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Mit dieser Modern-Jazz-Perle von Pianist Neil Ardley, Trompeter Ian Carr und Saxofonist Don Rendell
macht die BRITISH JAZZ EXPLOSION-Serie ein englisches Kult-Album von 1970 wieder verfügbar, das
im Original nur noch für hohe dreistellige Summen zu ergattern ist. Auch die Side-Musiker wie Barbara
Thompson, Chris Spedding und Jack Bruce machen dieses Album, das der britische Guardian auf seiner
Liste ”1.000 Albums to Hear Before You Die” führt, zum Muss für Fans des Genres.
Erstmals seit 50 Jahren erscheint dieses Album nun wieder auf Vinyl, gemastert von den originalen StereoAnalogbändern, 180g-Pallas-Pressung, bebildertes Innersleeve mit neuen Liner Notes von Autor und Produzent Tony Higgins.

Bossa-Nova-Königin Astrud Gilberto in neuem Glanz. Nachdem ihr Gastauftritt auf dem legendären Album „Getz/Gilberto“ sie berühmt gemacht hatte, war dies ihr zweites Album unter eigenem Namen, es
machte sie endgültig zum Star der Bossa-Nova-Welle, die in den 1960er Jahren die ganze Welt eroberte.
Ihre unverwechselbare Stimme wird hier von sanft swingenden Arrangements von Don Sebesky und Claus
Ogerman umrahmt, die die Songs aus Bossa, Jazz und Pop perfekt veredeln.

April Records proudly presents the new album from Stockholm Stockholm-based bassist and composer Jon Henriksson - a confident and flexible statement that deepens his place within contemporary Scandinavian jazz. Following the success of his 2023 debut Harmonia which placed second in Orkesterjournalen s Golden Album " readers " poll, Henriksson returns with music that foregrounds collective interplay, shifting forms, and a strong compositional voice. Born in Gothenburg and now active across Sweden and Europe, Henriksson has collaborated and toured with artists including Lars Jansson, Hakan Broström, Erik Söderlind, Klas Lindquist, Jonas Kullhammar and Christina von Bülow. Alongside leading his own ensembles, he remains a soughtsought-after bassist in a wide range of projects, balancing a deep connection to the jazz tradition with a modern, exploratory approach. Shapeshifter is built around a core quartet of tenor saxophone, piano, double bass and drums, expanded with guitar on three tracks and trombone on two. The album moves fluidly between contrasting moods, from forceful and driving to reflective and restrained, with each piece shaped by the musicians " intuition and responsiveness. The title reflects Henriksson s compositional philosophy: allowing roles, textures, and forms to evolve as the music unfolds.The ensemble brings together long long-standing musical relationships. Pianist Rasmus Sorensen and Henriksson have collaborated since their studies at Skurups Folkhögskola (Henriksson is a longstanding member of Sorensen s own trio), while drummer Jonas Bäckman forms part of a well well-established rhythm section partnership with the bassist across numerous projects including the Britta Virves Trio. Saxophonist Karl Karl-Martin Almqvist, a member of the Danish Radio Big Band, completes the quartet, with guitarist Pelle von Bülow and trombonist Rasmus Holm joining the session shortly before recording to expand the album s sonic palette where the music called for it. Originally conceived as a quartet album, Shapeshifter took its final shape in the lead lead-up to recording as additional instrumental colours were introduced organically. The piece Toninho , a tribute to Brazilian guitarist and composer Toninho Horta, features acoustic guitar and subtle wordless vocals, reflecting melodic influences that sit naturally within the album s contemporary jazz framework. Across the record, space, pacing, and interaction remain central. Rather than forcing constant motion, the music allows ideas to develop with clarity and intent, resulting in an album that highlights Henriksson s growing assurance as a composer and bandleader, while keeping the collective at its core.

