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Vestigios, Aeondelit’s second full length record after recently releasing an EP of shifting club music influenced by postmodern philosopher Leotard on Tel Aviv’s Sadan records, tells a lucid, captivating story of heritage, transformation, vulnerability and healing. It will be released via Berlin-based art platform and record label Unguarded as a digital and tape release with an artwork created by Petra Hermanova, and will be accompanied by limited textile pieces by Diane Esnault. Aeondelit’s music is strongly influenced by the rocky surrounding of his hometown Manizales and fuses electronic sensibilities, ambient streams and avant-percussive rhythms that build his sound identity. Aeondelit's evocative music has previously been released via the Insurgentes imprint, Vienna-based Ashida Park and was recently featured on the 'Unguarded 2 – Entangled' compilation. Cortés describes the meaning of Vestigios as such: “The memories of past generations: the lives that burn within me, are the pillars of who I am. They constitute longings and traps, sin and strength, the temple that breaks down and rebuilds. The different dimensions of consciousness converge in the mind, which constantly tells us who we are, synthesizing and projecting our contradictions. The pain that comes with getting in touch with our vulnerabilities opens the doors to healing through confrontation. This lays the foundation for a more honest relationship with our past, present and future. 'Vestigios' is the bridge between the temporal and the eternal, the crystallized remnant of pain caused by transformation and recognition of the convulsive underworld of our psyche.” Aeondelit, birth name Sergio Cortés, is a Colombian music producer who explores themes related to technology and human condition in sound. He focuses on the creative use of sample manipulation techniques and digital sound synthesis to deepen the idea of a dialogue between computer and human, and how both influence each other. Deep in Colombia's Andes, surrounded by big mountains and the sacred Nevado del Ruiz, Aeondelit has been forging his own sound identity, exploring the intersection points between sparkly experimental club music and melodic ambient electronic. His first release Editing Destiny on the Colombian label Insurgentes was well received by the public and DJs, named one of the best albums of 2020 on Mixmag. His last release on Sadan Records, Anima Minima, was reviewed and premiered on platforms like DJ Mag, THE BRVTALIST and Orb Mag. He is also the co-founder of the independent record label Nvrclose, where his debut album as Æon Series: Dualidad, was released. About Unguarded: Unguarded is a Berlin based experimental electronic music label and art platform. In 2020 long-term collaborators Tim Roth aka Sin Maldita aka 1k Flowers and Phillipp Hülsenbeck founded Unguarded to foster forward thinking artists with a focus on exploring cross-disciplinary collaboration and embarking on sonic adventures. Unguarded was founded in a time of turmoil and uncertainty for artists and music, trying to keep personal connections alive through shared personal and collective experiences between doom and destruction and glistening hope. Amongst their own contributions, Hülsenbeck and Roth gather a collection of genre-defying works by longtime collaborators as well as artists they bonded with in recent years. Their releases constantly escape from definition but through entangling their unique artistic marks, this diversity remains absorbing and compelling throughout their sprawling sonic miasmas. Combining earth-shattering club cuts, equally elegant and bouncy, Unguarded contributes to and connects the experimental music scene in and outside of Berlin. We invite the curious to a deep, tense but rewarding experience.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

We are delighted to unveil TrueMendous' sophomore album ‘Great. On
Purpose’. Sporting 15-tracks of evolutionary music, ‘Great. On Purpose’ is without question True's most ambitious body of work to date.

Since sharing the unrelenting lead single 'Talkk' Feat. Mysdiggi,
and after a double serving on follow up 'Really Wanna Love' x
'Still Don't Wanna', the album is a rollercoaster ride. Just listen
to standout single 'Yourself or The World?' featuring the almighty
Skinnyman if you're in need of anymore proof.

