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Mit "Strange Horses" präsentiert Downpilot-Mastermind Paul Hiraga sein achtes Album und zugleich eine seiner persönlichsten und vielschichtigsten Arbeiten. Zwischen atmosphärischem Guitar-Pop, feinsinniger Americana und introspektivem Songwriting reflektiert Hiraga die Herausforderungen einer Welt im rasanten Wandel. Die Songs erzählen von menschlichen Beziehungen, inneren Konflikten, sich verändernden Landschaften und den Kräften der Natur. Dabei vereint Strange Horses eingängige Melodien mit emotionaler Tiefe und klanglicher Vielfalt. Von intimen Balladen bis zu weitläufigen, traumhaften Arrangements entfaltet sich ein Album voller Wärme, Nachdenklichkeit und musikalischer Eleganz. Ein zeitloses Werk für Hörerinnen und Hörer, die anspruchsvolles Songwriting und atmosphärische Klangwelten schätzen.

On her debut album Switchbacks, Nashville-based artist Hannah Cole finds inspiration in the image of the switchbacks – sinuous twists in the road that obscure what's ahead. For a young artist making her way in the music industry, it's a powerful image: we can't really know what's ahead for us but – as Cole has learned – you should honk your horn to tell the world you're coming, and otherwise just enjoy the ride. Melding shoegaze and alternative rock with infectious pop melodies and strains of 90s nostalgia, Switchbacks is a commentary on the pursuit of success and how to protect the pure joy and love that lives at our core.

Across the ten tracks of Switchbacks, Cole swings her gaze at many unsettling aspects of the scramble toward success. Lead single "MMA" explores the ugly side of the music industry through the image of Las Vegas. On the brightly off-kilter "Give," she sings, "I feel like I've become an actor, / A TV pastor / climbing up a topless ladder," explaining that "the pursuit of success can feel like buying lottery tickets all the time for money that you'll never see." "Mechanical Bull" seethes with rage as Cole grapples with being seen as just the "girlfriend" in music settings and not being perceived as an equal to her partner, while on "Pitcher," she's paralysed in the face of wanting to achieve perfection. Later, she shrugs off the need to impress on "100 Bucks," reminding herself that she's enough for the people she loves.

Switchbacks is not only a finely-crafted debut album but also a deeply human artifact, tracing an arc that blazes like a comet to the height of ambition and then leaves you in the shimmer of self-acceptance and contentment. "Success is a moment that comes and goes," Cole concludes, "but I think the joy and experience that comes with making music is something I can take with me forever."

Zum 50. Bandjubiläum will es John Watts richtig krachen lassen: Ein neues Album – mit 7 brandneuen Tracks, sowie 4 Neu-Interpretationen (u.a. von »Marliese«) und einem DJ-Remix des neuen Songs »Strings« – wird von einer großangelegten Herbst-Tournee begleitet. Die neuen Songs behandeln dieselben Themen, über die er schon immer geschrieben hat – menschliche Geschichten und den aktuellen Zustand der Welt, aus der Perspektive eines Beobachters mit schwarzem Humor.

Appleton announce the release of a brand new EP, 'Side By Side', which will be released Friday September 4th, marking the first new Appleton body of work in over two decades.
Nicole says: "The reaction to 'Falling Into You' and our first Appleton show in over twenty years has been incredible We feel so grateful that people still connect with these songs and are excited about what we're doing now. This EP feels like the natural next chapter." After reissuing their cult- classic 2003 album 'Everything's Eventual' on vinyl, this January Appleton returned with 'Falling Into You' their first new music as a duo in 23 years.
While nostalgia may have sparked the reunion, 'Side By Side' is firmly focused on the present. Across four original tracks, the EP blends the melodic pop songwriting and distinctive harmonies that made Appleton favourites first time around with a fresh, contemporary sound that reflects where Natalie and Nicole are today. For both sisters, the project has been a reminder of the unique creative bond they've always shared. "We've always had a special connection when we sing together" says Nicole. "Making these songs reminded us of that. It never feels forced it just feels natural." More than twenty years after they first burst into the charts, Appleton aren't looking backwards. They're simply enjoying making music together again side by side.

Mutant und Paramount Pictures präsentieren stolz eine Vinyl-Neuauflage von Lorne Balfes Soundtrack zu „Mission: Impossible – Dead Reckoning“, dem siebten Teil der beliebten Spionageserie des Schauspielers und Produzenten Tom Cruise. Gepresst auf 2x 140 g Gold Key-Vinyl, mit Begleittexten des Komponisten und Co-Autors, Regisseurs und Produzenten Christopher McQuarrie sowie einem Verpackungsdesign von Mo Shafeek. Lorne Balfes Filmmusik zu „Dead Reckoning“, dem siebten Teil der beliebten Spionageserie des Schauspielers und Produzenten Tom Cruise. Die fortwährende Neuerfindung der einst formlosen Franchise durch den Drehbuchautor und Regisseur Christopher McQuarrie – der unterschiedliche Stile und Themen geschickt in einen zusammenhängenden und überzeugenden Mythos einbettet – hat den Komponisten Lorne Balfe dazu veranlasst, dasselbe zu tun. Lornes Filmmusik, die im Laufe der dreijährigen Produktionszeit komponiert wurde, ist nichts weniger als ein Wunder. Sie ist zugleich eine Ode an das Vermächtnis der gesamten Serie und führt die musikalischen Motive fort, die bereits in seinem vorherigen Teil sowie im bei den Fans beliebten „Mission: Impossible – Fallout“ begonnen wurden; die Musik dieser Serie klang noch nie so grandios.

