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Saxophonist and producer Ben Vince announces the release of his sixth album, Street Druid, the first in almost six years via AD 93.

Street Druid merges acoustic, manipulated and electronic sound and it has saxophone, synth, voice, guitars and drum machine, and features drum kit from Moses Boyd. It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.

A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia’s rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.

With Severance, IGLO returns to Figure with a focused yet exploratory EP that reflects his open-ended approach to contemporary techno. The release moves fluidly between restraint and expression, combining functional structures with subtle, unconventional elements that give the tracks a distinct sense of character. Rather than settling into a fixed formula, Severance highlights IGLO's curiosity and willingness to push his sound forward while remaining grounded in precision and control.

Connection opens the release with a restrained, heads-down groove. A firm low-end foundation and sparse percussion lock into a steady momentum, while understated melodic elements add depth without breaking the track's linear drive.
On Kauriraris, the energy tightens. Nervous synth motifs and crisp rhythmic details create a sense of urgency, pushing the track forward through constant micro-variation. It's a lean and effective tool built for sustained pressure.
Flipping the record, Blink Twice moves into darker, denser territory. Murky textures and a weighty groove unfold gradually, building tension through repetition and space. The track thrives on its slow burn, making it well-suited for late-night transitions.
Alive introduces a more open and flowing feel. Warmer tonal elements and a subtle swing soften the edges, while the groove remains firmly anchored and forward-moving.
Digital-only track Forlornly closes the EP with a spacious and introspective mood. Reduced rhythms and airy melodic layers create a calm, drifting atmosphere that rounds off the release with control and restraint.
With Severance, IGLO delivers a tightly structured EP that emphasizes clarity, tension and functionality - a confident addition to the Figure catalogue.

French artist Trypheme debuts on Impatience with “Odd Balade”, a darkly-hued collection of songs drawn from human delicacy and dreamworld mythology.

“Odd Balade” is Trypheme’s most ambitious and boldest record to date - both lyrically and musically. The album’s thirteen tracks resist rigid genre boundaries and flutter from medieval folk realms, sprawling synths, gothic 80s wave, leftfield pop, haunted vocals, mutant electronica to reverbed guitars - all reflected through her own shadowy prism. Especially album closer “A Walk In The Vercors” evokes a soothing serenity that echoes the sonic balm of Julee Cruise.

Trypheme’s musical repertoire trends heavily electronic and somewhat abstracted, but on “Odd Balade”, the artist slips into the role of the modern troubadour with a shift to a more poetically and personal songwriting that is infused with symbolism and dreamlike fantasies. The connective tissue of the album is the audacity to love and the vulnerability that ensues. As intimate and introspective as the lyrics are, the themes remain universal and human to the core: the fear of losing a loved one, the melancholia of leaving places and t“the fear of losing a loved one, the melancholia of leaving places and the cycles of life. The record was largely composed in Chars, stirred by the French village’s eerie atmosphere and frequent trips to the seaside in Brittany, where Trypheme resides. Drawing inspiration from the rugged terrain of the seaside landscapes, the writings of Allen Ginsberg and Mark Fisher and the hyperrealist art of Scott Prior, Trypheme uses her songs to depict life with broad strokes of rhythm.

On “Odd Balade” Trypheme consolidates herself as a gifted, nimble songwriter, masterly producer and subtly powerful vocalist. The record combines her skill for crafting lush, alien sound worlds and efficient, alluring arrangements with stealthily devastating songs. Belin’s voice becomes a key ingredient, appearing on eleven of Odd Balade’s thirteen tracks, by turns heavily manipulated, sampled and replayed as a form of percussion, or basically bare.

“Odd Balade” is the manifestation of Trypheme’s roving artistic practice, a ceremonial-grade sacrament cast in a rich nocturnal glow. Pairing the mundane with the mythic, the album stays true to its core: odd and strangely familiar.

RIYL - Riding off into the sunset to an unknown destination, hauntology, present, tales told by the fireside, hot summer rain, adventures, to feel a warm presence when you are walking in the forest or in the mountain, coastal landscapes, sailor’s stories, slow motion, vitesse, heavy blossoms, colors, the warmth of the sun, the tenderness of the moon, getting lost in unfamiliar streets, city’s lights, motorway rest area by night, magic numbers, rendez-vous, picnic, serendipity, poetry, the smell of old records and old books.

Tiphaine Belin has been releasing music as Trypheme since 2016. Odd Balade was written and produced by Belin, and mixed by Belin and Abel Roux. It was mastered by Amir Shoat. Cover art photography is by Ariane Kiks, with art direction by Ariane Kiks in collaboration with Mathilde Chaize.

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".

Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.

The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.

As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.

The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.

Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.

The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."

Stefan Missios, one of Gothenburg’s most distinctive and soulful voices, returns with his fourth solo album “Fæst i verkligheten” – a raw blend of Swedish folk, soul, groove, and gospel. With unfiltered emotion and poetic urgency, Missios explores themes of faith, longing, and resilience. The result is a deeply human record – timeless, rhythmically alive, and impossible to ignore..

The Mountain is Gorillaz’ ninth studio album, a collection of 15 new tracks featuring a stellar list of artists and collaborators. Jamie Hewlett’s album artwork captures the four much-loved animated band members - Murdoc, Noodle, Russel and 2D – in a series of beautifully intricate, hand-drawn illustrations.

The Mountain is Gorillaz 9th studio album. The album is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. Produced by Gorillaz, James Ford, Samuel Egglenton, Remi Kabaka Jr. and Bizarrap (Orange County), The Mountain was recorded in London, Devon, Miami, Jaipur, Mumbai, New Delhi and Rishikesh; and features artists performing in five languages: Arabic, English, Hindi, Spanish and Yoruba. The artwork for The Mountain sees Jamie Hewlett’s distinct, yet ever-evolving, style illustrate the world of Gorillaz with an ever more detailed and beautiful intricacy across a series of hand-drawn illustrations. Circumstances find Murdoc Niccals, Russel Hobbs, 2D and Noodle in India, where our heroes are immersed in the rhythms of mystical music-making as they navigate the mountainous terrain of this thing called life.

Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Their sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere under the influence of today's bands like Diiv, Warpaint or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds or Tom Waits. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. 'The Cigs, The Light, The Coffee and Crying' is the first single taken from their awaited soon-coming second album in which we find a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus.

