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"The beauty of The Devil Makes Three is the way they take an old-time musical genre and, by putting their own imprint on it, turn it into something that lives and breathes anew, passing the torch to a new generation, just as stateside rock fans learned about the likes of pioneers Little Richard, Chuck Berry, Jerry Lee Lewis and Buddy Holly from the first wave of British Invasion bands. With their latest album, Spirits, the band continues this tradition by incorporating their signature punk, folk and bluegrass sound along with country and singer-songwriter leanings. “That’s what we set out to do. We wanted to use these musical forms to talk about current issues,” explains Pete Bernhard. “Folk music should be about what’s happening now, just as it was when Woody Guthrie and Bob Dylan did it.” The song titles alone describe the band’s return to a stripped-down, drum-less sound and songs that reflect the ongoing struggle to survive amid the uncertainties of the current volatile climate: “Dark Gets the Best of You,” “Divide and Conquer,” “Ghost are Weak,” “Hard Times,” “I Love Doing Drugs,” “Poison Well” and “The Devil Wins.” The tracks were recorded at Dreamland, part of a converted church compound outside Woodstock in upstate New York which offered some haunted moments of its own, with plenty of spooky thunderstorms and lightning. “There’s definitely a theme of ghosts and death running through this album,” acknowledged Bernhard, who lost his mother, brother and closest childhood friend while making the record. “It also has a good amount of political material, a reflection on how divided people are these days, just trying to find common ground. Not being able to perform our music live led to some deep reflections.”"

Dear Life Records is proud to present the physical reissue of the self titled debut of MJ Lenderman. MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; a voice reminiscent of the high-lonesome warble of a choirboy; the keen observations and reflections of a front stoop philosopher. Songs snake their way from a lo-fi home recording to something glossier made with longtime friends at Asheville's Drop of Sun studios, but the recording setting doesn't seem to matter much - at its core, a Lenderman song rings true. "MJ Lenderman" was recorded, mixed and mastered for digital in 2019 by Colin Miller in Asheville NC, and was self-released online to quiet but firm acclaim. Now available as a Double LP and remastered for vinyl by Heather Jones, it offers a glimpse into the formative steps of a style; focused and precise, yet expansive and rough around the edges, that remains consistent across MJ's catalogue to date (see also 2021's `Ghost of Your Guitar Solo' (DLR 016) and 2022's `Boat Songs' (DLR 031)). Looking as firmly to the legacy of 90s slowcore as it does to the tenor of Magnolia Electric Co. and sound wall of Neil Young and Crazy Horse, these 9 songs clock in at just over an hour and offer warm, patient worlds of heavy color that blow by breezily. These are songs that wrap mysterious and urgent feeling in layers of patience and clarity that unfold anew with each timeless listen.

Once again, Decca Records have been shining a light into the recesses of their vast archive to bring you 'The Decca Years 1963', a newly compiled collection of hits and rarities from the pioneers of British Pop music, available as a 45-song 2CD set, or a 22-song 'highlights' LP. Alongside big hits and familiar favourites from Brian Poole And The Tremeloes, Billie Davis, Kathy Kirby, Jet Harris and Tony Meehan, The Tornados, and Tommy Steele, we are excited to bring you some tracks that are being made available again for the first time in more than 60 years, and a few that have never been on CD before. Both formats come in eye-catching, retro style packaging that references Decca releases from the early '60s, and feature informative track-by-track sleeve notes.

"Las últimas composiciones de Violeta Parra" as originally released in 1966, with remastered sound from the original tapes artwork. This is the best Chilean album of all time according to Rolling Stone magazine. It contains the latest compositions by Violeta Parra, including her global hit 'Gracias a la vida'. It was recorded for RCA Víctor at the end of 1966, despite the artist had signed a deal with EMI Odeon and released her previous albums on this label. After spending some time in Europe, Violeta Parra was back in Chile and wanted to record her most recent songs, filled with lyrics inspired by personal life's disappointments and social topics. The album contains great songs such as 'Run Run se fue pa'l Norte', 'Maldigo del alto cielo', 'Rin del angelito' and the global hit 'Gracias a la vida'. This is the very last album released while Violeta Parra was still alive as she would kill herself only four months later, in February 1967. In 1974 a new version of the album was released featuring string arrangements by Chilean composer Nino García and new artwork, a full-color illustration based on the black and white photo of the original album cover. This became the most popular version of the album available in decades. The ownership of the original master tapes has been the subject of judicial disputes since the late 1990s and until very recent times, which explains the difficulty in having access to the original work, as originally conceived, throughout this period.

After a near-total silence of twenty years, Edith Frost is back again, and in full bloom with In Space. Her first new record since 2005"s It"s a Game is just in time - the world needs Edith"s voice back in the conversation. And her ineffable way with a tune . . . It seems Edith needed something, too: from the notebooks of her long hiatus, a line like "I say too much/I wait too long/I wait forever/And notice that it"s gone" speaks volumes about feelings of lack. Overwhelmed by the demands of day-to-day living and the details and anxieties that always come, Edith squirreled herself away for as long as she could - only to find herself isolated, spun even farther into the doldrums. In Space isn"t simply a song-cum-album title so much as a very real exploration of the remote place she"d found herself, with her songs registering this recognition and measuring the vast distances between herself, the life that is and the life that was. It was the only way back in! Over the years away, Edith was immersed in music everyday, and spent lots of time learning - in addition to new lyric perspectives, her reinvention of herself as a keyboard player is one of the waves lifting the album In Space. The keys suggested different places within Edith"s harmonic palette; for us listening, this attenuation seems to create a deep focus on emotional life within the songs and a breathtakingly visceral presence in the performances. Her voice as well, in all its iterations, sounds quite fine and vital. The songs, as ever, are low-key brilliance elevated by the vitality of Edith"s voice. Mark Greenberg, alongside longtime Frost A&R man Rian Murphy, brought fresh arrangement ideas to complement the strange-new-world vibe of Edith"s songs. Recorded at The Loft in Chicago, with invaluable contributions from Jim Becker (Califone, Air Blue Gowns), Sima Cunningham (Finom, formerly OHMME), Bill MacKay and Jeff Ragsdale, In Space feels like the most Edith Frost record yet made, pulled from deep inside with great feeling, awash in harmonized voices and - more often than ever before - featuring her own playing. Alternatively approaching and avowing connection, Edith"s crafty songwriting orbits the human exchange with an increasing sense of possibility. It"s what the world needs the most of today.

