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The Yes Papa club artists familly are there !!
For the Core of the hardtek and for the Sweet Pumpin raggatek... For the non stop banging and the always changing...

Time to party !

Come Back Down, das neue Album des experimentellen Pop-Duos Total Wife aus Nashville, entstand am Rande des Schlafes. Wenn die Komponistin und Produzentin Luna Kupper während nächtlicher Mixing-Sessions einzuschlafen begann, folgten ihr die Songs in den Zwischenraum zwischen Traum und Wachsein. Wie Dale Cooper in Twin Peaks wachte sie mit einer neuen Perspektive auf das Puzzle auf, das sie gerade zusammensetzte. ,Ich bin eine psychologische Mixerin - ich versuche mir vorzustellen, wie jemand den Klang erlebt, anstatt mich darauf zu versteifen, all diese verschiedenen Töne zu erzeugen und all diese Geräte zu benutzen, um einen bestimmten Klang zu erzielen", sagt Kupper. Und wie eine Spirale vom Wachleben in den Traum sind die Songs auf Come Back Down endlos selbstreferenziell und bauen aus einem einzigen Punkt ganze Universen auf. Kupper hat alle ihre Synthesizer verkauft, um die Miete zu bezahlen, bevor sie mit der Arbeit an dem Album begann, und so wird jeder anorganische Klang stattdessen aus Samples der eigenen Arbeit der Band aufgebaut. Eine Gitarre in einem Song kann in dem nächsten Song neu verarbeitet und als Synthesizer verwendet werden, während überall auf dem Album Gesangs-Samples aus einem einzigen unveröffentlichten Cover von Elliott Smiths ,Between the Bars" verwendet werden. Als Hommage an diesen Prozess hätte das Album beinahe den Namen ,The Julia Set" bekommen, nach der mathematischen Gleichung, die sich immer wieder selbst speist und wunderschöne fraktale Bilder erzeugt. Die Absicht war, etwas Komplexes, aber Zugängliches zu schaffen; experimentell, aber präzise und ohne Abstraktion. Auch in ihren Texten ist die Texterin und Sängerin Ash Richter so direkt wie eh und je. Sie griff auf ihre Erfahrungen mit der Isolation während der Pandemie zurück, um über Verbindung und Trennung zu schreiben, und nutzte ihre Texte als Mittel für die Kommunikation, die im Alltag fehlte. In dem hochfliegenden, shoegazigen Track ,peaches" wurde ein Sturm, der die Absage einer Aufnahmesession erzwang, zur Metapher für emotionale Distanz. ,still asleep" erzählt von Richters Euphorie nach der ersten Tournee von Total Wife und beobachtet, wie diese sich allmählich in Paranoia verwandelt. ,Danke, Vollmond, mein Herz ist übervoll", singt sie, bevor sie fragt: ,Gibt es so etwas wie zu viel Glück?" Die Erfahrung der Isolation veranlasste Richter, an ihre Kindheit zurückzudenken, eine Zeit, die für sie von Einsamkeit und Spielen in der Natur geprägt war - auf Bäume klettern, Matschkuchen backen, sich im Wald verlaufen. In Tracks wie ,in my head" und ,second spring" nutzt sie Bilder aus der Natur, um sich an diese Zeit zu erinnern und eine Verbindung zu ihrem einsamen inneren Kind herzustellen. ,Ich fühle mich mit transzendentalistischer Literatur und magischem Realismus verbunden - dem Versuch, Dinge auf konkrete Weise zu vermitteln, aber mit einem Element von Psychologie und Mysterium", sagt sie. Richter und Kupper, Freunde aus der Highschool, gründeten Total Wife im Jahr 2016 und zogen 2020 von Boston nach Nashville. Beide sind sowohl bildende Künstler als auch Musiker, was sie durch vielschichtige und zielgerichtete Visuals in ihre Arbeit mit Total Wife einfließen lassen. Eine DIY-Ader prägt alles, was sie tun - von der Gestaltung ihrer eigenen Kunstwerke und Musikvideos über die Aufnahme ihrer eigenen Musik bis hin zur Veröffentlichung von Kassetten über ihr Label Ivy Eat Home und der Ausrichtung von Hauskonzerten in ihrem Keller, den sie Ryman 2 getauft haben. In Nashville haben sie sich in einer schrägen Szene niedergelassen, die unter dem Parkett der Plattenindustrie lebt, einem Bienenstock kollaborativer und kreativer Energie, der sie begeistert hat, die Stadt ihr Zuhause zu nennen. Kurz nach ihrem Umzug nach Nashville haben sie auch zum ersten Mal eine Live-Band zusammengestellt, bestehend aus Ryan Bigelow, Sean Booz und Billy Campbell, die ihrem kreativen Prozess eine Portion Spontaneität und Lebendigkeit verleiht, die sich auch in Come Back Down widerspiegelt.

"The machine looms—it watches you from within. The finger points, but the face is missing."

The Bristol/Amman connection just got even deeper… following DBL's impressive string of Avon-infused heaters (check the recent scorchers from Nzumbe, Content Provider and 2023's 'Weld'). And we're well informed there's even more of this cross-continental greatness to come…

But first...

