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Ralph Lawson's Leeds-based 20/20 Vision Recordings continues to mark its 30th anniversary with another special release. Full Circle Vol. Two revisits label classics through a series of fresh, heavyweight remixes. Co-founder Random Factor flips Ricardo Villalobos' seminal 'Easy Lee' into bubbling electro, all lush harmonies and tremulous bass. Bobby reimagines 'Lockdown' as a moody, propulsive 4/4 club weapon and on the B-side, Fabric resident Craig Richards strips 'Convergence' into hypnotic, percussive minimalism, while Hardway Bros' acid-tinged rework of 'Digitize' delivers rumbling low-end and twisted vocal fragments.

Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solar- powered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!

Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.

Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.

Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

Ltd White Deluxe Vinyl

Young Fathers - Alloysious Massaquoi, Kayus Bankole und G. Hastings - kündigen heute ihr langerwartetes neues Album, „Heavy Heavy“, an. Das vierte Album des Trios erscheint am 3. Februar 2023 via Ninja Tune und ist ihr erstes seit „Cocoa Sugar“ von 2018. Das 10-Track-Projekt signalisiert einen erneuten Back-to-Basics-Ansatz ohne externe Produzenten, nur ein winziges Heimstudio, ein paar Geräte und Mikrofone: alles immer eingesteckt, alles immer in Reichweite. Über das Album schreibt Alloysious: „Jede Platte muss besser sein als die letzte. Das ist die Mentalität. Wenn es nicht besser wäre, würde es nicht herauskommen.“ Für ihn geht es bei diesem Album nicht einmal wirklich um die zehn Songs auf der Tracklist. Es geht darum, was mit dem Trio in den langen, verrückten Jahren seit „Cocoa Sugar“ passiert ist. „Heavy Heavy“ ist der Beweis für das, was von dieser Zeit übrig geblieben ist. Der Erfolg des Überlebens, der Exzess der Existenz. „Ich mag den Titel ‚Heavy Heavy‘, denn es ist alles plus die Küchenspüle", fügt G. hinzu. „Maximalistisch. Keine Art von Schlankheitskur. Es fühlt sich voll an, gewichtig. Und es zweimal zu sagen, macht es spielerisch.“
Für Young Fathers gibt es keinen Dresscode. Tanzen, nicht moshen. Die Hüften zucken, die Füße rutschen, das Gehirn feuert in Catherine Wheel-Sparks aus Freude und Empathie. Unterirdisch, aber nie dunkel. Immer noch jung, nach einigen Jahren, auch wenn die heavy, heavy weight of the world von Tag zu Tag zu wachsen scheint.

Los Angeles-based duo LUCKYANDLOVE are back with their third album, evoking a new sense of art school originality, following their critically acclaimed “Transitions” album. The duo defines 'Humaura' as the atmosphere that emanates from the feelings of the human spirit void of technological control.

Blending raw analog synth sounds with driving punctuated percussion and punchy analogue bass, LUCKYANDLOVE’s music is shaped by the embers of Siouxsie and The Banshees and Bauhaus, resonant spectres carry over from synth-laden galaxies, where the needle hits the vinyl groove and Doc Martens marched to basement dance floors.

LUCKYANDLOVE is the raw sonic experiment of Loren Luck and April Love, whose music transcends genres. Their live analogue synth beats, Moog instrumentation and beautiful, harmonic vocals trigger an immediate download of fuzzy sunset synthgaze, blue-black neon darkwave, and tigerprint electro punk.

“‘Humaura’ is an action-packed, cinematic, entertaining and soulful electro-dance record full of fresh air and wide-open roads where there is more freedom to party, to be in nature, and to be our wild selves,” says April Love.

Fusing together pulsating molten kicks, abrasive fuzz-laden analog synths and sensual vocals, the anti-tech angst anthem ‘I Am Human’ is a call to take back our lives, underlining the need to reconnect with being Human before it’s too late. ‘Lonely at Night’ is a "last call" bar track about the desperate, frantic desire for human connection, building from a haunting sense of isolation to a fast-paced, climactic reunion with a crush. Elsewhere, this album features enchanting lyrics rooted in emotions from melancholy and sorrowful glom to a state of blissful trance.

