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**ON LTD SPLATTER VINYL** First time available on vinyl! With bonus tracks and unreleased material! The Sultans formed in 2000 and were John Reis / Slasher and Tony DiPrima and at times also Andy Stamets / Black Flame (Rocket From The Crypt’s ND) and Dean Reis / Black Velvet (Mannequin Piss, Spider Fever, The Heartaches, Los Dug Dugs). Shipwrecked was the bands second album and was released only on CD in 2004.

It was hailed as a “power-pop meets ’70s punk classic” by Virtual Underground Press and “…a masterpiece of the form...essential” by the Cleveland Call And Post. This reissue is a labor of lust with maximum attention to detail in resurrecting these masters from their deteriorated, analog state. The result is a louder, thicker and even more bristling slab of triumphant rock ’n’ roll. Everything on this reissue cuts deeper and breaks the digital glass into razor sharp shards and then shits on the 1s and 0s. Treble Magazine says. “It is the perfect soundtrack to your post-breakup life: fourteen songs about heartache, shame, trying to move on, regrets and just plain old hate. (And by the by, hate has never sounded as good as this)”. Added to the original are four bonus tracks, one being a cover of The Dils “Blow Up” and another the never released “Out Of Focus”. Shipwrecked was the last record at Drag Racist (Hot Snakes, RFTC, etc) before it shuddered its doors for good.

Nu-hardcore quintet, Bodyweb, are the sound of someone’s nervous system on the verge of breakdown—hyperactive, tormented and unflinchingly vulnerable. Born out of the Leeds hardcore scene, they’re a shape-shifting alloy of jagged emotion and precision chaos. What began as late-night jams between Louis Hardy (Higher Power, Big Cheese, Fate) and Ben Jones (Pest Control) eventually mutated into train_wreck_simulation, a debut EP filled with frantic breakdowns and nu-metal swag that felt like the soundtrack to a digital exorcism. The final piece of the puzzle came from Hardy’s estranged childhood friend, pq. His twisted samples and synthetic textures are haunted and disturbed, injecting cyberpunk soul into hardcore flesh. Contorting through several iterations in the following years, the band absorbed Luke Thompson (Stiff Meds) on drums, filmmaker Tom Hobson on guitar and Naomi Macleod (Empire State Bastard) on bass, and laid down their first collective offering. deadwired is due out on Flatspot Records later this year. Bodyweb's second EP is a violent thesis on connection and pain that sends Hardy’s unfiltered vocals through heaven and hell. Four overstimulating tracks run a gamut of styles and influences from Slipknot to Björk, constantly lane-switching between dizzying heaviness, ambient soundscapes and brain-burrowing hooks. Entirely self-produced, deadwired upgrades the sonic formula laid down on the last record and raises the question: what else could exist in Bodyweb’s twisted roadmap? Nothing seems impossible. What seems important, however, is retaining the rawness in a style that can often turn sterile. “We still wanted it to sound very human. It had to be well produced but not cold and lifeless.” shares Hardy. “We didn’t use a click track. All guitars were real amps with microphones. We tried to make everything as real and raw as possible, we recorded using all the same gear we use when playing live too to really capture the energy of how it feels when we jam together." ‘Deadwired’ is a snapshot of violent implosion. Four ADHD-fuelled transmissions from the edge of spiritual collapse. It drags metallic hardcore through glitched-out ambience to confront ego death, generational trauma, and the violence of being alive. On stage, Bodyweb don’t just perform, they purge. Raucous live electronics meld with digitally contorted guitars. Breakbeats meet breakdowns—no backing track in sight. Bodyweb enable a collective catharsis. Mosh, dance, dive, scream, heal. A physical therapy session screamed into the void.

Philipp Priebe, a true romantic in the realm of electronic music, is ready to captivate audiences with his latest masterpiece, “Until The End”.

This album is a vivid canvas painted with Priebe’s signature blend of emotive melodies and pulsating rhythms, promising an experience that ignites both movement and emotion. Renowned for his talent in crafting immersive sonic landscapes that resonate with longing and ardor, Priebe’s forthcoming release on “Paradijs Boogie”, the first offshoot of the esteemed German label Freund der Familie is highly anticipated.

With a decade of musical prowess and a reputation for delivering soul-stirring house music, “Until The End” is poised to take listeners on a captivating journey through the ethereal realms of Priebe’s musical universe.

Tom Jarmey returns with Daybreak, a widescreen second album weaving ambient textures, dusty drum breaks and hazy melodies into a deeply emotive listening experience. Known for his genre-blurring releases on Holding Hands and X-Kalay, the London-based producer continues to push his sound into bold new territory. Having clocked 20M+ streams and earned praise from DJ Mag, Mixmag, and Four Tet, Jarmey's second LP cements his place in the UK's new vanguard of genre-fluid electronic artists.

Includes insert Featuring covers of iconic cinematic scores Performed with the London Symphony Orchestra Limited edition of 1000 numbered copies on purple coloured vinyl 2CELLOS explore the magic of cinema and television in their new album Score, r eimagining the most beloved film and TV melodies with their distinctive sound.

2CELLOS have forged a signature style that breaks down the boundaries between genres of music, from classical and film music to pop and rock. Score is available as a limited edition of 1000 numbered copies on purple coloured vinyl and includes an insert.

Pickle Darling has always existed just outside of the periphery. In a heightened time of fast music, algorithmic consumption and rapid virality, Lukas Mayo (they/them) has remained focused on the album. Their discography is a reflection of their creative evolution, and they deliberately look for ways to push sonic boundaries from release to release. Since debuting with Bigness in 2019 followed by Cosmonaut in 2021, Mayo has curated a catalog that is deeply personal and strangely tactile, where tiny, unexpected details_an off-kilter loop, a whispered aside, the warmth of an old Casio_become as crucial as melody itself. Their 2023 LP Laundromat was a precise and polished expansion of that world, a record that felt like it had been carefully placed behind glass. Their forthcoming fourth album, Battlebots, by contrast, is unruly and full of static: a collection of songs that feel like they could only ever exist on scratched CD-Rs passed between friends. Self-recorded in their home studio in Christchurch, New Zealand, it finds Mayo taking a scalpel to their own songwriting. Songs were stretched, chopped, reversed. Some ideas started as "unlistenable garbage" before morphing into something unexpectedly beautiful. If a song felt too straightforward, Mayo had to mess it up. That friction of old and new, organic and digital, melody and noise is what drives Battlebots. Drawing inspiration from a strange, scattered lineage: Four Tet's Rounds, The Books, Neneh Cherry's Broken Politics, The Wrens' Three types of reading ambiguity, but also the emotional directness of 2000s pop like Madonna's Ray of Light and Robyn's Body Talk, the result is an album that feels like a glitch in the system, pushing against past constraints while embracing the weird, beautiful mess of making something new.

Les Dunes is an alternative band from Haugesund, Norway. Consisting of members from bands like The Low Frequency in Stereo, Undergrünnen, Lumen Drones, Helldorado and Action & Tension & Space. The band consists of Per Andreas Haftorsen on guitar, Morten Jackman on drums and Per Steinar Lie on bass. The result reminds of the fantastic slow-core era bands of the 90ies, like Codeine who create their own version of Explosions In The Sky songs or like Per Steinar Lie claims "it feels like the vibe of the early days of The Low Frequency in Stereo". The music is rooted in a thought of a long freeway drive at night where time stops and the mind flows.

Coflo is a dancer, producer and Capoeira expert born and raised in the East Bay Area of California with a lifelong love of house music. For this one on Jambala, he hooks up with Adeniji Heavywind for a tune named after the label. It's the sort of cultured, organic sound that brings musical charm as well as infectious groove with Afro, soul and jazz all worked in through the bold brass notes, jangling rhythms and funky guitars, which get topped with a charming vocal a la Fela Kuti. The Backside mix is more deep and dubby to make for a tidy two tracker.

Das brandneue Wiener Musikprojekt "ALLES EXHAUSTED" präsentiert zeitgemäßen Shoegaze-Sound mit deutschen Texten. Entstanden als loses Netzwerk aus Musiker*innen der Gruppen Culk, Jansky, Pauls Jets und Fuzzybrains präsentieren sie mit der Single "Alles so verbraucht" auf Siluh Records das allererste Lebenszeichen. Am 5.9.2025 erscheint ihr selbstbetiteltes Mini-Album "ALLES EXHAUSTED" als auf 50 Stk. limitiertes Tape. Unter dem Namen "ALLES EXHAUSTED" formiert sich ein Netzwerk von Wiener Musiker*innen. Es ist keine Band im engeren Sinn, sondern funktioniert eher wie eine lose Bande, die sich 2025 irgendwo zwischen Müdigkeit und Experimentierfreude gebildet hat. Es ist die Gewissheit der spürbaren Kraft des gemeinsamen Lärmens im Proberaum, die sich als primäre Motivation erwies. Nicht aus Kalkül, sondern aus Erschöpfung. Aus dem Reflex heraus, dass etwas Neues passieren muss, um alles drum herum abzuschütteln. Und genau diese pure Energie ist auf dem sieben Songs umfassenden Mini-Album zu spüren. Ein Daumen hoch, während die Welt uns dazu zwingt, uns im ewigen Hamsterrad weiter zu verausgaben. Die massiven Gitarrenwände nehmen kathartische Züge an, während der weiche Gesang die Gewissheit vermittelt, einem lauten Monster mit Sanftmut die Stirn bieten zu können. Für jedes Lied sind andere Stimmen am Mikrofon und alle eint der Drang, sich die brachiale Wall Of Sound zu eigen zu machen. Gemeinsam erkennen sie schließlich, warum immer wieder Weitermachen der beste Weg ist, um den Druck der Welt und die verbundene Ohnmacht zu bekämpfen.

