Suche:or

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Originally released in 2023 via a humble run of 100 cassette tapes, c-thruʼs debut album “The Otherworld” is now available on black vinyl with a full colour jacket designed by Vancouver based illustrator Tylor Macmillan.

C-thru - The Otherworld is a collection of introspective cosmic-leaning dance music that gives a healthy nod to the golden era of trance, ambient, and downtempo from Austin, Texas-based producer Jesse Edwards. Inactive for several years, these 10 tracks mark a new chapter for Jesse Edwards. Previous works include his well-received psychedelic project, Red Morning Chorus, that included Boards of Canada amongst its fans. Edwards began his musical journey in the late 90s playing shoegaze and experimental music with Jessica Bailiff (Kranky). The pair collaborated on several albums together, including works with Flying Saucer Attack, His Name is Alive, and Odd Nosdam (Anticon).

Essential listening for anyone enamoured with the golden era of futuristic audio.

In Zusammenarbeit mit WaterTower Records ist Waxwork Records begeistert, den lang erwarteten BEETLEJUICE BEETLEJUICE Original Motion Picture Soundtrack zu veröffentlichen! Beetlejuice ist zurück! Der Oscar-nominierte, einzigartige kreative Visionär Tim Burton und der Oscar-Nominierte und Hauptdarsteller Michael Keaton treffen sich für Beetlejuice Beetlejuice, die lang erwartete Fortsetzung von Burtons preisgekröntem Beetlejuice, wieder. Keaton kehrt in seine ikonische Rolle zurück, an der Seite der Oscar-Nominierten Winona Ryder als Lydia Deetz und der zweifachen Emmy-Gewinnerin Catherine O'Hara als Delia Deetz, mit den neuen Darstellern Justin Theroux, Monica Bellucci, Arthur Conti in seinem Spielfilmdebüt, der Emmy-Nominierten Jenna Ortega als Lydias Tochter Astrid und dem Oscar-Nominierten Willem Dafoe. Nach einer unerwarteten Familientragödie kehren drei Generationen der Familie Deetz nach Winter River zurück. Das Leben von Lydia, die immer noch von Beetlejuice heimgesucht wird, wird auf den Kopf gestellt, als ihre rebellische Teenager-Tochter Astrid das mysteriöse Modell der Stadt auf dem Dachboden entdeckt und das Portal zum Jenseits... -Exklusive Vinyl-Variante von Light In The Attic -Doppel LP gepresst auf violettem mit weißem Smoke Vinyl und fluoreszierendem grünen Vinyl -Etching/Gravur auf D-Seite -Gatefold-Jacket -Kommt mit limitiertem 11x11 Kunstdruck -Artwork von Jiro Fujita -Mit Songs von Donna Summer, Bee Gees, Richard Marx und vielen mehr!

Multi-talented artist Poppy Ajudha will be announcing her sophomore album, titled ‘Poppy’, which will be released 22nd November 2024. This follows Poppy’s triumphant return to releasing music this year with the release of 'My Future', following a two year hiatus. ‘Poppy’ was created alongside Mike Malchicoff (Kanye West/King Princess) with contributions from the likes of producers Maestro (Rihanna), Fred Ball (Alicia Keys/Raye/Mariah Carey), Grades, (Kali Uchis, Dua Lipa, Britney Spears), and Travis Sayles (Ariana Grande).

Poppy says: “I can’t believe I’m writing this, but my sophomore album is finally coming out! After numerous trips back and forth from London to LA, millions of revisions to perfect each song and a lot of moving the track listing around, I’ve made an album I’m so in love with, with people who I felt truly seen by, who I respected and found a natural synergy with. I really put everything into this album, it is a reflection of my growth over the last 2 years, an outward pouring of my raw vulnerability, the inner workings of my chaotic brain and the deep desire I have to challenge myself with everything I do. I’m really proud of what we made, and I hope that when you hear it, it means something to you too.
Thank so much to all the special people who contributed to the making of this project, the producers, engineers, musicians, visual creatives, the friends who listened to me while I processed my life in order to write it down, I wouldn’t have been able to manifest this dream without you.”

Alongside the announcement of her upcoming album, Poppy has also released new single ‘Lean On Me’, a bold pop banger about the importance of community and showing support for each other even during challenging moments. ‘Lean On Me’ was written by Poppy with production from Wesley Singerman (Kendrick Lamar/Anderson Paak).

On ‘Lean On Me’, Poppy says: “We realise true friendship in the moments we are most vulnerable with each other. When I wrote ‘Lean On Me’ I was going through a breakup and struggling to make sense of my world. My friend who was experiencing their own kind of grieving found the time to give me the advice I needed, and the next day I wrote this song about the power of friendship, community, unconditional love and showing up for each other through our hardest times.”

This 20th Anniversary Limited Edition 8LP Super Deluxe Collectors Boxset celebrates the critically-acclaimed album ‘How To Dismantle An Atomic Bomb’ – which won all eight Grammy Awards for which it was nominated, including ‘Album of the Year’. The original album - now remastered for the first time – includes the global hit singles ‘Vertigo’ (winner of three Grammy Awards), ‘City Of Blinding Lights’ and ‘Sometimes You Can’t Make It On Your Own’. This unique boxset also includes the shadow album, ‘How To Re-Assemble An Atomic Bomb’, featuring new, unreleased songs recently rediscovered in the archive of the original HTDAAB album sessions.

»Nuts of Ay«, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014’s »Adrift«. Beautifully poised and smartly dressed, it's an album that draws Tarwater’s various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travellers.

Tarwater’s music has always been marked by a hypnotic pop-ness, but that’s particularly evident on »Nuts of Ay«, where a song like »Hideous Kiss« weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of »Hideous Kiss« are written by the duo, »Nuts of Ay« also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman (»All Nuns«) and Millner Place (»Trapdoor Spider«); lyrics from Jean Kenbrovin (»I’m Forever Blowing Bubbles«), the late Shane MacGowan (»USA«) and, again, John Lennon (»Everybody Had a Hard Year«).

This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout »Nuts of Ay«. Schneider TM turns up on the lovely, Felt-like »Spirit of Flux«, where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling »On Waves and Years« with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on »Down Comes the Goose«, and actor Lars Rudolph pitches in for »USA«.

It may have been ten years since the album's predecessor, but Lippok and Jestram have kept active with other projects. They’ve collaborated with Masha Qrella, Immersion, and Iggy Pop; worked on radio plays with Kai Grehn, some based on the writing of Nick Cave (»The Sick Bag Song«, featuring Tilda Swinton, Paula Beer and Alexander Fehling) and William S. Burroughs (»The Cat Inside«); and made music for several radio-tatorts (radio plays based on »Tatort«, a long-running German police TV series) by playwright Tom Peuckert.

Both voracious and committed in their creative energies, Jestram and Lippok report back from these experiments with »Nuts of Ay«, one of their most compelling, deeply lustrous, dreamlike albums yet. They say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it »grew together like a coral reef in the studio over a period of several years«. There’s something to be said for letting an album gather and mutate naturally, without an overarching framework in place, and »Nuts of Ay« certainly feels like an unforced collection of material that nonetheless inhabits a similar space, one where guitars twist like driftwood next to amorphous, aqueous electronics, Lippok’s droll yet completely convincing vocal delivery riding songs that pulse and plume with curious, unpredictable rhythms.

But you can also hear elements – submerged but still present – of other music that’s inspired the duo: they’ve drawn some connections for us with psychedelic folk, Bowie in Berlin, Burial, and the film music of Popol Vuh and Krzysztof Komeda. This music shares a strong sense of place – whether in the world, or the mind – and the twelve songs on »Nuts of Ay« have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

Artwork by Carsten Nicolai
Mastering by Bo Kondren, Calyx Berlin

»Trapdoor Spider«, »On Waves and Years« & »Breaking Day«: lyrics by Milner Place
»All Nuns«: lyrics by Derek Jarman
»USA«: lyrics by Shane MacGowan
»Down Comes the Goose«: lyrics from a traditional song
»Forever Blowing Bubbles«: lyrics by Jaan Kenbrovin
»Everybody Had a Hard Year«: lyrics by John Lennon

Wewantsounds is delighted to announce the release of the sought-after soundtrack for cult 1980 French film "Clara Et Les Chics Types," featuring Isabelle Adjani, Daniel Auteuil and the Splendid troupe actors. The Jazz-Funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc has never been reissued since 1980. Remastered from with original master tapes, the release includes two never-released bonus tracks and a 4-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion.

