Cerca:neon

T.O.Y.'s new album, The Prophet, is passion, history, a vintage museum, and full of great songs that are waiting to be heard. T.O.Y. is a German synthpop and futurepop band founded in 2001 by Volker Lutz. Highlights include collaborations with Alphaville's singer Marian Gold ("Turn On!") and FAITHLESS drummer Andy Treacey ("Silent Soldiers"), blending T.O.Y.'s atmospheric sound with iconic voices from the electronic music scene. "The Prophet is something truly special. During the Corona pandemic, wrapped in isolation, we all needed consistency, a sense of comfort, and security. I found that feeling through sounds--the sounds I have known my whole life: the music of the 80s. Courageously and full of ideas, one song after another emerged. Motivated by the wonderful collaboration and friendship with Alphaville frontman Marian Gold, who kept encouraging me with words about how good this record was, the pandemic passed, and so did one year after another. Through my friendship with Faithless drummer Andy Treacey, I got in touch with Jonathan White, also a member of the Faithless family. A true genius on bass in live performances, he became part of the album as well." - Volker Lutz

MUNA sind magisch. Welche andere Band hätte das verlorene Jahr 2021 mit Pailletten und Pompoms geprägt - und dich dabei ganz nebenbei zum Singen bringen können (und vielleicht sogar zu glauben), dass "Life's so fun, life's so fun" ist? All das während der vielleicht unruhigsten Phase deines Lebens? "Silk Chiffon", der Instant-Hit von MUNA mit Labelchefin Phoebe Bridgers, schlug wie ein doppelter Regenbogen in den grauen Himmel der anderthalbjährigen Pandemie ein. Pitchfork nannte es einen "Strudel von Schmetterlingen im Bauch", NPR einen "Queerwurm", der US-Rolling Stone "eine der süßesten Melodien des Jahres, die die Art von purer Pop-Seligkeit ausstrahlt, die so viele Bands anstreben, aber fast nie richtig hinbekommen." Für MUNAs Gitarristin und Produzentin Naomi McPherson war es ein "song for kids to have their first gay kiss to." Und so blühten mehrere Tausend verrückte Twitter- und TikTok-Memes auf. Seit Beginn ihrer Karriere haben MUNA den Schmerz als Fundament der Sehnsucht, als Zentrum der radikalen Wahrheit, als Teil des Erwachsenwerdens und als inhärenten Faktor der Erfahrung von Marginalität betrachtet - die Bandmitglieder gehören Queer- und Minderheitengemeinschaften an und spielen ihre Songs vor allem für diese. Gavin, McPherson und Josette Maskin - die Gitarristin von MUNA - verbindet eine bald zehnjährige Freundschaft. Sie begannen im College an der USC zusammen Musik zu machen und veröffentlichten 2017 mit der Single "I Know a Place" einen frühen Hit als eine aufgestaute Beschwörung zur LGBTQ-Zuflucht und Transzendenz. Jetzt, in ihren späten Zwanzigern, ist das Trio so etwas wie eine Familie geworden. Sie verbrachten einen Großteil der frühen Pandemie als eine Gruppe, die füreinander und für MUNA da war, selbst als sie sich über nix in Bezug auf Zukunft sicher sein konnten. Sie wurden von ihrem vorigen Label RCA gedroppt und es gab nur wenig Einkommen, kein Adrenalin, mit dem sie arbeiten konnten, keine Live-Shows mit Publikum, das sie an den Beistand erinnerte, den ihre Songs bieten können. "Muna", das selbstbetitelte dritte Album der Band, ist mehr als eine Rückkehr. Die Zeit der Unsicherheit und des offenen Hinterfragens der Band hat alles weggebrannt und ein Meisterwerk von einem Album hinterlassen - die kraftvolle, bewusste, dimensionale Leistung einer Band, die niemandem außer sich selbst etwas beweisen muss. Der Synth auf "What I Want" funkelt wie eine ROBYN-Tanzflächenhymne; "Anything But Me", das im 12/8-Takt galoppiert, erinnert an SHANIA TWAIN im Neonlicht der Achtziger; "Kind of Girl" mit seinem aufsteigenden, klagenden THE CHICKS-Refrain bittet darum, mit deinen besten Freund*innen bei maximaler Lautstärke gesungen zu werden. MUNA arbeiteten mit dem Quellcode des Pop, der das Herz berührt - das Album ist voller Sehnsucht und Offenbarung und hart erkämpfter Freiheit.

When the ghost in the machine meets the breath in the reed, expect sparks. Electronic sound artist Robin Rimbaud – Scanner joins forces with acclaimed British bass clarinetist Gareth Davis to create an album where circuitry hums, wood vibrates, and the air between notes crackles with possibility.

This is no polite meeting of minds — it’s an elegant collision. Scanner’s intricate electronic textures weave around Davis’s deep, resonant tones, blurring the boundary between acoustic breath and digital pulse. The result is a sound world that’s at once intimate and expansive, familiar yet thrillingly unpredictable.

