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Nach dem explosiven, schnörkellosen, selbstbetitelten Debütalbum aus dem letzten Jahr meldet sich das potente Duo mit ihrem zweiten Album 'Bored Animal' zurück.

Es wurde in weniger als zwei Wochen im Studio von Edwyn Collins in den schottischen Highlands konzipiert und aufgenommen, zusammen mit dem Tontechniker Sean Reed. Abgemischt wurde es von David Wrench (Manic Street Preachers, Let's Eat Grandma, Blur, Baxter Dury). His Lordship entschieden sich, ihren Sound zu straffen: Sie verzichteten auf Harmonien, Rockabilly-Einflüsse und Songs mit einer Länge von mehr als vier Minuten und kümmerten sich nicht darum, die Musik perfekt zu machen.

Das Ergebnis ist ein Album, das eine Vielzahl von Ideen in seine elf prägnanten Songs packt. Und obwohl die Songs von 'Bored Animal' Anleihen beim alten Rock ’n‘ Roll nehmen, ist das Album keineswegs ein Retro-Aufguss oder eine Hommage an die Vergangenheit.

Zur Feier des 40-jährigen Jubiläums des Debütalbums „First And Last And Always“ von The Sisters Of Mercy wird das Album am 4. Juli 2025 auf einer 1 x 140g Black Vinyl verfügbar.

Zur Feier des 40-jährigen Jubiläums des Debütalbums „First And Last And Always“ von The Sisters Of Mercy wird am 4. Juli 2025 ein 4LP-Set aus schwarzem und rot marmoriertem Vinyl veröffentlicht.


Es enthält das Originalalbum sowie die drei EPs, die vor der Veröffentlichung erschienen sind - „Body & Soul“, „Walk Away“ und „No Time To Cry“. Jede EP enthält Bonustracks, die nicht auf dem Album enthalten sind. Das Hauptalbum wird auch als eigenständige LP im Original-Gatefold-Jacket mit bedruckter Innentasche und auf schwarzem und rot marmoriertem Vinyl erhältlich sein.

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

This 15-track project cements BigXThaPlug's status as one of hip-hop's most authentic and compelling voices. Executively produced by Bandplay—the mastermind behind "The Largest"—alongside longtime collaborators Tony Coles, Charley Cooks and others, Take Care offers a raw and unfiltered reflection of BigXThaPlug's rise to stardom. The album showcases his electrifying energy while exploring new sonic territories, all while remaining true to his signature sound.

BigXThaPlug's artistic evolution is evident in his lyricism, a masterful blend of melodic instrumentation and commanding beats. Drawing inspiration from the sounds of '70s and '80s hip hop, Take Care features a powerful tracklist that includes viral sensations "Mmhmm,” and “Change Me,” along with fresh tracks like "Lost The Love," "2AM," and "The Story of X." Throughout the project, he crafts an innermost narrative that speaks to his journey, proving that success hasn't clouded his vision or altered his core values.

The album announcement arrives with a compelling trailer and the launch of pre-orders, igniting anticipation among BigXThaPlug's devoted fanbase. Masterfully directed by creative director TreySoulss, the intimate trailer features his grandmother's voice guiding viewers through precious family footage and pivotal moments, revealing the forces that shaped his meteoric rise. This project not only promises to further establish him as a leading voice in hip-hop's new generation but serves as testament that his success is no fleeting moment—it's the foundation of an enduring legacy.

The Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.

Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.

ULTRA RARE OUTER SPACE PRIVATE PRESS!

RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...

The Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.

Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.

ULTRA RARE OUTER SPACE PRIVATE PRESS!

RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...

Deadbeat's latest release is from Malta's own acid pilot - Acidulant. As you'd expect, DBR006 throbs, oozes and drips 303.

If Planet Jack's uncompromising acid baseline is all business (and we're talking Wolf of Wall Street shit here), Taken A Trip is here to play - mischievous, joyous and eventually bursting into a climax of pure acid house. No doubt, these tracks know their heritage - Taking Orders From Machines channeling the energy of electronic originators Kraftwerk via an East London basement at 0600am.

And when the breaks start to kick this EP truly ascends. The growling physicality of Coming Down To The Underground prowling the floor before Space For Crap's anthemic hook lifts us into ecstatic bliss.

This Project is really a two in one offering. Combining the three tracks from Ringer’s 2021 release, the “Meta Music EP” and his darker more aggressive moniker, Black Sued’s offering the “Rogue EP”. The EP is sort of a yin and yang. Monotone is a deep chordal track with uplifting vocals and a pulsing almost distorted bassline. This track is complimented with minimal drums and a simple yet beautiful synth riffs that bring it all together. New Plan is a fast paced cut that insights the listener to move. The drums and chords wrestle in a rhythmic dance while Ringer’s voice projects the essence of this side of the 12”. Positivity and persistence, the energy is alive in this track. YIA, an acronym that stands for Yes I Am, is meditative and filled with affirmations for the listener. Deep solemn chords, and the sounds of a thunder storm take the listener into a inner place of self reflection. The affirmations are for the listener to embody, a solid thought provoking end to this side of the 12”.

