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The new darlings of the American post-rock underground present a collection of well-wrought bangers on their debut full-length album. Powerfully melodic and heavy at the same time, Wield shows the Philadelphia-based quintet mastering their game of creating compelling melodies that sound larger than life. 2022 saw HIROE burst onto the scene with an explosive debut minialbum "Wrought" full of soaring anthems and sublime soundscapes. Combining the sonic expansiveness of Deftones with the dynamic heaviness of bands like ISIS and Caspian, HIROE already figured out how to make the most majestic sounding post-rock early in their career. "Our first, Wrought was a statement of creation," explains principal songwriter EricKusanagi about the intent behind their debut. "This second record is about what to do with that creation. The thought was, we've created this, now how do we wield it?" "We wanted to show a larger range of musical themes on this record," continues Eric. "You'll hear us dive into some synth work, some piano work, some really interesting effects that Mario helped us dial up." Wield packs a lot of details, which are fun to uncover over repeated plays. «Collider» is almost completely driven by high precision tapping leads, which are ingeniously mirrored by the chords on the final climax. «The Crush» sees the band's three guitarists chugging away happily over a clever 7/8 rhythm subtly exchanging thrashy, sludgy and prog-inspired stylings. Nevertheless, Wield is still an affair of instant gratification for fans of guitar driven post-rock. From the soaring leads of «Tides» to the epic finale of «I've Been Waiting For You All My Life», HIROE show they've upped their game in every department, but especially the one that tugs at your heartstrings. Wield presents the brave new future we all need in these confusing times. A new American frontier on which we can build our wildest dreams and our most daring ambitions! FOR FANS OF Caspian, Isis, pg.lost, Red Sparowes, If These Trees Could Talk, Shy Low, Ranges, Pray For Sound

Impressed präsentiert den Soundtrack zu "Memoir Of A Snail" (2024), einem australischen Stop-Motion-Animationsfilm des Oscar-prämierten Animators Adam Elliot, auf einer extravaganten 180g Golden-Swirl-Picture Disc mit nummeriertem Obi-Strip. Der von Elena Kats-Chernin komponierte und vom Australian Chamber Orchestra eingespielte OST mischt meisterlich klassische und zeitgenössische Arrangements, die in ihrer Dynamik die emotionale Reise des Films widerspiegeln. Die 42 Tracks sind sowohl zart wie kraftvoll, mit sanften Klavierpassagen, satten Streichern und einer insgesamt skurril-bittersüssen Stimmung. Kritiker loben den Soundtrack dafür, wie schön er durch seinen mühelosen Wechsel zwischen nachdenklichen, intimen Momenten und dramatischen Passagen das Herz des Films einfängt.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.
Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.
The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.

Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.

The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

For All The World, the black watch's twenty-fifth (and first double) album is a darkly poppy, brightly moody, many-splendored take on a number of the great themes: Death and Sex, Memory and Lament and Hope and Love. And it is, arguably, this heralded Los Angeles band's most sonically ambitious and moving record yet, since front man/novelist/ex-English professor John Andrew Fredrick formed the group in 1988 in Santa Barbara after he'd seen a London-by-way-of-Canada band called The Lucy Show play to twelve-or-so people in his hometown.

Having recorded 2024's Weird Rooms with producer Misha Bullock and Fredrick's son Chandler at Bullock's studio in Austin, TX, the TBW founder was keen to repeat the experience with, he says, more straightforward, classic psych/jangle/shoegaze songs. The result, though artistically satisfying, spurred a yen in John to write more songs as a sort of reaction against the batch he'd carried with him from LA to Texas. "We had such a productive time recording ‘Weird Rooms’ that I wanted to repeat the experience... without repeating the experience. And once it was over and I left Misha to do what he pleased with respect to mixing and overdubbing, all I could think was 'I need to write another album now.'" So Fredrick brought longstanding producer/engineer and TBW-associate Scott Campbell (Stevie Nicks, Acetone) along this time to help out with engineering and good cheer.

Fredrick, who has been "accused" of being "astonishingly prolific," learned that bandmate Andy Creighton had recently become unemployed, seized the opportunity to have yet another multi-instrumentalist flesh out the new songs he quickly wrote after he came back from Austin. “Achilles Past,” the first single, is in fact a song that John wrote when the production team thought the album was done—and the front man avers that it’s often the case that a very strong song comes to him, as it were, in the eleventh hour. The same could be said for “Listen You Wait”—another number that came late to the Austin sessions.

