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Her natural command on stage, paired with a voice that feels quietly seasoned, has made her one of the most exciting young live musicians emerging from the region. Now, with her first release, a double single featuring the raw, one-take folk recording 'Poison Ivy' and the dreamlike, psychedelic shimmer of 'Forget About' -- Grant introduces the full spectrum of her sound. One track close to the bone, the other lost in a dream, both unmistakably hers. 'Poison Ivy' was recorded when Grant was just 16, in a spontaneous midnight session after finally playing her songs to her dad. With only one microphone, no click, and a single take, the track became a time capsule of her earliest songwriting voice -- fragile, real, and impossible to recreate.

Now featuring Dan Bridgewood-Hill's evocative violin, it stands as a folk recording filled with warmth, instinct and unfiltered emotion. "I tried re-recording it," she says, "but nothing touched the magic of that first take." In contrast, 'Forget About' showcases Grant's emerging production instincts. Influenced by Zero 7, the song began as a kitchen jam before evolving into a lush mix of psychedelic keys, airy electronics and indie- rock textures. Self- recorded in Logic, the track reveals a new dimension to her writing, cinematic and rhythmically hypnotic

It will expand your mind into the depths of psychedelic solitude and the haunting chambers of darkness within. If you so dare, mastermind Astral Shadow will be your guide through the untamed worlds of Black Metal and Darkwave. But beware, for if you choose to travel this path you may lose yourself and forever go mad

The band has released three studio albums to date, plus a string of EPs, & has primarily existed as a duo featuring guitarist Alexander Nordgaren (formerly live guitarist for Norwegian legends, Mayhem) & drummer/ vocalist Svein Egil "Zweizz" Hatlevik (Umoral, Strid, ex-Dodheimsgard) throughout their full history.

Fleurety was considered a slight oddity to the rest of the Norwegian movement at the time of their inception, for developing an altogether different style with more dynamic musical influences & obscure/ non- traditional riffing. Following on from the 'Black Snow' demo in 1993 & the 'A Darker Shade Of Evil' 7" the following year, the band presented their full-length debut to the world in the shape of 'Min Tid Skal Komme'; an exquisite & revered journey through dark & often introspective soundscapes. 'Last Minute Lies' was originally released in 1999, preceding the band's second fulllength album, 'Department Of Apocalyptic Affairs' & introduced a taste of the demented sophistication yet to come through their ongoing penchant for the strange & bizarre.

The result was a mind-bending (or expanding) voyage of eccentricity within the metal genre, presenting a new masterclass in avantgarde mood- setting in the process. Also included in this special release is the rare "I Left The Planet" project recordings from 1996, where Nordgaren was joined by a number of guests for this anomaly of dark & poetic jazzy- metal, notably featuring fellow prodigy of avant- garde metal & percussionist extraordinaire, Carl-Michael Eide of Ved Buens Ende/Aura Noir. On what is the 35th anniversary of the band's formation, this edition of 'Last Minute Lies/I Left The Planet' is presented on CD format including booklet with full lyrics, with audio specially remastered by Greg Chandler (Esoteric) at Priory Studios for this release.

It's been a decade since the Soderhamn quintet last released a full album, 2016's Machina Viva, and four years since their last EP, 2021's A Darkened Sun, raised hopes that they were back with a vengeance. Throughout their career, Wolverine have always carried a similar dark emotional heft to their fellow countrymen Katatonia, driven by a sonic wall of sound. Lyrically too, singer Stefan Zell's lyrics pack a powerful emotional punch, and on Anomalies he's at his peak, drawing on those years of exasperation. The Swedes have evolved continuously, from their earliest days toying with death metal sounds, before adding in a more progressive influence on 1999's Fervent Dream EP, before setting themselves up as purveyors of the finest in melancholic prog metal, a flag they continue to carry aloft to this day.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

Goose Bumpsis Hutter's second solo release and was produced by Hi-Style Records's Jimmy Sutton (JD McPherson, Pokey LaFarge, The Bellfuries). Sutton assembled an all star cast of musicians, including Alex Hall (engineer, drums) and Joel Paterson (guitar). Almost all recording was done live at the analog Hi-Style studio in Chicago. Bonafide contemporary rock star JD McPherson wrote "Everybody's Valentine" for Hutter; it could easily find its way into the next Bond film. Emanuela's influences draw from disparate historical musical threads like doo- wop, German punk, and classic country. From the balladry of "Monday Morning" to the punk-surf rock of "The Voices," Hutter's original songwriting shines throughout. Goose Bumpsis a must listen for fans of modern rock with a classic twist