Gitarren? Wer braucht schon Gitarren im Heavy Metal? YEAR OF THE COBRA können locker darauf verzichten - zumindest auf die mit den dünnen Saiten, die vor allem zum Herumfummeln taugen. Frontfrau Amy Tung Barrysmith holt aus ihrem Bass einen derartig fetten Groove und satte Heaviness heraus, die als Raketentreibstoff mehr als ausreichen, um den dröhnenden Zwillingsmotor aus Doom Metal und psychedelischem Sludge ihres selbstbetitelten dritten Albums anzutreiben. "Year of the Cobra" ist eindeutig aus der Saat seiner beiden Vorgänger, "...in the Shadows Below" (2016) und "Ash and Dust" (2019), erwachsen - und übertrifft sie noch. YEAR OF THE COBRA konnten ihr Songwriting verfeinern, kommen noch mehr auf den Punkt und punkten mit eingängigen, aber dennoch superschweren Melodien, die exakt auf die stärksten Aspekte der Band zugeschnitten sind. Amy Tung Barrysmiths mal samtene, mal raue Altstimme und das nahtlose rhythmische Zusammenwirken von ihrem Bass und Jon Barrysmiths gefühlvollem Schlagzeugspiel gelangen dadurch in den Vordergrund. YEAR OF THE COBRA wurden im Jahr 2015 in der US-Regenstadt Seattle gegründet. Als Duo mussten sich YEAR OF THE COBRA zunächst eine eigene Nische suchen, was ihnen mit scheinbarer Leichtigkeit gelang. Sie kreierten einen Sound, der mühelos von klassischer Doom-Melancholie bis zu beklemmend schweren Riff-Architekturen reichte. YEAR OF THE COBRA gelang es zudem, eingängige, fast beschwingte Rock-Momente in wirbelnde Psychedelik zu verwandeln. YEAR OF THE COBRA sind bereit für den nächsten Schritt, wie ihr selbstbetiteltes drittes Album unwiderlegbar beweist. Die Wüstenschlange bohrt ihre Fangzähne mit "Year of the Cobra" gnadenlos in eure Ohren und lässt nie wieder los!

Deep Space Vinyl (Blue, White, Dark green, Sky Blue & Black Marbled) The official soundtrack to Risk of Rain 2's second DLC "Seekers of the Storm" is coming to vinyl. The new album includes 42 minutes of music written by Chris Christodoulou with the contribution of one piece by fellow Greek composer Stavros Markonis. It will be available on limited edition 1xLP on blue / white / dark green / sky blue / black marbled vinyl, housed in a special gatefold sleeve with complementary artwork and design by Daniele Giardini

If there’s one thing we know at International Feel, it’s that good things take time. But sometimes, just sometimes, they take a little longer than expected. Enter IFEEL088, a split remix 12” that stitches together two albums, two projects, and a collection of kindred spirits who understand the delicate art of sonic transformation.
Charlie Charlie (the Swedish duo of Chords and Bella Boo) have been long-time admirers of Mondag, ever since their ears first met the melancholic splendor of Sad Soup. When it came time to create Save Us, they had one request: a sax solo from Kristian (of Mondag fame). A beautiful idea, but as the fates (and studio schedules) would have it, the horns never made it onto the album.
Fast forward, and what began as a missed opportunity has now come full circle. Mondag, still taken with Save Us, took matters into their own hands and offered up a remix – a shimmering, unexpected rework of a track that already carried so much weight. Charlie Charlie obliged. And, because there’s no such thing as too much of a good thing, Bella Boo herself offers a tight and nimble edit, while Gerd Janson drapes the track in an ambient mist for those more horizontally inclined.
Hypernatural exists in some liminal space between waking life and dreamstate, it makes sense that its remixes should play with perspective. The trio—Dan Whitford (Cut Copy), Mirko Vogel, and Mike Gamwell (a.k.a. Knightlife)—crafted their album between the Swedish coast and the Scottish highlands, capturing the sublime and the surreal in equal measure. Now, it’s time to hand things over to new guides.
Mike Gamwell himself steps up, delivering a fresh take that bends and stretches time, while Gerd Janson follows, offering another piece for the puzzle—one that slots seamlessly into the hazy, transportive nature of the Hypernatural sound.
One record, two projects, three perspectives, and infinite interpretations. IFEEL088 is a reminder that sometimes the best things in life are worth the wait.

"The Original Soundtrack Recording of “Hair” (1974), is the music score from the film adaptation of this famous Broadway musical from the late 60’s, originally written and later adapted for film, by Galt MacDermot. The soundtrack includes the #1 hits ""Aquarius/Let the Sunshine In,"" ""Good Morning Starshine"", and the title song ""Hair"". “Hair” (OST) is available as a limited edition of 1500 individually numbered copies on magenta coloured vinyl."