Dark Evergreen VInyl. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. Despite Che's initial unfamiliarity with Dunn's musical output, their personalities bridged any and all gaps_both Che and Dunn share a flair for the comically absurd and musically adventurous, a mindset that shines throughout See You at the Solipsist Convention. Che has become legendary for his calculated polyrhythms and undeniable physicality, while Dunn is known for relentless experimentation and productivity akin to a freight train. Quickly, the unlikely pair transformed into destined collaborators. Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion_uncategorizable yet reverent to the altar of instrumental rock. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other - our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

Continuing the theme of bringing through up and coming talent, Western Lore snaps up rising Manchester star, WDDS for his very first vinyl release.

After continuous support for his expertly crafted beats (previously digitally self released and via Repertoire Music) on Dead Man’s Chest’s SWU & Kool FM radio shows, Lore LTD sees the release of a trio of WDDS’ most heavyweight tunes on wax. Spaceship Riddim Jungle Tool is an utter dance floor destroyer. With an instantly recognisable and energy lifting hook and an all out assault of bassline heaven and amenisim to match, this rhythm is guaranteed to make a rave lift off.

Track A2 steps into Footwork territory, with a dance floor weapon of an entirely different ilk, pairing looped up vocal cuts with swung out and percussive drum machine rhythms, while the B side drifts back into rugged amen territory, this time drenched in deep sub and organic ambience

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Mit ihrer EP "To the Stars" knüpfen BEBORN BETON direkt an ihr neuntes Album "Darkness Falls Again" an. Das deutsche Synthie Pop Trio erweitert mit den drei neuen Tracks und vier Remixen der EP die musikalische Bandbreite des Albums und bleibt dessem Geist dabei sowohl lyrisch als auch musikalisch treu. Es gibt mehr als eine Art, BEBORN BETONs neuntes Album "Darkness Falls Again" zu hören: Es lässt sich einfach nur tanzen und als zeitgenössische Synthie-Pop-Hymnen genießen, die musikalisch fest in den goldenen 80ern verankert sind - und mit einer Prise leckerer 90er-Einflüsse serviert werden. Eingängige Melodien und ausgereiftes Songwriting verbinden sich zu einer klanglichen Spritztour. Doch BEBORN BETON legen ihren Finger auch auf den Puls unserer Zeit. Das Trio spricht sich lyrisch klar gegen Frauenfeindlichkeit, sexuelle Diskriminierung und Umweltzerstörung aus. BEBORN BETON wurden 1989 von Sänger Stefan Netschio, Keyboarder und Schlagzeuger Stefan Tillmann sowie Keyboarder Michael Wagner gegründet. Die drei Deutschen setzten sich erfolgreich zum Ziel, den Synth-Pop relevant zu halten und ihn um wichtige Inhalte zu bereichern. Nach den ersten beiden regulären Alben "Tybalt" (1993) und "Concrete Ground" (1994) trafen BEBORN BETON in ihrer neuen Label-Heimat auf namhafte Acts wie WOLFSHEIM und DE/VISION. Nachdem sich die Elektro-Musiker in Deutschland fest etabliert hatten, expandierten die Drei mit dem 1996 erschienenen Album "Nightfall" ins Ausland, wo sie ebenso wie mit den folgenden Scheiben "Truth" (1997) und "Fake" (1999) bei Kritikern und Fans auf große Gegenliebe stießen. Spätestens mit dem im Jahr 2000 erschienenen Werk "Rückkehr zum Eisplaneten" hatten sich BEBORN BETON in ihrer Szene fest als Headliner positioniert und in allen Hochburgen der elektronischen Musik rund um den Globus gespielt. Doch die anstrengenden Touren und die kreativ äußerst anspruchsvolle Veröffentlichung so vieler exzellenter Alben in kurzer Folge forderten ihren Tribut. Nachdem die Band "Tales from Another World" (2002) vorgelegt hatte, worauf sie unter anderem eine ausgedehnte Konzertreise quer durch die USA absolvierte, legten BEBORN BETON eine längere Pause ein. Erst 13 Jahre später kehrten BEBORN BETON zur großen Freude und Überraschung ihrer immer noch zahlreichen Anhängerschaft mit einem neuen Album auf Dependent Records zurück. "A Worthy Compensation" (2015) wurde von allen einschlägigen Magazinen wie Sonic Seducer und Orkus mit Lob überschüttet. Da BEBORN BETON nicht in einen unerbittlichen Produktionszyklus zurückfallen wollten, nahm sich das Trio genügend Zeit, um ein weiteres Meisterwerk zu komponieren. "Darkness Falls Again" hat all die köstlichen Zutaten, die Synth-Pop so großartig machen: Eingängige Songs, die die Beine zucken lassen. Eine Prise Melancholie. Eine Dosis Ironie. Aber auch eine Messerspitze Wut. BEBORN BETON haben mit ihrem letzten Album wieder Musik mit Aussagen und Verstand abgeliefert, was sich auf der EP "To the Stars" nahtlos fortsetzt. Nochmals willkommen zurück, BEBORN BETON!

Der Produktionsstil von Anthony ,Ant" Davis wird oft für seine reichhaltigen, strukturierten Klanglandschaften, die Vintage- und soulige Elemente mit einer tiefenemotionalen Resonanz vereinen, in Verbindung gebracht. Der zweite Teil seiner Instrumental-Serie, "Collection of Sounds: Vol. 2", bietet sanfte Beats, komplizierte Samples und üppige, jazzige Schichten, die eine eindringliche Atmosphäre schaffen. Hier hat er schlaue Riffs und funkige Grooves eingeflochten, die seine Fähigkeit unterstreichen, emotionale und einnehmende Musik zu kreieren. Das Ergebnis ist ein klanglich komplexes Album auf dem Ant mit einer nahtlosen Mischung aus Funk, Soul, klassischem R&B und Hip-Hop-Einflüssen ein nostalgisches Gefühl für vergangene musikalische Epochen erweckt.

black vinyl ltd. to 200 copies incl. album download code. Neun neue Songs + Interludes auf, die euch die Falten aus dem Hintern bügeln werden. Diese fast 50 Minuten feinster, eigenständiger, brutaler, technisch- klassischer Death Metal hören zusammengefasst auf den Albumtitel "From Origin To Decay" und werden als CD, LP sowie in digitaler Form am 22.11.2024 via FDA Records (Vertrieb: Cargo Records) veröffentlicht. Alles wurde einmal erschaffen. Und alles wird vergehen. Und aus allem Verfall kann eine neue Schöpfung entstehen. Dieses Thema findet sich in den Stories der 9 neuen MAAT Songs, die sorgfältig mit 2 separaten atmosphärischen Zwischenspielen arrangiert sind, um einen Klangfluss zu erzeugen. Von der lyrischen Seite werden philosophische Fragen des Werdens, Seins und Vergehens gestellt, indem lyrische Bilder und Stilmittel verwendet werden, die von der Mythologie und Geschichte des alten Ägyptens und des orientalischen Raums inspiriert sind. Textlich und musikalisch dreht sich das Album um den Haupttrack "Perennial Bliss", der das innere Selbst innerhalb von Zeit und Raum und außerhalb von beidem reflektiert. ,From Origin To Decay' ist extrem empfehlenswert for Fans von NILE oder BEHEMOTH. Alle Songs und Lyrics wurden von MAAT geschrieben und im Soundlodge Studio von Jörg Uken aufgenommen, gemischt und gemastert. Jörg hat bereits mit vielen Künstlern wie God Dethroned, Slaughterday, Keitzer oder Anvil zusammengearbeitet.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Orange marbled vinyl, Erstauflage

10 years after their debut, City Of All Times audio-visual enquirers John B McKenna and Richard Greenan re-appear as Devonanon, to share the findings of a decade-long sonic experiment. Like its predecessor, Richard & John is a living, breathing collection of field recordings and compositions, gathered gradually from remote corners of the pair's lives. Familiar waypoints - interwoven microtonal synths, regurgitated live performances, polite whispering, and the gurgling hum of vehicles (land and sea) - all fold into the perpetual stew.