Think late-night conversations in abandoned buildings. Think fog rolling over neon. Think sound that slips through your fingers even as it takes hold of you.

The songlines in question , memories and distorted images of travels across various continents, form an imagined biography of places that might or might not have been but somehow seem to exist . Landscapes of blurred statements , lost words and echoes of meandering structures.

"If Miles Davis had been raised on shortwave radio static and midnight phone calls, it might have sounded like this."

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.

Toyah’s 1994 solo album Take The Leap! is issued on limited edition picture disc vinyl for the first time ever.

The picture disc features colour images on each side of the vinyl and is housed in special die-cut outer sleeve containing previously unseen photography from the original album shoot.

Toyah’s 1994 studio album was recorded with Salisbury band Friday Forever and includes eight re-recordings of classic Toyah material and six original compositions.

Quadratschulz returns to Clone / Dub Recordings with a sonic ode to Tokyo - ??six beautifully crafted tracks inspired by the neon-lit nights and electric pulse of the city. Drawing from the spirit of Japanese electronics, arcade culture, and city pop nostalgia, he blends crisp rhythms with emotive melodies and playful synth work. It'??s a journey through dreamy downtowns and rain-soaked alleyways, full of warmth, precision, and imagination. Of course, Japanese electronics play a key role - ??led by the unmistakable playful sound of the Roland TB-303 weaving through the tracks like a main character. Braindance for the dancefloor - ??Quadratschulz in top form. First limited press on opaque red vinyl.




b 02 The Garden of Evermod Shoseien Version

MD008 is here! — a bold new chapter in theever-evolving world of re-edits. This latest instalmentis a masterclass in versatility and emotion: four distinct cuts, four immersivesoundscapes, each crafted to ignite the dancefloor in its own unforgettableway. From hypnotic vocal firestorms to cinematic tributes, MD008 is a recordthat transcends trends and celebrates the timeless art of groove. Vinyl-only,limited edition — a future classic in the making.



A1 –TVGLips
A relentless vocal workout built to commandattention from the very first beat. “TVGLips” is a powerhouse opener —hypnotic, high-energy, and unapologetically intense. Its driving rhythm andsoaring vocal lines lock dancers into a euphoric trance, pushing momentumhigher with every bar. A weapon of choice for peak-time sets.



A2 –Tu Sei
Radiating pure nostalgia, “Tu Sei” channelsthe neon-lit spirit of the 1980s with a contemporary twist. Shimmering synths,heartfelt melodies, and a groove steeped in retro romance make this track anirresistible dancefloor moment. Equal parts cinematic and soulful, it’s a loveletter to a bygone era — and a timeless anthem for now.



B1 –Inquinada
Where new wave attitude meets disco power.“Inquinada” is a darkly seductive cut that pulses with underground energy — rawbasslines, mechanical percussion, and shimmering synth layers collide to createa sound that’s both nostalgic and futuristic. Perfectly balancing edge andallure, it’s a track that keeps the floor moving deep into the night.



B2 –Gatto Fresco
Closing the EP is aheartfelt homage to one of music’s greatest icons. This is a tribute toFreddie, and it’s pure celebration — anthemic, uplifting, and full of life.With its soaring melodies and infectious groove, it captures the unbreakablespirit and theatrical brilliance of Freddie’s legacy, leaving dancersexhilarated and inspired as the lights come up.



LimitedEdition, Vinyl Only
True to form, MD008 ispressed in strictly limited quantities — once it’s gone, it’s gone forever.Collectors, selectors, and lovers of the edit craft: this is a piece you’llwant in your collection.

Boss Priester is a firm part of the house vanguard after solid outings on labels like Dungeon Meat, Ba Dum Tish and What NxT. Here he lands on Reliance with four more hefty slabs of chunky garage house that nod to old school UKG and bassline. 'Get Hip To This' has everything required to get lips curled and fists pumping, from the whirring baseline to the slick synth sequences. Job de Jong remixes with a bouncy house energy that's just as irresistible. 'Streetmaster' then rides on a plunging bassline with classic garage percussion and 'HWJAM' brings more bounce with some neon stabs and a super cool energy. Four stylish, useful cuts again from the in-form Dutchman.