This album was recorded, mixed and mastered for digital release by Grammy award-winning engineer Be Hussey (Modern English, Twin Tribes, Boy Harsher) at Balboa Studio and Catwater for the digital music, and mastered for vinyl and lathe-cut by Grammy-nominated engineer Nicholas Townsend (Weezer, Grimes) at Townsend Mastering.

Their 'Lucky + Love' and 'Transitions' albums having earning them a global fan following, US and UK tours, multiple tracks featured in the indie hit film 'Tiger Within' (Ed Asner's final performance), and wide acclaim, noting their “soulful, synthesized sound" (LA Weekly), “spectral synths and dazed-dreamy feeling” (Big Takeover Magazine), not to mention their "uncompromising and inventive sonic experiment” (The Spill Magazine) and sound that “oscillates between the asphalt synth streets & interstellar outer realms” (Impose Magazine).

LUCKYANDLOVE’s visceral, dark electro-pop appeal continues to stretch through time and space. Praise for the album’s lead track ‘I am Human’ have poured in from over a dozen countries. ‘Humaura’ promises to cement the duo’s reputation as one of America’s most vivacious electronic / synthwave acts, positioning them firmly within the lineage of artists like Phantogram, Ladytron, The Soft Moon, Twin Tribes and ACTORS.


‘Humaura’ Press:

“...In contrast to its synth-laden darkwave and electropunk sound, the song presents lyrical themes of championing the human spirit and emotions over the technological void" ~ Regen Magazine

“Moog textures and distorted synth tones weaving together like electric currents. An industrial edge that carries a dreamy undercurrent, nodding to darkwave, punk rock and post-punk influences without sounding dated" ~ Myth of Rock

"Every second and note is a meld of lava-esque incitement and beguiling melodic fixation and a breath to unpredictability and stirring fuzz hued uniqueness… a thrilling encounter" ~ The Ringmaster Review

"Layers fall into place and give rise to soaring vocals. The beautiful timbre of her voice sits over the landscapes of sound and reveal poignant lines that hit home." ~ Sound Read Six

Einem US-Metalfan die Band Griffin zu erklären hieße Eulen nach Athen tragen. Während das Debüt noch traditionellen Heavy Metal in Reinkultur bietet, tendierte die Gruppe um den außergewöhnlichen Sänger William McKay in Richtung Speed- und Thrash Metal, aber ohne dabei ihre Trademarks einzubüßen. „Protectors Of The Lair“ erschien 1986 bei Steamhammer/SPV. Musikalisch war man am Puls der Zeit, doch der Stil kann auch ebenso als kauzig und individuell bezeichnet werden. Das größte Manko war allerdings immer der dünne Sound, der sich fast nur in den Mitten und Höhen abspielte. Dies wurde nun gleich doppelt behoben!

Es ergab sich das seltene Glück, dass die originalen 24-Spur-Bänder noch vorlagen und nach einigen Reparaturen überspielt werden konnten. Somit war nicht nur ein Remaster möglich, sondern ein Remix, der von Neudi 2020 angefertigt wurde und nun die LP 1 füllt. Die zweite Scheibe beinhaltet den Original Mix von 1986, allerdings remastert von Patrick Engel (Metal Blade, High Roller, etc.).

Hammers Rule gelten als Kultgruppe des US-Metal, deren LP „Show No Mercy“ und EP „After The Bomb“ (1984/1985) heute gesuchte Sammlerobjekte sind. Man wollte sich vom Härtegrad nicht festlegen und decken dadurch ein enorm breites Spektrum des US-Metal ab. Während die ersten vier Tracks zwischen Epic-, Heavy- und Speed Metal liegen (ebenso die beiden EP-Tracks „Kamikaze“ und „Stop The World“), war die B-Seite der Original-LP etwas zugänglicher und passt auch gut zum hohen Haarsprayverbrauch der Achtziger. Doch auch diese Stücke stecken voller Energie und Spielwitz. Einer der Gründe ist die unfassbar gute Rhythmussektion aus Drummer Chuck Hohn und Bassist Shaun Henley.