Where City read like a crumpled postcard account of fraternal reportage, Richard & John is a tone poem on something more amorphous, and out of time - a garbled history of human closeness, upheaval and mark-making, that seems to buckle and creak like a tapestry with no beginning or end. No two spoonfuls are the same, as our story reels through kosmische library stylings ('Wilderness Engine'), to cortex-quieting free association ('Generate Countryside'), and baroque instrumentation ('Blood Laughing', which features beautiful turns from Masayoshi Fujita on vibraphone, and Rosa Juritz on bassoon).

Am 22. November veröffentlicht section1 eine Sammlung von Soloklaviermusik - 'piano1' enthält Original-Solostücke von 12 Künstlern, darunter Kelly Moran, Hand Habits, Youth Lagoon und andere.

Die Songs auf 'piano1' betonen die Schönheit und heilende Kraft der Klaviermusik und bewegen sich zwischen zeitgenössischer Klassik, Experimentalmusik und Ambient.

Die Compilation stellt sowohl die beteiligten Künstler vor als auch das Klavier als Instrument und die Art und Weise, wie verschiedene Künstler ihre kreative Beziehung zu diesem Instrument gestalten. Das berühmte Zitat von Brian Eno („as ignorable as it is interesting“) diente als Leitfaden für die Auswahl der Beiträge.

Gwen Dolyn releases her debut album "X-RATED feelings" on 22 November 2024, via Duchess Box Records. The album "X-RATED feelings", which contains the singles "ertrinken", "reiner wein" and "mies präpariert", was produced by Thomas Zehnle and Max Reiger. "X-RATED feelings" is about longing, mental health, feminism and relationships, love, loss and self-empowerment. The sound is a homage to the raw part of Neue Deutsche Welle and a combination of honest lyrics, grunge, pop sounds and extravagant outfits. Originally from the capital Berlin, Gwen Dolyn decided to leave the hustle and bustle of the city and now lives in Chemnitz. She is known as one half of the duo Tränen together with Steffen Israel from Kraftklub. Duchess Box Records, the Berlin record label that has discovered artists such as Gurr, Sofia Portanet, THALA and many more

Originally released in 1997, 'Unfuckwithable' by Kent, Ohio's basement noise art punks was a mid 90s classic. Out of print for over 25 years, this repress has been remixed and remastered from the original tapes and comes with enhanced artwork and a new 12" x 36" insert on colored vinyl.

Originally released in 1997, 'Unfuckwithable' by Kent, Ohio's basement noise art punks was a mid 90s classic. Out of print for over 25 years, this repress has been remixed and remastered from the original tapes and comes with enhanced artwork and a new 12" x 36" insert on colored vinyl.

For Talia Hoit from Colorado, who has been classically trained to play the piano since the age of five, her early musical education has definitely paid off. Now she writes original songs, performs on vocals and keyboards, and composes orchestra scores for symphonic metal. For many years, she has also had a passion for writing songs outside of any formal band situation, and is now working with talented producers and musicians to bring her most personal and intimate songs to life to share with the world. For five years, Talia was the keyboardist and a songwriter for the band AnaDies. Presently she is the lead singer, orchestrator and co-songwriter in the symphonic metal band Beyond Forgiveness and the keyboardist for the metal band Ob Nixilis. As a solo artist, she recorded two original home studio albums for personal purposes, Fate’s Too Small (2007) and A Little Longer (2012), which had a limited physical CD release only, mostly just for friends and family. Back in 2019, she recorded the single Angel (produced by Jarek Musil), which just recently received a new master, and after the experience of working with a professional producer she decided to pursue her solo project, to professionally produce and commercially release as many of the personal songs she had written over the years as possible. In 2023, she released two more singles: Abandon and Whispers in the Storm. Her extensive experience in the music industry and understanding of classical music are quite audibly reflected in these works, which show a high level of quality and expertise. Talia’s music is definitely a treat for symphonic metal fans and heavy music lovers, showing influences of bands such as Within Temptation, Nightwish, Evanescence, and Visions Of Atlantis.

This third volume of Universal Synthesizer Interface delves further into early MIDI sequencing software for personal computers, focusing on Intelligent Music Software founded by Joel Chadabe in 1984. In a short period of time (1986-1990) Intelligent Music published a series of MIDI sequencing software titles that would have rippling effects throughout the music world: M, Jam Factory, UpBeat, MidiDraw, Ovaltune, Realtime, as well as an unreleased first version of Miller Puckette’s Max. These programs were a reflection of Chadabe’s desire to create interactive and intelligent algorithmic tools for home computers. Intelligent compositional tools had been floating around for decades in mainframe computer labs, but they had largely only been accessible to people working in academic or corporate laboratories. With the birth of Intelligent Music, these tools became available to anyone with a home studio. As the personal computers of this era had become less expensive and more accessible, they had also grown exponentially in processing power and seeming intelligence. In the music press from this time, we find the same two words used again and again to describe algorithmic computer systems: smart and intelligent. The tone of such articles may seem quaint by today’s standards, when AI and algorithmic control underpin so much of our technology, but the question of machine intelligence remains. Universal Synthesizer Interface VOL III Focuses exclusively on one of the more obscure of Intelligent Music’s software creations - UpBeat: The Intelligent Rhythm Sequencer, released in 1987, and hailed by reviewers of the time as “the world’s best drum machine.”

Flat Duo Jets: White Trees 2024 Remaster Fronted by the late Dex Romweber. The duo’s fourth album was the first album of all original material. Produced by Caleb Southern, White Trees is a Jets’ masterpiece that proved that Romweber could diversify his band’s material without losing his recklessness and urgency.

Dex passed away earlier this year on February 16th and this reissue is dedicated to his memory and legacy. Jack White from the White Stripes has called Dex and the Flat Duo Jets a major influence when starting out. White declared that seeing the Jets for the first time “opened up a whole new inspiration for me about the guitar.” And he was downright effusive in the 2006 cult-classic Romweber documentary ""Two Headed Cow"", calling Romweber “a huge influence on my music… one of the best-kept secrets of the rock & roll underground.” In 2009, White recorded a seven-inch with Romweber, and in 2011 he reissued the Jets’ long-out-of-print 1991 album Go Go Harlem Baby on his Third Man Records imprint.

“[White Trees] by North Carolina’s Jets is a tarnished neo-rockabilly gem. Dexter Romweber’s battered honk is the perfect voice to wrap around these twisted tales about Charlie Dick (Patsy Cline’s hubby), UFOs, and dining with Van Gogh. It’s as if the ”Eraserhead” soundtrack were recorded at Sun Studios and sent to Weekly World News for editing.”- Entertainment Weekly Arguably the busy Duo’s most accomplished set, ‘93s handily diversified White Trees jumbled stylistically antiquated originals in a cohesively dignified manner. -Beermelodies"

Last Dinosaurs has found a rhythmic succession over the last decade, one that’s plucked them out of Australia, pulled them through the eye of the European needle, off to write in ancient Japanese ghost towns, onto America’s most iconic stages, and somehow grounded them in the middle of a sacred loophole - a ring of fire, really - that few artists find. They call it a loophole because it hasn’t been linear, it hasn’t been promoted, it hasn’t been announced and popularized and pushed through the press. Blame it on the Latino and Asian kids streaming the sh*t out of their trifecta of indie-rock records or the internet’s international party knuckles banging at their digital door 24/7, but Last Dinosaurs are erupting. They’ve all felt it onstage and backstage in every sold-out sanctuary of sound they have ripped through.