Sluta Leta first emerged in the mid-1990s with a series of EPs on legendary labels such as Mego (Fan Club, 1995), Uptight (Space Is The Place, 1996), Cheap Records (Lisa 94, 1998) and Chocolate Industries (…If You Like Champagne On Ice?, 1999). After the release of Sluta Leta's debut album “Semi Peterson” on Mego in 2003, the group somehow got lost in Second Life. Having missed a good decade and a half but not a beat, Sluta Leta unexpectedly reappeared in 2020 with a new album – “Entrée Contrôle” produced by Andi Pieper and Ramon Bauer with a little help from Gerhard Potuznik – released on famersmanual’s generate and test label.
Almost 30 years after their first release on Cheap Records (Lisa 94 in 1998), Sluta Leta returns to the Viennese cult label with their new album “Drift Dekoder”. Andi Pieper and Ramon Bauer have once again teamed up with Gerhard Potuznik to produce some crispy new songs that are bound to set the tone for the second half of the 2020s and beyond. On “Drift Dekoder”, the inherently artificial and somewhat otherworldly atmosphere of Sluta Leta’s songs is enhanced by the participation of several brilliant collaborators: vocals by Gerhard Potuznik on “Moment Eternal” and a duet with Luise Nehl on “Past In Reverse”, drums by ddKern (Past in Reverse, Björn i Fårkläder and Rymdpatrul), keys by Philipp Quehenberger (Björn i Fårkläder) as well as vocal contributions from various previous band members – Jonas Bergkvist (Tidsflayer), Bengt Liljstad (First Order) and Yngwie Moskowich (Driftstopp). A particularly noteworthy highlight of the album is the mix of “Tidsflayer” by Finlay Shakespeare.
Stop looking, start grooving! Written and produced by Andi Pieper and Ramon Bauer.
Lyrics and vocals on “Past In Reverse” and “Moment Eternal” by Gerhard Potuznik. “Tidsflayer (Finlay Shakespeare Mix)” mixed and produced by Finlay Shakespeare.

The debut 12 from M Sexton delivers four cuts of soulful house steeped in live musicianship and dusty sample work. From the shuffling energy of “In My Heart” to the hypnotic depth of “Feelings Can’t Explain,” and the screaming gospel of “Savin’ Me” to the tension-filled funk of “Club Mozambique,” this record bridges classic soulful house and old-school production with modern finesse.

THE OPRHIC HYMNS is an ode to the mystical. A celebration of the languid. An exploration of the id. A journey into self. The project was written, performed, and produced by Ryan Grieve and Tom Kuntz over the course of a year in a secluded location, with a few visits from notable guest contributors such as Alex Kassian and Logan Hone to sprinkle in a little of their magic. Kuntz (aka Pinchy Don) is the Pinchy in PINCHY AND FRIENDS. Grieve is the man behind HOLE IN THE SKY RECORDS and projects such as Heart People, Canyons, and Absolute Unity. This is their first release as THE ORPHIC HYMNS.

Stay True Sounds supremo Allan Nicoll, aka Kid Fonque, and legendary UK producer Charles Webster have brought together the cream of the South African deep house scene for a unique album. The record was recorded at Flame Studios, a facility built inside a prison at Constitution Hill in South Africa, which is very significant to South Africans, because that's where the Constitution was written. “It's a remarkable institution,” says Charles. “Mandela was in there; you can really feel the history. You're working in a prison cell from a brutal regime. It's an important place. So, I didn't want the album to be too light, because you can't escape from politics anywhere, but especially somewhere like here - and you shouldn't.”

Emerging from the Ukrainian darkness in 2011, Kaosophia blend the raw energy of black metal with dissonant tones and emotionally resonant melodics. Their music is a sonic tapestry woven with intricate guitar riffs, powerful vocals, and haunting arrangements.
The band recorded their first demo “Towards The End” which was self-released by them in 2012 on a limited edition cassette.

