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Fifth chapter of Disturbo Records, our bigger collaboration so far with great friends and great artists, delivering 8 tracks of pure mayhem. this time out on a double 12" gatefold fully illustrated by our brother in Kota Kinabalu: Mamink aka No Solucion.
All tracks written, arranged and mixed by the artists.
Masters by Exchange.

Born in Casablanca, Oum is a talented songwriter and melodist, whose songs are deeply rooted in the complex rhythms that can be found in Moroccan traditional music. Over the years, she has crafted a unique signature, with songs infused with sensual themes, carried by a voice that is both powerful and warm. While she sometimes borrows from jazz, soul or trance music, Oum defies categorization. Her music is that of a singular, free and universal artist.

A dedicated artist, Oum champions freedom, the rights of women and minorities, as well as an ecological and humanist vision of the world. As a UNAIDS Goodwill Ambassador, she makes her art a space of resistance and sharing, where spirituality and poetry rise as a life force. With Dialddar ("homemade"), Oum takes on a radical approach: composing an album without strings or wind instruments, relying solely on voice and percussion. A choice that constitutes both a technical challenge and an artistic manifesto. The percussions used are mostly handcrafted in Marrakech. Their tuning, sensitive to variations in temperature and humidity, make each recording fragile, vibrant, and unpredictable. It is precisely this organic dimension that Oum wanted to preserve: music that breathes, escapes control, and finds its true expression in the moment. With Dialddar, Oum continues her quest for a universal, rooted, and visionary music that invites a sensitive listening to the world. TER004 - CD comes with a 44 page book.

A year and a half has passed since Slovak-Hungarian artist Adela Mede self-released her debut album ‘Szabadság’. Its liner notes described it as “a navigation”, a search through “the personal, familial, cultural, folkloric and geographic of her past and present.” Her second album, ‘Ne Lépj a Virágra’ no longer searches; here, she puts down roots and delves deeper into the earthy reality of her home, Central Europe. Mede sings in three languages with newfound conviction and grace – this is an album of profound faith and confidence in the potential of this fertile soil.

Composed and recorded during the last 18 months in Bratislava, Slovakia – a city where three countries meet, where the East and the West collide – 'Ne Lépj a Virárga' translates to “don't step on the flower”. Its themes – budding potential, recognizing the beauty in the ordinary, solidarity, turning despair into hope – emerged through Mede's wholehearted involvement with her community, teaching singing to both children and adults, and various grassroots volunteering initiatives. It features collaborations with local artists, Mede's singing students, as well as fellow Eastern European contemporary artists Martyna Basta and Wojciech Rusin.

Adela Mede embellishes carefully crafted songs with minimalist and folklore influences, but also embraces more experimental approaches. The result is a collection of quite varied yet consistent pieces which highlight Mede's proficiency as a singer, arranger, producer and improviser. It is a grounded, confident next step for the Bratislava-based artist. Whether her vocals are naked, heavily processed, warped and reversed, or looped and layered; whether the production is sparse and minimalist or overwhelming and swampy; none of that changes the fact that the gentle tentativeness of her debut is gone. This is “Central European music”, at its most striking and meaningful: patient, determined, embracing both complexity and possibility.

Born to Dominican and Brazilian parents, xavi grew up bouncing from place to place, picking up inspiration wherever he landed. His first love was baile funk, but he was raised on classic hip-hop, eventually notching up production and songwriting credits for Vince Staples, Demi Lovato and Ariana Grande. But the major label life wasn’t giving; sick of the industry, he headed back to São Paulo to soak up the atmosphere and connect with artists on the ground. Before long, he started uploading quickfire bangers to SoundCloud – at this point there are over 350 of them on his feed – an »evolutionary playlist« in his own words, bursting with ideas.

»balança e paixão« is his debut release, proper, a 12-cut snapshot of chaotic, trailblazing, turbulent genius – bending thrashed rhythms into relentless vocal chops from a laundry list of young brazillian MCs. Built on ear-zizzing »tuin« hits and razor’s edge cuts, he creates hypnotic ripples that wedge themselves between São Paulo’s weirdo fringe (artists like JLZ and Iguana) and the percussive, MC-heavy sound of funk ritmado, one of the contemporary scene’s most vital and recognisable strains. Crucially, you can hear a Photek-like approach to space in his productions too, filling the gaps with metallic clangs to lend his rhythms their own unique dimension. The flipside takes it slower, deeper. On »sei q tu gosta« (I know you like it), DJ Leal Original and MC Vuk Vuk’s voices are transformed into ghosted sibilances next to xavi’s sonar pings and woodblock hits with an almost avant-dancehall slant, like some choice Equiknoxx dub, while on »cuidado bandida« (be careful bandit), he deploys bone-rattling trills that bite down on atmospherics that wouldn’t be out of place on Akira Yamaoka’s »Silent Hill« OST.

Two years after their debut on Berlin-based Mannequin Records, Parisian duo Leroy Se Meurt returns with their second full-length album, Hier Pour Toujours. Far from any sense of nostalgia, this record offers no illusion of hope—history repeats itself, the future looks bleak, and their brand of electronic punk is the perfect soundtrack to it all.Drum machines dictate the pace while synths saturate the space, looping sequences grind relentlessly, and vocals lead this machine orchestra straight into the heart of the chaos. Drawing from their roots, Leroy Se Meurt pushes their fierce electronics further than ever—experimenting with bold slogans, spoken passages, and powerful sing-along choruses.The album opens with Pas Ma Croix, a commanding anthem built for the stage. It flows into Du Plafond à La Terre, driven by a monstrous electro beat and bassline, flirting with emotional vulnerability in its chorus before exploding into a synth solo. Alevlere Karşı once again taps into the duo’s EBM-meets-Turkish vocals signature style, hitting the mark with dancefloor precision.The title track, Hier Pour Toujours, closes side A with a more intimate, drumless moment—solemn but no less intense.That brief calm is shattered by Déviance, marking the return of guitars and an eruptive chorus brimming with raw energy. From there, the album launches into the furious Révolte Ardente, with its syncopated rhythm and vocals drenched in distortion, and continues with Pro Déclin, a stripped-down rhythmic skeleton carrying anti-growth mantras straight to the point. In a world clouded by confusion, the most direct messages often land the hardest.For a change of scenery, Fütürsüz dives into John Carpenter-esque territory—no drums, eerie night-streaked synths, and, for the first time in the band’s history, nearly clean vocals.Closing the record, Encore crawls at a BPM so slow it’s nearly in reverse. But what it lacks in speed, it makes up for in weight—a crushing incantation capable of toppling sound systems.With Hier Pour Toujours, Leroy Se Meurt isn’t offering optimism, but rather persistence. Nothing is settled yet—and perhaps, just perhaps—there’s still light at the end of the tunnel.

Unit Nine is a The Hague-based musical collective weaving together soulful melancholy, minimalist composition and soft grooves. Their debut album, Disaster Jester, will be released digitally and on 12’’ vinyl on The Hague imprint PIP Records on November 14th, 2025, celebrated with a release show at Paard, Den Haag. The album was recorded under guidance of renowned producer Tijmen van Wageningen, at The Womb Studio.

Disaster Jester revolves around the archetype of the jester, the trickster who embodies both chaos and wisdom, humour and tragedy. Across the album, music video and cover artwork, he appears as a clown in a shadowy crime narrative and as a weary detective who eventually dons the fool’s hat himself. The image becomes a mirror for the artist: observing, stumbling, laughing & fooling. The track ‘Afgesproken Plek’ features rap artists KC and MC Lost, who provided an imaginary crime skit playing on the detective persona central in the story telling of the album.

While their universal and timeless sound could travel anywhere, there’s something distinctly The Hague about Unit Nine; a mix of irony, unpolished charm, and understated design sensibility. Their city’s blend of rough edges and refined aesthetics runs through their work and places the debut album within a historical tapestry of not-so-mainstream culture and art that the sea town is known to embody.

Here are 4/5 of the early work of Dj Ultramars, before he created his own label, Mars Assault Records.

Dj Ultramars drew inspiration from records from the begining of Hard Techno; from some work of the Spiral Tribe, but also just from the musical impression he had after attending his my first free parties.
Those tracks corresponds to a certain moment in the history of the free party movement, so a release on Toolbox Killerz was logical.