2024 Repress

Original music from the film,"Instrument", culled from demos and various sources, by Fugazi from 1988-1998,
The 12" LP format was re-cut and re-issued in December 2009.
Originally Released: 1999
Ian MacKaye vocals & guitar Guy Picciotto vocals & guitar Joe Lally bass Brendan Canty drums

Just as his basslines never stay within the limits of the obvious, so Joe Sanders" life as a bassist, composer, band-leader and educator has never followed the single, most discernible pathway. A Midwest native, he"s studied and played jazz on the opposite coasts of California and New York: a master of the acoustic bass, he"s equally at home producing in the digital realm; embedded deep in the living tradition of American jazz; and living, teaching and creating in Europe. All these separate strands come together on his third headline release, "Parallels". The album presents a set of live recordings from a dream line-up that matches the leader"s full-bodied acoustic bass presence with Seamus Blake, Logan Richardson and Gregory Hutchinson in performances that capture all the daring and drive of the East coast scene. Alongside them is a set of studio self-productions with guests Jure Pukl and Taylor Eigisti that capture the laid-back dreamy adventurousness of the West Coast.

Mit DIAMANTIK entführen MONDO SANGUE das Publikum in die schillernde, stylische Welt der Swinging Sixties. Natürlich nicht ohne inhaltlichen Twist - das psychedelisch angehauchte Pop-Art-Abenteuer liefert einige Grenzgänge: Eurospy, Abenteuer und Martial-Arts-Kino treffen auf Beat, Bossanova und sogar Disco. Heraus kommt ein zeitloser Genre-Cocktail, zusammengeschüttelt und serviert als knallbuntes Konzeptalbum. Mittels kantiger E-Gitarren, grooviger Schlagzeug-Beats, glamouröser Orchestersätze und epischer Gesangslinien erzählt DIAMANTIK von den waghalsigen Eskapaden einer von Liebe und Rache getriebenen Diamantendiebin. Dabei dürfen mörderische Ninjas, gerissene Kommissare, blutdurstige Haie und verführerische Sirenen bei dieser musikalischen Hetzjagd um die Welt nicht fehlen. Wie immer werden diverse filmische, wie musikalische Verweise ans italienische Genrekino offen ausgespielt, sodass cineastische Grenzgänger*innen ein stilsicheres Zwinkern in Richtung Mario Bava oder Ennio Morricone bemerken dürften. Zusätzlich doppelten Boden erhält die Platte durch die Hommage an die kultigen, italienischen "Fumetti neri" Comics, welche sich äußerst liberal mit den dunkleren Themen der Popkultur auseinandersetzen. Heraus kommt eine äußerst tanzbare, Beat-getriebene Mischung aus imaginärem Kult-Soundtrack und Retropop. MONDO SANGUE haben für ihr sechstes Album DIAMANTIK wieder einen illustren Kreis Gleichgesinnter um sich geschart: Neben den vormaligen Kooperateuren Bela B und Rocko Schamoni sind erstmals auch Stefanie Schrank, Sedlmeir und das Pariser Duo Eroina mit von der Partie.

Die Franzosen Bryan's Magic Tears sind jetzt bester Shoegaze/Baggy/Madchester! Sommer der Liebe: den ersten haben sie nicht miterlebt, den zweiten haben sie studiert und den nächsten verplanen sie schon. Bryan's Magic Tears veröffentlichen ihr neues Album, Smoke and Mirrors, auf Born Bad. Auf den früheren Alben 4AM und Vacuum Sealed noch im Zentrum, rückt ihr Garagen-/Lärmvermächtnis ein wenig zur Seite, ohne ganz Abhanden zu kommen. Sie schwärmen von modischen Shoegaze-Oldies und geben gleichzeitig zu, dass es eine Vorliebe für All Saints haben. Der Name des neuen Albums ist treffend gewählt, denn es macht sich über Stadionmusik lustig und respektiert gleichzeitig deren Codes. Sieht aus und klingt, als hätte Shaun Ryder Liam Gallagher gegessen, schamlos Hits rausgehauen und sich dabei auf eine gut gebaute Soundwand gestützt. Die Platte ist stark von diesem typischen 90er-Shuffle-Beat geprägt, mit der die Band schon geflirtet hat...aber jetzt ist man ein Paar. Zwei Drittel der Tracks haben diesen Groove. Dazu ein Synth-Intro, dass wie ein Acid-Flashback von Underworlds ,Born Slippy" daherkommt. Das erspart den Franzosen eine Reise über den Ärmelkanal. BMT ist immer noch eine gitarrenlastige Band, aber mit einer ordentlichen und effeltvollen Trick- und Werkzeugkiste. Diese Platte, die sich von The Velvets zu Ride bewegt, bietet einen fetten Sound, der wie geschaffen ist, um die Arme auszubreiten, mit dem Kopf zu wippen und auf Festivals den Boden festzutanzen. Immer noch Musik, um Drogen zu nehmen, um Musik zu machen, um Drogen zu nehmen, um Musik zu hören.

Originally released in 2006, "Ballad Of The Broken Seas" has remained a touchstone for fans of Folk and Americana, revered for its haunting melodies, rich storytelling, and the captivating interplay between Isobel Campbell"s ethereal vocals and Mark Lanegan"s gravelly baritone. The album was the first in a celebrated trilogy of albums that Isobel Campbell & Mark Lanegan recorded together, being followed by "Sunday at Devil Dirt" in 2008 and "Hawk" in 2010.

With "Ululo", pianist and composer Koki Nakano immerses us in the depths of his emotions, carried by the striking voices of Jordy, WAYNE SNOW and Yael Naim. For his fourth album, Japanese pianist and composer Koki Nakano moves beyond the conceptual to reveal an intimate and visceral musical expression, a reflection of his deep emotions. Each piece conveys the desire and passion of a cry. The title "Ululo" (which translates to "Howl" or "Cry" in Latin) echoes a childhood memory of being in his father"s arms, yearning to touch the moon. This unfulfilled desire, reminiscent of a famous haiku by famous poet Issa Kobayashi, symbolizes his early realization of his limitations in the face of the vastness of the world and the seemingly unattainable. Koki reinvents himself with a unique fusion of piano and modern vocal collaborations. He is joined by UK rap sensation Jordy and the captivating voices of WAYNE SNOW and Yael Naim. He offers an avant-garde music style distinguished by its emotional simplicity and sonic depth. Beyond virtuosity, Koki explores his classical sensibilities by blending subtle ambient textures with his poignant and sophisticated melodies. While "Ululo" is a cry of frustration with melancholic tones, it is also romantic, filled with beauty, humor, and light.

Crankers of amp, torturers of fuzzbox and denizens of small-hours salvation, Thee Alcoholics dished out a rancorous and righteous debut in their decent `Feedback' - one that filtered gnarled riffage and motorik malevolence through a uniquely debauched prism in pursuit of some extremely ill-advised audial dystopia. Thee Alcoholics may have started life as the home-birthed brainchild of Rhys Llewellyn (Hey Colossus/Acidliner/Drmcnt) yet an evolution since has proven the ultimate form of this beastly creation to be the live arena. In assembling cohorts to turn these visceral jams into something to shake rafters and rattle pint-glasses, new frontiers of ornery intensity have made themselves manifest, and such is the form of the monstrous Bear Bites Horse Sessions, a live-in-the-studio document recorded with Wayne Adams at Bear Bites Horse studio in Haggerston, London, chronicling a band breathing life into a Stoogian paradigm, and doing so apparently whilst barely breaking a sweat. Taking essential elixirs of in-the-red mania, hypnotic repetition and deathless swagger, these twelve jams walk a crooked path that neighbours the nihilistic vortex of Loop, the saturnine lurch of The Fall and the deadpan derangement of The Heads but remains possessed of a maverick charisma and mischief all its own. Lovers of lysergic heaviosity and the sound of a Marshall 4x12 violently spluttering its last will find much to satisfy here, but moreover Bear Bites Horse Sessions is a testimony to sonic punishment as a gateway to new horizons, audial excess as a path to wisdom, and answers, right or wrong, being found in the bottom of a glass.