Die beiden Musiker operierten auf einem Niveau wie Steve Harris und Nicko McBrain (Iron Maiden). Zudem ersetzt der Bass durch das kräftige Spiel und die Präsenz im Mix auf beeindruckende Weise eine zweite Gitarre. Das Album und auch die EP wurden weitestgehend live im Studio aufgenommen. Golden Core war das erste Label, bei dem die verbleibenden Bandmitglieder einer Wiederveröffentlichung zugestimmt haben. Die Golden Core LP enthält die EP-Tracks als 7“ Single.

Legendry haben 2020 eine spannende EP mit drei Coverversionen (u.a. „Metal“ von Manilla Road) und einem neuen, eigenen Song (das titelgebende „Heavy Metal Adventure“) eingespielt, die auch optisch ins Konzept der drei Vorgänger passt. Wer auf Epic Metal steht kommt um „Heavy Metal Adventure“ nicht herum!

Josi Miller aus Leipzig-Connewitz macht parallel zu ihrem Studium an der Bauhaus-Universität Weimar erste DJ-Erfahrungen in der ostdeutschen Subkultur. 2017 zieht sie - längst Protagonistin des Homegirls-Podcasts - nach Berlin. Sie begleitet Trettmann jahrelang als Tour-DJ und ist solo ständig auf Achse - von Kapstadt bis London, vom about:blank bis zum Institut für Zukunft, vom MELT bis zur Fusion. Mit KLAN-Musiker Stefan Heinrich gründet Josi das Elektropop-Duo Import Export, veranstaltet unzählige Workshops für Flinta* und beaufsichtigt Produktionen für befreundete Künstler*innen à la Jolle oder Zugezogen Maskulin. Seit etwa zwei Jahren hostet Josi das ARTE-Format "Chat with a DJ", in dem sie regelmäßig Künstler*innen wie Marlon Hoffstadt, Anja Schneider oder Acid Pauli empfängt. Im Herbst 2023 beschließt Josi während eines Kreativcamps in Frankreich ein Soloalbum in Angriff zu nehmen. Im Kreis vertrauter Musiker*innen wie Fatoni, Aywing, Lambert, Torky Tork und BEACHPEOPLE entstehen die ersten Fragmente. 2024 zieht Josi im Rahmen eines Förderprogramms für mehrere Wochen zu Post-Punk-Ikone Gudrun Gut in die Uckermark, wo sich ihr Vorhaben konkretisiert. Am Ende einer intensiven Auseinandersetzung mit der eigenen Psyche und unzähligen Stunden zwischen Synthesizern und Beat-Software steht "4 Stages Of Sleep" - ein Debütalbum, das Breakbeat, Pop und Electronica miteinander fusioniert.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Bloodred Hourglass (BRHG) meldet sich zurück mit ihrem mittlerweile siebten Studioalbum „We Should Be Buried Like This“. einem kompromisslosen Statement einer Band. die sich über die Jahre zu einer der eindrucksvollsten Kräfte im modernen Death Metal entwickelt hat. Beheimatet im finnischen Mikkeli wurden BRHG bekannt für ihre Fähigkeit. die rohe Wucht von Thrash- und Groove-Metal mit den atmosphärischen Sounds von Metalcore. Alternative Metal und Melodic Death Metal zu verschmelzen. Ihr Sound ist so kraftvoll wie emotional. so mitreißend wie facettenreich - eine Mischung. die ihnen regelmäßig positives Feedback. eine internationale Fangemeinde sowie den Ruf explosiver Live-Shows eingebracht hat. Mit „We Should Be Buried Like This“ schlägt die Band nun ihr bislang dunkelstes und schonungslosestes Kapitel auf. Ein Werk. das sie selbst als „Lieder für das Ende der Zeit“ beschreiben - ohne Trost. ohne Erklärungen. Stattdessen erwartet uns eine Geschichte vom Zerfall von Hoffnung. dem Verlöschen von Liebe. der Wiederholung familiärer Fehler und einer Welt. geprägt von Egozentrik. Entfremdung und Gleichgültigkeit. „Hier wird nicht gebettelt. nichts beschönigt“. erklärt die Band. „Wir wollen nichts beweisen. Dieses Album ist aus dem inneren Drang entstanden. Dinge aufzureißen und sie beim Namen zu nennen.“ Musikalisch ist „We Should Be Buried Like This“ das aggressivste und kompromissloseste Album. das BRHG je geschaffen haben. ohne dabei ihre charakteristische Melodik zu verlieren. Heftige Riffs. brachiale Energie und tiefe Emotionen ziehen sich wie ein roter Faden durch das gesamte Album.