Nevertheless, the recording of the first half of For All The World has Creighton's signature indelibly stamped on it - especially on such tracks as “Fainting” and “Surely You Rally”- just as the latter half highlights Bullock's formidable talents. "They're both not just brilliant musicians and they understand my aesthetic and bring their own sensibilities to bear on my stuff. Our respective tastes meet in, you guessed it, The Beatles' realm - the great shadow that hangs over all I do, at least."

"There's A Place," the final song on side two, serves in fact as a distinct homage that's been a long time coming for a band that included a cover of "It's All Too Much" as a bonus track and that release a quite punkish, uptempo version of "Eleanor Rigby" on a 7".

Ein Mensch verbringt den ganzen Tag damit, eine Maschine zu bauen, nur damit sie ihn die ganze Nacht hindurch quält. Als ob das nicht schon verdreht genug wäre, gefällt es ihnen auch noch. Es gefällt ihnen sogar so gut, dass sie am Morgen verjüngt aufwachen und eifrig an der Maschine feilen, bis sie in ihrem Kopf perfekt läuft.
Dies ist die nächtliche Vision, die Cryptopsy zu ihrem neunten Album Nightmare inspiriert hat. "Hüte dich vor dem Scheinwerferlicht", warnt Sänger Matt McGachy, bevor "Dead Eyes Replete" mit einem schmerzerfüllten Breakdown vor deinen Augen aufblitzt. An Insatiable Violence spiegelt unsere toxische Beziehung zu den sozialen Medien wider, aber obwohl es unheimlich vorausschauend ist, ist das Album von den vielen Mutationen beeinflusst, die die Hall of Fame-Diskografie der Band geprägt haben. Inspiriert von einem Mukbang, der furchtbar schief gegangen ist, ist der gefräßige Opener "The Nimis Adoration" ein Sammelsurium an Blasts, Christian Donaldsons Fishhook-Riffs und einer kräftigen Portion Groove, der die Boxen zum Beben bringt.

Cryptopsy wissen, dass nicht jede brutale Technical-Death-Metal-Band lange genug durchhält, um nach 30 Jahren einen kanadischen Grammy zu gewinnen. Das Cover von "An Insatiable Violence" wurde von dem verstorbenen, großartigen Martin Lacroix gestaltet, der mit unheiligem Vergnügen über die frischen, fetthaltigen Tiefen von McGachys falschem Akkordschrei grölen würde. Ein anderer ehemaliger Sänger kehrt auf "Embrace the Nihility" zurück, um alle flüsternden Zweifel an seiner Vormachtstellung zu zerstören. Doch obwohl Cryptopsy bereits auf ihrem zweiten Studiowerk die Krone der abscheulichsten Death-Metal-Band für sich beansprucht haben, gehen sie immer noch an die Grenzen des Extremen.

Die Leadsingle des Albums rumpelt und knirscht zu Olivier Pinards schaurigen Bassschlägen - und doch erhebt "Until There's Nothing Left" im Kern den Anspruch, Cryptopsys größter Ohrwurm zu sein. Selbst Flo Mounier - der buchstäblich das Buch des extremen Metal-Drummings geschrieben hat - hat neue Techniken verfeinert, um die Blasphemie von An Insatiable Violence frisch zu halten. Zum Abschluss kommt "Malicious Needs" im Schneckentempo daher, bevor es wie eine Fledermaus in eine schwarze Rauchwolke aufsteigt.

Verbeugt euch vor der neuen Abscheulichkeit der Könige des extremen Metal.

FFO: Suffocation, Dying Fetus, Nile

BPitch präsentiert die nächste Ausgabe ihrer WE ARE NOT ALONE Compilation-Reihe - ein vielfältiges Paket mit Sounds, die den Geist der WE ARE NOT ALONE-Partys widerspiegeln und einen Einblick in eine Szene von Künstlern geben, die sich dem Underground verschrieben haben. WE ARE NOT ALONE pt. 8 bietet zwölf unverzichtbare Tracks für DJs, Raver und Musikfans, die eine breite Palette an Genres abdecken und dabei nie den Dancefloor aus den Augen verlieren. Die neue Compilation spannt die Fäden zwischen den Genres und dokumentiert mit der gewohnten Qualität des Berliner Labels das nächste Kapitel in seinem stetig wachsenden Beitrag zur Kultur.

WE ARE NOT ALONE pt. 8 zeigt, dass das Label keine Pläne hat, die Hitze zu drosseln, mit einer weiteren Runde reinstem Hedonismus für die Ewigkeit.

