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"The Outfit release career defining new album, Preservers of the Pearl, asserting themselves as messengers of the new wave of underground rock and roll, pushing the movement forward alongside fellow trailblazers Mystery Lights, Sheer Mag, Shadow Show, Uni Boys + more.

Everything has been leading here. Daniel Romano shifts from his position as sole writer, opening the floor to Outfit stalwarts Ian Romano and Carson McHone, and welcoming into the fold longtime friend and legendary Canadian rock-n-roller, Tommy Major. The band is functioning as a true collective — multiple voices and perspectives — all serving one creative pulse. The result is both a new beginning and a homecoming, a complete and fearless statement.

Tracked to tape at their own Camera Varda studio, the album captures the band live in the room — breathing, musing, and believing. It’s the sound of human hands and hearts at work, in a shared moment of co-creation, preserved in real time in stunning hi-fi.

Here is music as communion — rock n roll as experience. Preservers of the Pearl rejects the flattening forces in modern times — what the band calls “the mono-agriculture of the mind.” In a “target culture”, condemned to homogeny and banality, The Outfit refuse polish and uniformity, embracing imperfection as truth, and promoting curiosity through creativity. At the center of it all is a deep spiritual current — what The Outfit calls Rock & Roll Magick: the belief that music is a sacred act, a force that can reconnect the individual to what is larger.

The Outfit are making music that is purposeful and profoundly urgent. Preservers of the Pearl is an invocation - it’s fearless in a time of great compromise, and resolute in an age of peripheral bullshit. Here is a band serving something greater than themselves."

Mononoke is a Berlin band founded by Fabian Rösch and Benjamin Geyer. Their musical passion is improvisation with a sound that moves between experimental electronic music, jazz, beat music and ambient.
This LP combines their two recent EPs which have been released on the Munich based label tunnel.visions,
each on one side.

APARt
APARt was created in the field of tension between spontaneous improvisation and careful studio work, marked
by the lockdowns during covid and social isolation. It was precisely this physical separation that gave rise to a
new experimental approach.
Each track is a puzzle, whose individual pieces were put together, moved around, and placed in new contexts.
Instead of jamming and rehearsing together, musical ideas were exchanged online so that they could be freely
interpreted, altered and redesigned.


modular
Newly found vivid playfulness, fresh approaches and a tilt towards the unexpected marks these songs. Capturing moments in our lives full of challenges, developments and salvation.
The same new and unusual process of working separately, shaped the subsequent second EP modular which
followed the same working structure but with a new component: the modular synthesizer, which decisively reshapes the sound: a collection of analog textures, broken structures and a touch of raw intimacy.
Each song is an episode, each sound a reminder of how music connects us.?
Even when circumstances, such as a pandemic, can threaten to pull us apart.

From the windswept streets of Edinburgh comes a sound that gallops wild through the night — equal parts jungle heat and Highland haze. Los Chichanos, a fiercely multicultural collective formed in 2021 under the spirited direction of guitarist Sandino Borges. Never ones to wait for an invitation, the band have carved out a scene of their own in Edinburgh, a home for tropical rhythm and nocturnal joy amid Scotland’s long dark nights. Their devotion to the electrifying pulse of Peruvian tropical music, cumbia and chicha, intertwined with Afro-Latin rhythms and vintage psychedelia runs deep.
Add the soul Cuban son, the swing of Brazilian grooves and a hint of spaghetti western melodrama, and you begin to hear the distinct voice of Los Chichanos. Caballo Salvaje gallops forward with fuzzed- out guitar, echo-drenched organ, and the untamed spirit of the Andes. Cumbia de la Noche was written during a harsh winter season when daylight became a distant memory.

Placid aka Paul Wise is the operator in chief at ‘We’re Going Deep’ – an online community and record label born out of a lifelong love affair with the many shades of electronic rhythm, and an obsession for collecting records since 1988. With a mission to share and release new music via his We’re Going Deep and We’re Going Back imprints, you’ll find only the best in underground Acid, Electro, IDM, Techno and House for the dance floor and your listening pleasure.

