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FIRE UP: Fifteen successful releases later, Anetha continues to fan the flames with MTY-FEU, an incandescent new compilation. Titled «Ils s’embrasèrent, réduits ensemble», the release stands for fusion and oneness.



Bursting from the depths of the earth, magma is devouring: melting hot techno, deep techno, fast techno, firestorms of trance, eruptions of hard groove, break, mental, smoldering experimental… MTY-FEU is a lava flow of boiling, vital energy, unstoppable and full of blistering textures.



During the Nuit Blanche (A1), we surrender. We, the offer. Our fire is combusting. Our feet, stomping.
Berserk, in a fury, there’s No End (C1) to this party. In a trance, Eternal Echoes (E2) beguiles us all, until we become one into the Molten Core (H2) of Inferno. Ils s’embrasèrent, réduits ensemble.

The incredibly talented visual artist FEMUR crafted the artwork by creating an AI-generated meta-crackle of fire. Diplomatie Studio handled the design while mastering was entrusted to Sixbitdeep, except for Anetha’s edit, where mix and mastering credits go to Le Dom. We’ve opted for bio-vinyls for this release, knowing that one day these records will return to ashes, only to rise again, like the phoenix.

Our fourth album finally gets the vinyl pressing it so richly deserves.

Originally released in 2007, Rude Mechanicals found us firing on all cylinders. The nine years since our debut had been spent touring our cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.

We successfully combined and refined the stand-out elements of our previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.

From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds us addressing climate change and greed, with lyrics by Auckland MC KP.

To create the double-vinyl release, Angus McNaughton re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.

Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.

On the outskirts of the Parisian sprawl, we drift through the evening hush, our steps tracing the edges of a world half-lit.
The air crackles—charged, restless. Somewhere, we hear the city hums, a distant, roaring tide.
And there is this stranger, curious, starry-eyed, looking at us.
We stop, tilt our heads together, a faint smile :

« I scream, you scream ! Everyday is a new *silence*
It was all paradoxical
Fullness in the crisis

Silence is priceless »

Official Tracktitles:

me & who ?

hot zone, regular day

Fame Gang

GHOST GUNS

INVINCIBL

Forever starts today

indivisibl

i know 3 45

Stalker Guardian Angel

Get rid of yourself

it’s going better

Capital Collectiv

feeling the sun, it’s lit !

missing flowers i think

Restless Lovers

Gore Lore

Back in 2017, Field Of Dreams remixed the deep house masterpiece, 'La Nuit Des Tropiques' by Les Crocodiles. It became a firm favourite with the late, great Andrew Weatherall and his partner Sean Johnston at the ALFOS parties.

With only a few DJ's given a copy of the demo, it gathered momentum and was set to be huge. Unfortunately, due to a couple of abortive attempts to get it pressed, it was never released.
The FoD boys have now licensed their own remix and can now put it out there for all to enjoy on their own label.
Add to that an amazing Pete Herbert chuggy remix of their 'Pourquoi?' single which, again, never saw the light of day until recently, on digital, and we have a pretty special 12 already.

Al & Chris decided that wasn't enough. They thought their much loved deep house track, 'In Our House', needed a bit more love so gave it a slight re-edit/re-eq and brought a banging new track, 'Protect Yourself' into the fold. The result is a rather special 12 inch record with four completely different but equally strong tracks.

No fillers here.

Sasha links up with Joseph Ashworth for epic new single 'HiFiHi' comes on Sasha's Last Night on Earth as two different versions

Sasha has been on an exceptional run of form of late, not least in collaboration with a wide range of innovative producers. His work continues to explore the most moving end of the electronic spectrum, both in terms of well-crafted grooves but also inescapable synth emotions. This time he links with Joseph Ashworth, Sound Of Outside label head and a regular on the likes of Anjunadeep, Needwant and Pets Recordings. His painstakingly crafted sound draws from a wide spectrum of influence, is rich in texture and melody and has seen him serve up indelible DJ sets all over the world.Together these studio wizards cook up 'HiFiHi' which is a sublime seven-minute trip built on bass, full of drama and tension. The silky synth lines weave in and out with rising chords and vocal motifs all enriching it with warmth and soul. After an epic build-up, fresh synth energy breaks out with trance-inducing magic and euphoric chords that bring great emotional release. The LoFiLo Mix is more mellow and with extra vulnerability in the elegant blend of synths and melodies that wash over you in a beautifully serene and escapist fashion.

Slippery customer Harri Pierson returns with four more leftfield dance chops for your turntables.
'Forget It Mate' is an Australian prog obscurity given some TLC.

'Mr Miami' sounds like something from the golden era of Italian House but, in reality, comes from a very unlikely source.

'Spank Dat' is an acoustic version of a disco classic from a big act with impeccable balearic credentials.

If any track needed the vocals edited out of it, it's 'Just No!'.Now, it is finally safe to play.

