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Der Grammy-nominierte Produzent und musikalische Visionär, Benjamin David aka Mild Minds, veröffentlicht sein zweites Album, „GEMINI“ über ODESZAs Label Foreign Family Collective.

Während Mild Minds 2020 erschienenes Debütalbum, „MOOD“, eine kreative Offenbarung und eine risikofreudige Abkehr von seiner Arbeit hinter den Kulissen darstellte, ist „GEMINI“ ein Zeugnis dessen, dass sich dieser künstlerische Sprung gelohnt hat. Das Album verweist auf die Underground-Clubmusik der Jahrhundertwende und verwendet Breaks, luftige Pads und abgehackte R&B-Samples aus den 2000erJahren, neben frühen Trance-Einflüssen und ätherischen Vocals. Diese klangliche Grundlage schafft auf dem Album einen beispiellosen Dialog zwischen cluborientierten Elementen und melancholischen Emotionen, die in der Dance-Musik selten erforscht werden. Das Album zeigt Benjamin Davids Entwicklung als Produzent und vertieft die Überschneidung von organischen und elektronischen Soundscapes, die zum Markenzeichen seines Projekts, Mild Minds, geworden sind. Der neueste Teil der Geschichte, die mit „GEMINI“ erzählt werden soll, demonstriert die Fähigkeit von Mild Minds, komplexe, emotionsgeladene Kompositionen zu schaffen, die sowohl auf der zerebralen als auch auf der viszeralen Ebene bei seinen Hörer:innen ankommen.

Format: Transparentes Vinyl (140G) inkl. Downloadcode

Mit "Lieben wir" präsentiert OEHL ein intimes und packendes Konzeptalbum über die Liebe in all ihren Facetten – von Knutschflecken bis zu den Momenten, die unser Leben prägen. Ariel Oehl wagt Neues und bleibt sich treu: Sein "Gitarrenalbum" vereint handgemachte Klangwelten mit verführerischen Melodien, die zwischen Nostalgie und großer Emotion pendeln. Produzent Niklas Apfel sorgt für ein ausdrucksstarkes, organisches Sounderlebnis.Ein Album, das von Enttäuschungen, Glück und der Magie flüchtiger Augenblicke erzählt – Musik für Menschen, die etwas von Musik verstehen – und ein Herz haben.

- Ausstattung: Rot-transparentes Vinyl mit silberfarbiger Innentasche mit Songtexten & Herz

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

Als Karl Wallinger Mitte der 80er die Waterboys verliess, um World Party zu gründen, brauchte es einen einzigen Song, um die Fans davon zu überzeugen, dass dies kein Nebenprojekt war. Dieser Song, "Ship Of Fools", ist zusammen mit "Is It Like Today?", "Way Down Now", "Put The Message In The Box" und "She's The One" auf dieser ersten weltweiten Veröffentlichung des 17 Songs umfassenden Greatest Hits-Pakets "Best In Show" auf Yellow & Red Double Vinyl im Gatefold zu finden, das sich aus den besten Songs aus den Alben "Private Revolution", "Goodbye Jumbo", "Bang!", "Egyptology", "Dumbing Up" und "Arkeology" zusammensetzt.

PS: Eine gleichnamige 13-Track-Best-Of-CD erschien 2007 ausschliesslich in Australien & USA. Das Vinyl ist eine Erstveröffentlichung und enthält den zusätzlichen Bonustrack "Best Place I've Ever Been".

In 2017, Matthias launched his record label named Superluminal, after the astronomic motion observed in 1902 by Jacobus Kapteyn in the ejecta of the nova GK Persei, which had exploded in 1901. His discovery was published in the German journal Astronomische Nachrichten, and received little attention from English-speaking astronomers until many decades later. It appears to travel faster than light, its existence could conceal the most inexplicable mysteries of our universe which gave birth to many of the secrets hidden in the path of mysticism and esotericism.

The label celebrates its 8th Anniversary with Matthias’s first self-released album. The instalment pays homage to the roots and influences the artist has genuinely embraced throughout the years. An immersive composition which summons a line from the sounds of the past to the present, designed meticulously and displayed within gatefold cover.

It certainly manifests a polyhedral vein with some very cerebral, experimental songs among more dancefloor oriented music. The artist delves into a self exploratory leap of synth-driving notes, striking chords of late decaying dub pianos. Certainly a journey that pairs conceptual alignment with more clubby-essential, stripped-down recordings.

The song’s progression evokes atmospheres from the far out worlds, carved into a space-echoing psychedelic trip with sinister tribal-percussive rhythm. The song’s arrangements are simple-complex drum’s versatile patterns, forged and elegantly blended into cinematic soundscapes.

This is a one way ride to the forest of mysteries, from which, there is no return. The time of the day between dusk and night, when it gets dark.

Six track EP full of warm deep house music, spacy jazz not jazz, african and brasil rhythms, plus a portion of psychedelic funk poetry.

‚Children Of Zu Zu‘ is Charles Petersohn‘s restart after his previous label release from 18 years ago, besides some experiments on Bandcamp and SoundCloud. On this EP sound merges into each other, is producing an organic flow. Smooth deep house, different kinds of jazz and jazznotjazz, african rhythms, Brasil batucada, psychedelic funk poetry, inspired by Dr. John and most of all the space music and afrofuturist philosophy of Sun Ra and his Arkestra. Soundscapes and atmos in the background of each song give the music a deeper feel. It took its time to get the music ready. There was the desire of having Web Web pianist Roberto di Gioia in the music, took months. But it was worth waiting. Roberto planted some magic moments in to it. On other hand Charles is hyper critic with his own sound. If jumping into to arena again, there should be something special. When he will be okay with every inch of his sonic work, then its done! ‚Children Of Zu Zu‘ became a collage of thick, warm and smooth housemusic, spacy Ambient Jazz and two dancefloor tools with a deep Afro and Brasil feel.

Here we go with six tracks full of love, full of dreams and full of space.

"Children Of Zu Zu" ist Charles Petersohns Neustart nach seiner letzten Label-Veröffentlichung vor 18 Jahren mit dem Pianisten Jasper van't Hof bei "Jaro". Deep House Music, Jazz Not Jazz, afrobrasilianische Jazz-Grooves, Ambient Jazz, eine von New Orleans Legende Dr. John inspirierte spirituelle Botschaft, einen Gesang von Frauen und Mädchen aus Samoa vom "British Commonwealth Sound Archive" und nicht zuletzt die intergalaktische Poesie von Sun Ra und seinem Arkestra. Soundscapes im Hintergrund fast aller Tracks versetzen die Musik jeweils an einen fiktiven Ort. Es hat seine Zeit gedauert, bis die Musik fertig war. Der Wunsch, den Web Web Pianisten Roberto Di Gioia für die Musik zu gewinnen, schien fast unmöglich. Seine Teilnahme verzögerte sich um mehrere Monate, denn Roberto ist ein vielbeschäftigter Musiker und Produzent. Am Ende hat sich das Warten gelohnt. Er hat der Musik einige magische Momente beschert. Auf der anderen Seite ist Charles mit seinem eigenen Material meist überkritisch. "Wenn ich mich parallel zu so vielen großartigen Musikern und Produzenten überall in der Welt und darüber hinaus mit einer eigenen Botschaft in die Welt begebe, muss das schon etwas Besonderes werden!" Nach endlosen Sessions in seinem Mini-Studio ist 'Children Of Zu Zu' um einiges mehr geworden, als er sich vorgenommen hat. Statt zwei, sind es am Ende sechs Tracks und zwei Bonus-Versionen voller Liebe, voller Träume und voller Space, innerspace und outerspace, geworden. Musik für den Dancefloor, für Jazz Clubs, Chill Zones und obendrein für Kinderzimmer!

Bad news: Not much is known about pdqb, and what we do know is most likely either wrong or made up. The man who is credited for the productions is said to have gone insane due to being possessed by an alien parasite. His whereabouts remain unknown. Good news: Fortunately, Synaptic Cliffs owns about a dozen releases from whoever or whatever is behind the mysterious abbreviation and will publish every single one of them…because they are ultra awesome.

With the original tapes of this Mini-LP, pdqb left a fragmented note in the '90s stating that he decoded eight tracks originally produced with the NCO6.27 for test subjects who were all given some strange form of brain implants, and that a certain wetware could be unveiled in that manner, and that he conducted that research long before he developed a machine capable of hacking into the dreams of everyone who has ever lived.