"On its Various 2 compilation, Altered Circuits returns with a gripping four-track selection by an equal number of distinct-voiced artists. Perrax En La Calle sees tINI merge sturdy drums, arpeggiated basslines, and ominous synth work. She knows what makes the floor tick blindfolded, and keeps the energy high here, channelling electronic body music and Italo into a contemporary club knockout. Up next is Ionic, a fusion of quirky, pointillist hooks that play call and response, driven by 909 kicks and a sub pattern underneath. Mogwaa spellbinds, and often pulls the rug only to reveal more intricate melodic needlework -- it's done so nimbly and enticingly, there's no way not to get drawn in. On the flip side, rising talent Desiree Falessi joins with the peak time Scandal. Statically-charged basslines mesh with reverb-drenched percussion salvos, and as slinky pads and subtle theme variations emerge, the intensity builds toward a tipping point. Closer Flex features a sharp arpeggiated bassline that funnels through misty, LFO-steered synths, scattered alarm-like melodies, muffled vocals, and gated-reverb snares. When classic high-pass modulation intermezzos are introduced, Monile demonstrates how sparse means, when deployed precisely, can sustain considerable tension."

(Early support by Ben Klock, DVS1 & Rene Wise) DHÆÜR makes his debut on Dustin Zahn's Enemy Records with 4 stripped down Techno tools ranging from "relentless and heavy" to "grooving and introspective." Each track offers a different approach to minimalistic Techno, all rich in moody atmospherics.

In classic A1 fashion, "Bayes Theorem" is the heaviest track on the record. Throbbing sub bass meshes together with pedaling hi hats while vocal chops and modulating synth work cover the top end. It's sinister and pounding, yet retains a sense of groove without becoming too aggressive. "Perception" closes the A side with a deeper and more introspective approach. The bass fills in only where necessary,leaving the pads and bleepy synths to do all the heavy lifting.

"Scanning" kicks off the B-side, defined by a rolling bass line and moody chord stabs. It gives the dance floor exactly what it needs and nothing more. The record comes to a close with "5th Avenue." It's deep, steady, rolling, and dripping in polymeter synth pulses. Brief glimpses of vocal phrases offset the darkness, giving it a bit of funk and playfulness...making it essential for deeper late night sets.

A limited vinyl reissue of the third album of Dictaphone from 2012, with a new artwork.

Already formed in the late nineties in Berlin, Dictaphone was born by Brussels-bred multi-instrumentalist Oliver Doerell. In 2000 Oliver Doerell found a partner in Berlin's Roger Döring, who shares Doerell's love for the Brussels-based music of the eighties. In the following years the duo and several guest musicians (e.g. Stephan Wöhrmann (SWOD) , Malka Spigel (Minimal Compact) & more) released the critically highly acclaimed "m.= addiction" (2002), the "Nacht" EP (2004) and "Vertigo II" (2006) via the City Centres Offices label of Thaddeus Herrmann and Shlom Sviri (Boomkat, Modern Love). In 2009 the violin player Alex Stolze joined the band. During their two decades of existence Dictaphone played shows in more than 20 countries with festival appearances at Mutek, Transmediale, Unsound, Benicassim & more. Their latest release "Poems from a rooftop" from 2012 came as a very limited edition through the Berlin-based boutique label Sonic Pieces. In 2017 the band released the long awaited third album "APR 70" on denovali. The label now also offers a reissue of the trio's past repertoire.

Dictaphone never make music for the sake of it, they always want to create something which was missing before. And they did.

Taroug is the solo project by drummer and electronic music producer Tarek Zarroug with roots in the suburbs of the Tunisian desert and having grown up in Germany. Following the release of his 2020 EP, "Perpetual," as well as a number of notable remixes for artists such as Archive, Taroug has continued to refine his musical aesthetic.

Taroug's debut album Darts & Kites, set to be released on Denovali Records, draws inspiration from the Penrose tiling and explores themes of change and transformation. Fascinated from the pattern's unending possibilities, Taroug incorporated its infinite permutations not only into the album's nine tracks, but also in the cover art design. Darts & Kites showcases a blending of genres and styles, resulting in a sonic landscape, that is both hunting and beautiful. Experimental and abstract soundscapes are enriched by oriental influences, collected field recordings, pulsating dark beats and hypnotic vocals.

The album also features the contributions of other notable artists, including Beate Wolff's cello performance on Jewels I. Benedikt Koch's saxophone adds a sense of controlled chaos with delayed and swelling notes to the track Deguech, while Timo Schieber's piano provides a crucial element of the album's title track, Darts & Kites. Niklas Genschel lends his vocals to Queen of Carthage, which also features the saz playing of Abdallah Abozekry.

Created in collaboration with architect and designer Marie Brosius, the album artwork captures different ornaments reflecting the album's content. Darts & Kites is a mosaic of sound, blending together elements of unfamiliar and familiar.

Written during a period of geographic and artistic transition, Country Music traces Severin Black’s movement from London to Berlin, unfolding through cycles of isolation and adaptation. Composed on the city’s periphery, the album’s material was continually dismantled and reassembled, reflecting a process of both artistic and personal reconstruction. The album marks a shift in production methodology, moving away from the immediacy of summed live takes toward a more deliberate, stratified multitrack approach. Sparse yet hypnotic, the record distills layers of sound formed by constant relocation, recurrent solitude, and a recalibration of instinct. In many ways, it echoes the experience of exile, not in a political sense but in the quieter, more insidious form of displacement that alters one’s perception of time and self. The music drifts between structure and dissolution, a reflection of existing at the threshold of different spaces—both physically and sonically.

The shedding of the previously used Nape moniker signaled a decisive sonic transformation, informed by extended time spent in the Pyrenees and a renewed engagement with folkloric material. Severin began playing the clarinet while making this record, and though its presence is minimal, it reveals itself as an interest in acoustic simulation, particularly the digital approximations of classical instruments that emerged within 1990s synthesizer technology. This interrogation of authenticity and mediation parallels the album’s thematic engagement with memory, where recollection functions not as a retrieval of fixed experience but as an iterative process of distortion and reconstruction. The relocation to Berlin reignited an affinity for grime music, evident in the syncopated brass of Pilgrim Wine and the fractured vocal layers of March, while memories of childhood in rural Wales permeate the record’s atmospheric spaces. The album includes contributions from longtime collaborator Vanessa Bedoret and Berlin-based artist Pavel Milyakov (Buttechno).