2013 saw their first album “The Origins of Extinction” released on CD and cassette and the band followed up with many shows across Europe. 2017 saw Kaosophia expand and deepen their abyssal sounds even further with the monumental “Serpenti Vortex”, with lavish cover art produced by occult master artist Dávid Glomba, it rose Kaosophia to the upper echelons and forged their name as one the best and most formidable black metal acts in the scene at the time.

After a long period of silence, bloodletting and transformation, Kaosophia return with their darkest, most mature and powerful work to date. 2025 sees the return of Kaosophia with their new album “Beyond The Black Horizon”.
A dark and malevolent opus that explores themes of darkness, existentialism and the human condition. Delving deep into the complexities of the mind, the fragility of existence and Death itself.
Kaosophia preach orthodox ideas of Satanism in the most straightforward and ruthless form - total unconditional worship. Self-destruction as the overcoming of human essence and the cognition of pain to gain access to another level of reality's perception.
It is time to enter the end of days and venture beyond the Black Horizon…

Despite its title, Ratboys’ new album Singin’ to an Empty Chair is not defined by what’s missing. Rather, it’s the beginning of an important dialogue with a close loved one, vocalist Julia Steiner finds herself estranged from. The music on the band’s sixth studio album – its first for New West Records – fills the space that person left behind with 11 songs showcasing Ratboys at the peak of their powers — twangy, effervescent, as confident as they’ve ever been, and perhaps more emotionally interrogative than ever before. The four-piece Chicago band followed up 2023’s highly acclaimed The Window by reconvening with co-producer Chris Walla to begin tracking at a rural Wisconsin cabin before taking the songs to Steve Albini’s famed Electrical Audio studios in Chicago and later to Rosebud Studio in Evanston, Illinois. The results veer from bubbly power-pop on “Anywhere” to irresistible post-country on “Penny in the Lake,” along with heart-piercing ballads like “Just Want You to Know the Truth” and an exhilarating detour into the extraterrestrial on “Light Night Mountains All That,” which Steiner dubs the band’s mammoth “wormhole jam.” Singin’ to an Empty Chair also marks the first Ratboys album written since Steiner began therapy, which the singer/lyricist credits for the clarity found across the album’s unflinching examinations of relationship and self. Fittingly, as the album begins by extending a hand into the void, it concludes with a scene of serenity – all while weaving candid honesty, humor, chaos, and whimsy along the way. “It's not all doom and gloom,” Steiner says. “The experience of making this record definitely gives me hope for whatever happens next.”

Despite its title, Ratboys’ new album Singin’ to an Empty Chair is not defined by what’s missing. Rather, it’s the beginning of an important dialogue with a close loved one, vocalist Julia Steiner finds herself estranged from. The music on the band’s sixth studio album – its first for New West Records – fills the space that person left behind with 11 songs showcasing Ratboys at the peak of their powers — twangy, effervescent, as confident as they’ve ever been, and perhaps more emotionally interrogative than ever before. The four-piece Chicago band followed up 2023’s highly acclaimed The Window by reconvening with co-producer Chris Walla to begin tracking at a rural Wisconsin cabin before taking the songs to Steve Albini’s famed Electrical Audio studios in Chicago and later to Rosebud Studio in Evanston, Illinois. The results veer from bubbly power-pop on “Anywhere” to irresistible post-country on “Penny in the Lake,” along with heart-piercing ballads like “Just Want You to Know the Truth” and an exhilarating detour into the extraterrestrial on “Light Night Mountains All That,” which Steiner dubs the band’s mammoth “wormhole jam.” Singin’ to an Empty Chair also marks the first Ratboys album written since Steiner began therapy, which the singer/lyricist credits for the clarity found across the album’s unflinching examinations of relationship and self. Fittingly, as the album begins by extending a hand into the void, it concludes with a scene of serenity – all while weaving candid honesty, humor, chaos, and whimsy along the way. “It's not all doom and gloom,” Steiner says. “The experience of making this record definitely gives me hope for whatever happens next.”

