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Audaciously innovative sound designer/producer/live artist Enrico Sangiuliano reaches #0 in his countdown from ‘NINETOZERO’ on his eponymous ephemeral imprint, triggering its built-in autodestruct by the release of provocative 3-track EP ‘Absence’, out March 19th on vinyl & digital. The digital EP will also feature an Edit of ‘Step Into The End’.

The Italian tech maestro and artistic pioneer eschews populism, yet still storms charts & wins hearts – notably/recently in his unsettling, compelling manifesto x battle cry ‘The Techno Code’. Says Enrico of his label, ‘NINETOZERO is a cycle of listening, making, and letting go. Born from silence, shaped by space, directed by reflection, altered by change, revealed by glitch, unified through interconnection, lifted toward transcendence, refined by discipline, clarified by chaos, and finally returned to absence.’

On his ‘Absence’ EP: ‘With ‘Absence’ we come full circle, back to the womb of nothingness but charged with the echo of everything we have experienced. It is an ending, yes, but also an invitation. A new kind of silence is born, shaped by the memory of every frequency we unleashed.’ Enrico Sangiuliano can thrill listeners with his music, but dares to challenge, to trust them.

Main track ‘Step Into The End’: a full-on barrage of trustworthy techno danceability & energy, bookended by soulful violin, high horns & sirens, with spoken incantations as if summoning to a sacred rite. A ten-minute timeless dance track as ‘all we’ve learned converges into a single point where presence & silence merge.’

Title track ‘Absence’: The (Techno Code-esque) Voice speaks of sound, space, absence, trace... the track’s background noise is the almost- silence of his studio ‘through a magnifying glass’.. His breathing can just be heard in the recording. Melodic, beautiful, free-form chords in the middle section act like a breakdown in reverse. ‘A provocation, a track of silence, incidental noise. A tale of a story that just finished, but also a background for a story to be shaped. No one is intentionally performing for us. Here, the responsibility and work of listening is on you, to figure out what you can hear and what to make of it, to craft your own soundtrack based on the sounds that surround you, beyond the track. You can perform your own version yourself. Close your eyes and just listen. Engage with your environment. Be present. Expand your senses. Enjoy absence.’

‘The Aftermath’: a 40-second provocative coda. A snatch of stirring conversation signing off the EP and label alike. What will be launched post-zero by Enrico Sangiuliano? Watch this space, this absence.

Rooted in modern blues but unafraid to stretch beyond tradition, the record crackles with grit, groove, and lived- in emotion, presenting an artist who isn't waiting for answers, he's moving forward without them. Across the album, Stillman digs deep into themes of self-reckoning, loss, pride, and renewal.

Songs wrestle openly with identity, shame, and hard- earned perspective, balancing moments of vulnerability with sharp wit and raw confidence. Whether confronting inner demons or finding humor in heartbreak, the writing feels honest and unfiltered, anchored by soulful vocals and muscular musicianship . What Happens Next? is an album about growth through motion-- accepting change, facing consequences, and choosing momentum over fear. High- energy, emotionally grounded, and deeply human, it marks a defining step forward for Gabe Stillman , capturing an artist fully stepping into his voice and daring the listener to do the same.

Following the release of the dreamy and bewitching darkwave debut single “Mirror Twin”, Harsh Symmetry announces the release of a full-length debut Display Model on Fabrika Records, home of Selofan, Lebanon Hanover, and She Past Away, whose own Doruk Öztürkcan mixed and mastered the LP. With a vocal style reminiscent of Cocteau Twins collaborator Cinder (This Mortal Coil, Cindytalk), and Ian McCulloch of Echo & The Bunnymen, Harsh Symmetry’s Julian Sharwarko is the epitome of old-school and post-punk and goth, capturing a vision that perfectly matches his sound, while physically resembling his music forebears to the point where he looks like he just stepped out of a copy of Smash Hits circa 1983. Hailing from Sacramento, California, Sharwarko’s love of music began at the tender age of 8, with parents who influenced his early music tastes by playing the music of Siouxsie and The Banshees, The Birthday Party, Iggy Pop, Depeche Mode, and Bauhaus. David Lynch’s work also made a profound impact on his style, specifically the short film The Grandmother.