JeGong, known for their immersive, rhythm-driven explorations of Krautrock and experimental sound design, now take an exhilarating leap into brighter, nostalgically stranger territory. `Gomi Kuzu Can` is an electrifying journey through Kraut, Post- and Experimental Rock, delivered with the analog warmth of the '70s. Across eleven meticulously crafted tracks, JeGong embrace their roots while fearlessly expanding into neon-lit, beat-driven worlds where kinetic rhythms meet playful sonic futurism. It is music built for movement, contemplation, and the ecstatic strangeness of possibility. Their approach borrows the endurance and patience of minimalism, but they subvert minimalism's austerity with grit, distortion, and physicality. The result is music that feels alive in motion: constantly shifting, tightening, unfurling, and mutating even when its core pulse remains unbroken. "We wanted to create a `70s sound as the recording foundation - a sonic aesthetic that sets a mood through warm tape saturation. Like a kind of memory box where you can store recollections, for example from childhood, when you would spend hours by yourself watching TV and listening to the radio, often both at the same time." (JeGong) `Gomi Kuzu Can`, is hand-built, lovingly assembled from circuitry, intuition, and raw creative impulse. This tactile quality is precisely what makes the album's danceability so impactful. In blending organic rhythm with retro-electronic brightness, they've created a sound that is both familiar and refreshingly new. In the end, JeGong's sound is less a genre and more a landscape: rugged, hypnotic, austere, and strangely spiritual. It is music built on the bones of rhythm and the electricity of repetition, crafted with the precision of engineers and the instincts of explorers. FOR FANS OF Neu!, Cluster, Tangerine Dream, Swans, Mogwai, Sonic Youth, John Zorn The single colour edition comes as Glass Clear vinyl!

Schreit es laut heraus: Wir sind der Underground! Die Arbeiterklasse hat genug, sie geht auf die Straße, startet die Revolution, tanzt und kämpft manchmal zum Beat der Songs von RIOT CITY RADIO. Sind das Klischees? Natürlich. Aber Punkrock & Oi! jeder Art basieren seit jeher auf Klischees. Genau wie jede andere Subkultur auch. Das ist also nichts Schlechtes. Im Gegenteil, es macht Spaß. Vor allem mit RIOT CITY RADIO, denn ihre Songs sind sofort eingängige Hymnen mit perfekt ausgewogenem Songwriting zwischen kraftvollen Refrains, großartigen Mitsing-Passagen und einer rohen, gewaltigen Note, die süchtig macht! Eine Ode an Subkultur, Underdogs und die Solidarität, in Distanzierung zu einem Großteil der kranken Gesellschaft und all ihren unnötigen Exzessen. Und RCR meinen jede einzelne Zeile ihrer Songs ernst und haben viel zu sagen! Mit ihrem zweiten Album ,Spitting Teeth" startet die Band aus Plymouth, UK, mit einer charismatischen Street-Punk- und Oi!-Explosion durch! Musik mit Können, harter Schlagkraft und einer knallharten Street-Attitüde. 11 neue Songs, darunter die Singles ,We re still singing" und ,Underground". Auf limitiertem schwarzem und limitiertem mehrfarbigem Vinyl!

Schreit es laut heraus: Wir sind der Underground! Die Arbeiterklasse hat genug, sie geht auf die Straße, startet die Revolution, tanzt und kämpft manchmal zum Beat der Songs von RIOT CITY RADIO. Sind das Klischees? Natürlich. Aber Punkrock & Oi! jeder Art basieren seit jeher auf Klischees. Genau wie jede andere Subkultur auch. Das ist also nichts Schlechtes. Im Gegenteil, es macht Spaß. Vor allem mit RIOT CITY RADIO, denn ihre Songs sind sofort eingängige Hymnen mit perfekt ausgewogenem Songwriting zwischen kraftvollen Refrains, großartigen Mitsing-Passagen und einer rohen, gewaltigen Note, die süchtig macht! Eine Ode an Subkultur, Underdogs und die Solidarität, in Distanzierung zu einem Großteil der kranken Gesellschaft und all ihren unnötigen Exzessen. Und RCR meinen jede einzelne Zeile ihrer Songs ernst und haben viel zu sagen! Mit ihrem zweiten Album ,Spitting Teeth" startet die Band aus Plymouth, UK, mit einer charismatischen Street-Punk- und Oi!-Explosion durch! Musik mit Können, harter Schlagkraft und einer knallharten Street-Attitüde. 11 neue Songs, darunter die Singles ,We re still singing" und ,Underground". Auf limitiertem schwarzem und limitiertem mehrfarbigem Vinyl!