However, the music could best be described as playful and dark, old-school Techno/Electro/Industrial blended with Chiptunes, IDM/Braindance, and Electronica. It is pressed on a beautiful green splatter vinyl.

The first 150 customers will be rewarded with a free leftover flexi disc from the '80s featuring two exclusive tracks composed by pdqb while he worked for Silvio Berlusconi's Mediaset TV production company. The flexi was originally included in the November 1985 issue of the Italian Playboy Magazine (cover girl: Grace Jones) and is extremely sought after.

Edwyn Collins ist zurück mit seinem 10. Soloalbum "Nation Shall Speak Unto Nation" und Reflektionen über den Zustand der Welt. Das 11-Track-Werk auf dem eigenen Label AED Records wurde in Edwyns Clashnarrow Studio in Helmsdale im Nordosten Schottlands aufgenommen und von ihm zusammen mit Sean Read und Jake Hutton produziert. "Knowledge", Albumopener und erste Single, wird von einem Video begleitet, das zwischen Weihnachten und Neujahr in Edwyns Heimatdorf Helmsdale gedreht wurde. Regie führte Delbert Anthonio Wright, ein talentierter junger Filmemacher, den Edwyn seit seiner Kindheit kennt.

Wavering through feverish nets of mild notes with no real sun. A disorganised yet precisely paced collection of sounds summoning the gloomy B-side of summers calling. A moment to sit in the frantic underworld of embraced chaos. Clemency. A figure head for embracing off-kilter interpretations of night time music. A real life ‘Angel of the North’.

AIRD is pleased to welcome Clemency to the series.

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

Aunes is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, Aunes makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann's cello. The record takes its name from an old French unit of measurement for fabric, varying around the country and from material to material. Unlike the platinum metre bar deposited in the National Archives after the Revolution as an immovable standard, an aune of silk differed from an aune of linen: the measure could not be separated from the material. In much the same way, in these six pieces_which Hamann thinks of as `songs'_formal aspects such as tuning, pacing, melodic shape and timbre are not abstractions applied universally to musical material but are inextricable from the instruments and sounds used, even from the places and communities in which the music was made. Audible location sound embeds the music in its place of making, as in the delicate duet for church organ and wordless singing `schloss, night', where shuffles and cluttering in the reverberant church space form a phantom accompaniment, gradually displaced by a uneasy shimmer of wavering tones from half-opened organ stops. `Casa Di Riposo, Gesu' Redentore' documents a walk up a hill to an outdoor mass in Chiusure, layering voices near and far with footsteps, insects and other incidental sounds. Like in the work of Moniek Darge or Luc Ferrari, location recordings are folded on themselves in space and time, their documentary function dislocated to dreamlike effect. On other pieces, it is the emphatic presence of the performing body that grounds the music, whether in the intimate fragility of Hamann's softly sung and hummed vocal tones or the clothing that rustles across a microphone on the opening `by the line'. The idea of a music inextricable from its material conditions is perhaps most strikingly communicated on the album's briefest piece `bruststärke (lung song)', composed from layered whistling recorded while Hamann suffered through an asthma flare up, the results halfway between field recordings of an imaginary aviary and the audiopoems of Henri Chopin. More than any of Hamann's previous solo works, a strong melodic sensibility runs through Aunes, even when, like on `seventeen fabrics of measure', the music hangs together by the merest thread. At other points, Hamann's love of pop music is more obvious: the rich synth harmonies of `by the line' could almost be a melting fragment of a backing track from Hounds of Love. The expansive closing piece `neither from nor toward' exemplifies the highly personal musical language that Hamann has developed in recent years through constant solo performance (and a rigorous discipline of instrumental practice), pairing two overdubbed voices with the boundless depth and harmonic richness of just-intoned cello notes, calling up Ockegham or Linda Caitlin Smith in its elegiac slow motion arcs. Hamann's most personal work yet, Aunes arrives in a striking sleeve reproducing a section of a painting made from sewn pieces of dyed wool by Wilder Alison, a friend and fellow resident at Akademie Schloss Solitude, one of the temporary homes where much of this music was recorded.

Sub Pop proudly teams up with long-running Canadian punk icons Fucked Up for a limited-edition 7" single featuring two brand new, exclusive songs. "Disabuse" and "Self Driving Man" are unlikely light-speed cuts of pure hardcore from Fucked Up. These tracks bleed off the record, having been born from the indelible stamp of Poison Idea's 1990 anti-oppression anthem "Discontent" and Japanese punk legends Paintbox's "The Door." Sitting at the chaotic crossroads of punk, hardcore, and grunge, the two songs have found the most fitting home possible: a Sub Pop single. "Disabuse" is a song Damian wrote for his daughter, who experienced bullying and intimidation at school, while "Self Driving Man" wrestles the out of control automation of our world onto the pavement and into the abyss of faceless progress. The 7" comes on translucent emerald vinyl, and includes a lyric sheet.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. The band's eventual permanent line-up consisted of David Yow on vocals, Brett Bradford on guitar, David Wm. Sims on bass, and Rey Washam on drums. During their brief existence from 1982 to 1987, the band released 3 records, including a full-length album (Just Keep Eating) and two EPs (S/T EP, Berserker). On March 14, 2025, Touch and Go Records will release the Scratch Acid Box Set - limited to 2000 sets worldwide. Remastered by Bob Weston at Chicago Mastering Service, the box set includes 180-gram clear LP pressings of all three releases as well as a 24-page booklet featuring exclusive behind-the-scenes photos, liner notes by David Yow, Brett Bradford, and photographer/journalist Pat Blashill, as well as full-color paintings by contemporary artist Mark Todd from the same era as the cover art for the S/T EP and Berserker releases. In addition, this limited Scratch Acid box set includes an exclusive clear vinyl 7" with both tracks the band contributed to the 1986 Touch and Go Records compilation, God's Favorite Dog. The 7-inch includes cover art by Mark Todd as well.

A quintessential, timeless piece of death metal
In 1997, long-running Polish death metal act VADER - currently celebrating their 40th anniversary - made an important step towards international recognition by releasing “Black To The Blind”, their third studio album, which includes live staples like ‘Carnal’ or the savage title track. Honed from playing way over 250 concerts in the mid 90’s and sharing stage with Cannibal Corpse, Immolation, Morbid Angel, the quartet became true road dogs with a dedicated following up until today and perfected their intense and catchy, Slayer-meets-Morbid-Angel on steroids brand of death metal. “Black To The Blind” has been remastered and features an updated layout as well as the original cover art. A quintessential, timeless piece of death metal!

Having built a solid reputation as a drummer over the years, Matt Stockham Brown is set to step into the spotlight with the release of his new project and self-titled debut album ‘6161’ (pronounced ‘Six One Six One’) set for release on 14th March 2025, via Bristolian label Severn Songs (run by Ishmael Ensemble, and home to Waldo’s Gift and Holysseus Fly).

6161 is the brand new project of Matt Stockham Brown who has previously received critical acclaim winning a Montreux Jazz Festival talent award in 2019, releasing two albums with Run Logan Run and most recently a 5 star Guardian review with Daniel Inzani’s triple release and sell out tour with Cosmo Sheldrake. He has also recorded/performed globally with the likes of Massive Attack, Rodriguez, This Is The Kit, Paraorchestra, Gregory Porter, Liz Lawrence, Cloth, Get The Blessing, Marc Ford, Squirrel Flower, Ghostpoet any many more.

“A well judged mix of Old-School acoustic values and contemporary Electro-Jazz” – Jazzwise

Die beliebte Compilation "The Very Best Of Talk Talk" wird in einer überarbeiteten und Karriere übergreifenden Fassung neu aufgelegt. Im Vergleich zur ursprünglichen Veröffentlichung von 1997 bietet die Neuausgabe die größten Hits der Band in chronologischer Reihenfolge. Zudem enthält sie eine überarbeitete Aufnahme vom letzten Album der Band, Laughing Stock.

