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Young Kingz II marks Krept & Konan’s first album since top-5 charting Revenge Is Sweet, a project which cemented their place in music history as UK rap royalty and saw them become the first British rap act to headline the O2 London. It also follows the duo’s equally ground-breaking 2017 release of 7 DAYS and 7 NIGHTS, which saw them become the first act ever to have two mixtapes simultaneously enter the Top 10 of the Official UK Albums chart, and their 2015 debut album The Long Way Home which debuted at no. 2 on The Official UK Albums Chart, becoming the highest charting British Rap album in UK chart history.

With Young Kingz II, Krept & Konan are set to continue their legacy and undisputed relevance in the British music scene. Returning to their independent roots, they come full circle with the follow up to their 2013 released Young Kingz mixtape which catapulted the duo into the Top 20 of The Official UK Albums Chart, earning them a Guinness World Record for the highest charting UK album by an unsigned act.

Young Kingz was pivotal in establishing Krept & Konan as trailblazers in the UK rap scene, kickstarting their reputation for repeatedly breaking records and consistently breaking ground. With a broad-ranging rollcall of featured artists, it heralded their signature approach to collaborations of enlisting fledgling artists (such as s then little-known MC, Stormzy), alongside more established ones (George The Poet, Chip, Tine Tempah and Giggs). It also saw Krept & Konan gain traction across the Atlantic with US rappers French Montana, Chinx Drugz, Lil Durk stepping up on the remix of the mixtape’s second single release, "Don’t Waste My Time", and garnered them a BET Award (Best International Act) and MOBO Award (Best Hip-Hop Act).

‘Young Kingz II’ is poised to be yet another milestone in Krept & Konan's unstoppable career. As unapologetic pioneers in UK hip-hop, they continue to push boundaries and set new benchmarks in British music.

LINEAR LABS: Sao Paulo läutet eine neue goldene Ära musikalischer Genialität ein, die durch den Maestro Adrian Younge definiert wird. Eine außergewöhnliche psychedelische und gefühlvolle Erfahrung bietet "Adrian Younge presents Linear Labs: Sao Paulo", eine Zusammenstellung von neuen Songs, die die musikalische Brillanz von Adrian Younge mit Künstlern aus der ganzen Welt präsentiert. Im Wesentlichen enthält das Album jeweils einen unveröffentlichten Song aus einer Reihe von bevorstehenden Alben, die Younge für Linear Labs produziert hat, darunter "Something About April Ill", der dritte Teil von Younge's Meisterwerk-Trilogie, und ein neues Blaxploitation-Abenteuer von Hip-Hop-Legende Snoop Dogg, mit dem Titel "Don't Cry For the Devil".

Berlin’s Moses Yoofee Trio have confirmed details of their first new material since their 2023 mini-album, Ocean. ‘WHIP.wav’ will be released digitally on October 18, 2024, and represents the first taster for their debut full-length, MYT, set to be released by Nils Frahm’s LEITER on February 7, 2025. The German group recorded much of the album over ten days in April 2024 at Glaswald Studios, in the countryside outside Stuttgart, before returning to Berlin to polish the results and record two further tracks at LEITER’s Funkhaus studio. Available on vinyl and via all digital platforms, the album was produced by the trio with long-time collaborator and mixing engineer oh.no.ty. ‘WHIP.wav’, the original version of which was previously shared to social media to great response, is a perfect showcase for the band’s unique brand of sophisticated jazz, its laidback summer grooves lit up by Moses’ fluid piano lines, while drummer Noah Fürbringer’s deft rhythms lock in with Roman Klobe-Barangă‘s understated bassline. At just 100 seconds long, it’s also as succinct and straightforward as MYT’s title – and indeed many of its tracks – which reveals a lot about the Moses Yoofee Trio. The new album’s tracks display a remarkable determination to distil their work to its essence, allowing their prodigious talents and graceful versatility to flourish in uncluttered surroundings. Their goals, they state concisely, are “emotions, moments and bangers”, and careful attention was paid to arrangements to ensure nothing superfluous made the cut. Before coming together as a band, all three members were already deeply involved in the music scene, touring, recording, and producing for a wide range of artists and bands. They connected in 2020 when Moses met Roman at Berlin’s Jazz Institute, and it was the latter who suggested they jam with his friend Noah, who was living in southern Germany at the time but frequently visited Berlin. Amid the extended lockdowns of the Covid-19 pandemic, the trio embraced the chance to fully immerse themselves in the creative process. Since then, Moses Yoofee Trio have cultivated an extraordinary reputation for their shows, and this year they won the German Jazz Prize’s prestigious Live Act of The Year award. Recent highlights include a 2,500-capacity Elbjazz Festival booking beside Hamburg’s harbour, a riotous appearance at London’s Jazz Festival, and an intimate gig before 200 people at the German capital’s now redundant Tempelhof Airport on the rooftop of an air traffic control tower. Despite their own work as a trio, all three musicians remain busy elsewhere, with Moses, like Roman, often working with chart-topping Berlin-based Peter Fox, a frontman for reggae/dancehall/hip hop crossover act SEEED, and accompanying him on his extensive solo tours. Noah, meanwhile, plays with another renowned artist, German-American rapper Casper, as well as Sweden’s acclaimed Petter Eldh and German comedian / actor / musician Teddy Teclebrhan.

The duality of "man" is a subject that has been explored in art for centuries, from writings of the Bible to Descartes, all the way up to filmmakers like Lynch, Cronenberg, & Carpenter. Who is your "true self" & what do they want? With their sixth studio album "Wish Defense" (again for longtime home Trouble In Mind Records), Chicago trio FACS take a good, long look in the mirror to face themselves. The return of original member Jonathan Van Herik - who stepped away from the group just before their debut album "Negative Houses" was released in 2018 - replacing longtime bassist Alianna Kalaba brings renewed vigor & a marked angularity from the band's more recent output. The songs still hit hard, but the approach is sideways - the roles have changed since Van Herik's original tenure & his previous time with Case & powerhouse drummer Noah Leger in Disappears; now on bass, Van Herik was originally the group's guitar player and features on the debut, while current guitarist Brian Case played bass. This role reversal has helped the band's dynamic, offering up a different musical perspective than before, now revisiting the trio's long-going collaboration with some distance and time. Case notes that the lyrics on "Wish Defense" revolve around doppelgängers or "doubles", tackling the idea of facing yourself and observing your ideas and motivations. Look no further than the album's title track; "Enter the mirror / Double walker / An intimate / Wish defense / Is it real? / You beside me / The detail / Terrifying / Abject self / Your grief / A public / Performance". Case lays out the entire album's theme in one stanza; Are your actions & emotions your true self? Or are they a performative aspect of that "other" person you put forward? Case says that ultimately the sentiment is "_don't let the bastards get you down, there's something beyond this moment, like hope - but not in the naive belief that ultimately people are good". "Wish Defense"s artwork is also a subtle reference to "Negative Houses"' art, returning to that album's black & white starkness & minimalism. The album's checkerboards everywhere are offset reflections of themselves, mirrored with the album's lyrics printed front & center on the cover. Everything is out in the open. A final note; "Wish Defense" is the last album engineered by Steve Albini. Two days were recorded at Electrical Audio in early May of 2024 before Steve's untimely passing, with renowned engineer & friend Sanford Parker stepping in to finish the session 24 hours later, tracking the last bits of vocals and overdubs. Longtime collaborator John Congleton mixed the album as Albini would have; in Electrical Audio's A room, off the tape, using Albini's notes about the session.

The duality of "man" is a subject that has been explored in art for centuries, from writings of the Bible to Descartes, all the way up to filmmakers like Lynch, Cronenberg, & Carpenter. Who is your "true self" & what do they want? With their sixth studio album "Wish Defense" (again for longtime home Trouble In Mind Records), Chicago trio FACS take a good, long look in the mirror to face themselves. The return of original member Jonathan Van Herik - who stepped away from the group just before their debut album "Negative Houses" was released in 2018 - replacing longtime bassist Alianna Kalaba brings renewed vigor & a marked angularity from the band's more recent output. The songs still hit hard, but the approach is sideways - the roles have changed since Van Herik's original tenure & his previous time with Case & powerhouse drummer Noah Leger in Disappears; now on bass, Van Herik was originally the group's guitar player and features on the debut, while current guitarist Brian Case played bass. This role reversal has helped the band's dynamic, offering up a different musical perspective than before, now revisiting the trio's long-going collaboration with some distance and time. Case notes that the lyrics on "Wish Defense" revolve around doppelgängers or "doubles", tackling the idea of facing yourself and observing your ideas and motivations. Look no further than the album's title track; "Enter the mirror / Double walker / An intimate / Wish defense / Is it real? / You beside me / The detail / Terrifying / Abject self / Your grief / A public / Performance". Case lays out the entire album's theme in one stanza; Are your actions & emotions your true self? Or are they a performative aspect of that "other" person you put forward? Case says that ultimately the sentiment is "_don't let the bastards get you down, there's something beyond this moment, like hope - but not in the naive belief that ultimately people are good". "Wish Defense"s artwork is also a subtle reference to "Negative Houses"' art, returning to that album's black & white starkness & minimalism. The album's checkerboards everywhere are offset reflections of themselves, mirrored with the album's lyrics printed front & center on the cover. Everything is out in the open. A final note; "Wish Defense" is the last album engineered by Steve Albini. Two days were recorded at Electrical Audio in early May of 2024 before Steve's untimely passing, with renowned engineer & friend Sanford Parker stepping in to finish the session 24 hours later, tracking the last bits of vocals and overdubs. Longtime collaborator John Congleton mixed the album as Albini would have; in Electrical Audio's A room, off the tape, using Albini's notes about the session.

The duality of "man" is a subject that has been explored in art for centuries, from writings of the Bible to Descartes, all the way up to filmmakers like Lynch, Cronenberg, & Carpenter. Who is your "true self" & what do they want? With their sixth studio album "Wish Defense" (again for longtime home Trouble In Mind Records), Chicago trio FACS take a good, long look in the mirror to face themselves. The return of original member Jonathan Van Herik - who stepped away from the group just before their debut album "Negative Houses" was released in 2018 - replacing longtime bassist Alianna Kalaba brings renewed vigor & a marked angularity from the band's more recent output. The songs still hit hard, but the approach is sideways - the roles have changed since Van Herik's original tenure & his previous time with Case & powerhouse drummer Noah Leger in Disappears; now on bass, Van Herik was originally the group's guitar player and features on the debut, while current guitarist Brian Case played bass. This role reversal has helped the band's dynamic, offering up a different musical perspective than before, now revisiting the trio's long-going collaboration with some distance and time. Case notes that the lyrics on "Wish Defense" revolve around doppelgängers or "doubles", tackling the idea of facing yourself and observing your ideas and motivations. Look no further than the album's title track; "Enter the mirror / Double walker / An intimate / Wish defense / Is it real? / You beside me / The detail / Terrifying / Abject self / Your grief / A public / Performance". Case lays out the entire album's theme in one stanza; Are your actions & emotions your true self? Or are they a performative aspect of that "other" person you put forward? Case says that ultimately the sentiment is "_don't let the bastards get you down, there's something beyond this moment, like hope - but not in the naive belief that ultimately people are good". "Wish Defense"s artwork is also a subtle reference to "Negative Houses"' art, returning to that album's black & white starkness & minimalism. The album's checkerboards everywhere are offset reflections of themselves, mirrored with the album's lyrics printed front & center on the cover. Everything is out in the open. A final note; "Wish Defense" is the last album engineered by Steve Albini. Two days were recorded at Electrical Audio in early May of 2024 before Steve's untimely passing, with renowned engineer & friend Sanford Parker stepping in to finish the session 24 hours later, tracking the last bits of vocals and overdubs. Longtime collaborator John Congleton mixed the album as Albini would have; in Electrical Audio's A room, off the tape, using Albini's notes about the session.

Das Debütalbum des 2020 gegründeten Leedser Kollektivs um Kernmitglieder George Mitchell, Matt Peel, Josh Lewis und Imi Marston.

Mit Einflüssen, die von Mount Kimbie und My Bloody Valentine bis hin zu Björk und Burial reichen, steht 'U R HERE' für ein neues Gefühl des kreativen Ausdrucks inmitten einer Welt, die manchmal zu zerfallen scheint.