Das fünfte Studioalbum von Avenged Sevenfold, "Nightmare", stieg 2010 auf Platz 1 der Billboard 200 Charts und auf Platz 5 der UK OCC Charts ein. Nach dem unerwarteten Tod des Schlagzeugers Jimmy "The Rev" Sullivan ist das Album seinem Andenken gewidmet und spiegelt in seinem Themen Tod und Verzweiflung wider. Mike Portnoy von Dream Theater sprang am Schlagzeug ein, um die Aufnahmen fertigzustellen. Metal Hammer bewertete das Album mit acht von zehn Punkten. Billboard bewertete es mit vier von fünf Punkten und Kerrang! gab dem Album vier von fünf Ks. Das Album gewann die Golden God Awards für den besten Schlagzeuger, den besten Gitarristen und das Album des Jahres. Es wurde für die Kerrang! Awards als bestes Album und beste Single (Nightmare) nominiert und vom Revolver Magazine für Buried Alive zum Song des Jahres 2011 gekürt. "Like their previous outings, the group incorporates a New Wave of British Heavy Metal influence throughout Nightmare while paying tribute to `80s hair metal with guitar god appeal; but playing retroactive music doesn't seem to concern them, as long as they play it more skillfully than their forefathers. The group's influences may be worn on their sleeves, (check out the chugging Metallica "One" breakdown in "Buried Alive," or the Queensrÿche-style power-ballad "Victim"), but there is no denying that they have some of the best chops in the metal world. M. Shadows continually amazes with his vocal acrobatics, the opening riff of "Natural Born Killer" ramps up to an inhuman speed. "Save Me" ends the album as one of their most epic songs to date, in a proper 21 gun salute, as thunderous blasts and guitar divebombs interweave into a heartfeltoutro. It's a fitting tribute for their fallen 28-year-old comrade, and excellent proof of the band's ability." - Für Fans von Metallica, Slipknot, Bullet For My Valentine, NWOBHM, Heavy Hair Metal, Metal

Their fifth studio album, Avenged Sevenfold’s album Nightmare debuted No. 1 on the Billboard 200 Chart and No. 5 on UK OCC chart.

Following the unexpected death of drummer Jimmy “The Rev” Sullivan, the album is dedicated to his memory and a reflection of death and despair. Dream Theater’s Mike Portnoy would step in to finish the recording.

Metal Hammer rated the album eight out of ten. Billboard rates four out of five and Kerrang! gave the album four K’s out of five. The album won Golden God Awards for Best Drummer, Best Guitarist, and Album of the Year. Nominated for Kerrang! Awards Best Album and Single (Nightmare) & Revolver Magazine’s Song of the Year 2011 for Buried Alive.

For Fans Of | Metallica, Slipknot, & Bullet For My Valentine

First released in 2009, Only Built 4 Cuban Linx… Pt. II stands as Raekwon’s celebrated sequel to the Purple Tape, expanding his cinematic mafioso rap universe.

This newly designed instrumental edition removes the vocals to place full focus on the album’s production, featuring beats by J Dilla, Dr. Dre, RZA, Pete Rock, The Alchemist, and more.

For the first time ever on vinyl, the instrumentals are presented as a standalone listening experience, revealing the album’s grit, mood, and layered sound design.

