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With RAUF001, Rauform Records steps out of the gate with a clean, floor-focused statement from label owner Markus Homm: The Cross, a 12" built for late-room pressure, long blends, and sound systems that love detail.
Homm’s writing here is all about restraint and intent: deep house warmth shaped by minimal discipline, tight drum architecture, and dub-leaning space that breathes without ever losing momentum.
Pressed on black vinyl and made for selectors who value depth over drama, The Cross marks a confident first chapter: timeless tools, finely engineered, quietly powerful.

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

Superb Mental Tribe... Pure sound out of the common fields...

A black pearl.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

DYING VICTIMS PRODUCTIONS is proud to present MIDYRASI’S KULT’s highly anticipated debut album, Italian Dark Sound, on CD and vinyl LP formats. MIDRYASI'S KULT are revolutionary and uncompromised. Featuring veterans from such Italian doom stalwarts as Doomsword, Midryasi, Agarthi, and Fiurach, their unique blend of elements from the NWOBHM, doom metal, and early black metal – all fused in their distinctive national dark-sound tradition, which includes such cult legends as Black Hole and Death SS – results in an obscure, hypnotic, and exciting formula. In March 2025, after just one week on Bandcamp, MIDYRASI’S KULT were intercepted by Caligari Records, who released on cassette their debut demo, Mountain Devil. Featuring three songs in a concise 15 minutes, this demo reaped international acclaim for its originality and attitude. But that was but a foretaste of darker delights to come. Witness the first full-length of MIDRYASI’S KULT, Italian Dark Sound.

Truly titled, Italian Dark Sound is an intoxicating spelunk into catacombs both idiosyncratic and indefinable. Totaling 32 time-/mind-expanding minutes, the eight primary tracks here – the outro is titled “The Lost Son of Sylvester Anfang,” which should offer an obvious clue to the black-metal-minded out there – each offer something different from the next, and yet all add up into a shadowy experience that’s both rocking and atmospheric. In fact, if one were to single out an aspect between the demo and album, it’s that MIDYRASI’S KULT exude more energy on this full-length without sacrificing any of their occult aura. But, just like that demo, Italian Dark Sound features supremely pro production – gritty, earthy, and yet kaleidoscopic in texture – under the guidance of Gabry "The Way" Strada, head of RDF Studio and who’s now collaborating on the upcoming Doomsword new album. In the vein of an open artistic project, all the artwork is made by vocalist / bassist Geilt himself, and up to 11 musicians have been involved in these recordings

Fast zwanzig Jahre nach ihrem einzigen Studioalbum veröffentlichen die britisch-amerikanischen HeavyMetal-Giganten Heaven & Hell – bestehend aus Tony Iommi und Geezer Butler von Black Sabbath sowie
den Ex-Sabbath-Größen Ronnie James Dio und Vinny Appice – 2025 eine neue Box mit ihrem legendären
Album „The Devil You Know“ und zwei bei den Fans beliebten Live-Aufnahmen aus der Radio City Music
Hall und vom Wacken Open Air Festival.
Die vier Mitglieder von Heaven & Hell tourten und nahmen von 1980 bis 1982 und von 1991 bis 1992
als Black Sabbath gemeinsam auf. Dio hatte damals den Black-Sabbath-Gründungssänger Ozzy Osbourne
und Appice den Gründungs-Schlagzeuger Bill Ward ersetzt. Der Bandname leitet sich vom gleichnamigen
Album „Heaven and Hell“ aus dem Jahr 1980 ab. Diese Deluxe-CD- und LP-Boxsets enthalten die komplette Diskografie von Heaven & Hell und die letzten Aufnahmen von Ronnie James Dio vor seinem Tod.
„Live From Radio City Music Hall“ erscheint erstmals vollständig auf Vinyl, und die einzelnen Konzertfilme
wurden in HD hochskaliert und erstmals auf einer hochauflösenden Blu-ray zusammengestellt. „The Devil
You Know“ enthält außerdem drei seltene Bonustracks, die bisher noch nie auf Vinyl erhältlich waren.

6 LPS, DVD, 40 PAGE BOOK, CASSETTE
AND FIGURINE USB DRIVE

Endless Pain
(Swirl vinyl with original artwork & inner sleeve)
Pleasure To Kill
(Splatter vinyl with original artwork & inner sleeve)
Terrible Certainty
(Splatter vinyl with original artwork & inner lyric sleeve)
Extreme Aggression
(Half/half vinyl with original artwork & inner lyric sleeve)
Coma Of Souls
(Splatter vinyl with original artwork & inner lyric sleeve)
Renewal
(Swirl vinyl with original artwork & inner lyric sleeve)
Some Pain Will Last DVD
Containing ‘From The Vault’ mini documentary, plus two previously unreleased audio live concerts and an Andy Sneap remix of Live In East Berlin 1990.

Formed in Essen, Germany in 1984, Kreator are arguably the most influential and successful European thrash metal band ever, like many of their European speed metal brethren, Kreator fused Metallica's thrash innovations with Venom's proto-black metal imagery. Often credited with helping pioneer death metal and black metal by containing several elements of what was to become those genres. The band has achieved worldwide sales of over two million units for combined sales of all their albums, making them one of the best-selling German thrash metal bands of all time. The band’s style has changed several times over the years, from a Venom-inspired speed metal sound, later moving in to thrash metal, and including a period of transitioning from thrash to industrial metal and gothic metal throughout the 1990s. In the early 2000s, Kreator returned to their classic thrash sound, which has continued to the present. Their last studio album ‘Gods Of Violence’ charted top twenty in ten countries, including a number one slot in their home country of Germany.

Released on Limited Edition Black Vinyl with a replica of the original sleeve and insert (300 Copies only). The beginning of the 1980s wasn't a great time to be young. Between 1979 and 1981 youth unemployment more than doubled to over 900,000. Many approaches were tried to tackle the problem and one of the more innovative was the Arts Opportunity Theatre a charity founded in Bristol by Reynold Duncan and Yvonne Deutschman. Financed by assorted public bodies, it aimed to train young people in a range of performing arts as well as the multiple skills needed to produce, organise and put on shows. Over a seven year period the Arts Opportunity Theatre put on a succession of shows not only locally, but travelling as far as the Continent and trained hundreds of young people in everything from music to book keeping. People who passed through the collective would go on to form the core of many local bands and be involved in a large proportion of Bristol music releases, especially reggae. The first show put on in 1981 and 1982 was "Freedom City" which prominently featured Zion Band. In May 1982 the Zion Band musicians from the show went into Right Track Studio in Bristol and recorded four vocals and two dubs that would be released the following January on a 12" single. Back in 2011 Bristol Archive Records included "Twelve Tribes" on a compilation and would later also compile "Babylon Fire/Babylon Dub", but the other three tracks could only be found on the scarce original 12" which in recent years has rocketed in price fetching in excess of £150. We believe music should be affordable and available so 2026 will see Bristol Archive Records reissue the Zion Band "Freedom City" 12" in it's entirety, complete with its original picture sleeve and insert with a limited pressing of 300 copies on black vinyl. This release is dedicated to the late Reynold Duncan RIP.