Deep Inspiration Show stands for quality deep house, returning with “One More Wax” as part of their international artist series. Zarenzeit (Zürich) featuring Roger Versey (Arkansas) opens with “So Smooth,” offering rich keys, a sensual bassline, soulful loops, and dynamic vocals. Next, Melchior Sultana (Malta) delivers “Nothing Like It Seems,” featuring silky chords and a shuffling house rhythm, perfect for late-night vibes. On the B side, Jan Kincl (Zagreb) brings “Sugar,” blending house and cinematic disco over organic drums. Finally, Barcé (Spain) closes with “Stigma,” fusing Deep House and Techno into a melodic, rejuvenating experience. These 4 tracks offer deep house fans an exquisite selection, bringing them closer to perfection.

The dark lord of the dance returns to Sneaker with the 'No Favours' EP, another ominous set of non-conformist shellers rough-cut from obsidian and set in steel.

We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.

As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.

'For Nothing' is the perfect example — a tunnelling odyssey of ferrous atmospheres, roundhouse drums and bass bloated into the red on a force-fed diet of saturation. 'Total Deceit' turns up the pressure on the break chopping science de Babalon is capable of, teasing gamelan flurries and elegiac swirls that hit at the emotional depth he can wrench amidst such bludgeoning material. 'Jaded Memory' funnels Mentasm bass into a strange new form amidst staggering, tightly clipped drumfunk, leaving enough space for haunting ballroom reveries stretching out across the mid-section. That leaves it to 'Dearth Mill' to mop up with gloriously creepy detuned piano notes slopping over each other in between the most ferocious blasts of drums on the whole record.

You didn't expect something straight-forward, did you?

"Folklore and Superstition is the second album by American band Black Stone Cherry. The album charted in several lists and peaked in the US Billboard 200 at place 28. Black Stone Cherry's sound still owes as much to Alice in Chains as it does to Molly Hatchet or Lynyrd Skynyrd. The production for this one was in the capable hands of Bob Marlette (Alice Cooper, Ozzy Osbourne, Lynyrd Skynyrd o.a.).

Folklore and Superstition is available as a limited edition of 1000 individually numbered copies on green coloured vinyl and includes a 8-page booklet. "

"In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further. Meanwhile the Queen's family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war. All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night's Watch, is all that stands between the realms of men and icy horrors beyond. Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy, atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time. Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert."

"The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve 1999, with an estimated audience of 500,000 people.

Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra. It was Oldfield's third album within one year, after Tubular Bells III in late 1998 and Guitars MOVLP1694 earlier in 1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion. The Millenium Bell is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert."

"Between Two Fires is an album by English singer Paul Young. It was originally released in 1986 and peaked at #4 on the UK Albums Chart. The album, featuring a combination of cover versions with original songs written by Young and Ian Kewley, went on to achieve Platinum certification. It features the singles ""Wonderland"", ""Why Does A Man Have To Be Strong"", and ""Some People"" amongst others. In 2007, an expanded edition of the album was released on CD. This vinyl release of Between Two Fires presents this expanded edition for the very first time available on vinyl, including 7 bonus tracks containing 12"" mixes and B-sides. Between Two Fires (Expanded Edition) is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on flaming coloured vinyl and includes an insert with lyrics. "

Gitkin returns with Golden Age, a showcase of the latest evolution of his lyrical guitar-driven sound. Exploring the endless expanses of cumbia, North African/Middle Eastern music, the guitarist has increasingly brought his own personality to these traditions, creating a lively interplay between distant modes and rhythms and his own New Orleans-steeped sound.

7A Records is proud to present our deluxe reissue of Robert Gordon's Rock Billy Boogie album. It has been remastered and expanded with four bonus tracks, features extensive liner notes and is pressed on 180g Pink Vinyl. Robert Gordon entered New York City's Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon-twelve years Presley's junior-was high atop many lists. Gordon's vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York's vibrant punk scene. In late 1978, Gordon was signed to Presley's longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon's 1980 cover of John Beveridge and Peter Oakman's "A Picture of You," a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: "Lonesome Train (On a Lonesome Track)," "Summertime Blues," and "Red Cadillac and a Black Moustache."

Enjoy The Ride Records in conjunction with Lakeshore Records & EA Music are proud to bring to you, the first vinyl press of the Dead Space Video Game Original Soundtrack by Trevor Gureckis. This limited edition vinyl release is pressed on a 2xLP set & housed in a gatefold jacket featuring artwork from the EA archives. Dead Space is a 2023 survival horror game developed by Motive Studio and published by Electronic Arts. A remake of the 2008 game of the same name developed by EA Redwood Shores, it is the first release in the Dead Space series since 2013's Dead Space 3.

As a key representative of French neo-soul with ambitious intentions, the singer, songwriter, and composer Enchantée Julia has truly made her mark on the French scene with her second EP LONGO MAÏ, released in 2022 and available on vinyl for the first time. On this cathartic yet hedonistic project, whose title is a nod to her southern origins, she collaborates with the Saint-Etienne duo Terrenoire and rapper Benjamin Epps.

Julia places even more emphasis on vocal harmonies and sophisticated arrangements, whether on upbeat, sunny tracks or delicate, intimate ballads like "MOUSSA" (produced by The Hop), a personal and sensitive ode to the one she shares her life with—a mix of cathartic song and a message of hope, referencing the tough challenges they’ve faced together. The fear of happiness and love slipping through her fingers is also present in "VÉNUS," composed and arranged by Bastien Cabezon and Oscar Emch. As the opening track of the EP, it showcases Julia’s mastery in blending the French language with neo-soul influences from across the Atlantic, laying the foundation for a unique universe that unfolds throughout the project. The second single, "PLUS FORT QUE MOI," breaks down genre barriers: Julia’s enchanting voice is wrapped in a pop-driven production with electronic hints, crafted by Terrenoire. She continues this pop momentum with "QUESTIONS," where she releases her torments—both trivial and profound—over a groove-laden production with sharp percussion, courtesy of the much sought-after Parisian producer Crayon. Julia's bewitching voice shines on the bittersweet "SOS," which bears the scars of a past relationship. On "LONGO MAÏ," a dreamy ballad with trap-inspired rhythms, Enchantée Julia invites rapper Benjamin Epps for an anthem about brighter days ahead, reminding us of the importance of familial love. To close this second EP, Julia reunites with long-time friends, brothers Théo and Raphaël Herrerias, who form the duo Terrenoire. "TOUCHER TOI" forms a diptych with the track "MOUSSA" and reveals Julia's full potential, as she shines here in a French chanson style that she has previously explored less.

Gavin Vanaelst runs the space Aboli Bibelot in Antwerp where exhibitions and musical performances can happen side to side with dealings in centuries-old furniture and unique pieces of folk art or volkskunst. Gavin makes music under the aliases DJ Charme, Kassett and So Sorry. This is the first album under his birth name. Takeaway Loops cycles back to the days when Gavin was working as a courier for .

is a food delivery company. Their couriers - ehm, brand ambassadors, as the company prefers to call them - dressed in bright orange, they race their bikes around the city. They deliver meals and groceries for all sorts. Thanks to them, the privileged can stay tucked in their private spaces. Interaction between the two groups - the privileged and the brand ambassadors - is mostly kept to the bare minimum. And sparse communications are often driven by annoyances - “my Coke is warm because you kept it too close to the French Fries.” And on the streets the general public dis-approaches the brand ambassadors with pity. We tell our peers: “That’s not a good job,” and “stay away from the Sharing Economy.” Because, you know, in our capitalistic dollhouse we all stand our grounds and play our parts wholeheartedly.

