor pleasure and already approved within the last months. To
complete the label debut of Grain Audio Mister Marcapasos (Toka
Beatz, Housesession, Dusted Decks) delivers a real house remix to get
you back to the good old days.

Mentalic's follow-up to "Highway Man" contains 4 tracks ranging from freak out slapstick Techno to more melodious pieces.
Played & supported by Stephan Bodzin, Paco Osuna, Style of Eye, Lexy, Marc DePulse, Max Cooper, Roland M. Dill and many more !!!

Avatar: The Last Airbender is a Netflix series and live-action adaptation of the beloved 2005 Nickelodeon animated show. The series follows young Aang, the Avatar, as he learns to master the four elements and restore balance to a world threatened by the Fire Nation.
Following the successful and highly anticipated first season released in 2024, Season 2 continues Aang’s journey alongside Katara and Sokka as they travel across the Earth Kingdom in search of allies against Fire Lord Ozai. Along the way, Aang meets Toph, a gifted and fearless earthbending master who becomes his teacher as he begins to learn the element of earth.

Featuring an epic original score by Takeshi Furukawa, the music of Season 2 expands upon the themes introduced in the first season, accompanying the heroes through new adventures, breathtaking landscapes, and the mysteries of Ba Sing Se. This release presents the soundtrack from the second season, bringing Takeshi Furukawa’s score to life in a stunning physical format.

Netflix and Music On Vinyl celebrate the release of the series with an exclusive 2LP pressing in a special and unique pop-up gatefold sleeve.

The score of Avatar: The Last Airbender Season 2 is available as a limited POP-UP gatefold edition of 1500 individually numbered copies on green marbled vinyl. The gatefold sleeve is finished with a premium leather-laminate exterior, and also includes a 4-page booklet.

Die legendäre „The Italo Disco Collection“ geht in die vierte Runde! Vol. 4 präsentiert erneut eine exklusive Auswahl großer Italo-Disco-Klassiker der 80er Jahre – zeitlose SynthesizerSounds, treibende Beats und unverwechselbare Melodien, die das einzigartige Lebensgefühl einer ganzen Ära verkörpern.

Auf 4 LPs versammelt die Box zahlreiche Highlights der ItaloDisco-Geschichte. Mit dabei sind unter anderem Ken Laszlo, Valerie Dore, Radiorama und Koto – echte Kultnamen und unverzichtbare Vertreter des legendären Genres.

Als besonderes Extra wartet auf alle Italo-Disco-Fans neben der hochwertigen Vinylbox ein exklusiver „Italo Disco“-Fischerhut. Damit wird die Collection nicht nur zum musikalischen Highlight, sondern auch zum echten Sammlerstück.

Diffuse Reality and Periphylla present Catastrofe Club - Un futuro tranquilo. With electric songs, sharp messages, and a touch of dark humor, Catastrofe Club deliver a record that is both caustic and deeply enjoyable. The album imagines a future where humanity has disappeared and, at last, a radiant peace reigns. Across 10 tracks, they combine post-rock, post-punk, darkwave, and electronic textures with cinematic atmospheres, rugged spoken-word vocals, and their signature blend of darkness and elegance.

This LP, the second set from Soul4Real based on songs mostly associated with Jackson, MS label Malaco, is another stunning showcase of the breadth of soul music. Featuring tracks ranging from the 70s through to the new millennium and from the deepest of blues-tinged ballads to disco beats, there is something on this LP for all soul enthusiasts to relish. The biggest name here is undoubtedly Bobby “Blue” Bland. A towering presence in both soul and blues for over 50 years, his influence – and sales – were immense. Other hitmakers are here as well, such as the prodigious vocal talent of Shirley Brown, whose massive “Woman To Woman” kick-started her long and successful career, and the delightful Dorothy Moore, whose immortal “Misty Blue” saved Malaco from bankruptcy in the mid-70s. Moore’s lovely duet with star Eddie Floyd was a one-off, as was Natural High’s Malaco subsidiary Chimneyville album. Always welcome on sets like this are lesser-known artists like sometime funk band Solid Gold Revue member Ray Crumley, who released a small handful of solo 45s,New Orleans singer Richard Caiton, who has had Northern soul plays, and mystery Mississippi native J.J. Lewis. Cult southern soul heroes such as the outstanding Tommy Tate – memorably described by Malaco boss Tommy Couch as “America’s best kept secret” – and the gifted and prolific down home songwriter George Jackson, whose BMI catalogue runs to over 400 songs, are prominent here. Jackson’s effort is previously unissued, and the more obscure item from Marvin Morrow is a first time on vinyl. Like Jackson, Morrow earnt his living as a writer for such luminaries as Gladys Knight and Chaka Khan. A treat for all connoisseurs. Malaco gave themselves the byline of “The Last Soul Record Company”, and listening to their output of over 50 years and the way they outlasted every other southern independent label, it’s impossible to disagree.