CRYSTAL STILTS haben zum ersten Mal mit ihrer selbstbetitelten EP 2005 und dem Nachfolger "Alight Of Night" aufhorchen lassen - ein kleines Vorbeben der Welle von fuzzigen, Hall-orientierten Bands, die ihnen auf dem Fuße folgen sollten. In den Jahren, die seitdem ins Land gezogen sind, hat sich die Band weiterentwickelt und 2011 das kräftige ,In Love With Oblivion" und die ,Radiant Door"-EP veröffentlicht. Gegründet von Sänger Brad Hargett und Gitarrist JB Townsend haben sich CRYSTAL STILTS mit Andy Adler am Bass, Keegan Cooke am Schlagzeug und dem Organisten Kyle Forester zu einer kompletten Band gemausert. Dementsprechend wurde das neueste Album der Band, ,Nature Noir", vom Quintett eingespielt. Aufgenommen im Frühjahr 2013 weiten CRYSTAL STILTS ihre Soundpalette aus und spielen mit Streichern, Percussion und Synthies. Auf Tracks wie ,Star Crawl" und ,Sticks And Stones" verfügt der Gesang von Hargett über eine brillante Klarheit und Gefühlstiefe, während die musikalischen Arrangements eine Gewandtheit bezeugen, die die überraschen wird, die CRYSTAL STILTS bisher in die Lo-Fi-Schublade gesteckt hatten.

DESTRUCTION UNIT sind eine amerikanische Band, die in der Wüste Arizonas zusammenkam. Gegründet von Ryan Rousseau waren D. UNIT ursprünglich ein synthielastiges Trio, dessen andere Mitglieder Jay Reatard und Alicja Trout (LOST SOUNDS) waren - ebenso war Rousseau ein Mitglieder der REATARDS, bevor Jay auf Solopfaden wanderte. Geboren im Dunstkreis der Memphis Goner Records Szene und verpflanzt nach Tempe, Arizona, hat Rousseau des Band zu einem kompletten Soundangriff geformt, für den drei Gitarristen (er selbst, Nick Nappa und Jesco Aurelius), sein Bruder Rusty am Bass und ein 19-jähriger, klassisch ausgebildeter Schlagzeuger, Andrew Flores, verantwortlich sind. DESTRUCTION UNIT haben auf dem bandeigenen Label Ascetic House bereits einige Kassetten, auf Jolly Dream eine LP namens ,Void" und kürzlich eine limitierte 7" auf Suicide Squeeze veröffentlicht. ,Deep Trip" ist ihr erstes echtes Studioalbum. Produziert von Ben Greenberg von THE MEN, HUBBLE & PYGMY SHREWS im Vacation Island Studio in New York. Morphium Boogie für den Noisesüchtigen des 21. Jahrhunderts. "Skull-crushing repetition, menacing walls of nuanced guitar noise, feedback magick wah'd from hell to the sky, a sprawling kraut backbone, evil melodies." - Pitchfork

Connection is the new ten song LP from Los Angeles powerhouse Orgone featuring collaborations with Cyril Neville, Kelly Finnigan, Pimps of Joytime, and more. The album is the inaugural release on 3 Palm Records, distributed by Colemine Records and Secretly Distribution. A spiritual follow up to fan favorite Bacano, Connection is gritty, lean, and tight soul and funk at its best. It explores the invisible threads that bind us all, spiritually, emotionally, and artistically. Much like the collage that adorns the cover, this hard hitting collection of songs illuminates the essence of Orgone: a musical pastiche of different vocalists, heavy riffs, vintage production, and a core rhythm section that never disappoints. The synergy created in these songs demonstrates that the whole is truly greater than the sum of all the individual parts and players.

"Seminal Live" wurde ursprünglich 1989 veröffentlicht und ist ein ziemlich einzigartiges Album im reichhaltigen Katalog von The Fall. Es wurde nämlich zu einer Hälfte im Studio und zur anderen Hälfte live aufgenommen. Es war gleichzeitig die letzte Veröffentlichung der Band bei Beggars Banquet und das letzte Album, auf dem Gitarristin Brix Smith zu hören ist. Die Neuauflage von "Seminal Live" erscheint auf gelbem Vinyl. Aufwändig remastered wurde "Seminal Live" von Kevin Vanbergen. Zudem enthält der Re-Release ein neu gestaltetes Artwork, sowie ausführliche Sleeve Notes und einen QR-Code, der auf geheimnisvollen digitalen Wegen zu exklusivem Bonusmaterial führt. Die Studioaufnahmen auf Seminal Live sind allesamt neue Songs und bilden die erste Seite des Albums. Die Live-Aufnahmen auf der zweiten Seite sind hingegen allesamt Versionen bereits veröffentlichter Titel. Einige der Songs auf Seminal Live gehören zu den besten Songs von The Fall aller Zeiten. Seite eins enthält "Dead Beat Descendant", und ihre Coverversion von Lonnie Irvings "Pinball Machine" steht in der bewährten Tradition der Country-Coverversionen von The Fall.

The latest by Andrew Clinco's acid punk alias VR SEX takes its title from an architectural phrase but more importantly refers to the warped, wicked underworld the songs both chronicle and condemn. Donning the moniker Noel Skum - an acerbic anagram of Elon Musk - Clinco vents his scorn for and fascination with the seedy, surreal margins of low-life Los Angeles, doomed to dead ends of vanity, lust, and technology. Although initially launched as an outlet for "heavier sounds" beyond Clinco's duties in new wave fantasists Drab Majesty, the project has ripened into a compelling exercise in world building, weaving themes of gritty city neofuturist sleaze within a framework of driving, distorted guitars and cathode-blasted synths. Echoes of Chrome, Wire, Minimal Man, and Sisters Of Mercy ripple through the collection but ultimately Rough Dimension charts its own twisted vision of "our unforgiving reality." Written and demoed across two weeks alone in a Marseille flat using his prized 1980's Gibson "Invader" and a laptop, Clinco then took the tracks to Strange Weather studios in Brooklyn to record with Ben Greenberg (Uniform, The Men) who helmed 2019's debut, Human Traffic Jam. The results are notably ripping, refined, and riveting. Riffs in alternate tunings chug and churn over mid-tempo drums punctuated by spikes of sci-fi electronics while the vocals swagger and spit venom ("where we walk is also where we shit / but if we bark at our reflections are we hypocrites? / impulses bleed right into our seed / where hate culminates the apple rotted on the tree"). It's a bristling mix of the melodic and the macabre, absurdist observations of fast living and desperate measures, the clock of youth ticking towards midnight as dreams unravel in Babylon. VR SEX's specialty is making these cautionary tales of psychic decay and tainted love a thrill rather than a drag. There's a sunglasses at night glamor to Clinco's choruses and solos, a wit to his black leather judgements ("what is the answer / to cancerous people / walking in my line of sight?"). The music's milieu tends towards parasites and predators but its mood skews refreshingly accelerated and amused, cruising the strip with a cigarette, watching goths and limousines crawl in gridlock beneath digital billboards. The Rough Dimension may be a cesspool, but it's home.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

Forming in 2014, Fury established themselves quickly, releasing both a demo on Washington, D.C.'s Mosher Delight Records and the "Kingdom Come" EP on Boston's Triple B Records in the same calendar year. They built on the melodic legacy of Orange County by way of heavy, rhythmic, start-stop guitars and Stith's wordy and referential lyrics. Then, in 2016, came their debut LP on Triple B Records, "Paramount," which was met with respect from the hardcore community and praise from outsider critics."Failed Entertainment" documents the work, both personal and creative, undertaken since the release of "Paramount," a period of time marked by as many difficulties as successes. Stith said, "I've asked myself `Why have I done this?' and `Why do I continue to do this?' more times in the last two years than the rest of my life combined." Those eternal, existential questions form the thematic foundation of the new songs, which look past the superficial concerns about status and popularity that preoccupy so many musicians, focusing instead on life's inevitable, inescapable problems and the ways in which they can be compounded by the banal realities of art-making _ the isolation of being on tour, the pressure of being expected to somehow transform that universal angst into nice, catchy songs that provide simple lessons.