During his shifts for , Gavin recorded location sounds on his phone at fast food restaurants while waiting on the orders he had to pick up and deliver. Later in his home studio Gavin added piano and electronics to this source material. The result: a gloomy soundtrack for a shadow world. Seven songs in evening blue with a bright orange glare.

A few years ago, our favorite Belgian publishing house Het Balanseer released Seizoenarbeid by Heike Geissler (available in English trough Semiotext(e)). Geissler writes about her job at Amazon in Leipzig. Because her writing and freelance work did not pay the bills any longer, she was forced towards this underprivileged shadow-world of unwanted jobs. Seizoenarbeid shed a light on freedom in an unfree world. A monument of ‘we are all in this, but not together’. Takeaway Loops gives us a similar peak in a world that is at the same time so visible, but then also very veiled for many. A world that we prefer to use, yet that most of us prefer not to see - a world that we don’t like to enter.

Last year at Harbourland subway station in Kobe i was mesmerized by its sound design, created by Hiroshi Yoshimura. For each part of the subway station he composed a short phrase. While walking trough the station, a full composition grows in your head. The looping melodies guide you trough a microworld. Trough a blue world of commuters, of the homeless, of the lonely, of the fast paced, of the tourist. Gavin creates a similar effect with Takeaway Loops. The tonality somehow corresponds to Yoshimura’s work. Yet instead of being guided trough a building, we are now taken to the after dark. You feel the concrete evening heat of the city. You hear the rain. Stiff fingers during cold winters’ nights. You are alone on the bike, cruising. Your maps app telling you where to go. You just left the fake leather bench of the well-lit pastiche interior of a fast food restaurant.

Next order, number ECN44! Please wait outside, sir?

Celebrating the 20th anniversary of their self-titled debut album, the iconic album, which was the UK’s best-selling album of 2004, will be released on a brand-new limited edition coloured vinyl.

Taking the world by storm with their eccentric style, high energy, and feel-good lyrics it’s no surprise that this album, originally released on February 2nd, 2004, shot the band into international success. The album features fan favourites such as “Take Your Mama”, “Laura” and “Filthy/Gorgeous”. Since then, the album has sold nearly 4 million copies globally, has 300 million streams to date and won ‘Best International Album’ at the 2005 Brits.

If Katsuhiro Otomo’s Akira were a utopia instead of its opposite, this EP could be a possible sound track. Using the ingredients of classic house as a platform (pianos anyone?), Nick Nikolov‘s imagination as a producer for his new new NKLV project is far too vivid to stay on the beaten track.

The sound design and nerdy attention of IDM and ambient (Clusters) connects with the brazen boogie approach of the French touch, micro-sampling manifestos have to stand up to the weirder moments of signature sounds like Basement Jaxx or KiNK‘s musical side (Heartbeat). Not too far off from his peer‘s early approach, the Bulgarian‘s take is emotionally charged, play- and powerful.

For instance, Speak to Me and No More hit their respective topical nails on the head and the EPs title track Inbetween is sultry serotonin soul. If you are looking for plain and pure euphoria in between all the hardships, happiness is just around the bend.

This is the return collaboration by DJ Phantasy with his old DJ pal Aphrodite. Their first collab appeared on Aphrodite's label back in 1993 (repressed by Vinyl Fanatiks in 2020). These two tracks were originally recorded at Aphrodite's studio in 1994.

Born in Recife, Brazil, and currently residing in Lisbon, Sam Nóbrega is a singer-songwriter, multi-instrumentalist, arranger, and producer.Influenced by the Brazilian melodies his parents sang and listened to at home and on the radio, and driven by his love for Brazilian folk songs, street culture, and genres and movements like samba funk, forró, Ijexá, Manguebeat, and Bossa Nova, Sam embarked on a journey of musical self-discovery. In 2017, he took the stage with his first shows presenting his original music, performing at the Misturada festival in Florianópolis, southern Brazil, and at renowned venues in his hometown. However, it was in 2019 that Sam Nóbrega unveiled his debut single, "A Vida Vai e Volta," showcasing his instrumental prowess in a live video on top of a building. Subsequent releases like "Ruas Desertas," an independent release during the pandemic, demonstrated Sam's versatility.

His debut album "Ponta de Dois Lados," produced by Sam and Pedro Diniz, is slated for release by the British label Freestyle Records late November 2024. It is a rich sonic tapestry of Brazilian culture, blending traditional and popular elements with an indie and contemporary touch, creating an intriguing fusion of old and new sounds. Influences from João Donato, Marcos Valle, Milton Nascimento, Jorge Ben, Gilberto Gil, Novos Baianos, to the Manguebeat, Tropicalismo, and Vanguarda Paulista movements.

Black Stone Cherry is the debut album by the American rock band Black Stone Cherry. Originally released in 2006, the self-titled album contained three singles - “Lonely Train”, “Hell And High Water” and “Rain Wizard”. Ever since the founding of the band back in 2001, the band has been receiving nothing but positive critics. Their powerful sound can be described as traditional southern rock combined with the likes of Led Zeppelin and Soundgarden.

"Folklore and Superstition is the second album by American band Black Stone Cherry. The album charted in several lists and peaked in the US Billboard 200 at place 28. Black Stone Cherry's sound still owes as much to Alice in Chains as it does to Molly Hatchet or Lynyrd Skynyrd. The production for this one was in the capable hands of Bob Marlette (Alice Cooper, Ozzy Osbourne, Lynyrd Skynyrd o.a.).

Folklore and Superstition is available as a limited edition of 1000 individually numbered copies on green coloured vinyl and includes a 8-page booklet. "

Oase is the sophomore album from Berlin-based progressive rock collective Weite, and the follow-up to the band’s 2023 debut LP Assemblage. Clocking in at almost an hour, Oase—German for "Oasis"— takes listeners on an intricate and textured journey that draws inspiration from the pioneering spirit of 70s psychedelic rock, blending influences from “Canterbury scene” prog, Krautrock, early electronica, post rock, and Americana. The new album show cases Weite's ability to merge the old with the new, creating an immersive, exploratory sound that moves from contemplative and pastoral to riffy and doomy without ever sacrificing melody. Oase is characterized by longer expansive, atmospheric compositions yet is undoubtedly more composed than the band’s debut, with more of a focus on songs, albeit in the broader sense of the word. With the focus on melody, texture and mood—although not necessarily always in that order—Weite create a sound that’s intricate and meditative, inviting the listener to embark on a journey through shifting soundscapes and evolving musical narratives. Weite was formed in Berlin in winter 2022 by bassist Ingwer Boysen (delving) recruiting drummer Nick DiSalvo (Elder, delving) and guitarists Michael Risberg (Elder, delving) and Ben Lubin (Lawns). Initially intended as a one-of recording session, the four recognized an obvious musical chemistry and common ground and decided to turn the project into a proper band. Keyboardist Fabien de Menou (Perilymph) joined in 2024.

In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further.

Meanwhile the Queen’s family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war.

All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night’s Watch, is all that stands between the realms of men and icy horrors beyond.

Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy,
atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time.

Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert.

Kelly Clarkson's second studio album, originally released in 2004 and featuring the hits 'Since U Been Gone', 'Breakaway', and 'Behind These Hazel Eyes'. A x12 trk, Black LP Vinyl.

The third EP by the adventurous and unstoppable Stefan Schwander that you might already know from one of his other disguises such as Harmonious Thelonious, A Rocket In Dub or Antonelli Electr. - just to name a few. All tracks were virtuously and solely jammed out on Elektron's Monomachine once again.

Deep basslines, ravy bleeps, piano chords and synth melodies are awaiting us and let us reminisce of Jamaica, UK and Chicago while stepping and dancing into tomorrow.

The EP starts off gently with 'Title Track'. The first bleeps, chords, an incisive bassline and we're already grooving. Strings are building the framework while some house piano and a ravy melody let us hum along.

'Sublime' speeds things up with its shuffling, minimalistic beat but the dub bassline holds it down and functions as a resting pole to the vibrancies around. A pristine synthline comes in and supports the meandering chords. Dance off.