Kinlaw & Franco Franco. ATC's original prodigal sons. A two-headed nephilim with an ever-growing tally of near-biblical performances – leaving shook audiences coughing dust for months after. Resurrected for 2025.

Those familiar know their hallowed-dogma – brimming with cyberpunk prophetics, surveillance state paranoia and rusted gothic futurism. Each chilling sermon accompanied by a bespoke blend of crusted sonics, taut future-concrète prangers and only the finest industrial-trappist beats.

Back with renewed precision. 11 hot-kneelers for your mental.

On 'Faith Elsewhere', they lead the congregation into uncharted waters with pop-confessional, 'Pitstop 2024'. There's a fresh revamp of the beloved feudal anthem, 'Crocs on the Plough'. Next, a long-fermented, yet still refreshing, kind of chamber-wave on the album's self-titled track. And there's even a touch of the devotional in the final ethereal reprise… Plus, there are plenty more teachings to be found elsewhere…

The writing's on the wall. Accept no false idols. Now pull up your cushion and kneel at their altar. It might just be their best yet….

"In the holiness of their temples, unsuspecting worshippers were being observed by indiscreet eyes."

Los Angeles polymath Tyler, the Creator turns his past into vivid technicolour here on his latest offering. Narrated by his mother, the album unfolds like a scrapbook of childhood memories and adult reckonings, moving between swagger and nostalgia. Tyler's production - lush with horns, strings and jazz-inflected chords - recalls the warmth of Flower Boy but with the unpredictability of Cherry Bomb. 'Noid' wrestles with fame's paranoia while 'Hey Jane' confronts moral conflict with startling candour. 'Darling, I' and 'Like Him' offer soulful reprieves amid the chaos. Guest spots from Lil Wayne, Santigold and Lola Young expand the palette without distracting from Tyler's emotional centre. Messy but self-aware, this captures an artist still discovering who he is.

"I feel everything" is Maggie's sophomore album. In 2021 she released her debut EP Paranoia followed by her debut album Suckerpunch in September of 2022. This album follows her most recent release, an EP titled Headsplit in spring of last year. 'i feel everything' sonically pulls a more pop forward Maggie, with heartfelt and emotional lyrics throughout the album all written by Maggie. Upon her fall album release will follow a tour in February of 2026.

"I feel everything" is Maggie's sophomore album. In 2021 she released her debut EP Paranoia followed by her debut album Suckerpunch in September of 2022. This album follows her most recent release, an EP titled Headsplit in spring of last year. 'i feel everything' sonically pulls a more pop forward Maggie, with heartfelt and emotional lyrics throughout the album all written by Maggie. Upon her fall album release will follow a tour in February of 2026.

DEVO’s Hardcore documents the group’s beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, DEVO formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of “devolved blues” that could hold its own alongside the beatnik groove of 15-60-75 (a.k.a. The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, Hardcore reveals their strikingly clear vision: rock ’n’ roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. It’s no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early DEVO sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and DEVO’s long-running topic of choice: sex, or lack thereof. Few moments in pop music history can match the grinding, pent-up energy of “Mongoloid” and the spastic bounce and sputter of “Jocko Homo” (two anthems presented in their earlier and superior versions here). Cult favorites like “Mechanical Man” and “Auto-Modown” make Volume 1 essential listening. Superior Viaduct and Booji Boy Records are proud to present DEVO’s Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakha’s stunning cover photography. As David Bowie said in 1977, DEVO is indeed “the band of the future.”

Find Deliverance“, hat uns mit seiner seltenen Mischung aus technischem Thrash und unorthodoxem, aber höchst inspiriertem Songwriting so begeistert, dass es in unsere Best-of-2022-Liste aufgenommen wurde. Aus dieser Liste wurde eine Zusammenarbeit geboren und nun geben Species mit ihrem zweiten Album „Changelings“ ihr 20 Buck Spin-Debüt. "Changelings" ist in jeder Hinsicht ein Schritt nach vorne, und es ist erstaunlich, wie viel die einzelnen Tracks und das Gesamtwerk leisten können. Das Album bietet ein Übermaß an kantigem Gitarrenkrieg, traditioneller Euro-Thrash-Aggression mit modernem Nachhall, rhythmischen Percussionsanfällen und komplizierten Basslinien, die nicht nur der Gitarre folgen, sondern mit ihr auf eine Weise dialogisieren, die dem Album ein zweites melodisches Gehirn verleiht. In Kombination fügen sich diese Elemente nahtlos zusammen und verleihen „Changelings“ seine farbenfrohe und unheimliche Vision, als hätte John Carpenter „Rust In Peace“ hinter dem Eisernen Vorhang mitproduziert. Es strotzt nur so vor Sci-Fi-Paranoia, außerirdischem Terror und einem Hauch von Bedrohung durch den Kalten Krieg. Die frühe Konvergenz von Thrash Metal und Death Metal ist auch im formwandlerischen Sound von Species unverkennbar.