Recently I was approached by my old friend Travis Millard to make some original music for Freedom Finger - a crazy space-shooter video game he had been developing with Jim Dirschberger and Wide Right Interactive game studio. I was able to land 6 instrumentals that pop up at various points throughout the gameplay.As the game was being rolled out, the idea arose to have me do 3 more tracks - this time fully fleshed out songs with lyrics mostly inspired by Freedom Finger's gameplay. These tracks would accompany some brand new levels that would be made available as downloadable content for the game.We have decided to release all of the music I have done for Freedom Finger as a 10" vinyl EP available through Rhymesayers Entertainment. This includes the 3 full length vocal tracks, as well as the 6 shorter beats that loop throughout the game. Some of these tracks also feature additional instrumentation from my friends and frequent collaborators, Grimace Federation.Furthermore, Jim has directed a video for the song Drums on the Wheel - featuring Freedom Finger gameplay, and some brand new visuals drawn by Travis and animated by Steven Gong.The game is an absolute blast, and I hope you enjoy this music. All relevant links below. <3Love,A.R.

Kasse Mady Diabate, a key figure in Malian music, left his mark on history with his gentle yet powerful voice, earning him the nickname "the golden voice of Mali". A respected Mandingo artist, he was known for his ability to touch souls with melodies and texts steeped in depth and tradition. As a griot, he carried the musical heritage of his people with dignity and talent. The album title song, Toumaro (A bientôt), written by his daughter Hawa Kasse Mady Diabate, is part of this heritage, celebrating love and gratitude. After Kasse Mady"s sudden death in 2018, Hawa continued the album her father had started, offering a poignant tribute to his legacy and a beautiful way to connect with him spiritually through music. Hawa herself is an iconic figure on the Malian music scene, particularly as a member of Trio Da Kali, the griot "super-group" whose album Ladilikan with the Kronos Quartet was a true masterpiece. Toumaro is a testament to the richness of the griot tradition, carried on by artists such as Hawa as well as Lassana Diabate and Madou Kouyate. Their collaboration on Toumaro with renowned musicians underlines the importance of passing on cultural and musical values, while renewing the genre through contemporary arrangements.

Dies ist das achte Album von DESTROYER, das ursprünglich 2008 erschien. Hier etabliert sich Dan Bejar aus Vancouver als ein Künstler, der so verschroben und rätselhaft wie DAVID BOWIE, so symphonisch und bombastisch wie SCOTT WALKER und so fantastisch literarisch wie BOB DYLAN ist. Eine Sammlung von Songs, die frisch und neu ist und dennoch wie die Faust aufs Auge in das Werk von DESTROYER passt. ,Von allen zeitgenössischen Schreibern ist er der größte Einfluss und die größte Inspiration. Weil er anmaßend ist, aber anmaßend auf die Art und Weise, die es zu einem Spiel macht, uns vorzumachen, wie grandios wir alle sind." - Will Sheff, OKKERVIL RIVER

Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Limited pink vinyl. Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Die Gang aus Stockton-on-Tees ist zurück, denn es gibt noch so viel zu erledigen. Mit "Anchorage" veröffentlichen YOUNG REBEL SET ihren ersten neuen Song seit 2013, und veröffentlichen im September 2025 die "Sun" EP an - die erste Veröffentlichung der britischen Indie-Pub-Rocker seit dem Tod ihres Sänger Matty Chipchase im Dezember 2019. Doch "Anchorage" ist mehr als nur ein Comeback-Song, er ist ein Stück Geschichte. Geschrieben wurde der Song bereits 2012, während der Arbeiten am zweiten Album "Crocodile". Live gespielt wurde er damals in Originalbesetzung bereits, doch nun, über zehn Jahre später, wurde er auch aufgenommen. Und zwar in den legendären Abbey Road Studios in London - erstmals steht Sänger Tom Blackwell am Mikrofon. Seine Stimme bringt eine raue Wärme in den Sound der Band, der Matty Chipchase Respekt entgegnet, ohne zu versuchen, ihn zu imitieren.

This is a raw and soulful collection of beats, swiftly cooked up by the legendary DJ Spinna. Originally dropped on Instagram as sonic teasers for his “Here To There Radio Show” on Apple Music, each beat is a tribute to the artists spotlighted in each episode.
What started as a behind-the-scenes glimpse into Spinna’s creative process quickly sparked a wave of demand—so by popular request, these exclusive grooves are now being released to the public.
Straight from the lab to your ears. Enjoy the vibe!

Renowned DJ, Producer and House music aficionado, Giles Smith, returns to Eglo Records with his highly anticipated ‘I Can Change Your Life’ EP. A deep and soulful outing, that nods to the classic House sounds of Chicago, New York and Detroit. Evoking the spirit of late-night underground parties, the record captures the essence of House music’s soulful pulse.
Title track - I Can Change Your Life - features the immaculate tones of singer LaAriel. Who elevates the track into a bouncing, soul filled, bop, certified to get your dance floor moving correctly. Smith also delivers a deeper, teckier, jazzed out dub mix on the flip, alongside Paulo’s Keys, a prescription style instrumental track that mixes the rough with the smooth.
Previously known as one half the legendary Secretsundaze, this EP marks a new chapter for Giles Smith. Already a highly respected figure, his expansive knowledge, paired with his deep passion for DJ’ing and love of clubland make him an ever more important figure within dance music culture. His evolution, passion and dedication is evident and can be heard in the fabric of this essential EP.

In celebration of !K7"s 40th anniversary year, Jayda G"s seminal DJ-Kicks is re-issued on a beautiful gold 2LP with a brand new Jayda G DJ-Kicks playing card. Jayda G"s mix takes you on a journey that moves through loved classics and new bubblers. This includes original productions from HAAi, DJ BORING, LNS and Australia- based friend Jennifer Loveless.

Anlässlich des hundertjährigen Jubiläums von Sergei Eisensteins legendärem Stummfilm Battleship Potemkin wird der gefeierte Soundtrack von Tennant und Lowe (Pet Shop Boys) bei Parlophone Records veröffentlicht – als remasterte Einzel-CD und erstmals als Doppel-LP auf Vinyl.

"After two EPs and an illuminating start to his career, Grammy Award-winning saxophonist Venna releases his debut album, Malik. Not wanting to be rooted in jazz alone, Malik embodies the melting pot of sounds that
reflects Venna’s environment. Bossa Nova influences can be heard across the album, as well as a deep love for Soul, R&B, and Rap. Venna’s broad range shines bright in his choice of collaborators, including vocalists Jorja Smith, Leon Thomas, MIKE, and Smino, as well as instrumentalists such as Yussef Dayes and Marco Bernardis.
It’s a beautiful rarity when an artist sees themselves as a vessel of the music, and though Malik is a manifestation of his experiences and how he sees the world and years of craft, Venna wants Malik to be an invitation. An invitation to let go, be present and submit to sensory experiences."

Pink vinyl reissue of singer-songwriter Lizzy McAlpine's debut album, Give Me A Minute, which was originally self-released in August 2020. The album features hit tracks "Pancakes for Dinner" and "To The Mountains". Lizzy has since released two more full length album, and has grown to over 11M monthly listeners on Spotify, and just under 1M followers on Instagram.

Local Philadelphia singing sensations Al and Tyrone Chestnut self produced the classic 12" single "Sweet Little Rita” mixed in New York in 1983
by the highly regarded Steve Goldman, who was the chief engineer for Mighty M productions and whose mixes for Kashif, Evelyn Champagne King, Melba Moore, George Benson and others, became radio staples. Like most Street Level releases,
"Sweet Little Rita" was recorded inPhiladelphia, mixed in New York, and originally released in Canada. Presented here is the original 12" version plus bonus instrumental version.

Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. "Joropop. Psych Pop & Folk in Venezuela, 1968-1976" features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks-most of which have never been reissued until now. Let's set off together to discover the magic of Caracas in the late '60s! DESCRIPTION Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. "Joropop. Psych Pop & Folk in Venezuela, 1968-1976" features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks-most of which have never been reissued until now. The golden age of Caracas pop started in 1965. It replaced the wave of cloyingly romantic song writing as fresh talents leant into richer and more complex styles: folk-rock, psychedelia, soul, hard blues, symphonic pop, Latin rock etc. Singer-songwriters, experimental electric guitars and jam sessions all appeared on the scene, creating music that became increasingly refined and free. The industry took a while to catch on to this new trend and leave behind the teen idols and dream lifestyles. By the late 60s, there was a long list of new bands in the capital city. Young people finally found their voice. Let's set off together to discover the magic of Caracas in the late '60s!

Nach über einem Jahrzehnt psychedelischer Odysseen, Kultstatus und internationaler Tourneen kehrt Dresdens beliebtes Psych?Kollektiv The Roaring 420s mit "We're All In It Together" zurück - dem lang erwarteten dritten Album und zugleich triumphalen Abschiedswerk der Band in ihrer ursprünglichen Besetzung. Die Songs glänzen mit 60s-Gitarren, wirbelnden Orgeln, Reverse?Fuzzes und strahlenden Gesangsharmonien. Ob man es nun Garagenrock, Surf, Psych oder Exotica nennt - eines ist klar: Diese Fahrt wird wild. Und wir sind alle dabei.