Celebrate the 10-year anniversary of Prince’s 2015 penultimate studio album, available now on vinyl for the first time. The album showcases the innovative spirit of Prince, featuring popular singles like “Stare,” “This Could Be Us,” and “FALLINLOVE2NITE.” The album includes

contributions from artists such as Prince’s bandmates in 3RDEYEGIRL (Hannah Ford-Welton, Donna Grantis, and Ida Nielsen), Judith Hill, Rita Ora, and female rap duo Curly Fryz, but it was primarily a collaboration between Prince and Joshua Welton, who was a co-producer on the album

Bless the Maker: the Great Houses of Laced Records and Funcom have forged a temporary trade agreement to bring you the expansive soundtrack for ‘Dune: Awakening’ on vinyl.  The hit survival game has garnered critical praise for its incredibly faithful and detailed realisation of the Dune universe - from its sprawling vistas to deep lore and political intrigue. The music is integral in recreating the atmosphere of Arrakis, conjuring not only its striking landscapes but the human experience of life on the planet.  Recorded live at Air Studios in London with The Chamber Orchestra of London, Knut Avenstroup Haugen’s soundtrack conjures a planetary sense of scale.

Arcing strings shimmer and twist weightless in the air like heat rising from the desert floor, while resonant brass evokes dawn stretching out across the sands.  The luscious acoustic instrumentation is enhanced and elevated by rippling electronics, capturing Dune's singular blend of science fiction and spiritual tradition.  Soaring vocal performances from Clara Sorace, Eurielle and Emília Rovira Alegre centre this sense of the sacred, pushing the soundtrack to ecstatic emotional peaks.  Black heavyweight double vinyl.  24 tracks from the acclaimed 2025 survival game.  Widespined outer sleeve  Printed, spined inner sleeves.  Bespoke sleeve artwork by Funcom.

Siriusmo is back! His fourth album, "Buletten & Blumen", will be released in November 2025 – a collection of musical delicacies. Freshly prepared, spicy, and greasy, but as always with a flower on top. The Berlin-based producer, whose real name is Moritz Friedrich, remains true to himself and his distinctive style – between funk, hip-hop, electronica, soundtrack vibes, and genre playfulness. As usual, Siriusmo wanders through musical styles, embracing them, missing them spectacularly – or simply inventing them. A subtle "Berliner Allerlei". The artist himself says of his working method on the album: "I'm a whole band. Nobody masters their instrument, but everyone pretends to – always with the fear that the others will notice." The album begins with the tongue-in-cheek opener "That Could Function As A Song", an ironic exploration of the artist's own creative process. With "Buletten & Blumen," Siriusmo delivers not simple fare, but a multifaceted menu.

Guests: Mr. Oizo, Erobique, Dana (& Claire Waldorff) An album that oscillates between irony, melancholy, and absurdity.

Tracklist:
A1. That Could Funktion As A Song
A2. Hongkong House feat. Liu's Family
A3. Watch Me Fall
A4. Ok So

B1. Baum
B2. The Syntheziser Has Been Drinking
B3. Liquit feat. Mr. Oizo
B4. In Der Klemme

C1. Koko
C2. Langsame Runde
C3. Der Uhrturm
C4. Meissner Schwerter

D1. Dummdidumm
D2. Every Tree Needs A Friend
D3. Lehm feat. Erobique & Dana
D4. Irgendwohin

Formerly one third of the much-loved trio Black Box Recorder, alongside The Auteurs’ Luke Haines and Jesus and Mary Chain guitarist John Moore, the British singer-songwriter Sarah Nixey has steadily gained acclaim as a solo artist who makes savvy, sophisticated and poised pop.

Delivering vocals with a detached elegance over opulent tracks, any perceived nonchalance in Nixey’s luxe, cut glass voice belies her empathy, where social commentary serves as protest, both explicit and implied. Like Billy Bragg deepfaked as prime Julie Andrews, this strange but effective juxtaposition radiates soft power. ‘Lies of the Land’ depicts a corrupt post-Brexit and Covid-19 world where inequality and division flourish. ‘England's On Fire’ delves into the nuanced concepts of patriotism and nationalism, and ‘Pleasure Bay’ narrates the story of a love affair with a deprived yet beautiful English seaside town, written after Nixey left London, drawn back to the Dorset coast.
More than just a political record though, Nixey was drawn to the poetic elements of living too, telling stories of life and death, love and loss, conflicts and symmetry, in an intimate and close-up way, as if whispering secrets to her listeners.

“Sea Fever explores the bittersweet beauty of human life amid a volatile world of changing seasons and brutal elements,” says Nixey. “These are songs of deep sorrow, remembrance, birth, and change, set against a backdrop of the sensuous natural world.”
‘Rolling Waves’ explores profound grief following her beloved grandmother's death, while ‘Spring Equinox’ celebrates the joy and awe of life after welcoming her first grandchild. ‘At the Edge of the Forest’ is a poignant story of someone losing their memory, and ‘On This Wide Night’ recounts the early hours return home of a teenage runaway.