Zwar gibt es mehr als genug primitive und traditionelle Thrash-Bands, doch Species beschreitet den weniger ausgetretenen Pfad des Genres, der von vorwärts gerichteter Virtuosität und einfallsreichen Experimenten geprägt ist, und zeigt, dass es immer noch genügend fruchtbaren Boden gibt, um neues musikalisches Terrain zu erschließen. Nirgendwo wird dies deutlicher als auf dem 10-minütigen Albumschlussstück „Biological Masterpiece“, wo Species alle ihre Waffen ausspielt: Hyperspeed-Attacken, dystopische Ruhephasen und instrumentale Meisterleistungen in einer klimatischen Saga jenseits von Raum und Zeit. „Changelings“ ist das seltene Album, das heutzutage immer noch die Fähigkeit hat, auf die triumphalste und euphorischste Art und Weise zu überraschen.

Written and performed entirely by ELLiS
D himself (aka Ellis Dickson) at Hackney Road studios with Shuta Shinoda (Hot Chip,
Jenny Beth), 'Spill' is a seven song jetstream ofrocket-fuelled, goth-tinged glam-punk,
infested with 21st century paranoia:
"The Spill EP is a not so subtle expression of conflict between personality and
character", Ellis explains, "An uneasy alliance of nervous apprehension and joyful
abandon. Throwing myself dramatically onto the funeral pyre one moment, only to get up
and frantically twist my limbs about the next."
The brainchild of drummer-turned-solo musician Ellis Dickson, ELLiS.D has garnered a
growing reputation in the past 12 months for a tireless touring schedule and
increasingly electric live shows, recently described as"one of the most exhilarating live
sets I've seen in months."byFar Out Magazine.
Backed by continuously shifting set of Brighton musicians - in addition to playing
drums across the world with Fat Dog andJohnny Borrell's Jealous Nostril project - his
solo show has performed with the likes ofRazorlight (at Brighton Dome and Eventim
Apollo) The Goa Express , Flip Top Head , Melts , Plantoid, Vinyl Williams , Youth
SectorandThe DSM IV.

Sticking a dirty thumb in the eye of fate, our third collaboration sees this marrow deep family malarky turn official as Pace Yourself teams up with YS’s own imprint ERF REC for a split release. As if our status as minor celebrities and footnotes of the underground could level off no further: the unification no one asked for is here. Sticking it to the man, handing your arse to ya on plate; cauterising infected suburban minds world over.

Burn is the second YS album and written as a direct follow-up album to Brutal Flowers. If their first album was an exercise in the incremental, a construction of poise and patience, Burn, should be taken way the fuck at it’s word: it quite literally finds catharsis in twisted reverse. Birthed out the malignant kick found in deconstruction and chaos. Evil twin, psychotic younger sibling, call it what the hell you like. It might take you a moment to get the lay of the land in this darkly mutated world. Like a bug eye’d native first confronted with a zippo, the hit is radical and instant: a new way for the world to go up in smoke.

Splice the Seattle slacker scene with the spliffhead soundsystem culture of the 90s Bristol trip-hop scene, then cross-breed that with the DIY optimism and glee in creation found in the cut-and-paste worlds of skate, graffiti and hiphop, now run that through the skitzo basement mind of John.T. Gast and you’re close to the kind of scorched earth and spiked suburbia that birthed Burn.

Dunno quite what YS have been ingesting of late but this massively twisted LP touches on a host of gloriously fucked totemic underground sources while not sounding much like any of them. It has the ballsy swagger and hard flipping of the script as Massive Attack’s seminal Blue Lines. Indeed, the eponymous album tracks sound similar - the opener ‘Burn’ is like a hard nosed jammed out redux of ‘Blue Lines’. Getting into a kind of slow-spinning overdubbed maximal euphoria ending with mumbled downer vocals, struggling to conceal their tongues in their cheeks there’s an air of paranoia and proto-conspiracy theory. It’ll leave you scratching your head, feeling like you’ve stepped into a New World Order governed by a cacophony of drop outs, dope fiends and apocalyptic stoners. A cracked out world somewhere between Richard Linklater’s movie Slacker (1990) and Marc Singer’s Dark Days (2001).

The rest of the album parts like a tongue on a wine glass: Smith and Mighty, Bandulu, ambient Luke Slater records, Wah Wah Wino, Nurse with Wound, Land of the Loops, Placid Angels, Adrian Sherwood, Urban Tribe and DJ Shadow can all be heard in momentary splatters - but Burn like other works by YS, is its own ritual beast. ‘Moth’, a track which has been knocking about the underground deejai circuit for many moons, is a real raw chopped and screwed slice of stoner erotica that reeks of obsession and unrequited desire. Elsewhere, on tracks like ‘Switch’, ‘Trying’ and ‘Drift’ the throughline from Brutal Flowers can be heard. Underneath the driving heavy gravity the trademark emotional intimacies of YS linger: eternal recurrence, ghosts of static and shortwave, worn memories of the playful and painful sort. The brief moments where flashes of orchestral ambience get out from underneath the swagger are so pure, personal and unguarded that for a moment they leave you completely lonesome. In the album’s closer ‘End’, you can hear the fleeting promise and DIY possibilities of an analogue world and embers of ash that flutter in its wake: where it seemed, for a brief moment, that collective of DJs, engineers, rappers, graffiti artists and skate crews were emerging from the streets, giving the middle fingers to the system, before just as quickly disappearing back to the doldrums of obscurity. ‘End’ is a bittersweet ode to early soundsystem culture, MCs and pirate radio - an out of step time where for a moment the underdogs and weirdos seemed to be kicking on the door of something bigger.