Esteemed soul crooner Sam Cooke achieved much in a short space of time, notching 29 top-40 singles in his seven-year solo career. On Night Beat, released in 1963, Rene Hall’s tasteful arrangements allow Cooke’s voice to shine, most notably on ‘Lost And Lookin’; jump blues standards ‘Shake Rattle And Roll’ and ‘Little Red Rooster’ are playfully rendered, with Billy Preston’s organ on the latter. Originals ‘Mean Old World’ and ‘Laughin’ And Clownin’ remind of his strong song-writing ability and his spirited take of ‘Nobody Knows The Trouble I’ve Seen’ recalled his days with the Soul Stirrers. A prime album for all Cooke fans!

Best Remixes is an album by Two Brothers On The 4th Floor, released in 2023. Best Remixes includes a.o. the following tracks: “Dreams 2016 (will Come Alive) (louis Bailar & Dimitris Kops”, “Dreams (will Come Alive) (twenty 4 Seven Remix)”, “Do You Know (where You're Going To) (ferry Corsten Remix)”, “The Sun Will Be Shining (ferry Corsten Remix)” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve dance 2-LP.

Crypt of the Wizard is proud to present Scimitar – Scimitarium I on vinyl and digital formats. Formed in 2024 by veterans of Copenhagen’s underground music scene—including members of Slaegt, Endless Glory, and Shaam Larein—Scimitar arrives as a fully formed force of nature. In their raucous wake lies Scimitarium I, a frenzied, whirling dervish of black occult rock. For those familiar with the members' previous efforts, this should come as no surprise. This piece of musical alchemy is a perfect knife-edge dance, seamlessly blending elements of black metal, post-punk, and occult rock. Dark and serpentine, onyx black, scaled and sacred, Scimitarium I unfurls itself like an endless snake wrapped tight around the world. With a dark heart and a head full of fever dreams, this is an album of breathless intensity. Shaam A.’s constant presence provides an abundance of rich, overflowing lyrics, delivered in her distinctive and haunting voice—written as if hurriedly scrawled in feverish reverie—and reinforced by winding, twisted narratives played out on violent yet harmonic duelling guitars, alongside a rhythm section of unyielding intensity. Scimitar has quickly become an indelible part of the city's fertile and ever-evolving metal scene—a place where stalwarts continue to push boundaries and break moulds with seemingly effortless zeal. This is an album of forged perfection, honed and sharpened like a curved blade—shimmering with lethal precision—driven straight into the heart of all matters

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

Hot psychedelic jazz groover and hand-drawn artwork strictly limited and only on vinyl!

Bassbin-distressing late ’80s digital dub from The Disciples — highly regarded for their custom-built dubplate cuts crafted for the late Jah Shaka, for whom these tracks were originally recorded. * First appearing on the 1993 Jah Shaka label release `The Disciples Part 2 – Addis Ababa' in 1992, the tracks later resurfaced on a Disciples Vintage 10” in 2009, which quickly sold out.

For the first time on LP vinyl, Come Ahead: The Remixes Vol.2 (Dubs) brings Primal Scream’s club-ready reinventions into full analog glory. Originally released in FLAC format in 2025, this second volume dives deep into dub territory, reimagining tracks from Come Ahead with hypnotic grooves and spacious textures. Featuring reinterpretations by Lovefi ngers, Black Science Orchestra, Radio Slave, and Pet Shop Boys (in dub mode), each track pulses with low-end warmth and rhythmic experimentation. From the acid-drenched swirl of “The Centre Cannot Hold” to the narcotic haze of “Innocent Money,” this is Primal Scream at their most psychedelic and dancefl oor-minded. Specially mastered for vinyl, the sound is immersive and tactile — perfect for DJs, collectors, and audiophiles alike.

Eight tracks, nearly an hour of music, and a sleeve that nods to rave-era design make this a must-have for fans of dubwise house and experimental club culture. Limited pressing. Maximum impact. Come Ahead: The Remixes Vol.2 (Dubs) is available as 2LP Black Vinyl.

An ode to a very good girl, Luna. It is my hope this record is soothing and trippy because it is trippy how soothing she is to me ºo∞Oº

The second volume in a survey of the modern jazz & hard-bop scenes that emerged in the new cultural melting pot of post war London, with recordings from the end of the 1940s through to the early 1960s.

Featuring representations from players whose roots lay in the East-End's jewish community alongside a wealth of talent of Caribbean and African descent playing and recording in post war London during this period.