Featuring a heavyweight lineup of guest appearances from the
aforementioned Skinnyman and Mysdiggi, but also including Janel
Antoneshia, Vaddy, Princess, Ashley Allen, and DJ Sammy B-Side,
complemented by Illinformed, GhostTown, Pitch 92, Forest DLG,
Muckaniks, Mark Fear and Bear on production duties - ‘Great. On Purpose’ is STACKED from top-to-tail.

a 01 - Womp Uhuh













[So Good]

[a] 01 - Womp [Uhuh]













[So Good]

We are delighted to unveil TrueMendous' sophomore album ‘Great. On
Purpose’. Sporting 15-tracks of evolutionary music, ‘Great. On Purpose’ is without question True's most ambitious body of work to date.

Since sharing the unrelenting lead single 'Talkk' Feat. Mysdiggi,
and after a double serving on follow up 'Really Wanna Love' x
'Still Don't Wanna', the album is a rollercoaster ride. Just listen
to standout single 'Yourself or The World?' featuring the almighty
Skinnyman if you're in need of anymore proof.

Featuring a heavyweight lineup of guest appearances from the
aforementioned Skinnyman and Mysdiggi, but also including Janel
Antoneshia, Vaddy, Princess, Ashley Allen, and DJ Sammy B-Side,
complemented by Illinformed, GhostTown, Pitch 92, Forest DLG,
Muckaniks, Mark Fear and Bear on production duties - ‘Great. On Purpose’ is STACKED from top-to-tail.

a 01 - Womp [Uhuh]













[o] 15 - I Feel Good [So Good]

[a] 01 - Womp [Uhuh]













[o] 15 - I Feel Good [So Good]

Synthesizer king J.B. Banfi, a.k.a. Giuseppe 'Baffo' Banfi, hit the record market with the great italian prog rock outfit Biglietto per l'Inferno who released a legendary LP in 1974 on Trident and have been reivindicated in several occasions since with the release of lost recordings from the era as well as unearthing an unreleased 1974 live album. The band existed between 1972 and 1975, and had both Pilly Cossa on Hammond doing the virtuoso work and Baffo's keyboard explorations adding sound texture and atmosphere. Their second LP was recorded and mixes were to be produced by Klaus Schulze, but it remained unissued due to the Trident label flop. The band split shortly after this, but Baffo continued his experiments with electronic keyboards.

In 1978 Baffo released his first solo LP 'Galaxy My Dear', credited to J.B.Banfi and echoing huge influences from his friend and master Klaus Schulze, who would also produce his two next releases. A total DIY domestic home recording, with all the limitations implied but also with all its warmness within, 'Galaxy My Dear' is entirely played by Banfi and shows an accurate taste in his use of the synths, plus of course a strong kraut / cosmiche appeal that links the album's sound to that of the early Tangerine Dream or Ash Ra Tempel, but also brings a hint of Jean-Michel Jarre or even a certain reminiscence of the early electronic experiments by Franco Battiato and is a good contender to be filed along other Wah Wah reissues like those of Roberto Cacciapaglia or Franco Leprino.

Comes in original artwork with notes written by Baffo Banfi himself in a limited edition of 500 copies only.

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

Dreams are made and displaced on Mark Fell & Rian Treanor’s oneiric electro-acoustic inception 'Last Exit', borne from long days in the family garden, and assembled into a mesmerising masterpiece of minimalist modal rhythm and atmospheric exploration, into rapt smallsound detailing in breathtaking form. It’s a bit like listening to Virginia Astley’s ‘From Gardens Where We Feel Secure’, with washes of Autechre seeping into the mix from outside.

‘Last Exit…’ originally appeared in a different form as a cassette release for our Documenting Sound series in 2021, and was edited this year by Mark and Rian for this new expanded and altered edition, mastered by Rashad Becker. It renders a painterly,psychedelic, and diaristic depiction of sublime atmospheric tension, occasionally ruptured by their typical, asymmetric rhythm impulses in a form that rudely transcends their respective aesthetics. Across four parts, they kern, juxtapose and diffract synthesised percussion and field recordings into polymetric arrangements riddled with timbral nuance of a highly unpredictable nature.

