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Aufgepasst, hier kommt nicht einfach "nur" ein neues Album, sondern eine Hommage an den wilden 80er Oi! und Streetpunk-Underground der etwas anderen Art: Sunny Bastards proudly presents: "BELIN EI PIAZII" der legendären, italienischen Kultband KLASSE KRIMINALE! 1980 von Marco Belestrino gegründet, haben sich die Italiener genau mit dieser Ära und den Wurzeln der italienisch-europäischen Skinhead- und Punkbewegung auf ihrer neuen Scheibe befasst und 15 "lost songs" von berühmt-berüchtigten oder heute nur noch wenigen geläufigen Bands neu eingespielt: Rohe Diamanten, Spaß, kämpferische Rebellion- und Hass-Hymnen sowie obskure Beiträge von Bands, wie den Herberts, Total Crash, Gangland oder Shellshock, die zusammen mit Klasse Kriminale damals die Strassen unsicher gemacht haben und im Proberaum oder auf DIY-Konzerten schnell zum Soundtrack einer rebellischen Jugend wurden. Klasse Kriminale hat diese bislang nie veröffentlichten Songs ganz im Spirit und Stil dieser Anfangstage aufgenommen und verbinden mit dieser Zeit jede Menge Erinnerungen, die auf 4 Seiten im Inlay-Sheet in englisch und italienisch auch sehr persönlich beschrieben werden! Und wenn vom Plattenteller dazu noch Lieder wie "Ziga Zaga Oi! Oi! Oi!" oder "Skin della Lanterna" die Boxen beschallen, kann man nicht nur erahnen, wie es damals war...großartige Konzeptscheibe, inkl einem neu eingespielten eigenen Song "Keep the Faith", der uns wieder ins Jetzt und Hier beamt und ein würdiger Abschluss des Albums ist! Vinyl klassich schwarz oder clear mit der italienischen Tricolore als Splatter plus zwei Inserts

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

With "The Mirrored Mask", Dutch band Harlem Lake announces their highly anticipated second album, set to be released on September 27th under Jazzhaus Records Following their critically acclaimed debut album "A Fool's Paradise, Vol. 1" from 2021, the band from Haarlem, near Amsterdam, once again presents an eclectic mix of blues, rock, and Americana. However, Harlem Lake refuses to be pigeonholed, using these genres definitions merely as loose creative inspiration, resulting in a fresh and timeless sound. "The Mirrored Mask" is an energetic work, opening with two outstanding singles: "Carry On" and "Fooled Again." While "Carry On" impresses with powerful vocals by frontwoman Janne Timmer and sophisticated brass arrangements, "Fooled Again" showcases a funkier side of the band, with guitarist Sonny van den Berg displaying his distinct skills. The album features a wide range of styles and moods, from danceable tracks like "Beggars Can't Choose" to moving ballads like "The Thought Of You." The latter is characterized by its gentle instrumentation and melancholic lyrics, reminiscent of folk- Americana greats like Kacey Musgraves or Katie Pruitt. With tracks like "Crying In A Desert," Harlem Lake then also surprises listeners with a uniquely atmospheric road song a la J.J. Cale, complete with an impressive guitar solo. The highlight of the album is undoubtedly the title track "The Mirrored Mask," which showcases the full range of Harlem Lake's musical abilities. Concluding the album, the band presents two more highlights, "Temptation" and "Jack In The Box," skillfully rounding out the album with blues, jazz, and Americana flair. Harlem Lake, consisting of Janne Timmer (lead vocals), Dave Warmerdam (keyboard), Sonny van den Berg (guitar), Kjelt Ostendorf (bass), and Benjamin Torbijn (drums), created "The Mirrored Mask" as an album that impressively demonstrates their musical maturity and passion for songwriting. From powerful rock numbers to intimate ballads, the album offers a multifaceted listening experience that will captivate both fans and newcomers alike. Known for their dynamic live performances as winners of the European Blues Challenge 2022, the band will be presenting the songs from "The Mirrored Mask" on an extensive tour through Europe.

Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

2024 Repress

Undoubtedly the darlings of electro-pop, Satin Jackets finally unveil their debut artist album, 'Panorama Pacifico' featuring a string of cameos from vocalists familiar and exotic, jetting in from LA, Berlin, London, Belgium and Australia.

Scaling the heights of the Hype machine from their first release to the latest, and clocking up almost ten million plays on spotify, Satin Jacket's original brand of diva funk and smooth disco has whetted the tastebuds of the likes of Majestic Casual and i-D mag who said the duo's "super sexy, infectious house music is filled with the vibe of summertime." Their smash single, 'You Make Me Feel Good' has accumulated close to three million plays on Soundcloud (soundcloudsatinjackets/you-make-me-feel-good) and Youtube concurrently.

"The idea came from our character, Mr. Satin Jackets, who's been travelling the world quite a bit the past two years," explained Tim Bernhardt, the founder of the duo. "Four continents, about twenty countries in, he's on the West Coast and takes a break. He watches the ocean to put his mind at ease and out pours Panorama Pacifico."

This idyllic perspective is launched by the vocals of Scavenger Hunt, the Los Angeles-based electro-pop 4-piece, charted by Billboard and featured by the likes of Nylon mag. They explain about their contribution, "Feel Good' feels like jumping into a cool pool on a hot summer day- refreshing, exhilarating and sexy." Nigerian born and Birmingham based UoB's Got Talent winner, IsaacO contributes to 'Keep Moving On'. He explains it's, "a song about having a nonchalant attitude towards life regardless of what it throws at you. Best listened to on a nighttime drive on the highway."

The album also takes a peek into the past successes of Satin Jackets, with last year's smash single, 'Shine On You' featuring UK born and Berlin based talent Esser, dubbed by Clash magazine as "an exploratory glimpse into the mind-expanding side of Satin Jackets' electronics," and recent single 'We Can Talk' featuring vocals from Emma Brammer.

Further new collaborations include Ghent-based collective I will, I swear, Melbourne's Kids At Midnight and diamond in the rough of Belgian pop Marble Sounds. Fellow Eskimo artist and Greek producer NTEIBINT and KLP from Australia also feature. Each plots a similar narrative about the struggles of love. "'Say You' is about being afraid of being happy,' explains Jane Elizabeth Hanley AKA Kids At Midnight; 'Coast To Coast' is "a sweet love song that could also work on the dancefloor," says George Bakalakos AKA NTEIBINT; and Emma Brammer explores the concept of, "the exciting and painful first love - maybe it's not so good for you but it feels historical."

Pieter Van Dessel of Marble Sounds digs further on 'Find Out'. "The lyrics 'Shut your eyes, and you'll find out' started as a reference to childhood memories: as kids we often had to close eyes when somebody wanted to surprise us with a gift. But it can also mean that you could learn more about reality when you disconnect and close your eyes, instead of gathering (too) much information."

Three quarters of the tracks are fresh and introduce exciting guest vocalists and producers. These are complemented by the much-loved staples from the duo, 'Girl, Forever' and 'You Make Me Feel Good'. Tim of Satin Jackets explains, "We're ending the journey of this album with 'You Make Me Feel Good',

German music producer, Tim Bernhardt and lead performer Den Ishu are Satin Jackets. Their eponymous live show has relentlessly toured the US, Canada, Mexico and Europe, opening their fluid pop appeal and accessible four-to-the-floor groove up to the world at large. Their debut album, 'Panorama Pacifico' is set for release on 8th April on their home label, Eskimo Recordings. The Belgian imprint has been a purveyor of disco, house and everything in between for over fifteen years.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

UK-Indierock-Koryphäen Maxïmo Park kündigen ihr achtes Studioalbum 'Stream Of Life' an, das am 27. September über Lower Third erscheinen wird. Auf dem Weg zu 'Stream Of Life' hat sich die Band aus Newcastle erneut mit Ben Allen (Gnarls Barkley, Animal Collective) zusammengetan, dem Grammy-prämierten Produzenten des Vorgänger-Albums 'Nature Always Wins' aus dem Jahr 2021.