Wie viele finnische Death-Metal-Pioniere zeichnet sich die Band durch einen ausgeprägten Sinn für Schrägheit aus, indem sie verschiedene Einflüsse zu einem unverwechselbaren Sound verschmilzt. "Das Rückgrat ist der Death Metal", sagt Sänger Kari Kankaanpää, "aber wir haben uns nie davor gescheut, neue Inspirationen und Einflüsse zu erforschen, die die einzigartige Note von Sepulchral Curse ausmachen. Musik muss dunkel, schwer und wütend sein!"

Crimson Moon Evocations markiert das Debüt der Band bei Dark Descent Records, eine Partnerschaft, die sich sowohl natürlich als auch von großer Bedeutung anfühlt: "Dark Descent Records hat immer einen besonderen Platz in meinem Herzen gehabt. Es ist eine große Ehre, mit dieser Platte zu ihrem renommierten Roster zu stoßen."

Diese neue Zusammenarbeit spiegelt die ungebrochene Dynamik von Sepulchral Curse wider und erscheint nur zwei Jahre nach ihrem kühnen Sprung nach vorne mit Abhorrent Dimensions. "Mit Abhorrent Dimensions haben wir wirklich begonnen, unseren eigenen Sound und Stil zu finden, und Crimson Moon Evocations taucht noch tiefer in das ein, was wir sind, und kristallisiert die Essenz des Sepulchral Curse-Sounds."

Um ihre Vision einzufangen, kehrte die Band in die finnischen Oxroad Studios zurück, um mit dem Produzenten Tomi Uusitupa zu arbeiten, dessen Einfluss entscheidend war. "Tomi ist wie unser sechstes Mitglied. Er wählt die Projekte, mit denen er arbeitet, sorgfältig aus, da er in jede Platte, die er macht, eine enorme Menge an Liebe und persönlichem Input einfließen lässt."

Das Album ist nicht nur ein Meilenstein, sondern auch ein Statement, das von Mark Erskine mit einem atemberaubenden Artwork versehen wurde: Sepulchral Curse ist zum Gipfel des Blackened Death Metal aufgestiegen!

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

Le Mot De Passe is the fifth studio album by the successful French singer Patricia Kaas, released in 1999. Following the success of Dans Ma Chair, this album was once again a huge success throughout Europe. The album went platinum in France and gold in Belgium. The album was made with the help of French singer-songwriter Pascal Obispo. The album is accompanied by an orchestra, giving it a great sound experience. The singles Ma Liberté Contre La Tienne and Une Femme Comme Une Autre became some of her biggest hits. La Mot De Passe is a limited edition of 1000 numbered copies on translucent yellow vinyl.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

Before they were Alligators, They were Ladies.

Ben Avgay (Silvi Jan) and Eden Atiya (Rasco) met in 2020, both working on their own musical projects and bands. In 2021 love has sprung and it was inevitable that the two would start their own musical project. Thus came Alligator Ladies to the world, a love-child of two people who share excitement for the same genres and aesthetics. Influenced from garage, freak folk and mystical creatures such as Ramases & Selket, Thee oh Sees, Ty Segall, MGMT and more, Ben and Eden begun writing songs and recording Demos in their home studio. Eden's song writing qualities and Ben's production, sound engineering and orchestrations mesh together to form the two-headed monster we call - Alligator Ladies.

"It was only natural for us to make this album the way that it is - short, funny and emotional"

Macht Euch bereit, in die dunkle, stürmische Welt von Blutengels brandneuem Meisterwerk „Dämonen:Sturm“ abzutauchen.

Dieses Album zieht uns in die turbulenten Tiefen unserer eigenen „inneren Dämonen“. Nicht die Monster, die wir aus Horrorfilmen kennen, sondern die dunklen Mächte in uns, die unsere Köpfe heimsuchen, uns herausfordern und manchmal sogar brechen. Auf 25 neuen Songs bringt Chris Pohl die starken Emotionen, die mit Depressionen, Angst, Selbstfindung und Verlust verbunden sind, zum Ausdruck, und erschafft ein Album, das zum einen extrem persönlich ist und zum anderen gesellschaftlich starke Resonanz finden wird.

Mit „Dämonen:Sturm“ bleiben Blutengel ihrem unverkennbaren Sound treu und wagen sich gleichzeitig furchtlos auf neues Terrain. Fans werden den epischen, hymnischen Stil in Tracks wie „Tausend Leben“ und „Wir sind der Sturm“ wiedererkennen, aber sie werden auch düstere Nummern wie „Der richtige Weg“ finden, die eine dunkle, eindringliche Atmosphäre schaffen. Auch Balladen finden auf diesem Album wieder ihren gebührenden Platz und haben dabei eine raue, intime Note, da Chris in Tracks wie „Ivory Tower“ und „I Will Surrender“ in der ersten Person schreibt und Einblicke in seine eigenen persönlichen Kämpfe gewährt.

Musikalisch ist „Dämonen:Sturm“ eine abwechslungsreiche Reise von düsteren, stampfenden Rock Beats in „Angst“ zu Retro-Elektro-Sounds in „She Wears Black“. Mit „Bleeding Out“ liefern Blutengel einen unerwarteten Juwel, der die musikalische Bandbreite des neuen Albums erweitert und einen wichtigen Teil des Gesamtkonzepts darstellt. Die Produktion ist bewusst eher rau und „dreckig“ gehalten, was die rohe Energie und Verletzlichkeit in den einzelnen Songs noch verstärkt. Langjährige Fans der Band werden sich außerdem über die eindringlichen Instrumentalstücke des Albums freuen, die das schattenhafte und tiefgreifende Erlebnis von „Dämonen:Sturm“ noch verstärken.

Orange-farbenes Vinyl mit DLC sowie Digisleeve-CD! Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus.

