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The second release from Irish label IL Corpo Records comes from Dublin native Dave Hughes. The Fastplay E.P. sees the accomplished audio engineer and Dj return to production duties with 4 carefully crafted excursions into mid tempo deep house with elements of dub and techno. Having had multiple releases on John Tejada’s legendary Palette label and iRecords amongst others, the production values are top notch and well executed making this an interesting listen indeed.

Fastplay chugs along building gradually before sultry vocals from Svelte weave their way into the mix and beckon the listener to the dance floor for the night ahead.

Feel Better is a downtempo dubby experiment inflected with a dose of rave nostalgia.

Walk Alone sees more atmospheric chord work and well chosen percussion that cements the sentimental feel of the E.P.

Tabouli rounds out the release with broken beats wrapped up in mid eastern rhythms. Moody chords and a G Funk lead line keep the groove evolving to the end.

To celebrate its 25th anniversary, XL Recordings today announce a special, expanded version of Leila’s acclaimed second album Courtesy Of Choice. Originally released on 11th September 2000, the album followed the success of her Rephlex Records debut Like Weather and felt like a broadcast from a futuristic radio station no one else could tune into. Twenty-five years on, alongside collaborations with the likes of Bjork, Aphex Twin and Terry Hall and iconic performances at the likes of the V&A and Venice Biennale, more and more listeners have found the frequency. While Courtesy of Choice's influence continues to transmit through contemporary culture. the Iranian-born, London-raised producer remains utterly singular:

"I realised very early on that people don't really belong anywhere. That's what gives me the freedom to do any kind of music...I don't feel any commitment or loyalty to anything. My commitment is to noise." – Leila


This new version, Courtesy Of Choice… asides and besides, re-presents the original 14 track album — including the previously vinyl-only “Relax the Pleasuredome” — alongside a wealth of unreleased material. Leila chose to re-edit rather than remake the album (she has all the original data… midi and audio), choosing to set the parameters of only recovering buried details while preserving its spirit. “I wanted this reissue to be honest,” she explains. “Nothing added, just making sure the performances came through as they were meant to.” Among the twenty unheard tracks are Roya Arab’s striking collaboration on Cabaret classic “Mein Herr,” the surrealist collage “A Reasoning” with a sample of Max Ernst, the hypnotic “Acid Frog Fave,” the digi rave blowout “Birdie Rave,” and “techyarr”’s future forever funk from the realm of primetime Neptunes. Together they reveal both the breadth of Leila’s vision and the enduring power of an album that continues to sound ahead of its time.

(Remix by Komakino) (2025 Replika)
Ein monumentales Stück deutscher Rave-Kultur kehrt zurück: Mehr als dreißig Jahre nach der Erstveröffentlichung erscheint Joachim Witts „Goldener Raver“ im legendären Komakino Remix als originalgetreue 12“-Vinyl-Replika.
Als der Song 1995 erschien, markierte er die spektakuläre Transformation eines der profiliertesten deutschen Künstler in die Welt des Techno und Trance. Die Frankfurter Formation Komakino verlieh dem Track eine hypnotische Energie, die ihn sofort in die Playlists der großen Clubs katapultierte. Seit Jahren vergriffen und auf dem Zweitmarkt heiß begehrt, schließt diese Neuauflage eine schmerzhafte Lücke in jeder gut sortierten Vinyl-Sammlung. Gepresst auf schwerem schwarzem Vinyl (45rpm) und verpackt in der klassischen Disco-Bag mit Loch und Sticker, atmet dieses Release den Vibe der Neunziger aus jeder Rille.

Following his well-received label debut Sideways, Seliga returns to Trance-Atlantyk with his latest release, Lush. This four-track package features three versatile club cuts alongside a heavyweight remix from fellow mustache-sporting maestro, Pablo Bozzi.

The title track, “Lush,” continues the dreamy-yet-euphoric path blazed on his previous record, expertly blending dubbed-out tech house rhythms with evocative, Orbital-esque soundscapes and sparkling melodic leads. Taking the energy up a gear, Pablo Bozzi delivers a remix that remains respectful to the original’s core while injecting it with his trademark high-octane “bozziness” and playful nods to speed garage.

On the B-side, “Tech House 3000” offers a more direct, straightforward club banger. Reminiscent of the early-2000s tech house sound, the track is seasoned with tripped-out bleeps and classic dub sirens for a psychedelic touch. Finally, the EP rounds out with “That HOR Track,” a piece originally drafted for Seliga’s live set during Trance-atlantyk’s HÖR takeover. It serves as a sophisticated take on classic 90s house, driven by that iconic Korg M1 organ bassline, syncopated percussion, and sweet, luscious synth pads.

Originally released in 1988 on the compilation Acid Tracks Vol. 3 via Needle Records, "The Other Side" has long been recognised as a potent example of early Chicago acid house. Now, more than three decades later, the track receives its first official 12" release - and, crucially, its first release with the original artists correctly credited. While historically attributed to Maurice Joshua, "The Other Side" was in fact produced by Da Posse (Hula Mahone), with vocals by Martell. This forthcoming release marks the first time that the original production has been properly acknowledged and presented in its intended standalone 12" format, restoring authorship to the artists responsible for the record's creation. The release is issued by Island Life Records, a Bali-based label with a growing reputation for carefully curated projects that bridge foundational dance music history and contemporary club culture. By formally reintroducing "The Other Side" with accurate credits, Island Life Records contributes an important corrective to the historical record of Chicago house and acid house music. Musically, "The Other Side" remains a striking artefact of its era: minimal, hypnotic, and emotionally charged, balancing raw machine-driven groove with an atmospheric vocal presence. It exemplifies the experimental, DJ-led ethos of late-1980s Chicago, where tracks were built for function, feeling, and longevity on the dancefloor rather than commercial visibility. The release is accompanied by a set of new remixes that respectfully extend the track's legacy into the present day. Remix duties come from Island Life Records founder Garry Todd under his Clouds Of Kouros alias, Johnny Aux (one half of Paranoid London), and Age Of Hyperion, with the digital including a remix from Garry Todd, each offering a distinct contemporary interpretation while retaining the spirit and tension of the original recording. This release stands not only as a long-overdue physical edition, but as a historically significant moment: the first time the original production has been released on 12", and the first time the correct creative contributors have been formally recognised.