Country Music situates itself within an unresolved dialogue—between past and speculative futures, between folk lineage and digital fragmentation, between place and its embodied and sonic traces. What emerges is not a fixed statement but a process, an ongoing negotiation between what is left behind and what is brought forward. Words by Chantal Michelle

Mastered by Owen Pratt / Design by Severin Black / Center label image by Nicky Kidd / Back cover text by Alya Kanıbelli

"Voigt Legacy - Megamix 1" is the promising title of a kind of "Best-Of Bassdrum-Hits" from the far-reaching Voigt universe. It is a compact megamix of seven selected tracks from some very rare live sets which have never been released before or never on vinyl. The mix features all-time classics such as "Fackeln Im Sturm" and "W.I.R.", as well as the long-out-of-print super-smasher "Die Schallplatte" and gems from the Protest, catalogue such as "Du Musst Nichts Sagen" and "Sound & Vision". This multifaceted collection of danceable tracks and looped horses is presented in a deluxe cover with glossy colours.

The art bridge is a natural choice because where there's a loop, there's a way. An abstract loop collage measuring 600 cm x 150 cm was created under the same title, "Voigt Legacy – Megamix 1", corresponding to the music and referencing the graphic symbolism of the titles, logos and cover artwork.

End of Us, ist das 13 Tracks umfassende Debütalbum von TX2, mit Features von DeathbyRomy, Ekoh, Magnolia Park, Ice Nine Kills und Black Veil Brides. Die Wahrheit ist simpel: TX2 polarisiert. Es gibt Kräfte in dieser Welt, die versuchen, das zu zerstören, wofür gekämpft und was hart erkämpft wurde, und zu einer Zeit zurückzukehren, in der die Menschen ihr wahres Ich versteckten. Es gibt Künstler wie TX2 - den Anti-Ronald Radke -, die dir zeigen wollen, dass du in diesem Kampf gegen den Hass nicht allein bist. TX2 hat Politiker namentlich genannt, schwenkt auf der Bühne eine Trans-Flagge, thematisiert in seinen Songs Waffengewalt, Essstörungen, Trauer und Depressionen und verspottet die Gatekeeper, die offensichtlich noch nie einen Punk-Song gehört haben. Der Sänger ist bereit, mit seiner Musik ein wenig Chaos zu verursachen, wenn es nötig ist, um die Aufmerksamkeit auf wichtige gesellschaftliche Themen zu lenken. So hat TX2 unter seinen Fans eine Bewegung ins Leben gerufen, die als ,X Movement" bekannt ist und deren Ziel es ist, das Bewusstsein für psychische Gesundheit zu schärfen und einen sicheren Raum für diejenigen zu schaffen, die jemanden zum Reden brauchen. In den letzten 24 Monaten tourte TX2 um die Welt, trat mit Ice Nine Kills, Hail the Sun, Dark Divine, tiLLie, In This Moment, Magnolia Park, Warped Tour & Summer of Loud Tour auf, wurde auf SiriusXM Octane gespielt, erreichte über 1 Million monatliche Hörer, gab über 50.000 Autogramme und erhielt 42 Millionen Likes auf Tik Tok. End of US ist ein lauter, unverblümter Aufruf zum Handeln. Beherzigen Sie den Aufruf oder treten Sie beiseite.

We are proud to present this brand new 12inch release produced by veteran legend Mike Brooks.

He links up with regular collaborator Shalom out in Jamaica on two different riddims recorded in the UK by Mafia And Fluxy alongside Tony Ruffcutt. A side is a new song called Don't Worry, Mike also has a piece on it titled Hold Fast followed by a killer dub with mixdown from Dougie Conscious.

On the B side we put out again the incredible song Value Yourself from Shalom, which we sold in huge quantities on 7inch over the last few years. This is a slightly different mix from the same session. We of course release Mike's cut called River Nile and a new dub also from the same session by Dougie Conscious.




d b1. Shalom - Value Yourself [Alt mix]

The Amazing Nina Simone reveals Nina Simone at the dawn of her recorded legacy—already assured, deeply expressive, and impossible to categorize. Moving effortlessly between jazz, blues, folk, and classical influences, Simone delivers performances of striking intimacy and emotional precision, pairing a distinctive, searching voice with elegant, commanding piano work. This special repressing on 180g orange vinyl brings renewed warmth and presence to these recordings, enhancing their dynamic range and tactile immediacy. A timeless listening experience, The Amazing Nina Simone remains a powerful introduction to one of the most singular voices in modern music

In 1949 Miles Davis, Gerry Mulligan and Gil Evans - they'd never met before - gravitated together with the natural
affinity of kindred souls. Combined, they gave each other a spiritual boost that resulted in many all-night sessions of
earnest discussion, writing and playing-productive work on new musical ideas, new voicings, new concepts of jazz.
Their first appearance startled a delighted jazz public, and marked the birth of the cool. Today, these famous Miles
Davis instrumentals are as exciting as ever, and here are in all their glory.

And another new volume of the Meeting Of The Minds series is here, with 4 new collaborations I've done with other producers in the jungle scene!

"Casual Loop" is a collaboration that me & Submerse started working on in 2023 but it was another one of the tracks that I had lost due to my computer being stolen in early 2024, & I hadn't fully backed up everything I had done for a few months, including this track. This meant I had to re-do a lot of the work I had done with what Submerse had started but I was lucky enough to get it near identical to how it was sounding and ready for release. Submerse has been on Future Retro London a few times, with his EP release (FR033) & a track featured on the atmospheric VA EP (FR049) that came out late last year, I'm a huge fan of his musicality & his melodies, which made this track really fun to work on, even with all the obstacles faced!

My first interaction with Quaad goes way back to 2013, when he asked me for a guest mix for a radio show called The After Party that was on C89.5FM in Seattle (which is still up on my SoundCloud for anyone curious) and then before he started his current label (Heavy Sounds), he had started a label with Wetman called Vivid Recordings, which he was sending me the releases on (but I think in standard fashion, I kept forgetting to check them!). But it wasn't until 2022 when me & Dwarde played in Seattle with him and I saw his live Amiga set where he was playing a lot of his own music, & from then on, I was better aware of what he was doing & I got to hang out with him & know him a bit better, which is when I then fully started following what he was doing. Then eventually, we ended up doing a track together (he also uses FL Studio, just like me) and "Judge Dredd" is the end result of that.

