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2025 Repress

As one of the most Sought after artists of the recent years, there is no doubt that "Alarico" is on the front line of the new generational techno movement.

After recent releases in labels such as Klockworks, Token and Mutual Rytm, The Milan Based producer taking the gloves off and Debuting his first solo EP on his Co owned label "Primal instinct" alongside Chlar.

The anticipated 5 tracker release "Carnal Fever", is an impeccable showcase of Alarico's ability to push his musical aesthetics even further and keep developing his signatured modern minimalistic textures into new levels.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

C"mon Tigre announces their new instrumental project,Instrumental Ensemble - Soundtrack for Imaginary Movie Vol 1. This album oï¬Çers an alternate view of cinematic music: a soundtrack composed for a fictional film using a challenging and inventive method.This project investigates an alternative approach in which music shapes and guides visual storytelling. It"s the first in a series of albums dedicated to as-yet-unmade films, enabling listeners to explore music as a key component in cinematic narrative. The original story that inspired this music was created in partnership with a large language model, which was taught and instructed in substance and style to best fit the project"s artistic concept. C"mon Tigre works with AI to achieve collaborative harmony while contemplating on the unavoidable future ahead. Each track on the album depicts a scene, delivering stories about humans jugglingpersonal issues and contacts with advanced technology. The end result is a story told by sound and text, designed to immerse listeners in a multisensory universe

Repress!

200 COPIES ONLY

Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.

Terry Francis makes his debut on Pariter with a rare and essential reissue from one of the UK Tech House's original pioneers. A cornerstone of the London scene, long time Fabric resident and a driving force behind the early Housey Doingz and Wiggle movements, Terry's influence runs deep in the foundations of underground house music as we know it today.

This release marks the first installment in a short-series with a carefully selected tracks from Terry's archive. Engineered by Wubble-U at the legendary Strange Weather studios and originally released on Eukahouse 25 years ago, these tracks capture the raw energy and spirit of the late 90's London Tech House at its finest. A timeless, sought-after release specially reissued and remastered with an unreleased retake, a vital document from a pivotal era.

funcionário delights in the freedom of creating freeform music for the first time in his career. On “horizonte”, he loosens the reins, his sound follows a wavy, organic structure rather than a rigid, formal one. If it feels freer and more colourful, that’s because it truly is.

Eight years ago, when we first encountered his work, he was composing soundtracks for imaginary video games and crafting sonic landscapes that felt like destinations for sci-fi anime characters. With “Cavalcante” (2022), he broke away from that past. It marked a turning point, he was ready to explore a “fourth world” in both sound and concept. The feedback was overwhelming.

Three years later, “horizonte” marks another evolution. He sends us music regularly, but this album stood out immediately. It felt right: more synth-driven, more open to improvisation. As he put it: “It’s like using oil pastels for the first time and discovering new possibilities. In a way, I’ve found new ways of creating using the same colours.”

Listening to horizonte is like waking up from a dream. Again and again. The opening track, “nascer”, suggests a new dawn, but it’s in “pássaros” that the vision fully takes flight: less processed, more raw, yet still detailed and expansive.

Finding new ways with the same colours has been his quiet mission all along. What’s new here aren't the tools, but the feeling. The movement. The invitation to travel with him. You can hear - and feel - his sense of wonder. Every sound radiates joy. Every moment sparks a new thought. The music moves quickly, but breathes slowly.

Tracks like “renascer” and “o caminho do regresso” echo the spirit of late-70s/early-80s Vangelis, in deep reverence. And just as you approach the end, “fantasma” arrives - a stunning closer, reminiscent of Eno’s “An Ending”. By then, it’s clear: the “fourth world” is behind him. funcionário has moved on. To where? We’re about to discover.

Dream Dancing have been on the hunt for something special and find it with the return of Blueless.

On the A side, two highly sought after tracks originally released on her own Capture Records in 2007.
'Groove Me' is a stunning emotive deep tech house moment which will raise the hairs on your neck on every listen.
'OK' enters more club territory, still keeping within the soulful spectrum. Restored and remastered from Blueless' own vault.

On the B side, 'Trueness' and 'Outsounding' are both fresh from the studio, offering organic rhythms, effortlessly gliding with classy musical atmospheres and warm rolling grooves.

Almost 20 years between the productions, Blueless remains true to her unique soulful style with these much welcomed heartfelt, timeless and deep sounds.

Something old, something new, all Blue!

Es gibt wohl keine größere Überraschungserfolgsgeschichte aus dem Internet im Bereich Musik als die von Ata Kak.Der ghanaische Rapper und Sänger veröffentlichte 1994 still und leise ein Tape, das erst 2006 wiederentdeckt wurde - zu einer Zeit, als die bloggetriebene Online-Sammlerbewegung für Musik in der Vor-Streaming-Ära auf ihrem Höhepunkt war.Die mitreißende Mischung aus Lo-Fi-House und aufrichtig vorgetragenem, kraftvollem Burger Highlife eroberte Mitte der 2000er die Herzen von Musikliebhabern auf der ganzen Welt. Mit Unterstützung seiner Londoner Band spielte Ata Kak weltweit Konzerte und stand auf riesigen Bühnen vor Tausenden von Fans.Die sieben Songs auf ,Obaa Sima" haben Hörerinnen und Hörer gleichermaßen begeistert und verblüfft, seit sie als erster Beitrag auf dem Blog Awesome Tapes From Africa erschienen. Eine gut dokumentierte, jahrelange Suche nach dem Sänger endete 2015 mit einer Neuauflage.Trotz der sorgfältigen Arbeit der langjährigen ATFA-Mastering-Partnerin Jessica Thompson war die Klangqualität der Quelle jedoch nicht optimal - das originale DAT-Tape war verschimmelt und zerfiel.Nach jahrelanger Suche nach der bestmöglichen Kassette steht nun die Obaa Sima Anniversary Remaster-Version bereit. Zum ersten Mal können wir diesen inzwischen legendären, unkonventionellen Dancefloor-Klassiker in glasklarem Klang hören.Die ursprüngliche Neuauflage von ,Obaa Sima" hat über 10.000 LPs verkauft, und die Kassette wurde vom ursprünglichen Blogpost Hunderttausende Male heruntergeladen. Auf der Basis dieser legendären Aufnahme spielte Ata Kak energiegeladene Shows in Clubs und auf Festivals weltweit.Die Deluxe-Edition des neuen Remasters enthält eine LP in gesprenkeltem Vinyl sowie eine DVD-Dokumentation mit bisher unveröffentlichtem Filmmaterial.

Es gibt wohl keine größere Überraschungserfolgsgeschichte aus dem Internet im Bereich Musik als die von Ata Kak.Der ghanaische Rapper und Sänger veröffentlichte 1994 still und leise ein Tape, das erst 2006 wiederentdeckt wurde - zu einer Zeit, als die bloggetriebene Online-Sammlerbewegung für Musik in der Vor-Streaming-Ära auf ihrem Höhepunkt war.Die mitreißende Mischung aus Lo-Fi-House und aufrichtig vorgetragenem, kraftvollem Burger Highlife eroberte Mitte der 2000er die Herzen von Musikliebhabern auf der ganzen Welt. Mit Unterstützung seiner Londoner Band spielte Ata Kak weltweit Konzerte und stand auf riesigen Bühnen vor Tausenden von Fans.Die sieben Songs auf ,Obaa Sima" haben Hörerinnen und Hörer gleichermaßen begeistert und verblüfft, seit sie als erster Beitrag auf dem Blog Awesome Tapes From Africa erschienen. Eine gut dokumentierte, jahrelange Suche nach dem Sänger endete 2015 mit einer Neuauflage.Trotz der sorgfältigen Arbeit der langjährigen ATFA-Mastering-Partnerin Jessica Thompson war die Klangqualität der Quelle jedoch nicht optimal - das originale DAT-Tape war verschimmelt und zerfiel.Nach jahrelanger Suche nach der bestmöglichen Kassette steht nun die Obaa Sima Anniversary Remaster-Version bereit. Zum ersten Mal können wir diesen inzwischen legendären, unkonventionellen Dancefloor-Klassiker in glasklarem Klang hören.Die ursprüngliche Neuauflage von ,Obaa Sima" hat über 10.000 LPs verkauft, und die Kassette wurde vom ursprünglichen Blogpost Hunderttausende Male heruntergeladen. Auf der Basis dieser legendären Aufnahme spielte Ata Kak energiegeladene Shows in Clubs und auf Festivals weltweit.Die Deluxe-Edition des neuen Remasters enthält eine LP in gesprenkeltem Vinyl sowie eine DVD-Dokumentation mit bisher unveröffentlichtem Filmmaterial.

Anushka Chkheidze + Robert Lippok’s »Uncontrollable Thoughts« on Morr Music is the duo’s debut joint release. The Netherlands-based Georgian composer and the German sound artist from Berlin first met in 2019 in the context of a workshop programme that took place in Tbilisi, and later worked with Eto Gelashvili, Hayk Karoyi, and Lillevan on the massive »Glacier Music II« music and book project, released in 2021. This led them to engage in a less conceptually driven form of musicking and real-time composition that corresponds with their respective environments. They draw on traditions such as minimal music or late 1990s and early 2000s electronica to integrate subtle beats with elegiac organ drones, playful melodies with lush textures. The first document of an ever-shifting intergenerational dialogue, »Uncontrollable Thoughts« is a product of mutual listening outside time.

Though Chkheidze and Lippok had access to professional studios, they chose to rent a simple rehearsal space, equipped with only the bare essentials—bass and guitar amps as well as a small PA—to maintain immediacy in their working process. The music they made together corresponded to and drew on the respective possibilities and shortcomings of this studio, much like their collaboration in general is characterised by the care with which they approach each other's talents and ideas. While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether.

When the first chimes on »Bird Song« announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why »Uncontrollable Thoughts« carries this title: The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on »Rainbow,« melancholy with »Field,« and the interplay of suspense and release through the ten-minute-long title track. But the different pieces also tie into one aother in various ways. The dirge-like organ drones on which »Rainbow Road« ends reappear in the beginning of »Uncontrollable Thoughts,« much like Chkheidze’s gentle yet emphatic piano chords on »Field« seem to provide the starting point from which the artist develops the striking motifs of the final piece »Opening«, whose title itself suggests that the record as a whole can and should be enjoyed as a loop. All this creates a unique, idiosyncratic temporal logic.