Gastauftritte und neue klangliche Elemente sorgen für frische Akzente. doch der Kern bleibt unverkennbar BRHG - verfeinert über Jahre. einzigartig und intensiv

Reissue des Debütalbums der US-Dark-Wave-Band Cold Cave aus Philadelphia auf Ruby Red Glitzervinyl. "Love Comes Close" (2009) entstand aus späten Nächten, Second-Hand-Synthies und der stillen Dringlichkeit selbst gebastelter Schlafzimmeraufnahmen und erschien zunächst bei Heartworm Press, um später bei Matador Records neu aufgelegt zu werden, als die Band langsam Kultstatus erlangte. Elf düstere Popsongs für Einsame und Suchende – zerbrechlich, romantisch und von kaltem Licht erfüllt. Mit Anspielungen auf die frühen Experimente von The Human League, Throbbing Gristle und New Order verbindet das Album Gothic-Untertöne mit Indie-Charme und Loft-Synth-Pop. Eisolds Gesang ist distanziert und intim zugleich – poetisch, verletzlich und durchdringend. Vom stechenden Puls des Titeltracks bis hin zu den zeitlosen Live-Klassikern "Life Magazine", "Heaven Was Full" und "Youth And Lust" fängt "Love Comes Close" den seltenen Moment ein, in dem Isolation einer Verbindung weicht und Einfachheit auf emotionale Schwere trifft.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

Das Trio - Pianist/ Keyboarder/ Produzent Moses Yoofee, Bassist Roman Klobe-Baranga und Schlagzeuger Noah Fürbringer - hat sich in den letzten Jahren mit spektakulären Live-Shows in Clubs in Deutschland und darüber hinaus einen Namen gemacht. Sowohl von R&B, Hip-Hop und Soul als auch von traditionellerem Jazz geprägt, spiegeln die Songs von Ocean die Spontanität, Inspiration und instinktive Raffinesse ihrer Live-Auftritte wider. Der herrlich hektische Titeltrack und das zunehmend ekstatische Minor Issues stehen in Kontrast zu der eher zurückhaltenden Komplexität von At Ease - und während der hypnotische Rhythmus von Fragile ihre Liebe zum Hip-Hop verrät, wird das üppige Richmond von einem herrlich ruhigen Groove angetrieben, bevor es auf seinem Höhepunkt einen Gang höher schaltet. "Jeder liebt Fusion", so die Band, "auch wenn es keiner zugibt", aber das ist nur ein Element des ausgefeilten Stils des Trios, bei dem Moses" außergewöhnliche Keyboard-Fähigkeiten auf Romans fließende Basslinien und Noahs tighte Schlagzeug-Patterns treffen.