2025 markiert gleich ein dreifaches Jubiläum Udo Lindenbergs. 1995 erscheint „Kosmos“. Eine wahre Wundertüte an neuen Sounds. Lindenberg experimentiert souverän mit knalligem Funk, Walzer und Computer
Beats. Jetzt ist das Album, welches damals nur auf Kassette und CD erschien, in neuem Gewand zurück.
Die 30. Jubiläumsedition kommt als farbige Doppel-LP in „Sparkle Universe“ in streng limitierter und von
Hand nummerierter Auflage in den Handel. Auch mit dabei: ein besonderes Booklet, in welchem sogleich
das zweite große Jubiläum Lindenbergs zelebriert wird: sein Start in die Welt der bildenden Künste.
Schon zuvor skribbelte und zeichnete Lindenberg leidenschaftlich gern. Die Veröffentlichung des Albums
„Kosmos“ nahm er sich allerdings zum Anlass, parallel einen Kunstkalender zu veröffentlichen – sein erster
offzieller Auftritt als bildender Künstler. Der Kunstkalender beinhaltete passend zu jedem der 12 Songs
auf dem Album ein eigenes Werk. Diese finden sich heute im Booklet der Vinyl und der CD wieder. Wie
heute bekannt ist, markiert dieser Kalender damit den Startschuss für seine zweite bahnbrechende Karriere
als Maler.
Auch das Dritte, 30-jährige Jubiläum ist ein wichtiger Teil seines Lebens: 1995 bezog Lindenberg seine
„Panikzentrale“ im Hotel Atlantic, wo er den Dachboden als Atelier nutzt und das Hotel einige seiner Werke
ausstellt.
Um diese Jubiläen gebührend zu feiern, erscheint die Neuauflage des Albums am 28. Februar im Handel.

There is no one universe for Ben LaMar Gay, he just sonic booms from one sound to another." - NPR Music
Ben LaMar Gay’s de facto debut album, Downtown Castles Can Never Block The Sun, was our attempt to introduce the legendary Chicago composer / improvisor / renaissance man to the rest of the world with a compilation of tracks from “7 albums he made over 7 years but never made the effort to actually release. ” The material showcases Gay’s penchant for genre-hopping—from Reich-ian soundscape voyages to Don Cherry-esque polyrhythm treks to Jorge Ben-style vocal-and-string earworms—while keeping his singular musical voice in focus.
In the years since its release, this long OOP collection has become a touchstone, foreshadowing the breadth and scope of Ben LaMar Gay’s output since. The songs-between-the-songs warped Soul Americana madness and beauty of Open Arms To Open Us, the unhinged long form freedom of Certain Reveries—each fresh mode would defy expectation if without the context established by Downtown Castles. To quote the OG press release, “to call it ‘eclectic’ would only scratch the surface. This music is everything.

Unofficially the third entry in our Good God! series of ecstatic worship, Born Again Funk picks up where A Gospel Funk Hymnal leaves off. Yes, the prodigal sons of Thomas Dorsey arrived in there multitudes, only some of them toting fuzzboxes and Fender amps. These are the most devout songs, but done up amid the hot, sweaty, earthy moonshine rhythms downed by any blues singer thumbing his way up north from the Mississippi delta. Born Again Funk hones in on wholly modern vulgarity brought to a joyful strain of American composition, and performers unafraid of expressing their devotion with both inspiration and invention. They were acolytes faithful to a spirit, but never to an ordained sound.

King Street Sounds continues to deliver deep house classics with the third various artist sampler in the series. This release taps into the essence of original house music and features iconic names such as DJ Pierre, Blaze, Kenny Bobien, Palmer Brown, Dannell Dixon, and Big Moses.

The EP begins with Dannell Dixon's track 'Dance Dance (DJ Pierre’s Wild Pitch Mix).' This engaging piece features a steady groove, multiple percussive elements, and captivating vocal hooks that keep listeners immersed in the rhythm.

Next is Big Moses' 'Brighter Days (Extended Mix),' which showcases the unmistakably smooth and sultry vocals of Kenny Bobien. As is often the case with Kenny's lyrics, this song explores themes of love, hope, and the promise of 'brighter days,' delivering uplifting dance music.

On the B-side, DJ Pierre makes a second appearance with 'Dancin’ (Club Mix).' This track radiates sunshine and block-party vibes, effortlessly transporting listeners to a lively street party in New York City.

Finally, the record concludes with 'Shine (Shelter Vocal Extended Mix)' by Blaze. This track brings down the tempo just a notch, making it a perfect addition to sets when the dancefloor needs a moment to catch its breath and regain its energy.

Once again, King Street Sounds delivers a knockout release that is a must-have for collectors and DJs alike

Some of Stay True Sounds most celebrated hits of 2024 assemble on Stay True Cutz Vol. 8, the eighth vinyl edition of the label’s compilation series featuring standout sonics that defined a year. Opening with a record that fuses deep house and neo-soul, Jimpster’s remix of ‘Say Yes’ by SA torchbearer beatsbyhand, featuring Rona Ray on vocal duty, was the bestselling release of 2024 on the Traxsource Deep House chart. What follows is the compelling collaboration from two leaders of the Afro scene, China Charmeleon and Hypaphonik with ‘We R 1’ - plus jazz and house maestro Crackazat’s 3-step release ‘Can’t Blame A Soul’ (Mana’s Dub). Closing out this curation of four tracks that capture Stay True Sounds’ unique aesthetic is ‘SARS’, an original also from the mind of talented DJ and producer beatsbyhand.

Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.

After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.

There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.

And he would call it—what else?—Duomo. Duomo Sounds Limited.

This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.