The tracks have been edited so that the arrangements would be more relevant to nowadays standards, and to alow a better sound quality on vinyl. Back in 1997, we didn't know better about vinyl cutting & premastering, so we went to a legacy cutting studio that had made all the cuts for Rock & Pop for decades, and they didn't understand the specifics of such Tekno music. Therefore on their first release, those tracks didn't make much sense without the highest frequencies... This time we have their ultimate cuts, the way they should always have been cut on vinyl, thanks to the legendary Hervé @ DK mastering studio.

Collecting Orders for Repress

Beam records is excited to present the debut release from enigmatic friend of the label, mystery sister. Across four tracks, the Silkworm EP explores turn-of-the-millennium tek haus and mnml, drawing on organic sound palettes and playful psychedelia. The title track, ‘Silkworm’, sets acidic breakbeat pseudoscience against brooding atmospheres, entrancing rabbits down the hole. ‘Kabel’ is a moody minimal roller, striding aimlessly into the depths of the eternal after-hours. Opening the B-side, ‘Of The Mind (Wonky Dub)’ evokes evasive tek haus, layering rhythmic bounce over bubbling, micro-dosed textures. Cue lush pads and dubtek stabs to close out the EP with ‘Of The Mind (Sunrise Mix)’, offering glimmers of afterglow optimism.

Following the completion of the Pulse EP series, Peverelist invites four producers to present their own refreshing takes on choice cuts from his most recent phase of club exploration.

Fadi Mohem channels the bright angles of 'Pulse IX' into a buoyant, sleek run of uptempo dub techno with an unmistakable Berlin focus. Huey Mnemonic takes the crafty, curious swerve of 'Pulse XX' and sets it to a 4/4 rush of exuberant, steady-climbing techno informed by his Detroit surroundings. Munich-based artist Polygonia's snaking electronica response to 'Pulse VII' capitalises on the swooning melody of the original's second half and matches it with vibrant sound design. Rounding off an especially invigorating round of remixes, the stark jack of 'Pulse V' becomes a twinkling, dreamy Motor City reverie in the hands of the legendary Optic Nerve, aka Keith Tucker.

The end result is a collection of remixes bursting with the same vibrant, uplifting energy that courses throughout the Pulse series.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Enter a world unknown! Birdfriend is a cassette label run by Japanese musician/composer Koshiro Hino, aka YPY, who is also a founding member of the Osaka band goat. This compilation, available on CD and double vinyl, features 18 tracks by Japanese artists, from 2013-2017, previously available only on hard-to-find cassettes on the Birdfriend label, now available to you, the curious and courageous listener, worldwide on EM Records. Rejoice and enjoy the fractured rhythms and future-now timbres, questing intelligences and D.I.Y. energy, conveyed to you through hand-made synths, custom electronics, synths and samplers. Compiled by Hino, who also provides liner notes and cover art, these Japanese artists share a love of texture, semi-skewed rhythm, simple-yet-evolving structure, and a sense of humour; yet despite these similarities, there is a great variety across this release, making for an exciting and cohesive musical experience.

Inhale. Exhale. Remember to breathe. In that rhythm lies the pulse of being - the ancient echo of stars from which we are made. Breathing is the bridge between the inner cosmos and the outer void. When you breathe, you testify to existence itself: "I am." The Moonrover - a child of reason - abandoned on the cold, dead Moon. It does not feel time, know fear, or comprehend solitude. But a human, in its place, would understand: Silence is not emptiness. It is a mirror. And in that mirror arises the question: "If I am alone, and silence is infinite - who hears my breath?" The answer lies in the breath. Each inhale is resistance against entropy. Each exhale is an act of remembrance. To breathe is to remember that you are not just part of the Universe - you are its awakened part. And just as the Moonrover crawls across grey lunar plains, driven by an unknown purpose, so do you move through life, led by an inner light, until you realize: breath is not just life. It is a prayer sent into silence. And if you can hear it - you are alive.

Monolith 45 series I

A new chapter emerges within Organic Signs.Conceived as a vessel dedicated to a single frequency, Monolith 45 is born to trace the lineage of progressive trance — that tribal, hypnotic, and ceremonial sound that carved its path during the early 2000s, and which today we reclaim with reverence.

Each release stands as a stone marker along this continuum: timeless signals that resonate equally with memory and vision. As with the broader work of Organic Signs, this new line will follow a dual path: rescuing forgotten gems from the past while also curating new music that embodies the same spirit.

Monolith 45 becomes the place where past and present intertwine, shaping a narrative that honors tradition while opening new doors for exploration.

The first monolith in the series carries with it two totems of the genre:
On the A-side, Magnetrixx – Intraferences, originally released in the year 2000 on the legendary Tatsu Records. Behind this moniker stands Stefan Lewin, not only a key architect of the progressive trance sound but also the mind behind ACL (Audiophile Circuits League), one of the most special modular synthesizer brands..

His work bridges eras: from shaping the trancefloor at the turn of the millennium to designing instruments that define modern electronic creation.On the B-side, Ticon – Lo Mi Hi, a track that saw the light in 2001 on Digital Structures, one of the most influential labels of that era.

Ticon are nothing short of mythical within this universe — pioneers whose sound blurred borders between deep grooves, psychedelic textures, and progressive structures, leaving an indelible mark that still resonates with dancers and producers worldwide.

With Monolith 45, we seek not only to preserve these transmissions but to project them into the present: to reawaken a sound that was always more than music, a tribal pulse, a ritual language that invited bodies and minds into collective trance.
This is our homage, our offering, and our way of extending the path forward.

Natacha Atlas ist eine international gefeierte Künstlerin mit einer der markantesten Stimmen der Welt. Die anglo-ägyptische Sängerin verbindet seit mehr als zwei Jahrzehnten elektronische Beats mit nordafrikanischer und arabischer Musik, entdeckt Verbindungen zwischen scheinbar gegensätzlichen Musikgenres, erforscht neue klangliche Welten und arbeitet dabei mit zahlreichen gleichgesinnten Künstler:innen aus aller Welt zusammen. The Best Of Natacha Atlas wurde ursprünglich im Mai 2005 veröffentlicht und ist jetzt erstmals als Vinyl erhältlich. Als dieses Best-of damals erschien, wollte Natacha nicht einfach nur eine Sammlung von Albumtiteln herausbringen. Mehrere Stücke wurden neu gemischt oder überarbeitet, was Natacha selbst in die Hand nahm. Damals sagte sie: "Ich habe beschlossen, ein paar Titel neu aufzunehmen, von denen ich fand, dass sie eine Überarbeitung oder Aktualisierung brauchten." Ebenfalls enthalten sind ihre atemberaubenden Versionen des Françoise-Hardy- Klassikers , des James-Bond-Themes , und James Browns.

Orange Vinyl
After his acclaimed EP "Shiny Black Leather" and a dream collaboration with Dario Argento for the soundtrack of his new film "Occhiali Neri", Maestro Arnaud Rebotini is back on Mannequin Records with a new 4-tracks EP "I Drive East".

For this new EP, Arnaud started working more on a song form, deeply inspired by his rock'n'roll roots. Having heroes like Suicide or Alien Sex Fiend in mind, he was able to create the perfect link between EBM and Industrial Rock. The final production was orchestrated diving deep into percussive drums and digital synthesizers, a mega hybrid of analog and digital, recalling back our favourite mid-80's productions.