More than 25 years after the start of collaboration with Acid Mothers Temple mastermind Makoto Kawabata (including the INUI series and the classic Kawabata/Youngs release) comes the first proper VHF LP by the prolific quintet. One of an occasional series of “minimalism” inspired LPs by the group, “In A Not C” is a not a barely changing drone, but a wild ride with the band in full flight, rushing along in a glorious swirl of psychedelic madness. Like the band’s well-known 2001 version of Terry Riley’s “In C,” the group uses a small cell of repeating sound as a jumping off point and then gradually revs up to maximum velocity. The current AMT lineup has produced a series of fun and unique variants on the band’s longstanding signatures, with the addition of vocalist/guitarist Jyonson Tsu and drummer Satoshima Nani providing a lightness and nimbleness of touch that resets the context of the band’s usual blazing electric guitar and burbling synth. Both sides here build to a multi-layered crescendo, with loops of Tsu’s gentle vocals competing with frenetic drums, whistling electronics, and guitar that alternates trebly feedback and soft arpeggios. Cut by Golden, pressed in Chicago at Smashed, first pressing on clear vinyl.

The 1993 split point between pop punk and emo is no better illustrated than by
Garden Variety’s self-titled debut. While Billy and Bivouac flirted with the mainstream, this Long Island trio proposed at the post-hardcore prom. Muscular octave guitar chug with a side of late night zine work at the local diner. Backbeat heartbreak, hold the FX. Thank Charles Maggio for your favorite record next time you see him at the Paramus mall.

The 1993 split point between pop punk and emo is no better illustrated than by
Garden Variety’s self-titled debut. While Billy and Bivouac flirted with the mainstream, this Long Island trio proposed at the post-hardcore prom. Muscular octave guitar chug with a side of late night zine work at the local diner. Backbeat heartbreak, hold the FX. Thank Charles Maggio for your favorite record next time you see him at the Paramus mall.

4 tracks by one of the most solid German techno project at the moment !

Mit "Folklore" vertiefen 16 Horsepower ihre unverwechselbare, düster-spirituelle Interpretation amerikanischer und osteuropäischer Traditionals. Das Album verbindet eigene Kompositionen mit radikal neu gedeuteten Klassikern, die die Band in rituelle, minimalistische und zugleich kraftvoll aufgeladene Klanglandschaften überführt. Instrumente wie Banjo, Cello, Hurdy-Gurdy und Bandoneon schaffen ein archaisches Fundament, das den intensiven, eindringlichen Gesang von David Eugene Edwards trägt. "Folklore" zählt zu den atmosphärisch dichtesten und charakteristischsten Werken der Band - dunkel, entrückt und hypnotisch. Ein Album, das die Grenzen zwischen Tradition, Mythos und moderner Alternativkultur auf eindrucksvolle Weise auflöst.

Orson Bramley aka Transparent Sound needs no introduction as he delivers the instant classic slab of Machine Funk. A foundation machine fueled by infinite creativity. “Manufacture Shit” is a timeless classic for the imminent paradigm shift of what has been called “reality”.

Prepare to recalibrate your senses. Now move your body.

BUCHLA MEETS ORCHESTRA IN QUADRAPHONIC SPACE ON CIANI/ORKEST

Suzanne Ciani, Metropole Orkest and Simon Dobson release historic immersive performance in multiple immersive formats including quad vinyl.

Silverlake, CA \\ June 4, 2026 – Electronic music pioneer and five-time Grammy nominee Suzanne Ciani joins the internationally acclaimed Metropole Orkest, conducted by Simon Dobson, for the release of CIANI/ORKEST, a landmark live album composed entirely of new work, created specifically for this unprecedented collaboration.

Recorded at Amsterdam Dance Event (ADE) before a rapt audience, CIANI/ORKEST is not a retrospective. It is a bold, immersive meeting of the Buchla electronic instrument and 50-piece orchestral sound. The result is a sweeping sonic landscape, at once intimate and monumental.

Under the direction of the Metropole Orkest, renowned for its genre-defying collaborations with artists from jazz to contemporary classical - strings shimmer, brass swells and woodwinds echo the organic, fluid qualities that have always defined Ciani’s sound. “This project feels like a homecoming,” says Ciani. “The Buchla was always orchestral to me, an instrument capable of infinite color. Hearing those colors unfold through the Metropole Orkest has been profoundly moving.”

At the heart of CIANI/ORKEST lies Ciani’s lifelong commitment to quadraphonic sound. From her early Buchla performances in the late 1960s to her 2018 release LIVE Quadraphonic, Ciani has treated space as a primary compositional parameter. Working alongside immersive producer KamranV, Ciani continues to explore immersive sound as both artistic and human gesture. Kamran’s decades of work in spatial formats, converge here in service of a singular goal: to let sound behave as it does in the physical world. “For both of us, quad is musical,” Kamran notes. “The way Suzanne works, quadraphonic is nested in — not the technology per se — but the intent you bring to the work.”

The recording stands as a meditation on legacy, evolution, and the enduring dialogue between technology and human expression. The live album captures the electricity of performance, the immediacy of touch plates under Ciani’s hands, the collective of musicians responding in real time, and the audience’s shared immersion in quadraphonic-inspired space.

CIANI/ORKEST is released by Atmospheric/AKP Recordings/CyKiK in multiple double-disc quadraphonic 12” Record packages designed by grammy-nominated designer Rebeka Arce. Each pressing is made regionally to minimize carbon emissions and also contributes to nature via Brian Eno's EarthPercent, the music industry's climate and nature foundation.