(Early support by Ben Klock, DVS1 & Rene Wise) DHÆÜR makes his debut on Dustin Zahn's Enemy Records with 4 stripped down Techno tools ranging from "relentless and heavy" to "grooving and introspective." Each track offers a different approach to minimalistic Techno, all rich in moody atmospherics.

In classic A1 fashion, "Bayes Theorem" is the heaviest track on the record. Throbbing sub bass meshes together with pedaling hi hats while vocal chops and modulating synth work cover the top end. It's sinister and pounding, yet retains a sense of groove without becoming too aggressive. "Perception" closes the A side with a deeper and more introspective approach. The bass fills in only where necessary,leaving the pads and bleepy synths to do all the heavy lifting.

"Scanning" kicks off the B-side, defined by a rolling bass line and moody chord stabs. It gives the dance floor exactly what it needs and nothing more. The record comes to a close with "5th Avenue." It's deep, steady, rolling, and dripping in polymeter synth pulses. Brief glimpses of vocal phrases offset the darkness, giving it a bit of funk and playfulness...making it essential for deeper late night sets.

Repress !

Way back in 1981, two musicians got together to make a record. Mike Collins played guitar and had just bought a Roland CR78 - the first programmable drum machine. Keith O'Connell played Fender Rhodes piano and Prophet 5 synthesizer. Excited about the quirky and unusual instrumental track they'd composed, when the duo entered London's Utopia Studios to finish off their creation, neither could have predicted what was to follow... Now viewed by many as one of the most influential early electronic dance records, 'Rude Movements' was swiftly picked up on by David Mancuso, who used it to devastating effect at his infamous 'Loft Parties', in turn introducing it to Larry Levan, Frankie Knuckles, David Morales and Kenny Dope, a group of young DJs who would go on to write the blueprint for dance music as we know it.

In the more than 35 years since its release, 'Rude Movements' has continued to inspire and excite, sampled by The Bucketheads' classic House track 'Whew!' (featured on recent BBE compilation '20 years of Henry Street Records') and listed by a veritable 'who's who' of dance music's elite as an all-time favourite. Rare and much sought-after on vinyl, BBE are happy to announce the release of a fully remastered version of 'Rude Movements' presented alongside the original demo version 'Raw Movements', plus three other versions of the iconic track. Also included on the vinyl package are the Afrika Bambaata inspired 'Street Beat' and 808/MiniMoog workout 'Palace Strut', as well as three other 80s SunPalace compositions. CD and digital versions expand the catalogue still further, with more experimental SunPalace magic. Timeless original, quirky and unique, these recordings are set to inspire yet another generation of DJs,
producers and music fans.

A Consummate Fusion of Wit, Humor, Satire, Honesty, and Chaos: Warren Zevon’s Excitable Boy Captures Dark Elements of American Culture with Uncanny Insight

• Sourced from the Original Analog Tapes for Definitive Sound: Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set and Hybrid SACD Play with Explosive Dynamics and Airy Openness

• Jackson Browne-Produced Album Includes “Werewolves of London,” “Lawyers, Guns, and Money,” and “Roland the Headless Thompson Gunner”

Excitable Boy established Warren Zevon as rock’s gonzo figurehead — or, as Jackson Browne aptly called him, “the first and foremost proponent of song noir.” A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that’s even sharper today than upon the effort’s release in 1978. Its hard-boiled narratives owe to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by Breaking Bad and Better Call Saul creator Vince Gilligan. And the music has never sounded so excitable. Sourced from the original analog master tapes, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set and hybrid SACD elevate the best-selling album of Zevon’s career to audiophile status.

Co-produced by Browne and Waddy Wachtel — and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, and Browne — the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics; sterling transparency that draws a through- line to the original sessions at the Sound Factory; and a presence that enhances the body and tenor of Zevon’s vocals. Like the hairy creatures in “Werewolves of London” and the ghosts wandering the corridors of Excitable Boy, Zevon’s legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.

A: “Must have been love” is a timeless soul gem by Mr Wornell Jones recorded back in 1979 Sexy sultry groove, with dreamy vocals and a smooth soulful arrangement. You need this is if you love soul music.

B: “Only love can make it better” is another stunner from the album This also features the wonderful vocal of Ms Maxayn Lewis.
Don’t miss this 7” 45rpm small hole release x 350 only

Also, as a limited edition we are making x 200 Japanese sleeve with an obi strip.

Nanook of the North is back with their second album, following the enthusiastically received 2018 debut "Nanook of the North," (Denovali) The duo of a composer and violinist Stefan Wesołowski and electronic producer Piotr Kaliński were acclaimed by Boiler Room, The Wire or NPR. Bob Boilen of Tiny Desk Concerts called Nanook of the North's performance "one of the wow moments of SXSW". Their new material is a raw and minimalist sonic landscape, practically devoid of percussive elements but featuring vocals by an acclaimed mezzo-soprano Margarita Slepakova. As with the debut, the music on "Heide" is rooted in nature and its primordiality. The title of the album alludes to wildness and untamedness, and the material was recorded last winter in a village located in the middle of forests in the northern Poland, which is clearly felt in the atmosphere of the 9 new tracks on "Heide".