On the flipside 'Definition Of ...' sums it up what While My Sequencer Gently Bleeps is all about: a deep bass as bedrock, lively percussion, a little melody, tiptoeing chords. Everything sensitively used, telling a story. Listen on repeat.

DÄMMERLAND ist ein episches Audio-Abenteuer auf der Schnittstelle zwischen Fantasy und Musik.
Konzipiert von den #1-Hitmakern Malte Hoyer (Versengold) und Hannes Braun (Kissin‘ Dynamite), ist
DÄMMERLAND ein vielschichtiges Fantasy-Highlight für die ganze Familie: Buch-Debüt, inspirierendes
Hörbuch-Highlight mit musikalischer Starbesetzung – und obendrein ein komplettes Musikalbum mit epischen Songs, aufgenommen mit etlichen weiteren #1-Hitmachern auf der Schnittstelle zwischen Folk und
Pop, Mittelalter-Rock und Metal.
Gemeinsam mit rund 30 musikalischen Gästen aus 15 Bands vertonen die Köpfe von Versengold und Kissin’
Dynamite eine tiefgründige Fantasy-Geschichte, flankiert von 16 brandneuen Originalsongs. Ein Muss für
Fans von „Alice im Wunderland“, „Narnia“ oder „Die unendliche Geschichte“, thematisiert die inspirierende
Abenteuer-Story auch aktuelle Fragen und Probleme. Als erste Single erscheint zeitgleich zum Pre-OrderStart der Song „Verlorene Träume“, den sie zusammen mit der #1-Band Saltatio Mortis aufgenommen
haben. Weitere Albumgäste werden in der Zeit bis zum Release (22. November) bekannt gegeben.
Das Hörspiel, auf dem die vielen Gäste auch Sprechrollen übernehmen, wird von physischen Editionen
flankiert, denn DÄMMERLAND wird sowohl als CD und Vinyl erhältlich sein. Obendrein gibt es nicht nur
die Deluxe Edition, die CD + Hörspiel vereint, sondern auch die massiv erweiterte Super Deluxe Edition,
bestehend aus Buch + CD + Hörspiel sowie einem sign. Lesezeichen

I Can’t Stand Still has been remastered from the original analogue tapes and will be available on CD, 180-gram vinyl LP, and digitally. Cass County will be available as a deluxe, 16-track version on CD and as a double 180-gram vinyl set.

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

Full force doom-stoner-sludge from Sweden. A breath of fresh air by pushing the envelope and stepping outside the box.

Quetzals are strikingly colored birds in the trogon family. Their wings are suited to camouflage under rainy conditions. The name quetzal , from the mesoamerican Nahuatl language, refers to " an upstanding plume of feathers " in terms of standing up. The origin of churros is unclear. One theory suggests the concept was brought to Europe from China by the Portuguese Another theory is that the churro was made by Spanish shepherds to substitute for fresh baked goods. Churro paste was easy to make and fry in an open fire in the mountains, where shepherds spend most of their time. Licasso is a thermodynamic sound world where colors and sounds become the same thing.

Hailing from Italy, after their selftitled debut mini album 2022 we're happy to announce the first full length namend 'Sublimis Ignotum Omni'. The new songs are a bit faster without losing that morbid feeling known from the debut. This piece of an morbid female fronted Death Metal album is highly recommended for fans of MALIGNANT ALTAR, UNDERGANG or CORPSESSED.

Originally released in 2017, Beast Epic, Iron & Wine’s fourth album for Sub Pop, recasts soft power as a series of vignettes, observations and regular old songs that redeem through joy and a certain expectation of grace. Even the instant classic, “Bitter Truth, with a lyric as pained and direct as any I've heard from Iron & Wine, is leavened with background vocals recalling The Jordanaires. The album brims with surprise flourishes, classic touches and an appealing confidence that is evident on songs like “Call It Dreaming,” “Thomas County Law,” “About A Bruise” to the almost croony “Last Night.” Iron & Wine’s Beast Epic was written and produced by Sam Beam, and recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017. The musicians who played on Beast Epic include longtime Iron & Wine collaborators Robert Burger (keys), Joe Adamik (percussion), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello). Beast Epic was mastered by Richard Dodd in Nashville, Tennessee. *The term "soft power" was cribbed from author and Harvard professor Joseph Nye, but used in a different context.

There are few hidden gems that we can find on the different streaming channels, and it is precisely our job to have them for you. This Saturday we want to bring you a Chilean band that is born from transversal rock and its variants. We talk about The Cruel Visions. The Cruel Visions is the name that Pablo Giadach (founder) proposes to imagine a luminous and nostalgic interior landscape, expressed in songs of subtle composition and evocative beauty. The guitarist and musician in the bands Casino, Trancemission and The Ganjas, brings with him an album weathered by the passage of time in nightly improvisations and his recording studio, influenced mainly by the sounds of the early 80's, new wave, paisley underground, post punk and dark wave. The Cruel Visions was born from the idea of grouping together different recordings that Pablo made in parallel to his work with The Ganjas between 2015 and 2017 at different times and formats. Most of the album is a collection of demos and improvisations with a Rickenbacker 12-string guitar, an echo chamber and a drum machine, which were then worked on for almost 3 years in the free time at Estudio Lautaro, where he also performs. as an engineer and producer. His authorial present discovers the ethereal and light sounds that bands like The Cure or The Jesus and Mary Chain decanted, who left the initial rawness to give way to a more atmospheric and personal repertoire, which, although luminous, maintains traces of the darkest noise of the post-punk era. This time the path taken in other formations where Pablo provides precise sounds, completed with effects such as reverb and distortion, gives shape to a more personal list of songs that sails with the wind in its favor through foggy waters, already known to listeners of English 80's alternative music. Vocals and some arrangements were done at Woodbine St Recording by John A. Rivers, who has produced records by Love and Rockets, The Specials, Nikki Sudden, Close Lobsters and Dead Can Dance, among many others

Even as the obstacles to meaningful connection mount into an Everest-ian hurdle, artists nevertheless find ways to bend the technologies of our days to foster visceral human connection, rather than bereft isolation. Comprised of a West Coast bassist (Kristian Dunn of El Ten Eleven) and an Appalachia-adjacent drummer (Damon Che of Don Caballero), Yesness forges a friendship mediated through the language of collaboration, all formed through emailed song sketches and text exchanges of Van Halen demos. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. "We were ships in the night of the musical variety until Karl found a way to merge our paths," Che said of his introduction to Dunn. "There are very few comparisons in the aesthetic approach to how we created the music. We worked remotely for eight months before physically meeting for the first time at the recording studio." Neck-deep in their own ambitions, Che and Dunn swapped musical ideas and quirky song titles throughout the summer, working at a breakneck pace. Star Wars references were intertwined with walloping bass lines ('If You Say So'); non-sequiturs were punctuated by Che's signature frenetic percussive jabs ('Horror Snuggle'). Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion—uncategorizable yet reverent to the altar of instrumental rock. Tearing through the record's evocative instrumentals is a delightful bolt of strangeness, felt as much as heard in the spontaneous chemistry between Che and Dunn. "Occasional Grape?" dances like a waltz played with a sledgehammer—delicate moments shattered by bursts of aggression, while still embedding a rhythmic earworm deep into your heart. 'Nice Walrus,' a string-studded panorama featuring Kishi Bashi, volleys between nervy hyperactivity and heartfelt grandeur. The album's closing track, "Non-incredible Visitor," contrasts Che's meticulous precision with Dunn's imaginative instrumentation, bonding bass and percussion like nesting dolls. Just as the track seems to settle, it drives off an uncharted auditory cliff—abruptly, without ceremony, leaving the listener grasping for meaning in the murk. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other – our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

MINT copy (sleeve original mint as well, with the sticker :)

Hardcore killa'. Autorpodutcion de qualité. Et efficace. Nikel.