The release is encoded using the dublab Quadraphonic Universally Accessible Resource Kit (QUARK). QUARK enables binaural listening via standard 2-channel playback or 4-speaker playback via Involve Audio hardware decoders, vintage Regular Matrix quadraphonic receivers, Dolby Pro-Logic II/Dolby Surround Upmixer (DSU) receivers, or any multi-channel audio interface equipped computer. This album is immersive via all formats: digital download, streaming (Qobuz, Spotify, SoundCloud, Bandcamp), radio broadcast, vinyl and high-resolution Dolby Atmos (Apple Music, Tidal, Amazon HD, IIA), Sony 360RA (Nugs, Amazon HD) and Eclipsa Audio (YouTube).

About Suzanne Ciani
Suzanne Ciani is a composer, pianist, sound designer, and electronic music pioneer whose work spans experimental, new age, classical, and cinematic sound. A five-time Grammy nominee and recipient of the Moog Innovation Award, she continues to perform internationally, captivating audiences with immersive modular synthesis performances.

About Metropole Orkest
Based in the Netherlands, the Metropole Orkest is one of the world’s leading genre-crossing orchestras, known for collaborations with artists including Brian Eno, Herbie Hancock, Snarky Puppy, Jacob Collier, and within contemporary classical and electronic spheres.

Dark Entries helps Suzanne Ciani come out of the closet as Steve! Legendary composer, sound designer, and Buchla maestra Suzanne Ciani has a staggering list of accolades and accomplishments, from scoring Hollywood films to releasing influential new age records to literally designing the Coca-Cola bottle-opening sound. In the late 70s/early 80s, Ciani, while living in New York, acquired an Eventide H 949 harmonizer, which offered high fidelity pitch-shifting. In her words, “When I adjusted the pitch of my voice to 0.80, my natural voice became re-invented as what was clearly a gay man, who I called Steve. I became Steve; and Steve expressed himself as only he could.” Ciani adopted the male persona and collaborated with Peter Baumann of Tangerine Dream on “Steve Goes to a Party.” The track features Ciani-as-Steve adlibbing in decadent and delirious fashion alongside Baumann’s robotically funky beats. Steve would emerge again a few years later at George Louvis’s Stardust Studios in New Jersey, to create “Steve Saves the World,” an absurdist and ecstatic proto-house groover complete with a gospel-esque chorus from the Stardust All-Stars. This EP is rounded out by a birthday wish to Ciani’s then-boyfriend Alfred on “Steve Happy Birthday Wishes” featuring Suzanne. Steve’s Out of the Closet perfectly captures the delirious techno-poptimism of the 1980s downtown avant-garde, with parallels in Robert Ashley’s Perfect Lives or Lynn Goldsmith’s project Will Powers, responsible for the track “Adventures in Success.” The Steve sleeve was designed by Eloise Shir-Juen Leigh, and the record also includes a birthday card with liner notes from Ciani.

This next manifestation of Corvus Corone is a project featuring one As’teka tribal original and 3 collaborators with their own take. All RMX’s are different but stay within the parameters of the original and the label. Get two 12“ and mix for an endless experience.
A trip into the dark heart of the jungle where evil could be lurking anywhere. Are those birds or bats? Was that a gigantic insect crawling? Was that shadow moving? Did you hear that voice? Arghh, is it day or nite? What day is it? I am getting stuck in quicksand - I...am...being...sucked...in...

Ein authentischer Geschichtenerzähler der heutigen Indie-Rock-Szene ist der in Tampa geborene und in New Orleans lebende Singer/Songwriter Thomas Dollbaum, und ,Birds of Paradise" ist sein bisher kraftvollstes und dynamischstes Werk. Nach seinen von Kritikern hochgelobten Alben "Wellswood" (Big Legal Mess, 2022) und "Drive All Night EP" (Dear Life Records, 2025) ist "Birds of Paradise" ein Abschiedsbrief an verlorene Liebste und sein früheres Ich. In diesen Songs sucht Dollbaum nach Akzeptanz an vergänglichen Zwischenorten: in den Kiefernwäldern Floridas, auf Nebenstraßen, die zur 1-95 führen, wo Vögel über das Wasser fliegen. Und obwohl die Geister seiner Alt-Country-Vorgänger Townes und Molina definitiv präsent sind, tritt Dollbaum auf Birds of Paradise aus ihrem Schatten heraus - er winkt der Vergangenheit zu und klingt dabei umso mehr wie er selbst. Dieser Moment - dieses Album - ist längst überfällig. Die Aufnahmen zu Dollbaums beiden vorherigen Veröffentlichungen hatten aufgrund von Umständen, die außerhalb seiner Kontrolle lagen, viel zu lange gedauert, was ihn frustriert zurückließ. Nachdem er acht Jahre lang von zu Hause weg war, war der Ort, den er verlassen hatte, nicht mehr der Ort, an den er sich erinnerte, und die Unveränderlichkeit der Natur fühlte sich wie eine Konstante an, über die er schreiben wollte. Mit einem Gefühl der Unmittelbarkeit schrieb er ,Birds of Paradise" in drei Monaten. Er rief die Musiker an, denen er am meisten vertraute und die er am meisten bewunderte - Nick Corson, Josh Halper und Jake Lenderman - und bat sie, sich mit ihm bei Dial Back Sound in Water Valley, Mississippi, mit dem Produzenten/Toningenieur Clay Jones zu treffen. Sie lernten das Album in vier Tagen ein und nahmen es auf, wobei sie einen Blitz in einer Flasche einfingen, eine klangliche Offenbarung, auf die Dollbaums Songwriting schon immer gewartet hatte. Mit der Hilfe von Lenderman, Halper, Corson und Jones ist ,Birds of Paradise" Dollbaums hart erkämpfter Durchbruch. Lebendig und nachhallend wie Gedichte und Kurzgeschichten, die man nicht vergessen kann: Kojoten heulen, Vögel fliegen nach Süden, Kinder jagen Kaninchen durch das Zuckerrohr und Zigaretten kosten vier Dollar pro Packung. Birds of Paradise erinnert uns daran, woher wir kommen - an die Dinge in uns, die wir vergessen haben - wir brauchten nur Dollbaum, um uns das zu zeigen. So blickt man ohne Angst oder Scham zurück. So sieht Authentizität aus.