Experience the profound artistry of Ryuichi Sakamoto with Opus, a definitive vinyl collection curated by the composer himself. Spanning decades of groundbreaking work, this 4-LP set brings together iconic film scores, Yellow Magic Orchestra classics, and deeply personal compositions that reflect Sakamoto’s singular musical voice. Highlights include Merry Christmas Mr. Lawrence, Andata, and Aqua, alongside never-before-released pieces including for Jóhann (a tribute to Jóhann Jóhannsson), BB (dedicated to Bernardo Bertolucci), and 20180219 (featuring prepared piano).
Pressed at 45 RPM across four heavyweight LPs for exceptional audio fidelity, each disc is housed in its own jacket with matching black paper dust sleeves. The set is encased in a hand-crafted textured slipcase with elegant black foil detailing and includes a collector’s booklet with composition notes and credits. Opus is more than a retrospective; it’s a final statement from one of the most influential composers of our time.

'At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.
'In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

'Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.
'On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!'

Black Cuillin LP (black vinyl)

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of WITCHING HOUR’S debut album, Rise of the Desecrated, on vinyl LP format. This marks the beginning of vinyl reissues of all of the band’s albums, under license from Evil Spell Records. Originally released in 2009, as well as on tape through Dying Victims in 2011, this album has not lost any of its juvenile enthusiasm for raw and evil thrash metal. While the band developed a more complex style of blackened heavy thrash throughout the years, this debut album is pure and straightforward black thrashing madness. Clocking in at just over half an hour, the album perfectly represents the Teutonic (black) thrash revival of the mid-2000s

DYING VICTIMS PRODUCTIONS is proud to present AGGRESSIVE PERFECTOR’s highly anticipated second album, Come Creeping Fiends, on CD and vinyl LP formats. Released in 2019 via DYING VICTIMS, AGGRESSIVE PERFECTOR’s Havoc at the Midnight Hour debut album introduced this British power-trio with no small amount of sleazy, Satanic fanfare. While their background may jointly lie in black metal, the three un-gentlemen of AGGRESSIVE PERFECTOR held high heavy metal done the ancient way: classic Tank, early Raven, Warfare, and of course the almighty Venom as well as modern torchbearers like Midnight, Whipstriker, and Power From Hell. Unsurprisingly, the album garnered international acclaim. Eclipsing that feat is the band’s second album, Come Creeping Fiends.

Truly titled once again, Come Creeping Fiends comprises nine tracks of heavy metal for the insane, forged in the Manchester morgue. Raging like a ravenous beast, summoning ancient ones, and agonizing with morbid doom, AGGRESSIVE PERFECTOR cover a lot of ground here, but like the rotting undead that inspired it, this second album somehow holds together. The same black magic that made Havoc at the Midnight Hour a highlight six(-six-six) years ago is here again, only this time with a higher kill count and hit rate. Cleaner and crisper in execution but somehow darker and dirtier in its content, Come Creeping Fiends offers highlights at every crooked turn; tunes like “Strange Companion,” “Fiend in You,” and lead track “Dead Undead” will have all the witches dancing. Needless to say, fans of maniacal, EVIL heavy metal music and horror movies will find a lot to love. The wait for AGGRESSIVE PERFECTOR’s second album might have been long, but Come Creeping Fiends will prove to be worth it…

First released in 2009, Only Built 4 Cuban Linx… Pt. II stands as Raekwon’s celebrated sequel to the Purple Tape, expanding his cinematic mafioso rap universe.

This newly designed instrumental edition removes the vocals to place full focus on the album’s production, featuring beats by J Dilla, Dr. Dre, RZA, Pete Rock, The Alchemist, and more.

For the first time ever on vinyl, the instrumentals are presented as a standalone listening experience, revealing the album’s grit, mood, and layered sound design.

Pressed on classic black vinyl and housed in a heavy matte-finish jacket with spot gloss text, the Shaolin Noir Edition keeps the spotlight on the music itself, serving as a clean, essential companion to one of Raekwon’s most acclaimed releases.

Expanded Edition Double Cassette Box Set including main album and Bonus Cassette with unique download cards


AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

While many have tried to emulate the ancient German (black)thrash sound, CRUEL FORCE brimmed with an authenticity that could not be denied, as well as songwriting that added to that noble tradition rather than lazily picking at its corpse. Their two successive albums, 2010's The Rise of Satanic Might and 2011's Under the Sign of the Moon, made CRUEL FORCE a certifiably CULT name in the international metal underground. Sadly, the band fell into a hiatus following that second album, but returned reinvigorated with the comeback 7" EP Across the Styx in 2022 and, a year later, the glorious full- length Dawn of the Axe at the hands of new label home SHADOW KINGDOM. Continuing to make up for lost time, CRUEL FORCE storm back with swords gleaming high on their fourth full- length, Haneda.

Where a line could be drawn between the band's "first era" of The Rise of Satanic Might / Under the Sign of the Moon, so continues this Second Era that began with Dawn of the Axe - one that harkens to the "Jurassic period" of heavy metal, when everything was rawer, less polished, and more energetic and powerful. As displayed by that pivotal predecessor, Haneda further proves that CRUEL FORCE are more so an old-style speed metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there's a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder.

However, it must be stressed that, while it follows logically from Dawn of the Axe, Haneda is very much its own headspace, its own continuation of a still-vital aesthetic. At times more epic, exuding both more and different atmospheres, CRUEL FORCE here take the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond; indeed, the whole record is like a journey through mystical realms. Although no concept album, Haneda is very conceptual in its aesthetics, even down to its production: BIG and naturaltoned, from the guitars to especially the drums, everything here is as '80s and authentic as possible, underlining

»Don't Fear The Reaper: The Best of Blue Öyster Cult« wurde im Jahr 2000 veröffentlicht und ist ein umfassendes Kompilationsalbum, das die bekanntesten Titel aus der legendären Karriere von Blue Öyster Cult präsentiert. Es umfasst ihre Anfänge in den frühen 1970er Jahren bis zu ihrem Erfolg in den 1980er Jahren und enthält Hits wie das legendäre »Don't Fear The Reaper«, das kraftvolle »Godzilla« und das eindringliche »Burnin' for You«.

Blue Öyster Cult sind bekannt für ihre Mischung aus Hardrock mit Elementen aus Metal und Psychedelic. Ihre komplexen Gitarrenriffs und geheimnisvollen Texte kommen in dieser Sammlung voll zur Geltung. Das Album unterstreicht den innovativen Sound der Band, der mit seiner einzigartigen Mischung aus schweren Riffs, komplexen Harmonien und düsteren Themen das Rockgenre mitgeprägt hat.