Made in partnership with the Barbican to coincide with the exhibition Postwar Modern: New Art in Britain 1945-1965.

Eine Frau ist auf einem Kreuzfahrtschiff gefangen. Ein Prediger beschließt, mit seiner Stadt unterzugehen. Ein Mann im Blumenladen verliert sich in der Bedeutung eines Arrangements. Diese und andere Menschen an persönlichen wie gesellschaftlichen Grenzpunkten stehen im Mittelpunkt von zehn zeitgemäßen und zugleich zeitlosen Kurzgeschichten, die The New Pornographers auf ihrem kommenden Album The Former Site Of in Form sorgfältig komponierter Popsongs versammeln.Wie schon Continue as a Guest zeigt auch dieses Album The New Pornographers - Bandleader A.C. Newman, Neko Case, Kathryn Calder, John Collins und Todd Fancey - dabei, wie sie ihren ohnehin reichen Katalog auf überraschende Weise erweitern. Unterstützt vom legendären Session-Drummer Charley Drayton (Divinyls, Keith Richards, Fiona Apple) war der Raum innerhalb eines New-Pornographers-Songs noch nie so klar definiert und zugleich so reich texturiert. Das verleiht den Figuren, deren Leben sich in Newmans einfühlsamen, bildhaften Texten entfalten, einen unverwechselbaren Puls.The Former Site Of verleiht dem Sound, den Newman durch das Schreiben und Aufnehmen im Heimstudio entwickelte, zusätzliche Tiefe und verfeinert den kreativen Prozess der Band weit über die Notwendigkeiten der Lockdown-Ära und der damaligen Remote-Zusammenarbeit hinaus. ,Die Zeit in meinem Studio hat vieles geöffnet", erklärt er. ,Ich kann zuerst das Skelett eines Songs zusammenstellen - nur ein paar Elemente, das zentrale Gefühl, wirklich so wenig wie möglich - bevor ich ihn zur Band bringe und von dort aus weitermache."Zwei Alben nach dieser Veränderung erschaffen The New Pornographers Klanguniversen von komplexer Textur und erzählerischer Detailfülle, bei denen jede Ebene darauf abgestimmt ist, eine unerwartete neue Facette offenzulegen. Wie schon auf Continue as a Guest ist eine der deutlichsten Ebenen die Art und Weise, wie sich ein Song um ein hervorgehobenes Instrument formt. Auf The Former Site Of ist es die Mandoline, die - in Carl Newmans Händen - der Lead-Single ,Votive" ihr Gefühl von Beschleunigung verleiht, während sie sich vom atmosphärischen Synth- und Keyboard-Intro zu einer klassischen, weit offenen Jam-Nummer aufbaut.,Hände schützen ein Streichholz / Ich versuche nur, das Licht am Brennen zu halten", singt Newman in dem Stück. Diese Metapher - das Festhalten trotz der Unsicherheit des Lebens - zieht sich wie ein roter Faden durch The Former Site Of. ,Bonus Mai Tais" handelt im Grunde davon, wie die Flamme erlischt: Newman schreibt darin offen über ein Treffen mit einem Freund, der an fortgeschrittenem Krebs erkrankt ist, und über seine eigene Entwaffnung angesichts dessen Offenheit im Angesicht des Todes. Es ist ein brutal trauriger Song, dessen Schmerz in Newmans Stimme schwebt - und zugleich einer der schönsten der Band, wobei die Harmonien von Neko Case und Kathryn Calder wie ein ätherischer Spiegel der Szene wirken.The Former Site Of platziert viele seiner Figuren am Rand des Vergessens - ihre Zeit wird knapp, ihre Situation scheint aussichtslos -, und doch halten sie fest. Das gilt auch, wenn The New Pornographers den Blick nach innen richten, wie auf ,Pure Sticker Shock", in dem Newmans Texte um Selbstwert kreisen. Dass sie sich selbst unter dieser so unterschiedlichen Figurenriege wiederfinden können - sogar die Cassini-Huygens-Sonde aus ,Spooky Action" - verleiht dem Album Zusammenhalt, noch bevor die sich wiederholende Schlusszeile des Titeltracks erklingt, die den Weg ins Herz jedes einzelnen Songs warm erleuchtet und einladend macht.Weit davon entfernt, einfach das erwartbare nächste Kapitel von The New Pornographers zu sein, ist The Former Site Of ein Plädoyer gegen Erwartungen - von einer Band, die sich weiterentwickelt, statt sich auf ihren Lorbeeren auszuruhen. Selbst in den dunkelsten oder selbstironischsten Momenten liegt in dieser Musik eine unwiderstehliche Spritzigkeit: eine Bestätigung, dass der Kampf ihrer Figuren und der Hörer:innen - wie das Foto eines fernen Planeten - es wert ist.

