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WE ARE WINTER'S BLUE AND RADIANT CHILDREN (WAWBARC) is the new quartet of Mat Ball (BIG|BRAVE), Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion), and Jonathan Downs and Patch (both Ada). On "NO MORE APOCALYPSE FATHER" they present six modal lullabies drenched in seared distortion, slathered across striding electronic pulses. Ball and Menuck began creating music in and for the bleakest moments of Montréal winters: "We're honoring that idea of winter, when you come inside and your house is warm, a place that only exists because of how cold it is outside," says Menuck. They later recruited Downs and Patch to flesh out their initial ideas. Menuck met them in 2015 when recording Ada's final album at Montréal's Hotel2Tango _ where they reconvened to make this record. "NO MORE APOCALYPSE FATHER" is an album about witnessing bleakness from a place of safety. Carrying newfound descriptive depth, thanks to the quartet's open-ended songs freeing him from writing in meter, Menuck likens his lyrics to photorealism. On opener `Rats and Roses' he sings of an unnamed city struck by an unknown cataclysm, but the details are local: specifically, his neighbors inadvertently poisoning birds when tackling a rat infestation. It's backed by blown out synths and guitars reaching a soaring crescendo. "Seeing things from a distance and not being able to intervene happens a lot on the record," Menuck explains. "If you're a feeling and thinking person, that's just part of the human condition. We watch horror unfolding from afar, unable to do anything concrete to change it." A powerless witness, able to describe but not intervene. `Dangling Blanket From A Balcony (White Phosphorous)' references Michael Jackson holding his child over a hotel balcony in 2002_the bizarre media spectacle still lodged in Menuck's psyche. This and the album's closing track also elegize white phosphorous, a technology of war designed to light up battlefields but capable of inflicting horrific burns on those it touches. Illumination and horror in one, here underpinning scenes picturesque and terrifying. "The last song `(Goodnight) White Phosphorous' is deliberately like a lullaby," says Menuck. "Written from the viewpoint of watching white phosphorous falling outside your window." Scorched and tarnished and laden with harrowing imagery, "NO MORE APOCALYPSE FATHER" is also a record bathed in light: the bewilderment of hopeful spirits witnessing despair, watching a blizzard of distress unfold outside from a place of relative shelter and comfort. You could call that emotional ambivalence, maybe numbness. But those words are too passive for the weight of conflicted feeling resonating through the album. "I never know how I feel on an overcast day when the sun is still bright despite the grayness and the light is very flat. The colours become more saturated, and you see a single flower, say a morning glory, whose colour is so vibrant beneath the gray, I don't know if that's a lovely sensation or a terrible sensation. It's both," says Menuck.

Marcin ist ein weltweites Phänomen und der Gitarrist der Gen Z. Sein Debütalbum "Dragon in Harmony" ist eine Demonstration seines selbst-entwickelten, atemberaubend virtuosen Stils, Gitarre zu spielen in 14 genre-übergreifenden Titeln. Bei TikTok, Youtube und Instagram begeistert Marcin Millionen Follower mit seinem unnachahmlichen Stil, die Gitarre mit beiden Händen am Griffbrett zu spielen. Er zerlegt Klassiker aus Rock, Hip-Hop oder Klassik in "real time" in ihre Einzelteile und türmt diese zu neuen Gitarren-Arrangements auf, wobei er die Akkorde, Melodien und eine handtrommelartige Percussion gleichzeitig spielt. Ein musikalisches Spektakel als One-Man-Show. Auch Kritiker vom "Rolling Stone", "Billboard", "Premier Guitar" oder "Guitar World" preisen Marcin als "einen der talentiertesten Gitarristen seiner Generation". Mit all seinen Erfahrungen aus den letzten Jahren hat Marcin sein Album "Dragon in Harmony" konzipiert. Er möchte ein Publikum weit jenseits der Gitarren-Fans erreichen und erklärt selbstbewusst: "Mein Statement an die Gitarrenpuristen ist: Ja, ihr habt recht. Die Gitarre ist tot. Macht weiter so wie bisher. Mein Ziel war es aber schon immer, ein breites Publikum zu begeistern." Zusammen mit Producer Dan Book (Blink-182, Shania Twain, Britney Spears) verbindet Marcin auf "Dragon in Harmony" eine genreübergreifende Sammlung von Originalkompositionen und Covern zu einem harmonischen Ganzen. Songs von Justin Timberlake ("Cry Me A River"), Sade ("Smooth Operator") und Nirvana ("Heart-Shaped Box") fügen sich schlüssig an Kompositionen von Mozart (Requiem), Debussy ("Claire de Lune") oder Miles Davis/Bill Evans ("Nardis"). Der Alternative-Radio-taugliche Titel "When The Light Goes", für den Marcin den Sänger Portugal.The Man (bekannt für seinen Hit "Feel It Still") eingeladen hat, und "Allergies" mit Sängerin Delaney Bailey, bilden weitere stimmige Farbakzente auf dem Album. "Ich wurde im Jahr 2000, dem Jahr des Drachen, geboren und veröffentliche mein Debüt im Jahr 2024, ebenfalls ein Jahr des Drachen. Der Drache ist ein feuriges, mythisches Wesen, ungezähmt und chaotisch. Aber er steht ebenso für Harmonie. In den letzten Jahren habe ich viele unterschiedliche Dinge ausprobiert, die scheinbar nicht zusammenpassen. Mit meinem Album mache ich jetzt eine künstlerische Aussage, die kohärent ist. The dragon is in harmony." erläutert Marcin seine Album-Idee. Mit Ichika Nito ("I Don't Write About Girls") und Tim Henson von der Band Polyphia ("Classical Dragon") sind zwei weitere junge Gitarren-Heroes für jeweils einen Titel als Duett-Partner zu hören.

