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Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

Nach dem großen Erfolg des Comeback-Albums "IDAG" aus dem Jahr 2025 kehrt die legendäre schwedische Heavy-Rock-Band Witchcraft mit einem eindrucksvollen und intimen neuen Kapitel zurück, das den Titel "A Sinner's Child" trägt. Gründer, Sänger und Visionär Magnus Pelander reduziert den Sound auf dieser neuen 5-Track-EP auf seine reine Seele. Zwischen der melodischen Proto-Doom-Tiefe von ,Drömmen Om Död Och Förruttnelse" und ,Själen Reser Sig", über den leuchtenden Folk der Lead-Single ,A Sinner's Child" und deren Fortsetzung ,Sinner's Clear Confusion" bis hin zum gefühlvollen akustischen Klagelied ,Even Darker Days", bewegen sich diese Songs, welche von dem Multi-Instrumentalisten aus einem persönlicheren, unmittelbareren Ansatz heraus gedacht wurden. Die Songs präsentieren Pelanders Songwriting in seiner bewegendsten und verletzlichsten Form - ein direkter Zugang zu den eindringlichen Melodien und der emotionalen Tiefe, die das Vermächtnis von Witchcraft seit über zwei Jahrzehnten prägen. Sie sind Beleg für die zeitlose Kraft einer Stimme, einer Melodie und der Rohstoffe des Rock, destilliert zu ihrer Essenz - ein starker Epilog zu "IDAG". CD sowie LP erhältlich

Nach dem großen Erfolg des Comeback-Albums "IDAG" aus dem Jahr 2025 kehrt die legendäre schwedische Heavy-Rock-Band Witchcraft mit einem eindrucksvollen und intimen neuen Kapitel zurück, das den Titel "A Sinner's Child" trägt. Gründer, Sänger und Visionär Magnus Pelander reduziert den Sound auf dieser neuen 5-Track-EP auf seine reine Seele. Zwischen der melodischen Proto-Doom-Tiefe von ,Drömmen Om Död Och Förruttnelse" und ,Själen Reser Sig", über den leuchtenden Folk der Lead-Single ,A Sinner's Child" und deren Fortsetzung ,Sinner's Clear Confusion" bis hin zum gefühlvollen akustischen Klagelied ,Even Darker Days", bewegen sich diese Songs, welche von dem Multi-Instrumentalisten aus einem persönlicheren, unmittelbareren Ansatz heraus gedacht wurden. Die Songs präsentieren Pelanders Songwriting in seiner bewegendsten und verletzlichsten Form - ein direkter Zugang zu den eindringlichen Melodien und der emotionalen Tiefe, die das Vermächtnis von Witchcraft seit über zwei Jahrzehnten prägen. Sie sind Beleg für die zeitlose Kraft einer Stimme, einer Melodie und der Rohstoffe des Rock, destilliert zu ihrer Essenz - ein starker Epilog zu "IDAG". CD sowie LP erhältlich