Eine Frau ist auf einem Kreuzfahrtschiff gefangen. Ein Prediger beschließt, mit seiner Stadt unterzugehen. Ein Mann im Blumenladen verliert sich in der Bedeutung eines Arrangements. Diese und andere Menschen an persönlichen wie gesellschaftlichen Grenzpunkten stehen im Mittelpunkt von zehn zeitgemäßen und zugleich zeitlosen Kurzgeschichten, die The New Pornographers auf ihrem kommenden Album The Former Site Of in Form sorgfältig komponierter Popsongs versammeln.Wie schon Continue as a Guest zeigt auch dieses Album The New Pornographers - Bandleader A.C. Newman, Neko Case, Kathryn Calder, John Collins und Todd Fancey - dabei, wie sie ihren ohnehin reichen Katalog auf überraschende Weise erweitern. Unterstützt vom legendären Session-Drummer Charley Drayton (Divinyls, Keith Richards, Fiona Apple) war der Raum innerhalb eines New-Pornographers-Songs noch nie so klar definiert und zugleich so reich texturiert. Das verleiht den Figuren, deren Leben sich in Newmans einfühlsamen, bildhaften Texten entfalten, einen unverwechselbaren Puls.The Former Site Of verleiht dem Sound, den Newman durch das Schreiben und Aufnehmen im Heimstudio entwickelte, zusätzliche Tiefe und verfeinert den kreativen Prozess der Band weit über die Notwendigkeiten der Lockdown-Ära und der damaligen Remote-Zusammenarbeit hinaus. ,Die Zeit in meinem Studio hat vieles geöffnet", erklärt er. ,Ich kann zuerst das Skelett eines Songs zusammenstellen - nur ein paar Elemente, das zentrale Gefühl, wirklich so wenig wie möglich - bevor ich ihn zur Band bringe und von dort aus weitermache."Zwei Alben nach dieser Veränderung erschaffen The New Pornographers Klanguniversen von komplexer Textur und erzählerischer Detailfülle, bei denen jede Ebene darauf abgestimmt ist, eine unerwartete neue Facette offenzulegen. Wie schon auf Continue as a Guest ist eine der deutlichsten Ebenen die Art und Weise, wie sich ein Song um ein hervorgehobenes Instrument formt. Auf The Former Site Of ist es die Mandoline, die - in Carl Newmans Händen - der Lead-Single ,Votive" ihr Gefühl von Beschleunigung verleiht, während sie sich vom atmosphärischen Synth- und Keyboard-Intro zu einer klassischen, weit offenen Jam-Nummer aufbaut.,Hände schützen ein Streichholz / Ich versuche nur, das Licht am Brennen zu halten", singt Newman in dem Stück. Diese Metapher - das Festhalten trotz der Unsicherheit des Lebens - zieht sich wie ein roter Faden durch The Former Site Of. ,Bonus Mai Tais" handelt im Grunde davon, wie die Flamme erlischt: Newman schreibt darin offen über ein Treffen mit einem Freund, der an fortgeschrittenem Krebs erkrankt ist, und über seine eigene Entwaffnung angesichts dessen Offenheit im Angesicht des Todes. Es ist ein brutal trauriger Song, dessen Schmerz in Newmans Stimme schwebt - und zugleich einer der schönsten der Band, wobei die Harmonien von Neko Case und Kathryn Calder wie ein ätherischer Spiegel der Szene wirken.The Former Site Of platziert viele seiner Figuren am Rand des Vergessens - ihre Zeit wird knapp, ihre Situation scheint aussichtslos -, und doch halten sie fest. Das gilt auch, wenn The New Pornographers den Blick nach innen richten, wie auf ,Pure Sticker Shock", in dem Newmans Texte um Selbstwert kreisen. Dass sie sich selbst unter dieser so unterschiedlichen Figurenriege wiederfinden können - sogar die Cassini-Huygens-Sonde aus ,Spooky Action" - verleiht dem Album Zusammenhalt, noch bevor die sich wiederholende Schlusszeile des Titeltracks erklingt, die den Weg ins Herz jedes einzelnen Songs warm erleuchtet und einladend macht.Weit davon entfernt, einfach das erwartbare nächste Kapitel von The New Pornographers zu sein, ist The Former Site Of ein Plädoyer gegen Erwartungen - von einer Band, die sich weiterentwickelt, statt sich auf ihren Lorbeeren auszuruhen. Selbst in den dunkelsten oder selbstironischsten Momenten liegt in dieser Musik eine unwiderstehliche Spritzigkeit: eine Bestätigung, dass der Kampf ihrer Figuren und der Hörer:innen - wie das Foto eines fernen Planeten - es wert ist.