Sowohl für langjährige Fans als auch für neue Hörer ist »Don't Fear The Reaper: The Best of Blue Öyster Cult« ein Muss, das einen perfekten Einstieg in die einflussreichsten und zeitlosesten Titel der Band bietet.

»Don't Fear The Reaper: The Best Of Blue Öyster Cult« ist als limitierte Auflage von 2000 Exemplaren auf kristallklarem und schwarz marmoriertem Vinyl erhältlich.

TOO BAD JIMS - Over The Hill ist eine leidenschaftliche Hommage an den legendären North-Mississippi-Bluesman R.L. Burnside. Das britische Trio aus Brighton - bestehend aus Little Victor, Son Jack Jr. und Nick Simonon (Bruder von Paul Simonon, The Clash) - verbindet rohe Energie, hypnotische Grooves und den unverkennbaren Hill-Country-Sound zu einem zwingenden, rauen und erdigen Blues-Erlebnis. Was einst als spontane Zusammenarbeit zweier vielfach ausgezeichneter US-Musiker begann, entwickelte sich zu einer Band, die den Spirit der Juke Joints aus Nord-Mississippi in die Gegenwart transportiert. Minimalistische E-Gitarren, treibende Bottleneck-Soli und ungeschliffener Gesang formen einen Sound, der "absolutely scorching" (Living Blues Magazine) und "relentlessly upbeat" (Blues Blast Magazine) genannt wurde. Over The Hill erscheint streng limitiert und liefert einen kompromisslosen, unmittelbaren Blues, der gleichermaßen Tradition ehrt und vor roher Spielfreude strotzt. Für alle, die echten, unverfälschten Hill-Country-Blues lieben.

High Roller Records, reissue 2022, black vinyl, ltd 250, lyric sheet printed on uncoated paper

Black 180g vinyl, limited to 200 copies. A decade has passed since the debut album Finnmark left a solid northern Norwegian mark on the rock and hardcore scene, and eight years since Natur pushed both genre boundaries and the listener's limits. Now, the Kirkenes-based band Ondt Blod returns with their third full-length album, Bauta. Here, the band distills the blend of hard-hitting hardcore and strong melodies they've become known for. The opening track "AUX" kicks the door in with a desire to tear down the established order, while songs like "Kembo" and "Flamma" (featuring guest vocals from Ida Maria) reveal a more nostalgic and melodic side of the band. Throughout their career, Ondt Blod has held firmly onto their northern Norwegian identity and Sámi roots. This has taken them from Kirkenes to stages across Europe and Japan, earning them both Norwegian Grammy (Spellemann) nominations and a loyal fanbase. Bauta confirms that the band still has plenty to say.

Backyard Babies was formed in 1987 in Nässjö and can by rights be called Sweden’s most influential glam punk act. Between 1994 and 2019 they released eight studio albums of which Stockholm Syndrome is their fifth. Here we have another collection of bangers brought to you by the babies with reckless abandon. This time they invited a whole slew of guest musicians such as the Ramones, Danko Jones, The Cardigans, Turbonegro, and The Hellacopters, elevating the whole affair to another level with no signs of stopping. This is the first time the album is available again on vinyl since ten years and features the songs "Minus Celsius", "A Song for the Outcast", and "Everybody Ready?!". Stockholm Syndrome is available as a limited edition of 1000 individually numbered copies on crystal clear & black marbled vinyl and includes a 4-page booklet with lyrics.

Blue Transparent Vinyl

Two Shades of Blue zeigt Robben Ford auf dem Höhepunkt seiner künstlerischen Reife – reichhaltig, gefühlvoll und emotional aufgeladen. Das Album verbindet seinen unverwechselbaren Gitarrensound mit frischen Kompositionen und wunderschön gestalteten Arrangements und bietet alles, was Fans an Ford lieben, während es seinen Sound gleichzeitig in neue Gefilde vorantreibt. Two Shades of Blue ist ein Muss für Blues-, Jazz- und Gitarrenliebhaber und wird sicherlich zu einem der prägenden Alben seiner legendären Karriere werden.

Das Album hat Songs, die Michael für eine zweite Folkways-LP aufgenommen hat, die nie rausgekommen ist, und auch Songs von einer Demo-Aufnahme für ESP-Disk, die leider nicht geklappt hat. Das sind einige unserer Lieblingsstücke von Hurley. Es sind einfache, warme und eindringliche Heimaufnahmen von Songs, die später zu Klassikern seiner Karriere wurden. Man kann die Entwicklung in seinem Songwriting und Gitarrenspiel verfolgen, während Hurley zu dem Künstler wird, den wir heute kennen. Ein Muss!

Black/Silver Vinyl

Black Vinyl

Christian Fetish - Aura Nera

DE

Mit "Aura Nera" kehrt Christian Fuchs zu seinen düsteren musikalischen Wurzeln zurück. Inspiriert von Dantes Inferno und dem kosmischen Pessimismus des Philosophen Eugene Thacker steht die "schwarze Luft" als Metapher für eine spürbare gesellschaftliche, politische und persönliche Verdunkelung.
Nach Jahren mit Projekten wie Fetish 69, Bunny Lake, Die Buben im Pelz und dem Black Palms Orchestra reaktiviert Fuchs sein Alter Ego CHRISTIAN FETISH. Aus einer Phase persönlicher Krisen heraus entsteht ein Album, das harte Gitarren wieder mit Elektronik verbindet - jedoch ohne Nostalgie, sondern mit neuen Perspektiven, dekonstruierten Haltungen und existenzieller Dringlichkeit.
Gemeinsam mit langjährigen Weggefährt:innen und markanten Stimmen der österreichischen Musikszene entsteht ein intensives Werk zwischen Industrial, Postpunk und düsterem Pop. "Aura Nera" thematisiert Nihilismus, Schlaflosigkeit, Untergangsängste und fiebrige Leidenschaften - ein kompromissloses Statement in dunklen Zeiten.

feat. Members of Fetish 69, Bunny Lake, Sofa Surfers, Baits, While Miles, BZFOS, Der kleine Tod

The UK’s Black Metal forerunners, WINTERFYLLETH make a stand with The Unyielding Season, coming March 27, 2026 via Napalm Records. Their ninth album is a social commentary wrapped in meticulously crafted poetry and prose. Where the preceding album, The Imperious Horizon (2024), described an ominous, malevolent force, lurking in the distance, The Unyielding Season now explores said threat becoming a reality. The raging wildfire to its predecessor’s calculating, icy cold, WINTERFYLLETH’s first offering for their new record label is a reflection and a rebellion against the turmoils tearing individuals apart. It is a cry against the unsustainable weight of fear and pressure being pushed into the world, by the agents of a unresting, and unyielding force for evil.