Ricky Force joins the Basics Records roster with ’MDrum’ a dark and hypnotic rolling track. Ricky is known for writing some of the deepest cuts over the last decade alongside running Pressin’ Hard Records.

On the flip side Friske (Requisite/Metalheadz) steps up with a sharp apache remix of MDrum which twists and turns. On B2 is Gremlinz (UVB-76/Metalheadz) with an absolute monster remix rolling out the amen’s, a masterclass in drum work. Watch your bass bins!!

Die Londoner Band Apocalypse sollte kaum einer Einführung bedürfen. Sie erlangten unter Fans der New Wave Of British Heavy Metal durch ihre Single »Storm Child« von 1982 Ruhm, der drei Jahre später das vielbeachtete Album »The Prophet« folgen sollte, obwohl die Band zu diesem Zeitpunkt bereits eine Namensänderung durchlaufen hatte und nun als Omega bekannt war.
Spulen wir über vierzig Jahre vor. Apocalypse sind mit einem neuen Album zurück, »Last Man Standing«. Das aktuelle Werk knüpft nahtlos an »Abandon Hope an«, das 2010 von High Roller Records veröffentlicht wurde. Mittlerweile hat Gitarrist und Sänger Steve Grainger, der nach dem Tod sowohl seines Bruders Marc (ehemaliger Schlagzeuger der Band) und des Bassisten Dave Robertson tatsächlich als „letzter Mann übriggeblieben ist“, die Gruppe in Apocalypse NWOBHM umbenannt.
»Last Man Standing« kombiniert neues Material, das Steve geschrieben hat, mit älteren Songs, die in ihrer ursprünglichen Form aus der Vorgängerband Phaze stammen (die er und sein Bruder betrieben). Die Atmosphäre und der Drive von Apocalypse sind geblieben. Mit Beiträgen von Marc und Dave sowie textlichen Anspielungen auf einige frühere Stücke der Band ist »Last Man Standing« der neueste Teil der Apocalypse-Saga und in dieser Form definitiv eine würdige Ergänzung des Bandkatalogs.
HRR 1084LP, Einband aus schwerem Karton (425 gsm), 4-seitiges Booklet. Erste Auflage limitiert auf 500 Stück.

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Röhrender Gitarrensound, voluminöser Bass und treibende Drums! Das Powertrio aus Dortmund verbindet perfekt Stoner, Grunge, Psychedelic und Post Punk in ihren abwechslungsreichen Kompositionen. Seit Erscheinen ihres im November 2024 von Muiskmedien gefeierten Debütalbums "Neuzeit", begeisterte LBC Musikfans auf mehr als 60 Shows in ganz Europa. Ihr zweites Studioalbum erklimmt durch die Live-Erfahrung nun ein noch höheres Level, vereint Klangstrukturen so verschiedenster Genres wie Grunge, Post Punk. Hard und Stoner Rock, teilweise in einem Song - das Markenzeichen von Last Bolt Ceremony! Heavy Psych Post Grunge für Fans von Fu Manchu, Daily Thompson, The Picturebooks, Truly, Okay You Win. CD und farbiges Vinyl erhältlich!

Röhrender Gitarrensound, voluminöser Bass und treibende Drums! Das Powertrio aus Dortmund verbindet perfekt Stoner, Grunge, Psychedelic und Post Punk in ihren abwechslungsreichen Kompositionen. Seit Erscheinen ihres im November 2024 von Muiskmedien gefeierten Debütalbums "Neuzeit", begeisterte LBC Musikfans auf mehr als 60 Shows in ganz Europa. Ihr zweites Studioalbum erklimmt durch die Live-Erfahrung nun ein noch höheres Level, vereint Klangstrukturen so verschiedenster Genres wie Grunge, Post Punk. Hard und Stoner Rock, teilweise in einem Song - das Markenzeichen von Last Bolt Ceremony! Heavy Psych Post Grunge für Fans von Fu Manchu, Daily Thompson, The Picturebooks, Truly, Okay You Win. CD und farbiges Vinyl erhältlich!