Wenn Liebesdramen klingen wie glitzernde Clubnächte und der Schmerz so tanzbar wird, dass er fast schön ist: Austra verwandelt den Moment des völligen Verlusts in eine Partitur aus Verrat, Trost und neonfarbenem Pathos. Katie Stelmanis hat ihre Stimme immer wie ein kostbares Instrument behandelt, klassisch geschult, in Opern getaucht, vier Alben lang getragen von einer Dramatik, die man auf der Bühne so überzeugend spielen kann, wenn sie im echten Leben ausbleibt. Bis der Vorhang im Frühjahr 2020 einfach ohne Ansage fiel: Die Partnerin, viele Jahre an ihrer Seite, wacht eines Morgens auf, sagt, sie sei unglücklich und verschwindet wie eine Figur, die mitten im dritten Akt aus der Inszenierung läuft. Zurück bleibt Stelmanis, umgeben von einer Welt, die plötzlich so wenig Struktur hat wie ein falsch gesetzter Akkord. Der Titel des neuen Albums, Chin Up Buttercup, ist ein feiner Stich ins gesellschaftliche Fleisch: dieses unausgesprochene Gebot, das Herz zu flicken, das Lächeln anzukleben, einfach weiterzutanzen. Gemeinsam mit Co-Produzent Kieran Adams blickt Stelmanis nach Europa, nach 1998, zu Madonnas Ray of Light, zu William Orbits flirrendem, elektronischem Lichtgewebe. Aus der Trümmermasse persönlicher Verluste baut sie tanzbare Hymnen, die zugleich beschwören und beschweren. Math Equation ist dabei die erste Single und das schlagende Herz: eine Gleichung aus Verrat und Witz, in der Zeilen wie „You said I needed my own friends / So I found them / Then you fucked them“ zugleich Klage, Trotz und poetische Ohrfeige sind. Über allem liegt dieser Hauch von sapphischem Chaos, der Austra hier zu einer großen Erzählerin des gebrochenen Takts macht.

Wenn Liebesdramen klingen wie glitzernde Clubnächte und der Schmerz so tanzbar wird, dass er fast schön ist: Austra verwandelt den Moment des völligen Verlusts in eine Partitur aus Verrat, Trost und neonfarbenem Pathos. Katie Stelmanis hat ihre Stimme immer wie ein kostbares Instrument behandelt, klassisch geschult, in Opern getaucht, vier Alben lang getragen von einer Dramatik, die man auf der Bühne so überzeugend spielen kann, wenn sie im echten Leben ausbleibt. Bis der Vorhang im Frühjahr 2020 einfach ohne Ansage fiel: Die Partnerin, viele Jahre an ihrer Seite, wacht eines Morgens auf, sagt, sie sei unglücklich und verschwindet wie eine Figur, die mitten im dritten Akt aus der Inszenierung läuft. Zurück bleibt Stelmanis, umgeben von einer Welt, die plötzlich so wenig Struktur hat wie ein falsch gesetzter Akkord. Der Titel des neuen Albums, Chin Up Buttercup, ist ein feiner Stich ins gesellschaftliche Fleisch: dieses unausgesprochene Gebot, das Herz zu flicken, das Lächeln anzukleben, einfach weiterzutanzen. Gemeinsam mit Co-Produzent Kieran Adams blickt Stelmanis nach Europa, nach 1998, zu Madonnas Ray of Light, zu William Orbits flirrendem, elektronischem Lichtgewebe. Aus der Trümmermasse persönlicher Verluste baut sie tanzbare Hymnen, die zugleich beschwören und beschweren. Math Equation ist dabei die erste Single und das schlagende Herz: eine Gleichung aus Verrat und Witz, in der Zeilen wie „You said I needed my own friends / So I found them / Then you fucked them“ zugleich Klage, Trotz und poetische Ohrfeige sind. Über allem liegt dieser Hauch von sapphischem Chaos, der Austra hier zu einer großen Erzählerin des gebrochenen Takts macht.

It was 1985--or at least it felt like it. The chrome skyline of Neo-Milano shimmered in the dusk light, skyscrapers pulsating to the beat of neon advertisements, casting glowing reflections across the silver canals below. In this retro-futurist-old city in Italy called Milan, half modern Rotterdam the Netherlands caught between timezones of nostalgia and tomorrow, the nights were long, the music was loud, and everyone was searching for something real. Fred Ventura was wearing his black leather jacket and was singing loud in his favorite key. It was perfect for his voice! All I Want Is You! This mega future italo classic with a canadian Lime vibe will give you Italo goosbumbs. Italoconnection vs. Tyrell corporation and you know what this means! A super hit in the old Tyrell style, already played by Moustache label boss David Vunk at several festivals and underground club nights for some time.. expect the old analog feel basslines, Roland Jupiter 8 strings and lyndrum drums. It goes deep, it's pure Italo singalong.... be fast super limited copies to keep it real! It won't be better than this. Be fast, live is life, dont play this vinyl under water. Teardrops in your eyes. This text is not AI, its Vunky text. gone is gone. Moustache records 053!