With „Darkness Is My Crown“, DEFACING GOD present their most personal and intense album to date. The Danish extreme metal visionaries once again fuse blackened death metal, symphonic darkness and occult atmosphere - this time with a strong focus on inner conflict, loss, transformation and resilience. The album stands as an unfiltered reflection of confronting darkness head-on and reshaping it into strength, identity and purpose. „Darkness Is My Crown“ is a powerful artistic statement, defined by authenticity, emotional depth and uncompromising vision, further solidifying DEFACING GOD’s place within the modern extreme metal landscape. The album will be released on March 27, 2026, and was mixed and mastered by Tue Madsen (Heaven Shall Burn, Babymetal, Belphegor …) at Antfarm Studios.

Following up their 2016 release Satan’s Heavy Metal, Aggressive Perfector’s debut full length, Havoc At The Midnight Hour, finds the English trio in resolutely evil form as they take a major step forward on their path of destruction. Embracing a wealth of haunted sounds and textures, this sepulchral slab of metal conjures an atmosphere rich in the romantic repugnance of horror’s past masters which it uses the setting for a 37 minute nightmare of nocturnal menace, occult fascination and bloody vengeance. Summoning the ghosts of Metal past – Tank, Slayer, Venom and Mercyful Fate all playing a part- Havoc… fixates on the nuclear fury of an apocalyptic future, from which it culls new ways to pervert the course of heavy metal in the present. Follow Aggressive Perfector into the nightmare when Havoc At The Midnight hour is released on November 1st.

Over half a century after it set them on the path to superstardom, Queen’s regal second album, Queen II, has been remixed and remastered.

Arguably the heaviest Queen album, Queen II was originally released in 1974 and widely heralded as their first true masterpiece. With Brian May and Roger Taylor as executive producers, the album has been stunningly mixed by the team of Justin Shirley-Smith, Joshua J Macrae and Kris Fredriksson.

Celebrating the 30th anniversary of Enlace Funk magazine, they present the world's first Flamenco-Jazz compilation, featuring 16 tracks from between 1978 to 2025, released on vinyl for the first time. A musical dialogue between Flamenco and Jazz, unique in the world, a journey through some of the most important artists of this style, starting with the seminal work of the group Dolores in 1978, and continuing to examples of the current sound of this exciting fusion. Includes tracks never before released on vinyl by artists such as Jorge Pardo, Chano Dominguez, Pedro Ojesto, and Marc Miralta. The first volume of Flamenco-Jazz aims to showcase this unique style that has proven to be a bridge of communication and dialogue between flamenco and jazz musicians, creating an inimitable sound that is constantly evolving and transcending barriers. We take as our starting point a 1978 recording by Dolores, featuring Paco de Lucía, which later led to the formation of her legendary sextet with musicians who had participated in this recording. Of course, this first volume wouldn't be complete without other masters like Josemi Carmona, Pedro Ojesto, and Marc Miralta. And of course, a new generation of names that have elevated the genre to its current status, such as flautists Trinidad Jiménez and Sergio De Lope, Juanfe Pérez and Juan Pérez Rodríguez from Huelva, Pablo Martín Caminero from Vitoria, and Miquel Alvarez from Valencia. Not forgetting innovators like Antonio Lizana and Enriquito, who are crossing borders and sharing their unique style. Ltd ed.classic black vinyl double LP in gatefold sleeve

Past Due Records is thrilled to announce the release of Midnight Blue's "One Wish - South Carolina 1975-83," a compilation showcasing the legendary funk and modern soul band from Columbia. This limited edition double LP compilation is an exclusive collection highlighting the band's peak during the mid-1980s American boogie funk era. Formed in 1975, Midnight Blue blended the talents of local musicians Myron Alford, Robert Hoefer, Jr., Ronnie Amiker, and many others. Despite their underground status, their music left a lasting impact, performing alongside legends like Midnight Star and Prince. The compilation includes their debut single "Feel It and Groove Together," their powerful rendition of "I Who Have Nothing," and unreleased tracks recorded with Cameo's Larry Blackmon. Fan favorites such as "All Because of You" and "Coolin' Out" will also be featured. This double LP comes with a full story and many never-before-seen pictures of the band, making it a must-have for any fan of eighties funk, courtesy of Past Due Records.

This double LP yellow vinyl 20th anniversary release of G. Love's "Lemonade" celebrates one of his most beloved and successful records. The release accentuates G. Love’s unmistakable blend of blues grit, hip-hop cadence, and sun-kissed songwriting and captured a creative peak that welcomed an all-star cast of collaborators including Jack Johnson, Ben Harper, Marc Broussard, Blackalicious and more. Critics praised its warmth and ease, often calling it one of G. Love’s most effortlessly joyful projects, and fans have carried its songs with them for two decades.

High Roller Records, reissue 2022, black vinyl, ltd 500, 425gsm heavy cardboard cover, lyric sheet, poster, mastered for vinyl by Patrick W. Engel/ Temple of Disharmony

Over six years have passed since HAGZISSA's successful debut album, They Ride Along. Some may have even declared the Austrians as dead in between; however, HAGZISSA never ceased to wander the borderlands of the here and beyond. In silence and yet in turmoil, too, a nightmare has been slain and gutted - in necromantic pride, its offspring gleams and dances to never-ending music of the night!

HAGZISSA's brand-new Revelry of a Maltreated Jade EP is a showcase of a pack in motion, marking this as the last recording with A White Pawn (Kringa, Weathered Crest et al.) and the first with V.Adalbert II (Sněť, Bahratal et al.). The four-song work is immediately recognizable as HAGZISSA: a now-trademark style of eyrie, olde-worlde black METAL that's obscure, enigmatic, and unbound. Here, intensities are both reigned in and let loose to roam even wilder, as Iron Curtain heavy metal magick weaves a spell perhaps even more potent than said full-length. The result is somehow more approachable and more foreign, but compellingly potent either way.

With heads both in the past and the future, thus passes the glory of the world and dives deep into another plane! Can't you hear their flutes and horns and whispers? So come, then, and join in boisterous battue!

In many ways, OLDE OUTLIER rise from the legacy of Australia’s late Innsmouth — a cult band whose 2014 debut Consumed by Elder Sign endures as an underground classic. The connection is more than symbolic: guitarist Askew, vocalist Appleton, and bassist Greenbank all passed through Innsmouth’s ranks, while Beau Dyer now leads this new incarnation after years spent shaping the sound of Innsmouth and the earlier project Grenade.

From Shallow Lives to Shallow Graves marks OLDE OUTLIER’s recorded debut, a four-track, thirty-five-minute descent into their own cavernous realm. While faint echoes of Innsmouth’s inspirations — Armoured Angel and early Samael — linger, the band draw from a broader and far more obscure constellation. Shades of Amon Goeth, Martyrium, Head of the Demon, and Florida’s Equinox collide with the spectral drift of Ophthalamia and early Katatonia and Tiamat, all eroded and blackened into something untraceable.