BPitch present the next iteration of their WE ARE NOT ALONE compilation series - a diverse package of sounds reflecting the spirit of the WE ARE NOT ALONE parties, and offering a glimpse into a community of artists that have committed themselves to the underground.

Touching on a wide range of genres whilst never losing sight of the dancefloor, WE ARE NOT ALONE pt.8 offers twelve essential cuts for DJs, ravers, and music heads alike. Tying the threads between genres, and with the mark of quality expected from the Berlin label, this new compilation documents the next chapter in its ever-growing contribution to the culture.
Returning to the label appearances on both BPitch and its accompanying label UFO Inc. - Turin-based duo Boston 168 open the club doors with a masterful fusion of trance build-ups and stripped back pointillism on ‘Feeling You’. Another member of the BPitch roster having just released an EP on the label, Tigerhead steps up with heavy kickdrums and uncanny pads on the aptly-titled ‘Alice Through The Looking Glass’. Stepping into more minimal territory, Sina XX - founding member of the Paris rave collective Subtyl - offers a warm, bouncing cut that teeters between the dark and euphoric with a masterful balance. Taking a swift 180 into the darkest industrial spaces, Endlec serves up a gritty percussive workout on the formidable ‘Panther’.

Theo Nasa - a South London-based purveyor of weird, melodramatic techno - moves into hazier spaces on ‘Sex and Acid Pleasure’, an eccentric dose of acid for the senses. Shaleen - a resident of the WE ARE NOT ALONE event series - continues into the warmth with a headspin of analogue sounds and modular experimentalism with ‘Vernalagnia’. Öspiel, the French-Korean producer and label head known for his cinematic sounds weaves together angular rhythms underpinned by a strong sense of minimalism. In hot pursuit, Puglia’s Raho comes through with a cyclone of bouncing kicks and harsh leads.

Diana May, a Berlin-staple and resident at KitKat offers us a welcoming spiral on ‘Just Shut The F*** Up’. Plunging into deep industrial caverns, KRTM ’s ‘Küss Mich Jetzt’ is a pounding glitch of hardcore techno for the biggest speakers. VUUDUU’s ‘SNAXX’ shifts the speed up a gear with an expansive gothic rave banger. Rounding things off is madwoman’s ‘Chaos Theory’, a sparse but unrelenting cut of atmospheric techno from deep inside a warehouse.

WE ARE NOT ALONE pt.8 shows the label have no plans on lowering the heat in 2024, with another round of pure hedonism for the ages.










j d1 | KRTM - Küss Mich Jetzt (04 05)

Mustang Island, the third album from Austin-based band Little Mazarn, is a gentle force. Waves of grief crest like surf on the Texas coast. Wild horses break through long-shuttered gates, only to come back around. Lead songwriter, vocalist, and multi-instrumentalist Lindsey Verrill (she/her) joins bandmates jeff Johnston (he/him) and Carolina Chauffe (they/thern), The tensong, collection continues work with Dear Life Records. A full-throated romp through the capabilities of community-minded songcraft, Mustang Island is both naturalistic and futuristic, completely recasting Little Mazarn's origins in primitive folk. Instead, the band reaches towards sonic experimentation and spacious expansion. Lindsey's heart-opening vocals and jeff's singing saw, both trademarks of the project, mix with unexpected bombastic drums, dissonant synthesizers, and a chorus of orchestral oddities. This mid-career ode dances confidently in the creative liberties granted by decades in the game - more dazzlingly lively, and honestly somber, than ever before. The band's crossroads branch across prominent Southern outsider music: On cello, Lindsey has recorded with Patty Griffin and Dana Falconberry. The longtime side player wouldn't write her first song until age 34, Jeff has played in Bill Callahan's band, as well as with LIl Capin Travis and Orange Mothers. Carolina is known for prolific solo project hemlock, Little Mazarn has also collaborated with Lomelda to release their last EP, Honey Island General store (2023), following past LPs Texas River Song (2022) and lo (2019). Alongside silliness and reverence, including covers from Kate Wolf and Bob Wills * His Texas Playboys, griet directs much of Mustang Island. Lindsey left her job of seventeen years teaching cello at a local school, Recording also aligned with the passing of Jeff's facher, a career educator in Jeff and Lindsey's hometown of Dallas. "Grief, and the avoidance of grief, is a big part of being human," says Lindsey. "You make a choice, and then you grieve for the other choice. Or you finish a meal and literally grieve that it was so good. If you really befriend griet, you re like, 'Oh, it's here, in this pancake, which I loved so much that I ate the whole thing, and now it's gone.**

Black Truffle is thrilled to announce Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear this year. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (Black Truffle, 2022). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.