Die Wiederveröffentlichung erscheint am 14. März als 2LP im schwarzen Klappcover sowie auf CD.
Gegründet 1981 von Mark Hollis, Lee Harris und Paul Webb, erlangte Talk Talk mit ihren ersten beiden Alben The Party's Over und It’s My Life weltweiten Ruhm. Songs wie "Talk Talk", "Today", "It’s My Life" und "Such a Shame" wurden zu zeitlosen Klassikern und erreichten die Top 40 der britischen Charts. Mit The Colour of Spring (1986) wagte die Band erste Schritte in Richtung experimenteller Klänge, die schließlich in ihrem gefeierten Meisterwerk Spirit of Eden gipfelten. Ihr letztes Studioalbum, Laughing Stock, erschien 1991 und markierte einen weiteren Wendepunkt hin zum Post-Rock.
Talk Talk wird oft als Pionier des Post-Rock angesehen. Ihr Einfluss erstreckt sich auf Künstler wie Kate Bush, Tears for Fears und Radiohead. Zudem haben viele Musiker die Werke der Band neu interpretiert, darunter No Doubt, die mit ihrer Version von "It’s My Life" einen internationalen Hit landeten.

On his Discrepant debut Memotone aka Bristolian Will Yates collects some unreleased recordings under a most aptly titled name - »Pruning« - following a healthy stream of releases for such esteemed labels as Black Acre, The Trilogy Tapes or Soda Gong.

Considering the process of pruning as a practice of selective removal, the album takes its name at face value never falling into a mere collection of tossed off material or random B-side assemblage, making it a cohesive listen throughout its disparate timeframe and evasions.

A statement about Memotone's vision itself, »Pruning« veers closer to his Fourth World/ECM/Exotica meets Sci-fi transmutations in alignment with what would be expected from a Memotone release on Discrepant. »Moss Zone« briefly sets the tone with a warm but queasy synth bedsheet that flows into the »Weird Figures« cyber- jungle, all small twinkling percussions and rainforest pads slowly rising. 'Riders' brings the synth-flute to an early Warp meets John Hassell's »City: Works of Fiction« scenario that pops up again in more disrupted form on »Wisdom MOTHER«. »Not What I Thought's« skewed tropical guitar gets going on lo-fi percussion and dissonant synth chords while »Jim Starling and The Inverse Church« bring to mind »Autoditacker« era Mouse on Mars going jazz-fusion. Or what we should expect from their Smalltown Supersound stint. »Beach Scene« is exactly it, as the sun sets into »Come In Don't Mind the Ghost« summer night's stars with all the allure of Stereolab.

Alluring, that's exactly it. Do come in.

Vazz, die die Euro-Pop-Sensibilität von Crepuscule und den ätherischen Goth von 4AD in sich vereinen, kamen in Glasgow an, als der Sound of Young Scotland gerade in Schwung kam. Bewaffnet mit einer Drum-Machine, Gitarre, Bass und Anna Howsons eisigem Gurren, bot das Duo eine düstere Variante einer Szene, die von den Pop-Timern Orange Juice, Josef K und Aztec Camera dominiert wurde. Diese Ausgabe zum 40. Jahrestag ihres Mini-Albums Your Lungs and Your Tongues aus dem Jahr 1986 versammelt die kompletten Cathexis-Aufnahmen und fügt eine Handvoll unveröffentlichter Minimal-Wave-Perlen hinzu. Kälter als Dalwhinnie an der Sommersonnenwende - nimm besser einen Parka mit.

,Siamo tutti in pericolo" ist das dritte Album von Golem Mecanique, dem Pseudonym der französischen Multiinstrumentalistin und Komponistin Karen Jebane, das auf Ideologic Organ veröffentlicht wird. Jebane arbeitet am Rande des zeitgenössischen Folk (aka La Novea Community), des mikrotonalen Sounds und der frühen Moderne, berührt aber auch die Asche und die Fasern des Back Metal und die DNA der Gothic-Musik, der Literatur, der Zauberei und vor allem der Poesie. Jebanes Arbeit mit der Drone Box (einer mechanisierten Drehleier) und der Zither als glatte und wellige Oberfläche für ihren Gesang ist auf fast zeremonielle Weise sofort ersichtlich und lädt in einen Raum von klarer, dunkler Kreativität und Schönheit ein. Auf ,Siamo tutti in pericolo" arbeitet Jebane mit ihren Kompositionsformen auf neue Art und Weise, poetisch und sparsam in der Ausführung ihrer Techniken, durch ihre Hommage/Hymnen/Meditationen über die höchst unregelmäßigen Umstände und Fragen/Mysterien des Vergehens der Seele von Meisterkünstler Pier Paolo Pasolini. In perfekter Kombination mit dem Coverbild des Collagekünstlers Julien Langendorff präsentiert ,Siamo tutti in pericolo" Jebanes ,Golem Mecanique" in Reinkultur. -Stephen O'Malley, Brion, Frankreich, 1. September 2024

Bowie’s connection to Jacques Brel came through Scott Walker and the 1968 musical.

LP in printed inner sleeve. The Joy of Coincidences is the debut album from the intriguing Barcelona-born and raised musician and singer-songwriter of British and German descent. The songs are stories and related feelings that reflect upon mankind observed through our eyes in different circumstances. This reflection is told through intimate music coming from folk-inspired pop.



The Joy of Coincidences is the debut album from the intriguing Barcelona-born and raised musician and singer-songwriter of British and German descent. Within the midst of movement, noise and chaos of the city, Bianca Steck searched for calmness and silence in order to write these twelve songs. Whether in a bar, on a tram, under a tree in a park, on a bench or on the balcony of her little apartment in Brussels overlooking the square, there must always be room for curiosity regarding the world we live in. Hence, this album was born through her compelling need for a conscious observation of our society and surroundings.



The songs are stories and related feelings that reflect upon mankind observed through our eyes in different circumstances and the consequent understanding of ourselves along this process. This reflection is told through intimate music coming from folk-inspired pop. Rooted in classical tradition, Bianca Steck chooses instruments such as harp, cello, double bass, upright piano, and flugelhorn and blends these warm sounds with synths, omnichord, drums, electric bass... in a very delicate way in order to create a dreamy landscape of sound. This carefully chosen music together with lyrics that tell real down to earth stories seen through the eyes of her imaginary world are the realm of this work.



BiancaSteck sees coincidences as small and playful interruptions of our everyday concerns, of life. We live in extremely uncertain times where many worries reign over our minds and there needs to be some kind of lightheartedness to move forward, to survive. Within all this complex spiral of thoughts, in the Joy of Coincidences the essential seed of simplicity prevails over the existential crisis.



The album is produced together with Catalan pianist and composer Nil Ciuró and features guest appearance Hania Rani with whom Bianca Steck toured as a support act across London, Paris, Berlin, Utrecht, Antwerp and other European cities and venues.

All demos were recorded in her apartment in Brussels with very simple means and were later on recorded in a studio in the mountains of Catalunya.

Bárbara Salazar aka Barbarelle is an experimental multidisciplinary artist from Buenos Aires, known for her conceptual work as a DJ, creative director, and curator.

‘Celesta’ marks Barbarelle first foray into composing and producing her own music; a debut that reveals the intimate, heartfelt territories of her creative universe. The culmination of years of composing for herself - ‘behind closed doors’ - ‘Celesta’ is a deeply personal, self-guided masterstroke of beguiling, free-flowing ambient soundscapes and DIY electronics. With ‘Celesta’, Barbarelle artfully transitions from ardent music aficionado to fully-fledged artist, unveiling an enchanting sonic world that has quietly matured over time.

‘Celesta’ is an exquisite odyssey of sound, assembled from fifteen tracks recorded between 2022 and 2024 in Buenos Aires and Los Angeles. Conceived as spontaneous and intuitive explorations, many of these tracks were recorded in one take without technically-minded premeditation. The product of organic experimentation rather than concrete intention, ‘Celesta’ is an authentic, candid record of emotions, memories, and profound interiorities.

Over time, the pieces in this tapestry found a common thread: a conversation with the ethereal, defined by emotional intensities and softly spoken utterances. ‘Celesta’ is an invitation to immerse yourself in soundscapes that merge to the point of dissolution, evoking the transparency of water and the lightness of a dreamlike world that transcends matter. Like the song of a siren, the voice becomes just another instrument, beyond language yet full of significance. A collection of songs that feels like opening a secret diary; a direct pathway to the centre of the heart.

In addition to her work as an artist, Barbarelle is the founder of Atlas, a platform dedicated to active listening through radio, live performances, listening sessions and more. She is also known for her radio show of the same name on Dublab, where she shares her unique approach to sound with eclectic selections and interviews with the likes of Air, BADBADNOTGOOD, Lucrecia Dalt, Juana Molina & more.