While there is much that sets Chkheidze and Lippok apart as solo artists, the major shared leitmotif in their respective bodies of work is the sonic engagement with space. »Uncontrollable Thoughts« is hence best understood as an extension of this practice; as an album that maps the geographies of their minds in motion, tracing musical movements as they melt into each other.

WRWTFWW Records is very happy to announce the first-ever vinyl release of Japanese electronic music producer Virgo's unheralded sophomore album, Remnants, a sleeper underground hit from 1999, now finally available as a limited edition 45rpm cut double LP housed in a heavyweight sleeve.
Released only on CD in 1999 by Tokyo-based cult label FORM@ RECORDS, Remnants is a quietly visionary record: mellow ambient techno, fluid electronica, and soul-laced atmospherics with the spirit of Detroit close to the heart. As the follow-up to his essential debut Landform Code, Virgo expands his palette here - working in widescreen textures, warm synth tones, and patient, emotive arrangements that feel both intimate and cinematic. The result is lush, heartfelt, and simply brilliant - a late '90s statement that rewards deep, repeated listening.
Remnants sits comfortably alongside the era's best explorations in soulful techno, ambient, and IDM, recalling the sensibilities of B12, The Black Dog, Ian O'Brien, and the lineage of labels Warp, Likemind and Clear, while remaining distinctly Virgo - subtle, sophisticated, and unexpectedly moving.
The album is released alongside Virgo's Landform Code, also available on vinyl for the first time ever, as part of a collaborative reissue series between WRWTFWW and FORM@. It aslo signals more archival treasures to come : vinyl pressings of FORM@ compilations Art Form I (1997), Art Form 2 (1998), and Re-Form Ver-1.0 (1999).

Marcel Dettmann's 'My Own Shadow' is the latest chapter in the Berlin-based legend's illustrious career. The live project is, in his own words, "a space where all of my artistic expressions meet," blending techno with film, sketches and photography. The shows are less club sets and more immersive experiences, where the audience gets lost in a "full sensory narrative." "My solo work has always been open, evolving across records and remixes," Dettmann added.

My Own Shadow's first official release, Approaching, is a five-track EP landing on !K7 Records in November. Complemented by his own photography on the artwork, the music spans techno and ambient, fizzing with a madcap funk and energy quite unlike any of his previous productions.

VITAL SALES POINTS
Renowned Berghain resident and contemporary techno stalwart Marcel Dettmann introduces his brand new project and alias My Own Shadow - after his latest releases on Running Back and Dekmantel. EU, UK and US tour dates during the campaign.

Recital releases The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s A Letter From Home. Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The album’s shifting, variegated forms and voices pass quickly; the record feels both comforting and elusive, suitable for any hour of the day.

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members. It is released in a limited edition vinyl pressing of 200 copies, accompanied by a booklet of effusive program notes by the composer, alongside an assemblage of photographs, scores, and artwork.

For the third time, they had been sent to this forsaken land. It was neither east nor west, neither north nor south. They said it had once been a kingdom, somewhere in the heart of the old continent, something they had pieced together from the ruins scattered across jagged hills sprouting here and there from the ground. Everyone else went islands, dived to the seabed, drilled at the poles, and explored waste in the east, but these two were sent here again, as if someone were trying to get rid of them, just to keep them out of the way.

What were they really supposed to find here? They wandered the land, aimless and bored, like the last bird watching from the sky. Sometimes they landed, took samples for the lab, and then caught a nap by the river bend. They avoided the hot fumes of active volcanoes. Compared to those on other planets, these were more like small, whispered fumaroles, but even so, they had to be careful.

They felt as if they had stepped into a scene from a movie they had once glimpsed. A mad and exhausted conqueror screamed and wildly flailed his arms on a ridiculous wooden raft in the middle of a raging river. It was somewhere in the south of this planet, deep in the jungle. There were many movies made on this planet, but only fragments of the reels survived, and this one quickly became iconic.

When a trumpet sounded in the distance and flooded the land with a booming murmur, when all the fumaroles hissed together, and when wind rolled in, covering the land in heavy fog, both of them knew the third expedition would not be like the previous ones.

At that moment, Kult Masek and Petr Vrba were flying over the land that was once called České středohoří.

‘Unearthed Technology’ is the new EP from Introspekt, following on from her critically acclaimed debut album ‘Moving The Center’.

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.

Latest record off the Kalahari production line comes courtesy of a real one. Klon Dump in the building, moving like a madman across four barrelling tech house scorchers.

Part-producer, part-engineer and a long time co-conspirator of A Colourful Storm’s Moopie. Better known to some under the alias Mark, but always surefire for some serious dancefloor potency. Doubters, look no further-this is another demonstration of his mastery.

Big with the radiant stabs, even bigger on the earworm groove. Ploughing the furrow of tough, direct but deft as the Klon Dump faithful will have come to expect by now. Proper belters.

Always flexing outstanding rhythmic ingenuity, whether it’s hardcore hybridity as Mark or the tech house innovation shown here. If anything in life is certain, it’s that a KD record will lay down some serious torque.

There’s also an off-kilter playfulness that kinda feels reminiscent of T+++’s ‘Space Pong’ or Fiedel and Errorsmith’s MMM project. Another ace in the hole from the Antipodean shapeshifter.

Fides Records celebrates ten years of independent sound and vision with the monumental 41-track release “FIDES X – 10 Years of Fides”. The first 12” FIDESX 1, set to release on 24th October sets the tone for the seven-part vinyl journey, opening with a powerful statement of intent.

UFO95 introduces “After Light Comes Shadow”, a bleep-infused 4/4 cut whose broken accents unfold into layers of cinematic tension. Z.I.P.P.O and Claudio PRC follow with “Marte Rosso”, a poetic excursion across Martian landscapes shaped by evolving pads and hypnotic grooves. D-Leria’s “Underwater” plunges deeper still, driven by relentless modular propulsion and immersive aquatic textures.

The B-side expands the spectrum. Stephanie Sykes & Dyad contribute an untitled roller infused with spiritual intensity and organ-like resonance, while BIMOL’s “Fragmento en La” twists cinematic atmospheres and industrial edges into broken rhythms guided by a haunting Spanish vocal. Bringing the record to a close, Decoder delivers “We Keep Lying To Ourselves”—a slow-burning, 808-driven piece of subtle progression and timeless elegance

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

Thank You For Almost Everything is the sophomore album for Headache, a collaboration between writer and poet Francis Hornsby Clark and music-producer Joseph Thornalley aka Vegyn. This new album follows on the surprise underground success of their debut: The Head Hurts But The Heart Knows The Truth (released 31 May 2023) releasing on Vegyn's own PLZ Make It Ruins label. The debut record has streamed over 19.4 million times on Spotify alone and sold over 8,000 physical copies worldwide. The debut gained its popularity entirely organically with zero marketing or PR spend. Since its release, Headache has built a dedicated global fanbase, with several fans even going so far as to get lyrics or the project's logo tattooed on themselves. Thank You For Almost Everything continues the original's distinct style of Trip-Hop / Downtempo Electronica but combining with its own unique (and now imitated) AI-voiced spoken word. For this new album, Headache steps away from the hum-drum of Blighty and instead focuses his gaze to sunnier shores. Recalling personal histories of ruffled hair and school cafeterias, ancient unsolved Albionic riddles, Rome's changing seasons and its poignant graffiti, arguments with girlfriends at luxury hotel beachfront restaurants, and what it truly feels like to be alive in this inscrutable but beautiful world. The project features a further collaboration with artist Cali Thornhill DeWitt who returns to design the packaging and cover for this new album. This double 12" vinyl release, like the first, includes the instrumental versions exclusive to the vinyl version. The album, mixed and mastered by Margo Broom at RAK Studios, will use a similar surprise drop strategy as with the first album. "Follow up to the 2023 debut that gained its popularity entirely organically with zero marketing or PR spend. "Total Streams Since Release (31 May 2023): 19,413,173 (Spotify alone) "Previous vinyl album sold over 8,000 physical copies worldwide. "2nd Disc contains instrumental versions exclusive to vinyl format

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

Tape

Atsuko Hatano is a contemporay classical Viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics.
Cells #5 is an orchestral collection and sequel to her previous album Cells #2 which will also be released on cassette via Imprec’s Cassauna label. Cells #5 required three years to complete and the work features the artist’s signature methodology where the instrumental performances are gradually enveloped by multiple layers of a string orchestration.
When not playing solo Atsuko is extremely active recording, collaborating and playing live with Jim O’ Rourke, Eiko Ishibashi, Mocky, Midori Hirano and many more acts.

Atsuko Hatano: Violin, Viola, Cello, Contrabass, Piano (track 1), Xylophone, Oscillator and Chorus

Guest Musicians:
Eiko Ishibashi: Piano, Marimba, Vibraphone
Yuko Ikoma: Accordion
Natsumi Kudo: Horn and flugelhorn
Icchie: Trumpet, Flugelhorn, Piccolo Trumpet
Tatsuhisa Yamamoto: Snare Drum

Composed and Mixed by Atsuko Hatano. Mastered by Jim O’Rourke. Cover by Saskia Griepink.

2025 Repress

Tresor Records is proud to announce forthcoming special editions of its entire catalogue of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums.
In recognition, the rightsholders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalogue. These editions will be released sequentially, bimonthly, starting early-September 2022.
Just a month after the album release of 'Neptune's Lair' in September, its companion 12" 'Hydro Doorways' will be second in the series, out on October 7th. In November, 'Harnessed The Storm' and 'Digital Tsunami' are coming, followed by the release of Transllusion in February 2023. The series is completed by the long-awaited re-release of 'Shifted Phases – The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope' - at the end of March.
These records, individually and as a catalogue, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations.

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.