The compositions recorded here are a product of work with computers in synthetic speech, song and vocal sounds and were created between 1972 and 1975. The music was realized on two different computer music systems and takes advantage of, and attempts to extend and explore their features. The system employed to realize speech songs was created at the Bell Telephone Laboratories for research in synthetic speech and speech communication. Since the system was not designed for musical purposes, its limitations were severe and its musical use a great (and often rewarding) challenge. The system used for In Celebration and The Story of Our Lives was designed with the expressed purpose of creating synthetic musical voices, and was therefore much better suited to the task at hand. As with any high technology project, there was extensive collaboration in the production of the works.

The works on this disk are called computer music because the sounds were created numerically in a computer before reaching magnetic tape and loudspeakers. The computer did not compose the music. However, it was only used as a sound synthesis and analysis medium. In order to hear the sounds which are represented in the computer as successions of numbers it was necessary to attach a digital-to-analogue converter to the computer. The converter transformed the succession of numbers into a fluctuating voltage which was recorded directly on to audio tape.

The technique used to create the synthetic voices is called speech synthesis-by-analysis. For this method of speech synthesis, only those words, phrases and sentences which have been spoken into the computer previously (via an analogue-to-digital converter) may be synthesized. First the digitally-recorded speech is analyzed by programs which extract the attributes (parameters) of the speech for short time segments (.01 sec.). From these parameters the speech may be recreated in a form which resembles the original recording very closely. But for musical purposes the parameters are most often altered before synthesis. It is possible, for example, to change the natural pitch contour of the speech into a melodic line or to change the speech speed without altering the natural pitch level.

The variety of musical patterns which may be created from the analytic parameters is limited only by the composer's imagination. Most of the speech sounds on the recording were created by changing the pitch and duration attributes of the original on resynthesis, but for a few, the resonances (the formants) of the speech were altered as well. The voice of the book in The Story of Our Lives was created by replacing the program which simulates the sound of the human vocal cords with one consisting of 64 sine tones glissandoing at different rates. All the textures in which more than one voice is heard were obtained by mixing the synthetic voices together digitally.

This album is a beautiful union of the enchanting rhythms of Bossa Nova and the sophistication of jazz. Standout tracks from the album include Garota De Ipanema, Desafinado and Corcovado. This highly requested LP were released on a limitednumbered white viny LP in 2025 and now it will be re- released on 180g 'One Step Pressing' Vinyl LP.

After a career spanning over thirty five years, from UK underground upstarts and outliers, to major success on the international stage - including tours with UK icons Iron Maiden and genre legends Dio - My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.

As part of the “Peaceville Three”, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.

Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, ‘God is Alone’ 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun.

With the addition of all-time genre classic opuses Turn Loose the Swans, and The Angel and the Dark River also representing My Dying Bride’s much-loved early to 90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.

Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.

Anthology of Sombre Reflections also contains 2 large posters depicting the Turn Loose the Swans CD artwork image, plus the original poster included in As the Flower Withers. A selection of photo prints of the band from this era are also included.

Mit ihrem fünften Album Memories of the Future entwerfen The Fourth Wall ein eindringliches Klangbild einer Zukunft in der Krise. Inspiriert von Denkern wie Mark Fisher und Frederic Jameson thematisieren die neun Songs die schwindende Fähigkeit, sich eine lebenswerte Zukunft vorzustellen - und die psychologischen Spannungen, die daraus entstehen. Aufgenommen im urbanen Umbruchgebiet Portlands, spiegelt das Album die Atmosphäre zwischen Verfall und Neuanfang wider: verlassene Industriebauten treffen auf beginnende Gentrifizierung. Diese Kulisse prägt den Sound - eine Mischung aus distanzierten Klangräumen, körnigen Gitarren und kantigen Synths. Die Songs bewegen sich zwischen Nostalgie und Eskapismus: Während City Lights Receding die Sehnsucht nach einer verlorenen Vergangenheit einfängt, erzählt Kármán Line von radikalem Ausbruchswillen und der Suche nach Bedeutung im Spektakel. The Fourth Wall verbinden auf Memories of the Future Indie-Rock mit konzeptueller Tiefe - ein atmosphärisches Album über Stillstand, Überreizung und die Frage, was von unseren Zukunftsträumen bleibt.