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

'Balconies' is an urgent, physical record shaped by momentum and heat. The album takes its title from a recurring metaphor: a balcony as a place of exposure and distance. Elevated, visible, yet removed from the action below. Throughout the record, Tin Fingers explore feelings of observation, displacement and restlessness, moving through places without fully belonging.

Musically, 'Balconies' marks a clear shift for the Antwerp band. Where earlier releases leaned into intimacy and melancholy, this album is louder, more direct and built for movement. Sharp, energetic songs are balanced by the band's continued attention to atmosphere and imagery.

The album was written instinctively over three months by frontman Felix Machtelinckx before being brought to the band, with arrangements coming together quickly thanks to years of shared experience. Recording took place over four hot summer days at The Old Carpet Factory on Hydra, Greece. The warmth, the sea and the island's isolation shaped both sound and mood, while limited time encouraged live recordings that capture the album's raw energy and immediacy. 'Balconies' was mixed by D. James Goodwin (The National, Kevin Morby, Whitney).

Following the release, Tin Fingers will present 'Balconies' live, with shows at De Roma (Antwerp), Mezz (Breda) and Supersonic (Paris).

Arguably one of Get Physical’s most influential tracks, ‘O Superman’ sees a new release with remixes from Man Power and SIS alongside the 2008 version from Robag Whrume and a remaster of the now classic original. Man Power kicks off the new interpretations with an epic, ten and half minute version that patiently stretches the original’s melodies into pads and held bass tones across crisp, micro-house styled beats before unleashing loose, clattering breakbeats after a striking, extended breakdown. SIS’s dreamy, percussive version sees the German producer in hypnotic, and tracky form, focussing on the ebb and flow of the original’s tuneful vocoder and synth work that drift across his perfect groove. Robag’s Pumper-Nikkel remix, for those that missed it some years back, is yet another funky, chopped, sliced and diced piece of work from the playful producer and still sounds as fresh as ever. M.A.N.D.Y. vs Booka Shade feat. Laurie Anderson - O Superman Remixes are released on Get Physical 12” in late July with a digital release following in the Autumn.

Es ist schon drei Jahre her, seit CTMF ihr letztes Studioalbum ,Failure Not Success" rausgebracht haben, und jetzt sind sie mit einem brandneuen Album zurück! Auf ,House On Fire" geben sie richtig Gas und man kann echt sagen, dass sie noch nie so gut geklungen haben! Das Album enthält Remix-Versionen ihrer Coverversionen von ,Untitled" von The Saints und ,Shapes Of Things" von The Yarbirds (beide bisher nur auf limitierten 7"-Singles erhältlich) sowie zwölf neue Aufnahmen, die von Billy Childish geschrieben wurden. Aufgenommen in den Ranscombe Studios, Rochester, Kent mit Toningenieur Jim Riley. CTMF: Billy - Gitarre/Gesang + Julie - Bass/Gesang + Wolf - Schlagzeug/Percussion.

Febuary & Summer Shade haben sich zusammengetan, um die neueste EP der Band ,Run Like a Girl" auf 10-Zoll-Vinyl zu pressen. Diese limitierte Auflage kommt mit erweitertem Artwork, einschließlich eines brandneuen Texthefts, und ist auf pinkfarbenem ,Strawberry Nesquik"-Vinyl erhältlich. ,Run Like a Girl" wurde 2025 online veröffentlicht, mit einer limitierten CD- und Kassettenauflage vom DIY-Label Milkcrate Merch. Die fünf neuesten Songs der Emo-Band aus Las Vegas wurden von Medien wie Stereogum als ,die heftigste und eindringlichste" Emo-Veröffentlichung des Jahres gefeiert. Nach einem arbeitsreichen Jahr mit Tourneen mit Bands wie Midrift und First Day Back startet Febuary 2026 mit Auftritten bei Coachella, Something in the Way und Outbreak.