Samurai Breaks is also someone that I've known of for a long time but didn't really properly connect with until recent years where I saw what he was doing with his label Super Sonic Booty Bangers, which also does events in Sheffield which I played for in 2024. It was quite an interesting collab because I don't think many people would have necessarily expected our styles to really gel well together but I think we managed to hit a nice midpoint between his craziness & mine haha

Fixate is most likely another person that people would not have anticipated as someone that I would collaborate with, mainly because the style of tune people know him for is more tied with the footwork/halftime sound that became popular in the 2010s, as well as his output as 1/2 of dubstep duo Leftlow, but he has made some jungle in the past & I'm always down for the challenge of stepping outside of my comfort zone to work with people who are not mainly based in the newskool jungle scene but have an appreciation for it. I found out about him through the releases he had on Exit Records from 2015 onwards, plus he was also a part of Richie Brains (the project in 2016 involving many artists forming a loose collective) so I was aware of what he was doing but I properly got to know him from when I went bowling with him, Dwarde & LMajor back in 2022 and then he sent me something to work on early last year (another FL Studio producer btw!), which I took my sweet time in starting it but eventually got done & here we are! And for those wondering, the track title (May Contain Traces) alludes to me & Fixate's shared allergy towards nuts (although his is a lot more severe than mine), which was the only thing I could think of to name the track after when it came down to it!

Wie ein schwarzer Wind, der aus längst verstummten Mooren aufsteigt, legt die irische Band Coscradh ihr zweites Album „Carving the Causeway to the Otherworld“ vor, das mit furchterregender Zauberei die Moorwege der Toten freilegt. Aus tief verwurzelter Traditionen und alter Mystik lässt das Album die sechstausend Jahre alten Eichenpfade wiederauferstehen, die von kriegführenden Stämmen unter dem kalten Blick der Druiden angelegt wurden, um in das Reich jenseits des Lebens zu gelangen, und beschwört diese verschwundenen Mühen mit der Erinnerung an die Gewalt selbst herauf. Coscradh kanalisiert den Druiden als Astronomen und Kriegsseher und ruft Mars als den Gott an, dessen rotes Licht Opfer fordert, und offenbart gälische Krieger, die sich zu Gefäßen aushöhlen und die Wut von Goac in sich eindringen lassen, um sie für den Kampf zu verschlingen. Gitarren flammen auf - brennend wie Meteore, die den Horizont durchschneiden - und lassen Riffs los, die mit der Kraft der Vorfahren durchdrungen sind. Der glühende perkussive Ansturm kracht wie Hufe auf tote Erde, während die wilde Grausamkeit der Band wie ein in den Himmel geschleuderter Kriegsschrei ausbricht, gekrönt von ruinöser Pracht. Coscradh bewohnt diesen Bereich zwischen den Welten vollständig und haucht ihrem Werk die Wut und spirituelle Kraft eines Volkes ein, das Wahrheiten in Land, Himmel und Grab gemeißelt hat. Als eine Verbindung aus druidischer Wissenschaft und Blut, ritueller Aggression und sprachlicher Wiederauferstehung zwingt „Carving the Causeway to the Otherworld“ zu einer himmlischen Abrechnung, bei der das Schicksal selbst auf den Altar geworfen wird. Wie Götter, die das Firmament bereisen, fällt Coscradhs kalte, grausame Ausstrahlung auf alle, die sie hören. Das Album ist eine kosmische Hinrichtung, die vergangene Dammwege, Kriegsgötter, Steinidole und sternengeborene Kräfte, die die Druiden zu nutzen suchten, miteinander verbindet. Eine Vision des Nachthimmels als lebendige Festungsmauer der Omen für diejenigen, die auf die alten zornigen Geister hören wollen.

Während das musikalische Fundament die Einflüsse aus Nordamerikanischem Pop-Punk aufnimmt und zu einem eigenen Sound weiterentwickelt, stechen insbesondere die klare Haltung und tiefe persönliche Momente in den Texten heraus. Entstanden ist ein Punk/Rock Album, das nicht nach 20ern und Jugendbewegung klingt, sondern nach neuen Perspektiven, nach späten 30ern - menschlich und politisch. Seit Erscheinen des BLAUFUCHS Debüt-Albums vor rund 4 Jahren hat sich in der Welt viel verändert und wenig verbessert. Diese traurige Abwärtsspirale findet sich – mal drastisch und direkt, mal dezent akzentuiert – in allen Texten von „Bis jetzt ging alles gut“ wieder, das trotz Anflügen von Resignation auch stets einen Funken Hoffnung auf Besserung vermittelt. Blaufuchs betrachten nicht nur den gesellschaftlichen Wandel – sie sind selbst auch einer ständigen Veränderung ausgesetzt. Ihr zweites Album ist ein Stück weit auch ein Neubeginn mit einigen Neubesetzungen im Verlauf der letzten Monate. Hale Winter übernahm den Bass von Marisa, Jan Schlagowski das Schlagzeug von Alex Veth und mit Jan Jurat stieß ein weiterer Gitarrist zur Band. Den Blaufuchs Sound verändern die neuen Einflüsse nicht gravierend, die Drums werden ein Stück härter, die Gitarren etwas filigraner, aber die Handschrift von Hauptsongwriter John Hofmeister verbindet nach wie vor den amerikanischen Gesamtsound mit den deutschen Texten von Johannes König. Dennoch verzögerte sich die Entstehung des Albums durch die Umbesetzungen um mehrere Monate, was laut Johannes König auch nötig war: „Mir und John war extrem wichtig, dass auf dem Album auch Einflüsse unserer „Neuen“ zu hören sind, die uns live teilweise schon seit Jahren unterstützen.“ Aufgenommen wurde „Bis jetzt ging alles gut“ in den Limetree Studios in Ilsede und produziert von Sören Kucz und Gitarrist John Hofmeister. Mit „Fertig“ setzt die Platte einen extrem persönlichen Schlusspunkt und König wird hier deutlich direkter: „Den Druck, der mit der Verantwortung in der eigenen Familie, im Job und auch in der Band zusammenkommt, trifft im Alltag oft auf ein Männlichkeitsbild, in dem wider besseres Wissen versucht wird, Dinge alleine zu regeln.“

FRQNCY LDN, the new project from Alex Lavery and James Ford (producer du jour and one half of Simian Mobile Disco), are releasing their debut album ‘The White Edition’ on 5 September via PRAH Recordings. Alongside the news of their debut album, the duo are sharing the first taste in ‘Matthias’ Wajd’, which they describe as “a rousing, instrumental piece from the middle of the set where the whole ensemble became balanced providing moments where Raven played violin with haunting yet uplifting melodies within the cavernous reverb of the church. Interestingly, at this moment, most of the audience who had been laying down rose to watch the performance like a gig, like an awakening.”