This 12" has been mastered with love by the Grammy award-winning Frank at the Carvery for maximum dancefloor punch.

VINYL ONLY !

Remastered reissue of the orginal Hemi-Sync EP by Speedy J alias Public Energy. With the anthemic, and arguably one of the best tracks ever to come from the little silver box, Three 'O Three!!! Hemi-Sync and B.S.G combine the harder side of early 90's Chicago / Detroit sound aesthetic with the first hints of where Jochem would go with his music in the later 90's. First released on +8 sub Probe Records in 1992. This one was due for a re-issue.

Der Soundtrack von Carlos Rafael Rivera erhielt 2024 zwei von insgesamt 10 prestigeträchtigen Emmy-Nominierungen, die Apples Miniserie "Lessons In Chemistry" (2023) einheimsen konnte, nämlich für "Outstanding Music Composition" und "Outstanding Main Title Theme Music". Rivera schrieb eine optimistische, subtile und vorsichtige Grundlage, die durch starke Leistungen der Besetzung getragen wird und eine ernsthafte, emotionale Reflexion des Kampfes der weiblichen Hauptfigur darstellt, in die Grenzen der gesellschaftlichen Erwartungen zu passen.

"Lessons in Chemistry" spielt in den frühen 1950er Jahren und handelt von Elizabeth Zott (Brie Larson), deren Traum, Wissenschaftlerin zu werden, in einer patriarchalischen Gesellschaft auf Eis gelegt wird. Als Elizabeth aus ihrem Labor gefeuert wird, nimmt sie einen Job als Moderatorin einer Kochshow im Fernsehen an und macht sich daran, einer Nation übersehener Hausfrauen – und den Männern, die plötzlich zuhören – viel mehr als nur Rezepte beizubringen.

DJ Support: Manfredas, Dave Harvey, Felix Dickinson, Kiara Scuro and more

Playful, creative and intelligent, Niklas Wandt weaves a masterfully programmed tapestry of percussive dancefloor delights for Viscera Transmissions 003 with Mehr Phett.

Joyous and bright, Mehr Phett evokes a coconut flavoured sunrise on a distant desert island.

Skilfully intertwining modern drum programming with retroistic instrumentation, Feuerwerk der Rhythmen is a guided tour through the eras of house music and beyond.

Subcutaneous Dance is a whirlpool of interwoven synthesiser melodies. Submarine LFOs guaranteed to get underneath the dermal layer.

Music reorganisation adept Eden Burns flips Mehr Phett on its head, wonky space-toms complete the package.

For their 21st release, Not An Animal Records welcomes the Northeast-of-England's Tom Rankin, aka Frequencies Of Love to the fold for his first-ever release. A half-step away from their usual low-slung sound, the EP is a bright and sepia-tinted affair bringing prime-time energy to the label. It is rooted squarely on the dancefloor and steeped with glimmering synthesizers and lashings of keys. Despite this stylistic departure, the ever-present driving grooves make it feel right at home.

The EP begins with Tucan, delicately shifting and changing synthesizer arps flow throughout, weaving a delightful tapestry of past and present.

The record glides smoothly into round 2 with Bpsyde pulling no punches; it has a distinct atmosphere of the old-school about it. A one-two of percussive breaks on the one hand and progressive bass on the other with LFO Arps, keys and nineties vocal chops completing the combo.

Pegasus is a shimmering whirlpool off the Adriatic coast. An antiphonal of choral chanting and female spoken word endlessly circle the groove, occasionally combining in a viscous duetto of wacky, Italo-flavored deliciousness.

For the remix, groove deconstruction connoisseur Fantastic Man gives Pegasus the Midas treatment. Riding a throbbing and reprogrammed bassline, key elements from the original mix cameo throughout the track, rounded off by piano chord progressions to complete the pensive sound that constitutes the glue throughout the EP.

Team TD take a break from re-scoring Colin McCrae Rally to pay our own oddball homage to some of our DJ deities in the form of Talking Drums Volume 8.
Keeping things diverse-yet-disco, this little mover grooves through Muzic Box pump, Lofty symphonics and a Ku-curveball with a smile on its face and a pep in its step.

The A-side erupts in a flash of sexy Euro-NRG, twisted and lifted to give any sweatbox a massive Hardy-on. Sequencers throb, swell and burst, horns wail and not one, but two, killer basslines blast the floor with erogenous urgency. Chuck in a coquettish vocal, delay madness and a fist pumping breakdown and you've got pure peak-time play folks.

The B1 belongs to the sumptuous strings, loose funk and live disco strut of 'Too Hot'. Low slung, low tempo but plenty punchy, this classy cut builds and builds through Merc-y repetition before blooming a fully fledged groover. Taut funk breaks sit beneath a floor-filling vocal and twinkling Rhodes, the wah guitar works overtime, and it all adds up to take the dance floor temperature sky high. Enjoy on a hi-fi sound system with plenty of spiked punch.