Firing remix package of cuts from two legendary album's from Brazil's Orquestra Afro-Brasileira. Feat

Two albums - Obaluayê (1957) and Orquestra Afro-Brasileira (1968) - were enough for Orquestra Afro-Brasileira to mark its history in music forever. Born in 1942 in Rio de Janeiro by its founder Abigail Moura, it remained active until 1970 and, in 2021, was revived by the only living member of the original line-up at the time, Carlos Negreiros, when the third and final album in the orchestra's career, entitled 80 years, was released by Amor in Sound/Night Dreamer. Today (31) the album gets its remix version with tracks signed by names of the caliber of Marcelo D2, Criolo, Pupillo, Emicida, Rael, Cut Chemist, Mexican Institute of Sound, among others.

Aiming to keep the legacy of the Orquestra Afro-Brasileira alive, the album 80 Anos (Remixes) reaffirms the group's relevance as a creative source for different generations of musicians and listeners, based on new interpretations produced by artists who are also fans of the orchestra. According to Mario Caldato Jr., the album's musical director, "it was a great joy when I got to know the work of the Afro-Brazilian Orchestra and, soon after, had the honor of meeting and working with Carlos Negreiros. Producing 80 Anos alongside him was a gift and being able to look back on it, having the remix album to celebrate this legacy, is really wonderful."

For Amor in Sound - Mario and Samantha Caldato's record label - this release faithfully represents their values: Respect for memory, diversity, friendship and the possibility of creating new worlds. Made in a totally collaborative way, the album is born as a historical record, interpreted by great names in current music and, above all, great friends. “Being able to do this is indescribable, the value of relationships makes up and continues the legacy of the Orquestra Afro Brasileira,” says Samantha.

The project brings together Brazilians Criolo, Emicida, Rael, Marcelo D2, Lucio Maia, Pupillo, Rogê, Tropkillaz, Kassin, Pedro Dom, Zilladxg, Nuts, Daniel Ganjaman, Imperatore and Nave, as well as international DJs and producers such as Mix Master Mike, Cut Chemist, Gaslamp Killer, J Rocc, TASO, Mexican Institute of Sound and Mophono.

200 copies available worldwide.

DIIV teams with In Sheep's Clothing to release their previously digital-only 'Frog in Boiling Water' Remix EP on a limited edition white label 12". Featuring remixes from Minor Science, Mount Kimbie, Daniel Avery and upsammy.

Bogdan Ra kicks off his new Love Affair label with four banging cuts that nod to the 90s and bring plenty of authentic acid madness. 'Kick It Off' begins with a heavyweight bump, trippy synth motifs and rigid rhythms that make you jerk your body in an 80s Chicago style. 'After Acid Hours' is another full body workout with wiggly 303s adding the energy and 'Ough Yeah' then gets snappy and sweaty with its fractured vocals and strobe-lit moods. 'Beat Body' shuts down with a more slamming technoid energy and rugged acid. Four stylish, fresh and destructive sounds.

Dub techno dons Lempuyang are back with the first double LP from the revered JS Zeiter, an assured artist whose early 12"s merged Chain Reaction's energy with deepchord's immersive depth and made him a modern-day great. Since then, he has spent years refining his craft into a consistently exceptional and sought-after sound across various aliases. Context Collapse marks a significant new chapter with eight expertly designed sounds that offer dub for all occasions, from those zoned out early mornings after a long night at it to more airy and uplifting dreamers like 'Interplay' via cosy, cuddly and introspective gems such as the smooth and seductive 'Open'. JS Zeiter is a true craftsman, as this double pack shows once more.

Parisian mainstay Leonard Perret, better known as Le Loup, signs a new 12” for Dancefloor Rituals, channeling the raw, old school traditions that have long informed his work. A fixture of the city’s underground, his collaborations with Chris Carrier and ongoing curation of his own Shadow Play imprint have positioned him at the intersection of heritage and forward motion. This latest release distills that ethos into stripped-back, hypnotic grooves and precision-crafted dancefloor tools that nod to the past while keeping their gaze firmly on the future.

oDYSea is back for its second release with the much-awaited debut EP of Penelope, featuring four compelling club tracks brimming with power and grace.

Opener ‘Unexpected Dreams’ surges with muscular basslines and acid liquidity, while ‘Usual Suspects’ adds crashing breaks into the mix.

On the B-side, ‘Strange World’ steps into outer space with a broken beat, alien foghorn motif and big synth riffs, before the electro-house groove of ‘Flow’ sends us home with a funky bang. A hypnotic blend of techno pulse and delicate breaks, ready to take you on a full dance floor immersion.

"Deeply tied to the composer’s own life, the narrative of Lacrimosa invites reflection in the face of loss. This sonic work draws inspiration from Alice Coltrane’s spiritual Eternity (1976) as well as the traditional structure of the Requiem, a mass for the dead. One of its sections, the Dies Irae, evokes Judgment Day and concludes with the Lacrimosa (literally, “full of tears”), depicting the weeping of souls in search of salvation.

In Lacrimosa, Low Jack transforms autobiographical elements into a messianic, polyglot form, unfolding across eight movements that chart the storms and serenity of grief. The piece unfolds from dawn to dusk, as the eyes open and then close. An initiatory solar cycle, from which one returns like Dante in his Divine Comedy, transcendent yet grief-stricken by the loss of a guiding presence.

Low Jack crafts one of his most intimate compositions, weaving together musical archetypes and universal narrative structures, drawing from both classical lyrical music and pop standards."

There is a new artist from Japan followed by the name Kakeru who is giving his Shaw Cuts debut with ãRaw CourageÒ, telling the story of an emperor besieged by an army who then entrusts his child to the Black Dragon Clan heading off to a dangerous journey.
An attempt to usurp the Ming Emperor's throne by the sinister martial artist simply known as ãold monster" and his armies results in most of the palace being massacred. ãQuagmireÒ and its vibrant percussive pattern carried by a heavy broken kick and a driving bassline help the emperorÕs infant son to escape and put in care of the Black Dragon Clan.
En route they are attacked by government forces but rescued by two knights. They prove to be a valuable addition to the party in subsequent encounters with their pursuers. ãMirror ForestÒ and its laid-back atmosphere, mysterious vocal snatches and shining pads carried by an expressive drum pattern help the travellers parrying every sneaky attack on their journey.
Trying to head to the White Dragon Clan in order to seek for help, the squad has to masquerade and take several battles, always protecting the baby in tow. The razor-sharp percussions, corrosive bass and thrashing kick of ãSwayingÒ tremendously supports the warriors in each fight.
Finally they make it to the temple of the White Dragons where they show their Black Dragon seal as a sign of solidarity. But all of a sudden the mood changes. ãBroken BubblesÒ and its menacing atmosphere built up by a monstrous sub bass, reduced but impactful drums and subtle synth elements underline the potential threat. Did they walk into a trap? Is there enough energy left for one big fight? Raw courage is vital now.

Broken District presents Theoric Proximity, the debut album from French producer and label co-founder Jus Jam. Known for his blend of dreamy atmospheres and groove-driven productions, Jus Jam delivers a 12-track journey exploring the subtle balance between introspection and the dancefloor.

The record flows between ambient textures, deep and leftfield house, broken beat, hip-hop, and jazz influences, creating a cohesive yet versatile soundscape. From late-night moods to club-ready moments, Theoric Proximity reflects the artist’s unique approach: instinctive, emotional, and personal.

A milestone release for both the artist and the Bordeaux-based label, Theoric Proximity positions Broken District among today’s forward-thinking electronic imprints.

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

Trystero returns with their new album Humming Fuzz on Knekelhuis — a kaleidoscopic voyage deeper into the band’s expanding cosmos.

Built on plunging basslines, acid-drenched loops, and spiraling kraut-inspired guitar textures, the record drifts between hypnotic repetition and free-flowing, hallucinatory songwriting. It echoes the visionary spirit of Psychic TV and the genre-blurring universe of Weatherall, while carving out a raw, magnetic space of its own.

Recorded once again on a canal barge in the North of France, Humming Fuzz feels like a natural evolution from their debut Sfumare e Vedere — denser, more alive, and charged with electricity. Now expanded with Nelly on bass and Alexia on vocals, Trystero channels this expanded energy into their wild, expressive live performances, soon to ignite audiences on their upcoming tours.

Seit langer Zeit kursierten die Can LPs nur als Bootlegs, jetzt gibt es endlich die offiziellen Vinyl Reissues via Spoon Records! Das in nur drei Monaten aufgenommene Doppelalbum (Gatefold) der Band erschien 1971 und entstand noch auf Schloss Nörvenich. Es gehört zum Weltkulturerbe der jüngeren Musikgeschichte, so wie "Sergeant Pepper" von den Beatles, "Electric Ladyland" von Hendrix oder das Bananenalbum-Debüt von Velvet Underground. Die sieben hier versammelten Titel bestimmen bis heute die DNA der Populärmusik. "Tago Mago" nimmt eine Sonderstellung im Werk der Band Can ein. Sie ist der Mount Everest, die höchste Verdichtung eines schieren Ausdruckswillens, der weder stilistische Kleinkrämerei, noch musikalische Genre-Grenzen akzeptierte und das war, was "nur nach sich selbst klingt, wie nichts zuvor und danach" ("sounds only like itself, like no-one before or after" (Julian Cope, "Krautrocksampler"). Tatsächlich wurde "Tago Mago" gerne als "magische Platte" bezeichnet, eine geheimnisvolle Reise ins düstere Herz einer bis dahin nicht gehörten Musik.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Tremor erscheint zu einem Zeitpunkt, an dem Averys Arbeitspensum für Außenstehende kolossal erscheint. Als Produzent, DJ, Musiker und Remixer, der ständig mit anderen zusammenarbeitet, hat er kürzlich DRONE:NODRONE von The Cure neu interpretiert, wofür er allgemeine Anerkennung erhielt. Seine Arbeit als eines von drei Mitgliedern von Demise of Love (eine Gruppe, die gemeinsam mit Ghost Culture und Working Men’s Club gegründet wurde) liefert derzeit den Soundtrack für die verschwommenen, undurchsichtigen Ränder der Tanzflächen auf der ganzen Welt. Das Album ist Averys erste Veröffentlichung bei Domino.