Die Songs auf 'U R HERE' sind eine fließende, mitreißende und einzigartig introspektive Interpretation von Clubmusik, die die psychologischen Auswirkungen des modernen Zeitalters in Töne fast und die Vitalität und Freiheit nutzt, die mit Neuanfängen einhergeht. 'U R HERE', genau jetzt, und nur das zählt.

In den vergangenen 12 Monaten haben sich HONESTY mit der Veröffentlichung ihrer ersten EP 'WHERE R U', dem experimentellen Mixtape 'BOX' und einer Reihe von Singles aus ihrem Debütalbum ein substantielles Publikum erspielt.

Die Gruppe erntete Lob von wichtigen Indie-Magazinen wie The Needle Drop, eine Erwähnung von Alexis Petridis von The Guardian und weitere Kritiken von Mixmag, Rolling Stone, Crack, NME und Brooklyn Vegan. Im Radio wurde die Band von BBC 6 Music und Apple Music 1 gespielt und erhielt viel Unterstützung von BBC Introducing. HONESTY hat kürzlich eine Live-Session für BBC Introducing aufgenommen und gefilmt, die Anfang Januar auf BBC Introducing Leeds und Sheffield ausgestrahlt wird.

HONESTYs hypnotisierende Live-A/V-Show ist einer der wichtigsten Faktoren für den bisherigen Erfolg der Band. Ihr vielschichtiges visuelles Erscheinungsbild und ihr ausgeklügeltes Live-Setup bringen die Textur und die Kraft der Aufnahmen voll zur Geltung, was Mixmag und Clash dazu veranlasste, die Band in ihren Beiträgen zu den besten Sets beim Eurosonic 2024 hervorzuheben.

Das Debütalbum des 2020 gegründeten Leedser Kollektivs um Kernmitglieder George Mitchell, Matt Peel, Josh Lewis und Imi Marston.

Mit Einflüssen, die von Mount Kimbie und My Bloody Valentine bis hin zu Björk und Burial reichen, steht 'U R HERE' für ein neues Gefühl des kreativen Ausdrucks inmitten einer Welt, die manchmal zu zerfallen scheint.

Die Songs auf 'U R HERE' sind eine fließende, mitreißende und einzigartig introspektive Interpretation von Clubmusik, die die psychologischen Auswirkungen des modernen Zeitalters in Töne fast und die Vitalität und Freiheit nutzt, die mit Neuanfängen einhergeht. 'U R HERE', genau jetzt, und nur das zählt.

In den vergangenen 12 Monaten haben sich HONESTY mit der Veröffentlichung ihrer ersten EP 'WHERE R U', dem experimentellen Mixtape 'BOX' und einer Reihe von Singles aus ihrem Debütalbum ein substantielles Publikum erspielt.

Die Gruppe erntete Lob von wichtigen Indie-Magazinen wie The Needle Drop, eine Erwähnung von Alexis Petridis von The Guardian und weitere Kritiken von Mixmag, Rolling Stone, Crack, NME und Brooklyn Vegan. Im Radio wurde die Band von BBC 6 Music und Apple Music 1 gespielt und erhielt viel Unterstützung von BBC Introducing. HONESTY hat kürzlich eine Live-Session für BBC Introducing aufgenommen und gefilmt, die Anfang Januar auf BBC Introducing Leeds und Sheffield ausgestrahlt wird.

HONESTYs hypnotisierende Live-A/V-Show ist einer der wichtigsten Faktoren für den bisherigen Erfolg der Band. Ihr vielschichtiges visuelles Erscheinungsbild und ihr ausgeklügeltes Live-Setup bringen die Textur und die Kraft der Aufnahmen voll zur Geltung, was Mixmag und Clash dazu veranlasste, die Band in ihren Beiträgen zu den besten Sets beim Eurosonic 2024 hervorzuheben.

Knapp zwei Jahre nach ihrem letzten Album „Black & Gold“ melden sich die vier Schwedinnen von THUNDERMOTHER mit ihrem neuen Werk „Dirty & Divine“ zurück. Mit frischer Besetzung setzen THUNDERMOTHER nahtlos dort an, wo sie aufgehört haben: Ein neues Album, eine neue Tour. Die zehn neuen Tracks zeigen einmal mehr, warum das schwedische Hard Rock Powerhouse bekannt dafür ist, das Live-Feeling direkt ins Wohnzimmer zu transportieren. Das Album ist randvoll mit mitreißenden Refrains und Gitarrenriffs mit einer ordentlichen Portion Starkstromladung. Eines ist sicher: Auch auf „Dirty & Divine“ lassen THUNDERMOTHER nichts anbrennen und liefern dem Rock & Roller-Herz den nötigen Kickstart!

Knapp zwei Jahre nach ihrem letzten Album „Black & Gold“ melden sich die vier Schwedinnen von THUNDERMOTHER mit ihrem neuen Werk „Dirty & Divine“ zurück. Mit frischer Besetzung setzen THUNDERMOTHER nahtlos dort an, wo sie aufgehört haben: Ein neues Album, eine neue Tour. Die zehn neuen Tracks zeigen einmal mehr, warum das schwedische Hard Rock Powerhouse bekannt dafür ist, das Live-Feeling direkt ins Wohnzimmer zu transportieren. Das Album ist randvoll mit mitreißenden Refrains und Gitarrenriffs mit einer ordentlichen Portion Starkstromladung. Eines ist sicher: Auch auf „Dirty & Divine“ lassen THUNDERMOTHER nichts anbrennen und liefern dem Rock & Roller-Herz den nötigen Kickstart!

Celebrate a decade of Going To Hell with this exclusive 10th-anniversary collector"s item. Features include material-wrapped cover with a debossed logo, a stunning 32-page spread of rare behind-the-scenes photos capturing one of the decade"s most iconic album covers, and the album in the UK and Europe-exclusive Gold and Purple Marble Vinyl. Going To Hell is the second album from New York City rock band The Pretty Reckless. It went straight into number 5 on the Billboard 200 upon release, as well as #8 on the Official UK Albums Chart, becoming the band"s first Top 10 album in the US and UK. This collector"s piece merges the visual and sonic essence of The Pretty Reckless designed for those who live and breathe rock & roll.

Celebrate a decade of Going To Hell with this exclusive 10th-anniversary collector"s White and Purple Marble LP housed in a Gatefold Sleeve. Going To Hell is the second album from New York City rock band The Pretty Reckless. It went straight into number 5 on the Billboard 200 upon release, as well as #8 on the Official UK Albums Chart, becoming the band"s first Top 10 album in the US and UK. This collector"s piece merges the visual and sonic essence of The Pretty Reckless designed for those who live and breathe rock & roll.

Die 1987er Black Uhuru-Alben "Positive" und "Positive Dub" zählen zu den besten Arbeiten der legendären Reggae-Band und erscheinen nun kombiniert in remastered Qualität. Produziert von Steven Stanley, mit Sly & Robbie als Studiomusiker, war "Positive" das letzte Album mit Delroy "Junior" Reid on vocals. Beide Formate enthalten die vollständigen 16 Tracks, die LP ist auf schwarzem 180g Doppelvinyl im Gatefold gepresst.

- "At its best, Black Uhuru combines the persistent dance-inciting rhythms of pure reggae with substantial pop melodies and soulful vocals." - St. Petersburg Times

- "The sheer tunefulness the band has displayed in the past." - The Washington Post

- "Uplifting, yet realistic. It paints real, and often graphic, pictures of conflict in the Third World." - Ottawa Citizen

Der Pianist Louis Philippson begeistert seine Generation mit emotionalen und virtuosen Videos auf Social Media für die klassische Musik. Für sein Debütalbum "Exposition" verfolgt er die gleiche Idee und verbindet eigene Kompositionen mit neuen Arrangements bekannter Melodien klassischer Werke, sowie von Anime- und Pop-Songs. Selbstgeschriebene, epische Stücke wie "Supernova" und das groß-orchestrierte "C'est toi" stellt er seinen reduzierten Klavierminiaturen wie "Paulette", "Memories of Moldau" und "Dragon's Lullaby" gegenüber. Seine Eigenkompositionen ergänzt Louis Philippson durch frische, farbenfrohe Arrangements von Melodien aus verschiedenen Genres. Nach dem Motto von Duke Ellington, dass es "nur gute oder schlechte Musik" gibt, vereint er eine poetische Klavierversionen von "OMG" der K-Pop-Band NewJeans mit einer dynamischen Bearbeitung von Tschaikowskys Klavierkonzert, kreiert elegische Klavierversionen über Melodien aus Mahlers Symphonie der Tausend oder "In Trutina" aus Carl Orffs Carmina Burana, und spielt Puccinis "O mio babbino caro" begleitet von einem Cello. Auch Anime-Klassiker wie "A Town with an Ocean View" und "Lover's Oath" spielt er am Konzertflügel.Über sein Debüt-Album sagt Philippson: "Die Entstehung von 'Exposition' war eine unglaubliche Reise. Ich wollte ein Album schaffen, in dem ich alle Genres verbinden kann, die mich inspirieren. Es gibt so viele großartige Melodien, die man neu auf dem Klavier entdecken kann. Mein Ziel ist es meine Generation für die Schönheit der Klaviermusik auf neue Weise zu begeistern."Lange vor seiner TikTok-Karriere wurde Louis Philippson im Alter von sieben Jahren auf YouTube von seinem zukünftigen Klavierlehrer entdeckt, einem Professor an der Robert Schumann Hochschule in Düsseldorf. Dort wurde er später Jungstudent und nahm an zahlreichen nationalen und internationalen Klavierwettbewerben teil, darunter der prestigeträchtige Bach-Wettbewerb, den er gewann. Während der Pandemie im Jahr 2022 startete Louis Philippson seinen TikTok-Kanal und begeistert seitdem die Gen Z mit Vlogs, Humor und eindrucksvollen Klavierdarbietungen. Seine Posts haben inzwischen über 750.000 Follower erreicht. Philippson hat bereits mit einer Vielzahl von Künstlern aus unterschiedlichen Genres zusammengearbeitet. Unter anderen dem Konzertpianisten Martin Stadtfeld, der Geigerin und Influencerin Esther Abrami sowie dem italienischen TikTok-Pianisten Gabriele Bagnati. Ein besonderes Highlight seiner Kooperationen war die Zusammenarbeit mit der Sängerin Teya Dora für eine akustische Version ihres weltweiten Top-50-Hits "Dzanum".

Bonding over their disillusionment with exhausting world tours and the relentlessness of the music industry, David Bardon, Oscar Robertson and Olivier Huband formed Sunglasses For Jaws in 2017.

Over the course of their albums, they have collaborated with Clementine Brown (Penguin Café Orchestra), Miles Kane (Last Shadow Puppets) & Rosetta Carr (Alabaster Deplume). Hailing from London, this band takes you on a unique musical journey, skilfully blending the lounge, experimental and groovy influences of the 70s with a contemporary twist that leaves plenty to the imagination.

These tracks span a whole decade. bOkOr and Cannibal 2012 were made around the time feroX released the infamous Gargoyles EP on Black Acre, which was hammered by everyone from Skream to Gilles Peterson at the time.

Pulled off a defunct hard drive, resurrected and remastered. Complete with two new tracks the mighty Mondo! Mondo! and Aum, we have another ground-breaking, genre defying EP for 2024. We are proud to have had support on promo from Richie Hawtin and Marcel Dettmann on this release, which speaks volumes for its quality.

Rauelsson's third solo album for Sonic Pieces focuses on simplicity and minimalism. It recalibrates his love for ambient with an austere approach that conjures an atmosphere of silence and solitude. On Niu, the artist has traded his craft for shimmering layers of sound clusters and electronic editing in favor of a predominantly raw and acoustic recording.

Recorded primarily in Sofia and Berlin and mixed at Saal 3 of Funkhaus Berlin, Niu presents a 9-song journey that includes orchestral compositions, delicate synth miniatures, and sparse brass and woodwind drones with room for spoken word and a hint of psychedelic noir fable. The result is an album that, despite the eclectic choice of instrumentation, paints a landscape of spiritual clarity; an album that without being typically classical, still feels like a classical album. Three themes vary across the 9 pieces, starting with the purely orchestral "Prelude No. 7" before moving on to airy synth bass arpeggio and pedal steel. With more changing instruments, Raúl next takes us into a fairytale flute composition with guest flutist Heather Woods Broderick and brass vibrations by the trio Zinc & Copper. Finally, Katrine Grarup Elbo recites a poem by Raúl, ending the piece on a somber but beautiful note. The rest of the album continues in this vein, creating a unique sound that surprises the listener at every turn. Niu is a real departure from the artist's previous works in both scope and musicality. Everything was recorded without overdubs and with only minimal editing, trying to preserve the feeling of music coming from a room where musicians play live. Overall, this is music that finds comfort in movement as much as in pause and silence; music in which tenderness and tension exist in the same gesture.