Despite these depths, OLDE OUTLIER avoid any sense of technical indulgence. Their sound carries a rough, deliberate simplicity — a raw and smoky power that pushes each of the four long tracks forward with unhurried certainty. The songwriting unfolds through patient repetition and subtle shifts, allowing motifs to seep into place and gradually hypnotise. Appleton’s low gutturals bring a grim, expressive edge reminiscent of early Septic Flesh or Thou Art Lord, while the more open, lead-driven riffing imparts a distinctly archaic heavy metal aura that separates this band from their origins.

At many moments, that union of grit and atmosphere surpasses even Innsmouth’s achievements. Accented by well-placed clean and chorused guitar lines, From Shallow Lives to Shallow Graves becomes an immersive and strangely timeless work — a glimpse into an ancient, dimly lit world where OLDE OUTLIER feel less like a new formation and more like something unearthed from a forgotten past.

"Recoiled" is a rambunctious alchemy, of magikal Coil sensibilities and hi-tech home circa 90s mixing technique, all fused in the cave-like early studios of Danny Hyde / Peter Christopherson. These were the unrestrained PRE- BIG studio- mix downs, of four songs which long time Coil admirer / collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde / Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. "Recoiled" includes a fuller, more opulent version of the track 'Closer', which eventually made it onto the opening credits to the movie "SE7EN". These 5 lengthy compositions are pre-Ableton / laptop generation type priest song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumoured to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Black vinyl LP+, printed inner!

It started in a Brooklyn studio back in 2011. A raw demo, a shared vision, and a deep reverence for the echoes of Basic Channel and King Tubby. After years of meticulous overdubbing and sonic layering, Marter (Bass) & Yony (Drums) have finally completed their masterpiece. Originally licensed to Bill Laswell’s label for digital release, this warm, lo-fi journey is finally available in its truest form. Recorded on 4-track and 8-track tape before meeting ProTools, every frequency breathes with analog soul.

This album sold out immediately upon its initial release in 2018. Due to overwhelming demand, a highly limited number of copies have been repressed with sticker on black jacket.

2nd album is on the way!

xm Black talk [Part 1]
[xn] Hörprobe Track 8: Black talk [Part 1]



[xr] Thank you [Part 1]
[xs] Hörprobe Track 9: Thank you [Part 1]




























[yv] Listen here [Part 1]
[yw] Hörprobe Track 15: Listen here [Part 1]








[h] B4 | Charles Earland - Black talk [Part 1]
[i] B5 | Melvin Sparks - (Jazz) Thank you [Part 1]





[o] D2 | Freddie McCoy - Listen here [Part 1]

The official soundtrack to SIRĀT, written and produced by David Letellier aka Kangding Ray.

Pressed on opaque white vinyl with a black 7” single included as part of the package. The CD is presented in a digipack.

Set deep in the wild terrain of southern Morocco, SIRĀT is a visceral, atmospheric odyssey following a father (Sergi López) and son as they search for their missing daughter and sister. Their journey leads them through the throbbing heart of a nomadic rave scene where music becomes both guide and ghost — a haunting pulse that drives the narrative into the desert’s burning isolation.

At the film’s core is its mesmerizing original soundtrack, a fusion of electronic minimalism and grainy sonic textures that underscore the film’s themes of disappearance, connection, and liberation through sound.

Undun is the story of a man, Redford Stevens, dying in reverse, rewinding from the moment he became a statistic and hitting the points in his life where he's at his most self-aware. That he's a criminal who got caught up in the familiar street-hustle trappings that the modern media's documented countless times is a pivotal detail-- it's hit at an angle that seems to emphasize the futile inevitability of it all. His life could be any number of misdirected narratives that ends with a toe tag, and what details listeners learn about him are hazy, buried under archetypal turns of fate and decisive struggles. That this protagonist is a fictionalized composite of a handful of real people, filtered through a matter-of-fact narrative that splits character ambivalence with journalistic impartiality, only makes his lack of direction and the failure of any real closure stand out even more. "Lotta niggas go to prison," Dice Raw states on "Tip the Scale", "how many come out Malcolm X?"

So the Roots' latest album isn't a sprawling, rise-and-fall crime story, not a condemnation or a veneration of a man living outside the law, not a bullet-riddled grand guignol heavy on explicit details of soldiers getting cut down. It's a character study of a man whose existential crisis ends only with his death-- a death gone largely unspecified, the glamor and tragedy washed over with a doomed resignation. That's a hard thing to pull off, even for a band as given to deep-thinking concepts as the Roots are. And when your main lyrical catalyst is Black Thought-- a man more given to allusions than direct statements-- it's likely that it'll take a while for the full scope of Undun to really sink in.

If and when it does, it might strike listeners as a bit skeletal: omit the mood-setting instrumental bookends, including a brief, four-part orchestral suite that builds off Sufjan Stevens' "Redford (For Yia-Yia and Pappou)", and you've got maybe a half hour's worth of material. By ?uestlove's accounts, writing Redford's story introduced the headaches and challenges that come with scriptwriting into their songwriting, and what's left on Undun is the end result of frequent revisions and rewrites that attempt to reconcile character, theme, and continuity. If it comes at the expense of nuance, it's not always obvious: There's an easy-to-trace narrative line from Redford's acceptance of his fate ("Sleep") to his acknowledgement of how close it's approaching ("Make My"), back through declarations of aggravated toughness ("One Time"), and celebratory fatalism ("Kool On"), along ups and downs that juxtapose motivation ("Stomp") and helplessness ("Lighthouse"). When the vocal portion of the album ends with two of the bleakest sets of verses in the Roots discography, peaking with the estrangement of "I Remember" and the desperation of "Tip the Scale", Undun reveals itself as a story where a man's actual death isn't quite as tragic as the circumstances that pushed him to it.

DJ Amir takes another deep dive into the back catalogue of Detroit's legendary Strata Records to curate a 2nd volume in his Strata Records – The Sound of Detroit compilations. Whereas volume one took in the soulful edge of the Strata canon this volume, as Amir says, 'leans into the label's groovier, funkier edges whilst still celebrating its bold, avant-garde spirit.' DJ Amir's relationship to the Strata label has resulted in the release of the long lost Charles Mingus live 'Jazz in Detroit' box set released on BBE Music along with re-issues from The Lyman Woodard Organisation and re-imaginings of Strata's genre defying music by Berlin based DJ and producer collective, Jazzanova as well as remixes from Kai Alce, Wajeed, Henrik Schwarz, re.decay and DJ Amir himself and, of course, volume one of The Sound of Detroit. Featuring music from The Soulmates, Fito Foster, Keith Boone & Janice Coombs and The Contemporary Jazz Quintet amongst others, The Sound of Detroit volume 2 absolutely exemplifies the importance of Strata Records in the history of innovative Black music as well as its place in the cultural landscape of Detroit as a powerhouse city for art and music. Released by BBE Music in collaboration with 180 Proof Records as a triple vinyl LP and high res. digital download DJ Amir presents Strata – The Sound of Detroit volume 2 really is a gem of a compilation to grace any serious music head's record collection.

