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EGO IN MIAMI 2025 comes to life by showcasing current music trends through the most hyped EGO
tracks of the moment. Not only: it represents the beginning of the annual series of compilations signed
EGO, as a tradition for ten years. Again this year, at the Miami Winter Music Conference, we have
selected several tracks that will count down with you, accompanying you to the start of one of the most
anticipated EDM events of the year. The MMW brings together thousands of professionals and
enthusiasts who will participate in a series of events in Miami, concluding with the iconic “Ultra Music
Festival”.

The selection presented this year reflects current musical trends. Established names like TR3NACRIA,
Cecilia Krull and Tommy Vee with the talented emerging Defreeze, Bohemoon and just a boy, the great
returns of Sapienza, Solarys and Bacon Popper. The energy of Berin, the good vibes of Roberto Tropea
and the euphoric productions of Ema Feud and B-Rain. The ensemble takes place through the extended
version braid that creates a collection usable by both EDM fans and professionals: DJs and producers.

Crane de Poule releases her first EP on vinyl under her label, CDP REC. The title track, Twerk of The Apocalypse, comes in two original versions - one with a bouncy breakbeat vibe infused with hip-hop energy, and the other built on a 4/4 minimal techno rhythm. The vocals were written and performed by Crane de Poule. Reboot and Enzo Leep deliver their own takes on Twerk of The Apocalypse, offering unique and irresistibly catchy remixes. Mastering by TIJN, Illustration and Artistic Direction by Crane de Poule

80s synth magic for the the four-track mind. DIY outsider Rick Cuevas was a post-punk refugee on a vision quest for a hit. Tracked at home in 1984, "The Birds" is that 40-year-delayed viral smash, one of eight retro-futurist anthems that make up Cuevas' debut album. Remastered from the analog masters, this 40th anniversary edition replicates the 200copy original for max teleportation value.

It happens everytime. As soon as we get the news that Lewis Fautzi, label owner, will release with us, his own imprint, the excitement is hard to describe. First of all, his vision makes him one of the most exciting artists in the scene and last but not least, he's always able to surprise us. Leading us through his own landscapes and rythms, Lewis creates a world which is very much of his, with a motion and a pace that are remarkable and hard not to notice. This release he's been preparing for a while is another masterpiece that will echo in our minds for a long time. Through beatless pads or fierceful kicks, the precise cutting edge of his creations are a delight to our ears and makes us all embark in a journey with no limits or boundaries.

We’re thrilled to announce the ultimate collection for fans of Raz Fresco’s groundbreaking “Pocket Operations” album series! For the first time, all three volumes of this critically acclaimed series have been brought together into one seamless release. Featuring over 40 meticulously crafted tracks, this collection showcases Raz Fresco’s unique production skills, with every beat and sound created on the PO-33 – the world’s smallest sampler, designed by the innovative minds at Teenage Engineering.

This special release comes packaged in a stunning trifold jacket, making it a must-have for collectors and audiophiles alike. Available in your choice of vibrant colored vinyl or classic black vinyl, this exclusive edition is now open for pre-order. Don’t miss your chance to own this iconic compilation – secure your copy today!

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern un-derground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while stay-ing firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Enter-tainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Temple Fang is a rare breed of band - one that refuses to compromise in an increasingly cutthroat and number-obsessed music industry. Formed in 2018 in Amsterdam, the band hit their stride in 2019 with acclaimed Roadburn performances and a reputation for electrifying live shows across Europe, all before releasing a single track. With alternating lead vocalists, dual harmonizing guitars, and a rhythm section powered by pure psychedelic energy, Temple Fang quickly became a phenomenon in the heavy-psych underground. Though always leaving live viewers in awe of their performances, the band struggled against internal fractures and external forces, all stalling efforts to create their vision of a proper studio album. This fueled speculation that Temple Fang"s live sound was too in-the moment, too whimsical, too untamed to be properly captured in a studio environment, something the band never themselves believed to be true, quite the opposite. It just would require the right set of circumstances. Fast forward to 2025 as Temple Fang is ready to release "Lifted from the Wind" on Stickman Records. A record they themselves consider to be their true debut studio album. On this sprawling double record Temple Fang appears, for the first time in their existence, fully formed: fierce and strong, hard rocking yet elegant, with 20+ minute psych freak-outs and prog ballads side-by-side. Temple Fang truly delivers on the promise they"ve always held, to really stretch the possibilities of what it means to be a rock band in 2025. With spectacular wild-man Daan Wopereis as a full member on the drums, Temple Fang now can deliver on their commitment to really rock, to blow your mind AND tear your heart out.