Neon-orange Vinyl, limitiert auf 500 Exemplare. 1995 haben HARMFUL mit ihrem selbstbetitelten Debüt keine halben Sachen gemacht: herrlich anstrengend, atemlos und kompromisslos direkt - ein wuchtiger Sound, der bis heute Kultstatus hat. Keine Spielereien, nur pure, ungefilterte Energie. Grandios produziert von Guido Lucas, dem leider viel zu früh verstorbenen Kultproduzenten sowie langjährigen Freund und Wegbegleiter von HARMFUL, im legendären BluBox-Studio in Troisdorf. Das selbstbetitelte Harmful-Debüt war für das BluNoise-Label wegweisend und zugleich das erste Album auf dem später so einflussreichen Label - das danach Kultbands wie Blackmail und Ulme sowie viele weitere eigenständige Acts beherbergen sollte. Sänger und Gitarrist Aren Emirze, heute auch mit seiner Band Musa Dagh erfolgreich unterwegs, kehrt gemeinsam mit Chris Aidonopoulos (Bass) und Nico Heimann (Drums) in Originalbesetzung zurück auf die Bühne - für zwei exklusive Jubiläumskonzerte. Jetzt, 30 Jahre später, erscheint das Album als streng limitierte 30th Anniversary Edition auf transparent-orangenem Vinyl - limitiert auf nur 500 Stück - inklusive dem Original-Artwork, das den Kultstatus des Albums unterstreicht.

Godzilla’s/Eatin’ Dust is the most popular release in Fu Manchu’s 30 year recorded history. It is the combination of what were originally 2 distinct 10” releases: Godzilla (1997) and Eatin’ Dust (1999).In 2018, Scott Hill (vocals/guitar) found the original tapes from the Godzilla recording sessions produced by Josh Homme (Queens Of The Stone Age/Kyuss) and unearthed a secret that had been in his garage since 1996...The band had recorded 4 songs that had never been released. These extra songs are early versions of "Grendel, Snowman," "Strolling Astronomer" and "Urethane” (whose final versions appeared on 1997’s The Action Is Go) and a cover of Thin Lizzy's "Jailbreak" (which is a different version than the one which was released on 7” in 1998). The songs line up perfectly with the original tracklist, which includes the band’s crowd pleasing cover of Blue Oyster Cult’s “Godzilla” and fan favourites “Eatin’ Dust” and “Mongoose” (which was featured in a Super Bowl commercial for Toyota and included in the TV series “Sons Of Anarchy” and the films “Boondock Saints II” and “The Hot Chick”).In 2019, the band released a 2,000 unit limited edition of this new version in a triple 10" package. Due to the continuing demand after this version sold out, in 2020 the band issued a new limited edition version of 1,500 units neon green and white splatter double 12" gatefold package with 2 sided insert including the previously unreleased tracks at 45 RPM for the heaviest audio possible. Five years later, they are finally doing a repress of this 45RPM double 12” version on white with brown splatter vinyl in a limited edition run of 2000 units.

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.

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics. Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound. "We had all these spare songs after we released our last album Eggsistentialism and we didn't really know what to do with them," explained Holly. "They just didn't seem to fit in with the vibe of Eggsistentialism but we'd recorded them and wanted to get them out there." "They're kind of a sketchbook of songs," added David. "They're not polished or laboured over but we thought it would be interesting to release them. It's why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash."

Yarni's "Anemoia" blends disco, soul, jazz-funk, hip-hop, and trip-hop across ten collaborative tracks, arriving with an unexpected bonus record due to a pressing plant mix-up that transformed a costly mistake into a collector's item. When the pressing plant accidentally pressed the full run using a rejected master, Yarni included both the louder original test pressing and the final audiophile version rather than waste the pressing.

The project has garnered significant BBC Radio support, with Craig Charles, Stuart Maconie, Romesh Ranganathan and Huey Morgan championing tracks as essential listening. Exploring the Greek concept of nostalgia for a time never known, the self-taught multi-instrumentalist collaborates with ten musicians and vocalists, weaving genres into a thoroughly modern tapestry.

Standout collaborations include the orchestral jazz-funk opener "Neon Gods," epic "S.W.A.L.K" featuring Scarlett Fae, hip-hop fusion "Natural Light" with Franz Von and Jeff Darko, and the Afrobeat-influenced closer "Nino." Rather than a retro tribute, Yarni crafts a forward-thinking collection that reimagines classic genres through a contemporary lens, bridging past and present with fearless experimentation.

The bonus record features slight distortion and louder mastering from the original test pressing that wasn't quite right - offering fans both the intended audiophile experience and this alternate version with added character. Each package includes a personal letter explaining this happy accident, making it essential for collectors seeking authentic independent music experiences.

Los Angeles-based duo LUCKYANDLOVE are back with their third album, evoking a new sense of art school originality, following their critically acclaimed “Transitions” album. The duo defines 'Humaura' as the atmosphere that emanates from the feelings of the human spirit void of technological control.

Blending raw analog synth sounds with driving punctuated percussion and punchy analogue bass, LUCKYANDLOVE’s music is shaped by the embers of Siouxsie and The Banshees and Bauhaus, resonant spectres carry over from synth-laden galaxies, where the needle hits the vinyl groove and Doc Martens marched to basement dance floors.