A veritable teenage doof suite dosed with desire, claustrophobia and deviance. Burn is a good old howl at the moon: lonely, raw, and out for blood; basement style exegesis at its best. A thump to the gut, a stud through your blood. A dubbed-to-death classic straight out of the annals of nowhere. A perfect post card from oblivion. A bleak, bold and personally ferocious vision of tomorrow and tomorrow and tomorrow.

This is everything that record collectors skip dates for. Fuck the scene and keep that shit underground. That’s what it is all about. Know what I mean, if you do? You’re in…

Back by popular demand! Dive deep into the depths of the underground with Waterworld, the singular and legendary collaboration between two of hip-hop’s most innovative minds — Cage and Tame One — operating together as Leak Bros. Originally released in 2004 on Eastern Conference Records, Waterworld has remained a cult classic: a surreal, grimy, and conceptually bold record that transforms the world of PCP (aka “leak”) into an immersive sonic hallucination.

Woozy textures, gritty East Coast production, and vividly warped lyricism, earned the album its iconic status among underground heads. Across tracks like “G.O.D.,” “Dead Out,” and “Got Wet,” Cage and Tame One embody fictional leak fiends navigating an absurd, paranoiac landscape of drug-fueled delusion. The beats, handled by producers like Mighty Mi and Camu Tao, are hypnotic and lo-fi, dripping with eerie samples and warped loops that match the narcotic haze of the lyrical content.

Both a conceptual experiment and a raw snapshot of early 2000s hip-hop’s shadowy edges, Waterworld remains as strange and captivating today as it was two decades ago. This repress preserves the original tracklist and aesthetic, with newly remastered audio pressed on high-quality vinyl — perfect for longtime fans and new listeners ready to get wet.

It has been a long time since Creepy Crawl released any music – the return to the fray was not something we had had thought about – times have changed, the world of underground music is almost unrecognizable – however things came back into focus earlier this year when the underground legend that is Mike Vest came calling…. Mike Vest is a one man musical tour de force known for his extensive work with such bands as Bong, Drunk in Hell, 11 Paranoias, Blown Out and Mienakunaru to name a few, releasing records on many underground labels such as Riot Season, Ritual Productions and Cardinal Fuzz etc For Brain Pills Mike has teamed up with Adam Stone from the excellent Poundland on vocals and Nick Raybould from Thought Bubble on drums and art – the result is very impressive indeed – primitive but deadly drums, pulverizingly heavy riffs – lots of fuzz and distortion going on coupled with Adam Stones demented and haunting vocal style all topped off by the excellent and disturbing artwork courtesy of Nick Raybould.

The LP Goatshead is homage to Mike's hometown of Gateshead – Goatshead being the ancient pagan name. The record has been mastered for this vinyl release by crust punk legend Bri Doom, known for his work with Sore Throat, Doom, Lazarus Blackstar and most recently with the excellent Disciple BC - the sound is massive, just what you would expect. Released on clear yellow vinyl with OBI strip and limited to just 300 copies – consume or die!

Bob Marley & The Wailers' Rastaman Vibration Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM 2LP Ultra High Quality Record release limited to 4,500 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed on 180-gram at Quality Record Pressings using Clarity Vinyl® Includes "12 x 12" 8-page booklet featuring new liner notes by musician and Marley biographer Leroy Jodie Pierson (APO Records Direct-To-Disc AAPO 005), plus exclusive photos by Kim-Gottlieb Walker Purest possible pressing and most visually stunning presentation and packaging!

When Rastaman Vibration was first released in America in 1976 it did what some in the music industry considered nearly impossible at the time. It took Bob Marley into the Top Ten alongside disco records and corporate rock, points out Rolling Stone, which rates the album 4 stars. Despite the good cheer of the title track and the upbeat "Roots, Rock, Reggae," Rastaman Vibration contains some of Marley's most intense images of oppression, paranoia and despair. Tracks such as "Who the Cap Fit," "Crazy Baldhead" and "War" are offered by the Wailers with dire urgency as Marley's brutal visions are echoed by his own church choir, the I-Threes.

More than four decades later, neither Marley's music nor his message has lost its sting. Now, Analogue Productions presents perfection — Rastaman Vibration cut at 45 RPM in UHQR format on 180-gram 2LP Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs.

At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Of the material on Rastaman Vibration, "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race,""'Crazy Baldhead," and "Want More."

These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" seems like an obvious choice for a single and remains underrated. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center.

Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. In addition to the UHQR booklet the package will contain a 8-page 12" x 12" booklet containing new liner notes by musican and Marley biographer Leroy Jodie Pierson as well as exclusive photos by Kim-Gottlieb Walker. Pierson is a past performer for Blues Masters at the Crossroads, the two-night historic blues festival at Blue Heaven Studios in Salina, Kansas. He's also recorded a Direct-To-Disc blues album for APO Records. (AAPO 005) Rastaman Vibration — now a landmark production on 180-gram 45 RPM Analogue Productions UHQR Clarity Vinyl!