Introduced by the digital single ‘Deixa Passar’, this 12” EP concretises on physical support the renewed collaboration between the two Schema Records artists Gerardo Frisina and Tomaz ”Toco” Di Cunto, working together again five years after the release of the EP “Frisina Meets Toco” (SCEP 487): the two unreleased songs here included, the aforementioned “Deixa Passar” and “Ilê”, are featured both in their original and reworked versions, and represent an excellent blend of samba jazz and Brazilian popular music. In both tracks, the music composed and arranged by Gerardo backs up the Portuguese language lyrics and melodic lines of Toco, who duets with Luzia Dvorek in an almost surprising contrast between serious and graceful sounds. The instrumental department features Gianluca Petrella on trombone, Eduardo Taufic on piano (Deixa Passar) and Fender Rhodes (Ilê), and Edu Moreno on flute (Ilê), in an excellent ‘union of opposites’, between popular music and modern sounds, between acoustic instruments and electronics, with mystical influences that envelop the songs with a mysterious and attractive aura. Not only musically, but also visually and lyrically, this EP is a tribute to the Brazilian culture and lands, already from a cover that re-imagines the iconic shapes of the famous Copacabana pavement in Rio De Janeiro: while “Deixa Passar” celebrates Rio’s carnival as an opportunity to momentarily free oneself from the burdens of life, “Ilê” recalls the traditions of Salvador De Bahia’s historic ‘bloco afro’ quarter called Ilê Aiyê.

Few sounds transcend time and space quite like the driving pulse of Afrobeat, and few artists, for that matter, have defined their own domains quite as profoundly as Tony Allen—the very beat of Afrobeat itself. In 2011, Allen recorded one of his inimitable rhythmic dialogues as part of the Afrobeat Makers Series for the Parisian imprint Comet Records. Charged with the same fervour for uninhibited expression that defined his trailblazing career, Tony Allen’s drumming, free from convention and charting its own course, emanates a cadenced stream of consciousness that speaks its own truth.

If Allen’s language was his beat, then on this record, La BOA—La Bogotá Orquesta Afrobeat—becomes his latest and most fitting interlocutor. What began as a tribute—a song named after Allen—now feels like the prelude to a deeper dialogue in a meeting that seems more like fate than mere happenstance.

Led by producer Daniel Michel, the ever-evolving band has spent over ten years embodying the fluid, transformative spirit of Afrobeat, imprinting it with their distinctly Colombian sensibilities. From Casa Mambo in Bogotá, Michel’s Mambo Negro Records has become a cornerstone of Colombia’s underground scene championing Afro-Colombian and independent music throughout that time.

Across this LP, Allen’s recordings lay down the canvas upon which La BOA paints its own vision of Afrobeat—raw and expansive, locking step with his drum tracks while building around the unmistakable blueprint of their Colombian rhythms: exuding Caribbean beat, rolling with Pacific groove, and, above all, shaped by the rarefied air of the Andean melting pot that is Bogotá. What ensues is an enduring conversation that crosses eras, borders, even life and death—a celebration of the passing of the baton and the boundless nature of Afrobeat as a genre that refuses to settle. Where the beat of Lagos meets the brass of Bogotá, so too La BOA meets Tony Allen.

Following up his magical singles Rupees, Las-Vegas by way of Chicago underdog DJ LUCKY brings us his debut album Triple 7. Featuring fellow colleagues such as DJ Manny, Taso, and Weezy, this LP compiles work from a rather undocumented member of the Teklife family. These 10 tracks are pure modern footwork tailor-made for the dancers, but with tons of rave-friendly sonics in-between.

Opening things up with the ethereal DJ Manny collaboration War, Lucky sets the tone for the rest of the album with its thick, moody atmosphere. At times the vibe here is soulful, other times it’s eerie, often it’s all of the above. There’s rolling jungle breaks with a hip-hop lean on tracks like G.B.G.W., and there’s lots of sinister battle dramatics like those on Hit Da Flo. The synth work is masterfully crafted throughout the album, with lots of trance-inducing arpeggios like those on GAWD, and of course the drums are relentless, with huge swooshing snares bombarding your ears on Lost Without U. It’s a perfect soup pot of the emotions that make footwork great: dark and intimidating, yet full of passion. Triple 7 is a great introduction to a member of the footwork community that some fans might have slept on. Lucky grew up in the culture both making music and dancing, and this album proves how crucial his sound is to the art form. It’s uncut floor burning music sure enough to cause lots of trouble in the circle and beyond.

Meet Leng’s latest signings, Liminal – a Danish duo comprised of guitarist, multi-instrumentalist and producer David Rosenkilde, and DJ, producer and sound engineer Morten Troest.

The pair first met when Rosenkilde was booked to perform as a session musician at Troest studio. They clicked immediately so with Troest’s studio skills and inherent knowledge of what works on dancefloors paired with Rosenkilde’s abilities as a musician they decided to produce their own music together working to one simple rule: try out every idea, however outlandish!

Since then Rosenkilde and Troest have been recording their debut album that’s set for release on Leng later in 2025. First, though, we get a taste of their talents via ‘Keep Coming Back To Me’, an impressive debut single that blends electric and electronic instrumentation while keeping its focus fixed on the dancefloor.

Ushered in by shakers, rubbery bass and flanged guitar licks, ‘Keep Coming Back To Me’ giddily blurs the boundaries between colourful nu-disco, low-slung dub disco and the sun-splashed beauty of the more club-friendly end of the Balaeric spectrum. It boasts a hazy, multi-tracked and lightly glassy-eyed lead vocal, as well as a nagging TB-303 acid line that works its way to the fore as the track progresses, adding extra layers of excitement and energy as it unfolds.

Remixer Ray Mang (AKA long-time friend of the label Raj Gupta) takes the latter element as his inspiration on a stunning, nine-minute plus remix that brilliantly re-frames the track as a blend of tactile 21st century nu-disco colour, hypnotic proto-house and analogue-rich, acid-fired Chicago jack. Re-playing the bassline in an early Chicago house style and reaching for lo-fi and spacey synth sounds, the veteran British producer frequently strips the track back to the groove before re-introducing the vocal and the dreamiest of chords.