LUCKYANDLOVE is the raw sonic experiment of Loren Luck and April Love, whose music transcends genres. Their live analogue synth beats, Moog instrumentation and beautiful, harmonic vocals trigger an immediate download of fuzzy sunset synthgaze, blue-black neon darkwave, and tigerprint electro punk.

“‘Humaura’ is an action-packed, cinematic, entertaining and soulful electro-dance record full of fresh air and wide-open roads where there is more freedom to party, to be in nature, and to be our wild selves,” says April Love.

Fusing together pulsating molten kicks, abrasive fuzz-laden analog synths and sensual vocals, the anti-tech angst anthem ‘I Am Human’ is a call to take back our lives, underlining the need to reconnect with being Human before it’s too late. ‘Lonely at Night’ is a "last call" bar track about the desperate, frantic desire for human connection, building from a haunting sense of isolation to a fast-paced, climactic reunion with a crush. Elsewhere, this album features enchanting lyrics rooted in emotions from melancholy and sorrowful glom to a state of blissful trance.

This album was recorded, mixed and mastered for digital release by Grammy award-winning engineer Be Hussey (Modern English, Twin Tribes, Boy Harsher) at Balboa Studio and Catwater for the digital music, and mastered for vinyl and lathe-cut by Grammy-nominated engineer Nicholas Townsend (Weezer, Grimes) at Townsend Mastering.

Their 'Lucky + Love' and 'Transitions' albums having earning them a global fan following, US and UK tours, multiple tracks featured in the indie hit film 'Tiger Within' (Ed Asner's final performance), and wide acclaim, noting their “soulful, synthesized sound" (LA Weekly), “spectral synths and dazed-dreamy feeling” (Big Takeover Magazine), not to mention their "uncompromising and inventive sonic experiment” (The Spill Magazine) and sound that “oscillates between the asphalt synth streets & interstellar outer realms” (Impose Magazine).

LUCKYANDLOVE’s visceral, dark electro-pop appeal continues to stretch through time and space. Praise for the album’s lead track ‘I am Human’ have poured in from over a dozen countries. ‘Humaura’ promises to cement the duo’s reputation as one of America’s most vivacious electronic / synthwave acts, positioning them firmly within the lineage of artists like Phantogram, Ladytron, The Soft Moon, Twin Tribes and ACTORS.


‘Humaura’ Press:

“...In contrast to its synth-laden darkwave and electropunk sound, the song presents lyrical themes of championing the human spirit and emotions over the technological void" ~ Regen Magazine

“Moog textures and distorted synth tones weaving together like electric currents. An industrial edge that carries a dreamy undercurrent, nodding to darkwave, punk rock and post-punk influences without sounding dated" ~ Myth of Rock

"Every second and note is a meld of lava-esque incitement and beguiling melodic fixation and a breath to unpredictability and stirring fuzz hued uniqueness… a thrilling encounter" ~ The Ringmaster Review

"Layers fall into place and give rise to soaring vocals. The beautiful timbre of her voice sits over the landscapes of sound and reveal poignant lines that hit home." ~ Sound Read Six

Neon green vinyl, limited to 300 copies. REPRESS. Greenferno is the second studio album by the Polish stoner doom band Belzebong. Recorded in early 2015 and the first release to feature second drummer Hexy Dude. Belzebong are a stoner metal band from Kielce, Poland. Since the band's formation in 2008 they currently have three albums under their belt and have toured Europe on multiple occasions. Along with their weed-themed instrumental doom the band is best known for their "Dude" pseudonyms, keeping their faces obscured whether by hair or fog and tongue-in-cheek nature to their music as implicated in many interviews. All of their music to date, barring samples, is instrumental.

Three lesbian sardines! Shouted by a heckler at a performance by the Dadaist Hugo Ball on stage at the Cabaret Voltaire. Is a perfect title for Nurse With Wound's final appearance at the `Great Monster Dada Show' at the legendary Henie Onstad Kunstsenter in Oslo, 2019. The largest exhibit of dada art and artefacts this century, over 250 artworks by 43 artists including Kurt Schwitters, Jean and Sophie Teuber Arp, Hannah Hoch, John Heartfelt, Tristan Tzara, Max Ernst, Francis Picabia, Raoul Hausmann, Marcel Duchamp, Man Ray. This electric performance captures the band at their most eclectic and playful. Here six tracks feature the classic line up of Steven Stapleton, Andrew Liles and Colin Potter including the toe tapping crowd pleaser `Flea Circus' - a mutant hybrid of Kraftwerk and Aphex Twin and is amongst the best the band have ever recorded. `Broken America' is timely reminder of the dire situation we are all facing with the arrival of Trump's America. The cover features stunning new artwork by acclaimed artist Babs Santini. 500 copies only in NEON GREEN VINYL.