Stefan Wesołowski is a Polish composer and violinist, author of critically acclaimed original albums and film music scores. Associated with publisher Mute Song and record labels like Important Records, Lakeshore Records, Ici D'ailleurs and Back Lot Music. He is an author of original soundtrack to „Listen to me Marlon” (Universal) - Oscar-shortlisted and BAFTA-nominated documentary on Marlon Brando directed by Stevan Riley and original soundtrack to Irish feature film by Nathalie Biancheri entitled „Wolf” (Focus Features), starring Lily-Rose Deep and George MacKay, premiered 2021 at Toronto Interational Film Festival.

Piotr Kaliński is na electronic music producer and guitarist. Based in Gdańsk, Poland. Associated with record labels like R&S Records and Instant Classic. Member of Hinode Tapes, Hatti Vatti and JANKA bands. One of the most active figures in Polish alternative scene - in last few years he performed live in many countries across Europe, Japan, Korea and United States. Kaliński is an author of original music for short films, fashion brands campaigns like Calvin Klein or Paul Smith and games (i.e. „Cyberpunk 2077”).

Margarita Slepakova is a coloratura mezzo-soprano specialized in the field of historical practices of early music. Based in Switzerland, she is a renowned opera, concert, and recital singer, collaborating with ensembles and orchestras all over Europe. Slepakova is a founder of Le Sommeil project, specializing in French music of the 17th century. She sang in many concert halls and opera houses including Carnegie Hall and Royal Albert Hall during BBC Proms. Margarita also performs contemporary music and has premiered pieces written especially for her voic

Alongside with the release of the new album “Tote Winkel”, Sankt Otten will be delighting us with another limited vinyl bonus release. “Hymnen und Helden” (hymns and heroes) is a collection of cover versions created over the last few years. As the album title suggests, it pays homage to self-proclaimed musical hymns and heroes from the seventies and eighties.

HYMNEN UND HELDEN – track by track: A well-known Moog sequence leads us on the way into the cover album. Giorgio Moroders 1977 disco classic “I feel love” has been tackled here. Sankt Ottens instrumental interpretation starts out familiar, but ends in a slightly disturbing disharmony of mellotron and ebow guitar.

The instrumental version of the melancholy Wipers anthem from 1983 starts with a rather unusually fast 808 beat for Sankt Otten. The 80s electronic echoes suit the punk rock earworm “Doom Towen” surprisingly well.

Without Deutsch Amerikanische Freundschaft, more unusual electronic music would hardly have been conceivable in Germany in the early 1980s. “Alles ist gut” tribute to this band and singer Gabi Delgado-Lopez, who passed away in 2020 and with whom they shared the festival stage in 2015. Gabi‘s lyrics are rendered by text- to-speech software with the voice of an unknown Claudia.

“Wishing (If I had a photograph of you)” was made famous in 1982 by A Flock of Seagulls. This record was regularly played on Stephan Ottens turntable back then. Reason enough to remember this with “Sehnen (Hät- te Ich von dir eine Fotografie)”. The recordings for this album were made in 2007 and have been updated and completed in the last year. Carsten Sandkämper, who was also featured on Sankt Ottens debut album “Eine kleine Traurigkeit”, contributed the vocals and lyrics.

The Swiss band Grauzone became famous with the NDW hit “Eisbär”. Instead of this title, they took on the B-side of this single with “Ich liebe sie”. A synthpop love song full of innocence, stylishly sung by Carsten San- kämper and refined with Kraftwerk-like choral sounds and an herbaceous motorik beat.

The band has enjoyed a personal friendship with Harald Grosskopf since their collaboration in 2013 on the album “Messias Maschine”. With “So weit, so gut”, they take on his little hit from the album “Synthesist”, which is one of the gems of the synthesizer albums of the eighties.

“Kriegsmaschinen, fahrt zur Hölle” is an anti-war song from 1974 by Günter Schickert, the Berlin master of the echo guitar. Unfortunately, the lyrics are still relevant. Oliver Klemm contributes the delay guitars and Stephan Otten puts the lyrics through a vocoder. Sankt Otten compress the 17-minute original to just under 5 minutes and move it musically from the 70s to the 80s.

Sankt Otten’s adaptation of David Bowies “Heroes” is equipped with warm Juno 106 sounds, ebow guitar and synthesizer pads. The German “Helden” version, known from the movie Christiane F. – Wir Kinder vom Bahnhof Zoo, is sung in a touching way by Carsten Sandkämper.

New York-based Rafael Anton Irisarri was responsible for mastering the record. As part of the series with graphic covers, this die-cut artwork was also created by Mexican designer Daniel Castrejon. The one time only vinyl pressing, limited to 350 copies, comes in a beautifully designed die-cut cover and colored vinyl. The Osnabrück duo Sankt Otten, founded in 1999, have been releasing on Denovali since 2009. The band has dedicated itself to the holy trinity of Krautrock, Ambient and contemporary Electronics.






d Sehnen [Haette ich von Dir eine Fotografie]

Taroug is the solo project by drummer and electronic music producer Tarek Zarroug with roots in the suburbs of the Tunisian desert and having grown up in Germany. Following the release of his 2020 EP, "Perpetual," as well as a number of notable remixes for artists such as Archive, Taroug has continued to refine his musical aesthetic.

Taroug's debut album Darts & Kites, set to be released on Denovali Records, draws inspiration from the Penrose tiling and explores themes of change and transformation. Fascinated from the pattern's unending possibilities, Taroug incorporated its infinite permutations not only into the album's nine tracks, but also in the cover art design. Darts & Kites showcases a blending of genres and styles, resulting in a sonic landscape, that is both hunting and beautiful. Experimental and abstract soundscapes are enriched by oriental influences, collected field recordings, pulsating dark beats and hypnotic vocals.

The album also features the contributions of other notable artists, including Beate Wolff's cello performance on Jewels I. Benedikt Koch's saxophone adds a sense of controlled chaos with delayed and swelling notes to the track Deguech, while Timo Schieber's piano provides a crucial element of the album's title track, Darts & Kites. Niklas Genschel lends his vocals to Queen of Carthage, which also features the saz playing of Abdallah Abozekry.