Valentina Goncharova's work encapsulates a unique blend of innovation and tradition, providing audiences with an enthralling exploration of the vast possibilities within musical expression.

Drawing upon her compositional skills honed during her academic studies, Valentina expertly manipulates the violin, seamlessly integrating it with synthesizers and drum machines. The result is a mesmerizing fusion of organic and electronic elements, characterized by slow, pulsating drone soundscapes.

Written, performed and produced by Valentin Goncharova. Recorded in 2023-2024 in Tallinn, Estonia.

A long standing resident of the infamous FOLD in London whose risen to prominence with electrifying performances across Europe and a growing discography on esteemed labels such as Ear To Ground, Natural Selection, Raw Quarter, Laburnum, and Mhost Likely , Andromeda unveils her debut on Rant & Rave with Dark Matter EP. Drawing inspiration from the raw essence of 90s techno, with it she hones in her skills with modular synthesis and hardware production.


The EP opens with the title track, where a brooding tapestry of foreboding synths gradually rise in pitch and complexity, simulating the mysterious expansion of the cosmos. Lost Planet follows with hypnotic leads and an unyielding rhythm section. Appropriately titled Black Hole follows which cuts through with razor-sharp stabs and a resonating bassline. Closing with El Abismo, Andromeda ventures into darker sonic territories. This track is a no holds barred assault, where interwoven synth lines clash against commanding percussion and a punishing kick, asserting dominance over the dance floor with commanding force.


As a digital bonus, Andromeda invites Severn Electronics label owner, 7XINS, who delivers an outstanding remix of Black Hole. With his signature sound, 7XINS layers complex synth textures and reverberated drum patterns that twist the mind and tease the senses, crafting a remix that is as intricate as it is impactful.

Roger Waters is set to release a Super Deluxe Boxset of The Dark Side Of The Moon Redux on Friday, March 14, 2025, with special live versions of the iconic songs from Roger’s appearances at The London Palladium on October 8 & 9, 2023.

The Super Deluxe Boxset includes: • The Dark Side Of The Moon Redux on Gold Vinyl (2LP), CD, Blu-ray: Dolby Atmos Mix, 96/24 Audio. • The Dark Side Of The Moon Redux Live on Gold Vinyl, CD, Blu-ray: 96/24 Audio. • Roger Waters Track by Track video interview. • A 4 x 10-inch Vinyl from the original Redux album cut at 45 RPM for: Money, Time, Speak To Me / Breathe and Us & Them, each with an artwork etched B-side. • A 40-page Commemorative Book of Photographs from The Making of the Album, Rehearsals, and Roger Waters Redux Live at The London Palladium. • Hand numbered Certificate of Authenticity. Limited Edition of 3000 copies

Waters Quote: “All that is gone, all that’s to come? Looking back or looking forward, Dark Side of the Moon offers you choice. The choice is yours. Darkness or the Light”.

Die österreichische Indie-Institution Garish tröstet die Welt mit dem ersten Studioalbum in acht Jahren: 'Am Ende wird alles ein Garten'

Garish, das ist längst eine musikalische Institution, die sich Trend- und Kommerzialitätsdebatten mit nüchterner Nonchalance entsagt und vielmehr ein eigenes Universum geschaffen hat. Mit eigener Sprache, eigener Farbe, eigener Emotionalität. Seit zweieinhalb Jahrzehnten sind Garish ein solch stabiler Anker. 'Am Ende wird alles ein Garten' ist das achte Studioalbum von Garish und unterstreicht, warum und wie sich das Quartett über so lange Zeit treues Publikum erarbeitet und erspielt hat. Texter und Sänger Thomas Jarmer bedient sich der ihm eigenen Gabe, eine Fülle an Lebens- und Beziehungsgeschichten gekonnt mit der gesamtgesellschaftlichen Stimmungslage zu verweben. So mannigfaltig die Interpretationsmöglichkeiten sind, so übertragbar und treffsicher scheinen die Bestandsaufnahmen, wenn man auf die große weite Welt blickt. Garish sind nicht zurück. Sie waren nie weg. Und so soll es auch bleiben.

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

HET VERMOEDEN - anders dan de titel zou vermoeden - is concreter dan mijn cryptische debuutalbum. Bij momenten ook ernstiger. Met liedjes over moeilijke mannen, andere vrouwen, broers, dochters en vaders. Liedjes over op reis gaan, settelen en middagdutjes.

Het is bovenal een eerbetoon aan de mensen rondom. Buren, vrienden en familieleden. HET VERMOEDEN is een intiem album geworden, recht uit het hart. Dichterbij ga je als luisteraar voorlopig niet komen...

Ik ben benieuwd naar wat ons mensen drijft. Wat er omgaat in onze hoofdenen onze harten. Ik tast vermoedens af, maar de hele waarheid krijg ik natuurlijk niet te pakken. Het is hoogstens een rake benadering.

HET VERMOEDEN was in zekere zin al af voordat ik eraan begon. Ik had het geluk om tijdens het schrijfproces de nummers al live op mijn gitaar te kunnen uitproberen. Nummers waarvan ik vermoedde: dit gaat iets worden.

Ik ging dus de opnamestudio in met een reeks uitgewerkte en doorleefde liedjes, die ik vervolgens live inspeelde met bassist Dries Laheye en drummer Simon Segers. Producer en mixer Frederik Segers waakte over de eenheid in sfeer en klank. Hij leverde prachtig werk af; het album klinkt buitengewoon warm en tijdloos.

Blasé is a French-American pop artist, composer, arranger, producer, singer and author. Since his childhood and adolescence in New York, he experimented, mixed together 70s rock, electronic music, disco and hiphop, to create a sound that will take him directly to Paris with his first band Haute, with Anna Majidson. A first hit will be born, «Shut Me Down», whose session Colors accumulates more than 30 million views on YouTube.

After this first success, and following numerous collaborations with various artists such as Agoria, DJ Pone, Lala&ce, Niro or Jwles, he found his musical signature and started solo. The UFO Blasé released his first EP «Why Blasé? » in 2023 on Record Makers label, a unique fusion of Chic, The Strokes and Manu Chao.

Blasé releases his first album «BLABLABLA» in 2025, an album that stands as a personal manifesto of his sound obsessions that open almost as many tracks: 15 original titles in search of the groove.

With his educated ears to the radio and charts across the Atlantic, he honors this generous vision of pop that encompasses old-school hip-hop, R&B, jazz, funk, disco and new-wave, and navigates between different styles in the manner of American artists. Some songs are in French while others are in English, featuring singer Anna Majidson, rapper Jwles, and the late American artist Cola Boyy. So we go on «BLABLABLA» from a studio haunted by Quincy Jones to a cellar where he rehearses The Cure of «Boys Don’t Cry».

Five for Fighting achieved a hit record with "Superman (It's Not Easy)" in 2001 leading to his America Town album going Platinum.

For the follow-up, The Battle Of Everything, John Ondrasik went into the studio with Bill Bottrell, best known for his production work with Sheryl Crow.

On the influences behind Battle and its recording, Ondrasik said, "When I was a kid I could put on Dark Side of the Moon, turn up the sound in my headphones, lie down in the dark, and go away. I wanted that experience again, and so Bill and I were ambitious to the point of absurdity. If we wanted drama, we'd get a thirty-piece orchestra. If we wanted a rock edge, we went after it with reckless abandonment. It was like doing my own private Quadrophenia."

The Battle for Everything was released in 2004. The first single, "100 Years" was a top 40 hit on the Billboard Hot 100 chart. The album itself was certified Platinum in 2009. and is now finally available on vinyl for the first time.

This is a limited edition of 500 individually numbered copies on gold coloured vinyl. The LP contains a 4-page booklet with lyrics and pictures.

The Vogue Years Vol. 3 by Johnny Hallyday, released 21 February 2025, includes the following tracks: "Bien Trop Timide", "Depuis Qu'ma Môme", "Ce N'est Pas Méchant" and more.

This version of The Vogue Years Vol. 3 comes as a 1xLP.

The vinyl is pressed as a picture disc disc.

High Roller Records, reissue 2025, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert printed on uncoated paper

High Roller Records, ULTIMATE EDITION, 4th pressing, 180g black vinyl, ltd 350, 425gsm heavy cardboard cover, lyric insert, poster, black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels.