Recorded at the same time as I and Then C93 were channelling Swastikas For Noddy, Imperium was the BackSide GrimStory to the Bright ’n’ Breezy (Locust) SummerTime Whistles of Swastikas For Noddy. I was very ill whilst making both records, and my main memories (along with Speed And Vodka, ThankYou, ThankYou) were lying sick on a grimy couch at the long-gone IPS Studios in Shepherd’s Bush. There was a heavy leak in the kitchen and the water was running over the studio floor and up my distressed, distressing leather jeans (with button-fly) and Into My Very Soul. Remastered from the original tapes by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside. This is one of the second group of 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2026, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Limited edition ORANGE SWIRL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1990 vinyl reissue includes 3 bonus tracks. "We drove up there and my cousin Tracy had turned punk rock. And she said, 'I'm going to this show tonight. Come with me.' And so I went to this club called The Cubby Bear - it's right across the street from the baseball stadium - and a band called Naked Raygun were playing, and they're this legendary Chicago punk rock band. But I'd never seen live music. So my introduction to rock and roll was in a club that held about 150 people that was half full and I was belly up against the stage watching this incredible live band, like, sweat and spit and bleed in front of me." - Dave Grohl interview, The Record, 2011- // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Irish techno producer, Kerrie, returns to Tresor Records on the 24th of October 2025 with her second EP for the label. Entitled Echoes Of The Live Wire, this collection captures the beauty and essence of live performance; a moment in time never to be repeated.
This fixing of time is also given a different meaning as the EP explores the ways in which intense moments in our lives, both joyful and painful, are crystallised into memory, both beautiful and haunting, lingering long after they've passed.
Layered meanings are employed throughout as Kerrie explores this idea: Live Wire draws connections between circuit boards and the human nervous system, whilst also toying with multiple meanings of the word “live”.
Echoes Of channels classic Detroit techno influences, resonating with the distant hum of memories that refuse to fade, while Moment To Memory is a beatless, floating piece which slowly builds to an ecstatic crescendo.
Digital bonus tracks Recircuit and Reclaim add further depth to the core metaphor: the former a driving, minimal yet building techno work-out, and the latter a cathartic and emotionally open track that delivers intensity with vulnerability.
Echoes Of The Live Wire reflects on memory as a complex, dual-sided force where joy and pain coexist with equal weight. Her creative process becomes a form of meditation and emotional processing, using machines to process, reflect, and let go. The result is a body of work that loops back on itself, telling a story of fleeting moments and their lasting emotional imprints.

Body Clinic joins us for our next 12” release with four tribal tech-house cuts, recalling the sound of early-2000s Pacha. With E-Talking on Papa Nugs’ label running the festival circuit this summer, he’s already become the talk of the scene—and this EP makes clear why.

Each track is driven by drums at the highest grade—rugged, weighty basslines locking in with sci-fi warped FX, keeping the floor in constant motion. Trippy vocal cuts thread through the grooves, getting deep into our heads and sending minds off into nearby dimensions. And that’s just the a-side.

Flip it over and Bongo Loco comes rolling in—a true cruiser. Built around a huge breakdown of layered bongos, it kicks back in with the kind of chest-rattling low end that have become Body Clinic’s signature. It’s the moment where hands shoot in the air, the rhythm carrying you further into the night. On b2, My Mate Dave shifts gears again—jumping off the old-school tech foundations and landing closer to the progressive sound we know BC for. It’s a peak-time anthem through and through.

Promo downloads have quickly come in from Chris Stussy, Josh Baker, Christopher Ledger, Roza Terenzi, and East End Dubs, marking it as one of the most anticipated releases of 2025.

Mit Agoniepositur liefern die österreichischen Blastbeat-Extremisten DISTASTE ihr bisher härtestes Statement ab. 14 neue Tracks zwischen wütendem Grindcore, frostigem Black Metal und schwerem Death Metal - kompromisslos, direkt und gnadenlos auf den Punkt. Diese 14 Songs reißen dein Hirn in blutige Fetzen, schreddern jede synaptische Verbindung bis aufs Mark. Die Blastbeats schlagen ein wie ein Messerstich in deinen Darm, entknoten ihn brutal und lassen dein Innerstes in einem wütenden Crescendo aus Schmerz und Ekstase explodieren. Ein musikalischer Albtraum, der dich zerreißt - schön morbid, messerscharf und gnadenlos. Aufgenommen wurde das Album im DeepDeepPressure Studio, gemixt und gemastert von Lukas Haidinger, der dem Sound rohe Brutalität und messerscharfe Präzision verpasst hat. Das fleischig-düstere Cover stammt von Armin Schweiger (Todt & Deibel Ink, Linz) und trifft den Kern der Musik auf den Punkt. Agoniepositur erscheint am 24.10.2025 als wunderschöne CD, LP und digital über FDA Records (Cargo). Die erste Single und der Vorverkaufsstart werden am 31.07.2025 gemeinsam mit euch gefeiert - haltet Augen und Ohren offen! DISTASTE sind zurück - ehrlicher, wütender und zerstörerischer denn je.