Lange bevor er jemals ein Studio von innen sah, war Sam Snitchy auf der Straße unterwegs und schrie unter dem Namen Maniporno Gedichte - roh, furchtlos und im Einklang mit dem Chaos um ihn herum. Dann begann er, diesen Lärm in Platten zu verwandeln - zuerst als Melker, später als Sam Snitchy. Im April 2026 erscheint nun das dritte Snitchy-Album bei Voodoo Rhythm Records - ein weiterer Schritt auf diesem Weg, tiefer hinein in den Lärm, den Puls, die Verwirrung, mit der alles begann. Das neue Album ist ein klanglicher Exorzismus, aufgenommen mit Marco Fuorigioco, der Bass, Synthesizer und Gitarren verzerrt und das Tonband zerreißt, Philipp Schlotter (Me&Mobi, Music Against Airports) der den Raum mit geisterhaften Synthesizer- Halluzinationen erfüllt, und Domi Chansorn (Sophie Hunger, Knackeboul, Fai Baba, Bonaparte, Marie Krüttli, Béatrice Graf) der die Drums wie einstürzende Türme hämmert. Gemeinsam zerren sie dich durch psychedelische Punkwut, verschmelzen mit den Schatten dunkler Waves, mutieren zu Industrial Noise und Dub-Nebel, verwandeln sich in einen verzerrten Techno-Puls, bis du nicht mehr unterscheiden kannst, wo das eine aufhört und das andere anfängt - alles nährt das Feuer. Und über diesem Sturm spuckt Sam Snitchy seine Worte wie zerbrochene Spiegel - verzerrte und selbstreflexive Geschichten über Menschen, die in ihren eigenen Widersprüchen gefangen sind, über leere Routinen und bedeutungslose Lebensstile, die als Erfolg getarnt sind, über den absurden Tanz zwischen Ekstase und Verzweiflung. Die Texte erklären nicht - sie verstören. Sie halten dir ein zerbrochenes Glas vor und zwingen dich, dich selbst anzusehen, bis du nicht mehr weißt, ob du lachen oder schreien sollst. In VVR's own words: "Sam Snitchy transforms chaos into sound. Once a street poet known as Maniporno, he now blends punk energy with techno pulse, industrial grit, dub tension, and psychedelic garage haze. It's raw and hypnotic _ words like broken glass, beats like heartbeat and collapse spring to mind."

Mitreißend und hypnotisch markierte Ilana (The Creator) (2019) den Beginn eines neuen Kapitels für die nigerianische Band Mdou Moctar. Es ist das erste Album des nigrischen Gitarrenhelden, das mit einer Live-Rockband aufgenommen wurde, und fängt den schweren, psychedelischen Sound perfekt ein. Dieser Sound, den das Quartett durch endloses Touren verfeinert hatte, sollte später auf Afrique Victime in explosiver Form voll zur Entfaltung kommen.

Fast-rising Los Angeles band The Silvertone make a splash on the modern soul scene with Mistakes—their most soulful statement yet. Retro-laced and dripping with smoky vocals, dusty grooves, and late-night cool, this souldie record blends vintage R&B, classic soul, and a touch of psych—Sam Cooke meets Durand Jones under neon lights.

Cambridge-based improv collective Concrete Gazebo present their latest collection of open-hearted, quantum splice-downs, via Goldsmiths University label NX Records.

"Acid Heath" documents the ebb and flow of a collective in flux; online and in-the-flesh improv sessions form the raw material to be welded into new and fantastic forms by the group's hive-mind. Instruments falling into the pot this time around include a heavily effected Harmonic Art Handpan, the Yamaha PortaSound PSS-50, live-triggered field recordings, and mobile phone recordings of the jams themselves.

The result is a murky, atmospheric stew, at different times suggesting a sort of Fenland psychedelia, lof-fi krautock, or a deconstructed Broadcast.

When not making music, the band have organised free, open-to-all improvisation nights, "Under The Concrete Gazebo", since 2018.

Released in 1970 the band's only album, the extraordinary Afreaka!, demonstrates their excellence in playing psychedelic soul, dub- heavy funk, progressive rock, afrojazz and black acid rock. Demon Fuzz these days are amongst the most bootlegged and sampled bands from the early 70s British underground. It was a Billboard "4- STAR" selection in June 1971.

The band's name means "devil's children or bad policemen". They originally played soul, but the music they heard during a trip to Morocco lead to a change in their style to what has been described as a blend of funk, rock, jazz, and African music. Afreaka! is now available as a limited edition of 2000 individually numbered copies on purple translucent coloured vinyl. The sleeve has a nice linen laminate finish

Hailed as one of the US's most exciting and provocative new bands, Prostitute's bracing debut Attempted Martyr finally sees its official worldwide release on Mute.?

Emerging out of Dearborn, Michigan, this five-piece deal in pure chaos and catharsis - fiery live shows, razor-sharp intensity, and a sound that's as incendiary as it is brutally tight. Their name reflects their fixation on identity, desperation, and survival under late capitalism.