The two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. On opener ‘Gerak Maju’, intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. ‘Strollabout’ then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. The remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On ‘Ghostly Klang’, two drumkits mirror each other’s moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell’s ‘Uncle’, performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell’s dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.

Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

There's no real way around it: Kelsey Waldon's new album, Every Ghost, is heavy stuff. Across its nine songs, she confronts addiction, grief, generational trauma, and even herself - and comes through it stronger and at peace. "There's a lot of hard-earned healing on this record," Waldon says. As she sings in the album's title track and first song, 'Ghost of Myself,' she's put in the work not only to better herself and leave behind bad habits, but also to learn to love her past selves. Compassion is a throughline on Every Ghost, whether it's for Waldon herself, for the person in the throes of addiction in 'Falling Down,' or for a suffering world in 'Nursery Rhyme.' The people in Waldon's songs aren't irredeemable - they're struggling.

When the trio of Sontag Shogun gathered at Laura Naukkarinen's home on the Finnish island of Kimitoön in the summer of 2019, they had not the slightest inkling that the world was about to change irretrievably with the onset of a long-predicted pandemic the following year. By the time their collaborative album, Valo Siroutuu ("The Light Scatters"), was released nearly two years later, the intimate and reflective nature of the work they had created together had taken on new meaning, resonating powerfully (and quietly) with a world in which the proverbial cracks in the wall only seem to be widening. 



Päiväkahvit completes the story that began with Valo Siroutuu, featuring 9 songs from the original sessions as well as 4 interpretive reworks courtesy of Amulets, Fadi Tabbal, Post-Dukes, and Jeremy Young. Available digitally and in a one-time vinyl pressing of 300 copies, the album flows seamlessly from beginning to end, incorporating field recordings, tape, sublime vocal melodies, and a host of acoustic and electronic instruments. Richly textured and immersive, Päiväkahvit positively crackles with warmth and a sense of creative embrace.



"We invite the listener into the sauna, out to the garden and onto the trampoline, to sit by the water’s edge and to take a coffee in the waning afternoon light, and to stay as long as they like." – Jesse Perlstein

Lau Nau, aka Laura Naukkarinen, is a Finnish composer whose music is imbued with an idiosyncratic, finely honed sound world. Her palette consists of acoustic instruments, singing voice, modular synthesisers, reel-to-reel tape recorders and field recordings. To date Lau Nau has released ten albums on record labels in Europe, the USA and Japan and a large number of collaborative releases. Lau Nau is known for her music to films and multi channel sound installations. She was awarded the Finnish State Prize for the Performing Arts 2021 as a sound designer. She has toured abroad for over 20 years, playing in venues such as Super Deluxe in Tokyo, the Lab & Castro Theatre in San Francisco and Blank Forms & Issue Project Room in New York.

Sontag Shogun is a collaborative trio that makes use of analog sound treatments and nostalgic solo piano compositions in harmony to depict abstract places in our memory. Textures built from organic materials such as sand, slate, boiling water, brush and dried leaves, both produced live in performance and recorded to weathered 1/4" tape warm up the space between lush piano themes. All of which is abstracted coolly in the reflective digital space of treated vocals and a live-processed feed from the piano. Bringing us back, like a faded passing scent or any natural emotive trigger, but to where? The wordless journey there will inevitably be more revealing than the destination itself.


Downliners Sect und Headcoats-Fans aufgepasst und losgelegt! Hier haben wir die wahren Hochblüter des Punk und Rhythm'n'Beat auf schwarzem Vinyl - Thee Headcoats Sect, mit den originalen Headcoat-Jungs: Bruce, Tub und Billy, zusammen mit dem erstklassigen Bassisten und Sänger der Downliners Sect - Keith Evans. Keith singt bei ,Man Trap" und dem Hit ,We'er Gone", während Billy bei ,Got Love If You Want It" und dessen Bastard ,Got Sect If You Want It" die Leadstimme übernimmt.