When it comes to dark, mesmerizing electronic music steeped in EBM, house, industrial, and electro, few artists delve as deep — or as strangely — as Timothy J Fairplay. A long-time underground stalwart and collaborator with the late Andrew Weatherall, Fairplay has carved out a sound that’s as cinematic as it is menacing.

His Melt the Chains EP pulses with slow, chugging rhythms, warped synths, and a kind of psychedelic paranoia that feels tailor-made for shadowy dancefloors and late-night headphone sessions alike.

Adding an extra touch to the release is DC Salas, who delivers an extraordinary remix that pushes the EP even further. Injecting his signature blend of sleek groove and cosmic flair, Salas reimagines “Runs Every 15 Minutes” into something both dancefloor-ready and deeply hypnotic — a perfect complement to Fairplay’s noirish sonic world.

Ma Haiping's "Mind Reader," on SCAN Records, the new label from Detroit legend SCAN 7, is an EP that extends his Detroit Futurism aesthetic, reimagining techno as a vehicle for paranoia and prophecy in the algorithmic age. It's a tense, synth-driven meditation on surveillance and synthetic reality. "Mind Reader" suggests our devices aren't just watching—they're thinking. The standout, "Sensitive Period" (with Shanghai Ultra), pulses with restraint, while "No Exposed" explores icy isolation. Classic 808s and funky basslines nod to Drexciya, but Ma's voice is unmistakable: cerebral, tactile, and deeply attuned to the present moment's fractured frequencies.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.



Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.



Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”



But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.



The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.



“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.



Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.



Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. "Electròccid àccid alquimístic xoc" marks a shift in Pau Riba's sound-now electrified and fully embracing rock with nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid_" is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie-fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom-and vice versa. First vinyl reissue in over four decades!

Hackney Electronica come to Dark Entries with the Synaptic Shadows EP, featuring 5 cuts of acidic rave-inflected wave. Quinn Whalley (Paranoid London), Unai Trotti (Cartulis Music), and Margo Broom (Hermitage Working Studios) formed Hackney Electronica during COVID era. Trotti and Whalley were spending countless hours digging through records and making music during lockdown. As their sound took shape - heavy and hypnotic - they invited Broom to join, cementing the motley trio. The five pieces on Synaptic Shadows explore themes of altered states, late-night cityscapes, and the fine line between pleasure and paranoia. Each track pulses like a memory from the backstreets of Hackney, where the night transforms the city into an electrified maze of fleeting highs and inevitable crashes. The anxious grooves on “H.E. Nuestro Circuito” and “Whispers from the Depths” channel 1980s DIY electronics onto the contemporary dancefloor, while “Efecto Perfecto,” “The One”, and “Nueva Ola” offer breakbeat-laced electro that will keep you dancing until dawn. Housed in a sleeve designed by German Bardo, Synaptic Shadows is more than just a debut release, it’s a journey through the flickering alleys of the mind, where tension and transcendence intertwine.

In echter Badflower-Manier kehren die Rocker aus Nashville zurück, um schwierige Themen mit ihrem neuen Album „No Place Like Home“ – dem Nachfolger ihres 2021er-Albums – erträglich zu machen. Frontmann Josh Katz nimmt sich die Zeit, alles richtig zu machen und führt uns durch persönliche Geschichten von Paranoia, Reue und sogar dem Verlust eines Haustiers, die dennoch universell nachvollziehbar und angenehm sind. Die charakteristische Fähigkeit der Band, schwierige Themen mit selbstironischer Entwaffnung zu überziehen, findet sich auch auf diesem Album wunderbar umgesetzt.

"Evil is very real and having its way, and love is also real and hasn't lost yet." That's how Activity's Travis Johnson described their third album, A Thousand Years In Another Way. A friend had asked why these songs seemed to capture the strange, heavy feeling of being alive right now better than anything else_and that was his answer. The album doesn't try to explain this time we're living in; it simply feels like it. It's a mix of violence, alienation, and tenderness_reflecting the surreal, dreamlike (or nightmarish) rhythm of daily life. Across ten songs, Activity blends experimental rock, electronics, and found sounds with a sense of paranoia, flickers of hope, and a warped reality. Working with producer Jeff Berner (of Psychic TV), the band manipulated sounds and played with room acoustics to create a feeling that's disorienting_like the air is thick and the walls are listening. Coming out of a period of uncertainty, the Brooklyn-based quartet_Travis Johnson, Jess Rees, Bri DiGioia, and Steven Levine_pieced the album together from fragments: clipped samples, looping guitar lines, ghostly melodies. Rees, DiGioia, and Johnson share vocal and writing duties, shaping a record that feels both deeply personal and strangely alien. There's a constant sense that things could shift or fall apart at any second_nothing stays one thing for long. A Thousand Years In Another Way might not offer answers, but it captures the feeling of right now better than most. And maybe, it sounds a bit like your world too.