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

Ltd Edition!

The Mystery Lights return with their most ambitious offering to date. With Wayne Gordon back in the producer's chair, the group delivers an eclectic mix of real-deal psychedelia, punk, art rock, and even a splash of country via the Kinks(y) pop earworm "I'm Sorry I Forgot Your Name". The psychedelic highlights of the album, "Purgatory", "Cerebral Crack" and "Can't Sleep Through the Silence", are dark and trippy, landing somewhere between the guitar-driven, lysergic mayhem of the 13th Floor Elevators and the punked-up, tongue-in-cheek insanity of The Monks. But throughout there's a cohesiveness threaded by the elevated musicianship, earnest lyrics and attention to detail that make for a fiercely raw, yet unabashedly catchy album-dripping with all of the sing along hooks that have made Mystery Lights one of the most exciting live bands on the scene.

Ltd Edition!

The Mystery Lights return with their most ambitious offering to date. With Wayne Gordon back in the producer's chair, the group delivers an eclectic mix of real-deal psychedelia, punk, art rock, and even a splash of country via the Kinks(y) pop earworm "I'm Sorry I Forgot Your Name". The psychedelic highlights of the album, "Purgatory", "Cerebral Crack" and "Can't Sleep Through the Silence", are dark and trippy, landing somewhere between the guitar-driven, lysergic mayhem of the 13th Floor Elevators and the punked-up, tongue-in-cheek insanity of The Monks. But throughout there's a cohesiveness threaded by the elevated musicianship, earnest lyrics and attention to detail that make for a fiercely raw, yet unabashedly catchy album-dripping with all of the sing along hooks that have made Mystery Lights one of the most exciting live bands on the scene.

Die vier norwegisch-schwedischen Musiker von Kalandra haben ihre Wurzeln im melancholischen nordischen Folk und düsteren Gitarren, die
ätherische Melodien in raue und unheimliche Musiklandschaften weben. Wie es sich für Kalandra gehört, erzählt das neue Album der Band, "A Frame
Of Mind", nicht nur eine Geschichte, sondern verkörpert sie auch.
Das Norwegisch-Schwedische Quartett hat Elemente des nordischen Folks, des skandinavischen Pops und des Alt- und Progressive-Rocks miteinander
verbunden. Im Laufe des Prozesses und dank des erhabenen, schwebenden Gesangs von Frontfrau Katrine Stenbekk, der in die gleichen feinen
Gefilde gehört wie der von Künstlern wie Eivør, Aurora und Gåtes Gunnhild Sundli, haben sie ihre eigene rastlose und doch eindringliche Welt
geschaffen.