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

I Can’t Stand Still has been remastered from the original analogue tapes and will be available on CD, 180-gram vinyl LP, and digitally. Cass County will be available as a deluxe, 16-track version on CD and as a double 180-gram vinyl set.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

Since its original release in 1980 to generally indifferent reviews, Bauhaus" debut album has grown in stature and is now appreciated as an innovative foundation stone of "Gothic" music. Peaking at number one and remaining on the UK "Indie" chart for over two years, this dynamic collection defies categorisation, offering an incendiary tinderbox of driving jagged rhythms, screeching guitars, brooding atmospherics, provocative lyrics and wildly animated vocals.

Records for AIA organisation. All benefits and even a bit more have been donate in advance to the Artists In Action Association... Organising kitchen in Calais refugees camp « The Jungle ». Here we got one excellent techno tune from Crystal Distortion, one pumpin from Suburbass and a great funny tribecore track from Matt Weasel Buster Tribe :) We also have here something really sticking to the subject : a tune made with sounds from the Jungle.

Seve & SleepingWater - Run For Human Values's Video Clip

John Prine's 1984 release, is available on LP from Oh Boy Records for the first time since the original pressings.

John Prine's 1986 release, is available on LP from Oh Boy Records for the first time since its original pressings. Some classics on this one!

In the fall of 1978, John Prine returned home to Chicago for a concert performance at the city's famed, Park West. This show, captured on the originally limited edition album September '78, features another side of John Prine - backed by an electric band. Oh Boy Records originally pressed only 2000 copies of this classic album for Record Store Day back in 2015, but now you can have your own copy of this legendary recording on vinyl!

This record is John's first album of all original content since his 2005 release, Fair & Square.

This record is John's first album of all original content since his 2005 release, Fair & Square

This star-studded John Prine tribute album is now available on vinyl from Oh Boy Records. Featured artists include The Avett Brothers, Drive-By Truckers, Justin Townes Earle, and Justin Vernon of Bon Iver.

NWOBHM legends GRIM REAPER release their first three studio albums on GATEFOLD COLOURED VINYL. ROCK YOU IN HELL is the third studio album released in 1987. It was originally released under the RCA label.

NWOBHM legends GRIM REAPER release their first three studio albums on GATEFOLD COLOURED VINYL. SEE YOU IN HELL is the debut studio album released in 1983, on the independent record label Ebony Records.

New Heavy Hitters album on 180g Double LP vinyl. Blue chip ensemble casting, winging improvisations that are solidly rooted in the blues, original compositions that add much to the ever-expanding repertoire of the modern jazz canon!

These are the components that you look for in ANY recording and they're all available in abundance on That's What's Up by the Heavy Hitters.

Ten years ago SofaBurn was fortunate enough to release Jeremy Pinnell's first record 'OH/KY,' launching a career and relationship that has exceeded any of our wildest dreams.

We couldn't be more excited to announce now that for the first time ever 'OH/KY' will be released as a standalone LP, re-mastered for vinyl from the original mixes by Mike Montgomery at Candyland Recording Studio

The first-ever official reissue of the pioneering 1986 ambient work, produced in full cooperation with Hiroshi Yoshimura’s estate !

"If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated.

— Hiroshi Yoshimura

Temporal Drift proudly presents the long-awaited, first-ever reissue of Surround, Hiroshi Yoshimura’s sought-after ambient classic.

Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang.

In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way."

Berlin-based dance night and sound system SHUSH present their first musical offering: six soulful tracks that encapsulate the unique spirit of their functions and underlying community. Atlanta house ambassador Stefan Ringer lends his touch on deep vocal cut ‘Focus’, electronic jazz maestro Ziggy Zeitgeist serves up the late-night coaster ‘Yours To Make’ (feat. Jitwam), whilst SHUSH’s own D’Monk deals the dubbed-out damage of ‘Love Or Lust’, a raw house cut heavy on the 909s. Alongside them, producer Whodat offers a slapper in her own distinctive Detroit-style, AMA//MIZU comes with an introspective downbeat roller whilst Dweller presents one of his stunning orchestral works.
Spread across two sides of a 12”, these bold selections translate their feeling both on and off the dancefloor.

his release marks the first complete album reissue on Canopy. Originally released in Nigeria in 1987, “Oppressor” was executive produced by Myke Moul himself and distributed domestically by EMI Nigeria & Tropic Records.

“Oppressor”, the album, finds the sweet spot between synth reggae, boogie, and euphoric Balearic island vibes.

Written by Myke Moul and arranged in collaboration with reggae star Majek Fashek in Nigeria, it was later re-crafted and recorded in France with a host of French musicians. Most notably the contribution of multi instrumentalist Pierre de St Front added engaging synthesiser parts and electronic drums.

Unfortunately the pressing of the album suffered from inherent technical flaws which adversely affected the sound quality and therefore even those lucky enough to find a copy, will not be able to enjoy it without considerable sonic defects. Therefore this remastered reissue will prove welcome to both collectors and new discoverers.

The titular track “Oppressor” stands out as a mid-tempo synth-reggae-boogie jam espousing the turbulent political times in Nigeria that were present in the late 80s. Elsewhere “Shadows in the Rain” is an instrumental cut displaying a jazz-funk sensibility which was unusual for a Nigerian artist at that time, and reflects Myke’s influences outside his home country. “Heading for the Top” is a boogie dance floor gem that shows the popularity of this genre at the time, as evidenced in many Nigerian releases and still sounds just as vital today. “Rescue us. O! Lord” shows Myke’s great song writing and Pierre’s fine musical skills working in tandem to create a reggae boogie tune, displaying the reggae & ska tendencies that were present in pop music in this era, from artists such as Grace Jones, Sly & Robbie or The Police.

All in all, the album demonstrates something fresh & exciting for Nigerian album reissues, touching down in a reggae fusion direction, with some fuller sounding production aesthetics, making the dynamics full and crisp on sound systems while also well suited to home listening.

Mariano Melo, also known as Marian Sarine, is a Brazilian multi-instrumentalist based in Sao Paulo, specialising in percussion and drums. His latest album, Asas Terenas, is his first under this name and started with organ recordings made with Felipe Pato in late 2019 and was completed with additional instruments added in the years that followed. Asas Terenas features a mix of rhythmic improvisations built on modal scales, combining dynamic interplay between notes and percussion. Drawing inspiration from artists like Charanjit Singh, who merged traditional North-Indian ragas with electronic music, and African organists like Hailu Mergia, it combines old and new sounds, merging spiritual elements with energetic rhythms. As Sarine himself says, Asas Terenas is a sonic mixture that moves the feet and lifts the soul, creating an experience that is both pristine in sound and transcendental on the dancefloor.

After leaving a huge mark in the techno scene with many high quality EPs on labels like Hayes, Klockworks and Planet rhythm, Portuguese mega talent Vil, finally releases his first long player on dolly's TS series! ''Birds Of Prey'' is a stunning mix of raw, percussive, groovy, distinct house and techno, with an elegant Detroit flavour. 8 tracks that lock you in on an impressive dancefloor journey where Vil shows his diversity as a producer. Switching effortless between the energy fields of deep melodic uplifting bliss and dark, out of the ordinary, groundbreaking drivers!!!

The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve
1999, with an estimated audience of 500,000 people.


Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra.

It was Oldfield's third album within one year, after Tubular
Bells III in late 1998 and Guitars (MOVLP1694) earlier in
1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion.

It's a pleasure to see MOY back on AF. Sure, Jonny doesn't invent anything, but everything he does sounds incredible and his tracks have the ability to grab you and never let go. He seems to say: "I know what you're here for". The particular way he executes hyperactive beats, acid basslines and melodies, makes the material very emotive and timeless, walking his influences around and elevating the machine's rhythms to new emotional levels. Jonny Moy always delivers, in fact, the brilliantly titled 'Supermassive EP' is not just a title but a statement of intent. These four tracks will stick in your head for a long time, for the club, nightdriving or home. What are you waiting for? Go on!

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.