Pressed on classic black vinyl and housed in a heavy matte-finish jacket with spot gloss text, the Shaolin Noir Edition keeps the spotlight on the music itself, serving as a clean, essential companion to one of Raekwon’s most acclaimed releases.

Here comes the first appearance on vinyl of Elf Bagatellen, a 1990 FMP classic from the legendary Schlippenbach Trio where the group achieved fever-dream beauty through self-imposed temporal limitations. The trio deliberately shaped the music, opting for more concise pieces rather than concert-length performances that had become standard practice. Those durational limitations clearly inspired them, bringing a jewel-like, compositional flow to many of the works, although even when the trio seems to be playing a tune in a piece like "Analogue: Scaled" the performance moves so rapidly into the next event any such notion is banished. And yet some of Schlippenbach's older themes resurface in abstracted ways, whether it's Pakistani Pomade's "Sun-Luck Night-Rain" appearing as quicksilver line in "Sun-Luck: Revisited" or Globe Unity's "The Forge" sneaking into "The Forge: Rebellowed." The concision of shorter pieces, including several solo works, arrive as a kind of fever dream in the usual context of free jazz. Schlippenbach Trio soon snapped back into its working methodology on its follow up album, Physics, in 1993, which further elevates the singularity of Elf Bagatellen. The album captured a different side of the trio and helped inform the modern classical tilt in European improvised music. Cien Fuegos is delighted to reissue this undeniable classic, making it available on vinyl for the first time ever, freshly remastered by Martin Siewert. Evan Parker - soprano & tenor saxophone - Alexander von Schlippenbach - piano - Paul Lovens - selected drums and cymbals This album was released as a cd on FMP 1990, remastering for vinyl by Martin Siewert 2025

Expanded Edition Double Cassette Box Set including main album and Bonus Cassette with unique download cards


AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

Double LP in matt-laminate gatefold sleeve with silver detail. We mark a decade since we first released COIL's landmark album 'Backwards', with a special 10 year anniversary vinyl reissue. After the ground-breaking release of 1990's "Love's Secret Domain" album, Coil were not dormant; the main project was "Backwards", which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), "Backwards" contains the original versions of Coil's much-loved tracks; 'A Cold Cell' and 'Fire Of The Mind', which have appeared on various compilations over the years, and are now presented as originally intended. his album is the essential bridge between "LSD" and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. It was to be released... it should have been released... but because of issues with grey men it wasn't. It is now, so enjoy. (Danny Hyde).

“ko mixtape” is okgiorgio’s personal vision of club culture: a 15-track journey where electronics,
acous c instruments, and samples coexist. Capturing two years of live performances across Italy
and Europe, it embodies the privilege of connec ng with so many people and bringing them
together on the dancefloor. The album is designed to be heard in one breath, much like a DJ set,
and is performed en rely in Italian—driven by the belief that even when traveling the world, it’s
vital to showcase where you come from.
okgiorgio is a musician and producer born in 1996. Based in Bergamo, he is a member of the band
ISIDE and has produced for major Italian ar sts such as Pinguini Ta0ci Nucleari, Loredana Bertè,
Carl Brave, Tancredi, and many others. His solo project—a blend of refined, powerful electronic
textures held together by an uncanny use of vocal manipula on—launched in 2022 with the track
"okokok" and a packed debut live show at the APE event in Milan.
His music has gained significant recogni on abroad. In December 2022, he was named one of
Rockit’s "CBCR" (Ar sts to Watch) for the following year.

It’s 5 AM, the world is still quiet as dawn begins to rise. While most are asleep, a few of us are in the final stretch, finishing last edits or easing into the day, surrounded by scattered notes in the living room with a sleepy cat nearby.

5 AM Study Session is a tribute to the early risers and the night owls. This collection of 34 tracks carries early-morning focus and momentum, guiding you through the quiet and setting the tone for the day ahead. Sunlight slowly peeks in as the melodies play, creating a soundtrack for productivity and peace.