'BMB x OBI' marks a new venture for the long-time instrumental powerhouse Black Market Brass. Teaming up with Obi Original, the young and visionary Minneapolis talent with a mission to share the heart of African music with the world, Black Market Brass delivers both proverbial and prophetic messages for the year to come - 'You've got to be Battle Ready!'. Inspired by the raw energy and messages of Fela Kuti and indebted to Orchestre Poly-Rythmo de Cotonou for their heavy fusion of voodoo-infused Afro-beat, Black Market Brass points in both directions towards the resurgent history of West African funk and the future of where a younger generation can lead us. These tracks are bursting at the seams with energy and force the listener to wise up and march along as soon as the drums thunder and the horns blare their first notes. The A-side, 'Battle Ready,' is what it claims: a band armed and ready to take on whatever may come. Strapped to the hilt with three drummers, this infectiously rhythmic track simmers, if not boils, under Obi's demands to mount up. The energy is high, edgy, and proves that getting nine musicians in the same room to track live captures a passion that bulldozes through anything placed in its way. The B-side, 'What You Make It,' encapsulates a musical quality that Black Market Brass has refined over its many years together, with polyrhythmic ideas you don't have to understand to know it feels good. Infused with elements of ethno-funk and classic highlife, this Ebo Taylor & Pat Thomas inspired work approaches the listener with a simple message amongst a danceable cacophony of sounds - 'Life is what you make it.' Move in 4, dance in 3, or sway in 6. Whichever you choose, choose it deliberately; the music will be there to support you.

Dummy is a rock band from Los Angeles comprised of Alex Ewell, Emma Maatman, Nathan O'Dell, and Joe Trainor. Their debut full-length "Mandatory Enjoyment" (Trouble in Mind) arrived in late 2021, becoming one of the year 's sleeper hits and garnering praise from Pitchfork, Stereogum, and more. Coming out of lockdown, the band spent two years touring in support of the record, and it is this transformational experience that pulses through "Free Energy ", the exhilarating follow-up to "Mandatory Enjoyment". A creatively restless band, Dummy (Ewell: drums, synths, bass; Maatman: vocals, synths, organ; O'Dell: vocals, guitar, organ; Trainor: guitar, bass, synths) wanted to get harder, dancier, more psychedelic for their next record. This meant applying explorative potentials of electronic textures to the elemental qualities of rock i.e. more vocal loops, sampling, more crazy rhythms, and playful synths - but make those samples of Trainor 's guitar, let Maatman sing bolder, experiment with using cold mechanical elements in warm and sparkly ways, and lean harder into traditional-yet-still-awesome forms of rock guitar experimentation like feedbackThe result is a record that celebrates music's ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine_or, if you're Dummy, maybe all of them in the same song. Pop music has always been a big part of Dummy's sound and it manifests in different ways all over Free Energy: the bubbly synth sequence made with a Korg EM1 popping all over "Nullspace," the revved-up drone-pop inspired by second and third wave Dunedin Sound bands like Look Blue Go Purple and Dadamah, and the motorik beat powering "Nine Clean Nails," perhaps the most confidently pop song Dummy has ever recorded and one that exemplifies "Free Energy "'s balancing of live performance intensity with electronic augmentations, the dancier rhythmic elements created out of a drum loop recorded by Ewell while the bridge recalls the Feelies with call-and-response guitars from O'Dell and expressive vocals from Maatman. "Free Energy " also features guest appearances from Oakland-based saxophonist and electroacoustic artist Cole Pulice (Moon Glyph) contributes saxophone and wind synths and Jen Powers of Powers / Rolin Duo (Astral Editions, Feeding Tube Records).

Ukrainian Riot Grrl Trio 'Death Pill' Return With 'Sologamy' Their Much Anticipated Second Album. Two years on from their sensational debut, Ukrainian 'Riot Grrls' Mariana, Anastasiia and Nataliia, aka Death Pill are back. And back in full force, locked and loaded with a mighty set of tunes, _ as they put it. 'A bold exploration of personal empowerment'. 'SOLOGAMY' is fierce, heavy and melodic. The album's 10 tracks mark a bold evolution in the band's sound and Death Pill really deliver with ferocity and belief through multiple gear changes and genres as if it were easy. Hardcore, punk, grunge, thrash, riot grrrl, emo, are just some of the touchstones this album moves through, and all with the accomplished ferocity and memorable melody the band introduced on their debut. There are cellos, piano's, sound effects and ornate arrangements that open out their sonic palette, there's a bit of pop and even a bit of prog. But rest assured _ It's all pure 'Death Pill'. Thematically 'Sologamy' is, at its core, a celebration of the self! DP says: "The title, inspired by the concept of marrying oneself, speaks to the importance of making a personal commitment to self-care, happiness, and emotional well-being. In an era where that can sometimes be misconstrued as selfishness, Death Pill pushes back against these misconceptions, inviting listeners to embrace the power of prioritizing their own mental and emotional health." "Each track on the album is quite different from the last, and we see this as a way of accepting and supporting yourself in any emotional state. You arrive in this world alone and you leave it alone. The bottom line is: You're the only person you've got. "Every song on the album is a story that happened to us. Maybe it'll happen to you too. But every story deserves to become a song." "Sologamy" is more than just an album-it's a call to action" The very special LP version is not only frosted clear vinyl, but comes w/ foiled sleeve art, poster, sticker and free dlc! CD is nice too.

