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Following "Shadow People" (2018) and "De Pelicula" (2021) done with Laurent Garnier , The Limiñanas are making their big comeback with their new album entitled "Faded" , whose first single is "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), supporter of the band for years. The French psychedelic - garage duo has also gathered on " Faded" for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean & Pascal Comelade.

VENTILATEUR is an instrumental project combining sounds from the vivid worlds of contemporary jazz and postpunk. The three-piece band, consisting of Iben Stalpaert on drums, Jasper Hollevoet on bass and Daan Soenens on guitar, uses angular rhythms and flowing melodies to construct compositions that embody both contrast and cohesion. Originally from Bruges, the band currently has Ghent as its homebase.

The trio released its self-titled debut EP on 22 March 2019. VENTILATEUR won awards at Fresh Fish, Red Rock Rally and Burgrock that same year and was one of the laureates of the then brand new Sound Track. Thanks to Sound Track 2020, the band received a residency at Het Entrepot in Bruges and a year of professional coaching from VI.BE and other national players in the music landscape.

In 2020, VENTILATEUR joined forces with young Ghent theatre collective Camping Sunset for the performance Happiness. The band composed the soundtrack for the play and also performed it live during the five-week run of the production. The music was subsequently recorded and released under the title A Soundtrack For Happiness at the Brussels label Sentimental.

In 2022, VENTILATEUR released its first full-length album with W.E.R.F. Records. Hoofdplaat, titled after the village near the manor house that served as its recording location, is the result of a long process of purification. VENTILATEUR presents the essence of their sound, stripped from all ballast.

VENTILATEUR balances on the border between the ‘niche’ world of instrumental jazz and the accessible world of the pop-rock circuit. From this position, the band aims to bring instrumental music to a wider audience. Apart from being purely intrinsically artistic, the trio's ambition is to excite a new audience for cultural participation and specifically the rich genre of jazz. Through their choice of accessibility within the experimental, the band aims to form a bridge between a wider audience and a musical world still too often labelled as ‘niche’. The musicians not only focus on the club and festival circuit, but have already written soundtracks for some short film projects and are also reaching out to the theatre world.

In its early years, VENTILATEUR was mainly known within the Flemish arts landscape on the Bruges-Ghent-Brussels axis. A soundtrack for Happiness and Hoofdplaat introduced VENTILATEUR to a new audience. Songs from the albums got airtime from Radio 1, Klara and other stations, and singles appeared in national playlists. The band’s music was also picked up by VRT, which used the single Nectar during several programs. In 2023, the band scored their biggest gig yet: Ghent Jazz on a podium curated by their label, W.E.R.F. Records.

VENTILATEUR as a project can count on the support of organisations such as W.E.R.F. Records, Cactus Music Centre, Het Entrepot and VI.BE. The band also has close ties with theatre companies such as Camping Sunset, Compagnie Cecilia and Ontroerend Goed and, of course, numerous connections within the Flemish and Brussels music scene.

La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.

All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.

This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.

The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world

Sammy Davis Jr was a singer, actor, comedian, dancer, TV host and noted amateur photographer. But, he is perhaps best remembered for his role in the iconic film Ocean’s 11 where he played a member of the Rat Pack alongside lifelong friends Frank Sinatra and Dean Martin, a role that he lived in real life.

In 1969 he had a #11 Billboard hit with ‘I’ve Gotta Be Me’ after which he signed to the mighty Motown Records in order to reach a younger audience.

The album was released internationally in 1970 and showcased Davis at his smokin’ best covering ‘Spinning Wheel’ and ‘Wichita Lineman’ with his trademark brassy tenor. At the time Davis was a top-draw act in Las Vegas alongside Elvis with whom he developed a close relationship. He appeared in Presley’s concert film That’s The Way It Is and included a superb version of ‘In The Ghetto’ on the album. The set also includes the Motown classics ‘For Once In My Life’, popularised by Stevie Wonder’, and ‘You’ve Made Me So Very Happy’ by Brenda Holloway, co-written by the Holloway sisters and Frank “Do I Love You” Wilson.

Sammy Davis Jr was posthumously awarded a Grammy Lifetime Achievement and his legacy lives on through his screen performances and his prolific recorded output.

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

(Limited edition to 500 copies, remastered audio, pressed and printed in Indonesia) The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre.



Dangdut is the biggest musical genre in Indonesia. Dangdut, onomatopoetic name from the sound of hand drums used in this type of music, is what reggae to Jamaicans, country to Americans or skiffle to mid 20th century British people. And in this genre of dang dut, the name Rhoma Irama looms large. He is until today the undisputable king of dangdut and his role as pioneer of the music is already in the history book. In fact, there's one book documenting the outsized role of Rhoma in establishing dangdut as the father of this music. The book is aptly titled Dangdut Story, written by Pittsburgh University music professor Andrew N. Weintraub.



Among Indonesian fans of dangdut, there’s this one misconceptions that dangdut music is that it is an indigenous art form from Indonesia and that it constitutes an amalgamation of local, traditional music of this Southeast Asian nation, with Malay music being the most prominent feature in the mix.



Dangdut pioneer Rhoma Irama is among the first to reject this assertion. “Dangdut music may have originated in Deli (in North Sumatra) but then got the influences from the West and India”, he said.



Indeed, most of Rhoma’s well-known compositions may have been influenced by Indian tunes but some of his best quality works owed much to the West.



Rhoma had long found home in Western pop music. In the early 1960s, after honing his guitar playing skill, Rhoma set up his first band Gayhand to play the tunes of The Beatles, Paul Anka and Tom Jones. In 1972, Rhoma won best singer title in a Southeast Asia singing competition in Singapore playing Tom Jones “I Who Have Nothing.”



Yet, nothing changed Rhoma’s fortune in the music industry, to a point where he decided to leave pop and switched to playing Orkes Melayu (Malay Orchestra) music, first with Orkes Melayu Purnama and later with Soneta Group.



His career soon took off with Soneta, especially after he introduced what ethnomusicologist William H. Frederick considered as “theatre”, through which Rhoma borrows many elements from stage performances of British and American rock bands. These elements, kitsch and pomp, he liberally adopted and became an inseparable part of dangdut itself; tight pants, long hair, platform shoes, glitter and glamour which would not be out of place in Elton John and David Bowie stage show.



And this is actually the contradiction of Rhoma’s brand of Malay music. “One might legitimately ask how imaginative, not to say bizarre, costuming and dancing with abandon could be related to some of the objectives of Rhoma has set for himself and soneta group”, Frederick wrote on his seminal work on the singer, Rhoma Irama and the Dangdut Style: Aspects of Contemporary Indonesian Popular Culture, published in 1982.