Attempted Martyr was written in the midst of global and personal turmoil, capturing the zeitgeist of a world unraveling. A loose concept record, it chronicles the rise and fall of a doomed zealot whose pursuit of holy vengeance spirals into a psychotic orgy of violence, greed, and lust. It's dense, turbulent, and charged with blaring Middle Eastern, African and East Asian influences - all scorched into shape by producer Chris Koltay (The Armed, Mdou Moctar).

With mounting online buzz, critical acclaim and a run of sold-out bootleg editions, Prostitute's debut continues to gain momentum - now available on red viny

Limited Green LP is for Indies only. all LPs include a DL card. Island Family is the fifth album from Isle-of-Eigg dwelling electro-acoustic psych-pop wonder Pictish Trail, AKA Johnny Lynch. A strange, unpredictable, sardonic and yet deeply personal record inspired by all from Fever Ray to The Flaming Lips, Liars, Mercury Rev and Beck, Island Family is Pictish Trail's contrarian view of arcadia; a search for the euphoric in the bucolic, bound up in sometimes conflicting ideas and feelings around nature and environment, sincerity and artifice, escapism and belonging. It's an album about how no man can remain an island, however hard he might try. Released by Fire Records, with support from Johnny's own label Lost Map, and produced by long-term collaborator Rob Jones (The Voluntary Butler Scheme, The Gene Dudley Group), 'Island Family' opens with its title track, a song of death, ghosts and the ties that bind, fusing abrasive electronic beats with a tongue-in-cheek fireside folk refrain and the haunted ice cream van melody of a digitally reincarnated traditional Scottish jig. A purgative surrender to nature's whim driven by a clattering machine drumbeat rolled in a puddle of filthy dirty fuzz, 'Natural Successor' is five-and-a-half-minutes of cathartic churning bass. 'In The Land of The Dead' is an eight-bit glitch-core reflection on island party excesses spasming into existential dread and regret, suitably accompanied by a funereal mariachi band. It's followed by the epic 'It Came Back', the understated verses and arms-aloft falsetto chorus of which are accompanied by a tense, foreboding bass-driven electro hip hop instrumental with (spoiler) a brain-shattering industrial-metal meltdown. 'Melody Something' is the album's purest moment, a cautiously uplifting solar-powered-ballad about losing track of time in the cycle of the seasons, and the gap between memory and reality. Shapeshifting closer 'Remote Control' is a channel hopping cabin-fever-dream flipping from warped boyband ballad to deep-fried fuzz pop. "One of my favourite artists" Lauren Laverne, BBC 6 Music

Die französisch-afrikanische Künstlerin Amy Gadiaga (AH-mee GAH-dee-ah-gah) ist eine in London lebende Bassistin, Sängerin und Komponistin. Ihre Debüt-EP "All Black Everything" hatte eine wichtige neue Stimme in der Londoner Jazzszene angekündigt. Mit ihrem neuen Projekt "BabyGoated" macht Gadiaga einen mutigen Schritt in Richtung Farbe und Selbstbewusstsein. Sie folgt ihrem Instinkt, über den Jazz hinaus zu expandieren und Musik zu machen, die sich weitläufig, grenzenlos und ihren Wurzeln treu anfühlt. "BabyGoated fasst zusammen, wer ich bin", erklärt Gadiaga. "Sowohl verletzlich (Baby) als auch mutig (Goated). Es ist niedlich und liebenswert, aber auch ein bisschen arrogant." Der Titel spiegelt die Dualitäten wider, die das Projekt prägen: zwischen Demut und Stolz, Sanftheit und Stärke, göttlicher Energie und menschlicher Unvollkommenheit. ,Das ganze Projekt ist ein ständiger Kampf zwischen Selbstbewusstsein und Verlorenheit - aber immer voller Anmut." Während "All Black Everything" sich auf erweiterte Jazz-Instrumentierung stützte, tauscht "BabyGoated" diese gegen Direktheit ein. Gadiagas Stimme rückt in den Vordergrund und verleiht ihrem inneren Dialog mit ungeschützter Klarheit Gestalt. "BabyGoated" setzt auf organische Texturen und nutzt warmes Klavier, Trompete und folkige Gitarrenklänge. Zum ersten Mal schreibt sie auch in französischer Umgangssprache. Das ist eine befreiende Wendung, die ihre französische und afrikanische Identität verbindet. "Normalerweise schreibe ich auf Französisch poetisch und extravagant", sagt sie. "Aber dieser Song entstand aus der Absicht, etwas zu schaffen, mit dem sich mein jüngeres Ich identifizieren und das es genießen kann." Die EP ist durchzogen von einer überschwänglichen Stimmung, sowohl in der Musik als auch in den Bildern. In Zusammenarbeit mit einem Kreis enger Mitarbeiter, die sie liebevoll ihre African Baddies nennt, ließ sich Gadiaga von ihrem afrikanischen Erbe inspirieren, um die Welt von "BabyGoated" zu einer farbenfrohen Vision zu formen, die Individualität und panafrikanischen Stolz zelebriert. Letztendlich ist "BabyGoated" eine Geschichte über Selbstvertrauen, Verwandlung und Freude.