“Evil is very real and having its way, and love is also real and hasn’t lost yet.”
That’s how Activity’s Travis Johnson described their third album, A Thousand Years In Another Way. A friend had asked why these songs seemed to capture the strange, heavy feeling of being alive right now better than anything else—and that was his answer. The album doesn’t try to explain this time we’re living in; it simply feels like it. It’s a mix of violence, alienation, and tenderness—reflecting the surreal, dreamlike (or nightmarish) rhythm of daily life.
Across ten songs, Activity blends experimental rock, electronics, and found sounds with a sense of paranoia, flickers of hope, and a warped reality. Working with producer Jeff Berner (of Psychic TV), the band manipulated sounds and played with room acoustics to create a feeling that’s disorienting—like the air is thick and the walls are listening.
Coming out of a period of uncertainty, the Brooklyn-based quartet—Travis Johnson, Jess Rees, Bri DiGioia, and Steven Levine—pieced the album together from fragments: clipped samples, looping guitar lines, ghostly melodies. Rees, DiGioia, and Johnson share vocal and writing duties, shaping a record that feels both deeply personal and strangely alien. There’s a constant sense that things could shift or fall apart at any second—nothing stays one thing for long.
A Thousand Years In Another Way might not offer answers, but it captures the feeling of right now better than most. And maybe, it sounds a bit like your world too.

Yesterday's Children emerged from the vibrant mid-60s Connecticut music scene, evolving from a garage-based instrumental outfit into one of the era's most compelling proto-heavy rock acts. As they evolved, they embraced the psychedelic and hard rock influences of the late 60s, crafting a heavier, more dynamic style. Under the determined management of brothers Dennis (vocals) & Richard (guitar) Croce's father, Dominic, the band gained regional popularity. Their 1970 self-titled album, recorded in New York with producer Warren Schatz, showcased a mix of ferocious originals like "Hunter's Moon" and "Sad Born Loser" alongside inspired covers. Though the album failed to achieve commercial success at the time, it has since been rediscovered as a cult favorite, celebrated for its raw energy and ahead-of-its-time heaviness. Known for their immersive live shows-complete with custom-built light and sound systems-the band toured the East Coast in vintage hearses, leaving a lasting impression on audiences. Despite their eventual breakup in 1972, Yesterday's Children's legacy endures, with their sole LP standing as a landmark in the transition from garage rock to the heavier sounds of the 70s. A true hidden gem, their music continues to resonate with fans of psychedelic, hard rock, and proto-metal.

"Fimbulvinter" by Bjorn Riis: A Journey Through Darkness and Light... Named after the legendary long winter that heralds Ragnarok, a time of both destruction and rebirth. Bjorn Riis' new album Fimbulvinter is a profound and deeply personal work. Drawing from his own experiences with anxiety, Bjorn explores themes of hopelessness, paranoia, and despair, ultimately finding a spark of hope and gratitude in the darkness. "This isn't an autobiographical album," Bjorn explains, "but I wanted to share parts of my own journey and address a subject that I feel is both deeply important and still somewhat taboo." Musically, Fimbulvinter reflects Bjorn's diverse influences, blending the atmospheric and introspective tones of progressive rock with the energy and swagger of the hard rock bands he grew up with in the early '80s. Fans of Kiss, Black Sabbath, and classic progressive acts will find much to love in the album's rich soundscapes. From the driving, anthemic energy of "Gone" - a track made for blasting on the open road - to moments of introspection and monumental heaviness, Fimbulvinter is a dynamic journey through darkness and light. Bjorn takes centre stage on the album, performing all instruments and vocals, while also enlisting contributions from talented collaborators, including Henrik Bergan Fossum (Airbag), Arild Broter (Pymlico) and Kai Christoffersen on drums. Longtime partner and co-producer Vegard Kleftås Sleipnes also returns, ensuring the album's production is as impeccable as its compositions. With Fimbulvinter, Bjorn Riis once again demonstrates why he is a cornerstone of the progressive rock scene, delivering music that is as emotionally resonant as it is sonically captivating.

"Fimbulvinter" by Bjorn Riis: A Journey Through Darkness and Light... Named after the legendary long winter that heralds Ragnarok, a time of both destruction and rebirth. Bjorn Riis' new album Fimbulvinter is a profound and deeply personal work. Drawing from his own experiences with anxiety, Bjorn explores themes of hopelessness, paranoia, and despair, ultimately finding a spark of hope and gratitude in the darkness. "This isn't an autobiographical album," Bjorn explains, "but I wanted to share parts of my own journey and address a subject that I feel is both deeply important and still somewhat taboo." Musically, Fimbulvinter reflects Bjorn's diverse influences, blending the atmospheric and introspective tones of progressive rock with the energy and swagger of the hard rock bands he grew up with in the early '80s. Fans of Kiss, Black Sabbath, and classic progressive acts will find much to love in the album's rich soundscapes. From the driving, anthemic energy of "Gone" - a track made for blasting on the open road - to moments of introspection and monumental heaviness, Fimbulvinter is a dynamic journey through darkness and light. Bjorn takes centre stage on the album, performing all instruments and vocals, while also enlisting contributions from talented collaborators, including Henrik Bergan Fossum (Airbag), Arild Broter (Pymlico) and Kai Christoffersen on drums. Longtime partner and co-producer Vegard Kleftås Sleipnes also returns, ensuring the album's production is as impeccable as its compositions. With Fimbulvinter, Bjorn Riis once again demonstrates why he is a cornerstone of the progressive rock scene, delivering music that is as emotionally resonant as it is sonically captivating.