While patently inflected with nods to Indonesian gamelan, Ugandan folk, Indian Carnatic classical, Morton Feldman-esque minimalism, free jazz improvisation and a sort of rhythmic cubism that speaks to their mutual, voracious listening habits and tastes, the results are arguably without direct compare. Attentive listeners will recognise, however, that ‘Last Exit’ effortlessly transcends their respective styles, achieving a new high watermark of imaginary future-hyperfolk expressed in a sort of personalised but highly relatable meta-musical language.

Seriously, they’re working beyond known conventions here; opening to a sublime frisson of Feldman-esque keys, birdsong and distant car engines, and closing to a combo of just-intoned drone and wafts of distant ballroom music. The 80 minutes in between feel like returning to a dream, with flashes of FM strings dabbed to sloshing rhythms and domestic detritus, tilting into a nervously tentative tension ruptured with abstract dance dynamism and angular free jazz ballistics.

The rejigged recordings also reflect the fidelity of memory recall, expressing an altered perspective on their time spent in the multigenerational family’s Rotherham garden during spring/summer 2020, replete with their mum/grandmother on piano and overheard singing and in convo, but now fraught with a more melancholic, distempered quality that makes for a genuinely unforgettable listening experience. A long-form isolationist fantasy, consider it crucial listening if yr into Robert Ashley's 'Automatic Writing', Graham Lambkin, Autechre or Nuno Canavarro.

It"s a wild ride, but then life with Jeffrey Lee Pierce always was"- Kris Needs

Das Jeffrey Lee Pierce Sessions Project hatte immer das Ziel Jeffrey Lee Pierce als einen der einflussreichsten, aber auch meist unterschätzten US Singer-Songwriter hervorzuheben und seine Kunst in die heutige Zeit zu transportieren, indem Wegbegleiter:innen und Bewunderer:innen die Musik des 1996 viel zu früh verstorbenen The Gun Club Sängers neu interpretieren. Nach "We Are Only Riders" (2009), "The Journey Is Long" (2012) und "Axels and Sockets" (2014) präsentiert "The Task Has Overwhelmed Us" Songs aus Pierce"s The Gun Club- und Solo-Zeiten. Außerdem gänzlich neue Tracks, entstanden aus Song- und Textskizzen sowie Live-Demos, die der 1958 in Kalifornien geborene Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte. Fast zehn Jahre nachdem das Vorgänger Album "Axels and Sockets" veröffentlicht wurde, erscheint mit "The Task Has Overwhelmed Us" endlich das finale Kapitel mit Künstler:innen wie u.a. Dave Gahan, Debbie Harry im Duett mit Nick Cave oder Peter Hayes von The Black Rebel Motorcycle Club als LP, limitierte col. LP & CD.

It"s a wild ride, but then life with Jeffrey Lee Pierce always was"- Kris Needs

Das Jeffrey Lee Pierce Sessions Project hatte immer das Ziel Jeffrey Lee Pierce als einen der einflussreichsten, aber auch meist unterschätzten US Singer-Songwriter hervorzuheben und seine Kunst in die heutige Zeit zu transportieren, indem Wegbegleiter:innen und Bewunderer:innen die Musik des 1996 viel zu früh verstorbenen The Gun Club Sängers neu interpretieren. Nach "We Are Only Riders" (2009), "The Journey Is Long" (2012) und "Axels and Sockets" (2014) präsentiert "The Task Has Overwhelmed Us" Songs aus Pierce"s The Gun Club- und Solo-Zeiten. Außerdem gänzlich neue Tracks, entstanden aus Song- und Textskizzen sowie Live-Demos, die der 1958 in Kalifornien geborene Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte. Fast zehn Jahre nachdem das Vorgänger Album "Axels and Sockets" veröffentlicht wurde, erscheint mit "The Task Has Overwhelmed Us" endlich das finale Kapitel mit Künstler:innen wie u.a. Dave Gahan, Debbie Harry im Duett mit Nick Cave oder Peter Hayes von The Black Rebel Motorcycle Club als LP, limitierte col. LP & CD.