High Roller Records, ULTIMATE EDITION, 4th pressing, 180g black vinyl, ltd 350, 425gsm heavy cardboard cover (revised) , lyric insert, poster (revised), black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels

WHO IS ULTAN O’BRIEN? Ultan O’Brien is a fiddle player and composer from the wilds of County Clare in the West of Ireland. Ultan is a performer as well as a regular at sessions all of Ireland and can be found by chance in any pub in Dublin, Cork or some remote village on the edge of nowhere, flying jigs and reels around the room. Ultan was reared in the rich tradition of Irish music which is so commonly found and heard in Co Clare, but he also delves deep into sound art and experimental music. He has often been heard in the back of a car after a few pints quoting lines from Alvin Lucier or speaking at length about improvisation and its place in modern Irish music. Ultan O’Brien is a fresh and vital player who has much to offer with his unique approach and technique to a tradition so old and ever ready for a subtle change every 100 years or so. Ultan has played and recorded with people and bands such as Skipper’s Alley, Eoghan Ó Ceannabháin, John Francis Flynn, Slow Moving Clouds, Cuar, Laura Jurd, Martin Green, Natalia Beylis, Paul Roe and Nic Gareiss. ‘in its Ultan’s fiddle playing sincerity of tone it reminds me somewhat of those great caoineadh which were played with such elusive grandeur by Denis Murphy and Pádraig O’Keefe’ Adrian Scahill ‘lets the heart brighten and the feet tap’ Richard Hollingum -KlofMag


ABOUT THIS WONDERFUL ALBUM: ‘This album, Dancing the Line, is my first solo album of music played on an alternatively-tune alto fiddle. I found that the resonance and growl of this lower tuned instrument sat me perfectly into the sound-world I wanted to be in, giving vibrancy to my own compositions and nestling into the traditional music I grew up with.’

Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann (SML, Anna Butterss, Duffy x Uhlmann, Perfume Genius), Josh Johnson (SML, Jeff Parker ETA IVtet & New Breed, Meshell Ndegeocello, Anna Butterss, Leon Bridges), and Sam Wilkes (Sam Gendel, Louis Cole, Chaka Khan). The three improviser/arranger/producers' impressive individual credits encompass such a wide stylistic pendulum swing that a collection of group music from the trio could mine any number of musical territories with masterful results. I n these 11 instrumental songs, the trio explores a spacious lyrical curiosity that could b e described as a jazz-informed take o n progressive electro-acoustic chamber music.

Conceived during two live shows at ETA and a session at Uhlmann's house in Los Angeles, the album maintains a focus on beauty, melody, and rhythm as the pieces unfold, with the trio pushing their instruments and highly-dialed effects to sculpt otherworldly sounds with the collective sensibility o f a rhythm section. The ethos of these instant compositions is arrangement-minded improvisation that showcases the mournful beauty of Uhlmann's fingerpicked electric guitar, the hybrid rhythm-lead of Wilkes' bass chording, and the textural harmonic worldbuilding of Johnson's effect-laden alto saxophone.

"The Sunlandic Twins" markierte 2005 einen Wendepunkt für Of Montreal, als sich Songwriter Kevin Barnes einem stärker elektronisch-tanzbaren Sound zuwandte. Die lebendige Mischung aus Synthie-Pop und Psych-Rock wurde zum kommerziell erfolgreichsten Of Montreal-Album mit mehreren kultigen Fanfavoriten. Zum 20-jährigen Jubiläum veröffentlicht Polyvinyl die "The Sunlandic Twins (20th Anniversary Edition)", von Miles Showell in den Abbey Road Studios auf halber Geschwindigkeit neu für Vinyl remastert. Sie enthält das auf 45rpm neu geschnittene Originalalbum sowie einen digitalen Download mit einer zusätzlichen Fundgrube an Bonusmaterial, darunter bisher unveröffentlichte Raritäten, B-Sides, Coverversionen, Remixe und Livetracks, die einen tieferen Einblick in den kreativen Prozess hinter dieser faszinierenden Platte bieten. Neu verpackt auf holografischem Goldpapier samt Booklet mit noch nie zuvor gesehenen Skizzen des Cover-Artworks von David Barnes und einem Vorwort von Kevin Barnes.

A new pressing of last years, end of year poll favourite album THE COURETTES `The Soul Of_' LP on ORANGE VINYL! "Ultra-catchy. A wicked side of garage soul" - CLASH // "One of their catchiest pieces yet, Sassy, groovy, toe-tapping" - CLASSIC ROCK // "A giddying rush of noise" - MOJO // "The real sound of now busting through my door, new songs that keep kicking the history forward. I can't imagine my turntable without The Courettes" - David Fricke, ROLLING STONE // And features SHINDIG MAGAZINES Single of the year 2024 `Keep Dancin'.

"Supplicium" represents a perfect balance between tradition and modernity. On one hand, the lyrical concept and epic atmospheres transport the listener to the age of the Roman Empire, evoking visions of triumphant marches and blood-soaked arenas. On the other hand, the sound becomes increasingly technical and refined, with tight riffs, relentless rhythmic sections, and flawless production that enhances every detail. The album, crafted with meticulous care, succeeds in combining the brutality of death metal with highly complex instrumental passages, showcasing a band in constant evolution. With "Supplicium", ADE reaffirm their role as champions of a death metal where historical tradition and modern sound coexist, creating an experience that is both ferocious and captivating.

"Supplicium" represents a perfect balance between tradition and modernity. On one hand, the lyrical concept and epic atmospheres transport the listener to the age of the Roman Empire, evoking visions of triumphant marches and blood-soaked arenas. On the other hand, the sound becomes increasingly technical and refined, with tight riffs, relentless rhythmic sections, and flawless production that enhances every detail. The album, crafted with meticulous care, succeeds in combining the brutality of death metal with highly complex instrumental passages, showcasing a band in constant evolution. With "Supplicium", ADE reaffirm their role as champions of a death metal where historical tradition and modern sound coexist, creating an experience that is both ferocious and captivating.

On her forthcoming record, Rose Cousins holds our hands as she guides us on a journey through the "conditions of love." Ever the emotional explorer, the acclaimed, Nova-Scotia-based folk artist seeks truth, in all its imperfection, in the depths of our most complicated of emotions: love. Co-produced with trusted friend and longtime bandmate Joshua Van Tassel, this new collection of songs sees Rose return to her first love, the piano. “Piano is where I feel the most connected. It’s the best partner in expressing the emotion I’m mining,” she shares. Rose’s work as garnered her two JUNO Awards (2013’s We Have Made a Spark & 2021’s Bravado), two Canadian Folk Music Awards, eleven East Coast Music Awards and one Grammy nomination (2018’s Natural Conclusion), along with praise from the likes of the CBC, No Depression, LA Times, Billboard, Folk Alley, and NPR, who raved “Cousins’ disarmingly fluid vocal tone has the ability to convey the most internalized feelings without an ounce of fuss.” Over the years, she has shared stages with Patty Griffin, Mary Chapin Carpenter, Jann Arden, Bruce Cockburn, Josh Ritter, Kathleen Edwards, Joe Henry, Aoife O’Donovan and Anais Mitchell, and her music has fittingly underscored scenes from notable TV shows including Grey’s Anatomy, Fire Country, Station 19, and Batwoman, along with several independent films.

Sun Ra was a master of misdirection. Tape boxes wrongly labeled—whether by accident or design—are legendary among Ra archivists. One can speculate about the artist's intent or carelessness, but source misinformation abounds on Ra tape cases, album jackets, cassettes, ephemera—as well as in interviews. It's as if Ra, in furtherance of his own mythmaking, wanted to keep historians guessing.

This project began as a misidentified tape discovered by Michael D. Anderson of the Sun Ra Music Archive. The 7-inch reel, which contained a live Ra solo piano performance of 11 works—some recognizable, others not—was of stellar quality, and was marked as a 1979 Carnegie Hall date. But the program on the tape did not align with known facts (e.g., titles played, concert duration) which were chronicled in a Newsday review of Ra's appearance at Carnegie in September of that year. With a prod from writer/historian Ted Gioia and further research by myself, the tape was eventually identified as a mostly unreleased July 1977 performance by Ra at a downtown NYC "jazz café" called The Axis-in-Soho.