Let the Good Times Roll (Terlinde Music Shop, St. Paul, MN, 1956)
I Got a New Girl (Informal Recording, Hibbing, MN, 1959)
Jesus Christ (Informal Recording, Minneapolis, MN, 1960)
K.C. Moan (Informal Recording, Madison, WI, 1960)
Remember Me (Informal Recording, East Orange, NJ, 1961)
Railroading On the Great Divide (Gerdes Folk City, NYC, 1961)
Man of Constant Sorrow ('Bob Dylan' Rehearsal, NYC, 1961)
He Was a Friend of Mine ('Bob Dylan' Outtake, NYC, 1961)
Ramblin' Round ('Bob Dylan' Outtake, NYC, 1961)
Story: East Orange, New Jersey (Party, Minneapolis, MN, 1961)
Po' Lazarus (Party, Minneapolis, MN, 1961)
Dink's Song (Party, Minneapolis, MN, 1961)
I Was Young When I Left Home (Party, Minneapolis, MN, 1961)
Cocaine (Party, Minneapolis, MN, 1961)
Talkin' New York (Gerdes Folk City, NYC, 1962)
Corrina, Corrina (Gerdes Folk City, NYC, 1962)
(I Heard That) Lonesome Whistle ('Freewheelin'' Outtake, NYC, 1962)
Rocks and Gravel ('Freewheelin'' Outtake, NYC, 1962)
Let Me Die in My Footsteps (The Finjan, Montreal, 1962)
Tomorrow Is a Long Time (Party, Minneapolis, MN, 1962)
Don't Think Twice, It's All Right (The Gaslight Cafe, NYC, 1962)
The Cuckoo (The Gaslight Cafe, NYC, 1962)
The Ballad of the Gliding Swan (BBC-TV, London, 1962)
John Brown ('Broadside Ballads' Album Version, NYC, 1963)
Dusty Old Fairgrounds (Town Hall, NYC, 1963)
House of the Rising Sun (Informal Recording, NYC, 1963)
Seven Curses ('The Times They Are A-changin'' Outtake, NYC, 1963)
Masters of War ('Freewheelin'' Alternate Take, NYC, 1963)
Girl from the North Country ('Freewheelin'' Alternate Take, NYC, 1963)
Liverpool Gal (Party, Minneapolis, MN, 1963)
Boots of Spanish Leather ('The Times They Are A-changin'' Outtake, NYC, 1963)
Moonshiner ('The Times They Are A-changin'' Outtake, NYC, 1963)
The Lonesome Death of Hattie Carroll (Party, Los Angeles, 1963)
The Times They Are A-changin' (Informal Recording, Los Angeles, 1963)
Who Killed Davey Moore? (Carnegie Hall, NYC, 1963)
Lay Down Your Weary Tune (Carnegie Hall, NYC, 1963)
Blowin' in the Wind (Carnegie Hall, NYC, 1963)
North Country Blues (Carnegie Hall, NYC, 1963)
A Hard Rain's A-gonna Fall (Carnegie Hall, NYC, 1963)
Talkin' World War III Blues (Carnegie Hall, NYC, 1963)
Only a Pawn in Their Game (Carnegie Hall, NYC, 1963)
When the Ship Comes In (Carnegie Hall, NYC, 1963)

Enigmatic artist GRANT, a longtime figure in the deep house and techno underground, collaborates with Alex Albrechton the title track 'Tangible Dreams'
The two connected via the Scissor & Thread label and Francis Harris, forming a creative partnership. The EP is a textured homage to late '90s dub techno, echoing Basic Channel and Chain Reaction, while retaining a modern touch. The tracks are timeless, groove-focused, and sonically deep.
On the release, GRANT says: "I've been a fan of Alex's work. Through Francis and Scissor & Thread, it felt natural to collaborate. This EP is the kind of music I love to play - not flashy or trendy, but tracks that hold up and grow on you."
With decades of record collecting and acclaimed releases on Lobster Theremin, Mörk, and his own imprints, GRANT has built a loyal following. His albums The Acrobat, Cranks, Perception, and Fantasy Blues are collectors' favorites.
Alex Albrecht, known for immersive performances at Paradise City, MNMT, Public Records, and Giant Steps, has released on Anjunadeep, Mule Musiq, and his Analogue Attic imprint.
With 'Tangible Dreams', GRANT and Albrecht deliver a collaboration destined to stand out.

b 2Lose It (In the End) feat. Ghostface Killah & Mark Ronson


b 2Lose It (In the End) [feat. Ghostface Killah & Mark Ronson]


[b] Lose It (In the End) [feat. Ghostface Killah & Mark Ronson]


[b] Lose It (In the End) [feat. Ghostface Killah & Mark Ronson]

Dogma, die treuen Wahrheitssucher, veröffentlichen ihr selbstbetiteltes Debütalbum jetzt auf CD und LP. Das Album erzählt eine kraftvolle
musikalische Geschichte, die tief in die menschliche Psyche eindringt. Frontfrau Lilith sagt: „Auf unserem Debütalbum enthüllen wir eine rohe und
unverblümte Erzählung, die den Kampf gegen aufgezwungenen Glauben, ungerechte Zensur und die Befreiung von unlogischen Überzeugungen
beleuchtet. Es ist eine Reise durch verlorene Unschuld und eine Rebellion gegen archaische Zwänge. Ein kühnes Statement, das die Auflehnung gegen
gesellschaftliche Normen einfängt. Es geht darum, sich zu befreien, unsere Wahrheit anzunehmen und die uns auferlegten Beschränkungen
herauszufordern.“
Lilith führte weiter aus: „Visuell ist das Album-Artwork eine gewagte Reflexion der Allgegenwart der Lust in der Menschheit, unabhängig von allen
Bedingungen. Es dient als kühnes visuelles Testament, das die Wahrheit entlarvt, dass Lust ein inhärenter Teil unserer Natur ist, frei von jeglichen
auferlegten Beschränkungen wie falscher Moral und unlogischem Glauben.“ Dogma fordert uns auf, die Rebellion anzunehmen und unsere fleischlich
Gelüste zu entfesseln. Sie werfen die Ketten der Bescheidenheit beiseite und beschwören einen Sturm der Sinnlichkeit herauf, der unerschütterliche
Aufmerksamkeit und leidenschaftliches Mitmachen verlangt

Das erste Album von Lionmilk auf Stones Throw ist ein Gegenmittel gegen Depressionen und Herzschmerz.
Der aus Los Angeles stammende Lionmilk ist für seine Arbeit als Pianist, Komponist und Produzent bekannt.
Als unabhängiger Künstler schrieb, produzierte und spielte Lionmilk alle Instrumente auf dem neuen Album und erzählt seine Geschichten in verschiedenen Musikstilen.
Er spielte in den Live-Bands von Mndsgn und John Carroll Kirby.

Für Fans von: Toro y Moi, CARRTOONS, Thundercat, Washed Out, Neil Francis, Khruangbin.

Mannequin Records reissues "My Government Is My Soul", a searing 1989 statement from Bourbonese Qualk, one of the UK’s most defiant and politically engaged experimental acts. Originally released on the group’s own label, this LP captures the uncompromising spirit of a band deeply embedded in the resistance movements of 1980s Britain.

Recorded during a turbulent period of social unrest, "My Government Is My Soul" stands as a fierce response to authoritarianism, surveillance, and the neoliberal decay that defined the Thatcher era. Bourbonese Qualk fused industrial rhythms, minimal synth, distorted tape loops, and spoken-word polemics into a sound that was both confrontational and deeply physical—a weaponized form of music rooted in activism and direct action.

Widely regarded by fans as one of the band’s strongest works, "My Government Is My Soul" has earned a near-mythic status in underground circles. Fans have praised the album’s stylistic breadth—“sometimes it kisses the hem of rock, at others it bows towards the likes of Steve Reich & Philip Glass".

This reissue, fully remastered by Rude 66, reintroduces a critical work of post-industrial dissent to a new generation. Still as urgent and unflinching as ever, the album resonates with today’s climate of mass disinformation and systemic control. It is a timely reminder that sound can still be a form of resistance.

Singer-songwriter Dan Arsenault’s avant-garde music infuses classic progressive rock and modern hard rock vibes - crafting himself a unique style of accessible songs that truly inspires the listeners. Born and raised in Atlantic Canada - home of many diverse artists, Dan’s taste in music genre greatly varied in his adult life, you can surely spot many of his style influences in his songs, ranging from early progressive rock to modern rock. His lyrical metaphor style along his punched-in odd signature moments, brings a strange complexity to the songs always leaving you discovering something new in each playbacks.

Dan’s first official released music arrived in 2021, with his first full length instrumental album ‘Eminence’ which was nominated for recording of the year at the MNB Awards 2021 and was highly accepted by the progressive music
community and qualified as a hidden jewel. Dan’s new concept album, ‘Signs point to Yes’, will truly showcase his passionate composing and producing skills, through the story journey of a kid on his quest for musical stardom and
happiness, featuring elite artists like Joe Calderone (Arch Echo), Jemma Heigis and Danny Bourgeois.