An obscure experimental dirty lo-fi maximum result five track release straight from the centre of creativity in The Hague!! Warning!! These tracks may cause psychosis and mayhem!! A bunch of samples looped in various measures, together creating one jam to funky, weird and dark drumprogramming. This record was released previous to their ''Beyond A Joke'' on Bunker.

a a1 [shitcluster den haag, untitled] 02:56
[b] a2 [shitcluster den haag, untitled] 03:02
[c] a3 [shitcluster den haag, untitled] 03:34
[d] b1 [shitcluster den haag, untitled] 04:25
[e] b2 [shitcluster den haag, untitled] 06:00

[a] a1 | [shitcluster den haag, untitled] 02 56
[b] a2 | [shitcluster den haag, untitled] 03 02
[c] a3 | [shitcluster den haag, untitled] 03 34
[d] b1 | [shitcluster den haag, untitled] 04 25
[e] b2 | [shitcluster den haag, untitled] 06 00

A companion piece to the album, Right Now!, this collection contains additional recordings from those sessions, as well as remixes and reimaginings of songs from Right Now! All songs, except for “Reap What You Sow,” have never been released. The psychedelic improv supergroup featuring Dave Alvin and Victor Krummenacher (Camper Van Beethoven, Cracker, Monks of Doom, Eyelids), David Immerglück (Counting Crows, John Hiatt, Monks of Doom, Camper Van Beethoven), drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale), and singer/songwriter Jesse Sykes (Jesse Sykes & The Sweeter Hereafter) continues to defy expectations and genre on Spellbinder!

Nach dem großen Erfolg des Comeback-Albums "IDAG" aus dem Jahr 2025 kehrt die legendäre schwedische Heavy-Rock-Band Witchcraft mit einem eindrucksvollen und intimen neuen Kapitel zurück, das den Titel "A Sinner's Child" trägt. Gründer, Sänger und Visionär Magnus Pelander reduziert den Sound auf dieser neuen 5-Track-EP auf seine reine Seele. Zwischen der melodischen Proto-Doom-Tiefe von ,Drömmen Om Död Och Förruttnelse" und ,Själen Reser Sig", über den leuchtenden Folk der Lead-Single ,A Sinner's Child" und deren Fortsetzung ,Sinner's Clear Confusion" bis hin zum gefühlvollen akustischen Klagelied ,Even Darker Days", bewegen sich diese Songs, welche von dem Multi-Instrumentalisten aus einem persönlicheren, unmittelbareren Ansatz heraus gedacht wurden. Die Songs präsentieren Pelanders Songwriting in seiner bewegendsten und verletzlichsten Form - ein direkter Zugang zu den eindringlichen Melodien und der emotionalen Tiefe, die das Vermächtnis von Witchcraft seit über zwei Jahrzehnten prägen. Sie sind Beleg für die zeitlose Kraft einer Stimme, einer Melodie und der Rohstoffe des Rock, destilliert zu ihrer Essenz - ein starker Epilog zu "IDAG". CD sowie LP erhältlich

Psychotronics is arguably one of the finest creations from a quite unique Dutch formation called Normally Invisible. In the primordial, early nineties phase of what we now call electronic music, a fellowship of students at the prestigious The Hague Institute for Sonology was formed. Not to become superstars, as there was no real commercial scene to speak of, but driven by sheer artistic curiosity and intrinsic passion for this new way of musical expression.