Initially conceived as a live project with earlier performances at churches in London and at Glastonbury, FRQNCY LDN’s music is a mix of strings, gongs, oscillators, FX, and spoken word, and the result is a musical experience unlike any other. Now that immersive magic has been captured on their debut release through Prah Recordings.

The music that FRQNCY LDN are releasing as their debut album is from an extraordinary live take from a performance at St Matthias Church in Stoke Newington last year, and thanks in no small part to the serendipitous bunch of musicians they assembled: composer and violinist Raven Bush, clarinettist Arun Ghosh, cellist Satin Beige Chousmer, and harpist Chloe Chousmer-Kerr. Alongside Lavery and Ford and assisted by engineer Animesh Ravel, they were able to capture the music to a world class level.

FRQNCY LDN has its roots in a supermoon that occurred three summers ago, after the hottest day of the year. Two of Lavery’s friends gave a sound bath that evening. “I’m not overly into astronomy or anything but the experience was nuts,” he says. “I had to find out what had just happened. What felt like forty minutes was actually two and a half hours. We were all out. It was so profound that I was hooked.”

He immediately signed up for a sound therapy course where he learned about what he calls a “brain hack” to meditation. “The thing about sound therapy is there’s a lot that’s meditation-based, and I find meditation really difficult. I’ve got a very busy brain. What was alluring about this process of sound immersion, a sound bath, whatever you want to call it, is it’s basically a hack to making your brain get into a meditative state.”

FRQNCY LDN’s early shows crystallised their ideas into a project, and Lavery brought poet Nikita Gill on board as a vocalist. “One of the first poems she gave to me, ‘Unwitches’ was in response to me explaining that I’d love this project to be perceived as something anyone could access. It’s not just for the sound meditation or the yoga, or the mushroom crowd. No one should be turned off by connotations from where the music comes from, I love music but I’d never be into that because it’s too woo-woo. Nikita said she’d had this poem for a long time but she’d never found the right home for it.”

And in an increasingly busy and fraught world, the need to tune out for an hour or so, and maybe tune in to something more profound, is only going to get bigger.

180g Der rote Büffel ist in Gefahr! Um das wertvolle Kunstwerk zu retten, wenden sich die drei ??? An ihren größten Widersacher - Victor Hugenay. Die Zeit drängt, denn Justus, Peter und Bob sind nicht die Einzigen, die das Gemälde suchen. Ohne die Hilfe des Meisterdiebs, ist das Versteck des Bildes nicht aufzuspüren. Können die Detektive ihm vertrauen? Zwar sitzt er hinter Gittern, doch Hugenay ist zu allem fähig. Ist er wirklich so hilfsbereit, wie er sich gibt oder tappen die drei ??? in eine Falle?

Der rote Büffel ist in Gefahr! Um das wertvolle Kunstwerk zu retten, wenden sich die drei ??? An ihren größten Widersacher - Victor Hugenay.

Die Zeit drängt, denn Justus, Peter und Bob sind nicht die Einzigen, die das Gemälde suchen. Ohne die Hilfe des Meisterdiebs, ist das Versteck des Bildes nicht aufzuspüren. Können die Detektive ihm vertrauen? Zwar sitzt er hinter Gittern, doch Hugenay ist zu allem fähig. Ist er wirklich so hilfsbereit, wie er sich gibt oder tappen die drei ??? in eine Falle?

Die neue EP der irischen Songwriterin Lisa O"Neill besteht aus sechs Songs, darunter die eindringliche Version von Bob Dylans "All The Tired Horses", die Lisa für die Schlussszene der letzten Folge von Peaky Blinders aufgenommen hat, sowie "Homeless In The Thousands (Dublin in the Digital Age)" mit Peter Doherty, das bereits im Januar dieses Jahres als eigenständige Single veröffentlicht wurde. Es ist nicht das erste Mal, dass O"Neill über soziale Ungerechtigkeiten in Zeiten des Wandels schreibt. Lieder wie "Rock the Machine" über Arbeitslosigkeit in den Dubliner Docklands, "When Cash Was King" über den Übergang zu einer bargeldlosen Gesellschaft und "Violet Gibson" über die Irin, die 1926 versuchte, Mussolini zu ermorden - dieses neue Lied entstand als Reaktion auf das wachsende Problem der Obdachlosigkeit in Dublin und Irland. Ergänzt wird die EP durch einen neuen Song und den aktuellen Live-Favoriten "Mother Jones" über die irische Aktivistin Mary G. Harris Jones, die nach Amerika auswanderte und dort als Gewerkschaftsorganisatorin tätig war. Im Jahr 1902 wurde sie als "die gefährlichste Frau Amerikas" bezeichnet, nachdem sie Bergarbeiter gegen die Minenbesitzer mobilisiert hatte - ein Engagement, das direkt zur Einführung der ersten US-Gesetze gegen Kinderarbeit führte. Abgerundet wird die EP durch eine eindrucksvolle Version des zur Jahreszeit passenden "The Bleak Midwinter" sowie eine bewegende Rezitation des Gedichts "Autumn 1915" von James Stevens.

Yellow Vinyl

Mit ihrem neuen Meisterwerk "Beautiful Distortion" melden sich THE GATHERING am 29.04.2022 eindrucksvoll zurück!

Satte 10 Jahre haben sich THE GATHERING, die mit Alben wie "Mandylion", "How To Measure A Planet?" oder "Souvenirs" zu internationalen Ikonen atmosphärischer Rockmusik wurden, für ihr neustes Werk Zeit gelassen, denn nach über 16 Jahren im Hamsterrad von Tourneen, die sich mit Albumaufnahmen abwechselten, um dann die nächste Tournee zu bestreiten, und dem Weggang ihres langjährigen Bassisten Marjolein Kooijman in 2013, brauchten die Musiker einfach mal eine Pause, um ihre Batterien wieder aufzuladen und sich um ihre Familien zu kümmern.