Innitial pressing soul out at once, now repress in neon green vinyl colour available! Ride bassist Steve Queralt's debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur Rós with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, MEMORIALS).Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created. Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album's dark intensity. This is most notable on the closing track, `Motor Boats', where he overlays words from Julie Sheldon's polemic poem The Same Boat ("We're all in the same boat they say, but I would disagree"). According to Steve, these simple words of rejection "capture the reality of our times perfectly". However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album. "After a few false starts, I had started to doubt the project altogether. It was going nowhere," says Steve. "Then, out of the darkness, Emma got in touch to tell me that she'd found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had `Lonely Town' and `Swiss Air'."In the meantime, Verity from Electrelane had added vocals to the song `Messengers' and transformed the track. Matthew Simms, now her bandmate in MEMORIALS, would go on to mix the finished album."Swallow has turned out so much better than I had hoped," enthuses Steve. "I'd fallen out of love with it so many times I was thinking of calling it Loveless. But then, that wouldn't be the whole story...

Born 2 Be Free continues its good early work with another dose of UKG old skool magic. It comes from the label head Azaad, whose previous drops have all sold out in quick time, and this one will likely do the same such is its magnetic appeal. The Londoner opens up with 'Caliente' and rides on bumpy drums with some turbo-charged stabs injecting the heat. 'Feel It' bobble along with cute chords brings a balmy feel next to whispered vocals and low slung bass for maximum lip curl. 'I Want You' brings another timeless vibe with its neon pads and cuddly, immersive atmosphere then the Az Gets Deep mix sets down with some extra depth and drive.

SHADOWY FIGMENTS OF UNRELENTING SONIC SEEKINGS
The magic lantern music of Razen spirals into ever more fanatic territory with the addition of turntablist Guilhem All from Brest. Vietnamese flute, oscillator, chopped-up vinyls and a range of
uncomfortable techniques bring about a series of sandblown, rock-encrusted desert mirages.
MORE INFO SOON
credits
releases October 15, 2025

Recorded by Mathieu Grillo, with assistant engineer Gaia Lufrano
Recorded at Echo Chamber in Volta, Molenbeek on March 4,5 & 6, 2025
Mixed by Mathieu Grillo, with assistant engineer Gaia Lufrano
Mastered by Frédéric Alstadt

Artwork: Aurora/ ChromaGrid drawing by Wilfried Pulinckx

Brecht Ameel: oscillator & harmonium
Kim Delcour: sáo trúc, fijfer, chalumeau, santur
Guilhem All: turntables

Thank you: Arne and Mich at Volta & AB

On September 19, 2025, Mac Declos will release his second album, MTY-013 « Nothing Stands Still », on Mama Told Ya. Following the acclaimed MTY-007 « Hard Work Always Pays Off » and a trilogy of striking EPs : Angel Eyes (2025), Endless Cycle (2024), and Cuir en Cage (2023), as well as countless DJ sets and All Night Longs around the globe, Mac is now ready to unveil a bold new chapter in his musical journey.

Nothing Stands Still is a sonic artefact: a double-vinyl album composed of 12 timeless tracks. Eleven pieces are produced solely by Mac Declos, with one co-produced alongside Anetha. The album also features unique contributions from Mac’s mother, Doona Rolls, and Mac’s dad, Eric Declosmenil, adding emotional
depth to the project. While music is often elusive and ephemeral, with Nothing Stands Still, Mac Declos set out to create an archive of the future that transcends time and trend, an echo meant to endure. Once again, Mama Told Ya reminds us: Music remains.

With his first EP on Token, Phara conjures up four tracks detailing dancefloor impact with robust personality. In 'Second Skin', the Belgian artist is eager for resolution, keeping tension high with the bold analog sound he's known for. Coming eye to eye with the label's sound, Phara pays homage to Token while fiercely defending years of artistic direction - layering the label's astral ambiance with his unstoppable movement.

'Second Skin' sets Phara's intentions clear. The titletrack rolls forward like heavy machinery with what seems like shifting vocals breathing life into the stereo image. This first cut is a gold standard of peaktime production, creating a sense of purpose at the core of urgency. Claps and rides boom and whip around the track that lumbers on with chord stabs to add soul to flare. 'The Ring', however, takes the listener into another direction. Heavily centered on the drum sequence with a sharp slap-back delay, Phara plays with resonance, sparking psychosis amongst movement. Playful in the short term, 'The Ring' proves to be an ultra-hypnotic track reserved for a set's high intensity stretches on an already surrendered dancefloor. Taking this energy and pulling it in, 'Neon' comes to establish a bit more intimacy at first. Here, the producer diffuses his elements into themselves and, in turn, creates a thick ambiance that drives the record forward in space and dissonance. 'Neon' is inquisitive and almost spiritual in its effect, playing with the line between a unified dancefloor and an introspective journey. The conclusion to the EP is 'Blood', a return to dryer production - at least in the beginning. Ambient, almost psychedelic synth work sucks in the listener over unwavering energy to create a closing track worthy of its name. Rolling through to the end, 'Blood' delivers the final blow to an insatiable record on Token by Phara.