The UK Players & Friends Hills and Valleys, Rivers and Streams (A Tribute to Idren Natural) 9 brand new tracks by The UK Players. Voiced by Singers and Poets who knew Idren Natural personally. Recorded and Mixed by Supa Yout’ at Earth Works Studio, Amsterdam. Sleeve artwork and written testimonials from close friends and associates. Idren Natural aka Ras Natural aka InI Oneness, DJ, Singer, Chanter, Musician, was a pivotal player and pillar of UK/European Roots, Reggae, Dub, Sound System Culture. A humble Rastaman who did so much for so many, inasmuch as inspiring, encouraging, and connecting. He selflessly helped those less fortunate than himself. A strong advocate of the culture and philosophy of Rastafari. He was a commanding presence who lit up the stage, giving JAH all the glory. His passing was a great loss to the community. The UK Players Dub Band formed in 1996. They teamed up with Ras Natural/InI Oneness to record their debut 7” single ‘Further’ for Jah Works with Producer Jah Rej. This single gained exposure via Jah Shaka, Abashanti, and King Shiloh Sound Systems, even the famous Radio 1 DJ ‘John Peel’ played it. More recordings with Jah Rej at Seventh Sense Studio led to the debut album ‘Take Heed’. During the halcyon days of InI Oneness & The UK Players (1997-2004) they toured the UK and Europe, clocking up over 250 gigs in that time. Amongst brethren within the Rastafari community, the band became affectionately known as Ras Naturals band. Friends of Natural like Ras Iyah, Tony Roots, Sister Aisha, Wayne McArthur, and Barry Isaacs (among others) performed with them during this time. Members of InI Oneness & The UK Players never split up, throughout the years they branched out into other projects, reconvening for specials and one offs. Following Idren Naturals passing in 2022, the band stepped up to play his memorial show, where the idea formulated of making a tribute album to him. Ben King offered the use of Earth Works studio to help realise the vision. Work began with longtime live sound engineer Supa Yout’ in March 2024. Jah Rej assisted production on a number of these recordings, and sadly passed during the making of it, the last album he worked on. Various vocalists who were close to Natural, submitted vocals across the following year. The album was mixed and dubbed in March ‘25 at Earth Works by Soupa Yout' & Kingsway. Artwork and written memories/testimonials were then assembled. Everyone involved in the creation of this album knew Idren Natural personally. This album shines a spotlight on his spirit. Carrying songs of tribute, and messages for the times. ALPHA DUB: Every time the band played a gig, Natural would insist on starting with a dub. In that tradition, this album is no different. ‘Mandlion’ passing through the studio, headtopped a Melodica cut on it. Dubbed to the max by Supa Yout! NATURAL VIBE: The ‘Forward Fever’ crew from Belgium were one of the first collectives that Natural affiliated with in Europe. Here, Ras Cloud cleverly weaves all of Naturals song titles into the lyrics, creating a song in itself. WORD & FLESH: Fellowdread was born and raised in Kingston, Jamaica. Now living in Bristol, England, residing with Natural in his last days. His Poetry is rich in inflection, knowledge and wisdom, teachings that spark up the divine. ALL ABOUT LOVE: A pause for contemplation, this one stills the listener. Rootsman Rak’s words warn against complacency, and encourages action. A completely (natural) acoustic track featuring the skilled percussionist Jonah Dan. REMEMBER HIM: Inna Dubplate style, Barry Isaacs toasts to Idren in personal remembrance, reminding us all of the man he was. The track also features snippets of a phone call from Naturals oldest friend ‘Fergie Greenspears’ recounting memories. RISE UP RASTA CHILDREN: The legendary Tony Roots, graces the album with his unique delivery. Natural, The Players, and Tony go back a long way. A song of strength to affirm the soul, and rally against Babylon. Livicated to the one (Natural) SONG FOR THE RIVER MAN: During those halcyon days, many stages were shared with Albaroot, whom the band met whilst on tour in Scotland. Clark Innes (lead singer/songwriter) reminisces about the force of nature that was Natural, times shared, and that knowing, to never meet again. ONE STEP AHEAD: An interpretation of the ‘Look Inside’ riddim by Reuben Addis. Built for Sound System, it is the only track on the album that rolls into a dub. Lyrical Benjie literally entered the studio, rode the riddim without hearing it first, cutting his vocal in one take! A message for the times that sends shivers up your spine. THE PRAYER: Iman Onedub AKA Iman Gebre Iyesus, member of the Ethiopian Orthodox Tewahedo Church, met Idren Natural at Fairfield House in Bath. Here he seals the album with a recital of the Lord's Prayer in English, with Amharic. His rich textural tones elevated with a one away riddim to carry the listener home.

It’s safe to say that Rochester, NY rapper of Italian descent Pounds’ work ethic is unmatched: he’s constantly on the grind, loud in the lab but quiet on the outside, he wastes no time unlike many other big mouthed rappers these days and then, all of a sudden, he drops a bomb on you. To kick off 2018 in the best of ways, he released a 4-tracks collaboration EP with West Coast producer , 1/2 of Gangrene, Oh No entitled “Borgata”. The record opens up with “Last Supper” and with a clear statement of intent: “Run for your life, my cousin brought a drum and a knife, break my hand on your face I need a bucket of ice” just so you understand where this project is headed since the first song. His style is always direct, without any frills, with his trademark voice spitting gritty crime-themed bars that revolve around drug and the street life that raised him. A “borgata” in Italy is a “hood”, and Pounds, being the definition of an artist that talks the talk and walks the walk, couldn’t pick a better title for this project.