Created in collaboration with architect and designer Marie Brosius, the album artwork captures different ornaments reflecting the album's content. Darts & Kites is a mosaic of sound, blending together elements of unfamiliar and familiar.

Dictaphone are back with their 6th full length called "Unstable". In the 25th year of the project Brussels born composer and mastermind Oliver Doerell is surrounded again by a lot of musicians & friends. Roger Döring is there, his clarinet and saxophone play has always been a trademark sound of the band - also Alexander Stolze's ghostly violins. The dark atmosphere and experimental sound of the new album is a reference to the 80s belgian art music scene, which Doerell had the luck to experience in his formative years. Minimal jazz meets musique concrete meets a postpunk mind. On this new album “Unstable“ more voices and vocals than usual can be heard - especially Helga Raimondi (who already sang on the last album “Goats and Distortions 5") . As a collage artist she is also responsible for the visual side of Dictaphone - she designed the cover artwork and the visuals for the live shows.

The Brussels-Berlin-Teheran connection: Other guests on "Unstable" are the voices of Kaveh Ghaemi and Ashkan Afsharian, who Doerell met during a modern ballet production by Modjgan Hashemian (2008). The trumpet of Shahab Anousha can be heard in the track “La fin“ - Oliver Doerell and Shahab Anousha also share the spoken words Project “Noufān”. For nearly 20 years Oliver Doerell is linked to the Iranian Diaspora in Berlin and the Dictaphone track “Rattle” from the classic album “ Poems from a rooftop “ (2012) has been a hit in Teherans underground scene since the beginning. Furthermore the title track “Unstable“ is a homage to Ian Curtis of Joy Division. The words of this piece are based on the setlist of Joy Divisions last show.

Dictaphone played more than two hundred shows all over the world (including festivals Mutek, Transmediale, Unsound , Benicassim and many others). Their music can be heard in countless films, tv series and theatre pieces - (“the responder“ (BBC) , “the love he knows” (Ali Mohammad) , “Don´t move“ (Modjgan Hashemian) , Ring (Felix Ruckert) among others.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

Written during a period of geographic and artistic transition, Country Music traces Severin Black’s movement from London to Berlin, unfolding through cycles of isolation and adaptation. Composed on the city’s periphery, the album’s material was continually dismantled and reassembled, reflecting a process of both artistic and personal reconstruction. The album marks a shift in production methodology, moving away from the immediacy of summed live takes toward a more deliberate, stratified multitrack approach. Sparse yet hypnotic, the record distills layers of sound formed by constant relocation, recurrent solitude, and a recalibration of instinct. In many ways, it echoes the experience of exile, not in a political sense but in the quieter, more insidious form of displacement that alters one’s perception of time and self. The music drifts between structure and dissolution, a reflection of existing at the threshold of different spaces—both physically and sonically.

The shedding of the previously used Nape moniker signaled a decisive sonic transformation, informed by extended time spent in the Pyrenees and a renewed engagement with folkloric material. Severin began playing the clarinet while making this record, and though its presence is minimal, it reveals itself as an interest in acoustic simulation, particularly the digital approximations of classical instruments that emerged within 1990s synthesizer technology. This interrogation of authenticity and mediation parallels the album’s thematic engagement with memory, where recollection functions not as a retrieval of fixed experience but as an iterative process of distortion and reconstruction. The relocation to Berlin reignited an affinity for grime music, evident in the syncopated brass of Pilgrim Wine and the fractured vocal layers of March, while memories of childhood in rural Wales permeate the record’s atmospheric spaces. The album includes contributions from longtime collaborator Vanessa Bedoret and Berlin-based artist Pavel Milyakov (Buttechno).

Country Music situates itself within an unresolved dialogue—between past and speculative futures, between folk lineage and digital fragmentation, between place and its embodied and sonic traces. What emerges is not a fixed statement but a process, an ongoing negotiation between what is left behind and what is brought forward. Words by Chantal Michelle

Mastered by Owen Pratt / Design by Severin Black / Center label image by Nicky Kidd / Back cover text by Alya Kanıbelli

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Directions Out Of Town is the latest and teased as (possibly) the last LP by DIY electronic abstract pop wizard Finlay Shakespeare.

Directions Out Of Town is a fierce mix of headstrong pop bangers. Fact. There is simply no one else traversing the field that Shakespeare is exploring. It can be lonely in the desert, Simon says. Lyrically, Directions Out Of Town is dealing with loss; personally, geographically, politically, culturally - a general decay of everything.

This new record is heavily inspired by structural film where the results unravel a method where metaphor is removed from the act of sound synthesis, production and mix of the tracks. Fiercely independent and brimming with integrity this is a deeply effective journey through machines of the human experience.

The track titles are telling: 'Away', 'Get', 'Direction', 'I go for a walk', etc

This is sentiment via complex synthesis wrung through patterns of pop. One also finds ways out that only turn out to be false/untrue.

"I essentially don't know where I belong any more. This record is the precursor to that."

What is ostensibly an electro pop record reveals a multitude of layers and depth as one man and his machines wrestle with the reality of this tangled matrix. If the charts had brains this would be album of the year.

Finlay Shakespeare is an electronic musician working in the UK. His fascination for synthesized sound was born out of his parents' record collection, leading him to explore the electronic music of decades past throughout his teenage years. While starting to write and record his own tracks, he also began learning analogue electronics, which led him to design and build his own equipment. To date, he has released work on Editions Mego, Superpang, and his own GOTO Records.

West Mineral returns with lushly amorphous actions by Shiner, Pontiac Streator & Ben Bondy aka Shinetiac; together fused for an immersive flux of vapoured dub, chopped and droned Billie Eilish, and fidgety algorithmic jams.