The album also follows a certain mysticism with its poetic interludes, alternate track lists and titles like "Podium Of Riddles", "A Keyhole-Shaped Island" and "Ceramic Swallows, Set Of 3". Perhaps, given enough time, a hidden meaning or a new perception will be revealed. Niu is also set to be expanded into an art book, containing poems and photographs by Raúl, as well as an exhibition. Perhaps the key lies somewhere in there.

Veyl is pleased to welcome Harlem back to the label with a new 8 track LP titled Cage. The Stockholm-based duo of Martin Thomasson and Johan Skugge last appeared on the imprint with 2021’s, Bait, and the project now returns diving deeper in to their infectious cocktail of menacing electronics.

Bringing with them a vast body of work, ranging from dub to minimal techno, with Harlem the pair fuse electro, no wave, post-punk, disco, proto-body, dub, hip-hop, and grime, creating a unique sound that cannot be categorized. Cage opens with “Shut Your Body”, a muscular piece which drills into the surface, setting the stage for what’s to come. Next up is “Fantasy Scan” a dance floor ready jam that picks up the pace and lures us into the pleasure dome. “Blow by Blow” brings a nihilistic energy to a fictional scenario that takes its cues from the past while remaining firmly in the now.

“Kiss The Steel” continues on the slow burning path, dropping us into a dream like state, blurring the lines of reality and plunging us into a surrealist nightmare or reverie? “Dummy Up” comes roaring back, injecting a dose of electro and body that sounds like a soundtrack to your favorite cult gathering. With “Sleuth”, we hear the repetitive grind of a man at work, searching for the unknown, unlocking new mysteries along the way. As we head toward the finale, “Contact High” brings back a seductive dance, ready to movie bodies and stir emotions. Closing things out is “Wiggle Walker”, returning us to a drifter’s journey, a wanderer’s melody that carries us to the end, or is it just the beginning?

Pure Tribe sound, original Pumpin south style !

Grammy-nominated artist, producer and label-head TOKiMONSTA and prolific composer, producer and songwriter, Suzi Analogue have officially released their collaborative mini-album, Analogue Monsta: BOOM via Young Art Records. Originally released in limited quantities exclusively on vinyl in 2012, the 11-track project has now been remastered. Analogue Monsta: BOOM serves as a time capsule to the eclectic sound of the early 2010’s beat scene, which both TOKi and Suzi’s futuristic production styles helped champion out to a broader audience outside of the world of “bedroom producers.” Suzi Analogue's smooth R&B vocals pair perfectly with TOKiMONSTA's glitchy beats and pulsating bass, demonstrating their versatility and flair for pushing sonic boundaries. The album lays one of the early foundations to the fusion of future bass, alternative R&B and electronica, highlighting the pioneering spirit of two acclaimed female artists.

Analogue Monsta: BOOM marks an important milestone for the two as they reflect on the prescient nature of their early collaboration. “This special project with Suzi Analogue is one of my favorites. It never had a formal release so it feels right to share it with the world a decade later with fresh ears,” states TOKiMONSTA. Both Suzi and TOKi’s journeys converged early in their careers as the two paved the way for a groundbreaking era of femme-identifying producers and songwriters within the music industry. Speaking on the project’s significance Suzi Analogue adds, “​​The Analogue Monsta project was truly ahead of its time. We felt a strong calling to propel it into the future, recognizing the trailblazing potential it held. It provided a vital space for femme-identifying producers and songwriters to fearlessly explore beats, lyrics and tempos with us. This experimental journey not only influenced the current musical landscape but is poised to leave a lasting mark on the soundscape of the future."

The result is a record that very much is its own world. Where chaos is carefully organized, where being able to ever actually chill out is totally illusory, a trick mirror.

10 years after the original release we bring back the 5th and final release on the Belgian Subcom label, in collaboration with Obscur Records. From deep and dark acid electro vibes to pumping acid core. Colored vinyl, varying from bright yellow to pink to blue, no 2 copies are identical. A-side for Subcom by G303, one of the few releases under his Stroman alias B-side by Collision for Obscur.

Von Sonny Foderas Top-10-Hit "Angel" bis zu bahnbrechenden Momenten mit Chase & Status, David Guetta, The Blessed Madonna und Dom Dolla – die Leidenschaft, Ausgeglichenheit und pure Emotion des Stimmtalents von Clementine Douglas ist unverkennbar. Die Britin ist eine ebenso starke Songwriterin und tritt nun mit eigenen Singles hervor, die als 7"-Trilogie auf limitiertem, signiertem Farbvinyl erscheinen. Sie weisen subtile Veränderungen auf, wenn darke Momente der Clubkultur, D&B und 2Step in ihren Pop-R&B-Sound einfliessen. Dennoch sind sie genauso hymnisch wie ihre grössten Momente und zeigen, wie Clementine mit süss-gefühlvollen Vocals und warmer Live-Instrumentierung der Dancemusik eine belebende menschliche Note verleiht.

Von Sonny Foderas Top-10-Hit "Angel" bis zu bahnbrechenden Momenten mit Chase & Status, David Guetta, The Blessed Madonna und Dom Dolla – die Leidenschaft, Ausgeglichenheit und pure Emotion des Stimmtalents von Clementine Douglas ist unverkennbar. Die Britin ist eine ebenso starke Songwriterin und tritt nun mit eigenen Singles hervor, die als 7"-Trilogie auf limitiertem, signiertem Farbvinyl erscheinen. Sie weisen subtile Veränderungen auf, wenn darke Momente der Clubkultur, D&B und 2Step in ihren Pop-R&B-Sound einfliessen. Dennoch sind sie genauso hymnisch wie ihre grössten Momente und zeigen, wie Clementine mit süss-gefühlvollen Vocals und warmer Live-Instrumentierung der Dancemusik eine belebende menschliche Note verleiht.

Lions Law kommen zurück mit "Evermore", ihrem bisher vielleicht wirklich stärksten Album. Die Franzosen sind eine der führenden Oi! und Street Punk Bands Europas, und im Februar 2025 lassen sie ihr brandneues Album aus dem Käfig. Nachdem die Band im letzten Jahr eine Compilation mit all ihren Französisch gesungenen Songs veröffentlicht hat, ist dies der mit Spannung erwartete Nachfolger zu 2020s P, B & S, welcher das Vermächtnis der Band fortführt, ungebremmste explosive Energie und rohe Intensität zu liefern, die Fans auf der ganzen Welt so an ihnen schätzen. Mit 15 komplett neuen Tracks untermauern Lion's Law ihren Status als eine Schlüsselband der globalen Punkszene, bleiben ihren Wurzeln treu und heben ihren Sound doch auf ein neues Level. Seid bereit für die unaufhaltsame Kraft von "Evermore" und bleibt dran an Lion's Law! Inklusive der Highlights "Brother", "Sewer Rats", Titeltrack "Evermore" sowie A Flock Of Seagulls-Cover "I Ran". CD und LP, Vinyl klassisch schwarz und farbig am Start. Oi!

House of Flying Daggers is a multiple Satellite, LA Film Critcs & Boston Film Critics award winning 2004 wuxia romance film directed by Zhang Yimou and starring Andy Lau, Zhang Ziyi and Takeshi Kaneshiro. Unlike other wuxia films, it is more of a love story than purely a martial arts film. The film features the theme of a beautiful woman who brings woe to two men. The soundtrack is produced and created by legendary Japanese composer Shigeru Umebayashi and features vocals by Zhang Ziyi and Kathleen Battle. Shigeru Umebayashi is perhaps best known for “Yumeji’s Theme” (originally from Seijun Suzuki’s Yumeji), included in director Wong Kar-wai’s In the Mood for Love. In celebration of Umebayashi’s 70th birthday on February 19, 2021, the House of Flying Daggers soundtrack is released on vinyl for the first time. It is pressed on green marbled vinyl as a limited edition of 2000 copies. The packages comes with an exclusive replica of the movie poster and a 4-page booklet.

Seattle's Chastity Belt and Austin's Holy Wave split a dreamy 7-inch for Suicide Squeeze Records. Chastity Belt's offering, "That Guy," rings with the band's signature laid-back-yet-precise style. Jangly, intricate guitarwork plays off easy rhythms; an upbeat tranquility buoys wistful riffs. The lyrics are honest and introspective as Julia Shapiro admits to being "that kind of guy"_the type who just wants to feel alive, despite the pull of screentime, and the tendency to hold onto something until the life has been sucked out of it. "Maybe quitting is okay, but I don't like giving things away," she sings, backed by warm vocal harmonies. "I'd rather hold on for too long, until all the feeling's gone." For their side, Holy Wave contribute the lush and hypnotic slow burner "Time Crisis Too." Smears of warped synth over meticulous percussion and guitar form a dense tapestry of sound; melodic vibraphone perfects the cinematic nostalgia while the lyrics lament the too-hurried passage of time. Microdoses of experimentation tucked into the layers_seaside waves, swells of distortion, a disembodied second vocal_add intrigue and enhance the vibe.

Imaginary friends Akka & BeepBeep share the third release on their label: Floral Ancestors by Raduns. The 12” offers blooming ambient rooted in dub, lush drone and hand-picked cosmic that’s all grown deep in Detroit.

Spacious sonic arrangements vividly swell yet keep grounded within a sculptural rhythmic core. Raduns sows synth basslines and wispy pads next to harmonious guitars and muted field recordings. Grooving propulsion drives throughout. Rhythms appear, in negative space, like outlines between leaves. Recorded with machines direct to SD card, the compositions represent ephemeral blessings of experience. As if strolling into a verdant conservatory, the layered and diverse sensations blend into one cohesive revelatory experience.

On their first record, Raduns draws an ancestral line in Detroit as inspiration. A time when you could ride a streetcar from Dexter-Linwood to Belle Isle. A time before freeway expansion demolished vibrant Black neighborhoods. A time before the rebellion, motown and white flight. A time when Raduns’ great-grandparents were florists in the city, serving the community in times of celebration and times of grief. This melancholic circle shapes the project in which Raduns summons these Floral Ancestors, stretching upward from the darkness of the earth into the light of the world back down once more.

AKKA’s Side: “Grass Boulevard” exhales a luscious soundscape that develops through wave-crashing synths and circulated guitars to a transplanted acid lead. “Spread” lays out a decoration of blended sample and hold synth with kosmische styled guitar licks. Tracked as a single take in a Detroit community studio, the tune intuitively reseeds the symbiotic sprout between krautrock and Detroit techno.

BEEP’s Side: “Metrograde Bouquet” submerges you into the bulb of a handcrafted vase. Dub techno roots grow out into murky water with energy that is subtle yet profound. “Oldest of Arrangements” textures breaths of misty air cascading ventilating in on itself. The track’s time seems to stretch and disappear within a dark and deep undercurrent. A harmonic and reverberant resonance closes the record in a flowering of beauty and peace.

“You’re a flower child. Put this music out.” - Someone Important in Detroit

Drama is the first EP released by Lourene. Produced by Idris Bena, it's a blend of electro, house and post punk vibes.

Als sich die wahrlich einmalige Band PSYCHOTIC WALTZ 1997 auflöste, klaffte eine Lücke, die erst mit der Gründung von DEADSOUL TRIBE im Jahr 2001 wieder geschlossen werden konnte. Sänger, Flötist und Aushängeschild Devon Graves, auch als Buddy Lackey bekannt, war in der Zwischenzeit wegen einer Beziehung nach Wien gezogen, wo er dann auch geeignete Musiker für DEADSOUL TRIBE fand. Auf dem Debüt „Deadsoul Tribe“ spielte Davon Graves noch einige Instrumente selbst, aber man war bereits eine Band mit vier Mitgliedern.