Die Band befindet sich in der vielleicht nachdenklichsten Phase, in der sie je war. Leadsänger Paul Smith, dessen Stil sich vermutlich als Literatur-Pop beschreiben lässt, hat den Titel des Albums einer Kurzgeschichte der ukrainischstämmigen brasilianischen Schriftstellerin Clarice Lispector entnommen, inspiriert von ihrem Bewusstseinsstrom und der Art und Weise, wie sie zum Nachdenken über die inneren Mechanismen der Menschen anregt. Sie wirft die Frage auf, warum wir die Dinge tun, die wir tun, selbst wenn sie für Außenstehende kontraintuitiv erscheinen. Jedes Individuum hat einen inneren Fluss - einen Strom des Lebens.

UK-Indierock-Koryphäen Maxïmo Park kündigen ihr achtes Studioalbum 'Stream Of Life' an, das am 27. September über Lower Third erscheinen wird. Auf dem Weg zu 'Stream Of Life' hat sich die Band aus Newcastle erneut mit Ben Allen (Gnarls Barkley, Animal Collective) zusammengetan, dem Grammy-prämierten Produzenten des Vorgänger-Albums 'Nature Always Wins' aus dem Jahr 2021.

Die Band befindet sich in der vielleicht nachdenklichsten Phase, in der sie je war. Leadsänger Paul Smith, dessen Stil sich vermutlich als Literatur-Pop beschreiben lässt, hat den Titel des Albums einer Kurzgeschichte der ukrainischstämmigen brasilianischen Schriftstellerin Clarice Lispector entnommen, inspiriert von ihrem Bewusstseinsstrom und der Art und Weise, wie sie zum Nachdenken über die inneren Mechanismen der Menschen anregt. Sie wirft die Frage auf, warum wir die Dinge tun, die wir tun, selbst wenn sie für Außenstehende kontraintuitiv erscheinen. Jedes Individuum hat einen inneren Fluss - einen Strom des Lebens.

"Die Band RIPPED TO SHREDS aus San Jose ist ein aufstrebender Star in der Metalwelt, dank ihrer wilden, elektrischen Interpretation des Death Metal,
die größtenteils von ihren Erfahrungen als asiatisch-amerikanische Musiker inspiriert ist." - Stereogum
RIPPED TO SHREDS melden sich mit ihrem mit Spannung erwarteten neuen Album "Sanshi" zurück. Die Band explodiert aus dem Untergrund mit all
den blutgetränkten Merkmalen des höllischen RIPPED TO SHREDS-Sounds - ein Ansturm von frenetischen Duell-Soli, krachenden Drums und van
Drunen-eskem Gesang, der den Dreck und Schmutz von Death Metal und Grind der alten Schule mit dem Hier und Jetzt verschmilzt. Unter der Leitung
von Gitarrist und Frontmann Andrew Lee sind RIPPED TO SHREDS so kämpferisch und konzentriert wie eh und je.
Auf Sanshi beschäftigt sich die Band mit einer morbiden Fixierung auf den Tod und das Leben nach dem Tod im Kontext der traditionellen
chinesischen Folklore.
Das Cover von Sanshi stammt von Lees langjährigem Mitarbeiter, dem Künstler Guang Yang, und zeigt eine Szene mit Yan Luo Wang, dem Gott der
Hölle, und den Toten, die sich seinem Urteil in seinem dämonischen Gericht stellen müssen

Picture a time when you could have a good time all the time. It was an era when fast cars rolled under neon lights, yachts were a sensible housing decision and fighting for your right to party was a full time occupation. This mythical age had an equally flamboyant soundtrack to match, and it blared from boomboxes and dashboards in every time zone. It was the 1980s, and bands like Van Halen, Toto and Def Leppard personified a summertime sound built on big beats, bigger melodies and choruses so epic that singing along was the law, and places like Vegas, Hollywood, and Miami Beach became hedonistic epicenters of a global, sonic heatwave.