Ihr 25jähriges Bandbestehen 2014 haben THE GATHERING dennoch mit allen aktuellen und ehemaligen Bandmitgliedern im Doornroosje Club in Nijmegen groß gefeiert, um sich danach wieder in ihre selbst auferlegte musikalische Klausur zu begeben.

2018 dann war die Band wieder startklar. In Hugo Prinsen Geerligs, der bereits von 1989 bis 2003 die vier Saiten bei THE GATHERING bediente, fand man einen neuen Bassisten und die Gruppe begann, neue Songs zu schreiben und Konzerte zu spielen, bis 2020 die Pandemie zuschlug und alles um weitere zwei Jahre verzögerte.

Das 11.Studioalbum von THE GATHERING knüpft stilistisch an den Vorgänger "Disclosure" von 2012 an. Acht Titel, im für die Band typischen, satten Electro-Rock-Sound - auch als Trip Rock bekannt - , getoppt von wunderbaren Gesangsmelodien und der warmen Stimme von Sängerin Silje Wergeland machen "Beautiful Distortion" zum wahrscheinlich dynamischsten und melodischsten THE GATHERING-Album in ihrer über 30jährigen Bandgeschichte.

Produziert und gemixt wurde "Beautiful Distortion" von Attie Bauw (u.a. Judas Priest, Scorpions), der bereits bei den THE GATHERING-Alben "Home" und "How To Measure A Planet?" an den Reglern saß. Für das Mastering zeichnet Maor Appelbaum (u.a. Faith No More) verantwortlich.
Die Musik wurde von der Band im Arnold Muhren Studio in Volendam (NL) eingespielt, alle Gesangsparts wurden im Bergen Lydstudio in Norwegen aufgenommen.
"Beautiful Distortion" wurde in Dolby Atmos gemischt und kann auf allen Plattformen, die Dolby Atmos Mixe anbieten, gestreamt werden.

Sämtliche Bandmitglieder waren von Anfang an am kreativen Prozess und den Aufnahmen beteiligt, sowohl einzeln, online, als auch persönlich und gemeinsam, wann immer es möglich war. Es war zwar eine Herausforderung, während der Pandemie und den damit verbundenen Maßnahmen ein Album über zwei Länder hinweg zu schreiben und aufzunehmen, doch THE GATHERING haben auch dies mit Bravour gemeistert.

Zum runden Geburtstag präsentiert Howard Carpendale mit „Zeitlos“ das Sound-Update seiner Karriere:
Die größten Hits aus 60 Jahren wurden neu arrangiert und aufgenommen. Der Entertainer, der seit sechs
Jahrzehnten auf den Bühnen steht und am 09. Januar 2026 seinen 80. Geburtstag feiert, erklärt dazu: „Zeit
verändert alles – auch Musik. Und manchmal merkt man, dass alte Songs ein neues Leben verdienen. Ich
hab meine größten Titel neu aufgenommen – so, wie sie 2025 klingen sollen. Nicht nostalgisch. Nicht retro.
Zeitlos.“ Das Jubiläumsalbum „Zeitlos“, das pünktlich zum Geburtstag erscheint, bietet packende Neuaufnahmen seiner allergrößten Hits in einem neuen zeitlosen Mix. Erweitert um einige neue Kompositionen,
etwa die jüngste Single „Ein neuer Morgen“, vereint „Zeitlos“ nur die größten Erfolge des Sängers. Dieses
besondere Geschenk an sich selbst und seine Fans ist ab dem 09. Januar 2026 in etlichen Konfigurationen
erhältlich.

Zepter sind eine neue, aufstrebende Heavy-Metal-Band aus Österreich, die 2024 gegründet wurde. Wenig später erschien, auf 100 Stück limitiert als Kassette, die erste EP »Inferno« über Ironbound (eine Vinyl-Ausgabe von Fucking Kill Records sowie eine CD-Edition durch Witches Brew folgten). Das Debütalbum von Zepter, welches über High Roller Records erscheint, bietet authentischen Heavy Metal der alten Schule mit catchy Hooks und geschmackvollen Twin-Harmony-Parts. Das Album klingt, wie ein erdiger Cocktail aus Thin Lizzy und UFO aus der Schenker-Ära mit Elementen aus frühem Speed Metal à la Acid und Slayer, wenn es sie schon 1978 gegeben hätte – mit Einflüssen von Saxon, Witchfinder General, Dark Star, Raven, Saracen, Angel Witch, Satan. Alle Songs bis auf die Coverversion “Lonely Night” von der Band Screem sind brandneu.

Ivy Chalice release their highly anticipated follow up to last years ‘Nachtmahr’, with Noctifer, on Library of the Occult Records. Drawing inspiration from classic cinema and the evocative sounds of the 1960s and 70s, Noctifer blends acoustic textures and ethereal vocals with a shadowy electronic edge, crafting a musical experience that is as haunting as it is hypnotic.

Noctifer ("bringer of night") is an album of shadowed landscapes and eerie tales. Ivy Chalice conjures a soundscape where dark folklore, dreamlike acoustics, and modern electronic elements meet. The album's narrative threads echo the haunting charm of films like The Blood on Satan’s Claw and The Wicker Man, as well as the spectral allure of British folk revival acts.

Maria Perez Query of Hellebore writes:

"The dense, dreamy atmosphere conjured by Ivy Chalice reaches its zenith in “Der Wald, Die Spiegelwelt,” which has echoes of the classic folk horror series Moondial (1988). Ethereal and eerie, Noctifer feels like wandering into the woods to find a ruined chapel, like opening a gate that leads to a secret realm."

Featuring tracks that balance fragility and foreboding, Noctifer is both an homage to and a reinvention of folk horror soundscapes. The combination of acoustic instrumentation and shadowy electronic textures offers a contemporary twist on timeless themes of nature, ritual, and the unknown.

2026 Repress

DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. As Quik explains, “the name Rhythm-Al-Ism alone tells you what I was doing. I was mixing up rhythms. I was meshing R&B with hip-hop and jazz. And a little bit of comedy”. It’s absolutely sensational and as with a lot of mid-90s albums those original vinyl copies are now rare so here’s the Be With re-issue.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. “You’z A Ganxta” and “Hand in Hand” made radio waves across the country and the less radio-friendly tracks like “Medley For A ‘V’” were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Music for gliding, for skating, for time with your people and your poison. Sunshine. No cares. BBQs. Heavy smoke in the air. Dripping with wit and good humour. A real swing to the vibe.