Wer liebt nicht eine Fortsetzung? Wie die untoten Slasher der blutigen Klassiker, die in ihren Songs
heraufbeschworen werden, kehren ICE NINE KILLS mit mörderischen Songs auf I Heard They KILL Live 2
zurück.
Loudwire lobt ICE NINE KILLS als „einen der einzigartigsten Acts im Metal“. Die Synergie von Musik und
Lebensstil der Band wird gerne mit Slipknot und Rob Zombie verglichen. Als visionäre Wegbereiter und
Multimedia-Raconteure bauen INK weiterhin eine spannende Welt für eine wachsende Legion von treuen
Anhängern auf, mit theatralischen Shows, hochkonzeptionellen Videos und einfallsreicher Kommunikation
zwischen Band und Fans

Der Kornettist Don Cherry erlangte ab 1958 als Mitglied der revolutionären Bands von Ornette Coleman weltweite Bekanntheit in der Free-Jazz-Szene. Als eigenständiger Bandleader präsentierte sich Cherry
jedoch erst 1965 auf seinem Blue-Note-Debütalbum “Complete Communion”. Mit einem aus Free-Jazzerprobten Musikern bestehenden Quartett lotete der Kornettist zwei suitenähnliche Kompositionen aus, die
sich jeweils über eine ganze Plattenseite erstreckten und seinen Mitspielern reichlich Raum gaben, sich
ebenfalls solistisch einzubringen.

Blah Blah Blah is the 1996 debut album by Brooklyn-based hip hop duo Blahzay Blahzay, composed of DJ P.F. Cuttin' and rapper Outloud. Their big breakthrough was the single "Danger", which was issued as the lead single of their 1996 album Blah Blah Blah. The single contains many samples, including Beastie Boys and Q-Tip "Get It Together", Gwen McCrae "Rockin' Chair", and Jeru The Damaja "Come Clean". It reached #4 on the Billboard Hip Hop Chart and #46 on the Billboard Hot 100. The tracks "Pain I Feel", "Good Cop/Bad Cop" and "Danger, Pt. 2" also gained traction. The album featured guest performances by Dark Man, Smoothe Da Hustler and Trigga Tha Gambla.

In South London members Alan Lancaster (bass) and Francis Rossi (guitar) were the original members and founders of Status Quo. _x000d__x000a_Formerly known as The Spectres and later renamed to Traffic or Traffic Jam they settled for Status Quo as their band name in 1967. _x000d__x000a_The following years they were joined by John Coghlan (drums), Roy Lynes (keyboard) and Rick Parfitt (guitar)._x000d__x000a_Status Quo’s first hit record "Pictures of Matchstick Men" was released in 1968 .The single reached #7 in the UK, and remains the band's only major hit single in the US, where it reached #12. Their debut Picturesque Matchstickable Messages from the Status Quo soon followed. It features several covers, including "Green Tambourine" by The Lemon Pipers and "Spicks and Specks” by The Bee Gees. _x000d__x000a_Another highlight from the album is their second single, "Ice in the Sun." Even if this is not the most representative album from Status Quo, it is a good psychedelic pop exercise ._x000d__x000a__x000d__x000a_Picturesque Matchstickable Messages from the Status Quo is now available as a numbered limited edition of 1000 copies on turquoise coloured vinyl_x0009_

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”









g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]

Celebrating a quarter-century of Ryan Adams’ 2000 debut solo album release Heartbreaker. This release features 11 re-imagined tracks from the critically acclaimed record that helped define a generation of alt-country and Americana.

Newly re-worked with fresh emotion and stripped-back intensity, these new versions offer a deeper take on the originals with a sprinkling of strings.The heartbreak never ended.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

Love & Rage, the brilliant 2024 debut album from London Queercore trio Shooting Daggers turned many heads with its jaw dropping depth and melody as well as blinding energy, feminist fury and angst. It has to be said that the band are not just bashing it out here. The playing is knockout and the vocals in particular are a standout. Singer Sal proving that she can do hard and fast and cool and melodic with equal aplomb. Add in some really inventive vocal arrangements and harmonies, and you have a band that is pushing that hardcore envelope big time. 2nd edition in Pink vinyl, full colour single outer sleeve, with a full colour printed inner sleeve, with an exclusive A4 poster included as well as a full download code. `Shooting Daggers may well have already made 2024's finest punk album'- Metal Hammer 'a ferocious brand of self-styled queercore punk rock that takes no prisoners' - Kerrang. 'a truly empowering album' - Noizze.

Nicolás Ibarburu is a prominent figure in Uruguayan music. Renowned for his exceptional guitar skills since his teenage years, he has also established himself as a talented songwriter. In La Ruta de la Seda, he showcases a unique blend of personal songwriting, Latin fusion rhythms, pop sensibility, and deep-rooted Uruguayan musical influences. From his teenage years, Nicolás Ibarburu has become a prominent figure in Uruguayan music. Renowned for his exceptional guitar skills, he quickly gained recognition, performing alongside his brothers, Martín and Andrés, in various projects. Ibarburu's mastery of the guitar has led to collaborations with legendary figures from both Argentina and Uruguay, including the iconic Luis Alberto Spinetta, Jaime Roos, Fito Páez, and Rubén Rada. As his career evolved, Ibarburu expanded his influence beyond performance, establishing himself as a talented songwriter with a captivating solo career. His latest album, La Ruta de la Seda, showcases his unique blend of personal songwriting, Latin fusionrhythms, pop sensibility, and deeprooted Uruguayan musical influences. With his signature guitar sound and lyrics that explore the magic of artistic creation and the poetic depths of the subconscious, Ibarburu continues to push the boundaries of his artistry.

Established in 2022, Warm Exit is a post-punk quartet hailing from Brussels, Belgium. Their violently frontal music is an explosive blend of sonic intensity that sets them apart as one of the country's most electrifying and raucous acts. Drawing inspiration from Krautrock, Punk, and Noise, their relentless rhythmic prowess is a testament to their diverse influences. Channeling the spirit of iconic 1970s bands like Wire, The Fall, and Public Image Limited, Warm Exit ventures into the shadowy realm of post-punk with their latest EP. Here, they seamlessly oscillate between fast and slow tempos, high and low energy levels, and vocals that span from tense whispers to unbridled screams. This journey takes the listener through a landscape of discordant riffs, haunting groans, evocative spoken word passages, and industrial undertones. Over the past three years, Warm Exit has cultivated a devoted following both locally and internationally, thanks to their electrifying live performances that leave audiences in awe. Carrying the reputation of a striking live band, they are eager to storm the stage at any and every given opportunity.

Why the Eye is an experimental masked quartet from Brussels that propels bodies into trance during its live performances. All instruments are DIY and played in real time, without loops or sequencers. Fans of The Residents, Société Étrange, Autechre, Boards Of Canada, The Meridian Brothers and Fulu Miziki could easily relate to their sound. On the recording of 'Inspirex', Damien Magnette who produced the album says, "The album is live music based on energy. It has a chaotic side. How do you convey the chaotic, wild, animal energy of live music on record? My point of view is that to achieve this energy, you have to do exactly the opposite in the studio. A lot of layering. Lots of overdubs that we can't do live. It's all these elements that give the album its wildness."

Second part of second album! Originating from Normandy, France, psychedelic noise-pop quartet You Said Strange presents a unique blend of indie rock that incorporates elements of psych pop-rock, shoegaze, and proto-grunge. Thousand Shadows volume 2, a second chapter was needed to highlight the many shadows that still linger everywhere. The shadows that linger on the borders, hiding the violence of the fights for them. The shadows that time has on the relationships and their persistence, because the shadows move. Plato's cave, modern version, would be the one of toxic relationships, antidepressants and the acceptance of the regression of freedom and/or the vision of a dying world... Between shoegaze, noise pop and psychedelic rock, You Said Strange absorbs its time to incant a music in which melancholy, love and the search for plenitude meet. The band recorded their first album, Salvation Prayer, in 2018 in Portland (USA), with Peter G. Holmstrom from The Dandy Warhols, which saw release via Fuzz Club Recirds. In 2022, the band shared their LP Thousand Shadows Vol. 1. Mythomaniac kings, the Mediterranean, the colors of mourning _ these are the detailed subjects, described against a backdrop of psychedelic pop, proto grunge, and shoegaze. The first part of a powerful, reverberant, melodious second album, drawing its inspiration and production stem from encounters during their 2022 European and North American tours, between Normandy, New York, and Oregon. Most recently, You Said Strange shared the second part of their sophomore release, a follow-up to Vol. 1 entitled Thousand Shadows Vol. 2.