Auch wenn sich der Stil in manchen Punkten von PSYCHOTIC WALTZ unterscheiden mag, ist die Zielgruppe automatisch definiert. Und sogar etwas erweitert, denn neben Metal und Prog kann man auch Einflüsse von Tool heraushören. Das sehr organisch klingende Album bekam sehr gute Kritiken und wurde von den Fans ohne Umwege angenommen. Im Anschluss spielte man auf dem Prog Power Europe Festival in Holland. Es ist erstaunlich, dass die Alben von DEADSOUL TRIBE bisher noch nicht als Vinyl veröffentlicht wurden, zumal der Katalog von PSYCHOTIC WALTZ 2024 eine neue Aufarbeitung bekommen hat (Inside Out/Sony Music). Golden Core schließen diese Lücke nun mit den ersten beiden Alben, natürlich gemastert für Vinyl und mit bedrucktem Einleger. Die LPs sind auf 300 Stück limitiert, die sicherlich schnell ausverkauft sein werden.

"Porœs" ist das erste gemeinsame Album des Elektronikmusikers und No-Input-Mixing-Universalgelehrten Simon Grab und des Schlagzeugers und Komponisten David Meier, Mitglied der renommierten Avantgarde-Minimal-Rockband Schnellertollermeier. Der Sound von Grab & Meier ist roh und unbeständig und wechselt zwischen messerscharfen, rollenden, bröckelnden, unberechenbaren und wilden Zuständen. Er balanciert zwischen Meiers organischem Schlagzeugspiel und Grabs pulsierenden Pieptönen und Geräuschen, knurrenden Basslines und Dubbed-Feedbacks, die er aus seinem individuell angeschlossenen No-Input-Mixing-Setup extrahiert. Keines der Instrumente übernimmt die Führung, die beiden Musiker treten in einen ständigen Dialog. Als leidenschaftliche Improvisatoren haben sie dieses Album mit sieben Tracks in mehreren Studiosessions aufgenommen, was zu einem Ergebnis führte, das selbstbewusst und präzise ist, aber die Dringlichkeit einer Live-Improvisation beibehält.

- "Unser gemeinsamer Spielplatz ist das Grooven auf dem Risiko des Auseinanderfallens, wie das Surfen auf einem Unterwasser-Seil durch Wellen von Frequenzen, auf gebrochenen Rhythmen." – Simon Grab & David Meier

25th Anniversary Reissue. Remastered With New Artwork.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound. ‘To Change the Shape of an Envelope’, released in 2000 on Troubleman Unlimited, was their only LP. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sounds of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

FFO: The Faint, The VSS, and Clickatat Ikatowi.

25th Anniversary Reissue. Remastered With New Artwork.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound. ‘To Change the Shape of an Envelope’, released in 2000 on Troubleman Unlimited, was their only LP. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sounds of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

FFO: The Faint, The VSS, and Clickatat Ikatowi.

Ginnels never let up. Though it has been, staggeringly, eight long years since the last irresistible jangle pop transmission under the Ginnels moniker, nothing much has changed in Mark Chester's approach when it comes to the practice of music making, even if much everything else for Chester has seen considerable flux – he's now a father of two, and most shockingly of all for an indie popster of his ilk, gainfully employed. "It definitely started the same way all Ginnels stuff starts," Chester explains, "which is just me looking through five years of phone demos and going 'that's a decent song' and 'that's a decent song', and if you keep that up then you have a full album."

The man himself might be coyly committed to making his process sound as pedestrian as possible, but from the moment the delicate chiming introduction of album opener 'The Body Was Gone' goes widescreen – revealing an expanded sonic palette richer in timbre and exponentially wider in scope than anything Chester has let out into the world thus far – it is apparent that "The Picturesque" is poised to be less than parochial in its sonic purview.

From here, "The Picturesque" plays like a gauzy road trip Super 8 footage cutting between scenes of sunset at Monument Valley and B-roll from around middle-Ireland, entirely soundtracked by some enchanted mixtape of heretofore unheard B sides from REM, XTC and The Go-Betweens, unexpected guest appearances from the surprisingly together-sounding ghost of Johnny Thunders and snippets from your coolest friends' unreleased instrumental experiments. All liberally rippled with Chester's unique ear for melody and appetite for the unexpected when it comes to crafting guitar parts. And this, by design, feels like a Guitar Record, above all else.

For all its effortlessly sticky lyrical and melodic twists, "The Picturesque" separates itself within the mighty Ginnels catalogue in both the dexterity in playing and diversity in tone on show across these 12 tracks. And 12, of course as we know, being the optimum number of tracks for any LP to have, so bonus points for that too.

Roma techno legend Marco Passarani dusts off his Studiomaster moniker to present a selection of vibey dancefloor burners on 12” vinyl brimming with energy and packed with 303 squelch, thumping drums, moody synths and perfectly-placed vocal cuts. Marco took the Studiomaster name from his Studiomaster P7 console, which he runs his in-the-box mixes through, to bring extra dirt and character to his tracks. The Studiomaster alias first appeared on the Passarani Bandcamp page just as summer began in 2023. The newly built B.K.S. studio space was running smoothly, and the machines have been buzzing ever since, as Marco fires off vital, futuristic, acid-drenched club tracks, under pseudonyms like Passarani 2099, Analog Fingerprints, and Kids of Rotten Future. In contrast to an internet full of streaming files and AI generated artworks, the Studiomaster brand brings the look and feel of rare 12” white label promos, minimal on design and information.
The tracks here are collected on vinyl for the first time, “They represent proper studio jam sessions,” says Marco “meant to be performed in the club. There are no songs here, just pure dance floor tools!” And it’s to those in the club that this release is dedicated: to those still dreaming about the future while dancing in the dark.

Im Rahmen der limitierten Emscherkurve 77-Vinyl Collectors Reissue-Serie, jetzt erstmals überhaupt auf LP erhältlich: "Zweite Wahl" beinhaltet gesuchte Songs von teils längst vergriffenen Releases wie bspw. "Religion" vom beschlagnahmten "Tribute to Slime"-Sampler, die Dritte Wahl Cover-Version "Zeit bleib stehen" und unveröffentlichte Demo-Versionen und Outtakes, die oftmals punkig-rauher eingespielt wurden ("Dreck und Lügen"), einen ganz anderen Charme wie die "finished Version" haben ("Vergangenheit") oder nie erschienen sind wie "Sterne". Die gewohnt sich nicht in den Vordergrund drängenden Gentlemen aus dem Ruhrpott nennen das ganz bescheiden "Demos und anderer Kram". Wir nennen das eine der besten Zusammenstellungen von inoffiziellen Aufnahmen und alles andere als "Auschussware", die oftmals lieblos von Bands unters Volk geschmissen werden, 13 Songs aus der "Dat soll Punkrock sein?!" und "Buch des Lebens"-Ära, inkl einer fetten Live-Aufnahme von "Genug zu tun" in Paderborn mitgeschnitten! Vinyl kommt wie alle Teile der Serie limitiert auf je 77 Stück in verschiedenen Farben.

Im Rahmen der limitierten Emscherkurve 77-Vinyl Collectors Reissue-Serie, jetzt erstmals überhaupt auf LP erhältlich: "Zweite Wahl" beinhaltet gesuchte Songs von teils längst vergriffenen Releases wie bspw. "Religion" vom beschlagnahmten "Tribute to Slime"-Sampler, die Dritte Wahl Cover-Version "Zeit bleib stehen" und unveröffentlichte Demo-Versionen und Outtakes, die oftmals punkig-rauher eingespielt wurden ("Dreck und Lügen"), einen ganz anderen Charme wie die "finished Version" haben ("Vergangenheit") oder nie erschienen sind wie "Sterne". Die gewohnt sich nicht in den Vordergrund drängenden Gentlemen aus dem Ruhrpott nennen das ganz bescheiden "Demos und anderer Kram". Wir nennen das eine der besten Zusammenstellungen von inoffiziellen Aufnahmen und alles andere als "Auschussware", die oftmals lieblos von Bands unters Volk geschmissen werden, 13 Songs aus der "Dat soll Punkrock sein?!" und "Buch des Lebens"-Ära, inkl einer fetten Live-Aufnahme von "Genug zu tun" in Paderborn mitgeschnitten! Vinyl kommt wie alle Teile der Serie limitiert auf je 77 Stück in verschiedenen Farben.

Lions Law kommen zurück mit "Evermore", ihrem bisher vielleicht wirklich stärksten Album. Die Franzosen sind eine der führenden Oi! und Street Punk Bands Europas, und im Februar 2025 lassen sie ihr brandneues Album aus dem Käfig. Nachdem die Band im letzten Jahr eine Compilation mit all ihren Französisch gesungenen Songs veröffentlicht hat, ist dies der mit Spannung erwartete Nachfolger zu 2020s P, B & S, welcher das Vermächtnis der Band fortführt, ungebremmste explosive Energie und rohe Intensität zu liefern, die Fans auf der ganzen Welt so an ihnen schätzen. Mit 15 komplett neuen Tracks untermauern Lion's Law ihren Status als eine Schlüsselband der globalen Punkszene, bleiben ihren Wurzeln treu und heben ihren Sound doch auf ein neues Level. Seid bereit für die unaufhaltsame Kraft von "Evermore" und bleibt dran an Lion's Law! Inklusive der Highlights "Brother", "Sewer Rats", Titeltrack "Evermore" sowie A Flock Of Seagulls-Cover "I Ran". CD und LP, Vinyl klassisch schwarz und farbig am Start. Oi!

Das Debut-Album "Eerie Nostalgia" der Band Fotokiller aus Berlin versetzt die Hörer*innen direkt in die Post-Punk-Ära der 80er-Jahre, ohne dabei sowohl musikalisch als auch textlich den Aktualitätsbezug zu verlieren. Nachdenkliche, ja sogar zuweilen mit dem Tenor der Trostlosigkeit versehene Texte mit hohem Sehnsuchtsfaktor werden kontrastierend mit tanzbaren, catchy Melodien kombiniert. Fotokiller begleiten die Hörer*innen dabei mal sanft, mal aufbrausend, wecken nostalgische Erinnerungen, Gedanken an die unausweichliche Zukunft und den Wunsch nach Beständigkeit in einer Welt, die außer Kontrolle scheint. Nicht zu überhören ist der Einfluss großer Bands wie The Cure oder Joy Division, aber auch Soft Kill, Wipers oder Pink Turns Blue haben die Inspiration für diese LP geliefert.

“Richard Davies is one of the last great songwriters on planet Earth. Every song on Composition Book is up there with his finest and so it's no small feat that after 35 years of making beautiful records, this one is his best.” – Robert Pollard / Guided By Voices Australian mad scientist Richard Davies has long flown under the popular radar with his groups The Moles and Cardinal, but his 10 albums are loved and championed by indie rock royalty. The Flaming Lips, for example, have recorded a Davies song and backed him up on a Moles tour in 1995. A scholar of the songwriting of The Beatles, The Beach Boys, Dylan et al., Davies spins off subtle, catchy indie rock melodies, sometimes reassembled in bizarre Frankenstein arrangements and deconstructed sonic derangements. On Composition Book, The Moles have evolved with emphasis on acoustic guitar and divine female voices. Davies’ lyrical non sequiturs and caustic wit sting, surprise and delight. “The Australian-bred, New England-based Richard Davies has long been a secret-handshake artist for indie diehards; his songs suggest self-contained pop hits from a crooked dimension.” – The New Yorker “The greatest differentiator between the work of the Moles and that of their contemporaries, though, is Davies himself. As a presence, there is something deeply and beguilingly inscrutable about him, a purposeful blankness that betrays an enormous amount of weight and depth behind it, and oozes both vulnerability and vitriol when it breaks and cracks.” – Pitchfork

Lions Law kommen zurück mit "Evermore", ihrem bisher vielleicht wirklich stärksten Album. Die Franzosen sind eine der führenden Oi! und Street Punk Bands Europas, und im Februar 2025 lassen sie ihr brandneues Album aus dem Käfig. Nachdem die Band im letzten Jahr eine Compilation mit all ihren Französisch gesungenen Songs veröffentlicht hat, ist dies der mit Spannung erwartete Nachfolger zu 2020s P, B & S, welcher das Vermächtnis der Band fortführt, ungebremmste explosive Energie und rohe Intensität zu liefern, die Fans auf der ganzen Welt so an ihnen schätzen. Mit 15 komplett neuen Tracks untermauern Lion's Law ihren Status als eine Schlüsselband der globalen Punkszene, bleiben ihren Wurzeln treu und heben ihren Sound doch auf ein neues Level. Seid bereit für die unaufhaltsame Kraft von "Evermore" und bleibt dran an Lion's Law! Inklusive der Highlights "Brother", "Sewer Rats", Titeltrack "Evermore" sowie A Flock Of Seagulls-Cover "I Ran". CD und LP, Vinyl klassisch schwarz und farbig am Start. Oi!