ARSENE returns to his native Chicago with a 4 piece slab of the real windy city house sound - this time appropriately sized up to 12" & including the full length version of "JACK SHIT". The other 3 bangers on the EP are "THE BREEZE OF YOUR SHIRT", "SMACKING YOUR HEAD" and "DX DAYS".

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling album The Turn of a Friendly Card (1980), their celebrated prog pop tour de force, is reissued in a variety of formats, including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers taken from Eric Woolfson"s rarely played, mint condition duplicate masters run at the time of the original sessions in 1980. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

Limited Edition 180gm heavyweight Clear Vinyl LP, Half-speed remaster by Miles Showell at Abbey Road Studios, Insert contains a sleevenote featuring quotes from Alan Parsons and Eric Woolfson. The Alan Parsons Project"s multi-million selling album The Turn of a Friendly Card (1980), their celebrated prog pop tour de force, is reissued in a variety of formatsincluding a Limited Edition Clear Vinyl LP, half-speed remastered by Miles Showell at Abbey Road Studios. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s million selling album Ammonia Avenue (1984), is re-issued in a variety of formats including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using a 1:1 archive transfer from the original SONY 1610 format digital mastertape recorded in 1984. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

Limited Edition 180gm heavyweight clear vinyl, Half-speed remaster by Miles Showell at Abbey Road Studios, Insert contains a sleevenote featuring quotes from Alan Parsons and Eric Woolfson The Alan Parsons Project"s million selling album Ammonia Avenue (1984), is re-issued in a variety of formats including a Limited Edition Clear vinyl LP, half-speed remastered by Miles Showell at Abbey Road studios. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

High-quality FERRO cassette tapes, printed on 160g premium paper.

Release info
For the second release in the series, I invited Diffused Signal from Australia. His track can be categorised more as an extension of my original track rather than a remix. With new rhythmic elements and textures that blend smoothly with the main idea, creating a more dynamic atmosphere.
The result is a fusion of deep techno and breakbeat, with an organic aesthetic that gives the release its unique character.

Real Bad Man and YUNGMORPHEUS are excited to announce their new album The Chalice & The Blade is out now. The album features Boldy James, Kool Keith, Grip, Blu, Fatboi Sharif, and more.

YUNGMORPHEUS is a highly innovative rapper that consistently endeavors to redefine the boundaries of originality and elevate the art of lyricism. Earlier this year, YUNGMORPHEUS dropped his critically acclaimed album “From Whence It Came” which received praise from The FADER, NPR, SPIN, and was hailed by QUIP Mag as “Everything you need from a hip-hop record.”

Since 2020, Prolific LA-based producer and designer Adam Weissman (Real Bad Man) has been on a sensational run releasing albums with Boldy James, Smoke DZA, and Pink Siifu. The Chalice & The Blade will be Real Bad Man’s third album of the year following his remarkable collaborations with Blu (“Bad News”) and Kool Keith (“Serpent”).

The Chalice & The Blade showcases a unique ambiance marked by a stoney and atmospheric quality, interspersed with elements of funk. Real Bad Man explains the album making process, "I always tailor the music to the artist I’m collaborating with. I sent Morpheus a bunch of beats that he’d sound good over and once he started picking them, that set the path. We’d record and I’d make more beats, and move stuff around, get rid of some songs and record new ones. It was a good process. I like being able to adjust as we go, I think that makes for a good album. We left some songs on the cutting room floor. Cream rises."

YUNGMORPHEUS discussing the new album, “‘The Chalice & The Blade’ is an album primarily rooted in dichotomies; contemplation of action vs action itself, inner locus vs outer locus, pursuit for self vs pursuit for others. Honesty is always the centerpiece. Play if you want cause I’m not!”