There's not a single, specific sound you can peg to the West Mineral axis at this stage in the label’s evolution - it's rather a set of shared aesthetics that freely bend into various interconnected shapes. Shinetiac's contemptuous, critic-baiting gear is the ideal example; on their last album, 2023's 'Not All Who Wander Are Lost', skittery, ketamized IDM sparkled over Spice Girls samples and the Foo Fighters' 'Everlong' was transmuted into Sneaker Pimps-style trip-hop. 'Infiltrating Roku City' might be a little less blatant with its out-and-out poptimism, but it takes a similarly dim view of conservative "big ambient" snobbishness. Just a few minutes of 'Bluemosa' should be enough to let you know what's up; the overall character of the sound is hazed, with frozen pads and garbled, dubbed-out voices smudged into a mess of effects and samples. But it sups up different nuances as it wriggles, absorbing scampering breaks, dizzy acoustic guitar strums and half-heard wordless vocals, flipping in the third act to emerge from its shell as minimalist balearic folk-pop - something like Bon Iver doing 'Electric Counterpoint'.

Brooklyn's Shiner, Philly's Pontiac Streator and Berlin-based Ben Bondy navigate the labyrinthine streaming landscape, guided by their own private experiences of mindless doom-scrolling and cruising the darkest corners of YouTube. They formulated 'Infiltrating Roku City' while they were rehearsing last year and spent the winter stitching together various recordings and jams into a layered, dry-witted commentary on our algorithmic reality. Laden with inside jokes and refried memes, it's surprisingly elegant gear; handling the most unseemly elements like sonic recyclers, earnestly repurposing pop and nostalgia to create an atmospheric echo of contemporary reality.

Screwing Chief Keef's enduring 'Citgo', 'Clublyfe (hulu)' emphasises the original's AFX-pilled euphoria with Robert Miles-style piano hits, replacing Young Ravisu's brittle 128kbps trap rhythm with a glitchy rattle that picks up dembow spikes as it rolls. 'I Hate Being Sober' vaporises the Chicago drill pioneer's 'Hate Bein' Sober', blocking out his voice with glitchy, downsampled interference and elasticated Rhodes. The trio team up with Orange Milk's goo age on the sublime 'Crisis Angel', catching a ray of Malibu's sunshine in the process, and reduce Billie Eilish's voice to a Romance-does-Celine cinder on 'Billie', stretching it to fit next to gassed Future ad-libs and swooping 808 Mafia sub womps. And although the album takes a murky diversion on 'Roku Axes Ultra’, and a cloud-stepping centrepiece ‘Purelink’ in homage to the eponymous dubbed ambient dynamos, it's back on course with 'Jiafei (NETFLIX)', taking aim at TikTok bot videos and welding screams from Florida metal band Underoath to AI-strength vocal curlicues.

Tauceti (Lilou Chelal) is a DJ / producer / composer from Lyon. As a DJ Chelal distills a dark, tropical and sensual techno with percussive and vaporous rhythms in her mix. She stands for a very particular elegance and a certain, clearly audible maturity, which makes her stand out. "Guanyin" is her very first full length - where she transfers the elegance of her sound into a very personal and unique journey.

Tauceti about "Guanyin":

I am pleased to announce the release of my very first ambient album on the Denovali label. This is probably the most personal record I produced so far, because it is in a way a tribute to my Middle Eastern and Asian origins. It is a hybrid and intimate object, at the border between futurism and cultural heritage, with a desire to approach a more contemporary environment at the limit of classical. I used traditional instrument patterns, sounds intimately linked to oriental instruments, all the while using my electronic touch composed of drone/ ambient and sound distortions. This is the result of a year of reflection and increased exploration of new frontiers in the studio, which has gradually evolved into a desire to make an album concrete. Composed of eight tracks, some of you may have heard some of them during my ambient set during the last edition of Nuits Sonores, just before Vail and Rodhad’s magnificent live performance. It’s a kind of homecoming for me, the very first tracks I produced years ago already being part of the ambient register. This is an opportunity for me to reaffirm the multi-faceted aspect of my artistic project, drawing on various aesthetic registers, between ambient and techno. I would like to warmly thank the Denovali label for their trust here, and with whom I will have the chance and the opportunity to maintain a privileged relationship for the next years.

The fourth edition in the label’s compilation series brings together an almost entirely new cohort of ten artists from across the globe. Personal means of expression are archived side by side, coming to light in the form of sparse amorphous percussion, layered voices, restless arpeggios and undulating, heavily filtered soundscapes.

All digital and physical proceeds from this edition go towards Medical Aid For Palestine and the Lebanese Red Cross.

Mastered by Kinn. Design by Severin Black.

It is time for the guitar riffs and the basslines deeper than the Mariana Trench and therefore who can do it better than the Uruguayan born & raised mastermind that stands behind this next next edition - Matole. Hearing the music from this man leaves a great positive feel wanting to dance, live and love life. By perfecting his sound over the years, as soon as it touches the ear canals you can tell that it’s him and can only be him behind the wheel.

By his young age with utmost will to create, the man is leaving disc artefacts all over the globe working with different labels and promo teams. Now the time has come to synergize with XRD and the feeling is absolutely blissful. As the wise people say the algorithm is not going to fight itself, very important to get into battle stance and show these ones and zeros who is the boss around here.

Red Vinyl

The Communards’ sophomore album ‘Red’ consolidated the genius of the musical partnership between Bronski Beat singer Jimmy Somerville and pianist Richard Coles. Fusing synths and hi-NRG production with lush string and horn arrangements, The Communards straddled pop and the political, the album’s themes set against the political unrest and moral panic of late 80s Britain. A global smash upon its release, this remastered and expanded 35Th Anniversary Edition features an extensive array of B-sides, live tracks, demo versions and remixes, including classic mixes by legendary 80s club doyens Shep Pettibone, Clivilles & Cole (better known as C&C Music Factory) and a euphoric new 2022 remix of ‘Never Can Say Goodbye’ by UK outfit The 2 Bears (Hot Chip’s Joe Goddard and DJ Raf Rundell). Available on Deluxe Double CD , Collector White & Red Double Vinyl , Black Vinyl. All editions remastered , with new sleeve notes.