Up next in the label series, We’re Going Deep is excited to welcome 4 tracks of fresh material from pivotal electronic music maker Gerard Hanson, under his much prized E.R.P. alias. Renown for keeping his profile below the radar and letting the machines do all the talking for him. Hanson’s work as a producer has been much coveted since his debut back in the mid 90s as Convextion. Hailing from Dallas, Texas, he has become something of a hero in the underground Electro community. His work as E.R.P. has left a huge impression on labels such as Frustrated Funk, Bleep43 and Semantica over the years. Renown for his distinctive shimmering machine funk aesthetic, he ably summons the outer reaches of deep space listening thanks to his innate mastery of brooding, sci-fi soundscapes that few can equal.

Following releases for Apnea and Synchrophone, Hanson lifts off with a heartfelt tribute to our recently departed friend James Baker on ‘One4ReKab’. Ascending with the pulse of a steady kick drum, precision snares take hold as whispered vocals seep in and out of consciousness. Underpinned by trademark angular bass tones, soaring strings inject a deep sense of foreboding as all the parts fuse with a fierce glow. Stepping things a notch back as the sonic trajectory levels out, ‘Onward’ takes a more contemplative stance in a fusion of hypnotic drum programming that leads the fray whilst subtle arpeggios flow, all whilst wistful melodies wind you in.

Over on the flipside, Hanson revisits his 2008 composition “Multipole Vector” to launch yet another interstellar cruise by mission in the shape of “Multipole Vector II”. Leading with the simplest of bass progressions and metronomic beat programming, twinkling synth elements reach across the void as chords sweep to and fro to powerful effect. Ending out on the uplifting yet almost IDM inflected tones of “Self Unemployed”, this low tempo air rounds the EP off on an equally captivating note filled with playful charm, that makes this collection of music all the more pleasing.

Siren Selector presents the first voyage of Remy Solar, as the producer takes a break from composing sound system exclusive dubs to expand his horizons with this by-turns lush, textured, menacing and plaintive album.

‘Heavy Terrain’ emerges from the depths of a lifetime inside the dub fraternity: reared on a potent diet of Lee Scratch Perry and Augustus Pablo, The Disciples and Digital Mystikz, it’s an album which stuck its head in a bass bin in an abandoned bingo hall in north London before striking out on a musical road-trip to imbibe sounds and rhythms from further afield.

The album opens with the militant drums and ethereal pads of 'Sound in the East' before being bookended by two mixes of 'Star Trail', where unformed musical space and time cross uncharted distances to coalesce into the beginning of direction and rhythm. The lush deep house chords and drilling synths of 'Lila #3' summon ghostly presences, while in its counterpart 'Lila #7' layers of melody rise and hang like mist before dissipating in percussive heat. 'Dakhla's’ swelling and retreating drones fade into swirls of drums. In the eponymous 'Heavy Terrain', off-beat keyboard chops respond to each other from uncertain depths while electronic horns pulse across miles of open space. 'Empty City 'sees walls of sound coalesce and fragment, falling into bursts of white noise.

Remy Solar explores a deliberately constrained hardware set-up to create the primordial conditions of trance, locking down a rhythmic foundation while semi-improvised excursions form and reform above it. It’s an album that takes the listener on a journey between order and chaos, past and future, all the while underlaid by a counterpoint of cavernous bass lines and echoing percussion, yang and yin, shade and light.

First-ever official reissue - 180g black vinyl edition

In the late 1960s, a distinctive musical movement began to flourish in Italy—while also gaining momentum abroad, particularly in France and the United Kingdom. Known as library music (or sonorization), this genre consisted of genuine music libraries created specifically to accompany audiovisual productions such as television programs, commercials, documentaries, and films.