On The Chalice & The Blade, the seamless synergy between Real Bad Man and YUNGMORPHEUS takes center stage, showcasing an extraordinary chemistry that elevates every track to new heights of musical innovation.

long content, you may need to expand row to see all... Flea: Solo-Debüt „Honora“ und exklusive Club-Show in Berlin

Mit seinem ersten Solo-Album „Honora“, das am 27. März 2026 über Nonesuch Records erscheint, schlägt RHCP-Legende Flea ein neues, tief persönliches Kapitel auf. Der weltberühmte Bassist kehrt damit zu seinen musikalischen Wurzeln zurück und rückt die Trompete sowie den Jazz ins Zentrum seiner Kompositionen. Unterstützt wird er dabei von einer hochkarätigen Band aus modernen Jazz-Visionären wie Jeff Parker und Josh Johnson sowie von prominenten Gästen wie Thom Yorke und Nick Cave. Die bereits veröffentlichte Single „Traffic Lights“ gibt einen faszinierenden Vorgeschmack auf den hypnotischen, atmosphärischen Sound des Albums.

Im Rahmen der „Honora Tour“ spielt Flea im Mai ausgewählte Konzerte in intimen Locations weltweit, um die neuen Stücke in einem besonderen Rahmen zu präsentieren. Auch die deutsche Hauptstadt steht auf dem Plan: am 21. Mai 2026 wird Flea mit Band im Heimathafen, Berlin spielen. Die Show ist schon ausverkauft.

Das Album umfasst sechs Original-Songs sowie spannende Neuinterpretationen von Künstlern wie Frank Ocean und George Clinton. „Honora“ ist das Ergebnis einer zweijährigen, täglichen Übungsroutine an der Trompete, mit der sich Flea pünktlich zu seinem 60. Lebensjahr einen langgehegten Traum erfüllt hat.

Complimenting his singular debut LP, 2025’s ‘Light Months Will Fly Over Us’, singer-songwriter and producer Addy Weitzman sees his thoughtful artrock and new wave aesthetic expanded by The Time & Space Machine for a limited three-track 12".

The long-running alias of British DJ, archivist and acid pioneer Richard Norris, this trio of remixes from The Time & Space Machine’s central processing unit finds Norris in a jubilant raving mode, his trademark psychedelia contributing to Slacker at its best and baggiest. The initial mix captures Weitzman’s songwriting in full, including his portentous vocal hook – “No man is a prophet in his own land” – a proverb first found in the gospels, blessed with the innovative Norris’s application of hypnotic groove, fat low-end and a ton of percussion.

The B-side sees Norris stripping things back in two directions: the Shango Dub draws focus on the higher vibrations found in the track’s beautifully intertwined percussive and synth elements, while the Riddim Mix reduces the frequencies further still, with a phased, slightly fried drum workout primed to spin heads as the night gets deeper and darker.

British rock singer Chez Kane is back with her third studio album, “Reckless” — an explosive blend of arena-ready hooks, slick guitar work, and unapologetic 80s-style swagger. Following the success of her first two records, Chez levels up with a collection that’s bigger in sound, richer in emotion, and packed with pure melodic firepower. Once again written and produced by Danny Rexon, frontman of Swedish hard rockers Crazy Lixx, “Reckless” channels the golden age of melodic rock while injecting it with fresh energy and modern production. The chemistry between Chez and Danny continues to shine, resulting in a record that blends 80s-inspired anthems, infectious hooks, and soaring vocals into a modern rock statement with attitude.

From glam-infused bangers to emotional slow-burners, “Reckless” showcases Chez’s growing confidence and undeniable charisma, proving she’s not just riding the revival wave — she’s leading it. If you’re craving fist-pumping choruses, soaring vocals, and a no-holds-barred throwback to the glory days of rock, look no further. Chez Kane’s “Reckless” is melodic rock done right — bold, catchy, and undeniably alive. Turn it up loud. This one’s recklessly unforgettable.

British rock singer Chez Kane is back with her third studio album, “Reckless” — an explosive blend of arena-ready hooks, slick guitar work, and unapologetic 80s-style swagger. Following the success of her first two records, Chez levels up with a collection that’s bigger in sound, richer in emotion, and packed with pure melodic firepower. Once again written and produced by Danny Rexon, frontman of Swedish hard rockers Crazy Lixx, “Reckless” channels the golden age of melodic rock while injecting it with fresh energy and modern production. The chemistry between Chez and Danny continues to shine, resulting in a record that blends 80s-inspired anthems, infectious hooks, and soaring vocals into a modern rock statement with attitude.