The album opens with Quik setting out his mission statement with “Rhythm-Al-Ism (Intro)”, telling us what this is all about before the self-explanatory “We Still Party” rocks the spot. It’s definitely all about the party here, complete with Quik’s signature head-nod/body-moving beat. Next up, the undeniable laidback funk and dripping swing of groove-laden “So Many Wayz”. This positively slaps.

Then we get to the three huge singles. The R&B-tinged radio-friendly minor-hit “Hand In Hand” closes the first side only for the flip to get straight into the rolling and scratching of bleepy computer-funk banger “Down, Down, Down” (featuring a particularly nice use of Howard Johnson’s epochal “So Fine”). The effortlessly smooth, flute and guitar-laced “You’z A Ganxta” completes the trio. Next up the fast-paced, vocoder-enhanced, woulda-beena-global-hit “I Useta Know Her”. This coulda (shoulda) been a single too. Head-nod funk workout “No Doubt”, with its ace sample of Prince's “Sexy Dancer”, closes out the second side.

“Speed” races out the gate on the second disc, sampling Edwin Birdsong’s “Rapper Dapper Snapper” in a harder, better, faster, stronger way than those daft Parisian punks. Amphetamine-swift raps over soaring, string-drenched b-boy beats. A total anthem. Up next, the staggering, near 8-minute laconic, lounge-y sax-rap of “Whateva U Do” cools things down and smooths things out with its flute wrapping around a sample of Smokey Robinson’s “So In Love” and some oh-so-classy lounge-piano tinkling. And speaking of smooth, things don’t get much smoother than the blissfully melodic glider-anthem “Thinkin’ ’Bout U” riding that ace flip of SWV’s “Use Your Heart”. Exceptional.

The exquisite funky-flute-slapper “Medley for a ‘V’ (The P***Y Medley)” opens the fourth and final side, with star turns from Snoop Dogg and a typically suave Nate Dogg. It’s followed by the supremely skanked-out “Bombudd II”, a beautifully sweet reggae-fuelled ode to the herb. “Get 2Getha Again” is slick funk. Stunning.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Rhythm-Al-Ism was originally pressed as a double and we’ve reproduced the original LA vibe picture sleeve and insert to match.

As that original front cover says, this is “over 70 minutes of commercial free music” and it’s absolutely perfect from start to finish. There are no stand-out tracks here. It’s all gold.
: Rhythm-al-ism (2LP)

Mit seinem Album "Confidence" schaffte der gebürtige Osnabrücker Tilmann Otto alias Gentleman seinen großen Durchbruch. Seitdem ist sein ebenso kompetenter wie authentischer Reggae aus dem Genre nicht mehr wegzudenken. Liebevoll sind alle Songs bis ins kleinste Detail arrangiert. An blubbernden Bassläufen, perfekt sitzenden Bläsersätzen, entrückten Harmoniegesängen und feinen Gitarrenparts wurde nicht gespart. Superstars wie Barrington Levy und Anthony B sind ebenso dabei wie Coco Tea, Ras Shiloh und Tony Rebel. Mit den Hits "Superior" und "Intoxication" katapultierte sich das Album 2004 auf Platz 1 der Sales -Charts. Ein Nummer-eins Album für die Ewigkeit, das sogar in Jamaica gefeiert wird.

Juegos Nocturnos is the new project from two essential musicians of the '80s Spanish scene, coming from iconic bands like Décima Víctima and P.V.P. In this new musical venture, they deliver nine guitar-centered, refined pop-rock songs that reflect influences developed over 40+ years, recorded between 2020 and 2022. Jesús Amodia (guitar, vocals, programming, and keyboards) was a founding member of the punk-rock group P.V.P., a band often compared to The Clash and other British acts of the era thanks to their blend of punk energy with Jamaican influenced sounds. The project also features Per Mertanen (bass), member of cult band Décima Víctima, known for crafting a very distinctive sound with echoes of Joy Division, The Cure, and other British post-punk groups. Now united in this new musical adventure called Juegos Nocturnos, they present nine guitar-driven, sophisticated pop rock tracks that showcase influences shaped over more than four decades of musical career, recorded between 2020 and 2022.

Kacem Wapalek ist seit über einem Jahrzehnt in der französischen Hip-Hop-Szene aktiv. Aber Kacem ist nicht nur Hip-Hop. Ein Künstler, der nicht zögert, sich in einem Universum zu bewegen, das auch vom Jazz und französischen Chansons geprägt ist.

Re-issued! 1993 nahmen PROPAGANDHI ihr erstes Album "How to Clean Everything" auf und veröffentlichten es über das damals noch junge Label Fat Wreck Chords. Es versteht sich von selbst, dass das Album nicht nur das Label bekannt machte, sondern vor allem PROPAGANDHI als eine der großen Kräfte in der Punkszene etablierte. "How To Clean Everything" war ein Start nach Maß und lehnte sich noch eher an die Skate-Punk-Tradition an als die folgenden Werke der Band. Trotzdem voller aggressiver Metal/HC-Riffs und jungenhafter, bissiger Texte über Menschenrechte, Gleichberechtigung und radikale linke Politik. Sänger/Gitarrist Chris Hannah erklärt seine Gründefür die Neuauflage (mit einem Hauch seines geliebten sarkastischen Humors): ,Vielleicht liegt es an den Badesalzen, aber ich bin zu der Überzeugung gelangt, dass es wertvoll ist, etwas zu haben, das einen bis zum Tod verfolgt. Ich präsentiere euch "How To Clean Everything". Die 2026 Neuauflage enthält wie die 20th Anniversary Edition das komplette Originalalbum plus die drei Outtakes, die Fat Mike für Fat Wreck seinerzeit für die Vinylveröffentlichung rausgenommen hatte. Natürlich wurde das Album auch von den originalen Analogbändern remastert. Schwarzes und farbiges Vinyl wieder erhältlich.
















p SEEMED FUNNY THE FIRST TIME BONUS TRACK
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]