From technical point of view, Rhoma not only replaced the acoustic elements from Melayu Music with electric instruments but also created new synthetic sounds that has never been attempted before in Indonesia’s music industry.



Detractors like to point out how much he was indebted to Deep Purple, but a closer inspection reveals how he in fact had mined his influences even deeper.



Notice how Rhoma reproduced funk, which is all the rage in early 1970s, in the song “Santai” (Relax), this album’s closer or “Credit Title (Instrumentalia)” which opens this Darah Muda (Young Blood) soundtrack. The rubbery bass lines that open both songs can easily find home in any Sly and the Family Stone’s or Isaac Hayes’ tunes from that era. Other highlights of the song is the funky guitar licks and the droning Hammond a la George Clinton that stabs deep in the record groove. In the guitar solo, you can also hear the bark of George Harrison’s licks from “Taxman”.



The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre. Only 500 copies were pressed for this compilation.

Das zweite gefühlvolle Dark Pop Album des legendären Schlagzeugers Dave Lombardo und der Singer-Songwriterin Paula Lombardo.

Die Beziehung von Dave und Paula Lombardo ist wie geschaffen für eine romantische Komödie. Man stelle sich vor: Der Mann, der die Messlatte für Heavy-Metal-Schlagzeuger höher gelegt hat, hat ein Rendezvous mit einer schönen Frau, deren musikalischer Hintergrund darin besteht, dass sie in Las Vegas als Backgroundsängerin für bekannte Bands gearbeitet hat und in Nashville als Singer/Songwriterin Fuß fassen wollte. Zum Glück für die Welt hat sich ihr musikalischer Bund in Venamoris manifestiert, deren Ipecac-Debüt To Cross Or To Burn (erscheint am 28. Februar) weit davon entfernt ist, vorgefasste Meinungen zu zerstören, während es fesselnde neue Möglichkeiten aufbaut.

Natürlich sind die Qualitäten des unermüdlichen Dave Lombardo als Weltklasse-Schlagzeuger bekannt. Aber während er die Blaupause entwarf, die das Thrash-Metal-Schlagzeugspiel definieren sollte, hat er seine Finesse auch auf Solo-Schlagzeug (Rites Of Percussion von 2023, ebenfalls auf Ipecac), Hip-Hop und klassische Musik angewandt, und er hat grenzüberschreitende Aufnahmen und Auftritte mit jedem gemacht, von John Zorns Ensembles bis zu den Punk-Ikonen Misfits und Mr. Bungle. To Cross... ist ein weiterer Meilenstein in seiner bewegten Karriere, in der er seine klanglichen Fähigkeiten um Gitarre, Bass und bemerkenswerte Produktionstechniken erweitert hat. „Das einzige, was mit den vielen Schlagzeugen, die wir zu Hause haben, mithalten kann, sind die vielen Gitarren, die Dave hat“, sagt Paula lachend. „Also spielt er auf diesem Album ziemlich viel Gitarre.“

Paula ist eine wahrhaft dynamische musikalische Kraft mit beeindruckenden stimmlichen Fähigkeiten, Geschick am Klavier und am Synthesizer und einem ausgeprägten Gespür für verführerische Texte, Melodien und Arrangements. Mit 18 war sie Backgroundsängerin in der Enklave des Entertainers Wayne Newton in Las Vegas, wo sie lernte, mit dem Druck umzugehen, wenn man mehrere Auftritte an einem Abend hat und jeden Tag Perfektion verlangt wird. Sie verließ Vegas und ging nach Nashville, um ihre Musikkarriere fortzusetzen, aber, wie sie selbst sagt, „es war einfach nicht das Richtige“.

Der Name Venamoris leitet sich vom lateinischen vena amoris („Liebesader“, die angeblich vom linken Ringfinger zum Herzen verläuft) ab. Die erste öffentliche Aufnahme von Venamoris war „The Gift“, ein Weihnachtslied, das die Lombardos auf Bandcamp veröffentlichten. Kurz darauf erschien ihr Debütalbum "Drown In Emotion", das sich durch Paulas Singer-Songwriter-Vibe auszeichnet, als wäre es 1975 zwischen den Deep Cuts von Carole Kings "Tapestry" und "Heart's Dog And Butterfly" aus dem FM-Radio gezupft worden.

Unter den Special Guests auf dem Album::
Kontrabass - Trevor Dunn von Mr. Bungle (Stay with Me)
Bass - Ra Diaz von Korn (Stain of Pain)
Gitarre - Alex Skolnick von Testament (Stain of Pain, Burnt Paper)
Gitarre - Gary Holt von Slayer (Animal Magnetism)

"The beauty of The Devil Makes Three is the way they take an old-time musical genre and, by putting their own imprint on it, turn it into something that lives and breathes anew, passing the torch to a new generation, just as stateside rock fans learned about the likes of pioneers Little Richard, Chuck Berry, Jerry Lee Lewis and Buddy Holly from the first wave of British Invasion bands. With their latest album, Spirits, the band continues this tradition by incorporating their signature punk, folk and bluegrass sound along with country and singer-songwriter leanings. “That’s what we set out to do. We wanted to use these musical forms to talk about current issues,” explains Pete Bernhard. “Folk music should be about what’s happening now, just as it was when Woody Guthrie and Bob Dylan did it.” The song titles alone describe the band’s return to a stripped-down, drum-less sound and songs that reflect the ongoing struggle to survive amid the uncertainties of the current volatile climate: “Dark Gets the Best of You,” “Divide and Conquer,” “Ghost are Weak,” “Hard Times,” “I Love Doing Drugs,” “Poison Well” and “The Devil Wins.” The tracks were recorded at Dreamland, part of a converted church compound outside Woodstock in upstate New York which offered some haunted moments of its own, with plenty of spooky thunderstorms and lightning. “There’s definitely a theme of ghosts and death running through this album,” acknowledged Bernhard, who lost his mother, brother and closest childhood friend while making the record. “It also has a good amount of political material, a reflection on how divided people are these days, just trying to find common ground. Not being able to perform our music live led to some deep reflections.”"

Orange-farbenes Vinyl mit DLC sowie Digisleeve-CD! Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus.