Die vier norwegisch-schwedischen Musiker von Kalandra haben ihre Wurzeln im melancholischen nordischen Folk und düsteren Gitarren, die
ätherische Melodien in raue und unheimliche Musiklandschaften weben. Wie es sich für Kalandra gehört, erzählt das neue Album der Band, "A Frame
Of Mind", nicht nur eine Geschichte, sondern verkörpert sie auch.
Das Norwegisch-Schwedische Quartett hat Elemente des nordischen Folks, des skandinavischen Pops und des Alt- und Progressive-Rocks miteinander
verbunden. Im Laufe des Prozesses und dank des erhabenen, schwebenden Gesangs von Frontfrau Katrine Stenbekk, der in die gleichen feinen
Gefilde gehört wie der von Künstlern wie Eivør, Aurora und Gåtes Gunnhild Sundli, haben sie ihre eigene rastlose und doch eindringliche Welt
geschaffen.

Satan’s history is storied, their albums and incendiary live shows, iconic. The Newcastle, England-bred lineup may quip that their career has been “44 years of prolonged mayhem with a 20-year lunch break”—forming in 1980, eventually pausing before reuniting in 2011—but circa 2024 finds the band thriving, writing, recording, and touring at the top of their game. Proof positive is their seventh studio album, and third for Metal Blade, Songs in Crimson. If 2022’s Earth Infernal album was brutal, up-tempo and with loud guitars, guitarist Russ Tippins calls Songs in Crimson “concise. It’s more to the point and gets there quicker. One of the reasons behind the title Songs in Crimson is that this record is very ‘song’ focused. There’s more punch this time around. Each chorus speaks for itself.” An eminently relatable song is “Era (The Day Will Come).” “There is nobody on this planet who is not familiar with the feeling of loss. When you get to the age we are at in this band, it becomes a weekly occurrence. If there is a message in the lyrics, it is pretty much ‘do not take anything for granted.’ Especially people. You just don’t know what is around the corner that you can’t see coming.” Satan’s chemistry, honed by years of collaboration, brotherhood and love, is unbreakable. “We played at a metal festival where the headlining band had zero original members,” Tippins says. “I cannot get my head around that, though I admire their bravery. We are the genuine article.” To be clear: “We did not reunite just to trade on past glory,” he concludes. “If you want nostalgia, this is not the band for you. We look only ahead and always will.”

Satan’s history is storied, their albums and incendiary live shows, iconic. The Newcastle, England-bred lineup may quip that their career has been “44 years of prolonged mayhem with a 20-year lunch break”—forming in 1980, eventually pausing before reuniting in 2011—but circa 2024 finds the band thriving, writing, recording, and touring at the top of their game. Proof positive is their seventh studio album, and third for Metal Blade, Songs in Crimson. If 2022’s Earth Infernal album was brutal, up-tempo and with loud guitars, guitarist Russ Tippins calls Songs in Crimson “concise. It’s more to the point and gets there quicker. One of the reasons behind the title Songs in Crimson is that this record is very ‘song’ focused. There’s more punch this time around. Each chorus speaks for itself.” An eminently relatable song is “Era (The Day Will Come).” “There is nobody on this planet who is not familiar with the feeling of loss. When you get to the age we are at in this band, it becomes a weekly occurrence. If there is a message in the lyrics, it is pretty much ‘do not take anything for granted.’ Especially people. You just don’t know what is around the corner that you can’t see coming.” Satan’s chemistry, honed by years of collaboration, brotherhood and love, is unbreakable. “We played at a metal festival where the headlining band had zero original members,” Tippins says. “I cannot get my head around that, though I admire their bravery. We are the genuine article.” To be clear: “We did not reunite just to trade on past glory,” he concludes. “If you want nostalgia, this is not the band for you. We look only ahead and always will.”

Two brand new tracks by The Courettes on PINK coloured vinyl. Both tracks will also feature on the band's next album, The Soul Of... The Fabulous Courettes, in slightly different form! "We worked with Richard Gottehrer, who for us is like a songwriter god!" says Flavia. "He worked at the Brill Building and co-wrote 'I Want Candy'. A mutual friend played him 'Keep Dancing' and he left a message on my phone saying, 'I love your track and I really dig the lyrics'. He ended up mixing 'Keep Dancing' and 'Boom Boom Boom'." "Because I'm the one most responsible for the lyrics, I actually allowed myself to open up to some personal things," admits Flavia. "We lost both of our fathers. My father died of COVID. But my relationship with my father was non-existent. He abandoned me and my sister. It was a very difficult relationship and it's not so easy for me to talk about it. 'Keep Dancing' is about his death and how he still has a power over me and bringing me down and what it's like to break free from that. You know, some parents are cruel." "It's a special subject to sing about and to make pop music out of," says Martin. "It's actually celebrating moving on and I think that's really fantastic. 'Keep Dancing' is absolutely smashing." "Life is so fragile," smiles Flavia. "But what are you supposed to do? I'd rather dance."