Album #4 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Unter den 24 Alben, aus denen sich die Originalausgabe der Avant-Garde-Reihe der Deutschen Grammophon zusammensetzt, die zwischen 1968 und 1971 erschien, zählt die Interpretation von „Paragraph 2
& 7“ aus „The Great Learning“ des englischen Komponisten Cornelius Cardew mit dem Scratch Orchestra
nach wie vor zu den beliebtesten und komplexesten.
Nach Abschluss seines Studiums an der Royal Academy of Music in London zog Cardew 1958 nach Köln
und arbeitete dort als Assistent von Karlheinz Stockhausen im Studio für elektronische Musik des Westdeutschen Rundfunks (WDR).
John Tilbury sagte, dass es Cardews Ziel sowohl mit dem Scratch Orchestra als auch mit „The Great
Learning“ war, „die grundlegendsten Prinzipien der westlichen Kunst und insbesondere das des Künstlers
als Aristokraten zu überwinden. Das Scratch Orchestra war ein Ausdruck der Universalität der Kunst;
Kunst als Lebensweise.“
Diese 1971 aufgenommene Veröffentlichung von „The Great Learning“ ist nach wie vor die wichtigste
Quelle für eine klangliche Erfahrung mit dem Scratch Orchestra und der bedeutendste Beitrag zu seinem
bleibenden Vermächtnis.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard
und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einer neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl.

1998’s OPUS OF STELLAR DOOM ROCK FROM THE SWEDISH LEGENDS,
INCLUDING MICHAEL AMOTT OF ARCH ENEMY ON GUITARS.
FEATURES NEWLY REMASTERED AUDIO & PRESENTED ON LIMITED PEARL ARCTIC VINYL.

Candlemass was formed by bassist & songwriter Leif Edling in Stockholm, Sweden in 1984. Well known for their epic doom metal & continuing their legacy as genre leaders to this day, Candlemass has influenced a generation of the genre’s subsequent greats from My Dying Bride to Paradise Lost - Candlemass themselves taking a large influence from Black Sabbath.

‘Dactylis Glomerata’ was a come-back album of sorts, originally released in 1998, after the band had temporarily been laid to rest after the ‘Chapter VI’ album.

‘Dactylis…’ was an album of more stripped down dirty doom rock, with solid songwriting on display, evoking what some described as a strong stoner vibe, along with some hard rock elements. This was in contrast to the more epic heavy metal inspired compositions from previous albums, which the band were more known for. Having stood the test of time incredibly well, ’Dactylis Glomerata’ is a gem in the band’s rich history spanning four decades.

The album notably also features guitars by Michael Amott of Arch Enemy (ex-Carcass), & also a guest appearance by Ian Haugland from Europe.

This edition of ’Dactylis Glomerata’ is presented on limited pearl arctic vinyl, with newly band-approved remastered audio courtesy of Patrick Engel at Temple of Disharmony.

Limited edition 2LP set - for the first time together the complete Torch Of Freedom sessions. The acclaimed follow up to the classic 'Pick A Dub' and 'Flesh Of My Skin' albums. Original raw Mamba label Jamaica mix plus Keith's UK re-mix and re-sequence. Includes bonus dub 'Crying' previously only available on rare import 7" single.
Features the classic 'Turn The Heater On' as covered by New Order. Extensive sleeve notes by Keith Hudson biographer Vincent Ellis.

Der Breakthrough-Artist sombr hat sein Debütalbum "I Barely Know Her" veröffentlicht. Das 10-Track-Album ist jetzt über Warner Records erhältlich und enthält die Hits „back to friends”, „undressed” und „12 to 12” (inklusive Musikvideo mit Addison Rae), die weiterhin international die Charts stürmen – darunter die globalen Spotify-Charts, die UK Official Singles Charts sowie die US-amerikanischen „Top 40 Radio“ und „Alternative Radio“-Charts. In diesen erreichte sombr schneller als jeder andere neue Künstler der letzten zehn Jahre Platz 1. Auch in den Billboard Hot Rock Songs setzte er ein Ausrufezeichen und verdrängte Hozier nach einem Jahr von der Spitze. In Deutschland befinden sich mit „back to friends”, "12 to 12" und „undressed” mittlerweile 3 Singles in den Top 30 der deutschen Single-Charts und das Debutalbum schoss auf Platz #16 der offiziellen deutschen Albumcharts!
"I Barely Know Her" wurde komplett von sombr geschrieben und vom 20-jährigen Künstler zusammen mit dem renommierten Produzenten Tony Berg (Phoebe Bridgers, The Replacements) co-produziert. Gegenüber i-D gibt er zu Protokoll, die Songs seien inspiriert von „young romance, dimly lit rooms, late nights, and love, loss, and life.” Die Veröffentlichung folgt auf die Nachricht, dass sombr sein Debüt bei den MTV Video Music Awards geben wird – live aus New York am 7. September –, wo er als Best New Artist und Best Alternative Artist nominiert ist.

sombr (bürgerlich Shane Boose) wuchs im New Yorker Stadtteil Lower East Side auf und entdeckte seine Liebe zur Musik als Teenager im eigenen Schlafzimmer. Parallel dazu studierte er klassische Musik an der renommierten LaGuardia High School. Mit dem viralen Hit „Caroline“ (2022) wurde er über Nacht zum Internetphänomen. Seitdem hat er mehrere EPs und Singles veröffentlicht und bringt es inzwischen auf über 400 Millionen monatliche Streams über alle Plattformen hinweg. Heute lebt sombr in Los Angeles und verarbeitet in seinen Songs die Höhen und Tiefen junger Liebe – alles selbst geschrieben, co-produziert und veröffentlicht über Warner Records.