Limited edition vinyl release of 500 hand-numbered copies with etched B-side, black vinyl.

Each Mod Revival has a key album that brings an underground scene into the public domain. 'Scene 26' is the next logical step in showcasing the raw energy that Mod brings to music - established Heavy Soul Records acts SHARP CLASS, THE HORNETS and CIAN DOWNING rub shoulders with many first time on vinyl bands including THE XLNTS with a new anthem, and THE KOPPERS, SCARLETT FEVER and SOUTH STREET keeping the Mod Revival sound going. VELVET TUXEDO bring a 60s edge to proceedings before MODERN SYNDICATE and THE LAST ORDERS show how diverse the Mod sound is. Volume Two coming soon too....

Repress with regular picture sleeve (no gatefold) and without booklet!!


Since the last two years FloFilz played in the first league of european beat-producers. With his smooth jazz samples he catches them all: his 46.000 (!) Soundcloud-Fans, the "Beatgeeks" from Berlin, the "Rapkids" from the Splash Festival and the Boiler Room in London. With "Cenário" FloFilz continues his musically city-trip, which started in Paris with "Metronom" in 2014. For his new album he travelled with the photographer Robert Winter to Lisbon. The impressions from the trip FloFilz put into 16 new tracks, on two of them he gets support by jazzsinger Olivia Wendlandt (Relaén).
The "Cenário" LP comes in a perfect package with an effortful produced gatefoldcover including a 12 page photobooklet. The LP is limited to 2.000 copies.

Experience the music of Hans Zimmer like never before with this limited collector’s edition 2× color laser-etched vinyl. Featuring highlights from the acclaimed “The World of Hans Zimmer” albums, this premium release combines Hans Zimmer’s iconic music with cutting-edge vinyl design—an essential for collectors and fans alike. The set includes 10 electrifying tracks across the A-sides of two vinyl records, housed in a high-quality gatefold sleeve. The B-sides feature stunning laser-etched artwork instead of audio: a detailed clockwork design on one disc and a cosmic landscape on the other. These unique engravings reflect light across the full spectrum of colors, creating a stunning rainbow-like effect that changes with every movement of the vinyl.

This exclusive edition presents concert suites for orchestra, choir, and the legendary soloists of Hans Zimmer’s band, specially arranged by Hans Zimmer. Each suite reimagines the original film scores in a powerful new symphonic form. The album features excerpts from concert suites based on: Man of Steel, Wonder Woman, The Dark Knight, The Rock, Pirates of the Caribbean, No Time To Die, The Lion King, Gladiator, Interstellar, and Inception.

Performed by world-class musicians, including long-time collaborators such as Lebo M, Lisa Gerrard, and Pedro Eustache, alongside the Odessa Orchestra & Friends (conducted by Gavin Greenaway), the Vienna Radio Symphony Orchestra (conducted by Martin Gellner), and the Nairobi Chamber Chorus. A visually stunning and sonically powerful collector’s vinyl release—perfect for fans of film music, audiophiles, and Hans Zimmer enthusiasts.

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

"Life Is Beautiful Again" is the debut album of Nadine El Roubi, a Sudanese-born, New York-based singer, rapper, songwriter, and multidisciplinary artist.
The album is the culmination of music created over the last three to four years. While the album can be categorized as primarily neo-soul, its true genre remains fluid — shaped by influences in hip-hop, neo-soul,and indie music.

Both melancholic and powerful, introspective and self-assured, Life Is Beautiful Again explores personal and external chaos, womanhood, belonging, and the determination to maintain faith through struggle. Thematically, it marks a shift from her previous work. Where earlier releases were overtly political, defiant, and outward-facing, this album turns inward. It is softer, more reflective, and rooted in the belief that vulnerability can be its own form of strength.

Written and recorded over three years across four cities, the album carries the imprint of many different versions of a Sudanese woman navigating change, loss, love, ambition, and growth, these songs became a way of making sense of the world.
At its core, the album’s message is simple: even through the ugliest of times, life will always become beautiful again.

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut.

The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself.

Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002.

The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear.

The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music.

PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace.

Institut für Feinmotorik (*1997), artist-group originating from Black Forest working in various fields. In musical context known for transforming turntables into instruments by removing the records and instead applying rubber bands, paper scraps, household materials – resulting in a vivid laboratory for the productive misuse of everyday objects. This approach is documented in record releases and performed live.