Tijs Vanneste, succesvol muzikant én tv-maker, komt met zijn eerste eigen plaat 'Over De Helft'.

Als deel van het iconische duo 'Van Echelpoel' werd het hoog tijd voor Vanneste om zijn eigen muzikale pad te bewandelen.

Tijs scoorde al eerder met albums in functie van zijn televisiewerk: 'Hier Is Het Goed' en 'Wildgroei' maakten deel uit van zijn gelauwerde televisieprogramma 'De Kempen' op VRT1. Dit nieuwe project wordt gedreven door zijn persoonlijke passie en mag gelabeld worden zoals iedereen in deze woelige tijden dat zelf wilt: een daad van egoïsme, nakend narcisme of gewoon een uiterst hoge nood aan een eigen creatieve uitlaatklep.

'Over De Helft' is geen toevallige schepping, integendeel, het is een belichaming van elementen die voor Tijs van onschatbare waarde zijn: humor, diepgang en plezier doordrenkt met wereldwijde muzikale invloeden zoals Reggae, Dub en Slavische klanken.

Zoals we van Vanneste gewoon zijn wordt dit alles op zijn eigen hardnekkige en eigenwijze manier van uitdrukken gepresenteerd: het authentieke en ondertussen tot wereldtaal verheven Kempense dialect.

De titel van dit zelfverklaard meesterwerk is treffend: 'Over De Helft'. Want laat dat nu de plek zijn waar Tijs zich bevindt: bijna 45 jaar oud en vooral erg blij met waar hij nu voor en in het leven staat: eerlijk en rechtdoorzee. Nummers als 'Talent' en 'De Kempen' vertellen over vroeger, nu en... later.

In het allerbeste geval is 'Over De Helft' een stimulans voor zowel lichaam als geest of op zijn minst een plaat die je doet dansen, lachen en verlangen naar een eeuwigdurende zomer.

Tanukichan, the musical project of Oakland, CA’s Hannah van Loon, has been a prominent figure in modern shoegaze music since 2016, when she first collaborated with Chaz Bear of Toro y Moi. Together, they released an EP and two full-length albums under Bear's Company Records, culminating in 2023's GIZMO. With her new EP Circles, out September 20th, 2024, via Carpark Records, van Loon ventures into new territory by teaming up with a new producer for the first time – Franco Reid.

The genesis of their partnership dates back to the GIZMO campaign, when Reid noticed van Loon wearing an Incubus shirt in a press photo on Instagram. Intrigued by whether or not van Loon was a genuine fan, he sent her a DM. Their shared musical interest sparked a dialogue that eventually led to the creation of the single "NPC" in 2023.

Lead single “City Bus,” offers a reflection on van Loon's childhood bus rides in San Francisco, evoking the stop-and-go rhythm of commuter life through hard-hitting drums and heavy guitar feedback phasing in and out of the mix. Themes of self-reflection and societal belonging permeate the track, echoing van Loon's ongoing personal journey.

While much of Circles delves into internal struggles, “It Gets Easier” takes on a more celebratory tone as van Loon realizes she’s developed a heightened sense of maturity when dealing with hardship. “It feels easier to let go of situations or people that don’t serve me,” reflects van Loon, “Or if they can’t be avoided, at least I don’t have to dwell on the sadness or discomfort I feel when letting someone down.” Introduced by Reid, nu-gaze sensation Wisp, contributes a verse in her similarly ethereal vocal style.

There is a notable shift on Circles when you consider the first three Tanukichan releases were produced by a pioneer of the chillwave genre. With van Loon’s consistently dreamy songwriting and Reid at the helm, Tanukichan enters new sonic territory that feels larger, arena-ready, and more like a highspeed night drive than the hazy summer dream of its predecessors.