Ash sind seit 30 Jahren zusammen, aber es waren die zwei Jahre, die sie voneinander getrennt waren, die sie zu ihrem brillanten neuen Album inspirierten. Wie der Rest der Welt wurden auch Tim Wheeler (Gitarre/Gesang), Mark Hamilton (Bass) und Rick McMurray (Schlagzeug) von der Pandemie überrumpelt. Es war nicht nur die erste längere Auszeit, die die Band in ihrer unglaublichen drei Jahrzehnte währenden Karriere hatte, sondern auch die längste Zeit, in der die drei sich nicht gesehen hatten, seit sie sich in der Schule in Downpatrick, Nordirland, erstmals begegnet waren. Tim Wheeler - wie man es von einem der größten Songschreiber seiner Generation erwarten würde - hatte während Ashs Zwangspause weiter Songs geschrieben. Zum Reboot-Camp der Band erschien er bereit zum Loslegen mit einem Rucksack voller Hard-Rock-Hymnen. Und schwere Zeiten verlangen schließlich nach härterer Musik. Das selbst produzierte "Race The Night" - das achte Studioalbum der Band - ist in jeder Hinsicht herausragend. Aufgenommen im Oh Yeah-Studio in Belfast und mit neuem Fokus, kombiniert die Platte die unwiderstehlichen Rock-Riffs von "Meltdown" (2004) mit der melodischen Meisterschaft von "Free All Angels" (2001) - und das alles verpackt mit einem deutlichen Twist ins Jahr 2023. Und mit den fernen Anzeichen eines oft beschworenen Rock-Revivals am Horizont, könnte es das essentielle gitarrenzentrierte, hymnenreiche Album sein, auf das die Welt gewartet hat. Seit Ash als Teenager mit ihrem Nummer-Eins-Debütalbum "1977" aus Downpatrick auftauchten, ist die Band ein vitales, wachsendes Anliegen. Die meisten ihrer Zeitgenossen sind verschwunden oder haben sich zumindest aufgelöst, bevor sie zurückkehrten, aber Ashs Licht leuchtet so hell wie eh und je. Für dieses Album sind sie sogar zu Fierce Panda Records zurückgekehrt, die eine ihrer ersten Aufnahmen, "Punkboy", auf der 1994 erschienenen Crazed And Confused EP veröffentlicht haben.

Ash sind seit 30 Jahren zusammen, aber es waren die zwei Jahre, die sie voneinander getrennt waren, die sie zu ihrem brillanten neuen Album inspirierten. Wie der Rest der Welt wurden auch Tim Wheeler (Gitarre/Gesang), Mark Hamilton (Bass) und Rick McMurray (Schlagzeug) von der Pandemie überrumpelt. Es war nicht nur die erste längere Auszeit, die die Band in ihrer unglaublichen drei Jahrzehnte währenden Karriere hatte, sondern auch die längste Zeit, in der die drei sich nicht gesehen hatten, seit sie sich in der Schule in Downpatrick, Nordirland, erstmals begegnet waren. Tim Wheeler - wie man es von einem der größten Songschreiber seiner Generation erwarten würde - hatte während Ashs Zwangspause weiter Songs geschrieben. Zum Reboot-Camp der Band erschien er bereit zum Loslegen mit einem Rucksack voller Hard-Rock-Hymnen. Und schwere Zeiten verlangen schließlich nach härterer Musik. Das selbst produzierte "Race The Night" - das achte Studioalbum der Band - ist in jeder Hinsicht herausragend. Aufgenommen im Oh Yeah-Studio in Belfast und mit neuem Fokus, kombiniert die Platte die unwiderstehlichen Rock-Riffs von "Meltdown" (2004) mit der melodischen Meisterschaft von "Free All Angels" (2001) - und das alles verpackt mit einem deutlichen Twist ins Jahr 2023. Und mit den fernen Anzeichen eines oft beschworenen Rock-Revivals am Horizont, könnte es das essentielle gitarrenzentrierte, hymnenreiche Album sein, auf das die Welt gewartet hat. Seit Ash als Teenager mit ihrem Nummer-Eins-Debütalbum "1977" aus Downpatrick auftauchten, ist die Band ein vitales, wachsendes Anliegen. Die meisten ihrer Zeitgenossen sind verschwunden oder haben sich zumindest aufgelöst, bevor sie zurückkehrten, aber Ashs Licht leuchtet so hell wie eh und je. Für dieses Album sind sie sogar zu Fierce Panda Records zurückgekehrt, die eine ihrer ersten Aufnahmen, "Punkboy", auf der 1994 erschienenen Crazed And Confused EP veröffentlicht haben.