The title of Ghost Bridge, the East-Coast-spanning chamber ensemble Hour's fifth record, is less metaphorical than one might expect. Bandleader Michael Cormier- O'Leary repurposed it from an unrealized movie concept about a bridge that inexplicably starts disappearing. On the nearly-ten-minute title track of this richly imaginative suite of songs_written for a 13-piece ensemble that includes woodwinds, strings, and vibraphone as well as a rock rhythm section_Hour conjures up this central image with spectral string harmonics and free-time percussion gestures. While writing the keyboard pieces that became the takeoff point for the album, Cormier-O'Leary also found himself reflecting on the loss of loved ones or even his own mortality. The six kaleidoscopic instrumental pieces on Ghost Bridge, though, feel more cosmically inquisitive than straightforwardly elegiac, sketching a progression from existential doubt toward understanding and acceptance. Ghost Bridge forms a contrast with Hour's art-rock-informed, more improvisatory early releases, representing a step further into intricate chamber orchestration. Known for his work with Friendship, Wendy Eisenberg, and 2nd Grade, Phillybased multi-instrumentalist and Dear Life Records founder Cormier-O'Leary has made Hour a home for increasingly cinematic instrumental compositions since the mid-2010s. With dazzling production by Lucas Knapp, Ghost Bridge delivers plenty of the live ensemble's trademarks, especially cyclically developing guitar and keyboard melodies. However, even more than on Hour's last studio album, unconventional harmonies and sophisticated counterpoint take center stage here. These emotionally multifaceted compositions feel as rooted in contemporary classical and film soundtrack music as in indie rock. One of the most striking elements of Ghost Bridge is the more significant developmental role the orchestral instruments assume in each piece. Instead of underscoring Cormier-O'Leary's central hooks, there is a new mesmerizing level of detail to the group's conversational interactions and kinetic energy. "Centralia" is a stately and idiosyncratic fugue built from repeated and overlapping phrases, while Ghost Bridge's compositions are full of unexpected pivots in harmony that allow recurring melodic motifs to sound continually reshaded. On "Pearls," the chords modulate drastically around Cormier-O'Leary's inviting central melody in a way that emulates cuts in a film telling several parallel stories. There is an unsettled quality to the chords on Ghost Bridge, with Cormier- O'Leary's progressions avoiding firm grounding in either clearly sunny or melancholy tonalities. This mood is made more concrete by the record's sole vocal track, the jazz-inflected "Sky is Blue," featuring an uncannily gorgeous performance by Heeyoon Won. The song seems to be a communication from a person who has departed, offering consolation or perspective to someone left behind. Though its sonic palette is often tranquil, Ghost Bridge explores heartbreak, grief, anger, and helplessness in a distinct and pretense-free way. The project represents a bold step forward for Cormier-O'Leary as a composer and arranger, and on Ghost Bridge Hour reaches its most fully realized form to date, connecting soaring themes with an inventiveness that perfectly suits the searching nature of the subject matter.

Recorded again at the legendary Kerwax Studio by Christophe Chavanon, fully on analog tape and gear, Witchthroat Serpent's latest LP "DEMONS LEFT TO ROAM" is yet another hymn to the last century's sordid dreams and fears, moral panic and the creepy costumes from Halloween in the 30's. Huge and gritty walls of guitars, rumbling stereo bass and plundering ritual drums. Songs of horror tales and satanic litanies, carried by haunted vocals.

Orange vinyl, limited to 300 copies. Recorded again at the legendary Kerwax Studio by Christophe Chavanon, fully on analog tape and gear, Witchthroat Serpent's latest LP "DEMONS LEFT TO ROAM" is yet another hymn to the last century's sordid dreams and fears, moral panic and the creepy costumes from Halloween in the 30's. Huge and gritty walls of guitars, rumbling stereo bass and plundering ritual drums. Songs of horror tales and satanic litanies, carried by haunted vocals.

TEMACHII creates immersive worlds where music, visual art, nature, and emotion blur together. Evoking the hazy surrealism of a once forgotten dream, the San Antonio-based multi-instrumentalist has built a devoted global audience through ethereal soundscapes, hand-crafted visuals, and songs that feel both deeply personal and universally comforting. Her music pairs ambient textures and dream-pop charm with an intimacy that feels like eavesdropping on an artist in conversation with herself—absorbing influences like Radiohead, Fiona Apple, Mitski and Aphex Twin while remaining less guided by genre than by feeling.