Neon-grünes Vinyl, limitiert auf 300 Exemplare. Nach dem selbstbetitelten DEBÜT (2020) und dem Zweitwerk A SECOND (2022) folgt nun mit THE HEALING VOLUME der dritte Longplayer der Fuzzwave-Band GONG WAH. Vom Quintett auf ein Trio reduziert, begannen GONG WAH mit den Aufnahmen für das neue Album, die von Dezember 2023 bis Februar 2024 im Bandeigenen Studio stattfanden, wo THE HEALING VOLUME anschließend auch gemischt und gemastert wurde. Wie schon die Vorgänger LPs wurde auch THE HEALING VOLUME in kompletter Eigenregie produziert und enthält zehn neue Songs, die das Spektrum der Band erweitern, ohne ihre Wurzeln zu verleugnen. Abwechslungsreich aber trotzdem wie aus einem Guss und immer unverkennbar GONG WAH, demonstrieren Inga Nelke, Thorsten Dohle und Felix Will auf THE HEALING VOLUME nicht nur musikalische, sondern auch thematische Vielfalt: Liebe, Angst, Flucht, Zweifel, Suizid, Freundschaft und die Sehnsucht nach einer besseren Welt - THE HEALING VOLUME legt man auf wenn man verstanden werden will und eine Umarmung braucht. Oder wenn man einfach nur tanzen will.

Mit "Glory" veröffentlicht Mike Hadreas aka Perfume Genius sein siebtes Studioalbum. Zusammen mit seinem Partner Alan Wyffels und Produzent Blake Mills ist eine Platte entstanden, die nach außen hin strahlt, in seinen makabren Bildern und seinem aufgewühlten Innern aber das Tor in eine Welt von Entfremdung, Sehnsucht und Verlangen aufmacht. Es ist der Konflikt zwischen dem Außen und dem Innen, der Hadreas beschäftigt, der Widerspruch zwischen einem künstlerischen Leben in der Öffentlichkeit und dem Wunsch nach Isolation. In seinen Charakterskizzen betrachtet der US-Künstler mit der Sorgfalt eines Schriftstellers Szenen von Freundschaft, Verlangen und Intimität durch eine queere Prima, während er sich musikalisch geöffnet und in seinem Songwriting-Prozess mehr Raum für Gruppendynamik gelassen hat: "Es ist auf eine Weise kollaborativ, die es besser macht", so Hadreas, "aber auch beängstigender - es fühlt sich verletzlicher an". Dass Glory dennoch ein zutiefst persönliches Album geworden ist, liegt auch daran, dass Hadreas seine eigenen Ängste vor dem Hintergrund der Entwicklung einer den Zeitgeist durchdringenden, allgemeinen Paranoia reflektiert. Mit seinen fein gesponnenen Tracks wirkt "Glory" beizeiten wie eine Kollektion neuer Standards für queere Romantiker und alte Seelen im Tumult der Gegenwart.

Mit "Glory" veröffentlicht Mike Hadreas aka Perfume Genius sein siebtes Studioalbum. Zusammen mit seinem Partner Alan Wyffels und Produzent Blake Mills ist eine Platte entstanden, die nach außen hin strahlt, in seinen makabren Bildern und seinem aufgewühlten Innern aber das Tor in eine Welt von Entfremdung, Sehnsucht und Verlangen aufmacht. Es ist der Konflikt zwischen dem Außen und dem Innen, der Hadreas beschäftigt, der Widerspruch zwischen einem künstlerischen Leben in der Öffentlichkeit und dem Wunsch nach Isolation. In seinen Charakterskizzen betrachtet der US-Künstler mit der Sorgfalt eines Schriftstellers Szenen von Freundschaft, Verlangen und Intimität durch eine queere Prima, während er sich musikalisch geöffnet und in seinem Songwriting-Prozess mehr Raum für Gruppendynamik gelassen hat: "Es ist auf eine Weise kollaborativ, die es besser macht", so Hadreas, "aber auch beängstigender - es fühlt sich verletzlicher an". Dass Glory dennoch ein zutiefst persönliches Album geworden ist, liegt auch daran, dass Hadreas seine eigenen Ängste vor dem Hintergrund der Entwicklung einer den Zeitgeist durchdringenden, allgemeinen Paranoia reflektiert. Mit seinen fein gesponnenen Tracks wirkt "Glory" beizeiten wie eine Kollektion neuer Standards für queere Romantiker und alte Seelen im Tumult der Gegenwart.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

Streng limitierte, remasterte Deluxe-Auflage zum 20-jährigen Jubiläum des vierten Albums "Wet From Birth" (2004) der US-Synth-Punk-Band The Faint, das den Puls des Berliner Undergrounds mit der DIY-Körpersprache Omahas verschmolz, wo Punk ebenso Rhythmus wie Rebellion war. Ihr Sound kombinierte die melodische Essenz von New Wave, die raue Kante von Post-Punk und den roboterhaften Futurismus von Detroit Electro, und mit der Hinzunahme des Death Metal-Gitarristen Dapose entflohen sie in ganz neue Sphären. The Faint brachen aus der bescheidenen Bequemlichkeit des Indie-Rock aus und lieferten den Schock, zu dem die Indieszene der Spät-90er/Früh-2000er bereit war. Die neue Deluxe Edition enthält das sorgfältig von den Originalbändern remastere Album, erweitert auf Doppelformat, mit zwei gänzlich unbekannten Sessiontracks, unveröffentlichten Demos und einigen Remixen, und erscheint auf transparentem Doppelvinyl mit Poster (18x24") im mit Metallfolie geprägtem Gatefold.