Sam Moss is a songwriter and instrumentalist based in Virginia. His next LP, Swimming, will be released on February 7th, 2025. Past albums have been acclaimed by publications like The Boston Globe, NPR, The Wire, and Paste. He has played hundreds of shows around the country and shared bills with Jake Xerxes Fussell, Joan Shelley, Diane Cluck, Doug Paisley, and others. He is also a woodworker.

Of all the artists who recorded for the Black Jazz label, keyboardist and composer Doug Carn was the most prolific, releasing four albums for the imprint. 1972’s Spirit of the New Land was his second Black Jazz release, but the first one (of two) to co-feature his wife, vocalist Jean Carn. It’s the most collectible of the bunch, showcasing Carn’s innovative approach of adding lyrics to jazz standards like Miles Davis’ “Blue in Green” and Lee Morgan’s “Search for the New Land,” while originals like “Arise and Shine” and “My Spirit” soar with spiritual fervor on the wings of his wife’s five-octave range.

Along for the ride are a stellar cast of players, including trumpeter Charles Tolliver, co-founder of the Strata-East label; saxophonist George Harper, who played with Herbie Hancock and Jimmy Smith among others; trombonist Garnett Brown, who appears on albums by Roland Kirk, Albert Ayler, and Art Blakey among his hundreds of album credits; tuba player Earl McIntyre, whose discography spans from Carla Bley to the Band; and drummer Alphonse Mouzon, founding member of Weather Report. This beautiful, uplifting album also comes with liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that feature excerpts from a freewheeling interview conducted with Doug Carn himself. Pressed in blue with black swirl vinyl limited to 750 copies!

JP’s historic restoration carpentry has continued to be a baseline for his relationship to music; the yin to his yang, the Burt to his Ernie, the Dolly to his Porter. It was through this concurrent line of work that he met another twice-initialed singer with a penchant for old Americana music, obscure film, and overly elaborate ethnic meal preparations: one JD McPherson. The two became fast friends and would eventually, through many twists, turns, false starts, and biblically-proportionate plagues, enter a modest studio in Nashville to record Harris’ latest album.

Over the course of nine months in 2023, they recorded a sometimes lush, sometimes sparse, and sometimes jarring country album of Harris’ originals, loudly and violently squelching any attempt to pigeon-hole a song into any subgenre of country music. Only albums by Lee Hazelwood and an obscure folk album Waylon Jennings made when his hair was still short were allowed to be mentioned in reference. Featuring the guest vocals of Erin Rae, The Watson Twins, Shovels & Rope, and producer JD McPherson himself, the record is equal parts satire, reflection, and apology to those that would listen.

In a musical landscape of period-correct reproduction, “outlaw” internet posturing, and flavor-of-the-month variants on country,

“JP Harris Is A Trash Fire” burns bright as a dumpster in a Walmart parking lot on a moonless night; some will fear it, some will gravitate to its acrid warmth, and most will have no idea what to make of the situation. Harris has been steadily elbowing the definitive boundaries of “country music” wider with every album, both sonically and lyrically, and his latest piece of self described “Avant-Country” is no exception.

Lee Hazlewood made his bones producing and cowriting with guitarist Duane Eddy during the ‘50s, and then cemented his immortality with the classic sides he produced for Nancy Sinatra during the ‘60s. Over the past few decades, though, attention has turned to Lee’s idiosyncratic solo work, the heart of which he recorded for the Reprise label and his own LHI Records. Issued in 1968,

Love and Other Crimes is one of his Reprise releases, and it’s one of the weirdest records in his entire catalog. Recorded in Paris with such legendary Wrecking Crew members as guitarist James Burton and drummer Hal Blaine, Hazlewood sounds every bit the bon vivant (read: half drunk) as he swings from country ballads to lightly psychedelic pop highlighted by his rockin’ cover of Bonnie Dobson’s “Morning Dew.” Other highlights include “Rosacoke Street,” which presents him at his most psychedelic lounge lizard-esque, (think a Hunter Thompson character from Fear and Loathing in Las Vegas) and his moving “Wait and See,” an apology for bad behavior to an absent lover.

We’ve enlisted Mike Milchner to remaster this one for vinyl… don’t miss Lee’s stream-of-consciousness back cover notes, either. Pressed in sea blue vinyl limited to 1000 copies!

The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.

But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!

The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.

But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!

An intimate recording from the Blues hall-of-famer that puts you in the room with 3 Blues legends!

Remastered by multiple Grammy winner Michael Graves.

One of Candid’s historic blues releases, Memphis Slim, U.S.A. finds the Blues Hall Of Fame inductee in a rare, relaxed setting with two close friends and fellow blues icons, Jazz Gillum and Arbee Stidham. The intimacy—from their loose interplay and improvisation to the eerie realism of the recording—is palpable and feels more like an invitation to their inner circle than a commercial release.

Grammy-winner Michael Graves’ sensitive remastering brings Memphis Slim, U.S.A. to life, letting listeners in as the piano legend and his buddies offer a musical history of the blues from its Southern juke-joint roots up to its Chicago-style move toward R&B.

Memphis Slim, U.S.A. is an essential document that Candid is proud to bring back to the blues canon.

FIRST TIME EVER ON LP
LIMITED EDITION CLEAR VINYL - ONLY 1000 UNITS PRESSED
COMPACT DISC BACK IN PRINT FOR THE FIRST TIME IN 10 YEARS - Now On 8 Panel Digi-Pak
FINAL SMITHEREENS ALBUM WITH ORIGINAL LEAD SINGER PAT DiNIZIO
PRODUCED BY DON DIXEN (REM, GIN BLOSSOMS, MARSHALL CRENSHAW)

“Crushing chronic chords with the dyne-rhythm section to fuel it all, are not only still here, but stronger than ever”. No Depression

"Everything in Smithereens' world is like a film noir shot in psychedelic colors. But this New Jersey band has a talent for creating fresh variations that prevent dust or mist from clouding their music. "Smithereens 2011" reaches a peak with the song that opens the album, the sour-tempered yet utterly transporting "Sorry.” Ken Tucker, NPR

"Wholly satisfying blast of classic Smithereens songcraft and melodicism, colored with Pat DiNizio’s impassioned vocals, Jim Babjak’s thick-toned, stinging guitar, Dennis Diken’s imaginative, powerful drum work and Severo “The Thrilla” Jornacion’s stylish bass. The entire collection sounds like a return to The Smithereens’ mid-to-late ’80s glory years, both song and performance-wise.” GOLDMINE MAGAZINE

“And 2011’s songs – the songs! – vintage! Picks up where Green Thoughts left off. Pop Dose

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

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The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

Freivogel / Sinclaire with their debut Untitled consisting of three live recordings made using only a concert flute and an Octatrack M1. The recordings are live taken from improvised sessions and have been left unedited.

Shifting between playful and austere, the simple goal for these sessions was honest improvisation; comfortable in both its limits and potentials. Placing classical instrument performance and extended playing techniques alongside heavy sonic processing and cavernous acoustics, they are in some ways uninfluenced by genre, governed only by a drive to find moments of clarity amidst chaos.

Recorded in single takes using a simplified setup of the flute – played into a microphone and wired through an Octatrack – every sound heard in the recordings comes in one way or another from the flute as a single sound source, manipulated and looped on the fly with additional live improvisation over the top.

The result is a timeless capsule of heady drones, offbeat electronics, and mischievous flutes, captured during a time when the world stood still. Scuzzy at times, glistening at others, and ever-optimistic in the pursuit of something new.

Adam Sinclaire is a flautist who has worked with artists such as Billy Bultheel and Ziúr, recorded for labels including PAN and Purple Tape Pedigree, and performed for institutions including KW Institute for Contemporary Art, Schinkel Pavillon, and Martin-Gropius-Bau. His practice focuses on using extended playing techniques to explore the limits of the C flute.

Marco Freivogel is a producer and composer who has released an extensive discography on labels including Mannequin Records and Veyl, and collaborated with artists including dBridge, Mare Nero and Mathew Jonson, remixing artists as diverse as Hercules & Love Affair, Shackleton and Yappa. His Prequel Tapes project sits between utopian and claustrophobic, tracing harsh industrial atmospheres and levitational ambient from a lifelong obsession with sonic extremes. Marco currently works on compositions for film and television, alongside his own releases and collaborations. The EP will be released on 14 February 2025 as limited vinyl and digital via Midnight Shift. Art direction by Mauro Ventura.