"Voigt Legacy - Megamix 1" is the promising title of a kind of "Best-Of Bassdrum-Hits" from the far-reaching Voigt universe. It is a compact megamix of seven selected tracks from some very rare live sets which have never been released before or never on vinyl. The mix features all-time classics such as "Fackeln Im Sturm" and "W.I.R.", as well as the long-out-of-print super-smasher "Die Schallplatte" and gems from the Protest, catalogue such as "Du Musst Nichts Sagen" and "Sound & Vision". This multifaceted collection of danceable tracks and looped horses is presented in a deluxe cover with glossy colours.

The art bridge is a natural choice because where there's a loop, there's a way. An abstract loop collage measuring 600 cm x 150 cm was created under the same title, "Voigt Legacy – Megamix 1", corresponding to the music and referencing the graphic symbolism of the titles, logos and cover artwork.

The mystic duo SB&C, laying low amongst the stone circles of the Scottish Highlands send a message out to the cosmos with remixes from Orgue Electronique and Legowelt. 12" hit of black space, limited run, download code, no digital without the physical, no streaming and no repress.

Savy Records celebrates its fifth year with Lumo, a new vinyl-only series built around the darker corners of the dance floor. The first edition gathers four artists whose productions move naturally through the night -- from tension and space to drive and release. The record opens with Andy Martin, a Mexican-Jamaican artist whose dub-infused ''Wicked Tune You Know'' nods to UK bass influences, with a percussive undertow and an addictively off-kilter synth line. Finnish favourite Sansibar makes his return to the label with ''Innerwelt,'' a twisted electro cut laced with acid paranoia and washed-out vocals, slightly unsteady but always in motion. On the flip, IDA -- fellow Finnish export and SAVY label founder -- keeps things tight with ''Electrostatic Rest,'' a straight-up electro roller built on clean drums and a classic electro bass, one to lock in the dancefloor groove with. Lewski closes with ''Glakk,'' a machinated, bass-heavy analogue banger, driving up the tempo as it heads up the peak time. Lumo presents a darker, deeper side of Savy: one that nods to the underground, and cut for purpose as a vinyl-only release.

End of Us, ist das 13 Tracks umfassende Debütalbum von TX2, mit Features von DeathbyRomy, Ekoh, Magnolia Park, Ice Nine Kills und Black Veil Brides. Die Wahrheit ist simpel: TX2 polarisiert. Es gibt Kräfte in dieser Welt, die versuchen, das zu zerstören, wofür gekämpft und was hart erkämpft wurde, und zu einer Zeit zurückzukehren, in der die Menschen ihr wahres Ich versteckten. Es gibt Künstler wie TX2 - den Anti-Ronald Radke -, die dir zeigen wollen, dass du in diesem Kampf gegen den Hass nicht allein bist. TX2 hat Politiker namentlich genannt, schwenkt auf der Bühne eine Trans-Flagge, thematisiert in seinen Songs Waffengewalt, Essstörungen, Trauer und Depressionen und verspottet die Gatekeeper, die offensichtlich noch nie einen Punk-Song gehört haben. Der Sänger ist bereit, mit seiner Musik ein wenig Chaos zu verursachen, wenn es nötig ist, um die Aufmerksamkeit auf wichtige gesellschaftliche Themen zu lenken. So hat TX2 unter seinen Fans eine Bewegung ins Leben gerufen, die als ,X Movement" bekannt ist und deren Ziel es ist, das Bewusstsein für psychische Gesundheit zu schärfen und einen sicheren Raum für diejenigen zu schaffen, die jemanden zum Reden brauchen. In den letzten 24 Monaten tourte TX2 um die Welt, trat mit Ice Nine Kills, Hail the Sun, Dark Divine, tiLLie, In This Moment, Magnolia Park, Warped Tour & Summer of Loud Tour auf, wurde auf SiriusXM Octane gespielt, erreichte über 1 Million monatliche Hörer, gab über 50.000 Autogramme und erhielt 42 Millionen Likes auf Tik Tok. End of US ist ein lauter, unverblümter Aufruf zum Handeln. Beherzigen Sie den Aufruf oder treten Sie beiseite.

Nat King Cole was one of the most distinctive and beloved voices in popular music, whose warmth, elegance and effortless phrasing defined an era. Very Best Of Nat King Cole brings together a superb selection of his most enduring recordings, from timeless ballads like Unforgettable, Mona Lisa and When I Fall In Love to upbeat classics such as (Get Your Kicks On) Route 66, Straighten Up And Fly Right and Ramblin’ Rose. Showcasing his remarkable range as both a romantic crooner and a swinging entertainer, this vinyl LP offers a perfect introduction to his extraordinary legacy. Pressed on highquality 180g black vinyl, it is an essential collection for long-time fans and new listeners alike.

The Amazing Nina Simone reveals Nina Simone at the dawn of her recorded legacy—already assured, deeply expressive, and impossible to categorize. Moving effortlessly between jazz, blues, folk, and classical influences, Simone delivers performances of striking intimacy and emotional precision, pairing a distinctive, searching voice with elegant, commanding piano work. This special repressing on 180g orange vinyl brings renewed warmth and presence to these recordings, enhancing their dynamic range and tactile immediacy. A timeless listening experience, The Amazing Nina Simone remains a powerful introduction to one of the most singular voices in modern music

For several years now, Young Kulcha has been establishing himself as the favourite of European sound systems. The young German-Congolese artist sets dub and reggae parties alight with his sharp lyrics and voice reminiscent of some of the most admired reggae artists such as Hugh Mundell, Dennis Brown and Garnett Silk.