Bendik Giske’s Beatrice Dillon-produced 2023 album gets an addendum with reworks from Carmen Villain, aya, Hanne Lippard, Hieroglyphic Being, Wacław Zimpel and Dillon herself.

Giske’s clearly got his ear to the ground; his last remix record was an invitation for Laurel Halo to put her stamp on »Cruising«, while 2018’s »Adjust EP« roped in Deathprod, Total Freedom, Lotic, and Rezzett. Now comes this new LP of remixes and it’s one of the best we’ve heard in aeons. Carmen Villain boots things off with a remix of »Slipping«, following her excellent (and way, way too underrated) »Nutrition EP« with a giddy, subtle roller that sounds as if it’s been constructed using only Giske’s raw stems. His breaths and leathery key presses – already amped up by Dillon’s detailed recording – are magicked into a dubby concrète groove that’s enhanced with the sparest melodic elements: echoing rainforest-at-night horn blasts, and lopped off decay trails that help fuel the momentum.

aya’s revision of the same track takes a different approach, forming forceful overlapping polyrhythms from Giske’s clanks, using the gamelan-like arpeggios for melodic weight and repetition. The result is a constantly shifting, hypnotic trancer that’s achingly organic – more Raja Kirik than Paul Van Dyke. Polish clarinetist and producer Wacław Zimpel, meanwhile, supplements his trippy recent collaboration with James Holden on a similarly levitational wrinkle of »Slipping« that twists Giske’s quivering sequences with microtonal synth prangs, and gusty echoes. But it’s Jamal Moss who plays fastest and loosest with Giske’s source material, calling back to April’s psy-house stunner »Dance Music 4 Bad People« with a powdery, sexualised banger that buries the breathy »Start« stems underneath neon synths, and brittle drum loops.

»I’m a digital nomad,« Lippard deadpans over Giske’s »Not Yet«. »I’m addicted you know that.« It’s a typically dry treatment from the conceptual artist that unexpectedly amps up the hypnotic qualities of Giske’s original, adding her circuitous charm to his concertina-ing sax sequences. And to tie things up perfectly, Beatrice Dillon returns with her diaphanous remix of »Rise and Fall«, built to emphasise the radically different approaches of each artist.

Bernadette Price, wife of the late, legendary Sean Price, steps into the spotlight with her solo debut album, A Widow’s Cry. This deeply personal project features hard-hitting production from some of hip-hop’s finest producers, including Khrysis, Da Beatminerz, Stu Bangas, and more.
A Widow’s Cry not only honors Sean Price’s legacy but amplifies it, featuring collaborations with fellow Boot Camp Clik members Smif-N-Wessun, Ruste Juxx, Rockness Monsta, along with a rare, never-before-heard verse from Sean Price himself—a true gem for longtime fans.
More than just a tribute, this album is Bernadette Price’s bold statement that she’s here and ready to make her mark.

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

The album introduced a lush, complex dream world that the singer, composer, and producer created and inhabited largely on her own. She produced all the songs, and wrote and performed everything on the self-released collection outside of a re-imagined cover of Pink Floyd’s “Green is the Colour” and 2 other tracks (“The Time,” “Give It Back To You”), which started as instrumentals written by Survive’s Kyle Dixon (who composed the Stranger Things soundtrack with his bandmate Michael Stein), to which Ainsworth wrote melodies and added lyrics. Ainsworth, who’s relocated to Los Angeles from Toronto since 2017’s Darling of the Afterglow, explains that the collection revealed itself to her “as a play taking place in Mother Nature’s vanishing home,” aka Phantom Forest, and that she’s singing from 3 perspectives: herself, Mother Nature, and Greek Chorus. For instance, of the album’s opener, “Diamonds Cutting Diamonds,” she explains: “The Greek Chorus sets the scene, narrating and offering direction on how to enter Phantom Forest. It’s my hope that the listener will imagine the narration to be directed to them as well, as they begin the journey of the album.” You’ll get a sense of this from the collection’s edenic cover art and the playful, pastoral video for the album’s first single, “Can You Find Her Place.” Its inspiration came from Ainsworth’s love for Italian Renaissance painter Botticelli’s 15-century masterpiece “Primavera,” an allegorical representation of the burgeoning fertility of the earth in spring. She notes: “The video features the Greek gods of the painting in a choreographed Baroque style dance.” Keeping with the personal feel of the collection, her sister Abby Ainsworth directed the clip. In line with the classical and historical depths of Phantom Forest, Ainsworth, who holds a Masters Degree in film scoring composition from NYU and studied composition as an undergrad at McGill, notes that although the album might be considered pop, she approached it as an orchestrator. “Even if I’m dealing purely with synths,” she says, “The songs are like a score, each one an evolving journey. I love to use strings so I’ve included my string arrangements on ‘Tell Me I Exist’ and ‘Can You Find Her Place.’ I recorded live musicians on drums, bass, and guitar on ‘Edge of the Throne,’ ‘The Time,’ and ‘Floating Dream,’ and wove those live elements into my programmed elements.” Phantom Forest is a beautiful, vast collection that mixes the historical and the hands on, with hooks about the apocalypse and people obsessively using face-recognition software to see what paintings their face match with, in search of some kind of connection. It’s a journey that holds up to close listening (and lyric reading) and to dance floors, but that can also exist on a purely emotional plane. In all cases, it asks that you listen, and take some kind of action.

"Laurel Hell" ist ein Soundtrack zur Transformation. Eine Landkarte für den Ort, an dem Verletzlichkeit und Widerstandsfähigkeit, Trauer und Freude, Fehler und Transzendenz in unserer Menschlichkeit Platz finden und als würdig angesehen werden können - um letztendlich anerkannt und geliebt zu werden. "I accept it all," verspricht MITSKI. "I forgive it all." Auf "Laurel Hell" festigt MITSKI ihren Ruf als Künstlerin, die die Kraft besitzt, unsere wildesten und zwiespältigsten Erfahrungen in ein heilendes Elixier zu verwandeln. "I wrote what I needed to hear. As I've always done." Nach der Veröffentlichung von "Be The Cowboy", einem der meistgelobten Alben des Jahres 2018, das von Outlets wie Pitchfork (u.a.) zum Album des Jahres gekürt wurde, stieg MITSKI vom Kultliebling zum Indie-Star auf. Mit spürbaren Folgen: Die Schinderei des Tourlebens und die Fallstricke die mit der erhöhten Sichtbarkeit einhergingen, beeinflussten ihre Musik ebenso wie ihren Geist, die sich in der ersten Single "Working For The Knife" niederschlägt. Ein Song, wie ein Prüfstein für das Gesamtgefühl von "Laurel Hell": "I start the day lying and end with the truth / That I'm dying for the knife." "Be The Cowboy" wurde von weiblicher Stärke und Trotz angetrieben, lebte jedoch von seinem Spiel mit Masken. Wie der Berglorbeer bzw. die "laurel hell", nach dem das neue Album benannt ist, kann die öffentliche Wahrnehmung, wie das berauschende Prisma des Internets, eine verlockende Fassade bieten, hinter der sich eine tödliche Falle verbirgt. Die sich immer enger zieht, je mehr man sich anstrengt. "I got to a point, where I just knew that if I kept going this way, I would numb myself to completion." Erschöpft von diesem verzerrten Spiegel und unserer Sucht nach falschen Binaritäten, begann MITSKI, Songs zu schreiben, die die Masken abstreifen und die komplexen und oft widersprüchlichen Realitäten dahinter offenbaren. MITSKI dazu: "I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself. I make mistakes all the time. I don't want to put on a front where I'm a role model, but I'm also not a bad person. I needed to create this space mostly for myself where I sat in that gray area." Die daraus entstanden Songs verkörpern genau diesen Raum. Wie die zweite Single des Albums, "The Only Heartbreaker", die gemeinsam mit Dan Wilson geschrieben wurde und der erste Song dieser Art in ihrer Diskografie ist. "The Only Heartbreaker" verbindet treibenden 80er-Pop mit einem trügerisch einfachen Text, dessen aufrichtiger Refrain ins Ironische kippt, sobald dieser "the person always messing up in the relationship, the designated Bad Guy who gets the blame," beschreibt und sich zugleich fragt, ob "the reason you're always the one making mistakes is because you're the only one trying." MITSKI schrieb viele Songs für "Laurel Hell" während und teilweise vor 2018. Das Album wurde allerdings erst im Mai 2021 final abgemischt. Es ist die längste Zeitspanne, die MITSKI jemals für ein Album gebraucht hat und für die Musikerin inmitten einer radikal veränderten Welt endete. MITSKI nahm "Laurel Hell" mit ihrem langjährigen Produzenten Patrick Hyland in der Zeit der Isolation während der Pandemie auf, als einige der Songs "slowly took on new forms and meanings, like seed to flower." Das Album als Ganzes entwickelte sich "to be more uptempo and dance-y. I needed to create something that was also a pep talk" erklärt MITSKI. Die Spannung, die zwischen ihren raffinierten, aber wehmütigen Texten und dem sprudelnden Pop-Sound der 1980er Jahre entsteht, ist eine dringend benötigte Infusion in Zeiten wie diesen und das Werk einer reifen wie unwiderstehlichen Künstlerin, die auch zu fröhlich ansteckenden Dance-Beats immer noch etwas Profundes beizutragen hat.