"“Few artists combine the thrills of danceable pop with a higher purpose, but that's exactly what Israeli singer Noga Erez does”
– NPR Music

“One of Israel’s few breakthrough indie stars… and one of the country’s most hyped artists”
– The Guardian

July 17, 2024 (New York, NY): Today, alt-pop singer, rapper & multi-hyphenate Noga Erez debuts her brand new single and accompanying music video entitled “AYAYAY” featuring sensational Argentinian rapper Dillom, out via Neon Gold/Atlantic Records. The track marks the latest single off Erez’s highly-anticipated, third studio album THE VANDALIST out Friday, September 20.

“AYAYAY” sees Erez and partner ROUSSO dabble in the world of reggaeton, layering her dynamic and wide-ranging vocals with lyrically packed bars, over a frenetic house beat. The sexy, tropical track emblemizes the romantic appeal of the “papí azucar” (“sugar daddy”) along with extravagant living from both the male (provided by Dillom through a brilliantly crafted verse) and female perspectives, the desire to maintain it, and the self-imposed expectation to chase it when a relationship doesn’t live up to standards. Directed by Erez & ROUSSO, the music video for the track, filmed almost entirely through a kaleidoscope lens DIY-style, is brimming with personality as Erez lives her best life.

THE VANDALIST is a satirical, yet confessional look at real and online life, the project arrives brimful of monster tunes, intricate production, wit, charm and attitude, representing a significant leap from her previous work, expanding her emotional range from sultry to savage, and demonstrating even greater ambition with quickfire lyrics, broadened vocal styles, and the elaborate backing crafted with partner and producer ORI ROUSSO. THE VANDALIST primes Noga for yet another evolution in her musical journey, which is set to resonate strongly with listeners everywhere.

Recently released singles include “PC People (feat. ROUSSO),” along with title track “Vandalist,” and “Come Back Home,” all of which are joined by official “Against The Machine (Live)” performance videos, streaming now at YouTube
"

For the past 20 years, NO FORMAT! has been cultivating the idea of an artisanal and homemade label, supporting artists who stand out with unexpected projects. Its motto, "You never know in advance what you"ll fall in love with", has guided its direction from the outset. Its high standards on the quality of the sound has become its trademark, while one of the mainstays of its work is the development of collaborations between artists from diverse backgrounds. For its 20th anniversary, a new guard of electronically-inspired artists takes over the NO FORMAT catalog for an original remix album, specially created for the occasion. 10 iconic tracks from the label are reimagined by 10 young, talented, emerging and/or established producers, carefully chosen on each track. While Pan-African trio Toto Bona Lokua"s music is reworked by British-Ghanaian afro-bass pioneer Hagan, South African vocal duo Msaki x Tubatsi is reimagined through a remix by amapiano heavy-weight Vigro Deep. Blick Bassy"s delicate Cameroon folk turns into an afro-club anthem produced by Moonshine collective leading figure Vanyfox ; Haitian-American neo-jazz artist Melanie Charles electrifies "Kouzen" by Haitian Canadian singer-songwriter Mélissa Laveaux ; renowned sound artist Sofie Birch transforms Koki Nakano"s delicate piano into an ambient soundscape. Japanese house pioneer Shinichiro Yokota gives a new spin on electro-jazz collective Asynchrone, which was inspired by Ryuichi Sakamoto"s work. "NO FORMAT! Remixed (2004-2024)" is both a celebration of 20 years of music and creation, bringing this beautiful and curated catalog into a vibrant and festive compilation, and a step towards the label"s next 20 years.

CO-OP REISSUE by NOT LOST RECORDS and RUGGER BUGGER !! ** Black Vinyl ** 500 Copies // The AK47's or the Tottenham AK47's formed in the late 80's / early 90's in North London. They turned up on the London squatting gig scene fully formed and ready to go, fusing punk, ska and reggae with a strong and simple political, socio-anarchist message. The band were instantly popular in London and sat very much next to Radical Dance Faction, Back to the Planet and Culture Shock. Their one and only release was the album "Don't call me Vanilla" which was originally released in 1991 by Rugger Bugger Discs. The album was recorded and produced at The Refuge studio in Reading by Jim Warren. Built around a solid dub-punk backdrop with some atmospheric flute squalls and FX's weaving in and out of the mix while lyrically remaining true to their anarcho roots. Over the years the album's legacy has grown and yet has never been reissued. Finally 32 years after its release the band, Sean from Rugger Bugger and Not Lost reissue this gem in an exact replica. No coloured vinyl - just black vinyl with the same Lyric Insert. This reissue has been remastered from the original tapes.