Zum 20-jährigen Jubiläum zurück -zweifarbiges Swirl Dopple-Vinyl und erste schwarze 2LP-Pressung seit der ursprünglichen Warner-Veröffentlichung 2005. Plus exklusives Glanzlack-Sleeve! Mit über 2,5 Millionen verkauften Exemplaren weltweit ist "City of Evil" nach wie vor eines der beliebtesten Alben von Avenged Sevenfold. Inklusive des Fan-Favoriten "Bat Country", der Single "Burn It Doen" und "The Wicked End". Avenged Sevenfold (abgekürzt A7X), die amerikanische Heavy-Metalcore-Band aus Huntington Beach, Kalifornien, wurde 1999 gegründet. Avenged Sevenfold sind bekannt für ihren variantenreichen Alternative Metal-Sound und ihre dramatischen, teils expliziten, Bilder auf Albumcovern und Merchandise-Artikeln. Auf ihrem Debütalbum "Sounding the Seventh Trumpet" entwickelte die Band einen Metalcore-Sound, den sie bis zu ihrem zweiten Album "Waking the Fallen" weitgehend beibehielt. Der Stil der Band hatte sich mit ihrem dritten Album und ihrer ersten Veröffentlichung bei einem Major-Label Warner, "City of Evil", zu einem traditionelleren Heavy-Metal-Stil entwickelt, der u.a. Bezug auf NWOBHW und Metallica nimmt. Nr. 63 auf der Liste der "100 Greatest Guitar Albums of All Time" des Guitar World Magazine. Kerrang! listet "City of Evil" sowohl bei "666 Albums You Need to Hear Before You Die" als auch in "50 Albums You Need to Hear Before You Die" sowie als Nr. 35 in "50 Greatest Metal Albums Ever". Rolling Stone nimmt das Album in seine Liste "The 100 Greatest Metal Albums of All Time" mit auf.



Die Jubiläums-Editionen des Doppelalbums sind als rot-gelbes Swirl-Vinyl (limitiert auf 500 Exemplare weltweit) erhältlich, oder als klassische schwarze 180g-Pressung, welche für Hopeless Records absolut nicht klassisch ist, sondern eine Rarität darstellt, zu haben Beide kommen mit Silberfolie veredeltem Sleeve, welches exklusiv für die 20th Anniversary 2025er Auflagen sein wird. Für Fans von Metallica, Slipknot, & Bullet For My Valentine, Metalcore, Alternative, Post-Metal, Emo, Heavy Metal

NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern.

Walk Don't Run ist ein Buddy-Comedy-Thriller, der sich über zwölf nächtliche und nostalgische Stunden erstreckt und die Auflösung einer lebenslangen Freundschaft erzählt, die durch eine manische Flucht aus einem Diner, die Entführung eines Woodie Wagon, eine Fahrt mit der Big Dipper-Achterbahn und eine Surf-Session um 3 Uhr morgens ausgelöst wird. Unterlegt mit Demos aus dem Ry-Ko-Ausschussstapel, ist Moodys instrumentale Abkürzung eine Momentaufnahme des Surf-Musik-Crashs Mitte der 1960er Jahre. Passend zum Nacht-Thema des Films tauscht Walk Don't Run die schlurfenden, verträumten Balladen der Ära ein und filmt die echoartigen Wellen des privaten Strandes lange nach Einbruch der Dunkelheit.

Walk Don't Run ist ein Buddy-Comedy-Thriller, der sich über zwölf nächtliche und nostalgische Stunden erstreckt und die Auflösung einer lebenslangen Freundschaft erzählt, die durch eine manische Flucht aus einem Diner, die Entführung eines Woodie Wagon, eine Fahrt mit der Big Dipper-Achterbahn und eine Surf-Session um 3 Uhr morgens ausgelöst wird. Unterlegt mit Demos aus dem Ry-Ko-Ausschussstapel, ist Moodys instrumentale Abkürzung eine Momentaufnahme des Surf-Musik-Crashs Mitte der 1960er Jahre. Passend zum Nacht-Thema des Films tauscht Walk Don't Run die schlurfenden, verträumten Balladen der Ära ein und filmt die echoartigen Wellen des privaten Strandes lange nach Einbruch der Dunkelheit.

Das 2020 erschienene Album ,I Feel Alive" markiert das fulminante Comeback der Indie-Pop-Band TOPS aus Montreal, die ihren charakteristischen weichen Synthesizer-Sound, ihre hellen Gitarrenriffs und Jane Pennys emotional direkten Gesang zu ihrem bisher lebhaftesten Werk verschmelzen. Das Album schafft eine Balance zwischen glänzender Pop-Wärme und introspektiver Lyrik und beschäftigt sich mit Themen wie Sehnsucht, Verwandlung und Selbstverwirklichung. Mit einem Sound, der sowohl nostalgisch als auch erfrischend modern wirkt, zeigt ,I Feel Alive" die Band auf einem neuen kreativen Höhepunkt - üppig, intim und mühelos cool, was TOPS erneut als eine der überzeugendsten Stimmen des zeitgenössischen Dream-Pop bestätigt. ,Die Melodien sind durchweg so sanft und wunderschön wie die Traumschiffe, denen Penny zuzwinkert oder über deren Polaroids sie weint. TOPS sind jetzt zusammen mit Phoenix die Meister des modernen Softrocks." - The Guardian ,TOPS haben mit ihrem bisher klarsten Album ihre Berufung gefunden. Vollgepackt mit glitzernden Melodien, blitzsauberem Vintage-Pop und sehnsüchtigen Texten hält sich das Quartett aus Montreal nicht zurück." - Clash

Zeitlose Eleganz: Klassik trifft Lounge – die ultimative Klavier-Entspannung
Diese LP interpretiert klassische Meisterwerke als raffinierten Lounge-Soundtrack neu und verbindet die zeitlose Romantik der Vergangenheit nahtlos mit der kontemplativen Ruhe der Gegenwart.
Von Debussys schimmerndem „Clair de lune” und der stillen Tiefe des langsamen Satzes aus Beethovens „Pathétique” über die introspektive Wärme von Brahms' "Intermezzo" bis hin zu Griegs „Notturno” fließt die Auswahl wie ein Late-Night-Gespräch. Populäre neoklassische Komponisten wie Joep Beving, Max Richter, Ludovico Einaudi, Jóhann Jóhannsson und Yann Tiersen steuern ihre hypnotischen, filmischen Texturen bei und schaffen eine Stimmung, die sowohl zutiefst entspannend als auch intellektuell fesselnd ist.