Liminal also display their sonic diversity on bonus cut ‘The Moon Is Changing’, a wonderfully atmospheric and star-lit affair in which spacey ambient chords, twinkling electric piano keys and intergalactic electronics slowly usher in a mid-tempo Norse nu-disco groove. The pair build slowly, adding vocals and layered guitar licks. The results are hard to pigeonhole but thoroughly impressive, offering a tantalising glimpse of what’s to come on their must-check debut album.

Over the last few years, New York based producer umru has applied his vivid sonics to an expansive pool of sounds through his own work, or with those operating on the cusp of the underground and mainstream space such as Charli XCX, 100 gecs and ericdoa. After opening a new era late last year with the carnal rap chaos of ‘check1’ ft. Tommy Cash and 645AR before following it out with the hyperactive love story of ‘heart2’ with Rebecca Black and Petal Supply, umru today announces his second official EP on the PC Music label; comfort noise. Alongside the announcement, he’s sharing another taste from the project - a collaboration with Fraxiom titled ‘all i need’, also featuring Hannah Diamond and Tony Velour. Opening more gently than his most recent previous efforts, ‘all i need’ is centered around a pervading tenderness that glitters even through the song’s more hectic moments. Fraxiom’s vocal glides in a breathless fashion as if they’re expressing their crush in as descriptive fashion as possible, becoming the main melodic centrepiece as the track transforms into a relentlessly percussive workout. Tony Velour’s verse brings a more laid back rhythmic approach to the track before Hannah Diamond lays down a twinkling contribution to the track’s closing moments, making ‘all i need’ one of the most sonically diverse electronic pop tracks of recent times. With comfort noise, umru has compounded his reputation as one of this generation’s most inventive crossover producers. Taking his truly versatile sonic palette and applying it to classic pop songwriting, umru is pushing the boundaries of what is possible within his scene, and as unpredictable as his sound is, you can be sure it’ll be one hell of a ride. North American tour with Hyd through November 2022 followed by Boiler Room stage (OOM ROOM) curated by umru featuring ericdoa, Petal Supply, William Crooks.

Mirae Arts proudly presents The Way I Am and The Way You Yawn, the debut album from Katsunori Sawa under his KWARP alias. This six-track release explores the fleeting nature of youth and the weariness of aging, blending Sawa’s experimental roots with fresh, modular synthesizer-driven soundscapes.
From the forward-driving hi-hats and alien voices of "Frog FM" to the mechanical aggression of "Ultra," the album offers an imaginative auditory journey. Highlights include the playful chaos of "PlayStation" and the metallic rhythms of "Metal Gear."
About Katsunori Sawa: First emerging on the scene in 2008 as EOC with his debut on the UK-based Ai Records, Sawa has steadily built a reputation for innovation and collaboration within the underground music community. He co-founded the influential 10 Label and has paired his talents with an array of respected artists, including Yuji Kondo (as Steven Porter), Martsman (under the moniker Bokeh), and DJ Nobu (Nobusawa). These alliances have birthed releases on prestigious labels like Kynant Records, SNTS, and Token.
Creating his sound in a hidden studio set within a striking Tadao Ando-designed building, Sawa crafts a sonic landscape that fuses rhythmic noise with pulsating bottom-end rave abstractions. His work reached new heights with an album on Opal Tapes, making him the label’s first Japanese artist and firmly establishing his place in the global music conversation. His tracks have even been woven into the sets of electronic stalwarts such as Aphex Twin.
* Artwork by Jesse Osborne-Lanthier

Shards is a collection of pieces originally written for various film and TV soundtracks
Tim Hecker has scored over the last half decade.

These compositions were originally written for scoring projects including Infinity Pool, The North Water, Luzifer, and La Tour.

Press quotes for No Highs (2023):

"Tim Hecker has become one of the most pre-eminent and nuanced electronic producers of his
generation." New York Times

"Hecker pairs expansive and bright songs with more repetitive compositions, capturing the beauty in uneasiness and vice versa…” Resident Advisor

“It's somewhere between a replenishing bath and an out-of-body experience.” All Music

"The shapes it makes in the air are often wounding, but also graceful. And like all of his work, it is
devastating in the best way possible.” The Quietus

"The love of creation seems to be what drives him and that’s a special thing to be cherished.” New Noise Magazine

“To his credit, Hecker isn't just good at this stuff - he helped write the playbook.” Boomkat

Marking the twentieth/twenty-first anniversaries of ‘Amnesiac’ and ‘Kid A’ respectively, Radiohead announce a deluxe triple-album of both records plus a brand new bonus disc titled ‘Kid Amnesiae’. It features two previously unreleased tracks - ‘If You Say The Word’ and ‘Follow Me Around’ - plus alternate versions of album tracks and B-sides from the era. An absolute essential for Radiohead fans!

It took a village to create Le Motel’s Odd Numbers / Số Lẻ. Beneath its pulsing, shimmering tones, the record is alive with the sounds of everyday life—purring mopeds, idle whistling, the din of kitchens and whisper of rain, voices joyful and contemplative, scenes of bustling cities and domestic intimacy.

Le Motel—who runs the Brussels-based record label Maloca—gathered sounds, photographs, and videos while traveling in Vietnam in 2023. From Hanoi he ventured to Hmong communities in the mountains near the border with China, building out a network of contacts gathered from friends and friends of friends. But Odd Numbers / Số

Lẻ—which takes its title from traditional Vietnamese numerological beliefs and customs—is wholly unlike the extractive product typical of exploitative modes of Western tourism; the album’s final shape was deeply dependent upon the participation of the people the artist met in Vietnam.