Im Rahmen der limitierten Emscherkurve 77-Vinyl Collectors Reissue-Serie, jetzt erstmals überhaupt auf LP erhältlich: "Zweite Wahl" beinhaltet gesuchte Songs von teils längst vergriffenen Releases wie bspw. "Religion" vom beschlagnahmten "Tribute to Slime"-Sampler, die Dritte Wahl Cover-Version "Zeit bleib stehen" und unveröffentlichte Demo-Versionen und Outtakes, die oftmals punkig-rauher eingespielt wurden ("Dreck und Lügen"), einen ganz anderen Charme wie die "finished Version" haben ("Vergangenheit") oder nie erschienen sind wie "Sterne". Die gewohnt sich nicht in den Vordergrund drängenden Gentlemen aus dem Ruhrpott nennen das ganz bescheiden "Demos und anderer Kram". Wir nennen das eine der besten Zusammenstellungen von inoffiziellen Aufnahmen und alles andere als "Auschussware", die oftmals lieblos von Bands unters Volk geschmissen werden, 13 Songs aus der "Dat soll Punkrock sein?!" und "Buch des Lebens"-Ära, inkl einer fetten Live-Aufnahme von "Genug zu tun" in Paderborn mitgeschnitten! Vinyl kommt wie alle Teile der Serie limitiert auf je 77 Stück in verschiedenen Farben.

After Martin Hederos gathered his dream band, Hederosgruppen has become one of Sweden’s most hyped jazz acts, both live and on record. Yes, they are often placed in the jazz category, but they seem primarily focused on making fun music. Hederosgruppen made their debut with Storstrejk (2020) which was followed by Ståplats (2022), the only album thus far to win the Gyllene Skivan, Grammis and Manifest awards. Expectations for the third album may be high, but the group acts colly, calls their new creation Stilbrott (Breach of style) and puts three ski jumpers on the cover. As before, all five band members contribute ideas and compositions. The result could have been fragmented, but this quintet has created their style out of eclecticism. As before, they mix the riotous with the romantic in any number of styles. The common thread is the joy of being alive and playing live.

Colemine Records is proud to present the first 45 from Aaron Frazer's latest LP, Into The Blue. The A side, "Fly Away" is a tune largely built on a sample of the Hi-Five track of the same name, and features thudding drums and dense guitar riffs. Cowritten by Lydia Kitto of Jungle, this tune is a perfect mix of 70's soul and 90's R&B. A true summertime jam! On the flip, "Play On" sits a little bit more in the midtempo cut with super tight drums, bass, and synths anchoring the track. The lyrics are a coaching up session and serve as positive encouragement, and Frazer's vocal delivery pushes that home. Mega catchy hook with just the right amount of swagger....play on player.

3 Acid hard and speed Total Output 100% pure style !!

Like so many bands that cut their teeth playing basements, rental halls, and teen centers around the Puget Sound in the early '90s, the Olympia trio Lync may have had similar roots to the local rock heroes of the era but were conscientiously averse to the trappings of mainstream success. Lync kept the grit, the shouted vocals, and the rough-hewn choruses, but eschewed the machismo and metal swagger. Their song 'Cue Cards' is a perfect encapsulation of their overall approach-heartfelt melodies, bashed drums, hoarse throats, gritty bass lines, and fractured guitars. Lync's legacy was interwoven with fellow PNW artists like Modest Mouse, 764-Hero, and Red Stars Theory-bands that were crucial to the foundation of Suicide Squeeze Records. It only made sense for Suicide Squeeze to reissue Lync's lone LP, These Are Not Fall Colors back in 2023. And in conjunction with the reissue, Suicide Squeeze is proud to announce the second single featuring a choice cut from Fall Colors paired with a current artist's reinterpretation of the song. On their latest 7", Lync's original version of 'Cue Cards' is paired with a cover by Julia & The Squeezettes-a Suicide Squeeze-centric all-star line-up featuring Julia Kugel of The Coathangers and Julia, Julia, Staz Lindes of The Paranoyds, Bonnie Bloomgarden and Rikki Styxx of Death Valley Girls. On their rendition, Julia & The Squeezettes excise the half-time distorted bombast of the original in favor of up-tempo minimalist pop. Guitars are reduced to a few choice phrases, putting the song's luring vocals and lyrical charms at the forefront. Paired with the tasteful yet propulsive rhythm section, this new approach to 'Cue Cards' demonstrates the timeless songwriting of Lync while simultaneously showcasing the creative vision, timbral aptitude, and resourceful production savvy of four contemporary artists in the ongoing lineage of American indie rock. Suicide Squeeze is proud to release these two versions of 'Cue Cards' to the world on a pressing of 500 Ocean Blue-colored vinyl 7" singles.

Rats on Rafts descend further into the brooding wasteland on their new album ‘Deep Below’, a darker, slower, eroded sound from the Rotterdam band. Highlighting different shades within the monochrome landscape compared to their previous, more colourful albums: they dive deeper into their psyche, questioning our relationships with nature, religion and each other. Echoes of The Cure, Cocteau Twins and Slowdive seem present yet so many different influences make up an album that only they could create. It sees Rats on Rafts coming of age whilst raising their heads from the underground. Forever drifting into new territory, ‘Deep Below’ is certainly their darkest and most cohesive work to date. True to their analogue recording process, the tape machines, reverbs, echoes and vital new ingredients: the Soundcraft 1s mixing desk (Used by Lee Perry) and the eerie sounding Eminent String Ensemble synth all amplify the authentic sounds of the 1980’s without sounding like a relic. ‘Japanese Medicine’ is a haunting minor chord piece driven by debris of icy chiming guitars, galloping drums and waves of lush synths. lyrically it gathers memories of teenage friendship, littered with cigarettes, life-changing records, punctuated with the dark thoughts and the demons they summon up. Though the band have kept the songs relatively slow-paced and sparse, deeper ruminations of mortality and alienation creep through the cracks. ‘Nature Breaks’, the most propulsive song on the record, thematically locks into this notion, as Fagan meditates on human impulse in the face of abject survival, and how those situations often unlock one's true self. You may conclude Rotterdam’s Rats on Rafts relationship with the past is complicated. ‘The Moon Is Big’ (2011) ‘Tape Hiss’ (2015) and ‘Excerpts From Chapter 3’ (2021) are truly gripping analog timestamps of a band refusing to give in to the supposed ‘progress of the world’ instead forging their own way each time. ‘Deep Below’ is Rats on Rafts’ most minimalist work since their 2011 debut. Where the latter album was fuelled by a brash bravado, these recordings meditate on sentiments of doubt, loss, and ageing. “One of the great contemporary European rock bands” Louder Than War

. The idea for the band was originally conceived by singer-guitarist Joe Woodward whilst writing and recording songs in his kitchen on a 4-track recorder, and over time eventually found help from like-minded friends, Elliot Roberts and Cam Wheeler. The three of them would spend their nights experimenting with cassette recording with the admirable if not challenging aim to recreate the symphonic sounds of Phil Spector on a DIY budget. With growing confidence and having amassed a small catalogue of songs, a few aborted attempts were made to get a live band together before they found help from a second guitarist, Eli Allison, who had recently relocated from Cornwall. As necessity would dictate, the first shows as a quartet made use of a drum machine, but the ideal formation for the band wasn’t truly complete until meeting Nia Abraham, whose live drumming would add a more physical quality to the band’s sound. At the beginning of 2024, they began working more purposefully towards an end goal with the writing and recording of the five-song Nowhere Near Today EP. Though retaining some of their home recording practices, they also made use of a studio facility based in a disused shopping centre basement that was made available through SHIFT, a local artist collective connected to the band. The acquisition of an 8-track Tascam 488MKII, along with the natural reverb of SHIFT’s empty concrete space allowed for further opportunity to experiment with both cassette recording techniques and their still developing live sound, the two environments permitting an all-too-rare creative freedom. The process was transformative for the group, their Spector-inspired ambitions now taking on a more defined shape that skirted around the edges of psych, noise-rock and industrial-pop in a way that increasingly became their own. For a debut EP, the results are impressively realised, a confluence of expansive tremolo guitars, a deliberately primordial rhythm section and a contrasting vulnerable vocal performance that’s both melodic and bracing. It’s a record born both of private experimentation and public performance, who they are on stage and what they express on record informing the other but still distinctly each their own thing, shifting then dovetailing like the waves of feedback that wash through Nowhere Near Today. Still a young band, it’s tomorrow they feel a lot closer to.

Rare Seventies Big City Street Soul

In 1971, film producer David Gil and his business partners Robert S Sinn and Paul Frankenberg launched a film company called GSF. Over the next few years, it would be involved in a small number of productions. But, in 1971 the movie business was kind of old-hat, music was where it was at, and so GSF Records, a well-funded label, headed by Larry Newton was formed. Today Newton is largely remembered for his attempts to prevent Louis Armstrong from recording 'What A Wonderful World' but that didn’t stop him from growing ABC from a second division company to an industry leader. As he approached his 52nd birthday he was unveiled as GSF Records’ president a full-service music company, involved in records and publishing across all genres. Through a joint venture with drummer Bernard Purdie the label targeted the R&B charts and soul & funk dominated GSF's release schedule.

Black music ruled and this was reinforced by the hiring of Lloyd Price as head of A&R (veteran R&B star), and producers George Kerr (All-Platinum), Mickey Stevenson (Motown) and Jerry 'Swamp Dogg’ Williams. No wonder then, unintentional as it was, that GSF left behind such an extraordinary legacy of rare soul treasures.

NEW YORK’S BEST KEPT SOUL SECRET Features legendary Northern Soul classics courtesy of Anderson Brothers, Skull Snaps and Connie Laverne Produced by hit makers George Kerr and Motown veteran Mickey Stevenson Starring the Whatnauts and Eddie “Hey There Lonely Girl” Holman

The Pains of Being Pure At Heart exploded out of the late 00s Brooklyn indie scene with a bright, distinctive sound that paid tribute to everything from C86 to early Slumberland, Sarah and Creation label pop, but with a distinct American flavor drawn from groups like Smashing Pumpkins and The Exploding Hearts. Their 2009 self-titled debut is rightly considered a classic, ins of Being Pure At Heart exploded out of the late 00s Brooklyn indie scene with a bright, and with Perfect Right Now we're thrilled to round out the story of The Pains' early years.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

Limited Indies “white split vinyl variant while supplies last. RIYL: Unwound, MBV, The Jesus Lizard, SUUNS, Preoccupations, METZ, Les Rallizes Denudes, The Dead C, Echo & The Bunnymen, Liars, This Heat, PIL. Sixth studio album from the Chicago trio. Features newly-rejoined original member Jonathan Van Herik. Recorded at Electrical Audio May 6 & 7, 2024 - final album recorded by Steve Albini. The duality of “man” is a subject that has been explored in art for centuries, from writings of the Bible to Descartes, all the way up to filmmakers like Lynch, Cronenberg, & Carpenter. Who is your “true self” & what do they want? With their sixth studio album “Wish Defense” (again for longtime home Trouble In Mind Records), Chicago trio FACS take a good, long look in the mirror to face themselves. The return of original member Jonathan Van Herik - who stepped away from the group just before their debut album “Negative Houses” was released in 2018 - replacing longtime bassist Alianna Kalaba brings renewed vigor & a marked angularity from the band’s more recent output. The songs still hit hard, but the approach is sideways - the roles have changed since Van Herik’s original tenure & his previous time with Case & powerhouse drummer Noah Leger in Disappears; now on bass, Van Herik was originally the group’s guitar player and features on the debut, while current guitarist Brian Case played bass. This role reversal has helped the band’s dynamic, offering up a different musical perspective than before, now revisiting the trio’s long-going collaboration with some distance and time. Case notes that the lyrics on “Wish Defense” revolve around doppelgängers or "doubles”, tackling the idea of facing yourself and observing your ideas and motivations. Look no further than the album’s title track; “Enter the mirror / Double walker / An intimate / Wish defense / Is it real? / You beside me / The detail / Terrifying / Abject self / Your grief / A public / Performance”. Case lays out the entire album’s theme in one stanza; Are your actions & emotions your true self? Or are they a performative aspect of that “other” person you put forward? Case says that ultimately the sentiment is “...don’t let the bastards get you down, there’s something beyond this moment, like hope - but not in the naive belief that ultimately people are good”. “Wish Defense”s artwork is also a subtle reference to “Negative Houses”’ art, returning to that album’s black & white starkness & minimalism. The album’s checkerboards everywhere are offset reflections of themselves, mirrored with the album’s lyrics printed front & center on the cover. Everything is out in the open. A final note; “Wish Defense” is the last album engineered by Steve Albini. Two days were recorded at Electrical Audio in early May of 2024 before Steve’s untimely passing, with renowned engineer & friend Sanford Parker stepping in to finish the session 24 hours later, tracking the last bits of vocals and overdubs. Longtime collaborator John Congleton mixed the album as Albini would have; in Electrical Audio’s A room, off the tape, using Albini’s notes about the session.