In early 2025 the Skids complete BBC Sessions are compiled onto CD by Scottish label Last Night From Glasgow - The double album features the five sessions the Skids recorded for John Peel with the BBC between 1978 and 1980 - The release includes the BBC session recordings of fan favourites The Saints Are Coming, Masquerade and Circus Games - The legendary Scottish punk band remain as influential as ever, even 45 years on. Legendary punk and new wave band Skids formed in Dunfermline in 1977. They rose to fame with 1979 single Into The Valley and 1980 album The Absolute Game. With almost 50 years under their belt the group, led by Richard Jobson, remain as thrilling as ever, as evident with their latest album Destination Dusseldorf in 2023. The Skids continue to boast over 80,000 monthly Spotify listeners and have been featured extensively across media and press throughout their career. In recent years they have partnered with label Last Night From Glasgow to reissue on vinyl albums Scared To Dance and Days In Europa, and release new album Destination Dusseldorf.

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!

Carrying the torch of psychedelic cumbia, with a healthy dose
of surf guitar and Amazonian dancefloor flourishes from Peru
and Brazil alike, Fiesta en la Jungla by Los Dexter’s de Uchiza
is the first release from the newly formed London-label Ritmo
del Barrio. Originally released in 1982, it captures the finest
cumbia being made in Peru at the time, decked out with
frenetic surf-rock guitar riffs, rhythms floating on crisp
cumbia percussion and occasionally punctuated by carimbó
breakdowns native to the Pará region of north-eastern Brazil.
The album is filled with energy, a gem that was always
intended to animate any dancefloor. Peruvian cumbia came to national attention in the late 60s
through the recordings of Juaneco y su Combo, Los Destellos
and Los Wembler’s de Iquitos, but it’s had many revivals, and
Fiesta en la Jungla arrived when the style was going through a
major transition. In 1977, a passenger plane carrying most of
the members of Juaneco y su Combo crashed, killing everyone
on board. In 1980, Los Destellos retired, and Los Wembler’s
released their tenth and final record, they were ready for a
break. This left a big void in Peruvian music. Wasting no time,
Los Dexter’s Emerson Ruiz Mosquera took the opportunity and
gave his band new life, filling the band’s ranks with young and
energetic musicians who were hungry for success. He built the
new band around a solid base of dexterous guitars, a dynamite
rhythm section, and added oodles of percussion and an electric
organ, giving them a powerful psychedelic sound that called
back to the sounds of the original chichamasters, but added a
new sheen. Along with bands like Los Shapis and Los Walkers
de Huánuco, Peruvian cumbia was reborn as chicha in the
1980s, and was now the sound of Peru’s barrios up and down
the country.
Based in the city of Uchiza, on the edges of the Amazon basin,
Los Dexter’s were uniquely located in central Peru, closer to the
largest urban centres of the country than Amazonian outposts
like Pucallpa or Iquitos, and therefore better positioned to
travel to the furthest reaches of the country with ease. In a
sense, Los Dexter’s were a bridge between the Amazon and the
rest of Peru, a bridge over which the sounds of Amazonian
cumbia could travel to the rest of the country on their way to
becoming one of the most ubiquitous elements of Peru’s musical
identity. Fiesta en la Jungla represents Los Dexter’s in their third
iteration. Led by Emerson Ruiz Mosquera, who was just a
young boy in 1970 when his older brother founded the group
with four of his friends, the ensemble by the time of Fiesta en la
Jungla included Orlando Abad on the timbales and lead vocals,
Lucho Bendezú on lead guitar, Javier Quiroz as second
guitarist, Alejandro Almeira on bass, Rufino Bustamante on
keyboard, Ramon Siu on bongos and bells, Ivan Rios on conga,
and Emerson as musical director and composer. Remarkably,
most of the group’s members helped to write at least one
track, Los Dexter’s were a collective endeavour.
Reissued on vinyl for the first time by Ritmo del Barrio, this
record is essential for any collector of Peruvian cumbia.
Showcasing the unique sound of Los Dexter’s, it carries hits
like “Fuga en la Selva” and “El Shiringuero”, which are sure to
set any dancefloor on fire, combined with slower, carimbó-
infused cumbias like “Fiesta en la Jungla,”and “Agua de
Cachilde.” Its closing track, “Tragedia en Uchiza'', is a key
piece of local history and tells of the flooding of the
Chontayacu River in 1982, a mortal tragedy that affected
thousands of people. Despite the subject matter, the album
maintains a joyful vibe throughout, with high energy riffs and
irresistible rhythms, contrasted with terse love ballads, like “A
Jhenny.” It is both a piece of musical history, and a sure-fire
tool for the dance floor.
Los Dexter’s became a fixture of festivals and celebrations in
the provinces of San Martin and Huánuco, and from expanded
across the country, taking Amazonian cumbia from the
Peruvian Amazon, to the heights of the Peruvian sierra, the
coastal plains, and the capital city of Lima.

Dear Life Records is proud to present the physical reissue of the self titled debut of MJ Lenderman. MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; a voice reminiscent of the high-lonesome warble of a choirboy; the keen observations and reflections of a front stoop philosopher. Songs snake their way from a lo-fi home recording to something glossier made with longtime friends at Asheville's Drop of Sun studios, but the recording setting doesn't seem to matter much - at its core, a Lenderman song rings true. "MJ Lenderman" was recorded, mixed and mastered for digital in 2019 by Colin Miller in Asheville NC, and was self-released online to quiet but firm acclaim. Now available as a Double LP and remastered for vinyl by Heather Jones, it offers a glimpse into the formative steps of a style; focused and precise, yet expansive and rough around the edges, that remains consistent across MJ's catalogue to date (see also 2021's `Ghost of Your Guitar Solo' (DLR 016) and 2022's `Boat Songs' (DLR 031)). Looking as firmly to the legacy of 90s slowcore as it does to the tenor of Magnolia Electric Co. and sound wall of Neil Young and Crazy Horse, these 9 songs clock in at just over an hour and offer warm, patient worlds of heavy color that blow by breezily. These are songs that wrap mysterious and urgent feeling in layers of patience and clarity that unfold anew with each timeless listen.

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.