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

First Word Records are proud to present the debut single from Above The Clouds (aka kidkanevil & Magic Manfred) with their instrumental take on an MF DOOM classic, 'Arrow Root'

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite DJ Premier beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains "We did a number of covers to sort of get warmed up and in the pocket, of which 'Arrow Root' was one. I actually interviewed DOOM once, mask and all, and I always regretted I forgot to ask him about the original sample. It's been one of my favourite DOOM beats forever and it came up in conversation one day, then manifested pretty quickly into a session. It came together with relative ease and quickness, which is usually a good sign. Manfred worked out the chords and I remade the drums in about the same time frame. Mario is an exceptional saxophone player based in Berlin, so a few text messages later she came by the studio and nailed the entire thing on her first take. And that was that, our humble tribute to the supervillain!"

This one is backed up on the flip side with 'Tram Delay Beat'; a low slung neck-snapper teasing more of what's to come.

This is the first single from the duo, with a long player now in the works…

Above the crowds, above the clouds, where the sounds are original, infinite skills create miracles…

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

Kai Alce's NDATL Muzik is one of our favourites for deep house so imagine our delight to learn that it now branches out with a new sub-label, Nutria Sounds. Its debut release is a gem from Shaka with Eve's soulful vocals capturing the essence of Paris through organic textures and sultry melodies. The main vocal mix has jazzy chords and a carefree vibe, while 'Unbleached' is a more driving deep house cut with dancing keys and low end heft. The ever-on form Chicagoan Vick Lavender also steps up with a signature jazz-infused remix that is refined yet ready to work the 'floor. This is a fine debut for Nutria Sounds, which seems like it is going to be another vital outlet for heartfelt and classy house.

Disco Mind founder and Italian mainstay Paul Older and Melbourne's Brother Julian are back with a second volume of the AMBO series after the first one did so well to launch this label last year. Older's 'Keep Dancing' is an electric and peak-time disco cut with string stabs and hard-hitting drums that sweep you off your feet in an instant. It's a real disco inferno then Julia's 'Satisfaction Guaranteed' reworks an old gem into another fast-paced, melody-packed disco stomper. Two very useful disco bombs indeed.

Santana Bridges the Divide Between Live and Studio Material on Moonflower: 1977 Double Album Features Extraordinary Performances, Soulful Vibes, and Dynamic Mix of Latin, Rock, Funk, and Blues
Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Audiophile-Quality Detail, Balance, and Imaging
1/4” / 15 IPS original analogue non-Dolby master to DSD 256 to analogue console to lathe



Though it may seem strange now, Moonflower stood for nearly 15 years as Santana’s first and only live record released in the United States. This despite the fact that roughly half of the double album consists of new studio songs, including a zesty cover of the Zombies classic “She’s Not There” that reached the Top 30 of the singles charts.

However unconventional, the “split” strategy went over like gangbusters. Moonflower reached the Top 10 of the Billboard Top 200 and achieved double-platinum status — feats the group would not again replicate for 22 years. These, and the beautiful quality of the program itself, are among the reasons why the 1977 effort remains viewed by critics and fans alike as must-have Santana.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM 2LP set of Moonflower presents the record in audiophile sound for the first time on a domestic reissue. Part of the MoFi’s Santana catalog restoration series, this collectible version features quiet surfaces and black backgrounds that expose the critical details, liquid tones, and dynamic interplay central to Santana’s music.

The enhanced sonics extend not only to Carlos Santana’s six-string wizardry, but to the rhythmic, melodic, and vocal elements that course throughout both the studio and live cuts on Moonflower. The grip and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the extension and weight of the low-end frequencies; the rich textures of the guitars, percussive devices, and keyboards: all appear amid wide, balanced soundstages and image with right-sized dimensionality.

Significantly rooted in the styles and approaches that inform the group’s first three records, Moonflower captures the final appearances of iconic percussionist Jose “Chepito” Areas and go-to keyboardist Tom Coster on a Santana album. As he did during the preceding five-year stretch, Coster inhabits a large role here, sharing songwriting credits on a majority of the new cuts and helping steer the arrangements toward spiritually minded albeit concise directions that encompass vibrant Latin, rock, and blues themes that began to escape the ensemble shortly after his departure.

Close your eyes and feel the warmth of the sun on the R&B-kissed “I’ll Be Waiting,” anchored by Carlos Santana’s gliding fretwork and Greg Walker’s creamy vocals. Enter the cosmic universe of “Zulu,” on which Coster’s nimble phrasing opens the gate to polyrhythmic beats, knotty grooves, and interlocking funk. Grab the album cover and drift off to paradise amid the equally evocative “Flor d’Luna (Moonflower),” a romantic slow dance that Carlos Santana ensures tiptoes en route to its blissful destination. Channeling a different spirit animal, the guitarist later lets loose on the hard-hitting “El Morocco,” on which he seemingly engages in a shootout with himself and wades into the rippling psychedelia that elevated the band’s early material.