Limited Indies “white split vinyl variant while supplies last. RIYL: Unwound, MBV, The Jesus Lizard, SUUNS, Preoccupations, METZ, Les Rallizes Denudes, The Dead C, Echo & The Bunnymen, Liars, This Heat, PIL. Sixth studio album from the Chicago trio. Features newly-rejoined original member Jonathan Van Herik. Recorded at Electrical Audio May 6 & 7, 2024 - final album recorded by Steve Albini. The duality of “man” is a subject that has been explored in art for centuries, from writings of the Bible to Descartes, all the way up to filmmakers like Lynch, Cronenberg, & Carpenter. Who is your “true self” & what do they want? With their sixth studio album “Wish Defense” (again for longtime home Trouble In Mind Records), Chicago trio FACS take a good, long look in the mirror to face themselves. The return of original member Jonathan Van Herik - who stepped away from the group just before their debut album “Negative Houses” was released in 2018 - replacing longtime bassist Alianna Kalaba brings renewed vigor & a marked angularity from the band’s more recent output. The songs still hit hard, but the approach is sideways - the roles have changed since Van Herik’s original tenure & his previous time with Case & powerhouse drummer Noah Leger in Disappears; now on bass, Van Herik was originally the group’s guitar player and features on the debut, while current guitarist Brian Case played bass. This role reversal has helped the band’s dynamic, offering up a different musical perspective than before, now revisiting the trio’s long-going collaboration with some distance and time. Case notes that the lyrics on “Wish Defense” revolve around doppelgängers or "doubles”, tackling the idea of facing yourself and observing your ideas and motivations. Look no further than the album’s title track; “Enter the mirror / Double walker / An intimate / Wish defense / Is it real? / You beside me / The detail / Terrifying / Abject self / Your grief / A public / Performance”. Case lays out the entire album’s theme in one stanza; Are your actions & emotions your true self? Or are they a performative aspect of that “other” person you put forward? Case says that ultimately the sentiment is “...don’t let the bastards get you down, there’s something beyond this moment, like hope - but not in the naive belief that ultimately people are good”. “Wish Defense”s artwork is also a subtle reference to “Negative Houses”’ art, returning to that album’s black & white starkness & minimalism. The album’s checkerboards everywhere are offset reflections of themselves, mirrored with the album’s lyrics printed front & center on the cover. Everything is out in the open. A final note; “Wish Defense” is the last album engineered by Steve Albini. Two days were recorded at Electrical Audio in early May of 2024 before Steve’s untimely passing, with renowned engineer & friend Sanford Parker stepping in to finish the session 24 hours later, tracking the last bits of vocals and overdubs. Longtime collaborator John Congleton mixed the album as Albini would have; in Electrical Audio’s A room, off the tape, using Albini’s notes about the session.

Limited Indies “white split vinyl variant while supplies last. RIYL: Unwound, MBV, The Jesus Lizard, SUUNS, Preoccupations, METZ, Les Rallizes Denudes, The Dead C, Echo & The Bunnymen, Liars, This Heat, PIL. Sixth studio album from the Chicago trio. Features newly-rejoined original member Jonathan Van Herik. Recorded at Electrical Audio May 6 & 7, 2024 - final album recorded by Steve Albini. The duality of “man” is a subject that has been explored in art for centuries, from writings of the Bible to Descartes, all the way up to filmmakers like Lynch, Cronenberg, & Carpenter. Who is your “true self” & what do they want? With their sixth studio album “Wish Defense” (again for longtime home Trouble In Mind Records), Chicago trio FACS take a good, long look in the mirror to face themselves. The return of original member Jonathan Van Herik - who stepped away from the group just before their debut album “Negative Houses” was released in 2018 - replacing longtime bassist Alianna Kalaba brings renewed vigor & a marked angularity from the band’s more recent output. The songs still hit hard, but the approach is sideways - the roles have changed since Van Herik’s original tenure & his previous time with Case & powerhouse drummer Noah Leger in Disappears; now on bass, Van Herik was originally the group’s guitar player and features on the debut, while current guitarist Brian Case played bass. This role reversal has helped the band’s dynamic, offering up a different musical perspective than before, now revisiting the trio’s long-going collaboration with some distance and time. Case notes that the lyrics on “Wish Defense” revolve around doppelgängers or "doubles”, tackling the idea of facing yourself and observing your ideas and motivations. Look no further than the album’s title track; “Enter the mirror / Double walker / An intimate / Wish defense / Is it real? / You beside me / The detail / Terrifying / Abject self / Your grief / A public / Performance”. Case lays out the entire album’s theme in one stanza; Are your actions & emotions your true self? Or are they a performative aspect of that “other” person you put forward? Case says that ultimately the sentiment is “...don’t let the bastards get you down, there’s something beyond this moment, like hope - but not in the naive belief that ultimately people are good”. “Wish Defense”s artwork is also a subtle reference to “Negative Houses”’ art, returning to that album’s black & white starkness & minimalism. The album’s checkerboards everywhere are offset reflections of themselves, mirrored with the album’s lyrics printed front & center on the cover. Everything is out in the open. A final note; “Wish Defense” is the last album engineered by Steve Albini. Two days were recorded at Electrical Audio in early May of 2024 before Steve’s untimely passing, with renowned engineer & friend Sanford Parker stepping in to finish the session 24 hours later, tracking the last bits of vocals and overdubs. Longtime collaborator John Congleton mixed the album as Albini would have; in Electrical Audio’s A room, off the tape, using Albini’s notes about the session.

HTRK step into their 21st year on reflective terms, launching a series of collaborations, covers/remixes, installations, and performances alongside the new repress of their full-length debut, Marry Me Tonight. First released in 2009 via Blast First Petite, the album saw its first vinyl pressing in 2015 via Ghostly International and has since been out of stock. In late 2024, Marry Me Tonight becomes available in limited edition pink and black vinyl, also finally on streaming services. Few groups in history elevate mood to such singular, smoldering supremacy as the Australian duo of Jonnine Standish and Nigel Yang, aka HTRK (or "hate rock" if informed). Across two decades of work and wounds, HTRK’s sound has shape-shifted between densities and intensities, noise and nakedness, but never wavered in its delicate poetic gravity. In HTRK’s sound world, cavernous reverberations of dub techno are mixed with frosted post-punk motifs and the gravelly imperfections of industrial, reimagined in the setting of a dingy basement. Like all HTRK albums, Marry Me Tonight was singular in sound and circumstance. It's the only album the outfit recorded from start to finish as a trio, and it's the only HTRK record that bears the co-production stamp of Rowland S. Howard. Breathy, caustic, and rife with contradiction, Marry Me Tonight took the raw material recorded on 2005's Nostalgia and transformed it into a pop record — pop that buckled and warped beneath the glare of Howard, fellow producer Lindsay Gravina, and the HTRK trio: Jonnine Standish, Nigel Yang and Sean Stewart. Howard died at the end of 2009; Stewart died the year after. Things would never be the same. The band would carry on and reach new heights despite it all, but as a trio, this is their definitive document.

On February 7, 2025, Signature Sounds will re-issue Crooked Still's acclaimed album, Shaken By A Low Sound on remastered, deluxe colored vinyl. Two tracks, “Little Sadie” and “Ecstasy” were prominently featured on the Playstation video game, The Last of Us which became the Emmy-nominated show (2023) on HBO. Originally released digitally and on CD in 2006, Shaken By A Low Sound cemented Crooked Still's reputation as one of the premiere alternative bluegrass groups of the mid-aughts, shattering preconceptions of how traditional music was played. Shaken By a Low Sound received rave reviews from publications like Interview Magazine, No Depression, and USA Today proclaiming, “Aoife O’Donovan. Remember that name, because with a sultry voice that makes her sound like a bluesier Alison Krauss, she’s about to become the newest darling of the Americana set... Shaken is stirring.”

Time for the second release in our series with the super OG, Mr. Bobby Aitken. Bobby and his band the Carib Beats produced a whole lot of stuff for release thru WIRL back in the late '60s. One of the best is this great rocksteady adaptation of Curtis’ classic “Keep On Pushing”, with Lloyd (Robinson) and Glen (Brown) on vocals. On the flip side of this is one of the rarest Carib Beats tunes, titled “Soul Special.” This is a cool instrumental with some charming flute playing (we love flute!), only ever released as the flip of “Crying Time” (still available), a brutally rare 45 that only exists in tiny numbers as a UK test pressing, never making it to full release.

Repress!

It may have won the DJ Awards Track Of The Season in Ibiza this summer, but the lasting impression left by Roberto Surace’s ‘Joys’ has stretched far beyond the island. As it topped the Shazam Ibiza Dance Chart for eleven consecutive weeks, it was also championed by heavyweight DJs like Marco Carola, Andrea Oliva, wAFF and Joseph Capriati, and made it to the Radio 1 A-List. Now this sought-after track will be available on wax, after the limited edition white label sold out before its official release.

Defected label-mate and consistent hit-maker OFFAIAH’s storming Club Mix joins Roberto’s stellar original on the A-Side, while on the flip master remixer Purple Disco Machine introduces his disco-tinged grooves to the record, before house legend Todd Terry employs deep, swelling synths and an adrenaline fuelled bassline on his remix to round off this essential 12” delivery.

Das neue Album der kalifornischen Punks von Destroy Boys - inklusive der Tracks Shadow (I'm Breaking Down) & Plucked.
In Zusammenarbeit mit Carlos De La Garza entstanden (Bad Religion, Paramore, The Linda Lindas), umfasst das neue Album Funeral Soundtrack #4
alles von Garagenpunk bis hin zu 90er Jahre College-Indie-Rock. Auf dem neuen Album sind Missy Dabice von Mannequin Pussy und Kat Moss von
Scowl zu hören.
Das Trio, bestehend aus Sängerin Alexia Roditis, Gitarristin Violet Mayugba und Schlagzeuger Narsai Malik, tourte bereits mit Alkaline Trio & Taking
Back Sunday durch Großbritannien, trat beim Slam Dunk, Roskilde, SBAM! und Sziget auf, war mehrmals in den USA unterwegs und trat beim Riot
Fest, Dia De Los Deftones und Coachella auf. Außerdem supporteten sie Blink-182 + Turnstile & Pierce The Veil im Jahr 2023. Für 2024 sind Auftritte
beim Lollapalooza und eine Tour mit Cavetown und Mother Mother geplant.

Old School Runebreaks is album of official remixes of the old school RuneScape OST sanctioned by Jagex, the game's developer.

I was thrilled when Jagex asked me to put together an official remix album of the old school runescape OST. Like so many of us who grew up gaming in the 00s, RuneScape was my first introduction into online RPGs and the soundtrack is something that's stayed with me ever since. Choosing which tracks to remix was no easy task; I decided on a blend of personal favorites and iconic tunes that hold a special place in the community. It was an honor to be chosen to rework this legendary OST and I hope you all enjoy the result as much as I enjoyed creating it.

Smart dresser and dedicated beard groomer Manuold - real name Emmanuele Macagnone - has notched up some excellent releases since making his bow in 2017, including admired EPs on House Puff and Madhouse Records. Here he brings his classy brand of deep house to GLDOM for the first time. With its squelchy synth-bass, loose-limbed garage-house drums, gospel vocal samples and warm pads, opener 'Jersey' sounds like a long-lost Kerri Chandler gem. He continues the retro-futurist theme on the low-slung and jazzy 'Hot & Crunchy', before doffing a cap to deep house/tech-house fusion on the Tenaglia-influenced 'Zanzibar'. Over on the flip, 'Night Long' is a chunky slab of 21st century New Jersey deep house with an Italian twist, while 'In The Clouds' sees him successfully lean into his Italo-house influences while retaining a dreamy and chunky deep house flex.