Her 2023 debut, flora maniia, was anchored by the 50 million-streamed hit “may you never forget me,” blending hypnotic acoustic guitar, lilting synths, and airy vocals into a reflection on love, memory, and the desire to leave a lasting impression. The follow-up LP, akrasiia, arrived later that same year, revealing a more stripped-back side of her sound while preserving the wonder at the heart of her work. Together with 2024 single “not/lost,” the releases have brought Temachii's art to fans around the world, a reach that feels especially meaningful given her Puerto Rican heritage. More importantly, they have transformed that audience into something more meaningful than simply streams and likes: a space for listeners to feel both safe and seen.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

This album is a glimpse into the creative outpouring from Todd in September and October of 2025. He returned to the Purple Building in East Nashville to perfect what he called “the sound of country music 10 years from now”. This meant taking his favorite country music tropes, dismantling and reassembling them over stretched-out, swampy grooves with New Orleans-style horns. He was so sure of this sound, feel, and his studio band's pliability that he insisted on recording his vocal and guitar first, with no accompaniment or click track. Todd wanted the band to record after him, so they would HAVE to follow his lead wherever it went. In his mind, he was attempting to write and record a double album. His excitement over the recordings and the push to capture that much material meant that by mid-October, Todd had recorded his vocal, guitar and the band's rhythm section for at least an album’s worth of material, with plans to continue recording. Sadly, Todd passed away before the remaining overdubs and additional songs could be completed. Fortunately all the notes, directions and encouragement he left behind in the form of emails, voice memos and demos provided an extensive roadmap for his band. Following that roadmap as closely as possible, his band was able to complete Todd's last work, My Second Rodeo, Part 1.

,Es ist ein Bedroom-Album, das sich aber gar nicht wie eins anfühlt", sagt Glenn Morrow, Gründer von Bar/None Records, über ,Reseda Spleen", das lange verschollene Album von Ventilator aus dem Jahr 1996. Nach Jahren bei Permanent Green Light wurde Matt Devine klar, dass er weiterziehen musste. Devine stürzte sich kopfüber in sein neues musikalisches Kapitel: mit Earle Mankey als seinem musikalischen Mentor, Todd Rundgrens Klassiker ,Something/Anything" aus dem Jahr 1972 als konzeptionelle Inspiration und einem gebrauchten Tascam 388 - gekauft von einem Stuntman bei ,Mighty Morphin Power Rangers" -, den er in seiner Wohnung in North Hollywood aufstellte. ,Reseda Spleen" hätte bei Liebhabern von lautem, gitarrenlastigem Pop eigentlich Anklang finden müssen. Leider blieb die Existenz des Albums, wie bei so vielen Indie-Veröffentlichungen davor und danach, so gut wie unbemerkt - abgesehen von zwei begeisterten Kritiken (von ,The Big Takeover" und ,TapeOp"), die erst lange nach dem Verschwinden von ,Reseda Spleen" aus der Szene erschienen. ,Es ist so ein zeitloses Album", sagt Rob Zabrecky Possum Dixon. ,Es hat nicht diesen schrecklichen Glanz, mit dem damals so viele Bands überzogen wurden, und Matt hat nicht versucht, seine Gitarre wie Nirvana klingen zu lassen oder den Lo-Fi-Weg wie Pavement einzuschlagen; er war so im Reinen mit sich selbst und seiner Vision, dass ihn all das nicht beeinflusst hat. Es ist einfach so schön, dass diese Songs wieder herauskommen, denn ich glaube, die Leute müssen sie hören."

Four years after their last release, Misery Index mark their return with a new EP available digitally and as an exclusive 7-inch vinyl pressing, released in collaboration with Time to Kill Records. The release is spearheaded by the new single 'Feral Future'-a punishing, breakdown-laden cautionary tale in classic Misery Index tradition-complemented by a live B-side version of 'Rites of Cruelty'.

The Big Bad Shark Is Back With Two Slices Of Signature Rufige From Label Heads Gremlinz & Jesta On Coke White Vinyl.

DPRTNDRP make a long-awaited return to Infernal Sounds with 'Byrnei', a release that's been quietly building anticipation across the 140 scene. Following their acclaimed 'What Ya Mean' EP in 2020, the duo are back with five heavyweight cuts that showcase exactly why they've remained one of dubstep's most respected production outfits for well over a decade.

Opening with the title track, 'Byrnei' wastes no time setting the tone. Rolling with DPRTNDRP's unmistakable swing, weight and groove, it's a certified soundsystem weapon - built to lock dancers into its hypnotic rhythm while delivering devastating low-end pressure.

Next up, 'Jiaozi' shifts into overdrive. A relentless barrage of razor-sharp percussion, cavernous basslines and seismic energy, it's an uncompromising slice of peak-time dubstep designed to hit with maximum impact from the first drop to the last.

'Fury' explores a deeper side of the duo's sound, drawing influence from their dub-focused alias, D-Operation Drop. Rich in space, texture and heavyweight sonics, it perfectly blurs the line between traditional dub and modern 140, combining meditative atmospherics with chest-rattling low-end.