All record profits from this release will go to 3ezwa.de, providing financial and legal support to those facing repression for their commitment to the Palestinian cause.

Mitte März 2025 veröffentlicht Ninja Tune ein Reissue des legendären Albums 'Adventures in Foam‘ welches das einzige Album von Amon Tobin ist, das unter dem Namen Cujo (portugiesisch für „dessen“) veröffentlicht wurde. Diese ultimative 3xLP-Wiederveröffentlichung bringt zum ersten Mal alle Tracks zusammen und bietet damit eine umfassende Version des Albums.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

Founded in Lombardy in early 2023 and now hailing from different parts of Italy, RESCÜE CAT is an energetic hardcore band bursting with attitude and... love! Starting off as friends in the local scene, they're now ready to make their mark as one of the fresh faces of Italian hardcore. With performances at major events like Venezia Hardcore and Built to Blast already under their belts, they've developed a distinct style that mixes intense, emotional lyrics, tight compositions, and dreamy imagery.

Pink vinyl. Founded in Lombardy in early 2023 and now hailing from different parts of Italy, RESCÜE CAT is an energetic hardcore band bursting with attitude and... love! Starting off as friends in the local scene, they're now ready to make their mark as one of the fresh faces of Italian hardcore. With performances at major events like Venezia Hardcore and Built to Blast already under their belts, they've developed a distinct style that mixes intense, emotional lyrics, tight compositions, and dreamy imagery.

Die experimentelle LP Krazy Karl von NNAMDI aus dem Jahr 2020 wurde von dem Looney Tunes und Merrie Melodies Komponisten Carl Stalling inspiriert. Eine fast komplett instrumentale Reihe von surrealen, jazzigen, cartoonhaften Drehungen und Wendungen, die daran erinnern sollen, wie es ist "wenn dein Gehirn versucht deinen Schädel zu verlassen, du es aber immer wieder in deine Nase zurückstößt". Es ist eine weitere Reizüberflutung von einem Künstler, der zu erfinderisch ist, um ignoriert zu werden. Nicht als Streaming verfügbar und ursprünglich in einer kleinen Auflage von 300 LPs veröffentlicht, die sofort ausverkauft waren. Hier die 2025 Nachpressung.

Orange/Black/Sunburst Vinyl "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Purple Vinyl. "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Akae Beka’s inimitable style, developed over decades of performing with St. Croix based band Midnite and countless recordings (including the 2014 iTunes reggae album of the year BEAUTY FOR ASHES and RIDE TRU). At the point of his untimely passing in 2019, he had released over 70 LPs. He is without a doubt one of the most prolific reggae artists ever known and his quantity is always matched with quality, with his albums consistently featuring in the top 10 on the Billboard charts reggae LPs.

This LP, Topaz, is a unique contribution to the sea of Akae Beka titles, showcasing Vaughn Benjamin in a stripped-back, raw acoustic fashion. An LP that will not be easily confined to any genre, but for the fans of Vaughn's uniquely rich, deep, textured songwriting, uncompromising devotion to RasTafari and soulful healing melodies an absolute must-have!

Falling Ethics welcomes Berlin based Nastia Reigel with a first full EP for the label. Having contributed one track to last year's label anniversary compilation, she now delivers four of her excellent forceful techno jams to form the Over And EP. Over the course of four tracks there's a constant tension that combines sturdy drum patterns and propulsive grooves. The kick drums are playful and the thundering bass lines strengthen this impeccable outburst of energy even more. It's a high intensity pack of dancefloor focussed techno with many mischievous details that stand out.

When it comes to musical discovery, sometimes the stars just align. DJ and record collector, Steve KIW, put Mr Bongo onto this amazing Chilean cover version of Jamie Principle & Frankie Knuckles' all-time classic 'Your Love'. Despite being originally released 13 years ago, it had recently started to prick the ears of house and Balearic connoisseurs in the UK, further cemented by inclusions in the Idjut Boys epic sets. Steve heard them play it, tipped us off and it soon became a favourite at Mr Bongo HQ.



By pure chance when the Mr Bongo DJs joined Luke Una to play at La Paloma ballroom in Barcelona a few weeks later, Luke dropped this incredible interpretation at the peak of his set. A good friend of his, Michelle from Huddersfield, had also put him onto the track and he instantly fell in love. A serendipitous coming together, 'Tu Amor' seemed like the perfect next instalment in the E Soul Cultura discography. The version in question was released in 2012 as part of a digital-only EP.



It came courtesy of the Chilean DJ, producer and singer Mamacita (Carolina Vallejos) and producer Sebastian Roman, aka Persona RS. Meeting Sebastian while out partying in Santiago during a boom time for electronic music in Chile, their shared passion for making house music in Spanish and their admiration for Frankie Knuckles led to the creation of this raw and unique cover version. Recorded on lo-fi equipment, including an old Windows laptop and a borrowed Neumann microphone, it nods to the DIY ethos of the early Chicago productions. The result is a stripped-back, quirky cosmic take on a stone-cold classic, full of squelching synthlines and Carolina's stunning Spanish vocals, that became a club hit on Chile's underground circuit. However, aside from some Latin American and US DJs picking it up, it never got the international recognition it deserved.



Fast forward to 2025, and E Soul Cultura is proud to present the glorious 'Tu Amor' on vinyl for the first time, backed with a new, extended, club re-edit by E Soul Cultura captain Luke Una and Luke Solomon (Classic Music). On first hearing 'Tu Amor' Luke Una recalls, There was a real charm to it, it was quite an unorthodox arrangement, a huge wonkiness and just sounded so DIY in a brilliant way. I was chatting to Luke (Solomon) about how much we loved it and we decided to re-edit it together. Accentuating the wonk of those crazy synths, we've extended it to make a fiercer underground club tool, without taking away that very charming cosmic feel.

44th Move is the combined creative force of pianist & composer Alfa Mist, alongside drummer & producer Richard Spaven. As individuals, the duo have solidified their unrivalled reputations as world class Jazz talents, as exemplified by Alfa’s hugely influential albums such as ‘Antiphon’ & ‘Variables’ and Richard's legendary drum work with the likes of Flying Lotus and Goldie. Initially causing a stir back in 2020 when their joint project first emerged with their genre busting forays into Dance and Hip Hop.

Moving into 2025, they now prepare to elevate the levels, and unleash their debut collaborative album ‘Anthem’ via trailblazing Bristolian label Black Acre. Presenting their debut LP, the pair strive to continue the tradition of adopting a mindstate centred around research and development - pushing themselves to continually learn and grow, raising the bar and uplifting the art form.

Launching with first single ‘The Move’, cascading chords elegantly pave the way for Detroit-based rapper Quelle Chris to take centre-stage and deliver purpose-driven lyrics, calling for grit and consistency through life’s challenges. Second single ‘Free Hit’ deploys a scattered junglist break, punctuated by mysterious chord progressions and an enticing, gradually unfurling brass section. Also featuring guest appearances from Bristol turntablist royalty Awkward, ‘Anthem’ moves seamlessly through diverse sonic terrains, the LP traverses Hip-Hop, Techno & DnB, whilst remaining firmly its Jazz-centric sensibilities. On the album’s creation, Richard Spaven says - "The essence of 44th Move is to take the traditional disciplines of live musicianship into electronic forms and compositions. Alfa and I have an aligned appetite to break new ground with every project we do and this is the core ethos of the album".A refined, shifting and accomplished album, it highlights the moment of magic waiting to happen when great minds meet

This new record from Black Swan evokes a desolate post-collapse world that is detailed with haunting choirs, mangled tapes and distant industrial sounds. The album unfolds like a requiem by pulling beauty from the ruins of a collapsed society. With an hour-long narrative, it shifts between rippling hums and plaintive quivers of old cassettes, slowly revealing a heart that beats beneath the crimson haze. Tracks like 'Overture' and 'Back to Dust' offer cinematic grandeur and mournful exploration, while 'Pseudotruth' and 'New Gods' introduce eerie uncertainty. In the end, the album serves as a haunting meditation on loss, memory and the fragility of civilisation.

Konstrukt 5 by Buntspecht, released 14 March 2025, includes the following tracks: "So viel zu sehn", "Die Stadt in Dir", "Wenn Du jetzt gehst", "Reprise" and more.