Für Mandy, Indiana, ist die Wahrheit der einzige Weg. Auf "URGH", ihrem ersten Album bei Sacred Bones präsentiert, sich das Quartett - bestehend aus Sängerin Valentine Caulfield, Gitarrist und Produzent Scott Fair, Synthesizer-Spieler Simon Catling und Schlagzeuger Alex Macdougall - als eine Kraft von unheimlicher Natur, die ein Album geschaffen hat, das ebenso sehr ein Aufruf zum Handeln ist wie eine Reise in die Vergessenheit und Transzendenz. In den zehn Tracks verwebt die Band ihre eigene unkonventionelle Sprache zu einem Mantra für Selbstbestimmung und Widerstandsfähigkeit und schafft so eine Vorlage für eine bessere Zukunft, bevor alles in Dunkelheit versinkt. Ein Großteil des Albums wurde während eines Aufenthalts in einem unheimlichen Studiohaus am Stadtrand von Leeds geschrieben und anschließend in Berlin und Greater Manchester aufgenommen. Es war eine intensive Umgebung, was zum Teil auf die gesundheitlichen Probleme zurückzuführen war, mit denen Caulfield und Macdougall während des Schreib- und Aufnahmeprozesses zu kämpfen hatten. Dennoch bleiben Mandy, Indiana kompromisslos. Caulfield setzt ihre Stimme als verzerrtes Instrument und Waffe ein, die zwischen verspielt und vernichtend oszilliert. Der pulsierende Sirenenton von ,Magazine" steht neben dem zerhackten Vocal Fry von ,try saying" und der sich wandelnden Wildheit von ,ist halt so", das die Dringlichkeit von Protestbewegungen kanalisiert, auf den Widerstand gegen den Völkermord in Gaza verweist und gleichzeitig allgemeinere Kämpfe thematisiert, während der letzte Track ,I'll Ask Her" eine bewusste Direktheit ist, die die toxische Boy-Club-Kultur anprangert, und eine hartnäckige Abrechnung, die über dem gesamten Album schwebt. Obwohl es immer noch unbestreitbare ,Knaller" gibt (wie der zerfetzte Rap von ,Sicko!" mit Billy Woods), wirkt "URGH" oft wie präzise geschnitztes Kino. Vom sprühenden Techno von ,Cursive" bis zu den dekonstruierten Feedback-Loops von ,Life Hex" bewegt sich das Album zwischen industrieller Katharsis und filmischer Unruhe und spinnt eine Spannung, die Fair als ,Remix seiner selbst" beschreibt. Diese kontrastreiche Palette ist sowohl ein notwendiger Aspekt des Albums als auch das zugrunde liegende Bindeglied. Obwohl "URGH" sehr persönlich ist, spiegelt es den gewalttätigen, zerbrochenen Zustand der Welt wider. Caulfields Texte setzen sich mit Gewalt, systemischer Gleichgültigkeit und der Allgegenwart von Schmerz auseinander, betonen aber auch Momente der Schönheit und Solidarität. URGH gehört in die physische Welt, und das Artwork von Carnovsky mit einer anatomischen Illustration von Andreas Vesalius unterstreicht die viszerale Auseinandersetzung des Albums mit dem Körper und seinen Grenzen. URGH ist sowohl jenseitig als auch physisch und kathartisch, sowohl ein erster Schritt zur Heilung als auch eine Weigerung, das Gespräch sterben zu lassen.

NYC's Sweater on Polo follows up his acclaimed L.I.E.S. 12 inch from 2023 with debut full length double LP, "Almighty Grand Essence" This is pure to form 1985-1988 Chicago House worship, and while many have attempted to recreate this sound, most fail to deliver with correct reverence. Names like Saunders, Mixx, Virgo Four, undoubtedly appear in this conversation with Sweater on Polo taking cues and transforming the vintage sound into re-imagined dancefloor classics. Raw but clean, psychedelic but functional...this nine track record can move the crowd in all the right ways, with the lush deepness of "The Creation" to the nu-wave-house hybrid of "Proto Wave" or BMX beat track closer Psychotic Seance, its rare to find a young producer tapping into the vaults in such a focused, effective manner. Highly recommended to house heads worldwide.