Speaking of the past, Moonflower triumphs on that level as well. In more ways than one, the live selections — and the caliber of the performances — chosen for inclusion represent an abbreviated greatest-hits survey of the band up to that point. And, at the very least, a convincing argument about why Santana had progressed into one of the most formidable bands you could hope to see on a stage in the mid ‘70s.

Simultaneously representative and illustrative of the group’s breadth, tracks stem from the collective’s eponymous debut, Abraxas, and Santana III as well as the then-more recent Amigos and Festival. Whether you fall for the sidewinding spell of a spicy rendition of “Black Magic Woman/Gypsy Queen,” lose your head to the positively epic momentum of “Soul Sacrifice/Head, Hands & Feet,” or keep dropping the needle on the savory grace of the brilliant reading of “Europa (Earth’s Cry Heaven’s Smile),” this pressing of Moonflower puts you — and Santana’s first-chapter legacy — in good hands.

Am 24.06. erscheint das achte Studioalbum „Meet The Moonlight“ von Jack Johnson. Zeitgleich startet
seine Sommertour quer durch die USA.
Das Album ist zum größten Teil in persönlicher Zusammenarbeit mit Produzent Blake Mills entstanden;
aufgenommen wurde es in Los Angeles und Hawaii. Es behandelt Themen wie die Zerbrechlichkeit menschlicher Beziehungen und die Unbeständigkeit des Lebens

Unreleased electronic / jazz / madness from two titans of jazz and experimentation: JOHN SURMAN and KARIN KROG.

I could now write a load of blown up puffery about how amazing this is, but everyone does that, and a lot of the time it’s all a load of bollocks. But basically this was sent to me by Karin / John when I asked if they had anything hanging about that had not been released. This came through and blew my tiny mind. Like something from prime Annette Peacock “Pony” period. Here is what John Surman said…

John Surman writes:

Back in 2012/13 there had been some talk about a big futuristic open air urban dance/theatre production for about 80/100 actors/dancers with lasers and all kinds of lighting effects on different stages. I was invited to get involved and, together with Ben and Karin, we eventually decided to get to work on some ideas. I think that the original plan was that in performance there would be a mixture of live music and electronica.

Not altogether surprisingly, bearing in mind the complexity of the project, it never moved forward and developed into anything more than an interesting idea. It was probably over ambitious & I guess the funding never came through.

The only information I that I can find relating to the production refers to two silent movies made in 1927/1928 by the filmmaker Eugene Deslaw, entitled `La Marche Des Machines´ and `Les Nuits Électriques.These were clearly intended to act as inspiration for the project.

After months turned into years it became obvious that the project was going nowhere, and so the recorded music laid around gathering dust until Johnny Trunk asked Karin if she had any interesting music that he might be interested in releasing. One thing led to another and so, finally, Electric Element found a home!

For anyone interested in the equipment used this will have to be an approximation since the memory might be playing tricks. Karin was probably using a Yamaha Rex50 f/x unit, a Roland VT-3 Voice Transformer and an Oberheim Ring Modulator. I was playing Bass Clarinet and Contrabass Clarinet through various f/x units together with a Yamaha WX5 wind synth. All the instruments and voice were also processed through Ben´s equipment. After writing this I asked Ben for his recollections and he came up with the following:

John, Karin and I created this music in 2 or 3 days in the winter of 2013 at their studio in Oslo, Norway. I followed up with another 2 or 3 days of mixing, editing and post-processing . We kept a collaborative, improvisational and free-form approach to the sessions. I grew up immersed in music such as Cloudline Blue, the 1979 duo album of Krog/Surman, and this felt like a similar approach. I have mixed sound for many of their live duo concerts and I would use effects and electronics as an

accompaniment and counterpoint to the performed music. The relation of organic and artificial sound sources in music has always fascinated. In this case, I used some contemporary digital signal processing to introduce my own aesthetic into the conversation, in particular using granular synthesis to recombine small 'clouds' of sound into alternate forms. Some of the software tools I used included Ableton Live, Max/MSP and Reaktor.

Nuke Watch stretch out and zone in on “Wait For It…”, two side-long jaunts that run their freeform M.O. to their own illogical ends. Following on from recent excursions on The Trilogy Tapes and Impatience, they revel in the long format for Patience, crafting a steady assault of haywire rhythms and swampy, off-world ambience.

On the A-side’s Supersonic Percussion Anagram, a battery of electronic and sampled drums - from window-shaking subs to melodic subcontinent percussion - shift from one bar to the next, a continuously morphing, snake-charming ruckus confirming their status as Bushwhick’s finest rhythm purveyors.

For the B-side Nuke Watch mind-meld with fellow NYC phreq Bryce Hackford for Think Peace, a disorienting lurch through the knotty depths of free associative modular synthesis, unraveling spools of intrigue that goes deep into the unknowable.