Rogue, the title track of this side of the record, is an intelligent, dark and jazz filled groove, that takes the listener on a journey. The groove is easy to catch, and wraps the listener into an almost mysterious landscape of rhythm and melody. Keeping the tone of this side of the 12” is Maze. The chords and rhythm walk in tandem to a beat that almost favors a marching band. A higher energy feel arrives as the 16th high hats meet a long defining chord that take this track to the next level. Deep Dirt reminds me of a drum machine tweaking or malfunctioning. The ominous chords paired with the distorted synth and bass lines that carry the listener through the filth that is this track.

2025 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

2025 Repress!

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

Als William J. Tsamis, Gründer der Epic-Metal-Heroen Warlord, am 13. Mai 2021 im Alter von nur 60 Jahren viel zu früh für immer von uns gegangen ist, schien dies für viele das Ende einer der kreativsten Metal-Formationen Amerikas zu markieren. Doch überraschender Weise schlugen Warlord zurück, mit neuer Besetzung und einem neuen Studioalbum, "Free Spirit Soar" (auf High Roller Records). Auf besagtes Studioalbum folgte im selben Jahr die limitierte Compilation "From The Ashes To The Archives - The Hot Pursuit Continues", die Appetit machen sollte auf die 2024er Festival-Tour von Warlord mit ihrem neuen Sänger Giles Lavery (der auch bei Jack Starr und Alcatrazz das Mikro schwingt). Auf dem Plan standen: Trveheim (Deutschland), Golden R Festival (Griechenland), Pyrenean Warriors (Frankreich) und Metalitalia (Italien). Für diese Shows hatten sich Warlord etwas ganz Besonderes ausgedacht: Im Vorfeld eines jeden Auftritts wurde exklusiv ein neuer Song im Internet veröffentlicht. Alle vier befinden sich auf "The Lost Archangel" zum ersten Mal in physischer Form. Giles Lavery schwärmt von besagten Auftritten: "Die Reaktionen bei diesen Shows waren unfassbar. Sie haben unsere kühnsten Träume übertroffen. Die Fans sangen jedes Wort mit uns mit - die Energie, die von diesem Festival-Publikum ausging, kannte keine Grenzen." Die vier Songs, um die es sich handelt, sind "Golgotha (Place Of The Skull)", "The Rainbow", "Lost Archangel" und "Stygian Passage". Giles Lavery geht ins Detail: "Es sind alles brandneue Aufnahmen. 'The Rainbow' stammt von einem alten Warlord-Demo aus den ganz frühen achtziger Jahren. Wir haben den Song umgearbeitet. Die anderen drei Stücke sind von Lordian-Guard-Alben. Wir waren der Meinung, dass wir sie sehr gut zu Warlord-Nummern umarrangieren konnten. Also warum sie nicht auch veröffentlichen? Unser Gitarrist Eric und ich haben die vier neuen Nummern produziert, mithilfe digitaler Heimtechnik aber auch in professionellen Studios." Zusätzlich zu den besagten vier neuen Aufnahmen bietet "The Lost Archangel" neben älteren und neuen Live-Mitschnitten auch Neuinterpretationen einiger Warlord-Klassiker. Für Fans und Sammler ein rundum gelungenes Paket.

Als William J. Tsamis, Gründer der Epic-Metal-Heroen Warlord, am 13. Mai 2021 im Alter von nur 60 Jahren viel zu früh für immer von uns gegangen ist, schien dies für viele das Ende einer der kreativsten Metal-Formationen Amerikas zu markieren. Doch überraschender Weise schlugen Warlord zurück, mit neuer Besetzung und einem neuen Studioalbum, "Free Spirit Soar" (auf High Roller Records). Auf besagtes Studioalbum folgte im selben Jahr die limitierte Compilation "From The Ashes To The Archives - The Hot Pursuit Continues", die Appetit machen sollte auf die 2024er Festival-Tour von Warlord mit ihrem neuen Sänger Giles Lavery (der auch bei Jack Starr und Alcatrazz das Mikro schwingt). Auf dem Plan standen: Trveheim (Deutschland), Golden R Festival (Griechenland), Pyrenean Warriors (Frankreich) und Metalitalia (Italien). Für diese Shows hatten sich Warlord etwas ganz Besonderes ausgedacht: Im Vorfeld eines jeden Auftritts wurde exklusiv ein neuer Song im Internet veröffentlicht. Alle vier befinden sich auf "The Lost Archangel" zum ersten Mal in physischer Form. Giles Lavery schwärmt von besagten Auftritten: "Die Reaktionen bei diesen Shows waren unfassbar. Sie haben unsere kühnsten Träume übertroffen. Die Fans sangen jedes Wort mit uns mit - die Energie, die von diesem Festival-Publikum ausging, kannte keine Grenzen." Die vier Songs, um die es sich handelt, sind "Golgotha (Place Of The Skull)", "The Rainbow", "Lost Archangel" und "Stygian Passage". Giles Lavery geht ins Detail: "Es sind alles brandneue Aufnahmen. 'The Rainbow' stammt von einem alten Warlord-Demo aus den ganz frühen achtziger Jahren. Wir haben den Song umgearbeitet. Die anderen drei Stücke sind von Lordian-Guard-Alben. Wir waren der Meinung, dass wir sie sehr gut zu Warlord-Nummern umarrangieren konnten. Also warum sie nicht auch veröffentlichen? Unser Gitarrist Eric und ich haben die vier neuen Nummern produziert, mithilfe digitaler Heimtechnik aber auch in professionellen Studios." Zusätzlich zu den besagten vier neuen Aufnahmen bietet "The Lost Archangel" neben älteren und neuen Live-Mitschnitten auch Neuinterpretationen einiger Warlord-Klassiker. Für Fans und Sammler ein rundum gelungenes Paket.