With influences ranging from Burt Bacharach to Quincy Jones, Tilsley Orchestral No.10 belongs on the shelves of all record collectors. Sweeping strings, pounding drums, leaping flutes, and polished horn sections take the listener on a sonic journey of late 60’s orchestral pop. Composed and arranged by the library legend Reginald Tilsley, this eponymous collection of recordings digs deep into jazz harmonies that adds a level of complexity while maintaining the simplicity of easy listening, highlighting the true genius of the composer.
Tilsley Orchestral No. 10 spans a spectrum of spirits, from the lows of lost love (Sue) to the highs of winning the big game (Grand Slam). This LP features a favorite of hip-hop producers, Warlock, which has been sampled in songs by artists including Cam’ron, KRS-ONE, Soulja Boy, and Jay Electronica.

Posters announce a daily action: A professional marksman shoots daily at 12 o’clock from a distance of approximately 15 meters at a paper flower. The number of shots is limited to a maximum of three per day. Upon a hit, the flower is replaced by a new one, the action ends and is continued the next day with a new flower. The bullet holes in the wall are not removed. The flowers remain lying on the floor until the end of the exhibition or event and are then given away.
Posters are produced in color variants (yellow, orange, red, violet, light blue, green) to advertise the action:
Every day at noon a professional marksman will shot at a paper flower (place of action to be filled in).
This performance was first presented at The Fruitmarket Gallery, Edinburgh in November and December 1999 and subsequently repeated (Aberystwyth, London, Nottingham, 2000 – 2002 and Langenhagen, 2007).
The action will be re-staged as part of the Klang Moor Schopfe Festival in Gais, September 4 –14, 2025.

Vom Beginn des Album-Openers „Obsidian Mirror“ an ist die Atmosphäre beklemmend, dicht mit einem erstickenden Unbehagen. Man hat das Gefühl, dass etwas Zeremonielles am Werk ist, aber nicht in einer Weise, die nach Gemeinschaft strebt. Vielmehr ist es eine Tortur als Sakrament. Riffs würgen und wälzen sich in krampfhafter Unterwerfung, oszillieren zwischen langsamer Agonie und psychotischem Ausbruch, über dem ein gutturales Lamento, das so brutal ist, dass es das Blut gefrieren lässt, durch Kerkerstein gerissen wird. Jeder Track entfaltet sich wie eine Zeit, die man in der Isolation verbracht hat, gefesselt durch Ketten, den Geist langsam enträtselnd und umgeben von Erinnerungen an reale und imaginäre Qualen.

Wenn sich das epische, 14-minütige Schlussstück „Disquiet“ in einer Masse formlosen Rauschens auflöst, haben Ritual Mass den Hörer in eine Welt gezogen, in der das Leiden kein Ende, sondern eine Bedingung der Existenz ist. Cascading Misery" ist Musik für die Auflösung der Hoffnung, den Schrecken des Seins und den langen Marsch auf den Tod.

- Debüt-Album nach mehreren EP-Veröffentlichungen
- Aufgenommen, gemischt und gemastert von Greg Wilkinson / Earhammer Studios (Ulthar, Autopsy, Undergoing)
- Erste 20BS-Band aus Pittsburgh (Labelsitz)
- FFO: Vastum, Krypts, Phrenelith, Master, Incantation, Abhorrence, Funebrarum, Disembowelment

In truth, singing is not all that different from acting. Performing a song is very similar to playing a role in a theatrical production. A singer's delivery — the way they interpret and emphasize certain parts of a song — is much like what an actor does with their character.

That's why we often find singers who go on to gain popularity as performers — some on stage, but more often on the silver screen (film).

These are called 'singing stars' — vocalists who are also featured actors, usually given roles specially created to suit their primary strength: singing.

Among them, a few have become even more famous for their acting talents, which sometimes surpass their singing ability. However, the number who manage to do this successfully is very small. Oslan Husein is lucky enough to be counted among that small number. As his fame as a singer began to rise sharply, he also began his film career as an actor. It's true that he had previously appeared in a film, but only as an extra, alongside the orchestra he performed with.

Following that, he appeared in several other films, including Detik-detik Berbahaya, 1000 Langkah, Kasih Tak Sampai, Hadiah 2.000.000,-, Maut Menjelang Magrib, and Antara Timur dan Barat. Six films over a span of just about 2.5 years — quite an impressive achievement.

Over time, a number of songs that Oslan had performed in his films began to accumulate. Together with a few additional songs — also from films — there were eventually enough to compile into one long-playing (LP) record.

And so, accompanied by Jack Lemmers — who, for this project, created special arrangements and musical treatments unlike the usual (for example, the use of four guitars at once) — Oslan carried out the recordings at Irama studios.

By releasing this LP of songs from the silver screen, Irama took an exciting step forward and opened many new possibilities in its history. Because the world of recorded music and the world of film, wherever they are in the world, are like siblings — and they work best when they collaborate, shoulder to shoulder, in harmony.

”The Birth of Bop” kann ab heute hier vorbestellt werden und erscheint am 31. März in verschiedenen Formaten, darunter ein Vinyl-Boxset mit fünf 10-Zoll-LPs, ein 2-CD-Format und digitale Editionen. Jeder Titel der Sammlung wurde von Joe Tarantino bei Joe Tarantino Mastering frisch restauriert und neu gemastert, während die physischen Formate neue, ausführliche Liner Notes des GRAMMY-gekrönten Autors und Moderators Neil Tesser sowie alte Fotos aus dieser Zeit enthalten. Es ist eine unverzichtbare Einführung in
diese wichtige Periode der Jazzmusik: The Savoy 10-Inch LP Collection enthält 30 ausgewählte Aufnahmen von vielen der Pioniere des Genres, darunter Charlie Parker, Dexter Gordon, Stan Getz, Milt Jackson, Allen Eager, Fats Navarro und viele mehr.
Diese bahnbrechenden Aufnahmen aus den Jahren 1944 bis 1949
trugen maßgeblich zur Entwicklung des modernen Jazz bei und brachten junge Künstler dazu, die Grenzen des Genres in einer Zeit zu erforschen, in der Swingmusik der vorherrschende Sound war und Big Bands den Äther beherrschten.

Who doesn't love a good edit? And who really does them much better than Danny Krivit, a veteran of the game with millions of them (probably) to his name. Here he turns his hand to Sjuya Okino's 'Thank You (feat Navasha Daya)' which is a jazz dancer with effervescing broken beats, busy chords and live percussion under a freeform scat vocal that brims with soul. On the flip, DJ Kawasaki edits a Dimitri Form Paris mix of 'Give Your Love A Chance (feat Clara Hill)' which has a Chic-style bass riff and big disco energy that's ripe and ready to bring good times to any party.

Bobby. returns to his own label Pleasure Club with his most refined work to date, an EP entitled “Before We Look Out, Let’s Look In”.

The fabric resident presents his fifth full release, this time traversing the full spectrum of surrealist house, techno & electro; the kind which has become synonymous with his journey style DJ sets. As the title suggests this record transmits a deeply introspective and personal take on modern day club music.

Melody, emotion and drama stay present throughout, with plenty of twists and turns along the way. With glimmers of early 00’s minimal, cosmic synthwave-style EBM and razor sharp electro, it is a record which references the past, but presents it updated and ready for dance floors of the future.

With a debut album in the works for the end of the year, this release acts as an exciting precursor and marks a new chapter in the artists career.

Zopelar has built a distinguished place in the Brazilian electronic music industry. He is known as a complete and versatile DJ and music producer, and is a key figure in São Paulo’s underground music scene.

With his signature “retro-futuristic-funky-groovy” style, Zopelar has made some celebrated albums and EPs released by labels like Apron Records, Clone Records, Tartelet Records, Soul Clap Records and others.

A prolific producer and sound designer, Zopelar’s work extends beyond music production into the realm of contemporary art and film scoring. His sound pieces have been showcased in prestigious
exhibitions and galleries, including New Museum (NYC) and the Venice Biennale.

Zopelar is now back for his third solo release on Apron Records - LP titled "Call it Love” The first single "We Can Make It" feels nostalgic but with a modern to the future twist which compliments the Apron DNA! It features Brazilian artist Ashira, she lays her beautiful voice over Zopelar classic R&B production..

The second single Je t'aime features French born Brazilian based L’Homme Statue plus Amsterdam’s Retromigration” giving a tropical and very hot Brazilian house for the dance floors and the last single
features US Virgina Beach very own MC “Hernbean5150” With a soulful downtempo smooth production with a perfect complimentary vocal, Some say he reminds them of MF Doom”.

Overall this LP slams in every way and its very well put together, whether at home, driving, in nature or in the clubs, it takes you on a journey for your listening pleasure!