Time in the context of the cosmos is not merely a measure of change but a profound mystery permeating all aspects of existence. It is both present and elusive, like the light of a distant star we see but can no longer touch at its source. The cosmos poses a fundamental question: what is time? Is it the stream in which we exist or an illusion crafted by our perception? The grandeur of the Universe reveals the extraordinary malleability of time. Gravity can slow its flow, while velocity can stretch it to infinity. At the event horizon of a black hole, time can nearly halt, transforming a moment into an eternity. This teaches us that time is not a universal truth but a phenomenon dependent on conditions and perspective

Dogma, die treuen Wahrheitssucher, veröffentlichen ihr selbstbetiteltes Debütalbum jetzt auf CD und LP. Das Album erzählt eine kraftvolle
musikalische Geschichte, die tief in die menschliche Psyche eindringt. Frontfrau Lilith sagt: „Auf unserem Debütalbum enthüllen wir eine rohe und
unverblümte Erzählung, die den Kampf gegen aufgezwungenen Glauben, ungerechte Zensur und die Befreiung von unlogischen Überzeugungen
beleuchtet. Es ist eine Reise durch verlorene Unschuld und eine Rebellion gegen archaische Zwänge. Ein kühnes Statement, das die Auflehnung gegen
gesellschaftliche Normen einfängt. Es geht darum, sich zu befreien, unsere Wahrheit anzunehmen und die uns auferlegten Beschränkungen
herauszufordern.“
Lilith führte weiter aus: „Visuell ist das Album-Artwork eine gewagte Reflexion der Allgegenwart der Lust in der Menschheit, unabhängig von allen
Bedingungen. Es dient als kühnes visuelles Testament, das die Wahrheit entlarvt, dass Lust ein inhärenter Teil unserer Natur ist, frei von jeglichen
auferlegten Beschränkungen wie falscher Moral und unlogischem Glauben.“ Dogma fordert uns auf, die Rebellion anzunehmen und unsere fleischlich
Gelüste zu entfesseln. Sie werfen die Ketten der Bescheidenheit beiseite und beschwören einen Sturm der Sinnlichkeit herauf, der unerschütterliche
Aufmerksamkeit und leidenschaftliches Mitmachen verlangt

Freivogel / Sinclaire with their debut Untitled consisting of three live recordings made using only a concert flute and an Octatrack M1. The recordings are live taken from improvised sessions and have been left unedited.

Shifting between playful and austere, the simple goal for these sessions was honest improvisation; comfortable in both its limits and potentials. Placing classical instrument performance and extended playing techniques alongside heavy sonic processing and cavernous acoustics, they are in some ways uninfluenced by genre, governed only by a drive to find moments of clarity amidst chaos.

Recorded in single takes using a simplified setup of the flute – played into a microphone and wired through an Octatrack – every sound heard in the recordings comes in one way or another from the flute as a single sound source, manipulated and looped on the fly with additional live improvisation over the top.

The result is a timeless capsule of heady drones, offbeat electronics, and mischievous flutes, captured during a time when the world stood still. Scuzzy at times, glistening at others, and ever-optimistic in the pursuit of something new.

Adam Sinclaire is a flautist who has worked with artists such as Billy Bultheel and Ziúr, recorded for labels including PAN and Purple Tape Pedigree, and performed for institutions including KW Institute for Contemporary Art, Schinkel Pavillon, and Martin-Gropius-Bau. His practice focuses on using extended playing techniques to explore the limits of the C flute.

Marco Freivogel is a producer and composer who has released an extensive discography on labels including Mannequin Records and Veyl, and collaborated with artists including dBridge, Mare Nero and Mathew Jonson, remixing artists as diverse as Hercules & Love Affair, Shackleton and Yappa. His Prequel Tapes project sits between utopian and claustrophobic, tracing harsh industrial atmospheres and levitational ambient from a lifelong obsession with sonic extremes. Marco currently works on compositions for film and television, alongside his own releases and collaborations. The EP will be released on 14 February 2025 as limited vinyl and digital via Midnight Shift. Art direction by Mauro Ventura.

All record profits from this release will go to 3ezwa.de, providing financial and legal support to those facing repression for their commitment to the Palestinian cause.

FOR FANS OF: Black Label Society, AC/DC, Ozzy Osbourne, Black Sabbath, Torus, Pearl Jam, Candlebox, Alice In Chains
Featuring Dario Larina von Black Label Society
Dario Larina ist vor allem durch seine Arbeit an der Seite des legendären Gitarristen Zakk Wylde bei Black Label Society bekannt. Neben den
Tausenden von Kilometern, die er mit der Band unterwegs war, schredderte Dario neben Zakk Wylde auf dem 2021 erschienenen Album Doom Crew
Inc. und begleitete den Black Label Society-Mastermind und die Sechssaiten-Legende auf das Cover von Guitar World. Bei letzterem brachte Wylde
den Grund, warum er den aufstrebenden Gitarristen an Bord holte, auf den Punkt: „Weil Dario großartig ist.“ Nebenbei brachte er auch zwei
Soloalben heraus, nämlich Dario Lorina und Death Grip Tribulations. Im Laufe des Jahres 2024 stellte er sorgfältig zusammen, was Spirit in the Glass
werden sollte. Er vervollständigte das Lineup mit Brody DeRozie, Mike Gunn und Luis Silva und schrieb und nahm in seinem Heimstudio in Las Vegas
auf, auch bekannt als „Dark Chapel“.

Mannequin Records proudly presents the debut release from Children Of The Night, a dynamic duo whose music is rooted in cinematic soundscapes. The project brings together Mexican techno producer Alejandro Barba, also known as Dellarge, and French documentary/film producer Pierre Labret, forging a distinctive creative partnership. Their collaboration masterfully combines dark, atmospheric elements with driving electronic rhythms, drawing heavily from the worlds of classic horror and psychological thrillers. The result is a collection of soundscapes that are as eerie as they are captivating, creating an immersive and haunting listening experience.



This album stands as an unconventional horror soundtrack for a film that never came to be—a tribute to the legendary Spanish filmmaker Jess Franco, known for his prolific work in the exploitation and horror genres. Born out of the quiet chaos of the pandemic, this project was originally intended to accompany a slasher film that was halted due to financial constraints. Despite the film’s cancellation, the duo pressed forward, turning the unfinished narrative into an imaginative auditory experience. The soundtrack will serve not only as a homage to Franco but also as a nod to Juan Mendez, better known by his alias Silent Servant, whose dark, minimalist electronic productions have left a deep mark on the underground music scene.

Dellarge and Labret’s creative process is shaped by an eclectic array of inspirations, pulling from both literature and cinema. They’ve cited films such as Franco’s "Paroxismus," "Gritos," and "Faceless" as vital to their sonic direction, as well as the eerie black-and-white imagery of F.W. Murnau's "Nosferatu." Additionally, the duo draws on the disturbing psychological tension of Stephen King’s "Carrie" and "Misery," and the surreal dystopian world of Stanislaw Lem's "Congreso de Futurología." The giallo horror aesthetics of Dario Argento's "Deep Red" also serve as a significant influence, merging surreal visuals with nerve-racking, visceral soundtracks—elements mirrored in Dellarge and Labret's own compositions.



The LP is not only rich with atmospheric storytelling but also boasts a range of remarkable remixes by prominent artists in the electronic music scene. Contributions from Alessandro Adriani, David Carretta, Legowelt, and Broken English Club inject new life into the original tracks, offering reinterpretations that span from industrial techno to Italo disco, further enhancing the project’s depth and versatility. Each remix complements the overarching horror theme while adding a modern, avant-garde twist to the duo’s work.



This debut album promises to be more than just a musical release—it's a vivid exploration of the horror genre through sound, creating a sensory experience that brings forgotten films, unrealized visions, and nightmarish stories to life through music. As the lines between fiction and reality blur, Dellarge and Labret invite listeners into a world where the echoes of lost films can finally be heard.

Mannequin Records is thrilled to announce the upcoming release of Chromium Industries, a double LP (MNQ 162) capturing the innovative spirit of two pioneers of electronic music: Andrew Lagowski and Paul (Howie D) Howard. This long-anticipated album marks a return to the seminal sounds of the Chromium Industries label, which emerged as a crucial platform for boundary-pushing techno and electronic music in the early 1990s.