The physical edition captures the warmth of a fresh cup of coffee: pressed on double "Morning Latte" marble vinyl, the swirling beige and brown tones mirror the cozy, studious atmosphere of the artwork. A tangible reminder that the best work often happens when the world is still.

Slip on your headphones, pour a hot drink, and let the sunrise guide your workflow.

As collaborative projects often do, 33 has in time found a more fixed form, a kind of structure that turned it from a loose collection of collaborators gravitating around founders Bill John Bultheel and Alexander Iezzi into something resembling more of a traditional band. Not that there is anything conventional in their creative process tho, nor in the music itself… Nontheless Tripolar - their second album and first for Haunter - seems to take them closer to song territory than ever before.

The (progressive) graduation of multi-instrumentalist Cem Dukkha and vocalist/clarinet player Ivan Cheng from collaborators to full-time members has brought 33 to a more refined awareness of their possibilities as a creative unit, although their compositional process has retained a high level of spontaneity and musical madness. Tripolar was in fact assembled by editing hours of improvisation that Bultheel, Iezzi and Dukkah recorded with no specific endgame in mind. The sessions saw them exchange a variety of acoustic, electronic and electric musical instruments: percussions, guitars, strings, piano, hurdy gurdy, synthesizers and even CDJs as a tool of live sampling manipulation.

By molding the pieces into what they are now, the band managed to concoct some beautiful vignettes of contradictory mental and emotional states, as sonically playful as a renaissance fair happening within a broken timestream. Cheng’s lyrical and vocal contributions helped them coalesce even further into proper songs, adding a melodic presence that’s at once seductive and uncanny. But vocal duties are often ceded to guests, namely Danish pop-neoclassicist Astrid Sonne, Kenyan metal guru Lord Spikeheart, Irish goth raconteur Olan Monk and Japanese body-poet Golin.The amount of different sounds arranged into each of the tracks produces a unique sense of awe and bewilderment, a testament to the incredible talent and craft the musicians have employed into putting together such a broad range of influences and approaches into a coherent and extremely effective musical journey.

An equally erratic thematic thread seems to run through all the tracks, one ultimately preoccupied with mental health and its ramifications. Without turning the project into a concept album, 33 and their collaborators have sprinkled it with references to personality disorders and mental conditions that are all too relevant to the contemporary age, reflecting on the lineage of human inner life. A wide display of lyrical and musical tools is employed to explore these themes, ranging from Sonne’s expressionist depiction of ADHD in the opener, to Cheng’s queer-themed reinvention of an Irish murder ballad in closing track ‘Babymusicc’. Tracing lateral trajectories for introspection, Tripolar is not only highly captivating, but it ultimately sounds esoteric in the best possible way: progressively revealing layer after layer of incredible aural magic, its true meaning living in the form and in its manic scope of energies.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

Hagridden' is the second full-length from Scottish sisters Bratakus. Fiercely political and unapologetic, the duo made up of siblings Brèagha Cuinn (guitar and vocals) and Onnagh Cuinn (bass and vocals) deliver ten songs that combine garage rock and feminist punk with the same deft poise as forerunners The Distillers, The Donnas, Bikini Kill and X-Ray Spex.
In 2019, a BBC news report called Bratakus "the UK's most remote punk band". Formed in 2015 outside a small whiskey village called Tomintoul in the Scottish Highlands, the sisters (then 14 and 8 years old) have maintained a DIY ethos in everything they've done. Recording at home, self-releasing music, booking their own tours and with no drummer available locally, the duo turned their limitation into a statement, performing live with a drum machine and cementing their reputation as an uncompromising force within the punk scene.
'Hagridden' marks a new beginning for the two sisters, introducing real drums to the recording process (including a guest appearance from Chris Dangerous of Swedish rock band The Hives) plus a more focused approach to songwriting. The message and music are just as loud, but the execution is now deadlier than ever.