Those in charge of opening this vinyl saga are "Fat & Blind" these two artists from Cádiz better known as "Deibeat & Shemma" with their track "Mother F .... Breakbeat" published by the label "Weekend Breaks" in 2000 , a track that became an anthem and continues to resonate at every party, now remastered for this occasion.

Crowned Eagle is the powerful new album from Alpha Steppa and long-time collaborator Nai-Jah. Blending ten potent vocal tracks with ten heavyweight dubs, this double-sided journey is inspired by Nai-Jah’s Nigerian heritage: an exploration of ancestral wisdom, modern struggle and spiritual resilience. Musically, the album bridges old and new, weaving together roots reggae, dub, afrobeat and beyond, all through the unmistakable lens of Alpha Steppa’s signature style: deep, spacious and defiantly conscious. Following the success of their Streetdub video series across social media, which has reached millions and featured frequent high profile collaborators, Alpha Steppa and Nai-Jah are set to take their sound worldwide with a global tour in 2026.

"Alpha Steppa is paving the way for a generation who are keen to tread new waters." DJ Mag

“One of the most prolific and inventive dub producers around.” Wire

“A serious player in the sound system world.” Mixmag­

“Obliteratingly heavy bass.” Q Mag

Western Lore presents the second part of an absolute jaw dropper of an LP from the enigmatic L own, the producer behind 2024’s much lauded Forgotten Paradise Bootlegs (which flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail).

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos, Daybreak Survivors is a journey like no other. Emotive and dripping with nostalgia whilst sounding distinctly futuristic, L own effortlessly carves out a unique sound that shines like beacon in a sea of noise.

Pure feel-good club energy from Italian producer Niccolo Turini, landing on 4lux with a killer slice of classic-inspired house magic! Think warm MPC grooves, rolling basslines, dusty chords and that unmistakable 90s US vibe -- deep, soulful and built for sweaty late-night floors. Essential material for true house lovers!

Roland Corporation's MKS-50 form 1986 is a rack-mount version of the Alpha Juno. It has the same synth engine and architecture, but with added features like 16 programmable chord memories, the ability to store velocity, volume, panning, de-tune, portamento and other similar parameters within each patch you create. The optional PG-300 gives traditional slider type control of all editable tone parameters which include DCO (digitally controlled oscillators) LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF (filter) with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. Adapta delivers a project based on this legendary MKS-50 synth. Tracks created with technology from the past, aimed for the future. Techno!!

Bangkok Impact - alias of Finnish producer Sami Liuski - helped define the early-2000s Italo-disco and electro revival. Missionary On Mars became an underground club hit across Europe with its spacey synths and retro-futuristic vibe, earning cult status among DJs. With Caro and La Musche his reputation for sleek, hypnotic grooves that bridged classic Italo influences with techno energy got cemented. Remastered repress for a new generation.

Analog house tracks and raw production styles come together on New Jersey's MANNY STEELO's 6 track debut. The newcomer is a bubbling entity of the underground and looks like a good fit for STAR CREATURE's GLOBAL CARRESS imprint with it's no frills, raw house tracks output thus far

In the humid static of early-’80s Tel Aviv, Chromosome emerged like a wiretap from the future. Formed in 1981 by provocateur Rami Fortis and sonic instigator Doron “Shultz” Eyal, the group fused punk abrasion, new wave architecture, avant-garde dissonance, and Middle Eastern textures. Joined by David Gervai and Rona Vered, they produced a singular 12" EP on their DIY imprint TOV Production - now a collector’s treasure.
This reissue of the Chromosome EP resurrects a raw, percussive artifact that slips between English, Arabic, and indecipherable phonetics like a busted shortwave signal. Anchored by “Makhtub” and backed with incendiary tracks such as “Show of Terrorism” and “Gazolina,” it is a vital document of Tel Aviv’s underground, mapping out a borderless, feral lineage for Israeli music.

LP, Green Slime Vinyl

The Portland, ME trio returns with Feels Like Hell, their most self-assured and emotionally charged record yet. Despite the title, the album is a celebration of personal growth, creative freedom, and defiant joy in the face of a chaotic world.