"Every night we've been listening to RATTLE. They have a stark yet deep trance percussion vibe that is both holistic and rocking." Thurston Moore
“Quietly dramatic and loudly intimate.” The Quietus
“Two drum sets. Two voices. One great idea.” MOJO
Rattle are Katharine Eira Brown and Theresa Wrigley, they formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. They’ve since released two long-players, 2016’s self-titled debut album Rattle (Upset The Rhythm / I Own You) and 2018’s Sequence (Upset The Rhythm) to much critical acclaim in the music press, and with James Acaster discussing the debut on his BBC Sounds podcast Perfect Sounds!
Rattle have honed the four songs that make up ‘Encircle’ by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. ‘Encircle’ was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colourful artwork was created by Martha Glazzard, who was also responsible for Rattle’s other mesmeric covers.
‘All Burning’ opens the album, a live favourite of cyclical tumbling and evolving wordplay. ‘All Burning’ was built up gradually layer by layer with Theresa’s cumulative snare work and Katherine’s urgent calls for action: “hold your doctor, hold your daughter, hold your horses”. If ‘All Burning’ represents fire, then it’s accompanying 12-minute long track on Side 1, ‘Argot’, is informed by the air. ‘Argot’ is a song about uncertainty, with Katherine singing wordlessly across the majority of the track. “I prefer to sing wordlessly often because it feels a bit more expressive and universal” asserts Katherine. The track feels truly epic with a satisfying release that comes with the eventual introduction of the bass drum and snappy hi-hat section.

Side 2 also pairs a shorter song with a long-form composition. ‘Ritual’ is worked up from a simple snare drum pattern which becomes more and more overlapped into an elliptical form of waltz. Katherine considers ‘Ritual’ as “very earthy song - lots of low lying mist on the ground swirling around and the drums coming together to summon something”! ‘Ritual’ was inspired by a visit to the ruins of Boleskine House so multi-dimensional themes and occult practice loom large. ‘Your Move’ is a step-up gear change with the band wanting it to feel like the tape had suddenly started to spin faster, urging movement, venturing action. Clocking in at over 15 minutes, ‘Your Move’, is mesmeric and boundless, hypnotic in its minimalism of doubled-drums and almost tribal vocal cycles.
With ‘Encircle’ Rattle have grown again, these songs are alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle’s edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight.
Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartetand Codeine.

"Every night we've been listening to RATTLE. They have a stark yet deep trance percussion vibe that is both holistic and rocking." Thurston Moore
“Quietly dramatic and loudly intimate.” The Quietus
“Two drum sets. Two voices. One great idea.” MOJO
Rattle are Katharine Eira Brown and Theresa Wrigley, they formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. They’ve since released two long-players, 2016’s self-titled debut album Rattle (Upset The Rhythm / I Own You) and 2018’s Sequence (Upset The Rhythm) to much critical acclaim in the music press, and with James Acaster discussing the debut on his BBC Sounds podcast Perfect Sounds!
Rattle have honed the four songs that make up ‘Encircle’ by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. ‘Encircle’ was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colourful artwork was created by Martha Glazzard, who was also responsible for Rattle’s other mesmeric covers.
‘All Burning’ opens the album, a live favourite of cyclical tumbling and evolving wordplay. ‘All Burning’ was built up gradually layer by layer with Theresa’s cumulative snare work and Katherine’s urgent calls for action: “hold your doctor, hold your daughter, hold your horses”. If ‘All Burning’ represents fire, then it’s accompanying 12-minute long track on Side 1, ‘Argot’, is informed by the air. ‘Argot’ is a song about uncertainty, with Katherine singing wordlessly across the majority of the track. “I prefer to sing wordlessly often because it feels a bit more expressive and universal” asserts Katherine. The track feels truly epic with a satisfying release that comes with the eventual introduction of the bass drum and snappy hi-hat section.

Side 2 also pairs a shorter song with a long-form composition. ‘Ritual’ is worked up from a simple snare drum pattern which becomes more and more overlapped into an elliptical form of waltz. Katherine considers ‘Ritual’ as “very earthy song - lots of low lying mist on the ground swirling around and the drums coming together to summon something”! ‘Ritual’ was inspired by a visit to the ruins of Boleskine House so multi-dimensional themes and occult practice loom large. ‘Your Move’ is a step-up gear change with the band wanting it to feel like the tape had suddenly started to spin faster, urging movement, venturing action. Clocking in at over 15 minutes, ‘Your Move’, is mesmeric and boundless, hypnotic in its minimalism of doubled-drums and almost tribal vocal cycles.
With ‘Encircle’ Rattle have grown again, these songs are alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle’s edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight.
Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartetand Codeine.

Macht Euch bereit, in die dunkle, stürmische Welt von Blutengels brandneuem Meisterwerk „Dämonen:Sturm“ abzutauchen.

Dieses Album zieht uns in die turbulenten Tiefen unserer eigenen „inneren Dämonen“. Nicht die Monster, die wir aus Horrorfilmen kennen, sondern die dunklen Mächte in uns, die unsere Köpfe heimsuchen, uns herausfordern und manchmal sogar brechen. Auf 25 neuen Songs bringt Chris Pohl die starken Emotionen, die mit Depressionen, Angst, Selbstfindung und Verlust verbunden sind, zum Ausdruck, und erschafft ein Album, das zum einen extrem persönlich ist und zum anderen gesellschaftlich starke Resonanz finden wird.

Mit „Dämonen:Sturm“ bleiben Blutengel ihrem unverkennbaren Sound treu und wagen sich gleichzeitig furchtlos auf neues Terrain. Fans werden den epischen, hymnischen Stil in Tracks wie „Tausend Leben“ und „Wir sind der Sturm“ wiedererkennen, aber sie werden auch düstere Nummern wie „Der richtige Weg“ finden, die eine dunkle, eindringliche Atmosphäre schaffen. Auch Balladen finden auf diesem Album wieder ihren gebührenden Platz und haben dabei eine raue, intime Note, da Chris in Tracks wie „Ivory Tower“ und „I Will Surrender“ in der ersten Person schreibt und Einblicke in seine eigenen persönlichen Kämpfe gewährt.

Musikalisch ist „Dämonen:Sturm“ eine abwechslungsreiche Reise von düsteren, stampfenden Rock Beats in „Angst“ zu Retro-Elektro-Sounds in „She Wears Black“. Mit „Bleeding Out“ liefern Blutengel einen unerwarteten Juwel, der die musikalische Bandbreite des neuen Albums erweitert und einen wichtigen Teil des Gesamtkonzepts darstellt. Die Produktion ist bewusst eher rau und „dreckig“ gehalten, was die rohe Energie und Verletzlichkeit in den einzelnen Songs noch verstärkt. Langjährige Fans der Band werden sich außerdem über die eindringlichen Instrumentalstücke des Albums freuen, die das schattenhafte und tiefgreifende Erlebnis von „Dämonen:Sturm“ noch verstärken.