Malcolm Pardon (Roll The Dice) is back into the fold for his second solo album, "The Abyss". The album, which will be released on Leaf, is a meditation on the taboos that surround mortality in our culture, looking past the bleak or macabre to observe death as a multi-layered, lifelong acquaintance. It"s also highly melodic and very beautiful. Malcolm has enlisted some remarkable creative talent around the project, including photographer Chris Shonting, designer Peter Ström and film-maker Oskar Wrangö.

Malcolm Pardon (Roll The Dice) is back into the fold for his second solo album, "The Abyss". The album, which will be released on Leaf, is a meditation on the taboos that surround mortality in our culture, looking past the bleak or macabre to observe death as a multi-layered, lifelong acquaintance. It"s also highly melodic and very beautiful. Malcolm has enlisted some remarkable creative talent around the project, including photographer Chris Shonting, designer Peter Ström and film-maker Oskar Wrangö.

Repress!

Leif Vollebekk, the Montreal singer songwriter and multi instrumentalist had hit a wall. In the midst of endless touring Leif found himself retreating to his lonely hotel rooms after shows and listening to Nick Drake's 'Pink Moon' alone in the dark. His own songs didn't sound right and he felt the bright spots in his sets were the covers he'd end with: songs by Ray Charles or Townes Van Zandt. In this deep blue mood he booked a secret show at a Montreal dive bar, only playing covers with a band that rehearsed once.  The experience led Leif to change his approach to songwriting: explore the ideas that came spontaneously to him, and let the songs shape themselves. Soon the songs came pouring out of him. This approach is what created the lush, freewheeling and often devastating 'Twin Solitude,' out February 24 on Secret City Records.

"By the time the last notes die away, all that's left should be you," Leif says. "And I'll be somewhere else. And that's Twin Solitude.' 

Leif's third album, features 10 delicate and expansive original songs, with lyrics that pour out of this singer songwriter that are often compared to Jeff Buckley.  Leif's words lay on a bed of elastic instrumentation full of piano, synthesizer, guitar, rich electric bass and strings.

Several songs on the album came to Leif and were written in one sitting. 'Into the Ether' came to be while he was exploring a Moog synthesizer. 'Elegy' is a bedside soliloquy, of love slipping through fingers and came to Leif while he was riding his bike through Montreal.  The meditative 'Michigan' was written on a half-tuned guitar and fully written as he was about to go to sleep.  Other songs on the album capture the countless hours Leif has spent on the road, crisscrossing North America. 'Big Sky Country' recalls a trip to Vancouver with his family when he was young, never forgetting the expanse of Montana and listening to Ian Tyson's song 'The Gift' in the car over and over again.
'Twin Solitude' features Olivier Fairfield from Timber Timbre (drums), Sarah Page from the Barr Brothers (harp) on 'Rest' Shahzad Ismaily of Marc Ribot's Ceramic Dog and SecretCheifs3 (bass) on several tracks and the string duo Chargaux throughout the album as well.  It was engineered by Dave Smith and recorded at his Breakglass Studios in Canada.  Produced by Leif Vollebekk.

Vollebekk made his album debut in 2010 - and since then has performed at the Newport Folk Festival, and shared stages with Daniel Lanois, Beth Orton, Sinéad O'Connor, Patrick Watson, Coeur de Pirate, William Fitzsimmons and Sam Amidon. His debut 'Inland' was described as  beautiful, memorable and moving' by NPR and  timeless and monumental'  by The Independent.

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.