Die Platte ist voller unerwarteter Kollaborationen, darunter: Yeule, Art School Girlfriend, Ryan von bdrmm, Yune Pinku, Cécile Believe, Walter Schreifels von Rival Schools, Julie von New Dad und Alison Mosshart. „Tremor” wurde teilweise von David Wrench und teilweise vom legendären Alan Moulder gemischt. Es ist ein Breitwand-Album, auf dem sich Daniel mehr denn je auf Instrumentierung stützt und diese Klänge mit seiner charakteristischen, dunklen, techno-ähnlichen Produktion ergänzt. Es gibt wunderschöne melodische Parts, große elektronische Hits, härtere Grunge-Parts und wunderschöne Ambient-Momente, die einen wieder zur Ruhe kommen lassen.

An electrified meeting of minds, Candy Girl is a lost 1975 session by jazz pianist Mal Waldron, recorded in Paris with core members of the mighty Lafayette Afro Rock Band, the American funk unit who had made France their home and whose deep grooves would later be mined by generations of hip-hop producers.

By 1975, Waldron was a decade into his self-imposed exile from the United States—a transformed musician who had reassembled his sound in Europe and Japan after a devastating breakdown in the early '60s. His post-1969 output had stripped jazz down to its core elements: modal intensity, locked grooves, and hypnotic repetition. Candy Girl doesn’t interrupt this trajectory—it extends it, wrapping Waldron’s minimalist mantras around the funked-up chassis of the Lafayette rhythm section.

Originally released in microscopic quantities on the Calumet label and long shrouded in obscurity, Candy Girl was recorded spontaneously in the studio of French producer Pierre Jaubert, whose Paris HQ had become the workshop for both avant-garde jazz (Archie Shepp, Art Ensemble of Chicago, Steve Lacy) and psychedelic funk (Lafayette Afro Rock Band AKA Ice). This session finds Waldron jamming freely with bassist Lafayette Hudson, drummer Donny Donable, and keyboardist Frank Abel on clavinet, Moog and more—laying down raw, unfiltered instrumental funk with an experimental edge.

Highlights include the low-slung vamp of “Home Again”, the crisp, break-laden groove of “Red Match Box”, and the mesmeric swirl of the title track “Candy Girl” —a minor-key electric piano waltz with hints of cosmic soul. There's even a deep cut for the crate diggers: the somber yet meditative “Dedication to Brahms”, where Waldron deconstructs the Romantic composer’s third symphony into a sparse jazz reverie.

Unlike his polished sessions for Japanese labels or the avant-garde swing of his earlier Prestige work, Candy Girl feels more spontaneous, even accidental — and that’s part of its power. It’s a document of Waldron as bandleader, collaborator, and explorer, captured in the midst of a vibrant, cross-cultural scene in mid-70s Paris. Never officially issued with a cover and barely released at all, Candy Girl is a rare convergence of two underground traditions: Waldron’s Euro-exile electric jazz and the raw, sampled-future funk of the Lafayette Afro Rock Band. Now finally resurfaced, it deserves its rightful place in both stories.

Ein unverzichtbares Album von Roy Ayers, das soulige Jazz-Wurzeln mit knackigem 1970er-Jahre-Funk verbindet. Mit Ayers' charakteristischen Vibes, präzisen Arrangements und herausragenden Tracks wie "The Boogie Back" (gesampelt von NWA, 2Pac, De La Soul_) und "Change Up the Groove" ist diese LP ein Muss für jeden Fan von Jazz-Funk und Vintage-Grooves, ein etwas verstecktes Juwel aus Roy Ayers Ubiquitys frühen Polygram-Jahren. Dieses soulige Album, das oft zugunsten von Ayers' größeren Hits übersehen wird, ist eine Meisterklasse in Jazz-Funk-Fusion und fängt die Essenz von Ayers' sich entwickelndem Stil ein, als er die Lücke zwischen seinen Jazz-Wurzeln und dem rhythmischen Snap der Funk-Revolution der 70er Jahre überbrückte. Vom ersten Track an steht Ayers' charakteristischer Vibraphon-Sound im Mittelpunkt, der vor Emotionen und Groove nur so sprüht. Das Album besticht durch seine instrumentale Vielfalt, zu der Jazzgrößen wie der legendäre Bernard Purdie am Schlagzeug einen herausragenden Beitrag leisten. Streicher verweben sich subtil und unterstreichen Ayers' ohnehin schon tiefgründige und strukturierte Arrangements. Zu den Höhepunkten gehören der unverkennbare Funk von "The Boogie Back", ein Breakbeat-Favorit für Crate-Digger und DJs (der oft gesampelt wird, um andere Tracks zu garnieren), und eine üppige, elektrifizierte Interpretation von "Feel Like Makin' Love", die vor sanfter Soul-Musik nur so glüht. Der Titeltrack "Change Up the Groove" liefert den typischen, emotional aufgeladenen Funk, der diese Ära geprägt hat. "Change Up the Groove" ist nicht nur ein Album - es ist eine Momentaufnahme von Roy Ayers' künstlerischer Entwicklung, voller Rhythmus, Herz und zeitlosem Groove. Egal, ob Sie ein langjähriger Fan sind oder nun neun entdecken. Essential listening!

Hailing from Raw Culture, Anna Funk Damage returns with his third release on the Roman label, delivering a record as fierce as it is intimate. Tarantola was born out of a winter suspended between contrasting emotions – melancholy, anger, love, confusion – distilled into a sound that transforms personal fragility into collective energy. There’s no pursuit of perfection here, but rather an urgency running through the veins, taking shape across supersonic punk, wave, ambient and industrial.

Each track is an emotional fragment, a bite that leaves its mark: from the electric tension of Vivere Distaccati to the feverish rush of Trasmissione, from the rawness of Decadente to the hypnotic title track Tarantola, which embodies the beating heart of the album. Side B unfolds into more nocturnal and intimate landscapes, from Chiang Mai to the disenchanted sincerity of Lavoro Troppo, closing with a party that carries the bittersweet taste of reality.

Tarantola is a journey into the chaos of human emotions, an album that doesn’t just narrate but pulls you deep into its sonic labyrinth, giving noise back its vulnerable yet powerful soul.

The second phase of Invisible Inc’s 10-year anniversary celebrations has landed, hot on the heels of the scorching Phase 1.

Where Phase one focussed on the dub-style, electronic and ambient side of the label’s output, the second volume leans slightly more towards the ‘psych’ side of the label and is aptly titled “Resonance: Ten Years of Psychedelic Sounds From The Soul Of Invisible Inc”

Gramrcy and John Loveless return to Phantasy with a double-A single, ‘Lucid / Feel So’. Three years on from their festival-rupturing hit ‘Highdive’, which found regular rotation in the sets of 2ManyDJs, Peggy Gou and Daniel Avery alongside soundtracking shows for Moschino and Hugo Boss, two new tracks expand the sound of the Berlin pair’s studio partnership.

‘Lucid’ features a unique vocal turn from Tony Morris, a former teacher, taxi driver and contemporary cult figure in Glasgow’s underground scene. Having begun DIY production only in his late sixties, he has since released on the city’s peerless Optimo Music and has been profiled by the BBC and NPR, alternately described by The Scottish Herald as “Scotland’s most unlikely pop sensation” and by himself as “a deviant cabaret artist”.

Morris’s hypnotic repetitions prove to be an earworming anchor for Gramrcy and Loveless’s pressure-cooker arrangement, a bubbling concoction that represents their most formative influences, combining the sheer bassweight of FWD-era UK dance with the ISDN-line scramble of the most out-there electroclash. Rich in rhythm and textural weirdness, ‘Lucid’ captures the sound of a deeply satisfying intersection of rave outsiders.

Eschewing the dreamy psychedelia of its counterpart, ‘Feel So’ instead tips the scales back toward the outright ecstatic. The influence of esoteric disco and post-punk percussion rides on a throbbing bassline that builds toward supreme dancefloor release, paying tribute to a legacy of hi-NRG, spanning Chicago to Rimini.

Gramrcy & John Loveless - ‘Lucid / Feel So’ will be available to download & stream on October the 10th via Phantasy There will also be a limited-edition run of just 200 hand-stamped 12” vinyl records, including the instrumental cut of ‘Lucid’, available to pre-order from Bandcamp and the Phantasy store.

Spring Revisited pays us a respectful revisit this autumn as a full double LP on Acid Jazz, Ace Records and Cosmos, pinching the celebrated 12" singles into one power-punchy grab bag. Spring, founded in late 60s New York by Bill Spitalsky with Roy and Julie Rifkind, became a 70s soul powerhouse, home to such dance music pioneers Millie Jackson, Joe Simon and The Fatback Band. Their collegiate creations were of course ripe for modern reinterpretation - a fated intention - and as recently as 2025 saw DJs and producers pull them apart and reappraise them for modern floors: Dimitri From Paris turned Jackson's 'We Got To Hit It Off' into a stout summer anthem, Joaquin 'Joe' Claussell reimagined Fatback's 'Snake', and Kenny Dope, Dave Lee, DJ Spinna, Opolopo, Colleen 'Cosmo' Murphy and others added their own ensouled spins.

Following the success of Highly Refined Pirates' forward-thinking guitar gymnastics and Menos El Oso's groundbreaking glitch rock, Seattle's premier pop revisionists Minus The Bear dug into some of rock music's most ostentatious years for inspiration for their 2007 album, Planet of Ice. The title alone conjures images of Yes's Relayer album art, and the influence of the elder statesmen's symphonic scope can be felt throughout Planet of Ice's lush and intricate arrangements. You can also hear the band channel the ominous instrumental interplay of Lamb-era Genesis on "Dr. L'Ling", the deceptively savvy musicianship and pristine production of Steely Dan on "White Mystery", and the tightrope walk between ethereal space and pre-metal riffage of Pink Floyd's "Echoes" on "Lotus". Not that Minus The Bear completely abandoned their earlier style_elements of Menos El Oso's sample-driven technique can be heard on the lead single "Knights". But the heart of the song ultimately belongs to the haunting Fripp-esque guitar lines spliced between verses. After being out of print on record since 2010, Suicide Squeeze is proud to reintroduce Planet of Ice's creative marriage of classic motifs and modern musical wizardry with a vinyl remaster courtesy of Bernie Grundman.