From glam-infused bangers to emotional slow-burners, “Reckless” showcases Chez’s growing confidence and undeniable charisma, proving she’s not just riding the revival wave — she’s leading it. If you’re craving fist-pumping choruses, soaring vocals, and a no-holds-barred throwback to the glory days of rock, look no further. Chez Kane’s “Reckless” is melodic rock done right — bold, catchy, and undeniably alive. Turn it up loud. This one’s recklessly unforgettable.

DYING VICTIMS PRODUCTIONS is proud to present ZERRE’s highly anticipated second album, Rotting on a Golden Throne, on CD and vinyl LP formats. From the cellars of Würzburg, Germany, ZERRE have been keeping the torch of old-school thrash metal burning while carving their own vicious path. Their sound draws on the razor-sharp aggression of classic Metallica and Exodus and the stomping groove of early Faith No More: no frills, no mercy. Their third full-length, 2024’s Scorched Souls, tore through the scene and earned critical acclaim for its searing riffs and unflinching energy. Now, ZERRE take a decisive step forward with Rotting on a Golden Throne. Darker, more overtly political, and more aggressive than its predecessor, this fourth full-length dives headfirst into the rot of power, corruption, and human decay – a brutal soundtrack for a world teetering on the edge. Onstage, ZERRE embody the chaos of their music: riff-driven assaults, breakneck tempos, and a raw intensity that leaves no room to breathe. On record, while those influences still remain, but the DNA has been splintered into something more unique and definitely more powerful: thrashing, yes, but within a crossover framework that feels titanic. The production is razor-sharp, but with ominous atmosphere to spare; the execution is even sharper, as the drumming especially pulses like a dread locomotive; and vocals spit forth venom, raging against a machine fatted by suffering. As the throne collapses, ZERRE deliver the anthem of its fall. Keep on Rotting on a Golden Throne!

Boutique-pressed 7" vinyls A-side: "Wonderin'" / B-side: "Dream"

Drawing influence from the likes of CAN, Faust, Mahavishnu Orchestra, and David Vorkhaus, Shakti Soundsystem traverses the borderlands of psychedelic rock, Krautrock, jazz fusion, and ritual improvisation. But this isn't a retro trip—this is future folklore.

Each track is a trance in motion, built on hypnotic basslines, spiraling melodies, and moments of ecstatic dissonance. The instrumentation is as unconventional as the process: Bulbul Tarang, modular synths, guitars, drums, and vocals that oscillate between invocation and surrender.



Their first singles have already made waves across tastemaker blogs and listener-curated Spotify playlists, includingNeo-Psychedelia, Psych Rock Melting Pot, Rock for when 26 King Gizzard albums aren't enoug and Psychedelic & Space Rock.

"Wonderin',"described by Analogue Trash (UK) as "an absorbing, psychedelic jam that thrives on hypnotic repetition and a raw, live energy,"introduced their trance-infused sound to a wider audience.
"Silver," hailed by RMAS (Mexico) as"a hypnotic journey between Krautrock and spoken word... a sonic delirium that recalls CAN and the free spirit of the European underground," cements their place in the modern psych scene.

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.

"Static Shock out here still pushing the finest in international punk and hardcore. This time with a smoking debut from Oslo’s Draümar. Their influences are from the same city block with groundwork laid by groups like So Much Hate and Svart Framtid. Unfortunately, the songs are blasting away at the same monumental enemies albeit with different faces. The never-ending nuclear question, societal unease, genocide, and a steadfast approach to not turn away from the constant horror of today’s world make up the tapestry of this 12”.
The intro and outro track nod and update John Carpenter’s Assault On Precinct 13 setting the stage for a flurry of cold, desperate Norwegian punk - instantly identifiable and as potent as ever. Indeed, they’ve scraped the blood, sweat and victory off the floors of Blitz and distilled it into a Molotov aimed directly at a world in constant crisis. These are chords and context against a rising fascist world where screaming is not limp response but also tactic, celebration and affirmation. Aside from the fury contained in the original tracks you get a bonus treat in the dual vocal attack on the Bannlyst song ‘Herrene’ which features original Bannlyst vocalist, Finn Erik Tangen - instantly identifiable and still just as pissed."

Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.

“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.

Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.