Nico, Olaf, and Thiemo demonstrate their interest in a broad range of tempos, feelings, and styles across their discography, with Psychotronics as one of the more dance floor oriented releases. Anacalypto Records brings you this former promo EP in a transformed and remastered official re-release. To complete the label's 5th release, the B-side of Psychotronics is topped off with the formerly unreleased "Cookie" from the same year, 1995.

The Sound Migration SYT reissue campaign continues with the 1994 single Echo System / School Of Thought. Originally released on Astralasia's Magick Eye Records records, it features two long spacey psychedelic acid cuts plus a fresh set of remixes with E-Talking delivering a refined tech house version and Trent taking things in cosmic disco direction.

"¡Qué ardiente!" combines the best of Los Roger's limited discography, one of the most influential Amazonian cumbia bands from Iquitos, Peru.Their discography dives deep into Cuban-influenced sounds, where the guitar shares the spotlight with powerful percussion and-with tracks like 'Descarga Roger's'-with the vocals as well. A thorough look into one of the most essential Psychedelic cumbia bands in Peru. Iquitos, one of Peru's most remote cities and the capital of its Amazon region, was the epicenter of the psychedelic cumbia movement. Countless bands emerged from this place, each with a different fate in their musical journeys. Some rose to become international stars and flag bearers of cumbia, while others remained local legends, their fame never traveling far beyond the Amazon jungle. Los Roger's achieved great success in Iquitos and served as the foundation and inspiration for many local bands that emerged in the late 1960s and early 1970s. "¡Qué ardiente!" combines the best of the band's limited discography. The recordings come from their first 45 RPM single and their two mini Long Plays for the FTA label, as well as their only elusive LP from 1971, "¡Qué ardiente!", ("How Burning!") recorded for the prestigious IEMPSA label. Los Roger's came to an abrupt end just one year after the release of their LP, at the peak of their career, due to their disappointments with the music industry.

Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.

Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.

The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.

The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).

The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.

2026 Repress

The long-awaited sequel to Ophidian's cult classic Blackbox (2003) arrives: "Blackbox: Kasamaan" picks up where the original left off, and strays further into the darkness.
Expect Industrial Hardcore and Hard Techno with grinding, distorted kicks, warped percussion, detailed rhythms and intricate sound design, all while being cloaked in haunting, eerie atmospheres.

ZHERAV unleashes hypnotic Middle Eastern grooves on NAJA / BAZAAR 45 for Batov’s highly collectable 45 series.

New Zealand-based producer ZHERAV announces his debut release, NAJA / BAZAAR, a double single and 45 on Batov’s Middle Eastern Grooves series. The record fuses psychedelic rock, hypnotic rhythms, and electronic production influences, creating a sound that moves between swung grooves and cinematic, reverb-soaked textures.

ZHERAV draws from his background in house and techno, layering live guitar, bass, and synths over programmed drums. “I had a production template for house music on Ableton” he explains, “and I thought about how to switch to this Middle Eastern sound using the same format”. Most of ZHERAV’s tracks developed through improvisation - starting with programmed drums, then experimenting around scales on instruments until something works. ZHERAV has already received support from independent radio in Australia and New Zealand, and encouragement from international artists like Ko Shin Moon.

Both tracks explore Middle Eastern scales, bringing a distinct flavour to the grooves, while maintaining ZHERAV’s signature hypnotic layered sound. ZHERAV had something in mind related to snakes and their charmers when creating the A-side, NAJA (“Indian Cobra”). An ominous bassline loops repeatedly over snapping drums and percussion, whilst ZHERAV improvises guitar riffs and effects over the top.