"discografia due" ist Melkus' chaotischer Liebesbrief an das Verlieren: verdrehte Riffs, Verzerrung als Farbe und Monate, die damit verbracht wurden, Einflüsse zu entwirren und in rohe Meisterwerke zu verwandeln. Eine Mini-Diskografie von Chaos, Lärm und Freude am Scheitern. Keine Gewinner - nur eine Crew von Verlierern, die zwischen Wahnsinn und Nervenzusammenbrüchen tanzt.

Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Flamingo', das ursprünglich 2001 veröffentlichte Debütalbum, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.

Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Schwan', ursprünglich 2003 veröffentlicht, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.

- Ltd LP: (180g, inkl. Textheft im 7" Format)

Tauchen Sie ein in die goldene Ära des deutschen Schlagers mit der exklusiven Vinyl-Compilation „Deutsche Schlager Charts der 70er Jahre“. Diese Sammlung präsentiert die größten Hits und beliebtesten Interpreten einer unvergesslichen Zeit – authentisch, emotional und voller Nostalgie. Originalinterpreten, Originaltitel: Freuen Sie sich auf zeitlose Klassiker und unvergessliche Melodien von den Stars der 70er Jahre: Howard Carpendale – Der Gentleman des Schlagers mit seinen gefühlvollen Hits.

Bata Illic – Der Meister des romantischen Schlagers. Jürgen Marcus – Seine unbeschwerte Musik brachte Generationen zum Mitsingen. Karel Gott – Die goldene Stimme aus Prag, die Millionen begeisterte. Nina & Mike – Das Duo mit Herz und Harmonie. Für Vinylliebhaber und Klangenthusiasten: Diese Compilation erscheint auf hochwertigem Vinyl und bringt die Wärme und die charakteristische Klangqualität zurück, die nur Schallplatten bieten können. Ein Muss für alle, die die Atmosphäre der 70er Jahre hautnah erleben möchten – vom ersten Ton bis zur letzten Rille. „Deutsche Schlager Charts der 70er Jahre“ – ein Stück Musikgeschichte für Ihre Plattensammlung!

Repress 2025

The King of K-Pop Returns!

To those unfamiliar, G-Dragon is regarded by many as the Godfather of K-Pop. Rising to fame in the mid-00’s with his group, Big Bang, that later went on to become one of the world’s biggest selling boy groups. He quickly stood out with his unique and intricate songwriting as the leader of the group. A talented songwriter and trendsetter within the youth culture and fashion space, G-Dragon has received a bevy of awards, nominations for his music and fashion sense from the World Music Awards, to Hypebeast’s 100 list, to Forbes’ 30 Under 30 list, it’s apparent that G-Dragon has cemented his place in cultural relevance.

After serving his mandatory South Korean military service and a brief hiatus from music, the global superstar, G-Dragon has returned! He announced that he signed with indie-powerhouse, EMPIRE, and released his first comeback single on October 31, 2024 with POWER to immediate global fanfare and buzz, with the music video garnering over 44 MILLION views in a month and over 115 MILLION global streams. He soon followed that up with an electrifying performance at the 2024 MAMA Awards show in Osaka coupled with the release of his new single, Home Sweet Home which has garnered 100 MILLION global streams since release.

2025 will see the release of his first full length album since 2017 entitled Übermensch along with global tour dates. The album is expected to make a huge impact globally and further cement his place in music history!

King Gizzard & The Lizard Wizard 'Live at The Gorge Amphitheatre, Quincy, WA' was recorded when the Aussie psych-rock polymaths rained down on Washington on September 14th 2024, for a three-hour marathon set.

This is a 4xLP featuring the original poster art by Jason Galea and photos from the show by Maclay Heriot, and it is exclusively mixed and mastered by James Plotkin from the stems provided by the band. The master and pressing plates have been licensed from Fuzz Club. Housed in a deluxe quad fold jacket and comes on 140g coloured vinyl.

Domino Records haben mit Upchuck eine rohe Punk-Wucht aus Atlanta unter Vertrag genommen. Die fünfköpfige Band um Sängerin KT entstand 2018 aus der lokalen Skater:innen-Szene – laut, wild und kompromisslos.

Mit „Plastic“ legen sie nun ihre erste Single beim neuen Label vor: ein wütender, knapp zweiminütiger Ritt durch schrammelnde Gitarren und aufgeladene Vocals. Produziert wurde der Track von Ty Segall, gemastert von Heba Kadry und visuell in Szene gesetzt von Ian Cone. Inhaltlich dreht sich alles um den verzweifelten Versuch, in einer künstlichen Welt echte Verbindungen zu finden.
Der Rolling Stone brachte ihren Sound nach einem SXSW-Gig auf den Punkt: „Everything explodes.“

Difficult as it may be to imagine, there was a time when Sun City Girls did not exist. Prior to the Bishop brothers teaming up with drummer/shaman Charlie Gocher to form SCG's classic trio lineup, there were various ad-hoc assemblages of local Phoenix-area freaks and weirdos – groups which existed only long enough to play a single gig, open mic or house party before disbanding without a trace. Hatched from this milieu was Paris 1942, a short-lived band formed by guitarist Jesse Srogoncik that included Alan Bishop, Richard Bishop and former Velvet Underground drummer Maureen Tucker.

Paris 1942 would play only four shows in as many months, but between April and August of 1982, the band would gather several times a week in Tucker's living room, where the group feverishly wrote and rehearsed with a kind of quotidian discipline. While P42 didn't release anything during their brief tenure, a 7" EP and LP (both self-titled) surreptitiously surfaced on the Majora label in the mid to late '90s. Until now, those two titles – as well as an appearance on Placebo's Amuck comp in late '82 – would be the only documented evidence that this improbable, serendipitous and magnificent band ever existed.

While those expecting P42's music to sound like a tantalizing combination of Sun City Girls' iconoclastic hoodoo havoc and the Velvets' primal drug-chug certainly won't be disappointed, Paris 1942 more often than not transcends even these nearly impossible expectations. Srogoncik's songs, in particular, are a revelation, displaying as much in common with the exuberant raunch of The Gun Club and the chapbook punk of Peter Laughner as they do any of the more obvious touchstones.

The group's foresight to document and capture this meeting of musical minds – a meeting as unlikely as it was short-lived – provides a missing link between the Velvets and the Voidoids, between the Dead Boys and the Dead C, between ESP-Disk' and DNA. Far more than a historical curiosity, Paris 1942 provides a fresh perspective on an embryonic and sadly vanishing US underground. It is music that blinks at the past and anticipates a thousand possible futures.

– James Toth (excerpt from the liner notes)

In einer Welt, die von zwei Monden umkreist wird, tanzen die Mondphasen im Gleichklang und beeinflussen die Gezeiten. Unter diesen Lichtamuletten liegt die Landschaft, in der SAINTSENECAs neues Album ,Highwallow & Supermoon Songs" entstanden ist. Zac Little wirkt an der Oberfläche subtil, aber die Kunstfertigkeit in jeder seiner Phrasen ist fast überwältigend. HIGHWALLLOW & SUPERMOON SONGS findet seine Stimme in ihrer elastischsten Form, reitet auf den Hügeln seiner Heimat, schwirrt vorbei wie eine Libelle und legt sich dann ruhig wie ein alter Hofhund.

Die ,CURSE"-EP von UMO spiegelt die verfluchten Zeiten wider, in denen wir uns befinden. Inspiriert von italienischen Horrorfilmen der 1970er- und 1980er-Jahre sind die sechs Songs dieser Veröffentlichung so kathartisch wie kaum eine andere Aufnahme der Band. Sie vereint sowohl schroffe, von Black Sabbath inspirierte Riffs in ,BOYS WITH THE CHARACTERISTICS OF WOLVES" als auch das entspannte, filigrane Gitarrenspiel, für das UMO vielleicht am bekanntesten ist, in ,DEATH COMES FROM THE SKY".Die CURSE-EP ist der perfekte Soundtrack für deine nächste Konfrontation mit dem Nichts.

The Dead 60s seminal self-titled album gets a timely Deluxe edition reissue on Vinyl for its 20th Anniversary, on Deltasonic Records



“Back in the day, punk and dub weren’t just sharing space—they were smashing into each other headfirst. Late '70s Britain was a pressure cooker, and for kids like me, growing up between Brixton’s bass bins and the chaos of King’s Road, that collision was everything. Jamaican sound system culture met punk’s raw spirit in a haze of smoke, sweat, and feedback. It wasn’t about genre—it was about energy. Identity. Defiance. so when The Dead 60s came along, post-Britpop and post-bullshit, it felt like someone had dusted off the blueprint and run it through a battered old tape echo. These weren’t just lads with good taste—they understood the assignment. They took the DNA of two rebel cultures and mutated it into something that could stand tall in the 21st century. Dub-soaked, punk-fuelled, dripping with that Liverpool attitude. I remember first hearing them and thinking—yeah, here we go again. Not in a retro way, but in a real way. Guitars that cut like sirens in the night. Basslines fat and warm, straight out the Channel One playbook. Lyrics that painted the grey corners of Britain like CCTV poetry. It was the sound of youth under pressure. The sound of not fitting in—and not wanting to.

Their debut album dropped in 2005, and it hit like a flare in the dark. “Riot Radio” was a pirate broadcast from the concrete frontlines. “Control This” swaggered with menace and reverb. It was like someone opened a time capsule from the punky-reggae party and rewired it for a new generation.

Now, with this 20th anniversary vinyl reissue—complete with the full dub companion produced by Central Nervous System—we get to hear the bones and blood of it all. The dub versions pull the tracks apart and let the ghosts speak. Reverb, delay, space—it’s not just production, it’s meditation. Revolution slowed down to a heartbeat. It’s music that makes you move and think. What they’ve done here is more than remix a record—they’ve revealed its soul. That’s what dub does when it’s done right. And The Dead 60s, they got that. They weren’t tourists in the culture—they were students of it, shaped by it, and ultimately, contributors to the legacy. Liverpool’s long had a love affair with Jamaican music—you can hear it in the streets if you’re really listening. The Dead 60s tapped into that lineage, but they brought their own thing to the table. Punk's fire. Dub’s depth. Ska’s bounce. All filtered through a Northern lens and blasted out like protest graffiti. This 20th anniversary reissue ain’t about nostalgia. It’s a reminder. A celebration. A call to arms. Music like this doesn’t belong in a museum—it belongs on a system, shaking walls and waking minds. Crate diggers, completists, young punks, old heads—this one's for all of you.