Produced under conditions of complete artistic freedom, these recordings often defy clear categorization, as they are not tied to any single musical genre. This creative independence allowed composers—frequently working in total anonymity—to experiment boldly, crafting avant-garde and forward-thinking sounds that, in many cases, anticipated musical trends that would only become widespread years later.

Oronzo De Filippiis known not only for his contributions to library music, but also for being part of the projectThe Braen's MachinealongsideAlessandro Alessandroni, one of the most significant figures in this field.

Meccanizzazione is a fully instrumental album—as is typical of the genre—literally dominated by the distinctive sound of the harpsichord. The record essentially alternates between two main compositional approaches: on one hand, more accessible and "friendly" tracks with a refined jazz-lounge and bossa nova flavor; on the other, darker and more hypnotic pieces, whose repetitive structures vividly evoke the rhythms and mechanical pulse of the industrial world.

We proudly present Sidequests Trilogy, a special triple vinyl release from Session Victim that brings together the previously released Sidequests Chapters 1, 2 and 3 in one beautifully curated edition. It’s a journey through the duo’s deeper impulses and dancefloor instincts alike—rich, soulful, and unmistakably Session Victim. Sidequests Trilogy is available now on Delusions Of Grandeur as a limited triple vinyl LP on Olive Green Vinyl.

After decades spent shaping the sound of southern Madagascar and becoming one of the defining voices of tsapiky, Damily returns with Fanjiry, his most intimate and focused record to date. Known for electrifying village ceremonies and carrying the fever of Toliara across continents, he takes a sharp turn — not away from trance, but deeper into its core.

Recorded in just three days at Studio Black Box with analog wizard Peter Deimel, Fanjiry strips the tsapiky band down to a single guitar and a single heartbeat. Damily plays alone, yet fills the space completely — bass, rhythm, melody, pulse, and breath merging into a dense and vibrating sound. Every riff is architecture, every harmonic a door opening onto memory, childhood landscapes, and nights where music heals, binds, and exhausts the dark.

There is no nostalgia here, no museum of tradition. Fanjiry is a new frontier for tsapiky: raw, precise, suspended between earth and sky, born from craft and necessity. The title — the last star before dawn — captures its essence: a quiet moment before the world awakens, where a single guitar can hold an entire history and still point forward.

Scupltures is composer and pianist Derek Hunter Wilson’s third solo album, an ode to the ancient and contested shorelines of the Pacific Northwest. Deeply embedded in place, the six longform pieces that make up the album reflect the artist’s journey through grief (including losing his father) and the passage of time, each one built upon loops created from extended sessions with harpist Joshua Ward. Like the foggy, moss-encrusted locations that inspired the album, Sculptures has a timeless feel to it, shadowed by the rumblings of a colonial system in decay.

Award-winning poet Mathias Svalina composed a poem for the album, entitled “A Dream for Sculptures”. It is reproduced on an insert that accompanies each LP.

Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound (Travelogue, 2017; Steel, Wood, & Air, 2019), as well as a collaborative album with Location Services entitled Wake (2022). In 2018 he collaborated with visual artist Gregory Euclide for his Thesis Project label, resulting in a split 10" with Spanish musician Rauelsson. He has additionally worked with poets Zachary Schomburg and Brandi Katherine Herrera for several sound and performance pieces, and has performed live on the West Coast and in Berlin, sharing the stage with artists such as Colleen, Amulets, Patricia Wolf, Pulse Emitter, and Liima.