In 2016, Cliche Morph offered the aquatic textures of "Liquid Materia". "Hidden Madness" is the return and a new beginning. Four tracks of intense introspection mark a collaboration and a founding, Deep Sound Channel and Postdynamic. Atmospheric and immersive, from the needle drop the listener is immediately drawn into the subterranean chambers of this cerebral piece. A stark beat is the guide rope, a snare that echoes and ricochets into the cavernous expanse of cold currents and all too real phantoms. Feeding off that palpable paranoia, Psyk pours a thick resonating syrup over the original before pulling the switch. Darkness descends, distortion and reverb dominate with a steady kick delivering some form of solid ground. Respite? No hope. Pound and thud tell the arrival of "Exorcist". Industrial groans and a clanking larynx are cut through by haunting strings, a meagre echo of humanity in this absorbing and unsettling track. Blazej Malinowski closes. Drum patterns are amplified and concentrated in the producer's purge of "Exorcist", hi-hats hissing as the spectral refrains of the original shift in shape and form. A 12" that plumbs the physical and the psychological depths of sound.

After releasing their accomplished debut album “NEW AGE PARANOIA” in 2023, THE DSM IV are following up with this limited edition, vinyl only EP “NEGATIVE UTOPIA”. Formed by Guy McKnight of the critically acclaimed and cult favourite The Eighties Matchbox B-Line Disaster, THE DSM IV has a dark sound that blends hypnotic noise-rock with synth-pop industrial aesthetics. “NEGATIVE UTOPIA” features six more synth-pop-acid-house-goth-rock-new-wave bangers. The A-Side consists of three new songs by the band. Meanwhile on the B-Side there are remixes of two tracks from “NEW AGE PARANOIA” (‘Racist Man’ and ‘Pennywise’) plus a cover of Joy Division’s iconic ‘Isolation’. Shimmering synth lines meet heavy guitar riffs in a kaleidoscopic sonic sound space where McKnight’s shamanic vocal acts as a guiding force. This EP, like their debut album, demonstrates that THE DSM IV are a band with a social conscience and are unafraid to speak truth to power on matters of injustice. Their music is a reflection of the what is around them, it grapples with the consequences of a cruel and unjust planet with an optimism and belief that a better world is possible.

For vinyl enthusiasts and music lovers alike, this 7" release is an inspired pairing that bridges generations and genres. The A-side delivers the Geto Boys' defining moment, “Mind Playing Tricks on Me” is a haunting, confessional journey through paranoia, struggles, and urban realities. The melancholic guitar sample from Isaac Hayes' "Hung Up On My Baby" provides the foundation of the track and can be conveniently found on the B-Side

After an extensive tour of the UK at the end of 2022, the band decided to head into the studio to record their first long form offering. Following a passion for storytelling, they pulled together influences from Pulp Fiction to Fleabag, from Zadie Smith to Edward Hopper. They wrote relentlessly during 2022, diligently crafting what was to become this debut album. Released independently on their own Life and Times Recordings, Exit Strategy is a 13-track labour of love, recorded at Abbey Road Studios and Love Electric, enlisting the production smarts of Bernard Butler. The album is in two halves (divided literally by the two sides of the vinyl edition) entitled Galway and London and presents a multifaceted band, pushing themselves and exploring the limits of their philosophy.

Exit Strategy centres around a protagonist who moves from Galway to London in search of meaning, certain that, as the main character in the film of his own life, the solution lies in changing his surroundings and acting as someone he’s not. Both a mirror and a portal, the album promises encounters with manipulative bosses, evil ad agencies, a broken pact to flee to Australia, run-ins with the law, cheating boyfriends, drug fuelled youths, heartache, paranoia, social media anxiety and a drunk singer dressed as Jesus. Thematically the album races between emotions, between irony and sincerity, between soul searching and tongue-in-cheek finger pointing and ends where it all started, both musically and in terms of single rollout, with the nostalgic/euphoric first single Westway.

Explaining the album’s genesis and cinematic influence, James McGregor says: “We were always sure we wanted the album to be greater than the sum of its parts, so decided to create the world of a film, entitled Exit Strategy. We envisaged the record as a series of snapshots, telling the story of a group of characters trying to navigate through life.”

Hallmarked more by a philosophy than a sound, The Clockworks weave pop sensibilities with noisy, post-punk, rock-influenced stylings. The songs seem swaggering and dark yet often have an epic, nostalgic quality. They sit poetic introspection beside witty, kitchen sink drama to create something intense but playful.

With the release of Exit Strategy, The Clockworks have created a world to be explored, to be analysed and to be deciphered, but most importantly to be felt.