So put it on and turn it up. Let the punk edge sharpen your thoughts, and the dub shake your bones ‘cos this isn’t just a reissue - it’s resistance on wax.....”

In the magical kingdom of Fiore, Lucy Heartfilia, a celestial spirit mage, joins the legendary guild Fairy Tail, renowned for its eccentric members and explosive adventures. Alongside Natsu Dragneel, a fire-powered Dragon Slayer, and his friends Happy the flying cat, Erza, and Gray, the adventure is only just beginning!



This double vinyl will feature a selection of the best opening and ending themes from the series, transporting you back to the enchanting world of Fairy Tail as if by magic.

Als MONO zum ersten Mal die Idee eines Live-Konzerts mit Orchesterbegleitung hatten, schien dies ein einmaliger Traum zu sein, der einzigartige Umstände, ein riesiges Team gleichgesinnter und großzügiger Mitwirkender und eine Menge Glück erfordern würde. Genau zehn Jahre nach Beginn ihrer Karriere war dies ihr mit Abstand ehrgeizigstes Projekt. Sie flogen aus ihrer Heimat Japan - wo sie zu dieser Zeit ironischerweise weniger bekannt und erfolgreich waren als in den Vereinigten Staaten und Europa - nach New York City, wo sie ein Orchester zusammenstellten, einen historischen Veranstaltungsort in der Nähe des Lincoln Centers sicherten und auf sich selbst setzten, um einen wirklich unvergesslichen Abend zu gestalten. Das Konzert war nicht nur ein voller Erfolg, sondern begründete auch einen wesentlichen Teil der Identität von MONO: die orchestrale Live-Performance. Seit dieser magischen Nacht in NYC im Jahr 2009 haben MONO mehr als drei Dutzend Live-Konzerte mit einer Vielzahl von Orchestern in fast ebenso vielen Ländern weltweit gegeben. Ihr letztes solches Konzert in Japan lag jedoch mehr als 15 Jahre zurück. Ein Vierteljahrhundert nach Beginn ihrer legendären Karriere sind MONO endlich nach Hause zurückgekehrt. ,Forever Home: Live in Japan with Orchestra PITREZA" feiert MONOs 25-jähriges Jubiläum mit der ,OATH"-Orchestral-Welttournee, die in den letzten Monaten des Jahres 2024 20 Konzerte in Europa, Asien und den Vereinigten Staaten von Amerika umfasste. ,Forever Home" wurde vor ausverkauftem Haus im Spotify O-EAST in Tokio aufgenommen und präsentiert ein 12-köpfiges Orchester unter der Leitung des Orchesterdirektors und häufigen Kollaborateurs Chad McCullough, das MONO bei der Aufführung ihres aktuellen Albums ,OATH" in voller Länge begleitet. Das 100-minütige Konzert endet mit zwei der bekanntesten Songs der Band - ,Ashes in the Snow" und ,Everlasting Light" -, die eine Hommage an den ersten Orchester-Live-Auftritt vor 15 Jahren in New York City darstellen. ,Forever Home" wurde von Matt Cook, dem langjährigen Tontechniker von MONO, aufgenommen und gemischt und fängt die ehrwürdige Gruppe in ihrer natürlichen Umgebung und in ihrer transzendenten Höchstform ein. Mit der symphonischen Begleitung des japanischen Orchesters PITREZA verwandeln MONO einen Raum in Tokio in ein grenzenloses Meer - launisch, kontemplativ und überwältigend. Die physischen Formate von ,Forever Home" sind angemessen umfangreich und besonders. Das von dem langjährigen Art Director und Mitarbeiter Jeremy deVine entworfene 2xCD-Set ist in einer vierfachen Gatefold-Hülle verpackt und enthält einen Konzertfilm in Spielfilmlänge auf hochauflösender Blu-ray, unter der Regie von Yusaku Mitsuwaka. Es ist ein atemberaubendes Werk der Multi-Kamera-Kinematografie, das das Live-Erlebnis von MONO perfekt einfängt. Die 3xLP im Dreifach-Klappcover ist auf audiophilem schwarzem Vinyl oder als limitierte farbige Vinyl-Variante erhältlich. Sowohl das CD- als auch das LP-Format enthalten jeweils ein umfangreiches 28-seitiges, vollfarbiges Archiv-Fotobuch, das das gesamte Konzert dokumentiert. Das sind MONO. Das ist "Forever Home".

Als MONO zum ersten Mal die Idee eines Live-Konzerts mit Orchesterbegleitung hatten, schien dies ein einmaliger Traum zu sein, der einzigartige Umstände, ein riesiges Team gleichgesinnter und großzügiger Mitwirkender und eine Menge Glück erfordern würde. Genau zehn Jahre nach Beginn ihrer Karriere war dies ihr mit Abstand ehrgeizigstes Projekt. Sie flogen aus ihrer Heimat Japan - wo sie zu dieser Zeit ironischerweise weniger bekannt und erfolgreich waren als in den Vereinigten Staaten und Europa - nach New York City, wo sie ein Orchester zusammenstellten, einen historischen Veranstaltungsort in der Nähe des Lincoln Centers sicherten und auf sich selbst setzten, um einen wirklich unvergesslichen Abend zu gestalten. Das Konzert war nicht nur ein voller Erfolg, sondern begründete auch einen wesentlichen Teil der Identität von MONO: die orchestrale Live-Performance. Seit dieser magischen Nacht in NYC im Jahr 2009 haben MONO mehr als drei Dutzend Live-Konzerte mit einer Vielzahl von Orchestern in fast ebenso vielen Ländern weltweit gegeben. Ihr letztes solches Konzert in Japan lag jedoch mehr als 15 Jahre zurück. Ein Vierteljahrhundert nach Beginn ihrer legendären Karriere sind MONO endlich nach Hause zurückgekehrt. ,Forever Home: Live in Japan with Orchestra PITREZA" feiert MONOs 25-jähriges Jubiläum mit der ,OATH"-Orchestral-Welttournee, die in den letzten Monaten des Jahres 2024 20 Konzerte in Europa, Asien und den Vereinigten Staaten von Amerika umfasste. ,Forever Home" wurde vor ausverkauftem Haus im Spotify O-EAST in Tokio aufgenommen und präsentiert ein 12-köpfiges Orchester unter der Leitung des Orchesterdirektors und häufigen Kollaborateurs Chad McCullough, das MONO bei der Aufführung ihres aktuellen Albums ,OATH" in voller Länge begleitet. Das 100-minütige Konzert endet mit zwei der bekanntesten Songs der Band - ,Ashes in the Snow" und ,Everlasting Light" -, die eine Hommage an den ersten Orchester-Live-Auftritt vor 15 Jahren in New York City darstellen. ,Forever Home" wurde von Matt Cook, dem langjährigen Tontechniker von MONO, aufgenommen und gemischt und fängt die ehrwürdige Gruppe in ihrer natürlichen Umgebung und in ihrer transzendenten Höchstform ein. Mit der symphonischen Begleitung des japanischen Orchesters PITREZA verwandeln MONO einen Raum in Tokio in ein grenzenloses Meer - launisch, kontemplativ und überwältigend. Die physischen Formate von ,Forever Home" sind angemessen umfangreich und besonders. Das von dem langjährigen Art Director und Mitarbeiter Jeremy deVine entworfene 2xCD-Set ist in einer vierfachen Gatefold-Hülle verpackt und enthält einen Konzertfilm in Spielfilmlänge auf hochauflösender Blu-ray, unter der Regie von Yusaku Mitsuwaka. Es ist ein atemberaubendes Werk der Multi-Kamera-Kinematografie, das das Live-Erlebnis von MONO perfekt einfängt. Die 3xLP im Dreifach-Klappcover ist auf audiophilem schwarzem Vinyl oder als limitierte farbige Vinyl-Variante erhältlich. Sowohl das CD- als auch das LP-Format enthalten jeweils ein umfangreiches 28-seitiges, vollfarbiges Archiv-Fotobuch, das das gesamte Konzert dokumentiert. Das sind MONO. Das ist "Forever Home".

Eyvind Kang ist Komponist und Bratschist, dessen Werk experimentelle, klassische und traditionelle Musikformen umfasst. Zu seinen Kollaborationen zählen unter anderem Jessika Kenney, Bill Frisell, Laurie Anderson, Bennie Maupin, Stuart Dempster, Sun City Girls und SUNN O))). Kang ist bekannt für seine Erkundungen der Mikrotonalität, der modalen Improvisation und des Klangrituals. Seine Werke wurden weltweit auf führenden Festivals und Veranstaltungsorten präsentiert. Kang ist derzeit Fakultätsmitglied am CalArts und unterrichtet Komposition und experimentelle Klangpraktiken. Seit über dreißig Jahren erforscht Eyvind Kang die verschwommenen Grenzen zwischen Komponist, Interpret und Zuhörer. Auf Riparian präsentiert er eines seiner bisher intimsten und fokussiertesten Werke: zwei Langformstücke für Viola d'amore, improvisiert innerhalb mikrotonaler Systeme, die er während der Pandemie entwickelt hat. Kang bezeichnet diese Improvisationsmethode als ,Riparian" und beschwört damit das Bild eines Flusses herauf, der in verschiedene Richtungen überquert wird - fließend, nichtlinear und lebendig mit subtilen Variationen. ,Ich stellte mir Pizzicato und Arco wie das Springen von Stein zu Stein in einem Bach vor", sagt er. ,Es gibt eine geerdete Zufälligkeit, wie bei einem Frosch oder einer Schildkröte, die sich zwischen Land und Wasser bewegt." Jedes Stück auf Riparian ist eine erste Aufnahme, die im Studio als Teil dessen aufgenommen wurde, was Kang als ,eine Art Geschichtenerzählen unter gleichgesinnten Freunden" bezeichnet. Das Ergebnis ist Musik, die mit stiller Intensität und emotionaler Klarheit fließt und Melodien entfaltet, die sich sowohl uralt als auch lebendig präsent anfühlen. Produziert und aufgenommen von Randall Dunn (SU NN O))), Omar S ouleyman, Kali Malone) produziert und aufgenommen, fängt Riparian die volle Resonanz der Viola d'amore in einem reichen, dimensionalen Klang ein. Dunns Handschrift verleiht Kangs lyrischer Phrasierung Wärme und Transparenz und offenbart subtile Klangtexturen, die ein tiefes Hören belohnen. Meditativ und ausdrucksstark zugleich lädt Riparian den Hörer in einen Raum ein, in dem die Zeit weicher wird und Klang zu einer Form der Einstimmung wird .