Produced in eastern Sicily between Mount Etna and Ionian seashore, Oltremare recalls the idea of what’s beyond the sea, evoking the dialogue between Northern and Southern Italy, Europe and America, and all the extremes that are divided by the sea, in a constant -yet inspiring conversation that can only lead to contamination. Franco Corica and Andrea Normanno join forces with multi-talented and revered dj and producer Byron The Aquarius, who infuses his blissful touch to this jazz-funk inspired house record.

It takes grindin' to be a king and Houston's Mike Jones' work ethic of "You Don't Work, You Don't Eat, You Don't Grind, You Don't Shine" had his phone blowing up in 2005 with the release of his major label debut Who is Mike Jones? on Asylum/Swisha House/Warner Records. Mike Jones started rapping in the early 2000s and he released a couple of independent albums on his own label Ice Age Entertainment before linking up with Michael "5000" Watts of Swisha House. He recorded the underground single "Still Tippin" with Texas contemporaries Paul Wall and Slim Thug, which appeared on the Swisha House compilation The Day Hell Broke Loose 2. The song, full of southern hip-hop slang and braggadocio, was an ode to the classic car culture in Houston, Texas, and could be heard bumpin' out the trunks of cars nationwide with its heavy bass and classical string loops. Before the release of Who Is Mike Jones? girls would ignore him, but after the release of "Still Tippin" they were all up on him, which led to the release of the single "Back Then" where he shouted out his real cell phone number that played a major part in the marketing and promotion of the album.You could call 281-330-8004 and get his voicemail and leave a message, but sometimes he would answer, which led to spreading the word of Mike Jones' debut album. "Back Then" was also a top-selling ringtone because (back then) you had to buy and download ringtones, unlike today. Mike truly went viral before going viral was even a thing. After dropping the two hit singles, Who Is Mike Jones? was released on April 19th, 2005, and would sell over a million copies that year, leading to certified platinum status. Twenty years later, this Texas Rap classic still holds up with features from other H-Town legends including S.U.C.'s Big Moe (RIP),Bun B, Paul Wall and Lil Keke. Juicy J & DJ Paul of Three 6 Mafia added their Memphis touch to the "Got It Sewed Up Remix" and the album ends with a heartfelt dedication to Mike Jones' late Grandmother on "Grandma". Get On Down is proud to present the first vinyl reissue of Who Is Mike Jones? in a limited edition silver and red color-in-color pressing packaged with a full color printed insert tocommemorate the 20th anniversary of this H-Town classic

Composer Corneliu Cezar (1937-1997) was a distinctive personality within the Romanian post 1960 avantgarde: a visionary of music, a thinker and a prophet, a richly gifted artist also active with writing, poetry, painting and astrology. Cezar was an activist rediscovering the natural resonance of sound within a different historical context and he embraced the recovery of authenticity as a reaction against the artificialized culture of serial doctrines. When, after 1975 the spectral music trend became official in Paris, with much fuss and remarkable support from musicologists, nobody knew that this trend has already been practiced by a small group of Romanian composers lead by Corneliu Cezar for ten years. The four electro-acoustic pieces on this album (privately released on CD in Romania in 2000), recorded with little means between 1967 and 1975, display the incredibly strong ideas of a truly visionary artist. Everything Corneliu Cezar has done during his short earthly life bared the shade of authenticity.