Back in Brussels after his travels, as Le Motel began working with his materials, he sent early drafts to his contacts, inviting their input. This back-and-forth eventually yielded a dynamic collective effort in which nine of the album’s 15 tracks feature multiple composer credits. Among the album’s diverse collaborators are Yvonne Quỳnh-Lan Dươn, an educator and ethnomusicologist; Chi Chi, the daughter of a Hmong shaman; and Phapxa Chan, who contributes three poems inspired by landscape and Le Motel’s own music (and, in one case, psychedelics).

The result is an album that is not about making sound, broadcasting it as a one-way communication, but instead about the empathic practice of listening—about listening as an integral and even ethical part of musical creation, even (especially!) when that music is created on a computer, rather than conjured by a group of players sharing space in real time. It’s an album that adopts many of the traditional trappings of ambient music while reminding us of the importance of intentional modes of creation. Brian Eno famously said that ambient music must be as ignorable as it is interesting, but Le Motel’s Odd Numbers / Số Lẻ suggests, to the contrary, the richness of experience available to us should we make the effort to open our ears.

Complementing the album, Le Motel’s Odd Numbers / Số Lẻ also takes the form of a multimedia exhibition including photographs, video, and text-based works created in collaboration with Belgian designer and programmer Antoine Jaunard and Vietnamese poet Phapxa Chan. The exhibition is on view from January 23 until March 2, at Brussels’ 254Forest gallery, as part of Photo Brussels Festival 2025.

Ear World, out February 24th on Brooklyn-based record label 29 Speedway, is a collection of sound collage works by experimental cellist Dorothy Carlos. Her debut album ranges from song-like to abstract, incorporating site-specific sound installation work originally premiered in both 16-channel and quadraphonic formats. Voice and cello are reconstructed through glitch techniques to take on a digital form that is flirtatious and fleeting. Carlos is an experimental cellist active in Chicago and New York. Her work utilizes extended techniques and digital manipulation, merging free improvisation and computer music. She is interested in digital techniques as an opportunity to construct imaginary realities and capture a sense of intimacy.

Solo performances have been presented internationally by Experimental Sound Studio Chicago, Big Ears Festival, default, Center for New Music and Associated Technologies (CNMAT) at UC Berkeley, Chicago Jazz String Summit, and Bemis Center. Her work has been featured in The Wire, New York Times, and The Quietus and released digitally with D.O.T. Audio Arts and American Dreams. Dorothy holds a Bachelor’s degree from NYU where she studied classical cello and anthropology and an MFA in sound from the School of the Art Institute of Chicago.

Tracks 2-4 “My Ideal is Windy” quadraphonic installation commissioned by Experimental Sound Studio and the Chicago Park District.

Track 8 “Alter, alter” 16-channel installation premiered at the Chicago Laboratory for Electro-Acoustic Theater (CLEAT).

With an intrigue for a particular niche of old UK hardcore which takes cues from Sheffield bleep ambience, heady rave futurism and soft, almost new age synth pads, Blank Mind presents ‘Lost Paradise: Blissed Out Hardcore 91-94’. Though the records gathered for the compilation span a short three-year period and bridge the gap between scenes, the collection manages to find a sweet spot where the influence of Warp’s Artificial Intelligence, back room chill out sonics and the nascent jungle boom meet with elements of Italian piano house and slower breakbeat cuts.

Opting to focus on atmosphere to highlight shared connections; in this case the duality of often serene and calming soundscapes with frenzied breaks and bass (see Hedgehog Affair’s ‘Parameters’ and Luxury’s ‘Twirl’ respectively); Lost Paradise is a formidable collection of tracks plucked from a thriving time for British dance music experimentation. The general themes of ascension and escapism channelled through digital samplers are also inescapably linked to a turbulent time in politics, beginning in the post-Thatcher years and culminating in the year the harshest anti-rave Criminal Justice Act came into force.

Initially building the compilation around DJ Mayhem’s track ‘Inesse’, Blank Mind label founder Sam Purcell and Amsterdam based producer Tammo Hesselink began a process of swapping favourites and deep cuts to spread across this 2x12” doublepack. The compilation avoids any obvious centrepieces through masterful sequencing, allowing for moments of refrain and tempo changes in a way that helps add to their overall vision of what this music is and can be; “We wanted to frame hardcore in a different light, looking at this idea of ecstasy through the traditional meaning of the word and exploring that symbolism”. By drawing from what some might consider the softer edges of the movement, the pair offer a look into the relevance of these tracks in the contemporary era, where the past years have seen both an explosion in popularity of old ambient/new-age music and a certified jungle revival.

Soul Station is a masterpiece of melodic improvisation, rhythmic interplay, and emotional depth and showcases Hank Mobley's ability to create music that swings hard but remains accessible and lyrical

The album remains a classic in the jazz canon, essential not only for understanding Mobley's contribution to jazz but also for appreciating the broader hard bop movement of the late 1950s and early 1960s. Released in 1960 it is widely regarded as one of his finest works and a classic in the hard bop genre: Hank Mobley was part of the first wave of musicians who helped shape the hard bop sound, a style that blends bebop with blues, gospel, and R&B influences. Mobley was known for his smooth, melodic playing, and while he didn't receive the same level of fame as contemporaries like John Coltrane or Sonny Rollins, he was respected for his consistency and lyrical improvisation. The album features an exceptional quartet of jazz legends: Hank Mobley, Art Blakey, Wynton Kelly and Paul Chambers: this quartet is especially notable because Mobley recorded with Art Blakey's Jazz Messengers and the rhythm section (Kelly and Chambers) was a part of the classic Miles Davis quintet at the time. Their tight interplay and experience shine throughout the record. "Soul Station" stands out because it encapsulates Mobley's mature, melodic sound and his ability to craft memorable, emotionally resonant music without relying on flash or pyrotechnics. It's a must- listen for any jazz enthusiast, and it's often recommended as a starting point for those exploring Mobley's extensive discography.