Mit Sowas von Egal Vol. 3 setzt das Hamburger DJ-Kollektiv Damaged Goods seine gefeierte Compilation-Reihe auf Bureau B fort - und richtet den Fokus erneut auf die subversiven Untergrundszenen im deutschsprachigen Raum der frühen 1980er Jahre. Abseits der kommerziellen NDW entstand eine kreative Parallelwelt: Bands zwischen Post-Punk, New Wave, Synth-Pop und Avantgarde veröffentlichten ihre Musik in kleinsten Auflagen oder im DIY-Kontext - roh, kantig und radikal eigenständig. Die hier versammelten Tracks spiegeln eine Zeit zwischen Aufbruch und Unsicherheit wider, geprägt von "No Future"-Attitüde, politischem Druck und künstlerischer Freiheit. Tanzbar, direkt und oft überraschend eingängig: Sowas von Egal Vol. 3 macht vergessene Schätze wieder hörbar - und holt sie zurück auf den Dancefloor.

Barfuß in Scherben ist ein raues, direktes Zeitdokument der frühen deutschsprachigen Punkbewegung - begleitet vom gleichnamigen Songcomic des Ventil Verlags. Mit 14 Tracks aus den Jahren 1979 bis 1986 zeichnet die Compilation jene Phase nach, in der Punk in Deutschland seine eigene Sprache fand: zwischen No-Future-Attitüde, politischem Protest und DIY-Aufbruch. Bands wie Fehlfarben, Slime, Hans-A-Plast oder S.Y.P.H. zeigen, wie vielseitig und radikal diese Bewegung klang - von kantigem Post-Punk bis zu wütendem Hardcore. Entstanden in einer Zeit gesellschaftlicher Spannungen, steht diese Sammlung für eine Szene, die sich unabhängig organisierte und künstlerisch neue Räume schuf. Ein kompromissloser Blick zurück auf die Jahre, "als die Welt noch unterging".

Barfuß in Scherben ist ein raues, direktes Zeitdokument der frühen deutschsprachigen Punkbewegung - begleitet vom gleichnamigen Songcomic des Ventil Verlags. Mit 14 Tracks aus den Jahren 1979 bis 1986 zeichnet die Compilation jene Phase nach, in der Punk in Deutschland seine eigene Sprache fand: zwischen No-Future-Attitüde, politischem Protest und DIY-Aufbruch. Bands wie Fehlfarben, Slime, Hans-A-Plast oder S.Y.P.H. zeigen, wie vielseitig und radikal diese Bewegung klang - von kantigem Post-Punk bis zu wütendem Hardcore. Entstanden in einer Zeit gesellschaftlicher Spannungen, steht diese Sammlung für eine Szene, die sich unabhängig organisierte und künstlerisch neue Räume schuf. Ein kompromissloser Blick zurück auf die Jahre, "als die Welt noch unterging".

Die Instrumentalgruppe von Guiding Light hatte bereits ihre ersten Songs fertig, als sie Elise Cook als Sängerin ansprachen - und die hatte wie durch ein Wunder schon fertige Texte parat. Dieser Moment des Schicksals führte zu ihrer ersten EP, elf Minuten und fünfzig Sekunden voller Raserei, die ihren Post-Punk-Sound für kulturell Neugierige definierten. Heute entstehen Cooks Melodien im selben Raum wie das präzise Klimpern von John Morales' Gitarre, der bissige Bass von Rachel Kirk und die hämmernde Intensität von Charles Powell am Schlagzeug. Das Ergebnis ist ,Fear On My Own Time", ein neues Album einer Band, die weiß, was sie kann, und immer besser wird. Man merkt kaum, dass die Aufnahmen in zwei Sessions im Abstand von sechs Monaten entstanden sind, denn man spürt die Dringlichkeit in der Arbeit. So wie Wut zum Handeln antreibt, wird Energie zur Reaktion. Die Erzählung von ,Fear On My Own Time" gewinnt an Umfang, während Reflexionen über eine Trennung zu Erkenntnissen über zwischenmenschliche Verbindungen führen. Selbstkritik speist sich aus Ego, Verwirrung und unverblümter Ehrlichkeit, doch die Wurzel dieser Probleme liegt in einem viel größeren Thema. Die letzten beiden Songs gipfeln in einem Aufruf gegen den Faschismus und zeigen, wie uns - nachdem wir niedergeschlagen wurden - unsere Unfähigkeit, verletzlich zu sein, auseinander treibt. Man muss nicht die für Guiding Light übliche deutsche Sprache sprechen, um das zu verstehen - tatsächlich enthält das Album ihre ersten ins Englische übersetzten Songtexte: ,In the cage - only together we find the key." Wenn wir alle zu Guiding Light tanzen würden, wäre die Welt ein besserer Ort. - Sydney Salk

From São Paulo, Brazil comes CSS, the first South American band Sub Pop has foisted upon the global marketplace. Cansei de Ser Sexy, Portuguese for “Tired of Being Sexy,” is improbably, unbelievably and nearly eponymously their debut. It is a thick, pulsating thing full of haphazard synths (“Alala”) and a come-on of call and response that tears down any attempt at posturing (“Art Bitch,” “Patins”). It is equal parts rock mantra and throwback into something new, transcending boundaries of genre and geography.