One of Death Metal's biggest bands, DYING FETUS return with their highly anticipated new album, Make Them Beg For Death. Recorded in Baltimore with longtime producer Steve Wright and mixed by Mark Lewis (Cannibal Corpse), Make Them Beg For Death contains every DYING FETUS hallmark. The veteran Death Metal band’s ninth album is fast, intense, and brimming with unstoppable grooves. Monstrous riffs, blast beats, unstoppable hooks, and earth-moving grooves define their catalog. “We put our own twist on Death Metal,” explains co-vocalist/guitarist John Gallagher. “We were like most bands, starting in the garage, drinking beer, having a little fun on the weekend, finding the right amps through trial and error. We blended aspects of bands we liked – Suffocation, Obituary, Deicide, and Cannibal Corpse, among others; the dual vocal approach of Carcass – and made them our own. ‘Let’s make it moshy, let’s make it slammy.’” Make Them Beg For Death delivers savage beatdowns equally designed to pulverize and mesmerize. “It follows on from where Wrong One To Fuck With left off,” drummer Trey Williams promises. “We don’t need to participate in the technical death metal arms race. We’ve got the big guns, and we’ve proven that. It’s all about pointing them in the right direction, so to speak.” To the men of DYING FETUS, the mission is straightforward. “The philosophy is the same now as it was when the band started,” Gallagher confirms. “To write catchy riffs and to make it memorable. Whatever style of music you’re doing, make it something people want to hear repeatedly.”

To mark the 65th anniversary of the album’s recording, Blue Train will be released in two special editions on September 16 as part of Blue Note’s acclaimed Tone Poet Audiophile Vinyl Reissue Series. A 1-LP mono pressing of the original album will be presented in a deluxe gatefold tip-on jacket, while the 2-LP stereo collection Blue Train: The Complete Masters will include a second disc featuring seven alternate and incomplete takes, none of which have been released previously on vinyl, and four of which have never been released before on any format. The Complete Masters comes with a booklet featuring never-before-seen session photos by Francis Wolff and an essay by Coltrane expert Ashley Kahn. Both Tone Poet Vinyl Editions were produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, and pressed on 180g vinyl at RTI. Blue Train: The Complete Masters will also be released as a 2-CD set and digital collection


“Few studio experiences I’ve had can compare with the thrill of listening to the original master tapes—mono, stereo and alternate takes—of Blue Train,” says Harley. “I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane.”