A journey back in time to the Halcyon days of 1991/92. K69 & Dream Frequency build 4 dancefloor bombs from scratch with the sounds we know and love. Layered breakbeats, underground rave stabs, uplifting pianos, layered pads and strings leaving you with the hairs on the back of your neck standing on end. . Limited stock as only 300 pressed, get it in your basket, you know it makes sense. 12" Blue Marbled vinyl full colour picture sleeve with spine

[l] Vocals [Additional] – Esme Patterson

[d] A4 Becky Doll; Recorded By [Vocals] – Wesley Graham (2); Vocals – Coco Hames

Pentagram ist eine amerikanische Heavy-Metal-Band aus Alexandria/Virginia, die vor allem als einer der Pioniere des Doom Metal bekannt ist. Die Band war in der Underground-Szene der 1970er Jahre sehr produktiv und produzierte viele Demos und Probebänder, veröffentlichte aber kein komplettes Album, bis sie sich Anfang der 1980er Jahre mit einer fast komplett neuen Besetzung neu formierte. Das einzige konstante Mitglied in der Geschichte der Band war der Sänger Bobby Liebling.

Pentagram wurde Anfang der 1970er Jahre gegründet und veröffentlichte 1985 ihr Debütalbum Relentless. Die Band überlebte mehr als vier Jahrzehnte voller Widrigkeiten und Triumphe, um zu dem legendären internationalen Act zu werden, der sie heute ist und der ihren Namen fest in die Geschichtsbücher des Heavy Metal geschrieben hat. Obwohl Pentagram einst als Kultband mit einer starken und engagierten weltweiten Fangemeinde angesehen wurde, hat ihre Popularität in letzter Zeit stark zugenommen, was zum Teil auf den Dokumentarfilm Last Days Here aus dem Jahr 2011 zurückzuführen ist, der die Irrungen und Wirrungen des Leadsängers von Pentagram, Bobby Liebling, zeigt.

Tracklisting

[c] A3 Factory Girls; Engineer [Lucinda Williams Vocals] – Derrick O'Brien*; Featuring, Vocals – Lucinda Williams









[m] B5 The Spoken Wheel; Vocals [Guest] – Noel O'Donovan

[o] B7 Don't Let Me Die Still Wondering; Engineer [Horns] – Jake Posner; Horns – Lee Thornburg

The buzz about the Crystal Teardrop that has been growing for the past two years looks set to reach fever pitch with the release of their debut album _IS FORMING. Featuring a dozen memorable compositions by the bands Alexandra Rose and Leon Jones, the album more than lives up to the promise of their 2024 single releases and their ecstatic live performances on stages across the UK and Europe. The band formed in Stoke-on-Trent in early 2023, "inspired," explains Alexandra Rose, "by a mutual passion for the sights, sounds and creative experimentation of the late 1960s." In addition to Alexandra on lead vocals on guitar, the band comprises Leon Jones (guitar, sitar), Stuart Gray (keyboards, Mellotron), Ed Quigley (bass, vocals), and Huw Woodward (drums, percussion). Intuitively blending elements of garage rock, folk-rock, power pop and psychedelia, the band have created an appealing concoction infused with their own perspectives and personalities. To best capture their sound, they recorded at an all-analogue facility, Tilehouse studio in North London, working closely with White Stripes producer Liam Watson of Toe Rag Studios fame.

Backspin's next release brings Selective Response, a prominent figure in America's techno scene, to the forefront with his Inner Heaven EP. Known for his hard-hitting techno rollers, he brings his expertise and passion to Backspin, delivering a release that aligns seamlessly with the label's mission to rejuvenate the Hardgroove sound of the early 2000s, blending releases of legendary pioneers with those of fresh talents.



The EP opens with Hells Bells, a doomy track that encapsulates Selective Response's signature style, featuring relentless rhythms and an underworldly bell theme. The title track Inner Heaven follows, offering a, contrasting atmosphere, blending ethereal elements with driving beats to explore the balance between intensity and tranquility. On the flip side, Power Hungry delivers a potent mix of pulsating basslines, sharp percussion and industrial elements, embodying the raw energy that defines the Hardgroove genre. The EP concludes with Purifier, a track more in line with the EP's title track, merging driving loops with intricate sound design, leaving listeners in a state of ecstatic trance.

XTRICTLY ELEKTRO returns with Volume 2, further establishing its vision of innovative and forward-thinking Electro. Featuring six producers with razor-sharp sound design and solid trajectories across the international circuit, this collective work reinforces Cosmic Tribe’s commitment to rhythmic synthesis, harmonic tension, and the structural discipline of the genre — unafraid to step outside orthodoxy.