Kerala Dusts großartiges neues Album 'An Echo of Love' ist ein Paradebeispiel dafür, niemals stillzustehen. Im Mittelpunkt seiner musikalischen Hybridität - wo Artrock auf innovative Elektronik trifft und die warme Umarmung der Tanzfläche Raum für weite Ausblicke auf Americana, Wüstenblues und dämmrige Fahrten durch eine neonbeleuchtete Stadt lässt - steht ein Album, das die Möglichkeiten des ständigen Wandels lebt.

Es ist ein wunderbar wandelbares Album; eine rastlose Fusion, deren Bedeutung eher in Fragmenten als in etwas Festem oder Statischem liegt. Kurz gesagt: Es dreht sich alles um Dynamik. Dieses Gefühl der ständigen Bewegung spiegelt sich nicht nur in der wechselnden Besetzung der Band wieder - Keyboarder Tim Gardner und Schlagzeuger Pascal Karier sind Neuzugänge und gesellen sich zu den langjährigen Mitgliedern Edmund Kenny (Gesang und Elektronik) und Lawrence Howarth (Gitarre) -, sondern auch in den Orten, an denen das Album geschrieben und aufgenommen wurde. Die Sessions fanden in der Toskana, Austin, Berlin, Zürich und schließlich Rom statt. Für Sänger Edmund "existiert das Album in gewisser Weise an all diesen Orten". Im Oktober und September ist die Band auf GSA-Tour!

Double LP pressed on transparent neon pink and opaque neon green vinyl Including exclusive unreleased tracks Holographic gatefold sleeve Reversible artwork concept After months of overwhelmingly positive reviews on the game and half a million streams on the digital album, it is finally time to announce the physical release of the original soundtrack for Sorry We're Closed. Akupara Games, à la mode games and Black Screen Records put every effort into the vinyl that lives up to the one-of-a-kind nostalgic, survival horror game with rich lore, deep characters and multiple endings. While players explore unsettling locations in Sorry We're Closed, they're being haunted by the chilling tracks, created by C.Bedford, Okumura, Devix and Catton Arthur. The soundtrack is as diverse as its artists: From the atmospheric and minimalistic electronic pieces by C.Bedford, who involved in the development of the game, to the full-on hip hop tracks by Okumura, Devix is adding a sensible folk track, while Catton Arthur is finally throwing in some heavy guitars to complete this excentric and highly enjoyable mix. For the vinyl release of the Sorry We're Closed soundtrack, the teams of à la mode, Akupara and Black Screen created a package that has its twists and turns. It comes with colourful neon LPs, transparent pink and opaque green, that are housed in a shiny holographic gatefold sleeve that you can turn around to see a second, alternative artwork.

Limited Edition of 200 copies incl. Dolphins Remix (DALO, Benedikt Frey and Menqui).

Hot seducers. Two of them. On one 7inch. A/B Side business, hard to choose a fav, as both so fab. The A-Side is called "Happen". It comes from prolific Tokyo based DJ and producer Hoshina Anniversary. A simple drum machine groove, a manic melody, witching siren sounds, psychedelic voices, some soft chords, and soulful high-pitched singing, somewhere between Dam-Funk coolness and Ian Svenonius-The-Make-Up sixties pop longing. One for warm sexy nights under neon lights. Out there in psychic realms. The flip brings a Dolphins interpretation. Yes, that feverish trio behind R.i.O., consisting of Nadia D'Alò, Benedikt Frey and Menqui. Their freshly recorded version comes with haunting nonchalant singing, displaying the tunes core melody as a more prominent actor of the play. Michael-Mann-Pop-Nostalgia with a baroque touch, that waves dark-ish. Even some Jon Hassle feeling is in there. Hoshina Anniversary disclosed, that the original song is inspired by jazz musicians like Chet Baker, Miles Davis, Sonny Rollins, Chick Corea, Herbie Hancock, Jaco Pastorius and Keith Jarrett. None of them is directly stylistically audible. But their kind of blue is all over. On the A as well as on the B. Twice soul music for the free.

Broken Homes and Gardens, das letzte Studioalbum von Michael Hurley, wurde im März 2025 fertiggestellt, kurz bevor Hurley zu seinen letzten Konzerten in Asheville und Knoxville aufbrach. Er hatte in den letzten drei Jahren im The Rope Room Studio in Astoria, Oregon, mit derselben Crew wie bei seinem 2021 erschienenen Album ,The Time of the Foxgloves" (Kati Claborn und Luke Ydstei von The Hackles sowie Toningenieur Brian Bovenizer) an diesen elf Titeln gearbeitet. Wie bei Hurleys LPs üblich, gibt es neben neuen Songs (,Fava", ,The Monkey") auch Überarbeitungen älterer Kompositionen (,Indian Chiefs and Hula Girls", ,Abomidable Snowman"), die eine brillante letzte Sammlung ergeben und eines der bedeutendsten Werke eines amerikanischen Songwriters krönen.