Nuke Watch is Aaron Anderson and Chris Hontos.. They’ve released records as Nuke Watch on The Trilogy Tapes, Commend, Impatience and Moon Glyph. As Beat Detectives they’ve released records on Not Not Fun, 100% Silk and their own studio imprint NYPD Records.

“Wait For It…” was written and produced by Aaron Anderson and Chris Hontos. Electronic drum pads on Supersonic Percussion Anagram by William Statler. Additional instrumentation on Think Peace by Bryce Hackford. It was mixed by Chris Hontos and Justin Randel, and mastered by Justin Randel. Art and design by Luca Schenardi..

RIYL - tabla, meandering, beat tapes, swamp jazz.

Over the past near-decade, Lancashire's medieval metal phenomenon WYTCH HAZEL have been honing an uncommonly wholesome, rustic and devotional brand of timewarped hard rock that's all their own, with 2016's Prelude and 2018's II: Sojourn summoning to mind fevered images of Robin Hood and his Merry Men grooving to Jethro Tull and Thin Lizzy. Yet within moments of pressing play on their third LP, III: Pentecost, the musty mystical minstrelsy takes a back seat in favour of a rich, sumptuous, anthemic late-night drivetime vibe, passionately embracing the most high-end smash-hit classic rock and metal circa its late 1970s heyday. "I thought I put a lot into the second album, but this album has been an absolute obsession," stresses the band leader, Colin Hendra. "Every aspect had to be as good as possible. We've gone back and forth, Ed was tinkering with it for months on end. There's quadruple tracking going on with the rhythm parts, then we've doubled, tripled and quadrupled all our lead parts to get that richness and fullness of sound, all meticulously planned with pages and pages of organisational notes. It wasn't just `get in the studio and see how it goes!'" he laughs. "One day I did 14 hours of vocal recording. All vocals are double-tracked, I can't express how much hard work that is. The last album feels like a breeze compared to what we've done with this - and I don't plan on ramping it down!" Musically there are gorgeous self-professed touches of Black Sabbath, Blue Öyster Cult, AC/DC and early Scorpions_"With the soloing I was trying to go for Michael Schenker" beams Colin_while the scampering headbanger I Will Not initially took a nod from Angel Witch, who Hendra was helping out on second guitar back in 2015 when the track was composed, before studio treatment made it sound "a lot more Wytch Hazelly". But perhaps the most lateral comparison is to a band from the opposite spiritual realm, with Archangel an explicit homage to Swedish faux-Satanic devil cult Ghost. "I find them fascinating, Ghost; musically great, the songwriting is spot-on," enthuses the frontman. "We share an intrinsic connection, with Bad Omen honcho Will Palmer being the person who discovered us both. "Music is created for all, it's a common grace for everyone," he affirms, "which is why the music that shows the glory of God the most, in my opinion, is not music created by Christians. It's Black Sabbath!"

Demon Music Group are delighted to confirm the signing of ‘Night Mirror’ – the fourth solo album from electronic music legend, Claudia Brücken. • Written and recorded in London between 2023-2025 with longtime collaborator John Williams, ‘Night Mirror’ is a stunning collection of 10 brand new songs, suffused with optimism, loosely bound by themes of reflection and rebirth. •

Having first come to notice as the lead singer of Düsseldorf electronic music pioneers Propaganda, one of the first signings to the celebrated ZTT Records (Frankie Goes To Hollywood, Art Of Noise, 808 State), Claudia’s striking image and distinctive vocals made her one the most influential and inspiring female musicians of her generation. Propaganda enjoyed chart success with hit singles like ‘Dr Mabuse’ and ‘Duel’ and their 1985 album ‘A Secret Wish’ is frequently cited as one of the landmark electronic pop albums of all time. • In subsequent years, along with collaborations with the likes of Wolfgang Flür (Kraftwerk), Martin Gore (Depeche Mode), ACT, Andrew Poppy, Andy Bell (Erasure), and Peter Hook (New Order). Claudia was most recently in the limelight fronting the reimagined xPropaganda whose 2022 album ‘The Heart Is Strange’ garnered ecstatic reviews and reached No. 11 in the UK album chart. •

On ‘Night Mirror’ Claudia is reunited with musical partner John Williams, whose work as a producer, writer, engineer, and record label head has seen him work with such luminaries as The Housemartins, Alison Moyet, Blancmange, Simple Minds and The Proclaimers. Contributing to the album are an accomplished series of musicians, whose credits include The Lighthouse Family, Cathy Dennis, Orlando Weeks (The Maccabees), and Kaiser Chiefs. • This LP release is presented on Dark Cherry vinyl. • This is a priority release for Demon, and we will be supporting with full retail, press, radio and online campaigns.