After decades spent shaping the sound of southern Madagascar and becoming one of the defining voices of tsapiky, Damily returns with Fanjiry, his most intimate and focused record to date. Known for electrifying village ceremonies and carrying the fever of Toliara across continents, he takes a sharp turn - not away from trance, but deeper into its core. Recorded in just three days at Studio Black Box with analog wizard Peter Deimel, Fanjiry strips the tsapiky band down to a single guitar and a single heartbeat. Damily plays alone, yet fills the space completely - bass, rhythm, melody, pulse, and breath merging into a dense and vibrating sound. Every riff is architecture, every harmonic a door opening onto memory, childhood landscapes, and nights where music heals, binds, and exhausts the dark. There is no nostalgia here, no museum of tradition. Fanjiry is a new frontier for tsapiky: raw, precise, suspended between earth and sky, born from craft and necessity. The title - the last star before dawn - captures its essence: a quiet moment before the world awakens, where a single guitar can hold an entire history and still point forward.

Athens-based percussionist and sound artist Yorgos Stavridis makes a stark, physical debut for Heat Crimes with »Solo Percussion«, a set of one-take improvisations that approach percussion as a field of friction between body, objects, space, and sound. Working with membranes, metals, found objects, and feedback systems, Stavridis foregrounds timbre, texture, and spatial presence, collapsing distinctions between instrument, environment, and recording apparatus.

Microphones and speakers are treated as unstable instruments in their own right, introducing opaqueness, resistance, and feedback into the performative chain. Scrapes, low-end pressure, brittle metallic chatter, and sudden bursts of resonance emerge through close bodily engagement with surfaces and materials, each piece documenting a specific configuration of objects, gestures, and acoustic conditions. Performed and recorded live, »Solo Percussion« captures sound in its most contingent state; situational, physical, and irreducibly present. Eschewing narrative, pulse, or formal development, the record sits squarely in Heat Crimes’ lineage of process-led, uncompromising sonic research, where listening becomes an active, tactile act and sound itself is the primary event.

On Hungry Animal, Luke Temple continues to trace the invisible lines between the personal and the cosmic _ between what we feel, what we observe, and what we inherit simply by being alive. The album reunites Temple with Doug Stuart (bass) and Kosta Galanopoulos (drums), the core of his Cascading Moms ensemble, whose instinctive chemistry anchors the record's balance of rhythmic precision and melodic drift. Together they shape a sound that feels handmade and fluid, delivering sharp observations in soft focus. The album opens with "Clean Living," a tenderly libidinous groove, unraveling purity myths and self-discipline _ less a confession than a celebration of the futility of striving for perfection in a flawed world. From there, "Echo Park Donut" shifts into the memory of an unsettling vignette drawn from a violent incident outside Temple's Los Angeles home. The band moves with a quiet pulse beneath the story, suggesting both detachment and the surreal intimacy of fear. The title track, "Hungry Animal," grounds the album's broader questions: how well can we really know one another, or ourselves? Temple's lyrics circle around the idea that we are animals among animals, driven by instinct and affection alike. It's both playful and philosophical, one of the record's emotional centers. Temple's bandmates bring an understated mastery to these pieces. Stuart's melodic, infectious grooves converse fluidly with Galanopoulos's drumming, which breathes life into each song even as it gently propels them forward. The trio's interplay feels both weightless and deeply rooted _ commanding the listener's attention and empathy without ever forcing it. With Hungry Animal, Luke Temple and the Cascading Moms create a world where reflection becomes rhythm and consciousness gains texture _ a record of quiet revelations and deliberate grace.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

Finnish dub-techno craftsman TM Shuffle, head of Vuo Records, resurfaces with a deep and distilled EP that goes straight for the late-night heart of the dancefloor. Rooted in Tampere’s raw, analog dub sound, his productions have long balanced weight and warmth, smoked-out chords, rolling low-end and subtle shuffle that keeps the groove in constant motion.
The lead track “Kellari” dives into basement mode: pressure-cooker drums, slow-burning stabs and a humid, lived-in atmosphere that feels equally at home on a huge system or in headphones at 4 a.m. On the second original cut, TM Shuffle links up once again with long-time collaborator Monoder, the alias of Jussi-Pekka Parikka, known for his dubbed-out explorations on labels like Statik Entertainment and Pakkas-Levyt since the early 2000s. Their joint track stretches time, letting echo, tape hiss and distant melodic fragments float around a rock-solid groove, channelling years of shared studio language into one focused, hypnotic flow.
On the flip, Anton Kubikov (SCSI-9) steps in with a lush reinterpretation of Kellari. A true Russian techno veteran with a catalog that spans Kompakt, Force Tracks, Mayak and beyond, Kubikov melts the original into a widescreen, dream-state trip, soft-focus pads, gentle yet insistent percussion and that unmistakable rolling pulse that made his work so enduring. The remix doesn’t just extend the track; it opens a new dimension, turning the basement pressure into a slow-rising, celestial drift.
Pressed on limited coloured vinyl, this EP is built for selectors who like their dub techno deep, human and timeless, a record that will quietly live in bags for years and keep resurfacing whenever the room calls for true late-night elevation.