It careers full speed into dance territory, into the unknown and untouched, to emerge all hot and bothered with wild electro-rock. Pretension? Absent. Friction? Probable. They are the un-pretension: unfinished, exposed, and throwing all they have right at you. It is quick, tightly-wound, unfastened and supreme. Not a sneer but a giggle. To paraphrase from the Portuguese: “Not only music, but a new way to live with it. An unfinished group that, unlike preserving itself until getting ‘to the point,’ was bravely showing off, turning everything into style.” Fashion. Art. Design. Cinema. Panties thrown and received. Micro shorts and dirty legs. How does it happen? It happens like this…

Mit „So ist das mit dem Glück“ veröffentlicht Montez am 21.08.2026 sein mit Spannung erwartetes neues
Studioalbum. Auf 15 Songs erzählt einer der erfolgreichsten deutschsprachigen Künstler so persönlich wie
nie von Liebe, Verlust, Hoffnung und den kleinen Momenten, die das Leben ausmachen.
Bereits die Vorab-Singles haben eindrucksvoll gezeigt, wohin die Reise geht: Mit „Herzensmensch“, „Niemand ist wie du“, „Wenn du mich fragst“, „Glück“ feat. Sido, „Die Falschen geküsst“ feat. Chapo102,
„Wie es ist“ und zuletzt „Panzer“ baut Montez die Geschichte des Albums Stück für Stück auf. Gemeinsam
verzeichnen die Songs bereits über 35 Millionen Streams und unterstreichen einmal mehr seine außergewöhnliche Fähigkeit, große Emotionen in eingängige Melodien zu verwandeln.
Auch live setzt Montez seinen Erfolgskurs fort: Im Sommer 2026 feiert er 15 Jahre Montez mit einer
großen Jubiläumstour durch Deutschlands größte Open-Air-Locations. Die 15 Termine führen ihn u. a.
nach Fulda, Berlin (Parkbühne Wuhlheide), Dresden, Ulm, Balingen, Bonn, Nürnberg, Füssen, Zwickau,
Heringsdorf, Losheim am See, Braunschweig, Bielefeld, Hamburg und Rastede – auf Bühnen mit Kapazitäten von mehreren Tausend bis hin zu rund 17.000 Besucher.
Der Album-Release fällt dabei mitten in die Tour: Am 21.08.2026 erscheint „So ist das mit dem Glück“
parallel zum Konzert auf der Volksbank BRAWO Bühne in Braunschweig. So wird das neue Album direkt
im Rahmen der laufenden Jubiläumstour begleitet und zusätzlich in den Fokus der Fans gerückt.
Und die Erfolgsgeschichte geht weiter: 2027 wird Montez erneut auf große Arena-Tour gehen und damit
seine Position als einer der wichtigsten deutschsprachigen Künstler weiter festigen.
Das Album ist erhältlich als CD sowie als attraktive Marbled Vinyl, die Sammler und Fans gleichermaßen
anspricht.

Following the cult success of the first 2 EPs, Common Saints presents the debut album "Cinema 3000", the theme continues, blending soul, funk, and psychedelic influences with the organic sound and rich instrumentation that Common Saints has become known for Conceived in 2020 by writer / producer Charlie J Perry the production approach for Commons Saints consists of him playing and recording real instruments in his London home studio. One mike for the drums, his beloved piano and amps up loud! The album encapsulates the old school recording approach and musicianship the discerning ear craves but with a more modern punch - a true sonic bath for all the connoisseurs out there. Think, UK"s equivalent to Tame Impala and Khruangbin.

“Windborne” originally released in 2018 was the debut album from young Norwegian power-trio Kanaan. With components
from jazz, fusion and post-rock they have created six extended pieces of blazing freeform psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and The Eleventh House in the 1970s, there's a distinctive modern flavour to Kanaan's sonic endeavors. Their Scandinavian genealogy is apparent as well - their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir and Jaga Jazzist. And no doubt the young band has the chops to carry on the pedigree! Opening track ”A. Hausenbecken” feels like a sudden blast of refreshing nordic air, with it's rolling guitar leads and growling Fender Rhodes. But Kanaan aren't afraid to get deep and heavy – the B-side dives into straight-up Sabbath territory, with ”Act Upon The Mundane World” and ”The Groke”, before ending the album with the abstract, free-flowing title track ”Windborne”. From the first note to the last the band keeps high levels of energy and creativity, and although freeform, they never sacrifice focus or direction. Ask Vatn Strøm - guitars
Ingvald André Vassbø – drums Eskild Myrvoll – bass Rhodes on "A. Hausenbecken" by Vegard Lien Bjerkan.

At the Moers Festival 2018, OXBOW got together with Peter Brötzmann to deliver a memorable performance, bringing out the best of two legends in their very own genres while playing old and new Oxbow songs together. Oxbow, formed in 1988 in San Francisco, plays a blend of noise rock, avant garde jazz, musique concrè te and blues, creating intimate soundscapes, with overtones of paranoia, revulsion and exaltation. They released a couple of cult albums, eg. on. Neurot, Hydra Head. Peter Brötzmann , active since the 60s with his distinct saxophone sound, is one of the key musicians in European Free Jazz. ,I think we have at least one thing in common: a certain kind of energy, which we could share and where we will meet." Peter Brötzmann *** Peter Brötzmann -saxophone / Eugene S. Robinson - vocals / Niko Wenner - guitars, piano / Dan Adams - bass guitar / Greg Davis - drums

Aftersome refers to that suspended moment of wonder, when you realize you’ve been led here by a chain of unexpected events and small decisions — so improbable they almost feel preordained. Between chance and destiny, it is a fragile state where emotion and reflection intertwine.
This album by You Man embodies precisely that idea: each track is a step along this path, a resonance born of accidents and coincidences, ultimately shaping a coherent trajectory despite its improbability.
The work moves between techno, house and post-wave, infused with science-fiction and fantastical influences, constantly blurring the line between reality and imagination.
The experience is enriched by remarkable collaborations: Marc Almond (Soft Cell), Local Suicide, Jérôme Voisin, each bringing their own brilliance to this odyssey.