Andrew Lagowski, a name synonymous with exploration in electronic music, has been at the forefront of sound innovation since the early 1980s. Known for his work under various aliases, including Lagowski, Legion, and S.E.T.I., his early output in experimental and industrial sounds paved the way for his later techno-focused ventures. Albums like Knowledge (S.E.T.I.) and Nadir (Lagowski) highlighted his pioneering approach to unconventional sound sources and production techniques. In the 1990s, his work with Chromium Industries brought him into the techno spotlight, with a series of influential 12” singles that helped shape the electronic music landscape. With over 60 albums and 10+ singles to his name, Lagowski’s versatility and dedication have garnered him a loyal following and lasting influence across genres.


Paul Howard, aka Howie D, brought his DIY ethos from the punk scene of the 1970s into electronic music. As a founding member of The Frames and co-founder of the Brain Boosters and Spacematic labels, Howard has consistently pushed boundaries. His early forays into hip-hop saw him release the genre-pioneering jazz-rap track Miller Light as Fission. The transition from punk and hip-hop to electronic music was a natural one, culminating in his creation of Chromium Industries after a fateful night hearing Lagowski’s Vermilion at a London party. The label brought some of the most unique techno releases to the scene, with tracks like Blue Anomaly causing near-riots on the dancefloor. Since then, Howard’s work has evolved to include multiple aliases, including The Legend That Is, Phase Collective, and Skulpture.


Chromium Industries 2xLP will be available for purchase from January 2025 through Mannequin Records and select distributors.


This is an essential release for collectors, DJs, and anyone who reveres the legacy of 1990s techno and early rave.

The second album by Wini, Mops, and DJ Pete, the group FOREVAYANG from Germany and Poland. Before we kill the child within us, let’s dance one more time.

26 tracks released on 3 vinyl records in a GATEFOLD sleeve.

Uncompromising lyrics paired with unique humor, set to exceptional arrangements, guarantee a hip-hop journey like you've never experienced before. On the albums guests around the world such as, Michal Urbaniak, Ola Duong, Ceci Loel, D.White, Cool P & more

The compilation includes 5 Downtempo and 2 Deep House tracks. Marcel primarily focuses on slow and soft grooves with jazzy elements. The “Muzai in the House” and the“Cool Stuff at 4 o’clock” gives a jazzy fl are with a nice bassline. The “Sun-Kissed Shores” is a cool deep House track with a nice trumpet solo. The closing track “End of the Day” by Forteba is a calm and warm deep house song.

Today, chart-topping vocal powerhouse Teddy Swims releases four new surprise tracks on I’ve Tried Everything But Therapy (Part 1.5). The project includes his chart-conquering smash hit ‘Lose Control,’ which recently claimed the top spot on the Billboard Hot 100 chart, and has surpassed 1 billion streams across all platforms.

Among the four new tracks on I’ve Tried Everything But Therapy (Part 1.5) is ‘Hammer to the Heart,’ a moody anthem with a stirring, stadium-ready chorus, ‘Tell Me,’ an understated alt-leaning offering that explores loss and heartbreak, and ‘Apple Juice,’ the kind of soulful throwback that Swims does better than anyone. Another unforgettable highlight is ‘Growing Up Is Getting Old,’ an acoustic treasure that captures the Atlanta native’s magnetism like never before.

FOR FANS OF: Nine Inch Nails, Stabbing Westward, bbb (Crosses), The Black Queen, Lady Gaga, Depeche Mode, Ministry
Love, das neue Album des Londoner Industrial-Noise-Pop-Dreigestirns Tayne, ist eine Erkundung von Liebe, Begehren, Konflikten und Angst. Während
einer Phase der Dissoziation geschrieben, dokumentiert Tayne-Mastermind Matt Sutton seine Vorstellungen von Liebe als Konflikt, Opfer und
Kompromiss, wie emotionale Bindung zu Konflikten führt und wie sich die Auswirkungen über Generationen hinweg ausbreiten können. Was kostet
die Liebe? Wie weit sind wir bereit zu gehen, um ihr nachzujagen? „In den meisten Liedern ist definitiv eine besiegte Haltung zu spüren“, sagt Matt.
„Ich war von Intimität eingeschüchtert, hatte Angst davor, verletzlich zu sein und mich zu outen.“ Mit einem wütenden Hybrid aus Metal, Industrial,
Shoegaze und Pop ringt Love mit der klassischen Definition des Wortes und erforscht, wie wir mit den Konflikten umgehen, die bei der Suche danach
entstehen. Matts Gesangsmelodien bilden einen starken Kontrapunkt zu den rasselnden Beats und den Wellen pulsierenden elektronischen Lärms,
die diese zehn Tracks prägen, und schaffen einen kraftvollen Hybrid, der ebenso viele Anleihen beim Art-Pop von Lady Gaga wie bei den akustischen
Angriffen von Nine Inch Nails nimmt. Gewalttätige Synthies kollidieren mit verführerischen Melodien, die den inneren Konflikt im Herzen der Platte
widerspiegeln. „Der Kontrast ist für mich viel interessanter“, erklärt Matt. „Ich liebe immer noch extremen Metal und Heavy-Bands, aber ich denke, es
ist ein bisschen aufregender, wenn man versucht, etwas zu schaffen, das nicht das ist, was alle anderen machen.“

“This is a true story”

Fargo is a fantastic dark comedy-crime drama television series created and written by Noah Hawley and inspired by Joel & Ethan Coen’s 1996 movie of the same name. Both Coen brothers serve as executive producers on the series. The show stars Martin Freeman (The Hobbit trilogy), Billy Bob Thornton, Bob Odenkirk (Breaking Bad, Better Call Saul) and more.

The soundtrack features selections from the show’s original music composed by Jeff Russo (Power, Necessary Roughness, About Cherry). Its score is well done, with different motifs or instruments assigned to different characters. For Lester Nygaard (Martin Freeman’s character) it’s that nearly-whimsical main theme. For the drifter Lorne Malvo (Thornton’s character) it’s sleigh bell chimes that represent his animalistic nature coming out.

This is a limited edition contains of 666 individually numbered copies on transparent green vinyl. The package includes an insert with pictures of the characters.

Brussels based pianist Giovanni Di Domenicowas born in Rome in 1977. Majoring in 'jazz piano' at music school - he further built on an encyclopaedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy's "Préludes", Luciano Berio's "Sequenzas", to the 'ambi-ideation' heard in Borah Bergman's Soul Note recordings, Cecil Taylor's polissemic density, Paul Bley's bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis.
A distinction - one would call it generational - he shares with many of the musicians he has crossed paths with recently, of which we could enumerate Nate Wooley, Chris Corsano, ArveHenriksen, Jim O'Rourke, Alexandra Grimal, Tetuzi Akiyama, João Lobo or Toshimaru Nakamura.
At the request of W.E.R.F. Records, Giovanni created an entirely new repertoire, teaming up with saxophonist Alexandra Grimal and drummer Eric Thielemans. This collaboration resulted in Echolalia, a suite consisting of three parts: Aoede, Melete, and Mneme. The music is captivating, adventurous, and above all, fascinating.

Repress 2025

Huey Mnemonic (Detroit) and D. Strange (Chicago) are not only interested in the future, but they offer a stark reminder of an ever desolate present.

Their split EP State of Emergency (via Mnemonic’s Subsonic Ebonics label) sonically structures a bleak narrative across 4 electro-laden tracks from the midwest-based producers.

The escapade begins with “Black Manta Corps”, Huey’s classically styled 808 programming accompanying modulated analog synth play up front, while a stirring crescendo of soundtrack-esque chords provides cover from the rear. “Red Alert” offers the juxtaposition of funk-tinged bounce to a searing siren lead. Midway we’re offered a brief moment of repose with Huey demonstrating a masterful computer-funk bridge before the sirens’ sobering tone returns.

D. Strange continues the journey lacing haunting synth interplay that steadily stacks the tension alongside stimulating melodies, chest-pounding bass, and scattered triplets on “Exoframe”. While “Drapetomania” closes things out with zipping percussion, a mutated bass line, and atmospheric droning pads panning like a shadow creeping closer and closer…

For centuries, the drum and its practitioners have been stewards to the physical and ancestral planes.

Detroit afroteknologist Huey Mnemonic advances his sound into a tomorrow unheard with his latest Subsonic Ebonics record, Brainscraatch, a 4-tracker of his researched and highly developed Afriko Tekno.

A portal tears open with the speaker splitting ‘Ankhobi’, blurring the lines between ritual and rave. An opening ceremony of a drum circle in the year 3000, knocking on the door of a domain beyond our own.