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself _ led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt _ but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. This joint release with Slovenly Records brings back two anthemic tracks from Spain's undisputed kings of garage punk! Originally produced by Jorge Explosion over a decade ago, "Copa, raya, paliza" and "Es un buen día" are guaranteed party-starters no garage DJ should be without. Pressed on neon pink vinyl.

Veteran of many scenes, Liar returns from a prolonged hiatus to dip his toes in TonTon's rising wave. His contribution ranges from balearic breakbeat workouts & intimate dub siestas, to impish takes on world music & electrofunk. Liar's knack for cultural & stylistic interbreeding pervades throughout - you will hear Paisley Park homages, falsetto crooning, comical cuicas, city pop ornaments, 70s radiophonic psychedelia & Final Fantasy samples alike, flamboyantly converging into an artifact of stubborn hope, love & peace.

We’re excited to present this special edition vinyl celebrating Lofi Girl’s collaboration! For the second year running, we’re proud to sponsor the Champions Chess Tour 2024—the largest online chess tournament in history with a $1.7 million prize fund and the world’s top players competing for glory.



This vinyl features our curated compilation, synthwave beats to play chess to, blending the focus and creativity of synthwave music with the strategy and brilliance of chess.



Thank you for joining us on this journey—let the games (and the beats) begin!

Bendik Giske’s Beatrice Dillon-produced 2023 album gets an addendum with reworks from Carmen Villain, aya, Hanne Lippard, Hieroglyphic Being, Wacław Zimpel and Dillon herself.

Giske’s clearly got his ear to the ground; his last remix record was an invitation for Laurel Halo to put her stamp on »Cruising«, while 2018’s »Adjust EP« roped in Deathprod, Total Freedom, Lotic, and Rezzett. Now comes this new LP of remixes and it’s one of the best we’ve heard in aeons. Carmen Villain boots things off with a remix of »Slipping«, following her excellent (and way, way too underrated) »Nutrition EP« with a giddy, subtle roller that sounds as if it’s been constructed using only Giske’s raw stems. His breaths and leathery key presses – already amped up by Dillon’s detailed recording – are magicked into a dubby concrète groove that’s enhanced with the sparest melodic elements: echoing rainforest-at-night horn blasts, and lopped off decay trails that help fuel the momentum.

aya’s revision of the same track takes a different approach, forming forceful overlapping polyrhythms from Giske’s clanks, using the gamelan-like arpeggios for melodic weight and repetition. The result is a constantly shifting, hypnotic trancer that’s achingly organic – more Raja Kirik than Paul Van Dyke. Polish clarinetist and producer Wacław Zimpel, meanwhile, supplements his trippy recent collaboration with James Holden on a similarly levitational wrinkle of »Slipping« that twists Giske’s quivering sequences with microtonal synth prangs, and gusty echoes. But it’s Jamal Moss who plays fastest and loosest with Giske’s source material, calling back to April’s psy-house stunner »Dance Music 4 Bad People« with a powdery, sexualised banger that buries the breathy »Start« stems underneath neon synths, and brittle drum loops.

»I’m a digital nomad,« Lippard deadpans over Giske’s »Not Yet«. »I’m addicted you know that.« It’s a typically dry treatment from the conceptual artist that unexpectedly amps up the hypnotic qualities of Giske’s original, adding her circuitous charm to his concertina-ing sax sequences. And to tie things up perfectly, Beatrice Dillon returns with her diaphanous remix of »Rise and Fall«, built to emphasise the radically different approaches of each artist.

La Sape Records is proud to present a new vinyl edition of GODTET III — the third and final LP in the formative GODTET trilogy, led by guitarist and producer Godriguez. Originally released in 2020, GODTET III marked the culmination of an intensive three-year period of playing, recording, and evolving. Recorded entirely through open improvisation, without samples, compositions or predefined cues, the album captu...

Feel the Magic, the latest EP from DJ Paradiso released under the Tranceatlantyk label, is a radiant tribute to the golden era of Eurodance and early ’90s rave culture. The five-track collection bursts with high-octane rhythms, euphoric synths, and infectious melodies that transport listeners straight to the heart of a neon-lit dancefloor. From the opening track “MYB to the Beat,” with its punchy tempo and catchy vocal snippets, to the blissful tones of “Feels Like Heaven,” DJ Paradiso crafts an atmosphere brimming with nostalgia and joy. Each track is a carefully constructed homage to the spirit of carefree rave nights, rich with shimmering pads and driving beats.

The second half of the EP ventures deeper into the dancefloor’s hypnotic side. “Magic Shine” offers luminous arpeggios paired with an upbeat pulse, while “Underground” dives into moodier territory, layering darker grooves beneath an entrancing rhythm. Altogether, Feel the Magic balances retro homage with modern clarity, offering a feel-good yet dynamic journey through sounds that once defined a generation of ravers—and now, through DJ Paradiso, feel excitingly alive again.