„When you gonna stop running?“ fragen The Men in der ersten Zeile von „Pony“, dem ersten Song und der ersten Singleauskopplung aus dem
kommenden Album „Buyer Beware“ des New Yorker Rockquartetts. Machen Sie keinen Fehler - dies ist kein Zeichen einer existenziellen Krise,
sondern eher ein Aufruf zu den Waffen für eine Band, die noch nie lange stillgestanden hat. Nach eigenen Angaben ist „Buyer Beware“ ihr 15. Album
seit ihrem Debüt „We Are The Men“ (2009) und ihr viertes für Fuzz Club.
The Men haben eine Arbeitsmoral, die so altmodisch ist wie ihre Rockwurzeln, doch trotz der Hektik scheinen sie nie in Eile zu sein - ein Widerspruch,
der sich in ihrer Musik auf natürliche Weise auflöst, indem sie die rohe Wut des Punkrock mit der minimalistischen Strenge eines Steve Reich (oder,
außerhalb der Musik, Mark Rothko) in zenartiger Ausgewogenheit in Einklang bringen. "Buyer Beware“ ist die fünfte Zusammenarbeit von The Men
mit dem Tontechniker Travis Harrison (Guided by Voices, Built to Spill), der die Nuancen der Gruppendynamik - Nick Chiericozzi (Gitarre/Gesang),
Kevin Faulkner (Bass), Mark Perro (Gitarre/Gesang) und Rich Samis (Schlagzeug) - sehr gut einfängt. Durch die direkte Aufnahme auf Band fängt
Harrison das rohe, konfrontative Fieber ihrer Bühnenshows ein, ohne dabei ihre introspektiven Untertöne zu opfern. Das Ergebnis ist zweifelsohne ihr
aggressivstes Album seit „Leave Home“ (2011) und ihr psychedelischstes seit „Immaculada“ (2010)

US-Thrash-Metal-Klassiker aus dem Jahr 1987 wird neu aufgelegt, erstmals auf CD, remastered und mit einem zusätzlichen, unveröffentlichten Track
von den Originalaufnahmen!Wenn es um Diskussionen über klassischen Thrash geht, ist es ehrlich gesagt gar nicht so selten, dass E-X-Es Debüt
„Stricken By Might“ hin und wieder erwähnt wird. Wenn ein Album so viel Metallic Steel in sich trägt, können wir definitiv verstehen, warum viele
Fans dieses Album lieben. E-X-E steckten mitten in der Thrash-Explosion fest, ein wenig zu spät für die „No Rules“-Veröffentlichungen von 1985 wie
das Debüt von Agent Steel, und das war vor den frühen 90ern, als es schien, als müsse jeder eine perfekte Produktion haben. Verstehen Sie uns nicht
falsch, auch wenn wir Alben wie „Victims Of Deception“ von Heathen oder „By Inheritance“ von Artillery lieben, sehnen wir uns oft nach ein wenig
Rohheit, einer amateurhaften Note, die sagt, dass diese Jungs einfach nur Spaß haben. Das Debüt von E-X-E erfüllt all diese Kriterien mit Sicherheit.

Neuauflage 2024, Purple Vinyl! Die Destroy Boys aus Sacramento kombinieren Garage-Punk, Pop, Hardcore und Indie-Rock zu einem rohen, zukunftsweisenden kalifornischen Punk-Sound auf ihrem 2021er Album! Die Band wurde 2015 als Akustik-Duo von Alexia Roditis (Gitarre/Gesang) und Violet Mayugba (Gitarre/Gesang) gegründet, die eine breite Palette von Einflüssen anführen, darunter Misfits, Siouxsie and the Banshees, Dog Party, The Who, Lady Gaga und Bikini Kill. Nach der Veröffentlichung ihrer Debüt-EP Mom Jeans wurden die beiden von Schlagzeuger Ethan Knight kontaktiert, der sich der Band anschloss, bevor 2016 die Grimester-EP und das Album Sorry, Mom veröffentlicht wurden. Die Band erhielt mehrere Nominierungen bei den Sacramento Area Music Awards 2017. Sie nutzten diesen Schwung für eien ganze Reihe an energiegeladenen Singles und Auftritten mit wechselnden Bandmitgliedern, immer voran Roditis und Mayugba. Schon bald teilten sich Destroy Boys die Bühnen mit Bands wie Mannequin Pussy, Face to Face und Lagwagon und tourten durch UK. 2018 wurde Hopeless Records auf ihren zweiten Longplayer Make Room aufmerksam und nahm die vielbeachtete Band in ihr Roster auf. Mit Open Mouth, Open Heart, das ursprünglich 2021 veröffentlicht wurde, lieferte die Gruppe eine Reihe aggressiver und selbstbewusster Songs, die sich den Themen emotionalem und physischem Missbrauchs, Mobbing und Sucht annehmen. Die Band besteht aktuell als Quartett mit Roditis und Mayugba sowie dem Schlagzeuger Narsai Malik und dem Bassisten David Orozco.

Seit mehr als einem Jahrzehnt hat sich Serenity In Murder fest in der Melodic-Death-Metal-Szene etabliert und setzt mit ihrem neuesten Meisterwerk
„Timeless Reverie“ erneut Maßstäbe. Nach der gefeierten Veröffentlichung von „Reborn“ im Jahr 2021 verfeinert die japanische Band ihren
charakteristischen Mix aus roher Aggression und symphonischer Eleganz weiter. Das Album durchstreift eine düstere und emotionale Landschaft und
nimmt die Hörer mit auf eine Reise durch Themen wie Zeit, Schicksal, innere Konflikte und persönliche Revolution.
Die Erzählung von Timeless Reverie ist eng mit existenziellen Fragen und der Suche nach Sinn in einer erbarmungslosen Welt verknüpft. Der Titel
selbst, Timeless Reverie, deutet auf eine Meditation über Momente hin, in denen die Zeit scheinbar stillsteht und Vergangenheit, Gegenwart und
Zukunft miteinander verschmelzen. Das Album erforscht die Zerbrechlichkeit des Lebens, die Komplexität menschlicher Emotionen und den ewigen
Kampf zwischen Licht und Dunkelheit.
Musikalisch verbindet das Album nahtlos komplexe Melodien, atmosphärische symphonische Elemente und erdrückende Härte. Mit dem furiosen
Opener God Forsaken setzt Timeless Reverie einen kraftvollen Ton an, der sich durch das gesamte Album zieht. Zugleich bietet es intensive Momente
und melancholische, atmosphärische Passagen, die den Hörer in das Erlebnis eintauchen lassen und jede Ebene aufsaugen, während die Musik in
jeder Note tief nachhallt.