Rebellion ist aktuell in aller Munde, aber DYMNA LOTVA haben dafür gewichtige persönliche Gründe: Das Duo musste aus seinem Heimatland Belarus aufgrund politischer Verfolgung fliehen. Die Kunst der Metal-Band wird von der Lukaschenka-Diktatur aktuell zensiert und unterdrückt. Doch auch auf ihrem dritten Album, "The Land under the Black Wings: Blood" singen DYMNA LOTVA weiterhin von Trauer und Schmerz. Dabei haben die Belarussen hörbar ihren markanten Stil dynamisch weiterentwickelt. Über einem soliden Black Metal Fundament, das auch Bausteine aus dem Doom und traditioneller Musik enthält, baut das Duo mit Hilfe von melancholischen, eindringlichen Melodien emotionalere und gewaltigere musikalische Strukturen auf. Die Texte von DYMNA LOTVA basieren auf wahren Geschichten aus ihrer Heimat. Diese stammen aus Berichten voller Leid, die das Duo in historischen Archiven und in der Folklore findet - während in ihrem Land an jedem Tag neue Schreckenstaten hinzukommen. Komponist und Multiinstrumentalist Jauhien Charkasau sowie Sängerin Katsiaryna "Nokt Aeon" Mankevich datieren die Gründung von DYMNA LOTVA präzise auf den 8. November 2015. Am diesen Tag entzündete die Nachricht, dass die belarussische Schriftstellerin Swetlana Alexandrowna Alexijewitsch den Literaturnobelpreis erhalten hat, das musikalische Feuer der Band. Noch am gleichen Tag schuf das Duo seinen ersten Song, der von der Nuklearkatastrophe von Tschernobyl inspiriert wurde. Dieser erschien im Jahr 2016 als Single unter dem Titel ("A Solitary Human Voice"). DYMNA LOTVAs erstes Album "The Land under the Black Wings: Swamp" kam noch im gleichen Jahr heraus. Das Debüt stellt auch den ersten Teil einer konzeptionellen Trilogie über Belarus dar. Mit dem Nachfolger, "Wormwood" der nicht zur geplanten Album-Trilogie zählt, kehren DYMNA LOTVA im Jahr 2017 zum Thema Tschernobyl zurück. Nach den gefälschten Wahlen im Jahr 2020 unterstützte DYMNA LOTVA offen die Proteste gegen den Diktator Lukaschenka. Nach einem politisch motivierten Prozess gegen den Metal-Sänger Lesley Knife, der auch als Gast auf der Single 'To Freedom' zu hören ist, werden alle geplanten Konzerte von DYMNA LOTVA offiziell verboten und die Live-Besetzung der Band ist zur Auflösung gezwungen. Sängerin Nokt Aeon kann ihrer politisch motivierten Verhaftung nur durch Flucht außer Landes entgehen. Das Duo will sich in der Ukraine treffen, als der russische Überfall den Plan zunichte macht. Nach zwei Wochen schweren Bombardements durch Russland und harten Kämpfen um Irpin gelingt Nokt Aeon die Flucht aus der Stadt. Beide Musiker finden schließlich Aufnahme in Polen. Für DYMNA LOTVA ist die Veröffentlichung von "The Land under the Black Wings: Blood" daher auch ein Akt des Widerstands. Ihre Musik kann auf mehr als eine Weise gehört werden: Es handelt sich zunächst, nur für sich genommen, um ein wundervoll melancholisches, zeitgenössisches Metal-Album auf der dunklen Seite des Genres; mit einem hörbar belarussischen Einschlag. Doch aus einer erweiterten künstlerischen Perspektive betrachtet, ist DYMNA LOTVAs "The Land under the Black Wings": Blood" ein klagender, wütender Schrei nach Freiheit und Gerechtigkeit!