Jessika Kenney ist Sängerin, Komponistin, Autorin, Klangkünstlerin und Lehrerin, deren Engagement für Improvisation, Poesie und Klangforschung eine einzigartige Perspektive hervorgebracht hat. Ihre Erkundungen von Klang, Raum und der Metaphysik des Klangs wurden in vielen Kontexten und an vielen Orten präsentiert, darunter in der Seattle Public Library, im Nottingham Contemporary und im Benton Museum. Zu ihren Kollaborationen und Projekten gehören eine umfangreiche Diskografie mit Eyvind Kang, das letzte aufgezeichnete Vokalwerk von Alvin Lucier, Auftritte mit Melati Suryodarmo, die Komposition der Vokalmusik für A24s Midsommar und die Chorleitung für SUNN O)))'s Monoliths and Dimensions. Jessika Kenney, bekannt für ihren einzigartigen Umgang mit der Stimme, hat in den letzten zwei Jahrzehnten neue Klangwelten geschaffen, die auf intensiven Studien, rituellen Praktiken und einer ungezähmten Ausdruckskraft beruhen. Von ihren gefeierten Kollaborationen mit Eyvind Kang bis zu ihrer Vokalkomposition für A24s ,Midsommar" bewegen sich Kenneys Arbeiten an der Schnittstelle zwischen dem Heiligen, dem Klangvollen und dem Unsichtbaren. Auf Uranian Void wendet sich Kenney nach innen und spürt den Konturen von Erinnerung, Resonanz und Wahrnehmung nach. Mit verschwommenen Sinuswellen, Hydrofonaufnahmen, einem Ghazal von Hafez und Originaltexten ist das Album eine Meditation über Liminalität, in der Schimmer und Schatten gleichermaßen vibrieren. Kenneys Stimme webt sich durch alles hindurch: manchmal flüsternd, manchmal strahlend , immer präzise. ,Dieses Album ist eine Übung in Transparenz innerhalb der Dunkelheit", erklärt Kenney. ,Es geht darum, offen zu bleiben für Zweifel , für Nachhall, für das, was jenseits unserer Wahrnehmung liegt." ,Uranian Void" wurde von Randall Dunn (SU NN O))), Kali Malone, Annea Lockwood) produziert und aufgenommen, dessen charakteristische räumliche Details und Tiefe dem Album seine immersive Klangarchitektur verleihen. Jeder Ton, jeder Atemzug und jede Resonanz wird mit Intimität und Dimension wiedergegeben und verstärkt Kenneys Erforschung von Präsenz und Abwesenheit. Fragmente, die während Besuchen in Spokane, ihrem Elternhaus, aufgenommen wurden, bilden die Grundlage des Albums. Im Studio transformiert, werden diese zu beschwörenden Vierzeilern - leise, aber eindringlich - die den subtilen Puls von Ort, Zeit und Körper offenbaren. Echos der Vergangenheit verschmelzen mit der Gegenwart , als ob die Wände selbst sich erinnern und mitschwingen würden. Uranian Void ist Musik für Schwellenbereiche - eine Einladung, sich mit dem Unsichtbaren und Kaum hörbar. Mit dieser kraftvollen und poetischen Aussage bestätigt sich Kenney als eine der visionärsten Vokalistinnen der Gegenwart.

Chloe Kim ist eine in Korea geborene, in Sydney lebende Schlagzeugerin und Improvisatorin, deren Musik Traditionen und Geografien miteinander verbindet. Bekannt für ihren unerschrockenen Improvisationsansatz und ihre ausdrucksstarke Beherrschung des erweiterten Schlagzeugs, ist sie in ganz Australien und international in den Bereichen Jazz, Experimental und Neue Musik aufgetreten. Aufgewachsen in Korea und heute in Sydney ansässig, hat sich die Perkussionistin Chloe Kim als einzigartige Stimme im zeitgenössischen Schlagzeugspiel etabliert, indem sie furchtlose Improvisation mit kompositorischer Klarheit und interkultureller Tiefe verbindet. Ratsnake markiert ihren kühnen Einstieg in den Kanon der Solo-Schlagzeugalben, indem sie viszerale Kraft mit Präzision und Fantasie verbindet. Kims internationales Ansehen stieg 2023 nach ihrer ,herkulischen" (The Guardian) 100-stündigen Solo-Drum-Performance über 10 Tage. Auf Ratsnake kanalisiert sie dieselbe Ausdauer und Vision in ein zutiefst persönliches Studioalbum, das das vollständige klangliche Potenzial des Schlagzeugs auslotet und es als melodisches und skulpturales Instrument behandelt. Der Titel des Albums stammt aus einem Traum, den Kims Mutter vor ihrer Geburt hatte und der sich auf die Rattennatter bezieht, ein koreanisches Symbol für Widerstandsfähigkeit, Verwandlung und seltenes Glück. Dieses symbolische Erbe zieht sich durch das gesamte Album, während Kim komplexe rhythmische Ideen mit Eleganz und Kraft entfaltet. ,Als ich zum ersten Mal in New York war, spürte ich, wie die Energie der Stadt neue Ideen aus mir hervorbrachte ", sagt Kim. ,Jeder Track hebt eine Facette meiner Solo-Sprache hervor - von ausgedehnten Percussion-Parts und langen rhythmischen Zyklen bis hin zu Texturen, die ich noch nie live verwendet habe ." Auf dem gesamten Album greift Kim auf jahrelange persönliche Motive zurück: eine im Laufe der Zeit verfeinerte Zwei-Takt-Phrase im Titeltrack, komplexe Strukturen in ,The First Gift" und weitläufige Arrangements in ,Birth Dream". Jedes Stück baut auf ihrer fortwährenden Auseinandersetzung mit Rhythmus, Form und verkörpertem Klang auf. Produziert und aufgenommen von Randall Dunn (SU NN O))), Annea Lockwood, Kali Malone), fängt Ratsnake Kims dynamische Phrasierung mit räumlicher Fülle und Detailtreue ein. Es ist ein kraftvolles , nuanciertes Debüt, das die Möglichkeiten der Solo-Percussion neu definiert .

Charmaine Lee ist eine in New York lebende Sängerin, Komponistin und Elektronik-Künstlerin, die für ihre furchtlosen Erkundungen von Stimme, Geräuschen und Improvisation bekannt ist. Zu ihren Kollaborationen zählen Ikue Mori, Conrad Tao, JACK Quartet, Spektral Quartet und Wet Ink Ensemble, mit Auftritten im Lincoln Center, MoMA und Storm King Art Center. Nach ihrem von der Kritik gefeierten Debüt KNVF (Erratum Musical , 2021) kehrt Charmaine Lee mit Tulpaa zurück, einem kühnen neuen Statement, das das Ausdruckspotenzial der menschlichen Stimme und der Elektronik bis an die Grenzen treibt. Während ihre früheren Arbeiten ruhige Texturen und gestische Nuancen erforschten, ist Tulpa viszeral und unmittelbar und verbindet rohe Stimmkraft mit dichten Schichten analoger und digitaler Bearbeitung. Inspiriert von der Körperlichkeit des Rock der 70er Jahre und den esoterischen Eigenschaften von Hochspannungs-Röhrengeräten, schafft Lee eine Klangwelt, die sowohl wild als auch futuristisch ist. Tulpa pulsiert mit gesättigten Obertönen, mikroskopischen Details und dynamischen Verschiebungen in der Skala, die zwischen Intimität und Unermesslichkeit hin- und herpendeln. Produziert und aufgenommen von Randall Dunn (SUNNO))), Kali Malone, Anna von Hausswolff), wurde Tulpa mit einer einzigartigen räumlichen Technik erstellt: Lees Stimme wurde in ein direktes Signal und mehrere Vintage-Röhrenverstärker aufgeteilt, die als Lautsprecher dienten, wodurch eine feedbackreiche, dimensionale Umgebung entstand. Das Ergebnis ist eine Aufnahme, die sich taktil und immersiv anfühlt - gleichzeitig geerdet und spektral. ,Ich war fasziniert von diesem Sound der 70er Jahre - wie lebendig und unvorhersehbar er sich anfühlte und doch so tief verkörpert war", sagt Lee. ,In Tulpa geht es darum, Grenzen aufzulösen: zwischen Körper und Maschine, Raum und Wahrnehmung, Klang und Illusion." Der Titel bezieht sich auf ein Konzept aus der tibetischen Mystik: Ein Tulpa ist ein Wesen, das durch konzentriertes Denken heraufbeschworen wird. Lee verwendet diese Idee als Metapher für ihre Praxis, in der Klang zu einem materiellen Akt der Vorstellungskraft wird, der zwischen Präsenz und Erscheinung wechselt. Das Album endet mit einem meditativen Duett mit dem weltberühmten Reed-Spieler Ned Rothenberg an der Bassklarinette , einem spärlichen und weitläufigen Track, der vom Noh-Theater inspiriert ist. Es bietet einen Moment der Stille, der noch lange nach dem Ende des Albums nachhallt.