South London live dub outfit SLICKnBOBBY return with their second dosage of deep dub and steppers sonics on this double single with Liam Bailey.

Fresh from supporting Greentea Peng at her largest London show, and playing Glastonbury and Notting Hill Carnival, the South London live dub outfit return to Touching Bass with "Dance Affi Nice/Juicy Bubble". SLICKnBOBBY and soul troubadour Liam Bailey fuse modern ragga and steppers dub with deep effect.

Nach dem ausgiebig gefeierten Meisterwerk ,Slave Ambient" (2011) erscheint nun zwei Jahre später - im März 2014 - das dritte Album der aus Philadelphia stammenden Band THE WAR ON DRUGS. "Lost in the Dreams" heißt das neue Glanzstück der Band um Adam Granduciel, deren Gründungsmitglied Kurt Vile mittlerweile solo unterwegs ist. Mit der Veröffentlichung des letzten Albums ,Slave Ambient" gelang der Band der langersehnte und verdiente Durchbruch. Daraufhin tourte die Band zwei Jahre lang von North Carolina bis New York City durch alle Rockclubs, spielte auf unzähligen Festivals und in Late Night-TV-Shows, die Amerika so zu bieten hat. Mit dieser Erfahrung im Gepäck tüftelte Granduciel gemeinsam mit dem Produzenten Jeff Zeigler (Lymbyc Systym, Kurt Vile u.a.) am neuen, dritten Album. Die Band komplett machen außerdem Dave Hartley (Bass) und Robbie Bennet (Piano u.a.), die auch im privatem Leben zu Granduciels engstem Umfeld gehören. Er sagt selbst zu seinem neuen Werk: ,Ich wollte, dass es ein Projekt unter Freunden wird. Jeder einzelne in der Band nimmt unser Projekt ernst. Davon handelt auch unser Album - Freundschaft, Erwachsen werden, das Leben leben und einander zu helfen." Diese persönliche und berufliche Weiterentwicklung ist auch im Sound der Band zu hören. Nicht zuletzt ist Granduciel nicht nur Kopf einer Indie-Rockband, sondern hat auch eine unverkennbare Stimme, um sich der Welt mitzuteilen.

2025 Repress

Mysticisms' Dubplate series is back once again, this time with Nick Barber aka Doof at the helm. He was a 90s trance icon who here serves up some tunes that have previously only been available digitally.

They were all recorded to tape and remixed and live dubbed on the desk so have an authentic feel to the melon twisting sounds. There are plenty of psychedelic twists and turns to the wispy synth leads and snaking hits here, all with heavy and cavernous low ends and plenty of future facing ideas.

Each one is sure to set the dancefloor alight when dropped at the right moment.

Anushka's third album Ancestry comes out on BBE Music as both digital and vinyl and represents a massive hitting of the duo's potential as songwriters, musicians and performers following their well received and critically acclaimed previous releases on Brownswood and Tru Thoughts respectively. Indeed Ancestry represents their best album to date and one which befits a release on one of the UK's (and the world's) premiere independent record labels. Anushka is the collaborative name for Victoria Port and Max Wheeler. The duo first met in the vibrant club, music and arts scenes in that creativity incubating south coast town that is Brighton.

With their first single, Yes Guess, gaining support from major broadcast influencers such as Gilles Peterson they released their debut album, Broken Circuit, in 2014. With major airplay support from Mary Anne Hobbs, Annie Mac, the aforementioned Gilles Peterson and others the second album Yemaya was released in 2021. On this second record they experimented with their sound, exploring darker and more complex songs and palettes. Both albums forged Anushka's sound and production values, combining a deep respect for the UK's electronic club culture mixed with Jazz and Soul. Now, with the release of Ancestry on BBE Music, the duo has created an album that furthers their sound, their songwriting, their arrangements and their production. Victoria's songwriting for Ancestry is influenced by her love of Ella Fitzgerald, Sampha, Jimmy Cliff and Georgia Anne Muldrow.

Max's approach to the production on Ancestry is driven by his own ancestral back catalogue of music from Moodymann and Theo Parrish and further back to Larry Heard, Wu Tang Clan and the 90's electronica of Tricky, Portishead and David Holmes. It definitely bears repeating that list of influences has resulted in Ancestry being Anushka's best album yet. Releasing on BBE Music, on both digital and vinyl formats, Ancestry is an album that is a must for lovers of the highly innovative, jazz and soul fuelled club sound that is part of the UK's contemporary music scene.

Celebrating 20 years of defining, and redefining, electronic alt-pop - Metronomy ‘GREATEST HITS’ is the first comprehensive collection of their “smash hits” spanning across all 7 studio albums, and will be release alongside a separate album of BBC Sessions.

Formed in 1999 by Joseph Mount, Metronomy has released six acclaimed studio albums and become one of the UK's most influential electronic acts. Known for their distinctive visual aesthetic, innovative production techniques, and energetic live shows, Metronomy continues to bridge the gap between experimental electronic music and accessible pop. From the charm of early tracks like "You Could Easily Have Me" to the sophisticated pop of "The Look" and the dance floor magic of "Love Letters," Metronomy's distinctive sound has consistently pushed boundaries while maintaining their unmistakable identity.

The previously unreleased BBC Sessions reveal another dimension to these songs, capturing their magnetic live energy and Joe’s evolving approach to arrangement and performance, all recorded between 2009-2019 across BBC6Music, BBC Radio 1 & BBC Radio 2.

Ben Pest and ARA-U unite for the next release on No Static / Automatic. Kaos Sympatic EP started life with the pair recording jams of various vintage studio kit, including an EMS VCS3, Roland VP330 and an Orgon Systems prototype known only as the “Silver Box”, which developed into full tracks over subsequent sessions. Ben Pest has been busy releasing high grade club tracks including collabs with Radioactive Man and Kursa for Asking For Trouble and Love Love Records last year, and with solo EPs dropping on Cultivated Electronics and Posh End music. Here he links with NS/A boss ARA-U, turning out some of their headiest material to date.

The EP kicks off with ‘Err Hello’, it’s wholly discordant, lairy, and unapologetically weird. ‘‘Get A Grip’ drifts in with hallucinatory wafts of sound over a warped riff, building into a granular, distorted headfuck of a hoover-bass moment. This one will make the subs rattle on the right side of distortion. On the B Side title track ‘Kaos Sympatic’ gets stuck in with a big broken beat and guttural sub that transforms into a techno drop to drive this track home. Finishing up, ‘Slapback’ serves up a cut of high energy electro funk, coming off like classic ERP on heat. Limited edition purple vinyl.

ADRIAN YOUNGE PRESENTS ANGELAMUÑOZ ist das Debütalbum der 18-jährigen Angela Muñoz, das die zeitlose Stimme der gebürtigen Los Angelenerin mit Unschuld und Verletzlichkeit unterstreicht. Unterstützt von der gefühlvollen Produktion von Adrian Younge offenbart Muñoz' fesselnde Stimme die alte Seele einer Legende in spe. Aufgenommen und gemischt von Adrian Younge im Linear Labs, dem renommierten Analogstudio in Los Angeles, Kalifornien.

After the dissolution of his band, The Cardinals, in 2009 and some much-needed R&R, Ryan Adams returned in style in 2011 with his 13th studio album. Ashes & Fire, produced by Glyn Johns and preceded by one of Adams’ most popular singles, ‘Lucky Now’, entered the UK chart at number nine (his best showing) and in the US at number seven. It features significant contributions from Norah Jones (piano and backing vocals) and Benmont Tench of Tom Petty ‘s Heartbreakers (keyboards) and is widely regarded as one of the artist’s best and most consistent efforts. Indeed, here in the UK BBC Music described it as, "an album that delivers more and more with every listen,” while NME called it, “an album worth celebrating now”; an assessment that still applies 14 years on.

A compilation of the finest moments from the British punk rock pioneers Featuring "Another Girl, Another Planet", "Lovers of Today" & "Out There in the Night" "Another Girl, Another Planet", described by AllMusic as "arguably the greatest rock single ever recorded" and landing on Q Magazine's 100 Greatest Guitar Tracks Limited edition of 750 numbered copies on translucent red coloured vinyl Special View by The Only Ones is a 1979 compilation album tailored for the U.S. market, showcasing the best of the British band's early work.

Known for blending punk energy with power pop melodies and poetic lyricism, The Only Ones gained cult status in the late 1970s.

This release features standout tracks such as "Another Girl, Another Planet", "The Whole of the Law", and "No Peace for the Wicked", highlighting Peter Perrett’s distinctive vocals and the band's sharp musicianship. Special View serves as an accessible introduction to the band's unique sound, melding punk rock with romantic and introspective songwriting. Its influence can still be felt in indie and alternative rock circles today. A must-hear for fans of late-70s British rock, Special View remains a defining release in The Only Ones’ catalog. Special View is available as a limited edition of 750 numbered copies on translucent red coloured vinyl.