Manfredi Romano, founder and A&R of Life and Death Records, has been a pivotal figure in electronic music for over two decades. This year marks an important milestone as he is invited to curate the upcoming fabric presents mix for fabric Records, a release that highlights his instinctive storytelling and the distinct musical identity he has cultivated throughout his career.

Manfredi’s journey began in Italy around the turn of the millennium, tour-managing punk bands and organizing left-field music events before completing his studies in computer science at the University of Pisa. He went on to form DAZE, Italy’s first booking agency dedicated exclusively to electronic music, laying the groundwork for what would become a globally influential presence in the scene.
In 2010, he shifted focus to his own artistic project, DJ Tennis, which quickly gained international recognition for its emotive blend of house, techno, and disco. Renowned for creating intimate atmospheres in even the largest spaces, DJ Tennis has performed at leading clubs such as Circoloco Ibiza, Fabric London, and Panorama Bar Berlin, and at major festivals including Sonar, Timewarp, Primavera Sound, and Coachella. His 2022 residency at Phonox in London further showcased his ability to shape dancefloors with nuance and depth. Since 2017, he has also co-founded and curated Rakastella, the celebrated Art Basel Miami festival created in partnership with Life and Death and Innervisions.

As a producer, DJ Tennis draws from early relationships with post-rock pioneers such as Godspeed You! Black Emperor, Tortoise, and Fugazi, channelling their influence into intricately layered electronic compositions. His work has appeared on respected labels including Kompakt, Rhythm Assault, Running Back, !K7, Cercle Records, Aus Music, and Circoloco Records, alongside frequent releases on Life and Death. His remix portfolio includes collaborations with Diplo, Boys Noize, Loco Dice, WhoMadeWho, and Acid Pauli, among many others. He has also previously contributed a DJ-Kicks mix, bringing his eclectic sensibilities to one of electronic music’s most beloved series.

After extended periods living in Miami, Berlin, and Barcelona, DJ Tennis now resides in Paris. Outside the studio and club environment, Manfredi is a passionate chef who has curated menus for charity events and collaborated with Beatport at ADE, Pioneer, and Resident Advisor. He is also an avid collector of bicycles, vintage action figures, and vinyl — his record collection now surpasses eleven thousand pieces.

With the forthcoming fabric presents DJ Tennis release, he offers a deeply personal, narrative-driven statement that reflects decades of crate-digging, boundary-pushing selections, and a lifelong devotion to sound. It marks a new chapter in his artistic evolution and stands as one of the year’s most anticipated entries in the iconic series.
The first single from DJ Tennis is a collaboration with long-time studio partner Ashee, and it immediately sets the tone for the mix: warm, seductive, rhythm-driven, and emotionally charged.

“I Wanna Know” is a sleek club track built around a pulsing groove and a steady, hypnotic rhythm. The low end is rounded and warm, giving the track a driving but understated momentum. Percussion is crisp and minimal, allowing the bassline and vocal elements to take center stage. The repeating, robotic earworm of a vocal hook, “I wanna know’ is the lynchpin to the track and will remain in your head long after the track has finished.

It’s the kind of record that warms up a room early in the night, sets the tone for a sunset beach set, or adds a lush, emotional peak during a more leftfield club moment.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

Die erste offzielle Vinyl-Neuauflage von American Recordings von Danzigs Debüt-Soloalbum seit seiner Erstveröffentlichung im Jahr 1988. Unter anderem aber allen voran mit den Hits ”Dirty Black Summer” and
”Left Hand Black”. Die 1LP kommt mit originalem Artwork in einer Gatefold-Hülle, bedruckten Einlagen
und auf schwarzem Vinyl.

Die erste offzielle Vinyl-Neuauflage von American Recordings von Danzigs Debüt-Soloalbum seit seiner
Erstveröffentlichung im Jahr 1988. Unter anderem aber allen voran mit den Hits ”Her Black Wings” und
”Devil’s Plaything”. Die 1LP kommt mit originalem Artwork in einer Gatefold-Hülle, bedruckten Einlagen
und auf schwarzem Vinyl.

FUMU christens the promising new label Return To Zero (RTZ) with »Funeral Rites on Planet Saturn«, the surrendering sophomore album from Nigerian artist, self-described »negro-producer«, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai.

LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via »Smooch Soundsystem Live at The White Hotel« for Second Born (Kop-Z, Porter Brook), and »DOGTOOTH. And Other Such Tales of the Macabre« on The White Hotel’s HEAD II outlet.

While earlier works engaged with the mania, joy, and paranoia of this impossible experience, »Funeral Rites on Planet Saturn« arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation.

»This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.«

Baptized with a name derived from astrophysical theories about dark matter and black holes, THE HOLEUM was formed in 2014 in Alicante, Spain. Founded by former members of NahemaH, Demised, quantumXperience, Hela, Neptunian Sun, and Priest of Dawn, the quintet set out to push the boundaries of heavy music and to intensify the emotional impact of darkness in sound. Their concept is both cosmic and sonic: “THE HOLEUM is related to the dark matter that forms the black holes in the universe. THE HOLEUM is not a black hole, but black holes are formed by The Holeum. That is the idea from which we extract our concept – we are a sonic and cosmic vision of the sublime.” With their third album “Ensis” (2025), the band continues its journey through experimental metal, death doom, melodic metal, and post-metal. This work is more than a continuation – it is a condensation and expansion of their previous soundscape. “Ensis” reveals itself as finely nuanced, challenging, yet at the same time profoundly sensitive and multifaceted. The songs unfold like cosmic landscapes where heaviness and melancholy meet subtle emotionality. The intensity remains palpable, but it is complemented by a deeper sensitivity that draws the listener into a fragile balance between harshness and delicacy. “Ensis” is an album that demands and touches at once – a work that makes the complexity of human existence audible in the mirror of the universe.

In 1955 Miles Davis played an all-star jam session at the Newport Jazz Festival with Thelonious Monk on piano, Gerry Mulligan on baritone sax and Zoot Sims on tenor sax. This performance immediately drew the attention of Columbia Records' George Avakian, who was so impressed that he immediately offered Davis a contract if he could form a regular band. The group he then assembled would go down in history as Davis' so-called "First Great Quintet", consisting of John Coltrane on tenor sax, Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and of course Miles himself on trumpet. 'Round Midnight is Miles Davis' first record for Columbia and also the first studio recording of the First Great Quintet. The recording sessions began on October 26 1955 but the album wasn't released until 1957 as Davis was still under contract at Prestige at the time. These respective sessions yielded Steamin', Workin', Cookin' and Relaxin'; albums that would go down in history as quintessential blueprints of late 1950s hard bop.