Coming off the burnout and frustration captured in their 2021 album Quitter, Feels Like Hell finds Sonia Sturino (vocals/guitar), Annie Hoffman (bass/vocals), and Adam Hand (drums) leaning into clarity, gratitude, and renewed purpose. Sturino’s lyrics are as raw and honest as ever, but now they reflect strength rather than despair. It’s an album that drags existential dread into the daylight and sets it on fire.

“I decided to stop being such a sad-sap negative person,” Sturino says. “Now I practice being grateful, being proud, being happy, and not being envious.” That mindset shift shapes the tone of Feels Like Hell, which looks at darkness but chooses not to be consumed by it.

The record also marks the band’s first foray into co-writing, with Hoffman playing a significant role in shaping its sound. Embracing a more intuitive recording process, the trio stripped back the excess and focused on what felt right. The result is a record that’s resilient, cathartic, and brimming with creative energy.

While the world may still feel like it’s falling apart, Feels Like Hell pulses with the power of letting go. Letting go of fear, of perfectionism, of the illusion that vulnerability is weakness. With driving guitars, unflinching lyrics, and a renewed sense of purpose, Weakened Friends prove that it’s possible to stand in the wreckage and still find something worth singing about.

Dark Chisme is a Seattle-based dark wave band started by Chicago-raised Latina DJ and Producer Christine Gutierrez (Vocals, Synths) and E (Bass, Synths). Dark Chisme brings dark wave influences to their music, with latin, house, and techno elements.

Here comes a special project with the late great Milton Henry, recorded in New York for Black Redemption a few months before his transition. Two rootikal rddims by Birmingstrong’s King Stanley set the tone and provide a perfect backing to Milton Henry’s poetic voice. ‘My Story, My Song’ back to back with ‘Lake Of Fire’, each with a dub version, ready for your stereo… his works, words and voice will live on forever more!

LOSOUL is back on SLICES OF LIFE with two minimal house gems!

Frankfurt-based DJ and producer legend LOSOUL is renowned for his unique sonic language and deep, captivating grooves.
On his latest release for the Berlin imprint, the tracks take us on a journey back to the roots of minimal house - raw, stripped-down, and deeply immersive.

"Post Service Pop" on the A-side flows deep and funky, spreading pads like hot oil, topped with subtly modulated vocal snippets.

"Modesty Bump" on the B-side dives into rawer territory with high-energy sounds and edgy sonic sparkles, while maintaining that minimalistic, steady, driving groove we all love in Losoul’s work: groovers and grinders for the long-distance runner’s soundtrack.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

GETTOBLASTER coming extra hot and funky on this 9 track double LP, their first full length on wax. The signature jacking-techy-bounce gets an extra level of spice from guest producers and vocalists like DJ DAN, DJ DEEON, DJ FUNK (RIP), JOHNNY FIASCO, MAD VILLA, and more.

With her sophomore album JAWBREAKER, Sam Quealy cements her status as one of pop’s most daring new voices. Like the cult candy it’s named after, JAWBREAKER is bold, addictive, and dangerously fun — a sugar-coated explosion of chaos, glamour, and emotion.

Produced alongside longtime collaborator Marlon Magnée (La Femme) between their Paris home studio and the legendary Studio Ferber, the album marks a striking evolution from Blonde Venus (2023). Here, Quealy trades the sharp edges of techno-pop for a lush, disco-infused sound, blending live instrumentation and cinematic sheen with her trademark anarchic energy. The result is a record that feels liberating, hedonistic, and deeply human — a vibrant antidote to modern gloom.

From the euphoric escape of “LONDONTOWN” to the dark romance of “LOVE LASSO”, and the shimmering pop fantasy of “GIRLS NIGHT”, Quealy channels a thousand versions of herself — club queen, rock diva, dreamer, and provocateur. The ethereal duet “BY MY SIDE” with Magnée closes the album in a haze of tenderness and light.

A multidisciplinary artist — singer, dancer, performer, and visual visionary — Quealy extends her universe through spectacular music videos and high-energy live shows that merge fashion, choreography, and raw emotion. On stage, she’s magnetic: a whirlwind of hyper-femininity and power, commanding every room with unfiltered authenticity.

With JAWBREAKER, Sam Quealy delivers a fearless pop statement — an exhilarating fusion of sensitivity, chaos, and self-expression that confirms her as a genre-defying visionary ready to take over the world.