Billboard Heart, das neue Album von Deep Sea Diver, stellt die Band aus Seattle auf Anhieb in eine Reihe mit St. Vincent, TV On The Radio und Flock of Dimes, Bands, die neue, kunstvolle und magnetische Wege gefunden haben, Indie-Rock zu machen, indem sie Vorstellungen davon, wie er klingen oder was er sagen muss, über Bord geworfen haben. Es ist ihr viertes Album und das erste für Sub Pop, und es ist ein Coup, ein Triumph über Selbstzweifel, der das Scheitern in eine Chance verwandelt, neue Freiheit, Glauben und Stärke zu finden. Mitte Juli 2023 nahm Deep Sea Diver-Mastermind Jessica Dobson in einem Studio in Los Angeles ein Gitarrensolo auf, spürte aber irgendwie nichts. Nur wenige Tage zuvor hatte ihre Band aus Seattle eine Reihe von halb-geheimen Auftritten vor Anhängern gespielt, die de facto als Proben für ein neues Album dienten. Die Sets waren gut gelaufen, aber die neuen Songs schienen verworren, Dobsons Überzeugung ging irgendwo in den 1.000 Meilen zwischen Südkalifornien und dem Heimstudio verloren, das sie mit ihrem Partner, Schlagzeuger und häufigen Co-Autor Peter Mansen teilt. An jenem ersten Abend in Los Angeles hatte sie einen Zusammenbruch, fragte sich, was sie dort tat, und überlegte, wie sie es in Ordnung bringen könnte. Deep Sea Diver zogen sich ohne Album nach Hause zurück. Mussten sie es verschrotten, um mit neuem Material neu anzufangen? Ganz und gar nicht: Nach einer kurzen Pause fand Dobson ein neues Selbstverständnis, ein Vertrauen in ihre Vision für ihre Band und ihre Songs und in ihre Fähigkeit, diese einzufangen. Bei einem Abendessen mit ihrem langjährigen Mitarbeiter Andy Park gestand sie in aller Bescheidenheit, dass sie Hilfe brauchte, was Dobson dazu inspirierte, Deep Sea Diver neu zu erfinden und zu beleben. Diese Enthüllung bereitete die Bühne für die Kraft und Brillanz von Billboard Heart. Drei Jahre zuvor veröffentlichten Deep Sea Diver ihr drittes Album, 2020's Impossible Weight, über das kolossale Indie-Imprint ATO. Es war ein bedeutender Schritt nach oben und brachte der Band eine Welle der Aufmerksamkeit und einen Platz in den Billboard-Charts ein. Doch der Erfolg veranlasste Dobson, an ihren Impulsen zu zweifeln und sich zu fragen, ob die Wirkung oder die Rezeption einer Idee ebenso stark sein könnte wie die Idee selbst. Zu Hause, mit ihr am Klavier und Mansen an der Gitarre in ihrem Wohnzimmer in Seattle, bahnte sich das Paar einen Weg nach vorne und belebte ihre Songwriting-Partnerschaft neu. Das Material auf Billboard Heart ist von Anfang bis Ende erstaunlich. Das Titelstück ist der einzige Song, den Deep Sea Diver tatsächlich in Los Angeles fertiggestellt haben. Die wogenden Synthesizer von Elliot Jackson und der tunnelbläserähnliche Pedal Steel von Greg Leisz sind eine Hymne auf den furchtlosen Vormarsch in die Zukunft - ein strahlendes und großartiges Stück. „Emergency“ verbindet den Elan des Hardcore mit der unmittelbaren Anziehungskraft des Electroclash, wobei Dobsons fesselnder Gesang und seine Gitarrenarbeit im Mittelpunkt stehen. Das zarte und verletzliche „Tiny Threads“ ist eine mitreißende Hymne für alle, die versuchen, etwas zusammenzuhalten - das Leben, die Liebe, sich selbst. „If it haunts me, let it haunt me“, singt Dobson sanft über einer Stille, die nur von Bass und Noise eingerahmt wird. Sie lässt ihre Gitarre in eine Rückkopplung kippen und formt sie dann stetig zu etwas Melodischem um. Es ist ein ganzes Leben voller Angst und Sublimierung, kristallisiert in 10 Sekunden. Billboard Heart fühlt sich im Großen und Ganzen so an. Billboard Heart entstand, als Dobson ihren Instinkten vertraute, es ist ein persönlicher und künstlerischer Durchbruch und das bisher beste Deep Sea Diver-Album, ein trotziges und brillantes Ausrufezeichen am Ende einer langen Zeit der Wanderschaft.

Oríkì is an album blending jazz, Fuji and Afrobeat in a powerful tribute to Yorùbá heritage. Featuring Mercury Prize-shortlisted Moses Boyd, Afronaut Zu (Steam Down, Rudimental) and spoken word artist Adesayo, Oríkì merges ancestral praise with contemporary expression.

Six years in the making, the album draws inspiration from NIJI’s great-grandmother, Matilda Taiwo (Mata), and serves as his personal statement on identity, history, and homecoming. The album is threaded with the evocative rhythms of the talking drum, grounding each composition in cultural authenticity. With Oríkì, NIJI invites listeners into his journey of reconnection, presenting a work both timeless and rooted—a musical expression of past, present and future converging.

Als die Melodic-Rock-Supergroup W.E.T. 2009 ihr selbstbetiteltes Debütalbum veröffentlichte, war nicht abzusehen, dass sie auch 15 Jahre später
noch Platten machen würden.
Doch das Dreiergespann, bestehend aus Sänger Jeff Scott Soto (Talisman, Journey, Axel Rudi Pell, Malmsteen), Erik Mårtensson (Eclipse) an Gitarre,
Bass und Keyboards und ergänzt durch Gitarrist Robert Säll (Work of Art), meldet sich mit seinem fünften Studioalbum zurück.
Das Album mit dem Titel „APEX“ ist ein kühnes Statement für die Zuversicht der Band, ihr bisher bestes Werk abgeliefert zu haben. Elf Tracks voller
großer Refrains und eingängiger Melodien, serviert auf einem Tablett voller sanfter Härte.

Once again, Decca Records have been shining a light into the recesses of their vast archive to bring you 'The Decca Years 1963', a newly compiled collection of hits and rarities from the pioneers of British Pop music, available as a 45-song 2CD set, or a 22-song 'highlights' LP. Alongside big hits and familiar favourites from Brian Poole And The Tremeloes, Billie Davis, Kathy Kirby, Jet Harris and Tony Meehan, The Tornados, and Tommy Steele, we are excited to bring you some tracks that are being made available again for the first time in more than 60 years, and a few that have never been on CD before. Both formats come in eye-catching, retro style packaging that references Decca releases from the early '60s, and feature informative track-by-track sleeve notes.