Adding another dimension to the EP, Causa steps in to rework 'Fury', twisting the original into a hypnotic, distorted roller. Layered with his unmistakable wobble-heavy aesthetic, the remix pushes the track into darker territory, delivering an immersive journey of oppressive bass weight and razor-sharp sound design.

Bringing the release to a thunderous close, 'Backfire' is pure, uncompromising pressure. Stripped back, direct and devastatingly effective, it's arguably the heaviest moment on the EP; a no-nonsense soundsystem destroyer that leaves a lasting impression.

From start to finish, 'Byrnei' is a statement of intent. It's a masterclass in weight, groove and precision, reinforcing DPRTNDRP's status as true innovators within the 140 landscape. With five expertly crafted cuts destined for dancefloors and soundsystems worldwide, this is another landmark release from two producers operating firmly at the top of their game.




[d] B2. Fury [Causa Remix]

Fidel Kato is a producer based in Rome, Italy. In its sound we hear reminiscences of the boom hip-hop mixed with Latin jazz and today's Lo-Fi trends. In his upcoming full-length “Black Pepper” his productions are enriched by the presence of live instrumentation. Record drops on all digital platforms November 6th and Tuff Kong Records will be releasing it on vinyl November 23rd.

Butt Rockin' is the third of the first four studio albums released by The Fabulous Thunderbirds and it features Jimmie Vaughan on guitar with Kim Wilson on vocals and harmonica, Keith Ferguson on bass with Fran Christina on drums Guests include the Roomful Of Blues horn section plus Al Copley and Anson Funderburgh. It is also now available as a 12" blue vinyl edition from the original master tapes - but the vinyl edition does not include the CD bonus tracks.

Leading the charge was a young band from West London called Pressure Point, whose debut single Mellow Moods caused a real stir on its release in 1985. The Stan Getz-inspired bossa nova was released initially on Viceroy Records, and immediately punched well above its weight, thanks to the considerable talents of producer Steve James, vocalist Lydia Gayle and some of London's leading session musicians: saxophonists Jamie Talbot and Ian Trimmer, trumpeter Steve Sidwell and his brother, trombonist Neil, and keyboard player Simon Etchells. It quickly became Capital Radio's 'People's Choice', winning praise on air from the likes of Kid Creole himself - August Darnell - and went on to be re-released by Bellaphon in Germany and by Gilles Peterson's HardBack Records. It is widely viewed as a rare groove classic, with copies changing hands for hefty sums in the following decades. London- based Pressure Point's core members were Matthew Best, Anthony 'Hugo' Longden and Sean Maher, who went on to work with Soul Legend Miss PP Arnold to complete 'Dreaming', a now legendary and as yet unreleased 1989 album

Their music draws from old folk sources, but it sounds vibrantly alive. On The Holy Coming of the Storm, their debut from 2010, the duo crafts original songwriting and seasoned acoustic musicianship into a timeless blend of old-time, bluegrass, folk and Americana traditions. Now, more than a decade later, these beloved recordings are finally being pressed on vinyl for the very first time in special limited-edition releases. Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen's vocals reflect the warm glow of Eli's voice, it's clear that this duo was made to sing together

The results of the recordings were a charming, thoroughly entertaining Christmas record, highlighted by fine versions of "White Christmas", "Let It Snow! Let it Snow! Let It Snow!", "Winter Wonderland", "Baby, It's Cold Outside", "The Christmas Blues", "Rudolph, The Red- Nosed Reindeer" and bonus broadcast recordings of "Silent Night", "Silver Bells" and "It's Beginning To Look Like Christmas."

Deathbomb Arc has a long history of bringing unlikely artists together for collaborations. From True Neutral Crew featuring Grammy winner Daveed Diggs (clipping.), SB The Moor, and members of Ratsmagick to the Arc Mountain album which paired artsts from the Deathbomb and Hausu Mountain rosters including Fire-Toolz (WARP) and They Hate Change (Jagjaguar). Now Deathbomb is excited to share this surprise crew release from BBBBBBB, Fatboi Sharif, and Ratsmagick, entitled 'Christmas in Sodom'.
All three acts come together for the title track, and then contribute solo efforts to expound on the dark absurdist themes in their own manner, providing a deconstruction of how all the styles were combined.
The duo of BBBBBBB are leaders of the underground electronic hardcore scene Japan, often playing alongside their peers and collaborators, Dos Monos. BBBBBBB released 'Positive Violence' on Deathbomb Arc last year and will release their followup with the label this coming fall in conjunction with their 2nd tour of the UK/EU.
Fatboi Sharif's most recent full lengths are an impressive one-two punch released by Deathbomb Arc and then Backwoodz. Sharif returns to the EU/UK this Sept, after a special appearance at the Clipping. curated 'Splendor & Misery' fest in New York in Aug.
Relative newcomers, the Philadelphia based Ratsmagick, are masterminded by Dennis Martinelli of Knifeplay. This loose 7ish piece group includes Deathbomb Arc founder Brian Miller of Foot Village (Fat Cat) as one of their two, dueling drummers. Outside of Knifeplay's extensive touring schedule, Dennis has found time to finish a Ratsmagick full length due on Deathbomb this winter.