Da Taylor Nordberg und Jeramie Kling den Titel der 1992er Massacre-EP "Inhuman Condition" als Namen für ihre neue Band wählten, nachdem sie das Death-Metal-Flaggschiff 2020 verlassen hatten, erscheint es plausibel, dass in den letzten fünf Jahren an diesem bewährten Old-School-Sound festgehalten haben. Das dritte Inhuman-Condition-Album "Mind Trap" ist jedoch mehr als nur Massacre 2.0 und markiert eine Steigerung auf allen Ebenen. Die Tatsache, dass sich das ursprüngliche Trio, das durch den altgedienten Bassisten Terry Butler (zu verschiedenen Zeiten ebenfalls Mitglied von Massacre) vervollständigt wird, bei der Arbeit an neuem Material nie Ziele setzt, hat sich als Segen erwiesen: "Wir haben das Gefühl, dass wir unsere Identität gefunden haben und endlich über die Verbindung zu Massacre hinweg sind", sagt Nordberg. "Beim Schreiben, Aufnehmen, Mischen und so weiter wurde nichts überstürzt. Dieses Album zeichnet sich durch eine gewisse Behaglichkeit aus, hat aber immer noch diese knallharte Kante." Die Songs auf "Mind Trap" sind dem Gitarristen zufolge ein "Kommentar zu der Welt, in der wir leben". "Einige meiner Texte befassen sich mit dem erdrückenden Einfluss der Technologie auf unsere Spezies. Die Platte hat alles - Blut, Eingeweide, Serienmörder, Sci-Fi-Horror, schlechte Menschen." Die Band produzierte das Album vollständig in ihrem eigenen Studio, und das Ergebnis kann sich mehr als hören lassen. "Mind Trap" kommt mit einem weiteren bestechenden Artwork von Dan Goldsworthy (Accept, Alestorm) und zeugt von der besonderen Chemie des produktiven Duos hinter Inhuman Condition.

“The Rough And The Smooth” was the highly anticipated 2nd album from Outside. Written, produced, mixed and engineered by a 22 year old Matt Cooper, who journeyed through dub, jungle, hip hop and latin rhythms and vibrant, modal jazz. Playing much of the instrumentation including keys and drums, Matt was joined by some of the scene’s finest players from Jhelisa, Imaani, Greg Osby, Cleveland Watkiss, Byron Wallen, Tony Remy and Gary Crosby.

Upon release, ‘The Rough And The Smooth‘ received huge acclaim and was hailed as a masterpiece by the music press from GQ, MOJO, The Face and Mixmag and fans alike, taking Outside to another level.

From the complex funk of ‘Journeyman‘ parts 1 and 2, to the Nu Yorican hit of ‘The 29/8 Steps‘, to the powerfully emotive violin led jungle of ‘To Forgive But Not Forget‘ and the epic jazz and beats fusion that is ‘Moodswing‘, the album was impossible to pigeonhole and influenced a generation of music heads and artists.

Evolving from a performance lecture by philosopher and Jonna Bornemark at Orionteatern in Stockholm, ‘Hyperit’ (Swedish for a volcanic stone; hypersthenite in English) is inspired by Jennefelt’s performances alongside Bornemark. Before each performance, Jennefelt would plant a lawn on stage, with dirt, sand, gravel, rocks, weeds, and a body of water placed underneath. During the performance, Jennefelt would dig a hole in this lawn, delving progressively deeper and recording soundscapes in the process, with microphones attached to her tools of excavation.

With ‘Hyperit’, Jennefelt expands these ideas into a distinct incarnation of experimental world building, reenvisioning the lecture composition project with new sounds, vocals and field recordings. Using the performance lecture as a springboard, she explores the interior geological matter on ‘Hyperit’, sculpting electronic music inspired by the terrain of meteorites, magma and the Earth’s innermost composition. In this Jennefelt aims to capture a sense of being ‘inside’ the eponymous volcanic stone, or, as it’s known in her native Swedish, of being ‘inside the mountain’.

Recorded and composed at Stranden Ateljéer, EMS and Palazzo Stabile 2023. Mastered by Giovanni Conti at Artefacts Mastering, Berlin. To Bruno. Front cover art by Sara Melin. Graphic design by Oskar Laurin.

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…