Madonna is reissuing LIKE A PRAYER this summer to celebrate the acclaimed album’s 35th anniversary. Pressed on opaque silver vinyl, it will be the second release from the Silver Collection, a series of limited-edition vinyl reissues celebrating 40 years of Madonna’s illustrious career. The Silver Collection debuted last year with True Blue and will continue to spotlight other Madonna albums in the coming months.
Originally released on 21 March 1989, LIKE A PRAYER quickly became an iconic album, acclaimed by critics and cherished by fans. It was Madonna’s fourth studio release and one of the most personal albums of her career. The title track became Madonna’s seventh No. 1 hit in the US. In the UK, the album was a major success as well, topping the UK Albums Chart and solidifying Madonna's status as a global superstar. A massive international success, the album has sold 15 million copies worldwide and remains a favourite among fans.
The repress has been hotly anticipated from fans and we plan to run heavyweight online promotion including new content from the Madonna socials (FB 19m / IG 19m).

JOYCE ist das neue Projekt von Jimmy Watkins (ex-Future Of The Left) mit einer Reihe Musikerfreunde, darunter Phil Thornalley (The Cure), Joe Hicklin (BIG SPECIAL), Gwenllian Anthony (Adwaith) und Paul Broome (Fauxchisels). Ihr Debütalbum wurde von Thom Edward (God Damn) bei KK's Steel Mill produziert, dem Studio des Judas Priest-Gitarristen Kenneth 'K.K.' Downing Jr. VOYCE ist ein wahres Soundkaleidoskop mit schnellen Indie-Pop-Krachern, Hits mit herrlich ausgelassenem Noise-Rock und nachdenklichen Spoken Word-Momenten. Ltd. Auflage auf "Luna Yellow" Deluxe Eco Mix Vinyl. 10% der Einnahmen gehen an die Wohltätigkeitsorganisation Prostate Cymru.

- "Rejoice at the power of Joyce with Voyce!" - Craig Charles, BBC 6 Music
- "X-Posure Hot One" – John Kennedy, Radio X

Die deutschen Swe-Death-Metal-Freaks DENOMINATION sind mit ihrem zweiten Album in Bestform zurück. Hört euch 'The Last Companion' an und schnuppert den authentisch, fauligen Gestank des skandinavischen Death Metals der frühen 90er. Sehr empfehlenswert für Fans von NIHILIST, CARNAGE, ENTOMBED, DISMEMBER etc.
DENOMINATION halten die Fahne des Boss HM-2 Buzzsaw-Gitarrensounds hoch und präsentieren auf ‚The Last Companion' 10 neue Songs (+Intros), die euch ordentlich das Knochenmark durchwirbeln werden.
Aufgenommen, gemixt und gemastert wurde dieses fiese Werk bei Mike Utah´s Audio Ranch, von Jörn Michutta (u.a. auch MORGOTH' "Ungod"). Das thematisch düster-moderig umgesetzte Cover- Artwork stammt aus der Feder bzw. Pinsel von Timon Kokott (u.a. auch EVOKED, ILLDISPOSED)

Smiles Like A Shark is an album by the British trip hop duo Mulu. It is the only album ever released by the band from Liverpool. The two members that made Mulu are producer Alan Edmunds and singer Laura Campbell. Before forming Mulu, Edmunds had worked on remixes for various artists including Utah Saints, Fluke, Björk, Heaven 17, Elbow, The Kills, Moloko, Mellow, Spandau Ballet, OMD, and Dame Shirley Bassey. Smiles Like A Shark received critical acclaim for its innovative production and the duo's distinctive musical style, making it a notable release in the late '90s alternative scene. Despite its niche appeal, the album has garnered a dedicated following, appreciated for its bold experimentation and emotional depth. The album sparked three singles: ""Filmstar"", ""Pussycat"" and ""Desire"". The single ""Pussycat"" was named Record of the Week on Mark and Lard's BBC Radio One show, and it reached #50 on the UK Singles Chart. Smiles Like A Shark is available on vinyl for the first time as a limited edition of 500 copies on translucent blue coloured vinyl and includes an insert.