Der düstere Zauber von Ritual Howls sechstem Album ,Ruin" entfaltet sich bereits in den ersten Momenten der ersten Single ,Follow the Sun", wenn der klare Ruf von Paul Bancells hallender Gitarre von Chris Samuels pulsierendem Kick und flirrenden Drum-Programmierung sowie dem knurrenden, verzerrten Bassgroove von Ben Saginaw untermalt wird. Mehr als ein Jahrzehnt nach ihrer Gründung verfeinert das Trio seine nuancierte Mischung aus Industrial, Goth und Post-Punk auf ein neues Niveau vollendeter Fülle, und die Ergebnisse verkörpern mehr denn je die Gegensätze, die sie ausmachen. Mit ,Ruin" kehren Ritual Howls zurück zu ihren düsteren Wurzeln. Mehr als ein Jahrzehnt nach ihrer Gründung verfeinert das Trio weiterhin seine nuancierte Mischung aus Industrial, Goth und Post-Punk zu einer neuen Ebene von alles verzehrender Fülle, und mehr denn je verkörpern die Ergebnisse die Kontraste, für die sie bekannt geworden sind: auf einmal eindringlich düster, aber kinetisch eingängig, intim roh, aber verlockend geheimnisvoll. Seit ihrer Gründung in Detroit hat die Band immer lose Elemente der Old-School-Rave-Kultur in ihre Arbeit einfließen lassen, was zu einer zutiefst physischen Erfahrung ihrer schweren, düsteren, melodischen und akribischen Konstruktionen führt. Nach ihrem letzten Album (Virtue Falters, 2023) zog Bancell nach Los Angeles, und ein Großteil von Ruin entstand über das Internet, gipfelnd in einer Reihe intensiver Aufnahmesessions mit dem langjährigen Toningenieur Adam Cox in Michigan. ,Es begann damit, dass Chris musikalische Ideen präsentierte - Beats, Melodien, Sounds, Riffs - und ein paar fertige Tracks; er und Ben trafen sich zum Jammen, und ich steuerte aus der Ferne einige Gitarrenparts bei ", erzählt er. Von der Entfernung grundlegend unbeeindruckt, funktioniert Ritual Howls als echte kollaborative Einheit, und Ruin ist ein reichhaltiger, unbestreitbarer Beweis dafür, dass sie weiterhin an der Spitze ihrer Kunst stehen.

Long-time NuNorthern Soul contributor, B.J. Smith is a man in demand, dividing his time between solo work, playing guitar in Crazy P man James Baron’s popular JIM outfit, collaborating in a variety of well-regarded projects (Smith & Mudd, Bison and White Elephant amongst them) and composing for TV. Due to this impressive list of musical commitments, solo releases have been few and far between of late, with Smith’s most recent NuNorthern Soul release, a stripped back version of his Big Sur single, dropping late 2023.

It's been ever longer since he delivered a volume in his popular and ongoing Dedications To The Greats series, where the singer-songwriter and composer successfully turns his hand to other people’s songs. Since debuting the series on NuNorthern Soul in 2013 via revelatory and inspired covers of tracks by Mos Def and the Pharcyde, Smith has covered cuts by Outkast, Prefab Sprout and Soul II Soul.

On volume four, Smith’s first volume in the series for five years, he delivers a “cover of a cover” – a revolutionary and imaginative interpretation of Billy Swan’s ‘Don’t Be Cruel’, itself a version of a song first made famous by Elvis Presley. It was their mutual love of Swan’s version that brought Smith together with the release’s most prominent guest artist, Joe Harvey-Whyte, whose lilting, bittersweet and deeply emotive pedal steel performances can be heard across the EP.

Smith provides three contrasting takes. The EP is led by the ‘Mother Earth’ version, a slowly unfurling epic in which waves of effects-laden pedal steel and sun-splashed picking acoustic guitars usher in Smith’s eyes-closed vocalisations, settling into a groove reminiscent of his collaborative work with long-time friend and collaborator Paul ‘Mudd’ Murphy that showcases Harvey-Whyte centre stage to joyful effect. As the 14-minute epic progresses, we’re treated to long, languid electric guitar solos, percussion-laden slow-motion builds and hazy, stretched-out organ solos. It’s a breathlessly brilliant concoction that’s a million miles away from either Swan or Presley’s versions.

In contrast, the similarly epic ‘Earth Heart’ version – available in full vocal and instrumental takes – pushes the song front and centre. Following an extended build up, where Tamar Osborn’s gorgeous and fluid flute motifs rub shoulders with languid guitar solos and Harvey-Whyte’s pedal steel, Smith takes to the mic, delivering an emotive performance of the song’s heartfelt lyrics over a hushed, slow-motion groove. The track builds in waves as it progresses, with Smith layering up instrumentation as it rolls towards a fine conclusion.

Completing a superb package is the ‘Root Heart Version’, a Balearic-meets-Americana take built around shuffling drums, toasty bass guitar, extended pedal steel instrumentation, flashes of flute and Smith’s sun-bright acoustic guitar. Loved-up and more than a little saucer-eyed, it’s a bona-fide sunset delight.

Nach zwei gefeierten experimentellen Instrumentalalben, Feral Hymns (2021) und Acts of Light (2023), kehrt Hilary Woods auf ihrer neuen LP Night CRIU zur Songform und vor allem zu ihrer Stimme zurück. Sie lernt erneut, wie sie ihre Stimme einsetzen kann, und komponiert Songs, die sich um sie drehen. Das intime Ökosystem von Night CRIU mit sieben Songs nutzt Vokalharmonien und die Aussprache der Texte als Mittel, um wieder in den Körper einzutreten, mit dem Unbewussten zu sprechen und es bewusst zu machen. Night CRIU ist eine Zeremonie aus Licht und Schatten, ein Album, das sich gegen die erdrückende Monokultur auflehnt, indem es gleichzeitig verlorene Unschuld zurückerobert und betrauert. Woods' Klangpalette ist dynamisch und verletzlich zugleich, in ihrem Bestreben, verlorene und zersplitterte Teile des Ganzen zu integrieren. Losgelöste Klangfäden erinnern an die Risse, Ränder, vergessenen Handlungsmöglichkeiten und vielschichtigen, schlummernden Persönlichkeiten, die nachts an die Oberfläche kommen und darauf warten, bei Tageslicht wiedergefunden und integriert zu werden. Inspiriert und beflügelt von vielen Dingen, darunter die Wiederbelebung indigener Sprachen, persönliche Erfahrungen mit Paraden und Prozessionen, frühe irische Musik, die Freude am Northern Soul-Tanzen, Aspekte des tschechischen und frühen italienischen Kinos, die Unmittelbarkeit des Klangs und das Aufbegehren einer Gegenwartskollektivität, die sich mit ihrer Stimme und ihrem Eintreten für das Menschsein angesichts von Tyrannei und Unterdrückung zu Wort meldet. Night CRIU wurde zwischen 2023 und Januar 2025 an der Westküste Irlands, in Dublin, London und teilweise in Lettland aufgenommen. Diese Lieder für Gesang, Blechblasinstrumente, Streicher, Elektronik, Feldaufnahmen, Texturen, Synthesizer und Klavier wurden aus vielen frühen Heimaufnahmen ausgewählt, die Woods als Spiegelbilder einander gegenüberstellte. Night CRIU wurde von Hilary Woods geschrieben und produziert, von Dean Hurley gemischt, mit zusätzlicher Produktion von Dean Hurley und Oliver Turvey, gemastert von Brian Lucey und mit Beiträgen von Hannah Fallon, Hangleton Brass Band, Gabriel Ferrandini und Ajo Gonsenica. ,Jede Platte ist eine Rettungsboje, eine Momentaufnahme, eine Markierung im Sand, ein Termin, den ich einhalten muss", so Woods. ,Ein Floß, das gleichzeitig kathartisch, schwimmfähig und verspielt ist - Platten aufzunehmen ist eine Art zu sein."

Andy Ash is a long time contributor to the sound of Quintessentials, with his album "All the colours" being the highlight of his work. Until now! The Liverpudlian shows superb diversity on his new EP called "Silent Planet". The opener, "Patch 2" is a stripped down masterpiece of Dub Techno and a perfect club tool. "Hross" can be called Acid House, and you know we love that! The B-side shows more of a relaxed vibe with the beautiful string-laded "Franco alley" and the smooth low BPM track "Yellow". This silent planet has something to say and shows great variety of styles and Andy's skills as a producer - and yes, all AA releases have his own artwork!

High Roller Records, transparent beer colored vinyl, ltd 450, 425gsm heavy cardboard cover, lyric sheet, download code Starlight Ritual wurden 2013 in Montréal, Québec, geboren, gegründet von den beiden Gitarristen J.F. Bertrand und Dan Toupin. Bertrand schwebte ursprünglich ein Doom/Psychedelic-Projekt vor, zu dem er Bassist Mat Forge und Schlagzeuger Louis Lecomte anheuern ließ. Dan und J.F. schreiben einen Haufen instrumentaler Doom-Heavy-Prog-Nummern, von denen einige 2015 auf dem ersten selbstbetitelten sowie selbstproduzierten Album landen (technisch gesehen mit vier Songs eine EP, allerdings mit einer Spielzeit von nahezu 40 Minuten). 2014 stößt Sänger Damien Ritual zur Band. Mit »Age Of The Universe« folgt zwei Jahre später eine weitere EP, gefolgt vom ersten offiziellen Album »Sealed In Starlight« auf Temple Of Mystery (2021). Starlight Rituals erste Veröffentlichung auf High Roller Records ist das neue Album »Rogue Angels« (auf dem Damien Ritual nicht nur singt, sondern auch Bass spielt). Seit den frühen Tagen hat sich der Stil der Band seiner Meinung nach doch recht nachhaltig verändert: Bei »Sealed In Starlight« war die Identität dann gefunden: traditioneller Heavy Metal mit Epic-Flair, ein Mix aus Manowar und Running Wild sowie alten Helden wie Thin Lizzy und Rainbow‘, Epic Hard Rocking Traditional Metal’

Shall Not Fade welcomes Mia Lily to the label for her debut release "Hydrated But Drunk EP".

Northern raised and London based, Mia is already well known for her high-energy DJ sets and her monthly residencies on Balamii and Foundation FM. As a selector Mia's sound is rooted in rave, but she also has a background in classical piano and family roots in jazz. All this becomes immediately clear as Mia effortlessly & expertly steps into the producer, composer & vocalist roles to deliver five refined, emotive & highly musical tracks that navigate trance, techno, UKG and house and feature vocal and piano performances from Mia.

"Hydrated But Drunk" opens Mia's Discogs entry with a bang. Vinyl & Digital drop 17th Oct 2025 on Shall Not Fade. Artwork by James Lacey.