After the iconic Musica da Discoteca series, l’oggetto returns with DANCE, a new 12” continuing his exploration of the rooted electronic music interplay between his native Italy and his adopted home, the US.

With his signature deep vibes and iconoclastic style, these four new tracks deliver a sonic journey through oblique electronic textures: raw and sharp yet smooth and uplifting; leftfield and trippy, percussive and bouncy, hypnotic and transcendental.

l’oggetto is the moniker of NY-based Italian multidisciplinary artist Marco Scozzaro. With roots in the Italian hardcore/punk subcultures of the ’90s, he quickly embraced electronic music production and club culture. True to his DIY ethos, in 2020 he co-founded MKDF Records to release and distribute his uncompromising sound.

Ukrainian jazz singer Mona returns with a fiery outernational funk 45. Following up on last year's' "Moya Vode" (Sweet Water) - a song that quickly became a favourite among the breaking community from Kyiv to California - "Vogon" (Fire) continues to spread a message of hope and healing through the universal power of funk. Linking ancient folk rituals and modern day cypher culture in a poetic way, "Vogon" is a call for unity and togetherness. Driving jazzy breakbeats, epic horns and relentless clavinet and guitar ostinati build a perfect platform for Mona's voice to shine while loose piano and sax adding a jam flavour. The vinyl version contains an exclusive instrumental version with a Moog taking over the lead.

Music is storytelling, and some of the best stories have been told through centuries-old traditional folk songs. On their new album ‘Northern Sky’, The Wellermen have given this rich traditional musical history a new sound, hoping to continue to captivate millions of fans around the world. It helps that The Wellermen’s four members all bring their respective experience and perspectives to the table. The fact that they’re from different corners of the world really adds something to the music - there’s something romantic about the way the members have to go on a voyage to see each other.

The Wellermen’s history is well-known: having been the originators of the sea shanty trend on Tiktok, they’ve since gone from strength to strength, gaining a huge following across social media with new trends linked to their music. Their versions of ‘Misty Mountains’ and Ed Sheeran’s ‘Nancy Mulligan’, along with their spine-tingling rendition of ‘Hoist The Colours’ have racked up billions of views across Tiktok and youtube and over 110m streams of their debut album, and led them to appearances on shows like Ant and Dec, LAst Week Tonight with Jon Oliver, The Colbert Show and more.

The group have now returned with their new album ‘Northern Sky’, where they have gone above and beyond to show they are indeed masters of their craft. Recorded in a cottage in the picturesque hills of Surrey, they poured their considerable knowledge and prowess into the album’s 12 tracks, all of which fit their love of storytelling. On the Scottish folk song ‘Wild Mountain Thyme’, for example, the group’s harmonies and rich vocals capture the nostalgic, wistful nature of the song, which speaks of love and nature’s beauty. The group’s tribute to Johnny Cash on the song ‘Hurt’ is set to be a fan favourite - melding the raw and uninhibited torment of the original with the dignified but heart-rending grief of Cash’s version.

Elsewhere on the record the original song and title track ‘Northern Sky’ is a perfect demonstration of the Wellermen’s gift for creating a real dynamic, steering it gently from the darker, more ominous numbers into something truly uplifting. ‘Tall Tales’, another original, is a wonderful portrayal of humorous one-upmanship - a call-and-response that is likely to get crowds’ feet stomping and hands clapping. Say the Wellermen: “It’s all about connection and storytelling, and we hope the listeners are able to find something meaningful.” One thing is absolutely certain: these talented young men are in it for the long haul.

Music is storytelling, and some of the best stories have been told through centuries-old traditional folk songs. On their new album ‘Northern Sky’, The Wellermen have given this rich traditional musical history a new sound, hoping to continue to captivate millions of fans around the world. It helps that The Wellermen’s four members all bring their respective experience and perspectives to the table. The fact that they’re from different corners of the world really adds something to the music - there’s something romantic about the way the members have to go on a voyage to see each other.

The Wellermen’s history is well-known: having been the originators of the sea shanty trend on Tiktok, they’ve since gone from strength to strength, gaining a huge following across social media with new trends linked to their music. Their versions of ‘Misty Mountains’ and Ed Sheeran’s ‘Nancy Mulligan’, along with their spine-tingling rendition of ‘Hoist The Colours’ have racked up billions of views across Tiktok and youtube and over 110m streams of their debut album, and led them to appearances on shows like Ant and Dec, LAst Week Tonight with Jon Oliver, The Colbert Show and more.

The group have now returned with their new album ‘Northern Sky’, where they have gone above and beyond to show they are indeed masters of their craft. Recorded in a cottage in the picturesque hills of Surrey, they poured their considerable knowledge and prowess into the album’s 12 tracks, all of which fit their love of storytelling. On the Scottish folk song ‘Wild Mountain Thyme’, for example, the group’s harmonies and rich vocals capture the nostalgic, wistful nature of the song, which speaks of love and nature’s beauty. The group’s tribute to Johnny Cash on the song ‘Hurt’ is set to be a fan favourite - melding the raw and uninhibited torment of the original with the dignified but heart-rending grief of Cash’s version.

Elsewhere on the record the original song and title track ‘Northern Sky’ is a perfect demonstration of the Wellermen’s gift for creating a real dynamic, steering it gently from the darker, more ominous numbers into something truly uplifting. ‘Tall Tales’, another original, is a wonderful portrayal of humorous one-upmanship - a call-and-response that is likely to get crowds’ feet stomping and hands clapping. Say the Wellermen: “It’s all about connection and storytelling, and we hope the listeners are able to find something meaningful.” One thing is absolutely certain: these talented young men are in it for the long haul.