The record is made up of a collection of standards and one traditional song ("Dear Old Stockholm", from the 19th century). Notably, it features what may be considered the most well-known versions of Thelonious Monk's "'Round Midnight" and "Bye Bye Blackbird". That Avakian made a golden signing was sufficiently clear from the start, but no one could foresee that it would be this quintet on Columbia that would go on to change the course of modern jazz forever with Kind of Blue. 'Round Midnight is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl.

Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Classic black vinyl, 2LP, gatefold sleeve.

Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018 Classic black vinyl, 2LP, gatefold sleeve.

Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Classic black vinyl, 2LP, gatefold sleeve.

Black Vinyl 2026 Repress in black disco sleeve.

The wait is over! Season 2 music from the iconic Disney Channel series HANNAH MONTANA is available now on stylized black and white vinyl and features all the hits including We Got the Party, Nobody’s Perfect, Life’s What you Make It and more!

all new super sexy girl group vinyl is here xo
includes: 12 inch black vinyl, a sheet with stickers of us on so you can customise your own cover, inner sleeve with lyrics from Think They're Looking, Let's Perform and Little Sticky Pictures which you can read and study for at least 2 hours a day

Supertramp are releasing the definitive vinyl pressings of their studio albums. Breakfast In America audio was transferred at Abbey Road Studios by Miles Showell and overseen by album co-producer Peter Henderson, where they cut the 1/2 speed master used to press the vinyl. The LP is pressed on 180g black vinyl. This is the group’s sixth studio album released in 1979.

Supertramp are releasing the definitive vinyl pressings of their studio albums. Even In The Quietest Moments audio was transferred at Abbey Road Studios by Miles Showell and overseen by album engineer Peter Henderson, where they cut the 1/2 speed master used to press the vinyl. The LP is pressed on 180g black vinyl. This is the group’s fifth studio album.

Supertramp are releasing the definitive vinyl pressings of their studio albums. Famous Last Words audio was transferred at Abbey Road Studios by Miles Showell and overseen by co-producer Peter Henderson, where they cut the 1/2 speed master used to press the vinyl. The LP is pressed on 180g black vinyl. Released in 1982, this is the group’s seventh studio album and final release with Roger Hodgson.

Folk-Punkrock, Bier & Wahrheiten. Mit ihrem Album "This Ain't Quiet" legen die Schweizer Saint City Orchestra ein dreckiges neues Manifest vor - gegen die Stille, gegen das Schweigen, gegen das brave Mitlaufen. Was hier aus den Boxen knallt, ist ein rotzfrecher Mix aus Irish Punkrock und der ungeschönten Realität des Lebens - laut, wild, ehrlich und mit ordentlich Portion Ironie. Die Songs klingen wie durchzechte Nächte mit besten Freunden, wie Kneipentresen voller Geschichten, wie Stadionrufe aus rauen Kehlen und wie der letzte Schluck vor dem Zusammenbruch. Sie erzählen von verlorenen Träumen, gebrochenen Herzen, wütenden Mittelfingern und unbeugsamer Liebe - zur Familie, zur Crew, zum Verein und zum verdammten Leben selbst. This Ain't Quiet ist kein Album für die Playlist im Fahrstuhl - es ist der Soundtrack für Nächte, die man sich tätowieren lassen will. Für Menschen mit Ecken, Kanten und Haltung. Für alle, die lieber grölen als jammern. Das Saint City Orchestra ist zurück - und sie haben Durst. Das SCO ist im 12. Jahr unterwegs, hat bereits je ein Top 30 und ein Top 20-Album in der Schweiz im Gepäck, vielleicht geht's dieses Mal unter den ersten 10? Für Fans von Fiddler's Green, Flogging Molly, The Rumjacks, Dropkick Murphys und The Real McKenzies. Als CD oder farbige (Neon Orange w/ White & Black Splatter) LP erhältlich

Consuming you in one swoop, through 10 tracks of poetic electronic-pop odyssey’s, Evadney’s sensational voice acts as the guiding force, weaving between piano, strings, harp, driving electronic elements, and almost beatless moody textures.

Following the release of 3 eps on Black Acre, being remixed by I.JORDAN, inclusion on Jamz Supernova’s BBCRadio ‘Ones To Watch’ list, the Glastonbury Emerging talent list and creating an audiovisual live show performed in the UK and Shanghai, Evadney’s debut album ‘It’s Dreaming’ looks set to solidify him as a bold new voice on the UK music scene, bringing with him a new world of melancholy, narrative-driven pop.

The subjects of sexuality, love, family and a yearning for the divine are played out across this cinematic piece of work. “I’m asking myself and everyone to consider; Where is your love? What does it mean for you? What are your boundaries around it and why?” - Evadney.  On ‘Plie’ Evadney’s vivid storytelling flows effortlessly in a surreal conversation with an angel who teaches him how to dance. ‘Qualia’’ is a harp laden ode to his parents and their enslaved ancestors, whilst ‘Leathered & Laced’ and ‘Good Lord’ are devastatingly beautiful and honest stories of Evadney pulling himself out of his darkest moments of lost direction and substance abuse.

Music never exists in a vacuum — every scene and sound evolves from the non-stop exchange of ideas between different groups and cultures. Traditions get passed down from one generation to the next, and then individual heads take influence from their own unique perspective. Sometimes, certain people strike upon fusions that spark massive new movements, but even those rarest innovations came from somewhere.

Jon E Cash knows this more than most — the legendary beats he started putting out at the turn of the millennium had their own disparate roots and influences which he had the motivation to put together into a sound he called sublow. There wasn't any other reference point for this music — when he took the first white labels of 'Drop Top Bimmer Kid' into Blackmarket Records in Soho, London, he had to describe it to a puzzled Nicky Blackmarket and J Da Flex as being, "between garage and hip-hop."

Playing catch-up in 2004, Rephlex Records nodded to sublow when trying to introduce a wider audience to the sounds which had been tearing up the London underground. "Grime. Sublow. Dubstep... It's Music. Different people call it different things depending on when they discovered it." But Jon E Cash's sound was rooted in more than the UK garage that had dominated the clubs through the late 90s, reaching way back to his pre-teen days when the first waves of hip-hop culture crossed the Atlantic and broke in the UK.

25 years on, it's a fine time to reflect on the impact of the music Cash made at the turn of the millennium. History looks back favourably on what he and the Black Ops crew were doing with sublow in the early 00s. The timing meant it ran in parallel with what was happening over East with Pay As U Go, Roll Deep et al, and of course there was crossover. Every DJ and every MC was on the hunt for the best beats they could find. But there's a whole different swagger to sublow — a different web of influences, a different intention and so a different outcome. It's still there in the beats Cash is making more than 20 years later — his 3dom Music label is carrying upfront productions with that sublow DNA coursing through their veins. Whatever the beat or the tempo, the drums are still hard as nails, and the bass is tuned for maximum rave damage.

IARC108LP – black vinyl / IARC108LPI – indies exclusive grapefruit colour vinyl. All formats are extremely limited and orders may be subject to cutbacks.