"Has there ever been music that so much represents the fact that electronic sound exists between the dead and the living?" - by Chihei Hatakeyama. The ultimate improbient that pursues the original human way of dealing with sound, imagining the very sounds that emerged from people's activities long ago. This is the first vinyl release of a 2007 masterpiece by KEN IKEDA, known for his collaborations with computer music pioneer CARL STONE, DAVID TOOP a leading figure in the British experimental music scene, and Japanese jazz saxophonist AKIRA SAKATA. KEN IKEDA is a musician and artist who emits primitive and original electronic sounds, known for "DAM," a collaboration with CARL STONE, recorded inside a huge dam approximately 40 meters high and deep, and works on the label "ROOM40" run by Australian composer LAWRENCE ENGLISH. Remastered by Chihei Hatakeyama, a leading figure in the ambient to drone scene.

"The title is a description of what I do - making music in the home studio on a keyboard (real and virtual), reflecting some kind of dream world. Initially I had read in a book the phrase Homemade Pipe Dreams which I changed to Homemade Ivory Dreams - referencing ivory that often describes a piano keyboard."

First released digital only, June 2, 2017

From a review in Classical Ear August 2017:
It carries itself with all the vivid – and here often hallucinogenic – intensity typical of Doyle’s work. Structure and detail, rhythmic propulsion, tonal variation and textural intricacy all reveal his equally characteristic meticulousness. There’s a palpable emotional energy to, a discernible intellectual interrogation of, pieces that are acutely personal, adroitly framed and superbly realised. It’s as if Debussy had collaborated with dance-music duo Orbital.

Speckman D.J. & Producer hailing from Hamburg. Co-founder of the tastemaking partyseries Dreamteam and resident at the legendary Golden Pudel Club is finally presenting his new Album titled „NOISEMAKER“ on Public Possession. His eclectic style as a D.J. is perfectly represented in the Music on this record, sitting comfortably between techhouse, indie, new rave and electronica it could probably be best described as a pretty epic take on electroclash in a fully updated, reloaded 2025 version. Fu**in seriously, unserious party music with a nod to the past yet fully in the present. The mellow, deeper episodes are the topping on the bright, pink cake. Speckman is going to jump out of it and right at you. Find him soon in a D.J. booth close to you, no matter if he is supporting „The Dare“ on his EU Tour or holding controls at the Golden Pudel Club. It’s going to be wild and full of surprises.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

In 2016 an internet user discovered Panchiko’s discarded 2000 demo CD, D>E>A>T>H>M>E>T>A>L, in a Nottingham charity shop and posted it to 4chan to intrigue and fanfare. It took four years for Panchiko’s legions of dedicated fans to find the people behind the music as millions of curious listeners were swaying to the band’s adolescent creations. Upon discovering their own virality, the band reformed with original members Andy Wright (keyboardist and producer), Owain Davies (vocalist and guitarist), and Shaun Ferreday (bassist) alongside new members Robert Harris (guitarist) and John Schofield (drummer), toured the world and wrote, recorded, and released their first album in 20+ years, 2023’s Failed At Maths. But after the thrill of the whirlwind came a new question. What comes next when your dreams come true? The answer is Ginkgo, a 13-track project that finds the band making some of their most introspective, cinematic, and moving music yet. “The whole production has gone up ten-fold,” says Wright of the new album.“ Standout track "Shandy in the Graveyard" feat. rapper billy woods sees the band channeling their youth and tapping into the typical audience at Panchiko shows. That youthful spirit can be felt in the song’s sonic world, as its production genre-shifts between trip hop and orchestral folk, creating a fresh juxtaposition of soundscapes. The same wrenching honesty that attracted legions of fans to their teenage demos is the same truthful ethos that keeps them listening to new material like title track, “Ginkgo.” On it, Davies sings “You command the leaves to fall/The Ginkgo bends at will.” A rumination on the limits of control, collaboration, and fate, the song is an apt meditation for a band whose resurgence came about through a mix of luck, artistry, and then clear-eyed energy.

Parade Ground has always been the duo of brothers Jean-Marc and Pierre Pauly from Brussels, Belgium formed in 1981. Taking cues from Post-Punk, Coldwave, Dada and Surrealism, Parade Ground channeled suffering, tension and rage through pulsing synthesizers, skeletal guitar, severe bass and Jean-Marc’s expressive vocals as the most melodic and emotional instrument. The Golden Years is an 11-song, career-spanning collection of Parade Ground’s long out-of-print 7” and 12” singles as well as rare compilation tracks from the pioneers of electronic body music created during 1982-1988.

Parade Ground first appeared on the Nationale Rockmeeting LP in 1982, striking straight to the heart with the passionate plea “I Shut My Eyes.” Later that year the brothers met Daniel B. and Patrick Codenys of Front 242 beginning a collaborative partnership that continues to present day. In 1983 they released their debut 3-song 7” EP Moan On The Sly on the New Dance label, musically a hybrid of Joy Division and Fad Gadget. 1984 brought further explorations into the world of electronic body music with the 3-song Man In A Trance EP and 2 tracks on the live concert compilation Mask Promotion both records released on Front 242's Mask Music label. The following year the single Took Advantage/Moral Support 12” was released incorporating then, state-of-the-art modular synthesizers programmed by Daniel B. and back-up vocals from Flo Sullivan (A Formal Sigh, Shiny Two Shiny). Then in 1987 the brothers collaborated with Colin Newman of British post-punk band Wire, who produced and lent his vocals, guitars and keyboards to two songs ("Moans"/"Action Replay") while Daniel B. produced flipside "Gold Rush" on the Dual Perspective EP that stands alongside 80s anthems from Tears for Fears, Modern English, Echo & The Bunnymen. Finally in 1988 their debut album Cut Up was released on Play It Again Sam Records and featured the singles Strange World and Hollywood. In 1993 the brothers wrote and composed the vocals on two Front 242 albums Up Evil and Off. After 15 years of silence the boys released their second album Rosary in 2007 and continue to write new material and tour with their extensive catalog of dark dance classics. Each LP includes a 6-page press kit with lyrics, discography, photos and liner notes by Daniel B. of Front 242. The history of Belgian electronic music would not be complete without a trip through “The Golden Years” of Parade Ground.