Groovin Recordings move forward with the unreleased series focusing on rising Italian producers. It is now the moment for Peter LC, one of the most interesting young artists in the new italo-house scene.
Born with a distinctive passion for Disco and House music, Peter loves to experiment with all the shapes of house from Italo, Deep Tech, and Classic House genres, continually evolving his unique sound.
This new EP called "Il Letto. La Porta. La Musica." starts with a journey into early 90’s Italian Riviera, also featuring a remix by legendary Italian producer Don Carlos. On the flip we find "Losing my Feelings", which meets Deep house at its finest, echoing the timeless grooves of Chicago and Detroit, and "Love Calling", a classic piano house anthem, driven by soulful female vocals and pure 90’s vibes.

The Tonarium is an idiosyncratic instrument comprising of two sets of modular synthesizers: Serge by Random Source, and another one by Bugbrand, both of which operate alongside a mixer constructed by Piotr Ceglarek and Jan Dybała. This intertwinement facilitates precise control over audio and CV signals and integrates technology with analog sound, offering the artists a distinctive sonic palette to delve into.

The present record unfolds in two parts, each exploring the fluctuating nature of sound. Both equally contribute to the work’s immersive imaging characterized by sound intensity, continuity and endless flow. Within its sonic tapestry lies a space for listeners to uncover subtle nuances, pulsations, and moments of harmony flickering through each chord’s firm surface.

In Part I, a formidable force consisting of chord progressions pierced by abrupt shifts and transitions unfolds. This deliberate disruption of harmonic continuity invites listeners to immerse themselves fully in each musical entity, uncovering the intricate details of the chords’ overtonal structure, drifting and steadily glimmering inside their glowing cores.

Part II, on the other hand, presents a more closed form—a recurring four-chord motif that evolves and transforms with each iteration until it finally fades out into whisper-like serenity. Here, the bass pulsates with greater intensity, like a wave enveloping the listener in a froth of feelings, which prevails and swells throughout the composition. In contrast to Part I, it exudes a sense of warmth and intimacy, inviting listeners to reflect over the dimensions of their own inner landscapes.

The Tonarium is to serve as a conduit for expression—a vessel through which the artist Aleksandra Slyz is enabled to channel her creativity and emotion into the music. Both Part I and II of the work have the capacity to drag listeners into a sonic odyssey that transcends time and space, therefore leaving an indelible impression on one’s trembling soul.

Performed & recorded on December 18-19th 2023 while in residence at The New Media Laboratory in Katowice, Poland.

Organized by The Soundscape Foundation

Composed & produced by Aleksandra Słyż

Mastered by Rashad Becker

Photographies by Kacper Krzętowski

Design by Maks Posio

Executive production by Christian Di Vito

From the fierce and murky depths of Mexico, Hierophany's Tenebrario is cast from the unending waves of Ain. This piece is a hymn, a chant of Death and Shadow. As the candles dim at the altar of God, the presence of the Apostate grows and envelops the Flesh of Humanity.
To build a Temple. To sacrifice a lamb. To understand the pulsating flesh and its mortality. Such is the aim of the poetry contained within.

2025 marks a new dawn for Hierophany ushering in a sound that is fierce, malevolent, dark and atmospheric - "Tenebrario" is released via Serpent Sun Records, it is time to enter the darkness and succumb to Tenebrario…

DJ Support: Carlita, Dar Disku, Disco Arabesquo & Moving Still

Melbourne-based producer Rami Imam unveils Safara, the latest release on his own label, Ponda Records, which he founded in 2020 as a platform for his cross-cultural sound explorations. Drawing from the rich traditions of the Middle East, North Africa, and the Mediterranean, Safara is a six-track odyssey of energetic and euphoric house and disco house, deeply rooted in both nostalgia and innovation. Safara is the culmination of Imam's immersion into the golden eras of global music, channelling the soulful rhythms and melodies of Afro-Funk, West African Highlife, Arab Disco, Bollywood, Afro-Cuban Jazz, Libyan Reggae, and Algerian Rai. By blending these timeless influences with a modern, dancefloor-oriented focus, Imam creates a sound that is both steeped in history and refreshingly new.

With a sonic palette that includes iconic synths such as the Juno 106, Super 6, SH 101, Moog Model D, and the 303, Imam weaves the analog warmth of these instruments into lush, modern productions. Piano and strings—his favourite classical instruments—add an organic layer of emotional depth, connecting the pulse of the dancefloor with the timeless elegance of traditional composition.

Safara is more than a collection of tracks; it is a journey across continents and eras, where the pulse of the past meets the driving force of the present. Recorded in Melbourne but influenced by sounds from around the world, Safara invites listeners to traverse vast musical landscapes—from the hypnotic grooves of North African rhythms to the sun-drenched melodies of Mediterranean shores—culminating in a transportive experience that lingers long after the final beat fades.

By balancing the ancient with the futuristic, Imam has crafted a record that feels both comfortingly familiar and daringly innovative. Safara is a testament to the endless possibilities of blending cultures, genres, and eras into something that is not just heard but felt—music for the soul as much as for the dancefloor.

In 1970, Akira Ishikawa, central to the jazz rock scene, embraced the chaos of the times and challenged himself with this ambitious work, pushing the boundaries of jazz. "Electrum" represents the pinnacle of Ishikawa's exploration into the genre, characterized by its intense and precise groove, where musicians compete to reach new heights.

This album includes standout tracks such as the storm-like "Electrum," the intricately layered "Revulsion," and the serene "Speak Under My Breath," evoking the clarity of dawn. The participation of two genius pianists, composers, and arrangers, Masahiko Sato and Hiromasa Suzuki, further enhances this dense and exhilarating work.

Regarded as one of Akira Ishikawa's masterpieces, "Electrum" is a significant revival within the Victor "Japanese Jazz" series.

Especial welcomes new artist DJ 1985 to the label. As so often, the idea of pushing new music has been the raison d'etre of the past decade. An EP of a love for Acid, from the breaks anthem of the title We Trippin’ to exploring the ethereal and even mind-melting Ambient House and Balearic of how the Roland TB-303 has become a fundamental element in the history of electronic music.

Soviet born; Belgrade exile Stanislav Grishchuk is DJ 1985. A man of many monikers, came to House later, originally progressing from Breaks, Hardcore and onto Drum and Bass as DJ Saint Man, a Mixmaster in the truest sense, switching it up to include Ghetto House and Booty, DJing led to producing, finally seeing DJ 1985 emerged to encompass Acid, Bleep, Breakbeat, Chicago and beyond.

A DJ supreme from the old school – check his Boiler Room mix for live vinyl dexterity – his productions nod to Aphex Twin and the Rephlex / UK lineage, the Techno. Electro of masters Underground Resistance and Drexciya and on to Italo, Italian House and early 90s New Jersey and New York’s golden period and of course the masters Kraftwerk, all influence the sounds of this debut EP.

Starting as 808 and 909 Electro and Techno jams, all the tracks are recorded live, MPC, synth and drum machines, no computers involved. We Trippin’ is built around the “Think” break, with trippy 303 line, some 808, synths and off we go “we trippin”.

Dolphin and Sirens was inspired by the Boka Bay dolphins of Montenegro, near where the recording was made. A flotation bath of warm dreamy acid beats and aquatic found sound, fast, shifting breaks, the Adriatic Sea of Croatia and beyond beckoning.

Catland’s title is a nod to Stanislav’s love of all the feline, but the breaks’n’303 cut is an endlessly uplifting spark, celestial, a cosmic evolutionary odyssey.

DJ 1985 completes his debut EP with the aptly titled The Last One. Spherular, mysterious, this rise of spatial breaks is a reawakening of symbolic music that is touched by both East and West. Stanislav’s music intersects, trans-national, almost spiritual and psychedelic. Live jamming, more hearted, the snap electro percussion, dream-laden pads are twinned with an ethereal otherness via the endless possibilities of the TB-303.

(Standard black vinyl version) With their anticipated new album, Black Flower delves into the transformative power of rhythm and motion.



Each groove, rhythm and pulse channels raw energy, acting as a disruptor that drives transformation. When the mind feels stuck-cemented in patterns, rigid in its views, overwhelmed by obstacles-Kinetic serves as a reminder that the body's motion can be the force to shatter those confines. To move is to adapt, evolve, and transform.



The album embodies a philosophy of flowing with change rather than resisting it, offering a bold, dynamic statement on breaking free from life's limitations. Kinetic is a call to dance through life's chaos and to harness the power of movement as a tool for liberation.


The album showcases Black Flower's signature blend of Ethio-jazz, oriental influences, dub, and afrobeat. The jazz combo, hailed by tastemakers such as Gilles Peterson, The Gaslamp Killer, and Lefto Early Bird, has performed live sessions on BBC Radio 3 and Worldwide FM. Their previous albums earned widespread acclaim, with glowing reviews from prestigious publications such as MOJO, Stereogum, Q Magazine, and Uncut Magazine. The band has toured extensively across Europe, building a strong fanbase.



File under: contemporary Jazz / ethio jazz

Radioactive Man (Keith Tenniswood) presents his 6th album ‘Jam Out The Kicks’ released on self-operated label Asking For Trouble this November 28th. Written while immersed in the throes of touring over the last four years - the album showcases Tenniswood’s singular sound, honed for the international dance floors that he is charged with. Jam Out The Kicks will be released on a triple 12” vinyl package with artwork by renowned artist Lung.

Working together UK rave, jungle, breakbeat and Detroit electro and techno the album plays between these different genres and styles. It brings the grit, joy, grime and funk but also with a big lot of heart in its sensitive softer elements and moments. Opening track ‘Under The Counter’ has been the lead to his live performances - soft and gleaming and with deep warm bass tones it’s his reset track to set the tone for the set. We then move into slap bass funk on ‘See Above’ and through the many sounds on the release - from dense textured and kicking techno to bass heavy rave. Curveball on the release is ‘Sinkhole’ starting out as a collaboration with Suade Bergemann, vocallists Ali Love and Chloe Raunet (C.A.R) both put their touch on it. It’s just one example of Radioactive Man’s desire not to want to be held down to any one sound and to always be developing and moving forward.

Here it is, the sixth chapter in the sonic journey of Mr. Mangiadischi.

Continuing the dance-floor assault, MD006 delivers four tracks, each with a unique story but all with the same aim: to make you move to the rhythm.

• A1 - Mamma
A Balearic groovy deep house nostalgic tribute to the most important person we have in our life. This track blends warm melodies with heartfelt emotions, making it the perfect homage.

• A2 - Genug Vans
Intergalactic soul/post-disco space-tech. A cosmic voyage through pulsating rhythms and celestial sounds, designed to take you on a dancefloor odyssey.

• B1 - Fenel
A very modern interpretation of this '76 Algerian artist's funk/pop/world/country mesmerizing masterpiece. This track merges elements of funk, pop, world, and country in a blend that transcends genres and eras.

• B2
A disco/funk/pop-rap in its most modern and groovy version. Infectious beats and catchy hooks make this track a surefire hit for any set.

Action Bronson, the Flushing, Queens chef-turned-rapper / food show personality releases his major label full length debut 'Mr. Wonderful,' via Vice / Atlantic. The album features production from Noah '40' Shebib, three time Grammy Award winner Mark Ronson, The Alchemist, 88 Keys and long time collaborator / cohort Party Supplies. 'Mr. Wonderful', which also includes guest spots from Chance the Rapper, Party Supplies, Big Body Bes and Meyhem Lauren, catapults Bronson into new territory with sonically voluminous production while staying true to the mixtape aesthetic that has made him so popular in the hip hop community and beyond. This is an album that is the sum of its parts, with meticulously crafted segues into each track creating a fluid, tightly woven work. Notably the album includes a Billy Joel sample approved by the man himself on 'Brand New Car' due to a hand written note from both Action Bronson and Mark Ronson exclaiming their admiration to the New York legend; a rare feat achieved by few. The atmospherically layered second single 'Action Crazy' shows how far Bronson has come since his highly lauded mixtape Blue Chips 2 and is just a piece of the puzzle that is 'Mr. Wonderful'.LP - US vinyl. Comes with CD.