Rebellion ist aktuell in aller Munde, aber DYMNA LOTVA haben dafür gewichtige persönliche Gründe: Das Duo musste aus seinem Heimatland Belarus aufgrund politischer Verfolgung fliehen. Die Kunst der Metal-Band wird von der Lukaschenka-Diktatur aktuell zensiert und unterdrückt. Doch auch auf ihrem dritten Album, "The Land under the Black Wings: Blood" singen DYMNA LOTVA weiterhin von Trauer und Schmerz. Dabei haben die Belarussen hörbar ihren markanten Stil dynamisch weiterentwickelt. Über einem soliden Black Metal Fundament, das auch Bausteine aus dem Doom und traditioneller Musik enthält, baut das Duo mit Hilfe von melancholischen, eindringlichen Melodien emotionalere und gewaltigere musikalische Strukturen auf. Die Texte von DYMNA LOTVA basieren auf wahren Geschichten aus ihrer Heimat. Diese stammen aus Berichten voller Leid, die das Duo in historischen Archiven und in der Folklore findet - während in ihrem Land an jedem Tag neue Schreckenstaten hinzukommen. Komponist und Multiinstrumentalist Jauhien Charkasau sowie Sängerin Katsiaryna "Nokt Aeon" Mankevich datieren die Gründung von DYMNA LOTVA präzise auf den 8. November 2015. Am diesen Tag entzündete die Nachricht, dass die belarussische Schriftstellerin Swetlana Alexandrowna Alexijewitsch den Literaturnobelpreis erhalten hat, das musikalische Feuer der Band. Noch am gleichen Tag schuf das Duo seinen ersten Song, der von der Nuklearkatastrophe von Tschernobyl inspiriert wurde. Dieser erschien im Jahr 2016 als Single unter dem Titel ("A Solitary Human Voice"). DYMNA LOTVAs erstes Album "The Land under the Black Wings: Swamp" kam noch im gleichen Jahr heraus. Das Debüt stellt auch den ersten Teil einer konzeptionellen Trilogie über Belarus dar. Mit dem Nachfolger, "Wormwood" der nicht zur geplanten Album-Trilogie zählt, kehren DYMNA LOTVA im Jahr 2017 zum Thema Tschernobyl zurück. Nach den gefälschten Wahlen im Jahr 2020 unterstützte DYMNA LOTVA offen die Proteste gegen den Diktator Lukaschenka. Nach einem politisch motivierten Prozess gegen den Metal-Sänger Lesley Knife, der auch als Gast auf der Single 'To Freedom' zu hören ist, werden alle geplanten Konzerte von DYMNA LOTVA offiziell verboten und die Live-Besetzung der Band ist zur Auflösung gezwungen. Sängerin Nokt Aeon kann ihrer politisch motivierten Verhaftung nur durch Flucht außer Landes entgehen. Das Duo will sich in der Ukraine treffen, als der russische Überfall den Plan zunichte macht. Nach zwei Wochen schweren Bombardements durch Russland und harten Kämpfen um Irpin gelingt Nokt Aeon die Flucht aus der Stadt. Beide Musiker finden schließlich Aufnahme in Polen. Für DYMNA LOTVA ist die Veröffentlichung von "The Land under the Black Wings: Blood" daher auch ein Akt des Widerstands. Ihre Musik kann auf mehr als eine Weise gehört werden: Es handelt sich zunächst, nur für sich genommen, um ein wundervoll melancholisches, zeitgenössisches Metal-Album auf der dunklen Seite des Genres; mit einem hörbar belarussischen Einschlag. Doch aus einer erweiterten künstlerischen Perspektive betrachtet, ist DYMNA LOTVAs "The Land under the Black Wings": Blood" ein klagender, wütender Schrei nach Freiheit und Gerechtigkeit!

Soundtrack-LP mit Originalsongs aus den Staffeln 4, 5, 6 der erfolgreichen Netflix-Zeichentrick-Serie BIG MOUTH, geschrieben und komponiert von Mark Rivers. Das Album enthält Gesangsdarbietungen der angesehenen Besetzung, darunter Nick Kroll, Maya Rudolph, Andrew Rannells, John Mulaney, Crissy Guerrero, Jason Mantzoukas, Paul Pell, Jon Daly, Joe Wengert u.v.m. Rotes Vinyl.

We are happy to present: Corduroy - Men of the Cloth! Recorded to mark the 30th Anniversary of their debut 'Dad Man Cat' and the follow-up 'High Havoc', Corduroy return with a new limited mini-album: 'Men of the Cloth.'

Sitting perfectly at the corded fringe between acid jazz and rising Britpop, Corduroy emerged in 1991 out of the ashes of cult band Boys Wonder, and made three increasingly brilliant albums on Acid Jazz. They also became one of the top live acts of their generation. After an 18-year hiatus, they returned with 'Return of the Fabric Four in 2018, and remain a draw on the live circuit.

Featuring the popular sides from last years limited-edition 7" single 'No More Me Me Me' and 'Hypnotoad', 'Men of the Cloth' features four new cuts from the same Corduroy cloth - a heady mix of swinging sixties soundtracks, pop art imagery and Jazz-Funk in equal measure. A must-have addition to one of the founding acts of Acid Jazz.

Assured UK house producer Andy Ash takes care of the next EP on SAFTX while the equally esteemed Mark E steps up to remix.