"Whistle from Above" is David Grubbs" first Drag City release in over a decade and his first-ever instrumental album for the label. The suspiciously youthful Grubbs is four decades into his career, with former bands including Gastr del Sol, Squirrel Bait, and Bastro, along with a wild ride of collaborators including f.e. Bitch Magnet, Codeine, The Red Krayola, Royal Trux, Dirty Three, Will Oldham, The Underflow and The Wingdale Community Singers. "Whistle from Above" is the first solo collection David has released since 2017"s Creep Mission. During the 2020 shutdown, David played what he precisely quantified as "a shit-ton of guitar," more than he could recall playing ever previously. Reinvigorated by this period of enforced woodshedding, he produced a series of new pieces, mostly for guitar, but also a piano composition and an exceptionally eerie bit of musique concrète. Meanwhile, David was reconnecting with the Gastr del Sol archive, as a new collection of old performances was being prepared from extensive archival material. The duo magic of that storied collaboration (released in 2024 as We Have Dozens of Titles) left David hungry to play in this format again - as he had recently with Loren Connors, Alan Courtis, Manuel Mota, and Liam Keenan. These duo experiences showed David the path forward to complete this new solo material. Thus he sought out collaborations with folks he"s called "some of the musicians whom I adore most on the planet" - Rodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley, and Cleek Schrey - and their stunning contributions flesh out Grubbs" innate, deeply person brand of minimalism. "Whistle from Above" is a colourful, compulsive set of instrumental pieces in which David and his chosen collaborators interact amid the steady roll of an expansive landscape based in the hypnosis of David"s immediately recognizable guitar style.

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

Wie viele finnische Death-Metal-Pioniere zeichnet sich die Band durch einen ausgeprägten Sinn für Schrägheit aus, indem sie verschiedene Einflüsse zu einem unverwechselbaren Sound verschmilzt. "Das Rückgrat ist der Death Metal", sagt Sänger Kari Kankaanpää, "aber wir haben uns nie davor gescheut, neue Inspirationen und Einflüsse zu erforschen, die die einzigartige Note von Sepulchral Curse ausmachen. Musik muss dunkel, schwer und wütend sein!"

Crimson Moon Evocations markiert das Debüt der Band bei Dark Descent Records, eine Partnerschaft, die sich sowohl natürlich als auch von großer Bedeutung anfühlt: "Dark Descent Records hat immer einen besonderen Platz in meinem Herzen gehabt. Es ist eine große Ehre, mit dieser Platte zu ihrem renommierten Roster zu stoßen."

Diese neue Zusammenarbeit spiegelt die ungebrochene Dynamik von Sepulchral Curse wider und erscheint nur zwei Jahre nach ihrem kühnen Sprung nach vorne mit Abhorrent Dimensions. "Mit Abhorrent Dimensions haben wir wirklich begonnen, unseren eigenen Sound und Stil zu finden, und Crimson Moon Evocations taucht noch tiefer in das ein, was wir sind, und kristallisiert die Essenz des Sepulchral Curse-Sounds."

Um ihre Vision einzufangen, kehrte die Band in die finnischen Oxroad Studios zurück, um mit dem Produzenten Tomi Uusitupa zu arbeiten, dessen Einfluss entscheidend war. "Tomi ist wie unser sechstes Mitglied. Er wählt die Projekte, mit denen er arbeitet, sorgfältig aus, da er in jede Platte, die er macht, eine enorme Menge an Liebe und persönlichem Input einfließen lässt."

Das Album ist nicht nur ein Meilenstein, sondern auch ein Statement, das von Mark Erskine mit einem atemberaubenden Artwork versehen wurde: Sepulchral Curse ist zum Gipfel des Blackened Death Metal aufgestiegen!

Ride guitarist and songwriter Andy Bell’s third solo album pinball wanderer is an otherworldly collection of intergalactic wizardry that mixes psychedelic melodies, Can-via-The Stone Roses grooves and Arthur Russell-style experimental textures. With guest appearances from Dot Allison and Neu! legend Michael Rother on a cover of The Passions’ peerless post-punk classic ‘I’m In Love With A German Film Star’, it is perfect for both deep-listening headphones moments and cutting across the coolest, most understated dancefloors. The loose-limbed rhythm tracks were the starting point and were laid down with the help of Andy’s old Oasis bandmate Gem Archer. The rest followed after an intense all-night session last summer, with the completed album being delivered the following morning. It’s Andy’s finest work to date; a quintessential nighttime record where you can slip through the gaps in the notes and revel in the moment.

With four full length albums and an ep under their belt, CHEMICIDE have become one of the biggest neck breaking thrash metal acts in Latin America selling over 10K+ albums worldwide and have continued to tour around the globe in DIY mode that has helped them grow steadily in the metal community. The band has been on multiple extensive tours around South, Central, North America & Europe, playing with great bands like Toxic Holocaust, Cattle Decapitation, Municipal Waste, Angelus Apatrida, Helloween, Destruction etc… and have been featured in Metal Hammer UK’s top 10 thrash albums of 2022 alongside Megadeth, Kreator & Destruction; it helped the band connect with a bigger audience worldwide and led the band to several European and American festivals, like Pitfest (NL) Into the Grave (NL) In Flammen (DE) and MetalDays (SL), Rock al Parque (CO) and México Metal Fest (MX). CHEMICIDE band leader Frankie comments about their new album 'Violence Prevails' : « Violence Prevails is a reflection of our daily life. America is a beautiful continent but filled with corruption; more specifically Central and South America. I wanted to portray how there's no more dialogue; everything is resolved with violence and unfortunately for us, we see a lot of poverty and class disparities among our people. I also wanted to tell a story that could resonate with more individuals across the planet and see that they are not alone when they see what's happening around them. Violence now is the key to sort out any discrepancies you may have with someone else and we see it on a daily basis with international conflicts around the globe. Production wise We wanted a late 80's-early 90's approach to the sound of this album. Big drums, heavy bass and sharp guitar riffs, all of this mixed with a lot of reverb and a very raw, 'butchery' approach to the sound. Martín Furia (of Bark and Destruction fame who mixed and mastered the album) understood this perfectly and he helped us shape the sound of this album. He took Black Sabbath's "Dehumanizer" as an inspiration for the drum sound and we tried to start from scratch on the guitar, bass and vocal sound.» CHEMICIDE have been perfecting their bombastic frenetic riffwork and drumming savagery during the course of their past four albums, now resulting in their strongest and most punishing new album 'Violence Prevails' .