Entering the gateway with ‘Brainscraatch’ , a peak time percussive calling where a high pitched whine of sacred electronics becomes the foundation for a slippery hypnotic rhythm. Warranting a double take for the heads in the back fully immersed into the moment.

The portal collapses onto the unknown with the dramatic closer ‘Slipping Into Madness’. Rushing you beyond the dance into a flow state where time and space behave a little differently.

Offering his own perspective, Sard shares a jacking ‘Rescratch’ of the title track, leaning into an acidic groove faithful to the timeless freak funk of the midwest.

With this release, Mnemonic forges ahead to the borderlands of techno, leaving us with an ancient-to-the-future message,

2 long sides for 45RPM deep bass ! One side by Hesed, a long developpement from tribal tribe to Acidcore... the perfect morphing and story telling !
n the Flip MNT delivers an old school tribe tune, level-uping the Boucles Etranges style or old spiral effects... Minimal and tribal, pumpin and breathing.

the sleeve is an atwork from Davide Black Qirex, full printed and drawed little casino ! Punk & Tribe !

In Zusammenarbeit mit Künstlern wie Saul Williams, Mndsgn und Co-Produzent Omari Jazz entstanden, dokumentiert 'Take Off from Mercy' - das neue Album des in Charleston, South Carolina, lebenden Musikers Contour (sein erstes für Label Mexican Summer) - eine Reise durch Vergangenheit und Gegenwart, Tag und Nacht, Verleugnung und gelassene Akzeptanz. Contour (mit bürgerlichem Namen Khari Lucas) stellt sich 'Take Off from Mercy' als ein Epos vor, das in der Dunkelheit der Nacht spielt und in einer diffusen Auflösung endet.

Contours Werk zeugt von einer rastlosen Neugier, die in 'Take Off from Mercy' ihren Höhepunkt findet. Lucas begann als Beatmaker, aber seine Vision hat sich mit Veröffentlichungen wie Onwards!, Love Suite und Weight erweitert und reicht von Sample-getriebenem Soul bis hin zu Coverversionen von Strawberry Switchblade. Auf 'Take Off from Mercy' verzichtet Lucas auf Samples und setzt stattdessen auf gitarrenbetontes Songwriting - ein Schritt, der ihn sofort in eine metaphysische Konversation mit einer langen Reihe von Südstaaten-Songwritern bringt.

F.F.O.: Black Label Society, HELLYEAH, Five Finger Death Punch, Pantera, Lynyryd Skynyrd, Pride & Glory, Molly Hatchet, Blackfoot, The Black Crowes
Eine Gruppe von fünf gottesfürchtigen Außenseitern kommt mit Gitarren und Verstärkern in die Stadt, und sofort beginnt eine Party... Mit
eingeschenkten Drinks, erhobenen Fäusten und einem breiten Grinsen wissen die TEXAS HIPPIE COALITION (THC) immer, wie man eine gute Zeit hat.
Das texanische Quintett - Big Dad Ritch (Gesang), Cord Pool (Gitarre), Nevada Romo (Gitarre), Rado Romo (Bass) und Joey Mandigo (Schlagzeug) - ist
ein Kollektiv aus bewährten Pöblern und eingefleischten Geschichtenerzählern, die arschtretenden Hardrock mit einer Prise Country und einer Menge
texanischer Härte und Lebensfreude spielen. Mit zehn Millionen Streams, Tausenden von Kilometern auf der Straße und zahllosen Fans liefern sie auf
ihrem achten Album Gunsmoke zehn Hymnen, die wie maßgeschneidert sind, um zu kochen und zu brennen. Im Jahr 2024 zogen sich Ritch und Co.
für einen Monat in ein Airbnb zurück und schrieben das, was Gunsmoke werden sollte, um es dann in Dallas und in den Bell Labs in Nord-Oklahoma
mit dem Produzenten Trent Bell aufzunehmen. Diesmal ließen sich die Musiker voll und ganz auf ihren Country- und Southern-Rock-Stil ein, aber
auch auf ihre lebenslange Leidenschaft für Western. „Ich war schon immer ein Western-Typ“, bekräftigt Ritch. „John Wayne ist einer meiner
Superhelden. Man versucht, sich an Leuten zu orientieren, von denen man glaubt, dass sie eine gute Moral und einen guten Standard haben. Wenn
ich als großer Kerl reinkomme und wie ein Mann aussehe, der alles im Griff hat, heißt es: 'Hier kommt der große Mann'“, lacht er.

Die New-England-Extrem-Metal-Band Escuela Grind wird am 18. Oktober ihre neue LP „Dreams on Algorithms“ über MNRK Heavy veröffentlichen.
Aufgenommen im GodCity-Studio in Salem, Massachusetts, mit Produzent Kurt Ballou und gemastert von Nick Townsend (Dr. Dre, Betty Davis), ist die
Platte der mit Spannung erwartete Nachfolger von Escuela Grinds gefeiertem Debütalbum „Memory Theater“ aus dem Jahr 2022, das von der New
York Times als „ein Opus der Extremität“ gefeiert wurde.Escuela Grinds Reise durch die strafende Klanglandschaft des Grindcore war alles andere als
status quo. Ihr Mantra der Förderung von Inklusivität und Akzeptanz innerhalb extremer Musikgemeinschaften steht als Pfeiler des Fortschritts in
einer oft abgeschotteten und verschlossenen Subkultur. Sängerin Katerina Economou verbreitet den Geist und die Grundüberzeugungen der Band auf
jeder Bühne, auf der sie auftritt - sie verstärkt die Stimmen der Unterrepräsentierten und verbindet die Menschen auf einer Ebene, die tiefer geht als
die Musik.Dreams on Algorithms ist ein klanglicher Beweis für die Ideologien der Band - eine knüppelharte Darbietung von progressivem
Extrem-Metal, der die Genregrenzen überschreitet.

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others.

From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio.

His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities.

Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class.

Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

Metan Noise is a legendary Czech label. Toolbox gave a hand with the pressing of this release to Mechoz because it's a special one, featuring a fresh concept.

The music style is progressive, staying true to the classic CZ Tek tradition, but with a distinctively trance-like vibe. Ultimately, the record brings something new, blending classic with fresh sounds!

With the debut album "Mechanical Spin Phenomena", MNEMIC introduced themselves to the metal world impressively: Their music, made of heavy Thrash riffs, Progressive elements, modern synthesizers and electronic samples created both a hard and spacy atmosphere – therefore the band decided to describe their sound as Fusion Future Metal. Crushing songs like 'Ghost' and 'Liquid' got stuck in your head so easily and the comparisons to bands like FEAR FACTORY, MESHUGGAH or STRAPPING YOUNG LAD were drawn soon. But MNEMIC are not a simple copy of those acts – they are a band with their own ideas and self-contained style. "The Audio Injected Soul" shows MNEMIC grown and more mature. Less complex than "Mechanical Spin Phenomena", the band worked a lot with melodies and set a high value on creating catchy refrains. The result is amazing songs like 'Dreamstate Emergency', 'Door 2.12' or 'Deathbox' groove like hell and unify brutality with melody. Finalized by a dynamic cover version of DURAN DURAN's 'Wild Boys', "The Audio Injected Soul" is all in all a perfect package of ten punishing Modern Metal songs that will catapult MNEMIC to the major league of the genre! Tue Madsen, who again took care of the producing in his Antfarm Studios in Aarhus/Denmark, additionally provided the album with a clear and explosive sound that displays the effect of each track fully.

Dame Area's highly anticipated fourth studio album, "Toda la verdad sobre Dame Area" ("The Whole Truth about Dame Area"), a collaboration with the renowned labels Mannequin Records and Humo Records.

Formed in 2017 within the vibrant underground scene of Barcelona's Màgia Roja club, Dame Area comprises the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux. They fuse industrial-tribal polyrhythms with minimalist synth basslines, drawing profound inspiration from avant-garde masters such as Esplendor Geometrico, Throbbing Gristle, Suicide, Einstürzende Neubauten, Can, Coil, Swans, Big Black, and Wolf Eyes.

This record represents a new phase in Dame Area's discography. It's a big step up in terms of sound, composition and ideas. This record it's the perfect representation of what they have been playing live the last three years and what most people know them for. Also it serves as a companion piece to 2022’s Toda la mentira sobre Dame Area ("All The Lies About Dame Area"), which had a stronger focus on melody, while this latest record is more aggressive and industrial-influenced, with a greater emphasis on percussion.