Island5 is Islandman’s most focused and detailed exploration of Anatolian psychedelia to date. They re-imagine the deep-rooted sounds of Anatolia through a modern lens. To them, this music isn’t frozen in time — it’s alive, shifting, and always becoming. Tradition, in their hands, isn’t something to preserve in glass, but something to carry, stretch, and let grow.
Each track offers a different angle into this reimagined sound. Analog synths mimic reed instruments, fuzzed guitars evoke forgotten tales, and percussion carries both the pulse of the city and the stillness of rural ground. There are meditative passages that invite silence (Slwly), and sunlit grooves that move the body before the mind (Adada, Rüzgar). Everything flows as if improvised—but nothing feels accidental.

In March 2024, Jim White released his first-ever solo album, All Hits: Memories. Coming forty years into his career, it felt like some kind of breakthrough happening. His second solo album confirms it: Jim"s deep percussive intuition is fueling a new musical vehicle in his life. Inner Day finds him dancing ever more deftly with himself on an expressionistic set of drum kit and keyboard duets. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim takes another big step on Inner Day, singing on two standout tracks, "Inner Day" and "I Don"t Do / Grand Central," his words and voice in the mix for the first time. A drummer of exquisite powers, great and small - his Dirty Three compatriot Warren Ellis contends his playing long ago "split the atom" - Jim"s capable of driving a band one minute, then slipping past accompaniment and into the cracks of the subliminal in the next breath. He"s got qualities - deep pockets, a lovely sense of the moment - that serve him and those he drums with well. His collaborators include Bill Callahan, Cat Power, Marisa Anderson, Daniel Blumberg, T. Griffin, Phosphorescent, Jess Ribeiro, Ed Kuepper and Mess Esque, alongside communal experiences in Xylouris White, The Double, Beings, The Hard Quartet and Dirty Three. And all that"s just in the past five years!

Hailing from the northern city of Oulu and featuring members of esteemed Finnish outfits such as Haapoja, Dart, and Renate/Cordate, TRYPANON have steadily emerged as one of the most compelling and unorthodox underground acts in recent memory. Their 2021 debut "Amentia" earned widespread acclaim for its suffocating intensity and bleak atmospheres, establishing the band as a vital force in the realms of extreme music. With "Through the Portal of Flesh to Achieve Divinity", TRYPANON push their vision even further into the void. The album is a nightmarish fusion of down-tuned sludge, chaotic death metal, and dissonant black metal, woven together with progressive flourishes and hypnotic melodic fragments. The result is a deeply immersive and punishing listening experience that recalls the extremity of bands like Lord Mantis, Coffinworm and Cobalt, while retaining a sonic and conceptual identity entirely its own. Where "Amentia" was a descent into psychological collapse, "Through the Portal..." drags the listener through a ritualistic transformation - an existential death trip that explores themes of corporeal transcendence, spiritual ruin and ecstatic suffering. The record was conceived not only as an artistic evolution, but as an act of purification through sound: hostile, enveloping and uncompromising. This release marks a significant step forward for TRYPANON, both in scope and execution. Expect a record steeped in raw emotion and relentless aggression, but also rich in nuance and disturbing beauty.

D: „Women Deserve Rage“ markiert die Rückkehr von Imany.
Dieses neue Album ist ein mutiges Statement für Freiheit und Empowerment. Entstanden aus dem dringenden Bedürfnis, ihre Wahrheit zurückzugewinnen, verkörpert es die Stimme einer Frau, die sich dafür
entscheidet, sich zu erheben und sich neu zu definieren. Mit viel Zeit, Leidenschaft und rohen Emotionen
geschaffen, beschäftigt es sich mit Wunden und Heilung, Vermächtnis und Weitergabe sowie einer Liebe,
die furchtlos und kompromisslos ist. Eine Liebe, die sich der Realität stellt und sie in Licht verwandelt.