"Guitarize the World" lässt die außergewöhnliche Erfolgsgeschichte des genreübergreifenden Gitarrenduos Café del Mundo erstmals auf einem Album erklingen und versammelt einen Querschnitt der mitreißenden Arrangements aus Klassik, Filmmusik und Pop, mit denen Jan Pascal und Alexander Kilian ihr Publikum weltweit bei ihren spektakulären Live-Auftritten begeistern. Aufgenommen in legendären Studios wie Abbey Road und in Zusammenarbeit mit renommierten Ensembles wie dem Royal Philharmonic Orchestra oder dem Deutschen Filmorchester Babelsberg, präsentiert "Guitarize the World" den unverwechselbaren Sound des Duos in mehr als 20 Tracks. Von reduzierten Gitarren-Miniaturen bis hin zu opulenten Orchesterarrangements umfasst das Album eigene Kompositionen wie "Dance of Joy", "Space Gitanos" und "Smile", Adaptionen klassischer Titel wie "Clair de Lune" und "Air on a G-String", Arrangements von Filmmusiktiteln aus "Interstellar", "Cinema Paradiso" oder "Forrest Gump" sowie bombastische Cover von Pop-Hymnen wie "Viva la Vida", "With or Without You" und "Smooth Criminal". Darüber hinaus enthält das Album exklusiv ein Arrangement von Beethovens Klavierkonzert Nr. 5 für zwei Gitarren. Die 180-g-Color-Vinyl-Edition beinhaltet 23 Titel auf 2 Schallplatten in Grün und Pink im hochwertigen Gatefold. Exklusiv in diesem Format enthalten sind die Aufnahmen von "Blessing", "Easy" und "Smooth Criminal". Die limitierte 2-CD-Edition enthält die 20 Titel des Albums sowie als Bonus-CD "80s Unplugged" mit 13 Gitarrenarrangements legendärer Klassiker der 1980er-Jahre, darunter "Everybody Wants to Rule the World", "Time After Time" und "I Still Haven't Found What I'm Looking For".

Nur wenige Bands der Heavy-Metal-Szene haben im vergangenen Jahr einen ähnlich kometenhaften Aufstieg erlebt wie ORBIT CULTURE. Das Album "Death Above Life" des schwedischen Quartetts ist nicht nur ein Beweis dafür, wie weit die Band gekommen ist, sondern es ist der Sound von Metal in seiner modernsten Form. "Das Album steht für einen Neuanfang", sagt Niklas Karlsson, Gitarrist, Sänger und Songwriter von ORBIT CULTURE. Produziert von der Band und gemischt von Buster Odeholm (Humanity's Last Breath, Vildhjarta, Thrown), ist "Death Above Life" ein Statement für Metal allgemein: seine Gegenwart und Zukunft. Zudem ist es ein entscheidender nächster Schritt für ORBIT CULTURE.Neben ihrem DIY-Ethos und ihren kompromisslosen Dark-on-Dark-Visuals prägt laut Karlsson seine Vorliebe für Soundtracks und cineastische Soundscapes ihren Sound und ihre Vision. Komponisten wie Hans Zimmer (Dune, Interstellar) und Howard Shore (Der Herr der Ringe) hätten einen großen Einfluss auf die Band. "Wahrscheinlich deutlich mehr als aktueller Metal", sagt Niklas. "Jeder von uns würde sich lieber den Soundtrack von 'Inception' anhören, weil er zeitlos ist. Wenn ich beim Schreiben nicht weiterkomme, bieten mir z.B. Cello oder Klavier neue Möglichkeiten. Wir schreiben einfache Riffs und Strukturen, und wenn wir uns dabei von einem Künstler wie Hans Zimmer inspirieren lassen, kommt ein Song wie 'Inferna' heraus, weil wir den Chorus größer und cineastischer machen." Die "Death Above Life (Deluxe Edition)" vertieft das filmische Konzept und enthält zwei bisher unveröffentlichte Titel sowie den japanischen Bonustrack "Nuclear God" und eine ganz besondere Version des herzzerreißenden Schlussstücks: "The Path I Walk ft. Tina Guo". Beide physischen Ausgaben, das Ltd. Deluxe transp. sea blue-golden yellow splattered 2LP-Artbook und das Ltd. 2CD-Mediabook, kommen mit umfangreichen 40-seitigen Booklets, die auf die vergangenen 1,5 Jahre zurückblicken und Einblicke hinter die Kulissen gewähren.