Tracks like the Suicide-influenced "Si no es hoy cuando es" and "Sempre Cambiare" are an onslaught of industrialism and experimentalism—formidable, volatile, and unpredictable avant-garde subversion. Silvia explains, "One of our biggest influences is doing what our influences wouldn't do. We're more into dynamics and structures atypical of electronic music, with changes in time signatures, starts and stops, and dynamics more typical of rock music. We use any musical idea from any genre. Some songs on the album are based on flamenco rhythms, others influenced by '60s experimental pop, heavy metal, or contemporary electronic music."

The confrontational "Vengo dall'aldilà" accelerates with heavy percussion, while "Tu me hiciste creer" builds into a rhythmic, transcendent noise of yelled vocals and hypnotic beats. Viktor adds, "This song took us more time to complete than any other we have recorded. It was a very organic process, evolving slowly from some instrumental percussive stuff we were doing live. Then we started using feedback as a rhythmic element (through a metallic sheet), and this was the first song where we incorporated this element, typical of noise-rock and experimental rock."

Elsewhere, "Esto Es Nuestro Ruido" represents a manic, eclectic form of contemporary industrial music, post-punk, and EBM. Silvia notes, "It's the first album we recorded outside a studio. Although we've been playing live with metallic percussion and floor tom from the very start, in the studio, with some exceptions, it was mostly sample-based until now. On Toda la verdad sobre Dame Area, all drums and almost all metallic percussion have been recorded live."

With a growing reputation as one of the best live bands around since their inception, Dame Area has toured extensively across Europe, performing at renowned festivals like Atonal, CTM, Nuits Sonores, Dour, and Fusion, as well as legendary clubs such as Berghain, Tresor, Apolo, and Spook Factory.

Recorded at Sol de Sants Studios and Estudio Hermetic between August and November 2023

Silvia Konstance: vocals, synths, percussions, electronics, production
Viktor L. Crux: synths, drums, percussions, electronics, production
Mixing and additional production by Guillermo Sánchez Rojo
Mastering by Paul Mac at Hardgroove Mastering
Designed by Leo Sousa
Photography by Fabio Calabretta
Photo concept by Dame Area

A collection of 18 rare disco tracks from Yugoslavia. Compiled by Leri Ahel & Zeljko Luketic from original master tapes. Fox & His Friends label owners Ahel & Luketic selected obscure 7'' singles, b-sides, out-of-print releases and digged deep into the vaults of Jugoton to tell the story of how disco infiltrated clubs and pop music. This compilation is vinyl counterpart to their pioneering research and work in two major exhibitions tracing roots, influences and social significance of disco in music, fashion and design held in 2015 in Klovicevi Dvori Museum and HDD Gallery in Zagreb. "Socialist Disco - Dancing Behind Yugoslavia's Velvet Curtain 1977-1987" double gatefold LP with extensive liner notes contains tunes from KIM Band, Gabi Novak, Arian, Ljupka Dimitrovska, Ana Sasso, Moni Kovacic, Milka Lenac, Rok Hotel, Ivica Surjak, Grupa ST, Nano Prsa and many more in various sub-genres including classical orchestrated disco, dance reworkings of international chart hits and synth-filled italo-disco stompers performed by Yugoslavian music stars, fashion models and even sports and football heroes. Disco, a vital Trojan horse (in local notion: a pop music you can dance to), stayed quite a long time In Yugoslavia, refusing to be silenced and refusing to jump into the bandwagon of expected. It was influenced by American and European disco sound, for example, by the Boney M, Amanda Lear or Love Machine, who all visited Yugoslavia and had live concerts. The producers and the big record companies like Jugoton, PGP RTB, Diskoton or ZKP RTVL, noted the hype in music and they constantly probed the market with limited run of seven inchers or special performances. Some artists were quite successful, but the rest were in the 7'' single empire which was free enough to experiment with all things disco had to offer - genre hybrids, use of electronics, sexual innuendo, bizarre lyrics and most importantly, great musicians and major composers having fun. The no-restrictions policy of disco was there to evade the rules and surely it did.

Jaz Karis is getting ready to take off. The South London singer and songwriter has been making waves with her silky voice and lyrical, candid pen since her first EP back in 2017, building herself up steadily over the years. 2024 will see the long-awaited arrival of Jaz Karis' debut album, Safe Flight, . It's a record that spans a breadth of sonics: slinky Afrobeats, gleaming R&B, warm gospel, shimmering flecks of pop, hiphop, jazz and amapiano, all woven through with the glowing thread of Jaz's signature soulful feeling. "Soul to me is a feeling," she explains, "All I want to do with my music is evoke feelings."

The imagery for this album all pertains to identity and travel - IDs, lanyards, nostalgia-tinged film footage - and in turn, it all alludes to the path that Jaz Karis is on. Safe Flight finds an accomplished, assured artist reflecting on where she's been and ready to step up to the next level: a star on the rise but still deeply down to earth. At once soulful, vibey and poignant, this is an album about embracing possibility, admitting mistakes, and trusting the process. "It's about getting free," Jaz says with a smile, "And it's not that I have it all figured out now or anything, but I'm on this learning curve. There's something exciting about being on the journey."

Mariachiara Troianiello, the force behind Katatonic Silentio, continues her exploration of spatial and sound design, slicing various forms of dub while following her instincts and storytelling through each work.

Troianiello's music and live sets are known to be meditative, with each transition subliminally serving a purpose. As 'Axis Of Light' delves into five pieces for this EP, one can experience the drops and transitions connecting, gradually uncovering hidden meanings.

Written and produced by Mariachiara Troianiello
Artwork by Apolo Cacho
Layout by Takashi Makabe
Digital Master by Paul Mac
Mastered and cut by Simon at The Exchange

Im Kopf eines Vigilanten tobt ein Krieg. A Killer's Confession erzählen ihn laut auf ihrem vierten Album und MNRK Music Group Debütalbum Victim 1.
Die Band um Sänger und Mastermind Waylon Reavis geht über den Punkt ohne Wiederkehr hinaus und kanalisiert die fesselnde Abscheulichkeit
wahrer Verbrechen zu einem Soundtrack aus melodischem Hardrock mit Anflügen von hämmerndem Metal und heimtückischem Industrial. Eine fast
ein Jahrzehnt dauernde Reise führte zu diesem Punkt. Nach drei bahnbrechenden Alben mit Mushroomhead zog sich Waylon von der Musik zurück,
bis sie ihn 2016 wieder einholte. Er tauchte wieder an der Spitze von A Killer's Confession auf und lieferte drei kultige Lieblingsalben: Unbroken
2017, The Indifference of Good Men 2019 und Remember [2021]. Auf dem Weg dorthin verzeichnete die Band zig Millionen Streams und arbeitete
mit jedem zusammen, von Brian "Head" Welch von Korn und Love And Death bis hin zu Chad Gray von Mudvayne und HELLYEAH.2022 ging Waylon
mit seinen Kollegen und Produzenten Dusty Boles [Make Me Famous] und Evan Mckeever [Nine Shrines] ins Studio. Als er diese Vision zum Leben
erweckte, entstand das zehn Tracks umfassende Äquivalent zu "falling down a YouTube rabbit hole of unsolved mysteries". Am Ende erzählt A Killer's
Confession eine Geschichte, von der man sich nicht mehr abwenden kann.

Im Kopf eines Vigilanten tobt ein Krieg. A Killer's Confession erzählen ihn laut auf ihrem vierten Album und MNRK Music Group Debütalbum Victim 1.
Die Band um Sänger und Mastermind Waylon Reavis geht über den Punkt ohne Wiederkehr hinaus und kanalisiert die fesselnde Abscheulichkeit
wahrer Verbrechen zu einem Soundtrack aus melodischem Hardrock mit Anflügen von hämmerndem Metal und heimtückischem Industrial. Eine fast
ein Jahrzehnt dauernde Reise führte zu diesem Punkt. Nach drei bahnbrechenden Alben mit Mushroomhead zog sich Waylon von der Musik zurück,
bis sie ihn 2016 wieder einholte. Er tauchte wieder an der Spitze von A Killer's Confession auf und lieferte drei kultige Lieblingsalben: Unbroken
2017, The Indifference of Good Men 2019 und Remember [2021]. Auf dem Weg dorthin verzeichnete die Band zig Millionen Streams und arbeitete
mit jedem zusammen, von Brian "Head" Welch von Korn und Love And Death bis hin zu Chad Gray von Mudvayne und HELLYEAH.2022 ging Waylon
mit seinen Kollegen und Produzenten Dusty Boles [Make Me Famous] und Evan Mckeever [Nine Shrines] ins Studio. Als er diese Vision zum Leben
erweckte, entstand das zehn Tracks umfassende Äquivalent zu "falling down a YouTube rabbit hole of unsolved mysteries". Am Ende erzählt A Killer's
Confession eine Geschichte, von der man sich nicht mehr abwenden kann.