Max Jaffe wasn’t planning on creating an album commemorating the decade-plus he spent living in New York City while recording Reduction of Man. Operating as a preemptive elegy, Reduction of Man traces Jaffe’s musical trajectory while in New York City - a process of becoming fluent in several musical languages and cultures all at once, rather than the linear education of an MFA musician (which Jaffe also is). Jaffe’s second “solo” album finds him at the helm of an ensemble - leading the project as he plays: one hand drumming, the other composing and editing on the fly, shepherding multiple musical voices towards a single end - a sinewy tension between noise and groove.

Recital presents an artists’ record from the two giants Richard Hamilton and Dieter Roth. Hamilton (1922-2011) is revered as the father of British Pop Art as both theorist and practitioner, in addition to famously designing the artwork for The Beatles’ White Album. Dieter Roth (1930-1998) was a Swiss German artist who blithely ignored all artistic boundaries and aesthetic dictums. His oeuvre includes hundreds of artist books, almost half a thousand prints, sculptures, multiples and records, all balanced between magnetic playfulness and self-deprecating paranoia. Roth also ran his own record/book press Dieter Roth's Verlag and was a major force in the reckless improvisational music group Selten Gehörte Musik (1973-1979).

The two artists most significant collaborations happened between 1976 and 1978, beginning with a series of 74 paintings in which they reworked each other’s art. The paintings were made for an exhibition for dogs (as suggested by the late Marcel Broodthaers, to whom the works were dedicated) in Cadaqués, Spain. Hamilton and Roth then produced the catalogue Collaborations of Ch. Rotham with reproductions of all the paintings alongside four brilliant new collaborative texts. The narrative of the texts sprung from the “fairy story” (Hamilton) quality that emerged from these dog paintings – a hallucinatory tapestry of sausages, gestating giants, Sancho Panza, Don Quixote, and a donkey. Together they gallop, humorous and beautifully absurd, across the wild field of an imaginary seaside backdrop with endless garbled iterations of ever-mutating names riddled with mad typos.

For these recordings the individual texts were read by Roth and Hamilton, actor friend Duncan Smith, and a huge cast of British artists for the final play Die Grosse Bockwurst, performed at the Whitechapel Gallery in London in 1977. The recordings were first released on cassette on the Audio Arts label in 1978, and have now been remastered from the original ¼″ tapes for this double vinyl edition.

Also included are two booklets: one is a new essay written for this edition by artist and co-producer Malcolm Green (Red Sphinx, Atlas Press), alongside full reproductions of the Roth / Hamilton collaborative Ch. Rotham texts. Thanks to Björn Roth, Rita Donagh, Hansjörg Mayer, William Furlong, Tate Modern, and Hauser & Wirth.

Limited edition double-vinyl record of 300 copies in full color gatefold sleeve with over 70 minutes of audio recordings. Including two booklets: a 16-page new essay on Roth & Hamilton by Malcolm Green that includes new Roth translations, and a 20-page complete reproduction of the collaborative Ch. Rotham texts.

Almost exactly one year after their debut album on Sdban Ultra (2023), the pan-European trio KAU continues their energetic trip with a double single release. This release, packed with intricate synthesizer arrangements, rapid drum patterns, and deep resonant basslines, is once again focused on capturing and translating their infectious live sound to tape.

Fully playing off their energetic band dynamics, the trio draws on elements of jazztronica, combined with familiar jam sounds from acts such as Yussef Dayes and corto.alto, transitioning into a groove atmosphere reminiscent of Flying Lotus. Imagine the fusion of British jazz with the innovative, vibrant 'Brussels sound'-that's where KAU sits.

"Kaugummi" (chewing gum) is the latest original track produced by the trio. The idea evolved by combining a 'dub' bassline with an intricate drum pattern. The melody is reminiscent of the EP's other side, "Mad Kau," as it uses similar unapologetic, richly diverse, and grooving elements. Both tracks culminate in highly energetic moments distinguished by aggressive arpeggiators and synths.

"Mad Kau" is a present-day remake of their previous 2022 release "Mad Max." It's a true representation of how the track is played by the trio on stage, with its iconic melody as the heartbeat of the song. It evokes moments of madness both within the musicians and the listener, hence the title.