EC13 opens the release with another chapter of his retro-futurist signature, marked by strong conceptual intent and cinematic pulse.
Spectrums Data Forces, a side project of C-System, brings the most technical edge from southern Spain, blending depth, precision, and modular design.
Atix, hailing from Lyon, contributes decades of refined energy and craftsmanship, always with a club-oriented focus.

On the B-side, Calagad 13 returns with a deep, introspective electro bass cut, reaffirming his role as a central sonic pillar of the series.
Final Dream, one of Phil Klein’s aliases, delivers a powerful piece built on heavy low-end and epic atmospheres, in line with his legacy as a key figure in UK Electro.
Elektrotechnik, a German producer, closes the release with an industrial-leaning, bold, and uncompromising statement.

Six exclusive tracks showcasing the genre’s vitality and the diversity of creative visions driving its continuous evolution.
Limited to 150 copies.

[a] A1 夢よ、夢よ、我が魂の日々よ = Dreams Of The Past, Memories Of My Soul; Arranged By – Mariam Abounnasr; Lead Vocals – Aisling McGlynn; Lyrics By [Original Lyrics] – Masato Kato; Music By, Arranged By – Yasunori Mitsuda; Translated By [Gaelic Translation Of Lyrics] – Michael McGlynn, Éabha McMahon


[d] A4 風と夢の誓い = A Vow Of Wind And Dreams; Arranged By – Mariam Abounnasr; Chorus – Lucy Champion; Lead Vocals – Aislyng McGlynn; Lyrics By [Original Lyrics] – Masato Kato; Music By, Arranged By – Yasunori Mitsuda; Translated By [Gaelic Translation Of Lyrics] – Michael McGlynn, Éabha McMahon
[e] B1 航海 アナザー・ワールド = Sailing (Another World); Arranged By – Nikolaj Busk [Dreamers' Circus]*; Music By – Yasunori Mitsuda
[f] B2 テルミナ アナザー = Termina (Another World); Arranged By – Ale Carr [Dreamers' Circus]*; Music By – Yasunori Mitsuda
[g] B3 運命に囚われし者たち = Bound By Fate; Arranged By – Rune Tonsgaard Sørensen [Dreamers' Circus]*; Music By – Yasunori Mitsuda
[h] B4 溺れ谷 = Fossil Valley; Arranged By – Nikolaj Busk [Dreamers' Circus]*; Music By – Yasunori Mitsuda

This is certainly both a mysterious one and an elusive one! Who were Grupo Natureza (Nature Group), and why is this release such a rarity? ‘Pode Acreditar’ was pressed on Som Livre Records in 1981 and it is believed very few copies were released into the commercial market. Those familiar with the productions of Lincoln Olivetti and Robson Jorge will no doubt recognise their hallmark sound here and that this single is ‘probably’ the work of the pair or one member at least. They were a regular in-house production team at Som Livre at the time, and there is a definite resemblance to Adriana’s song ‘Sei la Amor’ from 1978 which Lincoln Olivetti was involved in. Very little information is available about this release. A tantalising comment by Brazilian collector ‘bargainvinyl1’ on the original release’s Discogs page suggests ‘Pode Acreditar’ was a reaction to the Baby Consuelo and Pepeu Gomes pro-marijuana song ‘O Mal o Que Sai da Boca do Homem’, which caused controversy with Brazil’s governing military dictatorship at the time. Though condemning marijuana’s use, the word “baseado” (joint) is mentioned in the song, and this could be the reason behind the release being pulled by the heads of Som Livre and consequently it becoming one of the rarest releases on the label. Whilst its backstory is not crystal clear, it is an undeniable sun drenched, laidback boogie groove with AOR touches by the clandestine group. Pure 80s Riovibes, super-catchy and an earworm that sticks with you throughout the day.

- Next installment in BRAZIL45 Series.
- One of the rarest releases on the Som Livre label.
- Pure 80s laid back boogie grooves.

Big up to northern powerhouse Burnski for steering his Constant Sound label to the not-so-insignificant feat of release number 50. More importantly, the sounds remain as vital as ever and always evolve into subtle new sound worlds. The mantle for this one is taken by Locklead who brings some fine drum patterns to 'Backup' and pairs them with sliding hi-hats and bubbly synth motifs. It's garage-infused but utterly fresh. 'Wizzord' is a darker tech house with searching lead synths and plenty of pent-up energy, and 'Motherland' brings nice jazzy chord work and atmospheric samples. 'Pink Skies' is a bright closer with contrasting synths - some farting, some smooth - and more high-speed, catchy drums that span house and tech.