FOR FANS OF: Soundgarden, Foo Fighters, Queens Of The Stone Age, Silverchair, Black Sabbath
Wie sie selbst zugeben, gab es eine Zeit, in der es unwahrscheinlich schien, dass Torus überhaupt hier stehen würden, um der Welt ihr Debütalbum
vorzustellen. Das ist an sich schon eine überraschende erste Aussage, die aus dem Mund von Frontmann und Band-Mastermind Alfie Glass kommt,
während er und seine Bandkollegen im Wohnzimmer seines Hauses außerhalb von Milton Keynes sitzen. Jeder Schritt, den Torus bisher
unternommen haben, wurde mit Interesse und Beifall bedacht - bereits vor der von der Kritik gelobten Debüt-EP Sail" schwärmten die wichtigsten
Kritiker wie Kerrang! und Classic Rock von ihrer Marke des Null-Bullshit-Hardrocks", der gigantische Riffs und dicke, monströse Grooves" in der
Tradition von Rockgrößen wie Kyuss, Queens Of The Stone Age und Smashing Pumpkins bietet. Wenn Ihnen der Name Alfie Glass noch vertrauter
vorkommt, liegt das wahrscheinlich daran, dass Black Sabbath-Gitarrenlegende Tony Iommi die Fähigkeiten des Sechssaiters in der TV-Talentshow
Guitar Star lobte, als Glass gerade mal 12 Jahre alt war. Torus begann als Ein-Mann-Schlafzimmerprojekt, wurde aber schon bald durch den Bassisten
Harry Quinn (2020) und den Schlagzeuger Jack Orr (Anfang 2022) ergänzt. Trotz ihrer unterschiedlichen musikalischen Hintergründe und Einflüsse, die
von Wüstenrock über psychedelischen Prog bis hin zu Punk reichen, verbindet das Trio der gemeinsame Wunsch, Musik zu machen, die die Köpfe zum
Klingen bringt und die Füße bewegt. "Wir kommen alle aus verschiedenen Ecken, haben aber eine gemeinsame Vision für die Musik, die wir schreiben
wollen", nickt Orr.

Seit ihrer Gründung 2014 in Melbourne, Florida, haben Bodysnatcher nichts anderes als das Feinste an wütender, extremer Musik zu bieten. Durch
die Kombination von erdrückenden Breakdowns mit unheimlicher Atmosphäre, vernichtenden Riffs und gruseligen Grooves ist die Band zu einem
Synonym für "heavy" geworden, das in jeder Stadt, die sie besuchen, Gewalt hervorruft und Moshpits hervorruft, die nichts als Krater in ihrem
Kielwasser hinterlassen. Jetzt, mit der bevorstehenden Veröffentlichung ihrer 2024 EP, Vile Conduct, ist die Band zurück mit einer weiteren
Demonstration purer Kraft, die einmal mehr zeigt, dass Bodysnatcher aus konventionellen Genre-Zwängen ausbrechen, um etwas herauszubringen,
das einfach nur... heavy ist. Produziert vom legendären Will Putney (Fit for an Autopsy, END, Knocked Loose), erzählt Vile Conduct von persönlichen
Geschichten über den Verlust durch Sucht und Drogen, alles durch eine einzigartige Linse aus bitterer Reue und gnadenloser Aggression, wie sie nur
Bodysnatcher bieten können.

La Sonora Mazuren is the latest addition to the already rich indie-tropical scene out of Bogotá, Colombia. Deeply rooted in the popular sounds and rhythms of South America, the group draws from cumbia, chicha, guaracha, champeta and other styles mostly from Ecuador, Colombia and Peru.

Far from being revivalists or folklorists, the group combines synthesizers and electric guitars with accordion and percussion to create a style indebted to early pioneers such as Polibio Mayorga or Bogota’s own Eblis Alvarez, of Meridian Brothers fame, who also produced their new album. The result is a psychedelic feast reminiscent of the golden years of tropicalia.

The Universe evolution led to the emergence of life and we can only guess what forms of it can exist in the depths of Space. Maybe in the future a Moonrover will be launched to other planets and satellites. And this is only a small part of the huge research capacity of humankind. Using this capacity to the full we hope to find answers to the questions on the origin and existence of life.

Evolution ist der Motor für Langlebigkeit. Within The Ruins drängen unerbittlich nach vorne, verbrennen Selbstgefälligkeit und erschaffen Neues aus
ihrer Asche. Das Quartett aus dem Westen von Massachusetts sprengt alle Konventionen, indem es mit polyrhythmischem Geknüppel, kopfnickenden
Grooves, eindringlichem Gesang und lebendigen Erzählungen die Sinne angreift. Ihr kontrolliertes Chaos hat zu zig Millionen Streams geführt (eine
Seltenheit für so kompromisslos harte Acts), zu ausverkauften Häusern auf Tour und zu weitreichender Anerkennung durch Alternative Press,
American Songwriter, Loudwire, Metal Injection, Phoenix New Times und viele mehr. Jetzt entwickeln sie sich auf ihrem siebten Album Phenomena II
MNRK Heavy weiter. "Wenn ihr uns zuhört, hoffen wir, dass ihr das Gefühl habt, frischen Metal gefunden zu haben", sagt Joe. "Wenn man etwas
lange Zeit gemacht hat, kann man leicht in seinen Gewohnheiten stecken bleiben. Deshalb versuchen wir immer, etwas zu präsentieren, das man
h nicht gehört hat - und das man nirgendwo anders bekommt."

FOR FANS OF: Enterprise Earth, Bodysnatcher, Thy Art Is Murder, Decapitated, Slayer, Behemoth, Aesthetic, Lorna Shore, Abigail Williams, Mental Cruelty, Darkest Hour. Love Is Fear

Die Deathmetal-Künstler TURIN veröffentlichen ihr zweites Album "The Unforgiving Reality In Nothing". Das britische Quintett beschäftigt sich auf dem Album mit den Kämpfen der Menschheit, den Auswirkungen des Nihilismus, dem Loslassen von Traumata und der Heilung in der modernen Welt. The Unforgiving Reality In Nothing" ist eine Kombination aus den Blackened-Death-Metal-Wurzeln der Band mit Elementen des melodischen Deathcore und cineastischen Nuancen. The Unforgiving Reality In Nothing" ist ein modernes Death Metal-Album, das einen schonungslosen Einblick in die harte Realität des Menschseins, der psychischen Gesundheit, des laubensverlustes und des Kampfes um das Loslassen von Traumata in einem verzweifelten Versuch, sich selbst zu finden, bietet.

Dance culture has always gone side by side with hip-hop. Another proof of this is the new solo project YATUT (translated as «I’m here») by the legendary beatmaker Boora, originally from Kaliningrad, and now based in Los Angeles. His Debut EP called Vahue (translated as «I’m shocked») on Minor Notes is a collection of reflections on life changes, moving to another country, and the difficulties that accompany migration at all. Musically, this release is woven from a variety of samples and breaks combined with the analog sound of the Roland JV-1080 synthesizer and MPC One. This music is at the junction of house, electro and breakbeat. And we «Vahue» how cool it turned out.

Mannequin Records boss Alessandro Adriani returns on his own label with four tracks that were previously available exclusively as digital releases.

Known for his unique blend of electro and synth wave sounds, Adriani has made a significant impact on the underground music landscape. With this new vinyl release, Adriani brings his distinctive musical vision to a vinyl audience, offering a tangible experience that digital formats cannot replicate. Each track is a testament to his ability to merge pulsating electronic beats with atmospheric synth melodies, creating a soundscape that is both nostalgic and innovative.

The second solo record from the Wu-Tang OG is finally on vinyl for the first time! With beats from the legendary Ayatolla, this is essential for any True Wu fan.