Imbued with the spirit of their late uncle, the qawwali master Nusrat Fateh Ali Khan, Rizwan-Muazzam Qawwali have returned with another deeply accomplished, moving collection of songs that ache with the frenzied anxiety of falling in love and dreamy desire of devotion, At the Feet of the Beloved. Their vocals and arrangements are refined and, together with their party, they build a world that helps the listener connect to another one. Brothers Rizwan and Muazzam Ali Khan are the contemporary torchbearers of the rich Qawwali musical tradition using their extraordinary voices to transport listeners to another, spiritual dimension. Performing together since the late 1990s, Rizwan-Muazzam Qawwali have developed a devoted worldwide following with their exceptional live shows and acclaimed albums, including A Better Destiny and Days of Colour. In great demand with global followers, Rizwan-Muazzam Qawwali have performed at festivals and venues including Barbican London, WOMAD festivals in the UK, Australia and New Zealand, and some of North America’s most prestigious performing arts centres.

Selten hat Tenorsaxofonist Archie Shepp so radikal und furios geklungen wie im Titelstück von ”The Magic
Of Ju-Ju”. Angetrieben von den hypnotisierenden Rhythmen eines fünfköpfigen Percussion-Ensembles
beginnt Shepp das Album mit einer schier atemberaubenden, über 18-minütigen Tour de Force an der
Schnittstelle zwischen Free Jazz, Panafrikanismus und Spiritual Jazz. Im Kontrast dazu wirken die drei
Stücke der zweiten Seite des Albums, die ebenfalls aus der Feder des Tenorsaxofonisten stammen, fast
hon traditionell jazzig - soweit das bei Shepp überhaupt möglich ist

PRESENTED IN AN OPAQUE GREEN WITH BLACK AND ORANGE SPLATTER PRESSING HOUSED IN A DELUXE GATEFOLD JACKET

One year after coming out of early retirement and releasing his 11th studio album Can't Stay Away, Too $hort dropped his 12th studio album You Nasty in the year 2000. With over twenty years in the game, Too $hort don't stop mackin' or rappin' and spits his pimp game over West Coast funk-laden tracks with some Dirty South influences for the Y2K. Get On Down in partnership with Sony Music's CERTIFIED is proud to present You Nasty for the first time on vinyl. The album is pressed on colored vinyl with 3 bonus instrumentals and packaged in a deluxe gatefold jacket.

World Why Web is KABAAL aka Jakob Warmenbol’s first solo album. It is the hallucinated and brilliant fruit of a long journey of exploring a more adventurous setup for improvised drum performance. Reinventing the work with sensor equipped drum kits, KABAAL playfully improvises songs with samples ranging from car engines, to Paul Dunmall’s bagpipes, Ligeti’s harpsichord piece Hungarian Rock, or a Chinese television series from the seventies. You get it : just about anything as long as it isn’t drums! This innovative approach allows him to create dialogs between instinctive and awesome drumming and improvised digital poetry. As if Autechre was meeting and merging with Zach Hill and Tony Allen at the same time. It also extends and changes the functionality of the drum kit, making it a tool to create odd melodies and landscapes of atonal synths and distorted noise.

Repress as neon green vinyl!

Non Phixion drops a re-realse n of the group’s classic debut “The Future Is Now.” Available exclusively through Fat Beats. “Utilizing beats that would do Dr. Octagon-era Dan “The Automator” proud and rhyming schemes that bring to mind early Wu-Tang Clan or mid-’90s Gang Starr, Non Phixion exposes the sound of true underground hip-hop. This is music that reflects the sound and attitude of countless rappers selling their albums out of the back of their cars or in booths on the street, cutting together dirty and disjointed sounds with a confidence and quality that is unique to this particular genre. This would all be for nothing if it wasn’t for the excellent raps from Ill Bill, Goretex, and Sabac Red, a trio of rappers who have a Tribe Called Quest-like chemistry. Their clever lyrics, respectable skills, and rough voices make this an intense and dark landmark in alternative rap.”

Pioneering electronic harpist Lara Somogyi and award-winning pianist/composer Jean-Michel Blais present their new album, désert. The album emerged from a serendipitous encounter at Lara’s remote studio amidst the serene expanse of Joshua Tree. Entirely improvised, it captures the natural, organic interaction between the two artists, reflecting both their intuitive musical connection and the true essence of the moment in which they recorded it. Inspired by the passage from dawn to dusk, their improvisation distilled into eleven tracks – mirroring a journey from illumination to obscurity, from simplicity to intricacy, and from strangers to kindred spirits. Melodies convey transcendence and harmonies channel synchronicity – weaving an unforeseen, timeless narrative.

Very little is known about Joe Prichard or his sidekicks, except that the band, which hailed from Missouri, drew its inspiration from influences far and wide, resulting in each of the five tracks being very different in character, ranging from the power chords and staccato guitar breaks of the Jimmy Page variety, to the throaty sax of 12-bar blues specialists Climax as well as the dual guitars of ZZ Top. There’s even a nine-minute jam a la Jethro Tull or Traffic with flute and sax giving a decidedly jazzy feel to proceedings. Originally released in 1974, this is another extremely rare record now reissued by Riding Easy Records. "Pro-sounding 1970s rarity with a ballsy rock sound and songs ranging from ambitious prog over bluesy bar-rock into macho FM rock postures. It’s solid across the board with excellent guitar leads, soulful vocals, and a versatile band. Keyboards, woodwinds and elaborate arrangements provide a prog-AOR vibe that may turn some off, although there’s enough groove to keep one’s attention throughout the four long tracks." – (Acid Archives)

You may not require any introduction to the members of ROACH SQUAD, or at least one or two of the band. Needless to say, Hugo Mudie (The Sainte Catherines), Frankie Stubbs (Leatherface), Graeme Philliskirk (Leatherface) have all graced the Paradise Gutters around the Punk Rock world for some time. Joining them is Alex Keane (The Murderburgers), along with another local Sunderland Lad, Sim Robson. As with many of the members previous works, a DIY approach to writing and recording the album was taken. The bulk of the recording took place at their own Rocket Studios in Sunderland, UK with the exception of Hugo laying down the vocals from his home in Montreal (Quebec, Canada). Some of you will have noticed the line-up contains two vocalists, and indeed this is the case. For this new Band, Frankie wanted to take some time out from vocal duties and concentrate on playing his guitar. This sees Hugo taking front stage... Not for every song, though! Who knows what you expect, but what we do ask of you before listening is that you find your comfortable spot, abandon any preconceptions, and as always play it loud.

Eins, Zwei, Drei, ... Iti Eta No. Hier nun das kommende und mit Spannung erwartete neue Heimat-Album! Eingehüllt in das erstaunliche und faszinierende Coverartwork der gefeierten Illustratorin Anouk Ricard, gibt es hier eine handvoll schwer zu klassifizierender Deviant-Pop-Songs von den Olivier Demeaux (Cheveu, Accident du Travail) und Armelle Oberlé (The Dreams, Badaboom). Manchmal sehr martialisch wie Marschmusik, manchmal sehr lyrisch und sanft, tauchen die Klänge von Heimat tiefer in diese verrückten Landschaften ein, indem sie kinematografische Partituren und Samples über Schichten urbaner Kulturen legen und so die Tore der verträumten Blicke und der schattenhaften Geschichten zu öffnen. Das gut produzierte und lesbare, überraschende und explosive Material ist ein echtes Art Brut-Manifest der collagierten Musik. Heißen wir dieses seltsame Paradies willkommen.

A Lost Hi-NRG Gem Returns – After 38 Years!

Another iconic diamond of German electronic disco is finally back on vinyl after 38 years! This is no ordinary reissue – it’s a Mike Mareen production, the mastermind behind the legendary “Love Spy”. Released under his Night’n’Day Records, a label that ruled the ’80s dancefloors, this track is pure Hi-NRG gold.

Enter “Roadrunner”, a high-energy banger from Jeff Harrison, this time hiding behind the alias U.K.. Packed with playful synths, an electrifying tempo, and Jeff’s dynamic vocals, this track is made for the dancefloor—like a fitness trainer hyping you up for that final rep!

But that’s not all! This special edition also includes never-before-released versions straight from the original recording session. Stored on tape, buried in a drawer for 38 years, and now – FINALLY – ready to hit your turntable.

Get it. Spin it. Feel the energy!

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!