Bringing new life to the electrifying sounds of Peru’s golden era of cumbia, *CHICHA POR FAVOR Vol. 1 is a highly anticipated limited edition vinyl release, featuring 12 rare tracks from the historic El Volcan label, known for its groundbreaking cumbia in the highlands of Cusco, Peru. This curated collection, spanning the 1970s and 80s, delivers listeners an immersive sonic journey into the heart of Peru's tropical music heritage.

For vinyl collectors, cumbia enthusiasts, and aficionados of Latin American musical history, this album is a rare treasure, packaged with an exclusive insert detailing the cultural origins of each track and offering in-depth insights into the socio-musical evolution of Peruvian cumbia. This release is the inaugural volume of CHICHA POR FAVOR, a project aimed at preserving and celebrating the defining sounds of Peruvian tropical music.

The tracks featured in CHICHA POR FAVOR Vol. 1 offer a uniquely authentic perspective on Peruvian cumbia’s intricate layers, capturing the influence of coastal rhythms, Andean folklore, and Amazonian beats, fused with elements of rock and psychedelia. From the driving electric guitars of *Grupo Atlantic*’s “Danza Atlantic” to the lively, Amazonian-infused grooves of *Los Invasores* and *Los Tigres*, the album reflects a diversity of styles that arose during a transformative era in Peru’s music scene. Notably, the release revives the distinctive sound of *El Volcan* a Cusco-based label that became a beacon for cumbia in the Andes and beyond.

Peruvian tropical music emerged in the 1960s as a fusion of traditional Andean sounds with electric guitar-driven interpretations of Afro-Caribbean and American rock influences. The insert, included with each vinyl, presents a well-researched narrative of the genre’s genesis and evolution, from early instrumental adaptations of huayno rhythms to the psychedelic Amazonian sounds that became its signature.

This compilation is not only a celebration of Peru’s cultural legacy but also an educational experience, designed to give listeners a comprehensive understanding of the geographical, cultural, and musical landscapes that shaped this genre.

This rare 12" outing from Rocafort Records features the rapping and production talents of Andy Cooper (Ugly Duckling/The Allergies). Taken from the forthcoming album 'The Layered Effect', both tracks throw you around the hip hop boxing ring, slapping you hard with the prerequisites needed for microphone supremacy. Lyrically tough and musically nimble, Andy swings at you somewhere between the artful dodger and a heavyweight pugilist.

The irresistably bouyant 'Here Comes Another One' opens by means of an elegant old jazz trumpet whose player states "rhythm is my business". Get the picture It's a choppy, jazztastic journey. Cleverly underpinned by a gorgeous jazz piano, horns, sharp beats and aural treats, suddenly mashed up by a reggae toasting session on speed courtesy of Blabbermouf.

'The Perfect Definition' has a heavier step and a more serious punch. Fresh and funky attitude meets a deeply earnest reverence towards microphone art, a theme echoed throughout the LP and cherisheddearly by Cooper.

Two tracks that certainly roll with the punches.Out in November. A sure tonic to the winter blues.

Azymuth JID004 is the fourth installation in the Jazz Is Dead catalog. This album features newly recorded songs by Adrian Younge and Ali Shaheed Muhammad and Azymuth, the beloved Brazilian samba funk trio. Azymuth JID004 showcases the trio's distinctive sound as the bedrock for some of the greatest Brazilian albums of the 1970s (Hyldon, Marcos Valle, etc.) All songs produced by Adrian Younge & Ali Shaheed Muhammad. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

HTRK step into their 21st year on reflective terms, launching a series of collaborations, covers/remixes, installations, and performances alongside the new repress of their full-length debut, Marry Me Tonight. First released in 2009 via Blast First Petite, the album saw its first vinyl pressing in 2015 via Ghostly International and has since been out of stock. In late 2024, Marry Me Tonight becomes available in limited edition pink and black vinyl, also finally on streaming services. Few groups in history elevate mood to such singular, smoldering supremacy as the Australian duo of Jonnine Standish and Nigel Yang, aka HTRK (or "hate rock" if informed). Across two decades of work and wounds, HTRK's sound has shape-shifted between densities and intensities, noise and nakedness, but never wavered in its delicate poetic gravity. In HTRK's sound world, cavernous reverberations of dub techno are mixed with frosted post-punk motifs and the gravelly imperfections of industrial, reimagined in the setting of a dingy basement. Like all HTRK albums, Marry Me Tonight was singular in sound and circumstance. It's the only album the outfit recorded from start to finish as a trio, and it's the only HTRK record that bears the co-production stamp of Rowland S. Howard. Breathy, caustic, and rife with contradiction, Marry Me Tonight took the raw material recorded on 2005's Nostalgia and transformed it into a pop record _ pop that buckled and warped beneath the glare of Howard, fellow producer Lindsay Gravina, and the HTRK trio: Jonnine Standish, Nigel Yang and Sean Stewart. Howard died at the end of 2009; Stewart died the year after. Things would never be the same. The band would carry on and reach new heights despite it all, but as a trio, this is their definitive document.

Mark Broom drops the fifth volume of ‘Mutated Battle Breaks’.

Mark Broom’s ‘Mutated Battle Breaks’ series on Radio Slave’s Rekids Special Projects dates back to 2021; since then, he’s released four volumes, with its next chapter arriving to mark the label’s first EP of 2025. Each ‘Mutated Battle Breaks’ EP consists of an extended runtime of eight tracks, supported by the likes of Robert Hood, Ben UFO, I.Jordan, Pariah, Carista, Mumdance, Lauren Flax, and many more.

Across volume 5 of ‘Mutated Battle Breaks’, Mark Broom primes eight more dancefloor-ready cuts complete with rugged grooves, punchy stabs, and wild Techno sequences. From the opener ‘Romance’ and its frenzied arrangement, through to the rolling bleep-infused ‘Ranger’, Broom once again shows his mastery of rhythm and the breath of his Techno productions - one thing is certain: he continues to be one of the most significant producers in Techno after more than three decades.

Techno, House, and rave, Mark Broom is one of UK dance music’s legends and has a myriad of production credits to his name dating back to 1989. Warp, M-Plant, Hardgroove, and his own Pure Plastic and Beardman imprints are just a handful of the labels he’s worked with, while studio collaborations with the likes of Baby Ford and James Ruskin have cemented his reputation as a storied and vital part of electronic music culture.

Rich in melody and instantly classic in feel, Luca dell’Orso debuts on CWPT with an extended EP of lush Italo, sensitively summoned from the Netherlands. Having impressed with previous releases on labels including Bordello A Paligiaria and Red Laser Records, these six tracks demonstrate a delicate approach to his studio, flitting between pop songwriting and analog experimentation.

From the soft fanfare that announces ‘Solitair & Solidair,’ ‘Actors’ establishes a confident groove that gently pushes an Alfa Romeo pedal toward Balearic ecstasy. On the instantaneous lead single ‘Dear Rosie,’ dell’Orso blends the signature palette of the vintage Yamaha-X7 synthesizer with longing vocals from collaborator Jolisa. A paean to a special person from a distant past, ‘Dear Rosie’ is blessed with a wistful melody befitting an Eric Rohmer classic, a musical postcard of a treasured connection. From wistful midsummer memories, dell’Orso easily transports listeners to another season entirely with ‘Winter Scent’, a deep meditation reflecting the artist’s walks in the few hours of available sunlight, thoughts beautifully vocoded beneath a heavy sonic layer.

Out of this lavish gloom blossoms the inevitable sound of spring on the driving, optimistic ‘Love by Association’; an enduring recipe of distinct drums and pitch-shifting synthesis, frozen in time for frenetic Eurodisco dancefloors. On ‘Propaganda’, dell’Orso offers a more forceful take on the same instincts, skipping inner-Schengen borders to simmer via industrially-tinted pleasures as revealed in Dusseldorf, 1984. For a sublime finale, ‘This Time (Things Will Be Different)’ takes to the piano, where Luca dell’Orso finds space to demonstrate the elegant minimalism that easily coexists alongside his timeless energy.

X-Coast unveils 9-track 2xLP The Riviera Collection on his label Riviera Records.

Hot on the heels from remixing instant dance hits such as Shygirl's '4eva' and DJ Gigola's 'La Batteria' and spotted in the studio with adored vocalists Eartheater and Miss Bashful, Serbian-born, NYC-based DJ/producer X-Coast returns with a collection of signature tracks that feel like the lost treasure chest of his dance island.

X-Coast is your favorite DJ's favorite producer, whose tracks you’ve undoubtedly danced to, whether on a massive festival stage or at an intimate, underground rave. Over the past decade, he has quietly but consistently shaped the pulse of dancefloors worldwide, with a distinctive style that traverses genres like house, techno, electro, drum and bass, and trance. This rare versatility has led X-Coast to release on the likes of Mall Grab’s Steel City Dance Discs, Diplo’s Higher Ground, Anetha’s Mama Told Ya and DJ Haus’s Unknown To The Unknown, to name a few.

What sets X-Coast apart is not just his ability to move fluidly between styles but the unique character embedded in every track. His productions have an undeniable warmth and authenticity, often evoking the raw, euphoric spirit of the 90s and 00s rave era. This nostalgic yet forward-thinking approach makes his music feel timeless, effortlessly blending old-school rave energy with modern production techniques. It's a quality that has made him a go-to for DJs across the board, whether they’re playing peak-time techno sets or deep, groovy house sessions.

On The Riviera Collection, released on his own label, Riviera Records, X-Coast opens the vault to reveal a diverse range of tracks that showcase his deep connection to multiple eras of electronic music. This collection reflects the breadth of his eclectic DJ sets, where various sounds and styles converge into a cohesive journey. Each track feels like a contemporary reimagining of a classic moment in dance music history.

From the early 2000s tribal influences layered with X-Coast’s signature chord work on ‘Neapolis,’ to the soaring, synthetic trance energy of ‘Desert Storm,’ and the infectious, camp vibe of the diva house ‘Hold Me Baby,’ the collection takes us on a nostalgic trip back to the origins of rave culture. It echoes a time when DJs crafted a journey through genres, playing everything from house to trance to techno in one seamless night.

The collection’s first hidden gems and long-awaited singles are “Da Boing Boing Trak” and "Put Your Hands Together". Both staples in his sets at iconic venues and festivals like Pitch Music & Arts, fabric, Circoloco, AVA Festival, Melt!, and Intercell, this track has been in high demand among fans, finally seeing its release. With The Riviera Collection, X-Coast continues to cement his status as a versatile producer capable of bridging the gap between past and present, while delivering music that moves crowds everywhere.

Lost In Sound Recordings is back with the release of its second record, featuring a captivating EP from the talented DJ and producer Atree. His "Confused in Space" EP takes listeners on a journey through a dynamic blend of powerful house tracks and intricate melodies. The release seamlessly fuses punchy kicks, tight basslines, and organic sounds, creating an energetic and immersive experience for the dancefloor. Get ready for the arrival of LISR002, a release that promises to make a lasting impression.

2024 Repress alert

Space Ghost is excited to announce the release of Dream Tool, a four track 12” EP produced by Space Ghost himself. Dream Tool offers up four spacious house tunes exploring Space Ghost’s signature style of dance music. Each track is equipped with groovin’ drums, atmospheric pads, catchy piano melodies, and bouncy basslines. Dream Tool is the debut release of Space Ghost’s new label, Peace World Records.

With the launch of Peace World Records, Space Ghost aims to harness his passion for music to create a unique platform for like-minded artists in the Bay Area and beyond. Since moving to Oakland in 2009, Space Ghost has been a consistent fixture in the Bay Area music scene, DJing regularly and refining his production skills. For Space Ghost, honing his craft and creating enduring, high-quality art is essential, making the establishment of his new label a natural progression in his artistic journey.

Space Ghost has garnered an international following over the years by steadily dropping a diverse array of LPs and EPs. He has collaborated with Danish label Tartelet Records for multiple projects and has also put out music with acclaimed labels such as Apron Records, Pacific Rhythm, and PPU. Across his releases, Space Ghost’s production style weaves between ambient and dance music, drawing inspiration from the underground scenes of the '80s and '90s while adding a contemporary touch.

The launch of Peace World Records and its debut release, Dream Tool, marks Space Ghost’s inaugural step towards his goal at a full-time music career. Embodying his journey, this debut release truly is his Dream Tool.