"Kein Hinterfragen, kein Überdenken. Ich möchte mein Leben so leben, dass ich die Dinge tue, die mir wichtig sind, und ich denke, dass jeder so leben sollte", sagt Mei Semones über ihr gestärktes Selbstvertrauen. Die 24-jährige Songwriterin und Gitarristin aus Brooklyn hat sich durch die kontinuierliche Verfeinerung ihrer unverwechselbaren Mischung aus Indierock, Bossa Nova, Jazz und Kammerpop, die ihre technischen Fähigkeiten auf der Gitarre unterstreicht, schnell als innovative musikalische Kraft etabliert. Seit der Veröffentlichung ihrer hochgelobten "Kabutomushi"-EP im Jahr 2024, einer Reihe von üppig instrumentierten Reflexionen über die Liebe in ihren vielen Phasen, ist Mei ausgiebig durch die USA getourt, hat sich dort eine treue Fangemeinde aufgebaut und ihr mit Spannung erwartetes Debütalbum "Animaru" geschrieben und aufgenommen. Animaru bedeutet ,Tier' auf Japanisch und ist die Verkörperung von Meis tieferem Vertrauen in ihre Instinkte - eine Sammlung von musikalisch beeindruckenden Tracks, die Mei abenteuerlicher, verletzlicher und selbstbewusster klingen lassen als je zuvor. Meis neues Selbstbewusstsein ist zum Teil auf die Erfahrungen des vergangenen Jahres zurückzuführen, denn 2024 war ein Jahr der Veränderung für die Band Mei Semones. Sie traten unter anderem mit Liana Flores, Elephant Gym und Kara Jackson auf, und Mei ging dazu über, Vollzeit Musik zu machen. Inmitten der häufigen Tourneen nahmen Mei und ihre fünfköpfige Band das Album im Sommer 2024 in der Ashlawn Recording Company auf, einem Farmstudio in Connecticut, das von ihrem Freund Charles Dahlke betrieben wird. Zu diesen Sessions brachte sie eine Reihe von Stücken mit, die, nicht anders als Kabutomushi, raffinierte Erklärungen einer nicht-romantischen Liebe sind: Liebe zum Leben ("Dumb Feeling"), Liebe zur Familie ("Zarigani"), Liebe zur Musik und zu ihrer Gitarre ("Tora Moyo"). Animaru veranschaulicht Meis bezaubernde Bandbreite als Songwriterin und Musikerin und enthält einige der anspruchsvollsten und einfachsten Lieder, die Mei je geschrieben hat. Die schlichteren Momente auf Animaru sind ebenso fesselnd wie wenn Mei auf der Gitarre schreddert oder ihre Bandkollegen ein kompliziertes Arrangement ausführen. "Donguri", eine reduzierte Jazz-Duo-Performance zwischen Akustikgitarre und Kontrabass, ist der einfachste Song, den Mei je geschrieben hat. Er wird von Mei zum Leben erweckt, indem sie auf süße Weise (meist auf Japanisch) beschreibt, wie sie sich das Leben als Waldbewohner vorstellt. Das vorletzte Stück des Albums, das helle, spritzige "Zarigani", ist eine nostalgische Liebeserklärung an ihre Zwillingsschwester, in der Mei singt: "We'll always have each other / I love you like my guitar / I love you like no other". Obwohl "Animaru" ein Statement für Meis Autonomie und Selbstvertrauen an diesem Punkt in ihrem Leben ist, sind es die verschiedenen Lieben, mit denen sie sich umgibt - ihre Familie, ihre Freunde, ihre Band, ihre Musik - die sie dazu befähigen, Dinge zu tun, die sie sich wünscht.

In the spring of 2020, Ben Cook _ a.k.a. Young Governor, Young Guv, or just Guv _ was holed up in the New Mexico high desert, his U.S. tour having been abruptly covid-cancelled during a southwest swing. He and his bandmates were living moment to moment in something called an Earthship, a solar-rigged adobe structure sustainably constructed with, among other things, recycled bottles and tires. And out there in the serene vastness, as a short ride-it-out stint turned into a nine-month sojourn, Ben was writing music, slowly, little by little, mostly at night while the others slept. By the New Year, almost in spite of himself, he had created a new album, two new albums actually, and through the ordeal he was forever changed. In a place he never expected to be, under circumstances no one could have predicted, and in the face of physical isolation, emotional desolation, and existential dread, Ben created GUV III & IV, a collection of songs dedicated and testifying to the eternal healing power of love _ how to find it in the world, in others, and most importantly, in himself.

Johnny Cash "With His Hot and Blue Guitar" is the debut album from the Man in Black, featuring hits like "I Walk The Line" and "Folsom Prison Blues". Released in 1957, it was the first LP ever issued on Sam Phillips' Sun Records label. Pressed on black vinyl.

Als er 2011 von Scion angesprochen wurde, um ein Album für die Musik-Promotion-Abteilung der Automarke aufzunehmen, konnte sich Reigning Sound Frontmann Greg Cartwright nicht weigern - trotz oder geraden wegen der prekären Existenz seiner Band zu dieser Zeit. "Mehrere Besetzungswechsel hatten sich ergeben. Die Ursprungsbesetzung, das "Memphis-Quartett", war längst aufgelöst, und ich dachte über die Möglichkeit nach den Namen Reigning Sound zurückzulassen", so Cartwright. "Ich hatte beschlossen eine Pause einzulegen, um an Produktionen für andere Leute zu arbeiten und Songs zu schreiben für The Parting Gifts, meine Zusammenarbeit mit Coco Hames." Aber plötzlich hatte Reigning Sound dieses Toyota Angebot auf dem Tisch, und es gab keine Band. Neben Cartwright war die eine Konstante der letzten drei Reigning Sound Jahre Keyboarder Dave Amels, der ansonsten in der Brooklyn-Soul-Combo The Jay Vons Schwarzarbeit machte. Etwa zur gleichen Zeit war Dan Auerbach von den Black Keys nach Nashville gezogen und kümmerte sich dort in seinem Privatstudio darum, dem Gitarrensound der Parting Gifts Platte den letzten Schliff zu verpassen. "Dan war begierig darauf, etwas im neuen Studio zur Vorbereitung auf eine bevorstehende Sitzung mit Dr. John zu tun, und bot er mir etwas Studiozeit sowie seine Produktionsunterstützung an. Da saß ich nun ohne Band in einem Nashville-Studio, die Uhr tickte. Ich rief in Brooklyn an und The Jay Vons sagten ja. Ich rief Scion an und bat um drei Flugtickets und Hotelzimmer. In wenigen Stunden war die Band auf dem Weg nach Nashville. In zwei Tagen nahmen wir fünf Songs auf. Ich habe diese fünf mit drei Outtakes der vorherigen Reigning Sound LP "Love and Curses" mit Lance Wille am Schlagzeug und Dave Gay am Bass kombiniert.", erzählt Cartwright und fügt hinzu: "Greg + The Jay Vons ist die bis heute gültige Reigning Sound Besetzung." Nach der Veröffentlichung von "Abdication...." brachten Reigning Sound 2014 die beliebte "Shattered" LP raus. Cartwright war zudem seitdem ausgiebig mit den reformierten Oblivians auf Tour.

A hard-hitting slab of electro-boogie released on the legendary Street Level label in 1985, Lemuria’s Thunder In Your Love was written and
produced by Phil Valentine, who also provides the gritty lead vocals, and features backing from members of the influential Italo-American post-
disco outfits B. B. & Q. Band and Change, including New York session aces Leslie Ming (drums), Timmy Allen (bass) and guitarists Kevin
Robinson and Ira Siegel, whose impressive fret work powers this highly addictive track. This is a must-have for collectors of funky sounds and
rare groove from the mid-1980s.

20th Anniversary Edition of «The Creep» by Slomo, this ambient doom masterwork is available on vinyl for the first time via Ideologic Organ. This is a storied album of verbal history, and emerged from a figurative long barrow deep within a virtual space of great depth and contemplation, an inverted framing of acoustic space with heavy floors ranging from the wake of COIL to the heaviest Japanese fire of psychedelia to the monuments of drone coagulating in the early ‘aughts. A first CDR edition in 2005 garnered focus of heavyweights like SUNN O))), Julian Cope, the esoteric legendary record store Aquarius, and the Wire.
Ideologic Organ are honoured to have been tasked to bring this to a limited LP for the very first time, and collaborated with mastering genius Rashad Becker to create a 61 minute single LP in a perfect cut.
Highly Ritualised Somnambulant Glumbient Downer band from Yorkshire, UK.
‘Slomo is a 2-piece made up of myself, Holy McGrail, and Howard «Iron Man» Marsden. Our debut album THE CREEP was released in a run of 100 copies on FUCK OFF & DI in 2005, after attracting a great buzz in its earlier promo form. THE CREEP is a single 1-hour-long track recorded live with minimal overdubs & zero eye-contact. Malnourished musical structures flourish, flounder and flag in virtual stasis.