In the years after independence, Tunisia made an unlikely bet: tourism. Beach resorts rose along the coast, each one trying to outshine the next, and each one needing a band to entertain their guests. A whole generation of musicians grew up on those hotel stages - sharing bills with James Brown, Claude François and the Mingus Dynasty - and what came out of it was a small revolution. Funk played on Tunisian instruments. Disco with an oud in it. Reggae carried back from the island of Kerkennah. A "Third Language" the press didn't quite know what to do with.

Tunis Hotel Stereo gathers nine of those records. Most of them were pressed in tiny quantities, sold to tourists as souvenirs, censored before reaching the radio, or quietly slipped onto a 45 between two hotel sets. Some of these artists filled the Carthage amphitheatre. Some topped the Maghreb hit-parades. Most have been waiting, for forty years, for someone to play their music again.

This compilation is the result of years of work - collating memories, hunting down records, sitting with the artists who made them, and with the people who once danced to them. It is the third release on Shakshouka Records, and the first compilation of Tunisian music ever curated by Tunisians, in Tunisia.

SIDE A

The mysterious Les 4 Dés, who turned the national anthem into psychedelic pop on Ya Tounes - and then nearly vanished. Peace Band, hard rockers turned hotel professionals, recording as Omnya at Hammamet's legendary Topkapi club. Ridha Zalila, the eternal shape-shifter, in a rare instrumental of Tiou Tiou Tiou. And Sadok Gharbi's Noujoum - pulled from his sabotaged, near-lost masterpiece Souar.

SIDE B

Carthago, the impossible big band that married the elite of Tunisian jazz-rock with the stars of tourist entertainment, with the original Dhikrayet. Khaled Mellef, one of the great UFOs of his generation, with Wait Till the Morning Dew, recorded in the Netherlands. Marhaba Band's Baba Bahri, originally pressed only for hotel guests and now a cult artefact. Corniche Band's Dance, cut in Milan during a technical stop on a cruise ship. And Jomaa Bouzrara, the "Bob Marley of the Maghreb," with Now That, drawn from his landmark 1983 debut Sunset.

These weren't rebels without a cause. They were musicians who understood that modernity and heritage are not opposites - that a Tunisian could play funk and still be deeply, irreducibly Tunisian. They drew from every direction at once, and built something that belonged to none of those worlds entirely, and to all of them at the same time.

This compilation is one small act of remembering. The music does the rest.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

Dance your dance. From the first beat to the last, slow or fast, house music is a home for everyone.

This release symbolises a moment in time. A blueprint for dance music before the world knew what it was. Formally referred to as Garage, House or Loft music in the 80s, Frankie Knuckles and Larry Levan shaped the sound from its roots. Larry, resident DJ at Paradise Garage, New York, Frankie at The Warehouse in Chicago, both prolific remixers and some of the first career DJs. Two close friends. Countless genres. One feeling.

RE:VERSAL are excited to present our third compilation, a strictly limited one-time pressing on high-quality 12" 180g heavyweight vinyl - FULL 12” VERSIONS

Pure Devotion, benannt nach der gleichnamigen Live-Reihe von 2024, markiert einen weiteren Entwicklungsschritt für Overmono. Hinter dem Projekt stehen die Brüder Tom und Ed Russell, die bereits seit Jahren in der britischen Elektronikszene aktiv sind - sowohl gemeinsam als auch über ihre Solo-Projekte Tessela und Truss. Diese Erfahrungen aus dem UK-Underground bilden die Grundlage ihres Sounds bis heute. Das Album vereint bewusst Unschärfen, technische Imperfektion und zufällige Momente mit einer klaren künstlerischen Haltung. Über elf Tracks hinweg erweitern Overmono ihren Produktionsansatz und greifen dabei auf ungewöhnliche Mittel zurück: analoge Synthesizer aus den 70er- und 80er-Jahren, alte Lautsprechersysteme oder experimentelle Klangbearbeitung. Das Ergebnis wirkt kontrolliert, organisch und immer treibend. Auch die Vocals tragen zur Atmosphäre bei - unter anderem von John Joseph Holt, Kindora und Ruthven. Insgesamt legt Pure Devotion den Fokus stärker auf Emotionalität und Klangtiefe als auf reine Funktionalität im Clubkontext. Das Projekt entwickelte sich aus einer Neujustierung ihrer Live-Show und gewann parallel zu ihren Touraktivitäten an Form. Nach dem Erfolg ihres Debütalbums Good Lies (2023), welches ihnen größere Aufmerksamkeit und internationale Auftritte einbrachte, spielten Overmono zahlreiche Festivals und eigene Shows, darunter Glastonbury und Alexandra Palace in London. Während dieser Phase entstand neue Musik, die später in Rückzugsorten wie Spanien und Island weiter ausgearbeitet wurde. Die Single "Lockup" steht exemplarisch für die Herangehensweise des Duos: direkte, rhythmisch präsente Strukturen treffen auf zurückhaltendere, emotionale Elemente. Pure Devotion wirkt damit weniger wie ein Bruch als vielmehr wie eine konsequente Weiterentwicklung - geprägt von Erfahrung, Neugier und dem Anspruch, den eigenen Ansatz weiter auszuloten. Overmono sind eine neue Größe in der internationalen Club-Kultur.