Brooklyn based baritone saxophonist Jonah Parzen-Johnson presents his new work "Imagine Giving Up" on Helsinki's We Jazz Records. The album, to be released on 17th January of 2020 sees Parzen-Johnson move into new domains of sound as he uncovers newfound energy and pulse in his music.

In addition to the sonically rich analog synth elements that accompany his earlier solo saxophone work, Jonah has layered heavily sound designed samples of his own saxophone to create truly one of a kind percussive snaps, reverberant basses, and warbling leads. At it's core, the music remains deeply devoted to almost vocal sounding melodic lines and patiently developed compositional ideas.

A compact set of 6 originals, "Imagine Giving Up" is Jonah Parzen-Johnson's most ambitious album yet. While taking a step away from the previous world of "ambient jazz", his new music stems from the use of drone-like sounds for baritone saxophone, a style which is uniquely his own. Electronics are blended in for good measure, creating a coherent vision of abstract jazz with depth. As with all of Parzen-Johnson's releases, the music comes with a deeper narrative which he will continually explore in live performance.

The manifesto for the album reads as follows: "Only a few people can really start over. Everyone else is left to struggle down the path they were assigned. The option to give up, to choose your own path, is power, and, hopefully, a call to action: take a risk to help someone." "Imagine Giving Up" by Jonah Parzen-Johnson, will be available via 'We Jazz Records' on violet and black vinyl versions, CD and digitally.

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

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

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

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

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

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

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

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

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

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

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

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

LP, Opaque Pink Vinyl, w/ download card

Mexico City’s Sunset Images emerge with their most daring and immersive work to date, Oscilador, arriving January 23 on Dedstrange. Known for pushing the boundaries of noise rock and psychedelic experimentation, the band plunges deeper into their raw, unrelenting sound—crafting an album that thrives in chaos, distortion, and hypnotic repetition.
Oscilador captures Sunset Images at a new creative peak: jagged guitars dissolve into swirling feedback, fractured rhythms pulse like machinery on the brink, and vocals echo through layers of reverb as if channeled from another dimension. The record balances intensity and atmosphere, offering both catharsis and transcendence. It’s a sonic free fall that feels at once destructive and redemptive—like watching a city crumble only to find strange beauty in the ruins.
The album title reflects the band’s fascination with constant motion and instability, the oscillations of sound and life itself. Across the record, Sunset Images embrace the extremes: minimal passages expand into walls of noise, meditative drones are shattered by bursts of primal energy, and every song teeters on the edge of collapse. This restless spirit makes Oscilador not just a collection of songs, but a visceral experience—one that mirrors the tension and electricity of Mexico City’s underground scene.
Joining forces with Dedstrange, Sunset Images step onto a global stage while staying true to their uncompromising vision. For fans of A Place To Bury Strangers, Sonic Youth, or My Bloody Valentine, Oscilador delivers the thrill of pure immersion—music that doesn’t just demand to be heard, but to be felt in the chest, the bones, and the subconscious.
With Oscilador, Sunset Images invite listeners to lose themselves in noise, distortion, and dissonance—and to find clarity within the chaos.