IARC108LP – black vinyl / IARC108LPI – indies exclusive grapefruit colour vinyl. All formats are extremely limited and orders may be subject to cutbacks.

Oxblood Vinyl, limitiert auf 200 Exemplare. Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018

Grünes Vinyl, limitiert auf 200 Exemplare. Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Green coloured vinyl, 2LP, gatefold sleeve.

Weiß/orange/schwarzes A/B Splatter Vinyl. Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018 Ltd Splattervinyl, 2LP, gatefold sleeve.

Gondwana Records is pleased to announce ‘Interlude’, the second album from Estonian-born, London-based composer and pianist Hanakiv.

Showcasing an expanded sound, the compositions trace a journey of overcoming the past, unfolding into a seductively unconventional style imbued with hope and a therapeutic quality.

Pressed on high quality black BioVinyl at Optimal in Germany for maximum sound quality.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

RE-PRESSED ON CLEAR VINYL!!! The long-anticipated collection of rare A-sides, B-sides, covers and unreleased outtakes from influential punk rock favorites and emo granddaddies JAWBREAKER. A twenty-track Alpha-Omega of rare and previously-impossible-to-find songs presented chronologically from their first demo in November of '88 (before they were even named Jawbreaker ) to their final studio recording, a version of "Boxcar" re-worked at the end of the DGC Dear You sessions. Beautifully packaged with inviting artwork and track-by-track commentary and lyrics (printed courtesy of AARON COMETBUS). 24-Hour Satisfaction Therapy, indeed.

E The Artist presents Six, his debut album for Nyahh Records; an incendiary opus of blown-out electronics and daring sonic abstractions, inspired by the seven seals, that posits E as a daring force within the Irish underground.

Garnering a fierce reputation both in Ireland and abroad despite minimal recorded output, the artist known as E instead boasts his infamy on the live circuit. The Nigerian-born, Dublin-based musician impressed over the years with a slew of memorable performances inspired by AfroPunkism, recontextualising contemporary black club genres into their loudest and most intense iterations. Following a brief side quest to Vienna early in 2025, E returned to Dublin relieved by the tangibility in familiarity of his surroundings. This inspired a period of personal reflection on self, mortality and religion in his cramped studio; from these sessions emerged his most substantial body of work to date in Six.
Inspired by the opening of the seven seals in the Book of Revelation, Six acts as a radical departure for E. Opener IDTYEK signals this change, a freak folk oddity that ill-prepares you for the road ahead. From MANTRAS’ obtuse techno through to RISE’s power electronics, E fulfils a listening experience intent on submission rather than interpretation. Dynamic contrasts temper the parameters of its sonic catharsis, a crescendo of geometric flow that challenges convention.

Six also extends the artist’s circle of collaborators. Ruby Eastwood and Mel Keane lend BRIDGE their poetry and creative instability respectively, frequent live collaborator Julia Louise Knifefist douses BLACKOUT with his signature guttural cries while KRAF’s obscured lyrics gives LINT a wayward edge. Bulgarian Umbrella offers the record its most substantial contribution on DROGO, a twenty minute meditation on life and death which forms the core inspiration for the album as a whole.
Six exists as a world obsessed with rationalising finality, a disorienting space between certainty and myth that stands as E The Artist’s most ambitious and strangely beautiful work to date.

Originally released in 2020, Livslede is SUNKEN's second full-length and a compelling work of atmospheric black metal - melancholic, dynamic, and shaped by a strong sense of northern introspection

LIMITED TO 150 COPIES! 2 x 12" Black Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

Here we find ourselves, among the Canadian miscreants Egregore whereupon they return from whence the wind howls like a damned choir and the Earth knows no master, to chart a broader sonic wilderness via ‘It Echoes In The Wild’. And much as sea-rogues and freebooters sought fortune upon blackened waters, so too does Egregore venture musically into diabolic and ungoverned lands. Presenting something more expansive, elemental and untamed on ‘It Echoes In The Wild’, the early occult Black Death Metal lunacy embraces atmospheric breadth equally alongside primitive force to delve deep into not only geographic wilds, but the psychological, esoteric and spiritual hinterlands at the edges of complete madness. Dark invocations and secret tongues draw forth echoes from forest and fen, cave and cliff, tempting the temporally tethered to receive the curse, all the while driven by a primal, unknowable sardonic menace. Though the voyage be perilous, to succumb to ‘It Echoes In The Wild’ is to become ensconced in a lawless dominion of the soul in service of a higher call. Mirroring nature’s unbridled forces and the hidden echoes that dwell within, Egregore’s second album takes the band’s mystical insanity and magickal perversion to the edge of the abyss and plunges forward.

GAEREA ist nichts weniger als ein fantastisches Rätsel, tief verwurzelt in Extremen und leidenschaftlicher Hingabe. In weniger als einem Jahrzehnt hat das maskierte Kollektiv, das in der portugiesischen Stadt Porto gegründet wurde, unzählige dunkle Facetten des Metal getestet und präsentiert nun mit "Loss" sein fünftes Album sowie Debüt bei Century Media Records.
"Wir haben das getan, was wir immer getan haben - wir sind unserem Instinkt gefolgt", sagt der anonyme Sänger von GAEREA. "Doch etwas sagt mir, dass dieses neue Album Elemente hat, die sowohl unsere neuen als auch unsere alten Fans lieben werden - aber es ist nicht gerade genau das, was sie von uns erwarten."
"Loss" definiert GAEREA neu und verquickt Elemente aus ihrer Post-Black-Metal Vergangenheit mit eindringlichen Melodien zu raffinierten Klanglandschaften. Dabei schlüpft die Band aus dem kreativen Kokon, um sich in etwas ebenso Mitreißendes wie Unerwartetes zu verwandeln: Es gibt Klargesang. Es gibt Refrains, die so eingängig und leidenschaftlich sind wie die besten Rock- und Metal-Songs. Und doch ist es unverkennbar GAEREA.
Die maskierte und ritualisierte Bühnenpräsenz der Band ist nicht nur Teil einer Show, sondern ein integraler Bestandteil von GAEREA, der ihre musikalische Extremität auf ein philosophisches, avantgardistisches Level hebt. Ihre Uniformen bieten dabei eine gesichtslose und androgyne Leinwand, die es ihnen erlaubt, sich in vollkommen in ihre Performance zu stürzen, die nicht zuletzt durch eine gewisse Körperlichkeit in ihren Bann zieht. Trotz ihrer dunklen Präsenz versprüht die Band stets einen Hauch von Transzendenz und Positivität. Mit "Loss" verschmelzen GAEREA die Ästhetik des Extreme Metal, die Offenheit des Post-Rock und einen freigelegten, emotionalen Nerv zu einem neuen musikalischen Paradigma.
Das ist GAEREA.
"Loss" ist erhältlich als: Ltd. CD Digipak in O-Card, LP, Digital Album