For well over a decade now, Andy Ash has been turning out high-quality house music on a range of labels. Last year he served up a tasteful full-length on Quintessentials, the year before he dropped a double 12" on Still Music and he is also a regular at the likes of Delusions Of Grandeur. From deep and dusty to disco-tinged and dynamic, he has a stylish sound that is well-versed in the classics but always his own twist. He shows that again here with four fresh tunes which cannot fail to make you feel good.

Opener 'You:Me' features Faber and os brilliantly warm house groove. The drums and hi-hats are prefectly designed, the vamping chords bring a playful funk and swirling pads add diffuse late-night energy. It's timeless cut with nods to the US midwest and subtle vocal sounds.

Remixer and Merc label boss Mark E has a rich history of edits and originals on the likes of Running Back, Delusions Of Grandeur and Studio Barnhus. On this version, he lays down hazy, heavy kicks for a beatdown workout that comes alive with gorgeous synt work akin to all the best Detroit dons.

Ash's 'Momentary Days' is a slow and roomy, dubbed-out house swinger. Well-placed samples - vocal coos, guitar riffs, jazzy chords - all peel off the loose drums and can't fail to get you moving. 'Reach' is another humid house cut for cosy back rooms and basements. The Scruffy drums have frayed edges while dreamy melodies loop up top. It's a heartfelt sound that slowly turns you to deep inward reflection.

Last of all is 'Rico! Rico!', a downtempo jazz-funk jam with crisp broken beats, keys that take you to the Riviera and strings so lush you can almost feel the sun on your face.

This deep house music as it should be - raw, expressive and full of human soul.

SQÜRL was formed by Jim Jarmusch and Carter Logan in 2009 to score Jarmusch's movie The Limits of Control. Over a decade later and with numerous EPs and film scores under their belt, SQÜRL are set to release their very first full length record. Silver Haze was produced by Randall Dunn, who has also worked with the likes of Sunn O))), Boris, Earth, Zola Jesus, and Marissa Nadler, all of whom are artists that SQÜRL cite as inspirations. The album enlists Charlotte Gainsbourg, Anika, and Mark Ribot as collaborators, resulting in a communal offering that shares an energetic lineage with the New York School of Poets, a school they nod to on the track "John Ashbery Takes a Walk," which features Gainsbourg and turns two early Ashbery poems into an irresistible melodic siren's song. Silver Haze expands on SQÜRL's passion for creating rich textural sounds, finessed by a keen ear for production. The band is known for playing with everything from analogue synths to broken radios and pulling inspiration from painters, writers, and birds on the street. Silver Haze is a poetic journey of spoken words, dynamic instrumentals, drone riffs and distorted effects, one that features tubular bells and a cello in addition to their signature stacks of delay, encircling the listener in a warm oscillation both delicate and devastating.

SQÜRL, the duo of filmmaker Jim Jarmusch and Carter Logan, have announced their debut album, Silver Haze, out May 5th via Sacred Bones.

‘SilverHaze’ was produced by Randall Dunn, who has also worked with the likes of Sunn O))), Boris, Earth, Zola Jesus, and Marissa Nadler, all of whom are artists that SQÜRL cite as inspirations. The album enlists Charlotte Gainsbourg, Anika, and Mark Ribot as collaborators, resulting in a communal offering that shares an energetic lineage with the New York School of Poets.



‘SilverHaze’ expands on SQÜRL’s passion for creating rich textural sounds, finessed by a keen ear for production. The band is known for playing with everything from analogue synths to broken radios and pulling inspiration from painters, writers, and birds on the street. ‘Silver Haze’ is a poetic journey of spoken words, dynamic instrumentals, drone riffs and distorted effects, one that features tubular bells and a cello in addition to their signature stacks of delay, encircling the listener in a warm oscillation both delicate and devastating.



The announcement of ‘Silver Haze’ comes on the back of sold out live shows across Europe. Originally intended to happen in 2020, the rescheduled dates saw Jarmusch and Logan perform an original live score to four films by Man Ray. More live dates will follow in due course.