With ‘More Work To Be Done’, Young Kulcha presents a track that encourages younger generations to remain optimistic and resilient despite the difficult times our societies are going through. Accompanied by the exceptional Swiss studio band The 18th Parallel, ‘More Work To Be Done’ plunges us straight into a Jamaican sound system party from the early 1980s, where the combination of Roots Radics and Scientist would have shaken the neighbourhood with their unparalleled heavy sound. With a dub B-side by Westfinga, the new European generation pays tribute to Jamaican legends with this musical bombshell!

And another new volume of the Meeting Of The Minds series is here, with 4 new collaborations I've done with other producers in the jungle scene!

"Casual Loop" is a collaboration that me & Submerse started working on in 2023 but it was another one of the tracks that I had lost due to my computer being stolen in early 2024, & I hadn't fully backed up everything I had done for a few months, including this track. This meant I had to re-do a lot of the work I had done with what Submerse had started but I was lucky enough to get it near identical to how it was sounding and ready for release. Submerse has been on Future Retro London a few times, with his EP release (FR033) & a track featured on the atmospheric VA EP (FR049) that came out late last year, I'm a huge fan of his musicality & his melodies, which made this track really fun to work on, even with all the obstacles faced!

My first interaction with Quaad goes way back to 2013, when he asked me for a guest mix for a radio show called The After Party that was on C89.5FM in Seattle (which is still up on my SoundCloud for anyone curious) and then before he started his current label (Heavy Sounds), he had started a label with Wetman called Vivid Recordings, which he was sending me the releases on (but I think in standard fashion, I kept forgetting to check them!). But it wasn't until 2022 when me & Dwarde played in Seattle with him and I saw his live Amiga set where he was playing a lot of his own music, & from then on, I was better aware of what he was doing & I got to hang out with him & know him a bit better, which is when I then fully started following what he was doing. Then eventually, we ended up doing a track together (he also uses FL Studio, just like me) and "Judge Dredd" is the end result of that.

Samurai Breaks is also someone that I've known of for a long time but didn't really properly connect with until recent years where I saw what he was doing with his label Super Sonic Booty Bangers, which also does events in Sheffield which I played for in 2024. It was quite an interesting collab because I don't think many people would have necessarily expected our styles to really gel well together but I think we managed to hit a nice midpoint between his craziness & mine haha

Fixate is most likely another person that people would not have anticipated as someone that I would collaborate with, mainly because the style of tune people know him for is more tied with the footwork/halftime sound that became popular in the 2010s, as well as his output as 1/2 of dubstep duo Leftlow, but he has made some jungle in the past & I'm always down for the challenge of stepping outside of my comfort zone to work with people who are not mainly based in the newskool jungle scene but have an appreciation for it. I found out about him through the releases he had on Exit Records from 2015 onwards, plus he was also a part of Richie Brains (the project in 2016 involving many artists forming a loose collective) so I was aware of what he was doing but I properly got to know him from when I went bowling with him, Dwarde & LMajor back in 2022 and then he sent me something to work on early last year (another FL Studio producer btw!), which I took my sweet time in starting it but eventually got done & here we are! And for those wondering, the track title (May Contain Traces) alludes to me & Fixate's shared allergy towards nuts (although his is a lot more severe than mine), which was the only thing I could think of to name the track after when it came down to it!

We are proud to present this brand new 12inch release produced by veteran legend Mike Brooks.

He links up with regular collaborator Shalom out in Jamaica on two different riddims recorded in the UK by Mafia And Fluxy alongside Tony Ruffcutt. A side is a new song called Don't Worry, Mike also has a piece on it titled Hold Fast followed by a killer dub with mixdown from Dougie Conscious.

On the B side we put out again the incredible song Value Yourself from Shalom, which we sold in huge quantities on 7inch over the last few years. This is a slightly different mix from the same session. We of course release Mike's cut called River Nile and a new dub also from the same session by Dougie Conscious.




d b1. Shalom - Value Yourself [Alt mix]

TrioRox is a project born from the encounter between three leading figures on the Italian music scene (and beyond):
pianist Giovanni Guidi, bassist Joe Rehmer, and electronic musician DJ Rocca (Luca Roccatagliati).
Three individuals boast eclectic and impressive resumes. Guidi, a child prodigy of jazz piano, has released several
albums for the prestigious ECM label and has collaborated with top jazz and electronic musicians, from Enrico Rava
to Matthew Herbert, Joe Lovano, and Ricardo Villalobos. Joe Rehmer, an American living in Italy, is one of the most
sought-after bassists, sharing stages and recording studios with such luminaries as Bob Mintzer, James Moody, and
Danny Gottlieb. DJ Rocca has been a DJ and musician since the 1990s, boasting numerous albums, singles, and
remixes with and for key figures in the alternative dance scene (Andrew Weatherall, Dimitri From Paris, and Howie
B), as well as a stint in the jazz scene, releasing several albums with Franco D’Andrea.
The trio's music is a blend of electronic, dance, jazz, and pop, with hints of groove in house and techno, as well as
blends of electro, classical, and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig. The album
will be released on IRMA Records in September 2024, featuring guests Luigi Di Nunzio, Gianluca Petrella, Dan
Kinzelman, and Jacopo Fagioli.
This EP of remixes is by:
Zed Bias: Manchester-based electronic musician, producer, and DJ in the Garage/2-step, Broken, and Funky
Breakbeat genres.
Alexander Robotnick: Italian record producer, DJ, and composer considered a cult figure in the New Wave and Italo
Disco scene.
Daniele Bladelli: One of the first and most important Italian DJs, famous for pioneering Afro and Cosmic music.
Bjorn Torske: Norwegian house and breakbeat producer. He has collaborated extensively with Röyksopp.

C.L.A.W.S. comes to Dark Entries with a new ripping LP, Splat City II. C.L.A.W.S. is the solo project of musical luminary Brian Hock, who has been a key figure in the Bay Area underground for over two decades via his involvement in projects like Bronze and The Vanishing, as well as helming the record labels Squirrels on Film and Immortal Sin. With C.L.A.W.S., Hock takes on the dancefloor, picking up cues from the Hague’s Giallo-dipped electro, the skewed minimalism of Chicago acid, and the mind-rending forays of San Francisco post-punk icons like Chrome and Tuxedomoon. Following 2019’s inaugural Splat City EP, Splat City II continues to map the psychogeography of a metropolis both alien and immediately recognizable, one where life is cheap, but so are the thrills. Previously released on Squirrels on Film in digital-only format, this expanded vinyl edition of Splat City II features two new cuts. Things kick off with “Route 505” and “One Tear,” a duo of rompers that vibe like Tom Ellard and Chip E locked in a room with a vial of liquid. Next up, Bay Area deckmaster Tyrel lends his editing chops to “Vigilant Slimy Monsters,” sculpting a moody space disco beast. Squirrels on Film co-founder Solar teams up with Hock for “Black Magic Carpet Ride III,” a cavernous downtempo banger. The slow-mo pace continues with “Wild Slugs United,” which features the no wave-esque clarinet work of Paul Costuros. Closer “Don’t Flip the Crystal Ship” pays homage to Bayview venue Bay Area 51 with melancholic strings and a quartz-solid electrofunk bassline. Splat City II comes in a sleeve with artwork by Bert Bergen, which features a vampiric cat and sci-fi cityscapes.

Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries. Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP.

Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair.

In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

Especial is delighted to reprise the label’s relationship with Osaka’s acid master, Akio Nagase. Following his debut, Global Acid EP and follow up African Acid EP covered a range of influences, all with the heavy dose of Roland TR-303, here he completes a trilogy of EPs, culminating in a homage to his love of dub reggae.

Having made reggae influenced dance music under the Makedub alias for decades, here he takes it a step further, utilising a knack for catchy hooks and acid lines, while fusing reggae and live desk-dub mixing.

I Love Smoke, a chant, the stand-out, those classic vocals flowing in and out with a 3AM (Eternal) bump. Riotously expounding the virtues of smoking ’Mari Jane’, the hypnotic stoner vibes are wrapped around Nagase’s meditative and dancefloor heartbeat.

Night Time High Acid swings, the low-end rumble and kick build before the TR-303 and harmonica lead interweave, samples and sirens encase in an ethnic, tribal slo-mo dub flow.

Things shift with the 4/4 bump of Creation Dub. A call to rise wrapped in the warmth of Dub House beats. Melody and dub flow, no need for 303. Vox are space echo’d to the limit. Keys stab, horns call, slip side away.

To finish, Harmonica Dub is just that. Heavy mouth organ solo, the blues calling atop a dub-techno stepper beat. Rimshot, stabs, echo. All encompass that psychedelic flavour of Akio. Dub, Love and Respect. Thank you Mr Kikumoto for the acid, thank you Mr Nagase for beats

Während das musikalische Fundament die Einflüsse aus Nordamerikanischem Pop-Punk aufnimmt und zu einem eigenen Sound weiterentwickelt, stechen insbesondere die klare Haltung und tiefe persönliche Momente in den Texten heraus. Entstanden ist ein Punk/Rock Album, das nicht nach 20ern und Jugendbewegung klingt, sondern nach neuen Perspektiven, nach späten 30ern - menschlich und politisch. Seit Erscheinen des BLAUFUCHS Debüt-Albums vor rund 4 Jahren hat sich in der Welt viel verändert und wenig verbessert. Diese traurige Abwärtsspirale findet sich – mal drastisch und direkt, mal dezent akzentuiert – in allen Texten von „Bis jetzt ging alles gut“ wieder, das trotz Anflügen von Resignation auch stets einen Funken Hoffnung auf Besserung vermittelt. Blaufuchs betrachten nicht nur den gesellschaftlichen Wandel – sie sind selbst auch einer ständigen Veränderung ausgesetzt. Ihr zweites Album ist ein Stück weit auch ein Neubeginn mit einigen Neubesetzungen im Verlauf der letzten Monate. Hale Winter übernahm den Bass von Marisa, Jan Schlagowski das Schlagzeug von Alex Veth und mit Jan Jurat stieß ein weiterer Gitarrist zur Band. Den Blaufuchs Sound verändern die neuen Einflüsse nicht gravierend, die Drums werden ein Stück härter, die Gitarren etwas filigraner, aber die Handschrift von Hauptsongwriter John Hofmeister verbindet nach wie vor den amerikanischen Gesamtsound mit den deutschen Texten von Johannes König. Dennoch verzögerte sich die Entstehung des Albums durch die Umbesetzungen um mehrere Monate, was laut Johannes König auch nötig war: „Mir und John war extrem wichtig, dass auf dem Album auch Einflüsse unserer „Neuen“ zu hören sind, die uns live teilweise schon seit Jahren unterstützen.“ Aufgenommen wurde „Bis jetzt ging alles gut“ in den Limetree Studios in Ilsede und produziert von Sören Kucz und Gitarrist John Hofmeister. Mit „Fertig“ setzt die Platte einen extrem persönlichen Schlusspunkt und König wird hier deutlich direkter: „Den Druck, der mit der Verantwortung in der eigenen Familie, im Job und auch in der Band zusammenkommt, trifft im Alltag oft auf ein Männlichkeitsbild, in dem wider besseres Wissen versucht wird, Dinge alleine zu regeln.“

"Talk Is Cheap" ist das mit Spannung erwartete erste vollständige Album der neuen Metalcore-Shootingstars "Fight From Within" aus dem Norden des Bundesstaates New York. Ihre authentische „Don't give a f%8k“ Attitüde überzeugt die Metal-Community, wie ihre schnell steigenden Zahlen auf verschiedenen Social Media Plattformen beweisen. Jose Mangin von SiriusXM hat sie als eine der Bands bezeichnet, die man im Auge behalten sollte.