The curtain call comes via the alfresco flamenco-frenzy of Ronseal-approved 'Maximum Balearic Dancer', which does exactly what it says on the tin. The TD troupe takes a tiny snippet of Swiss fusion and fleshes it out into the fully fledged floor-filler it always deserved to be. Blessed with a buoyant bassline and balmy mood, this beauty sways along through some weird but wonderful synth riffs, holding you close for that soul-soaring piano solo.
Sometimes you gotta wake up on a beach naked.

Limited Press - Numbered Insert - Drum Fun Guaranteed. .

Immortal Onion haben sich als eine der aufregendsten Acts der neuen polnischen Jazzwelle etabliert. Ihr einzigartiger Stil geniesst internationale Anerkennung, was sich in Gigs in 25 Ländern Europas und Asiens widerspiegelt. Die neue LP "Technaturalism" geht über Jazz hinaus und bietet eine fesselnde Mischung aus elektronischer Hardstyle-Energie und zarten, lyrischen Momenten, in der die Band moderne Technologie mit organischer Sensibilität verbindet. Das in Eigenregie geschriebene, aufgenommene, produzierte und gemischte Album gab ihnen die Freiheit, einen wahrhaft originellen Sound zu kreieren. Das Vinyl wurde von Stefan Betke bei Scape Mastering gemastert.

AJ Christou returns to Crosstown Rebels with his captivating two-tracker, ‘Desire’. Landing on 25th April 2025, the release sees the V-House Sounds boss return following his contribution to the label’s ‘Spirits’ VA series, showcasing his slick and warm sound across two crisp productions. Manchester-based favourite AJ Christou continues his impressive start to 2025 as he steps up for his first full release on Damian Lazarus’ revered Crosstown Rebels imprint with his latest two-track EP, ‘Desire’. An exciting name within the contemporary house landscape, Christou has earned his ever-rising reputation with releases via influential imprints such as Hot Creations, Paradise Music, Cuttin’ Headz and Fools Gold Records - collaborating with renowned names like A-Trak and Robert Owens - as well as his own V-House Sound imprint. Now, with ‘Desire’, the DJ/producer and label boss delivers a refined yet electrifying showcase of his sound, blending rolling grooves and subtle intricacies.Title track ‘Desire’ opens the release with its deep, pulsating basslines, crisp percussion, and a sultry vocal line that lures listeners into its infectious energy. On the flip, ‘Patience’ offers a more subtle yet equally engaging journey, featuring textured soundscapes, dynamic drum arrangements, and a groove-laden core primed for late-night moments. Providing another standout addition to his catalogue, ‘Desire’ marks Christou’s return to Crosstown Rebels in style, further solidifying his position within the global scene.

Luke's Anger (real name Luke Sanger) delivers his first outing on Love Love, Ceiling Walker. Sanger is a relentlessly interesting hero of the underground, probably best known as a techno and electro producer and an active player in the live experimental techno scene across Europe, notably including multiple appearances at Berghain/PanoramaBar. Based out of Norwich, UK, Luke has put out a plethora of banging records for two decades in styles from across the rave spectrum on some of our favourite record labels like Tigerbeat6, Don't and Sneaker Social Club, as well as an increasing amount of more ambient-leaning releases under his real name in recent years. Recognised as a true techno stalwart, Luke has received support from the likes of Surgeon, Dave Clarke, The Advent and Jerome Hill.

This EP fits firmly into the 'banging' camp - more than a nod to classic stateside sci-fi electro stylings as well as UK dance music's bleep techno bass foundations, this is popping, caustic, mechanical phunk expertly engineered to make you shake and wiggle. Particle Swarm kicks the EP off with strung-out synth chirps and plenty of latex squelch before moving onto the bounciest number, Threshold Rider, with buoyant bassline droplets poking through a solid 808 framework. On the flipside, title track Ceiling Walker utilises rushing crescendos and fluttering analogue rhythms to keep the dancefloor in rapture while closer, Silicon Boogie, achieves maximum levels of funk by aptly juxtaposing digi vocal snippets against square wave bass.

After releasing their single 'U' late last year on cult Berlin dance label Live From Earth and DJing the label's night at Berghain the band are celebrating their foray into club music with a special 12-inch featuring remixes of the single from friends of the band and Live From Earth affiliates.

CSL presents Future Contact, a vinyl EP with 4 original tracks and remixes from ADJ & Fleck E.S.C. Advanced electro with Detroit overtones, powerful drums and spacey sounds for the originals. ADJ with his raw remix that overwhelms you with his bass, and to close the vinyl Fleck E.S.C. raises the adrenaline and gives more impact with atmospheric sounds!

The Swedish-Danish composer and pianistHenrik Lindstrand invites listeners to immerse themselves in reflection and contemplation with his upcoming album Space Between. Since his solo debut Leken (2017), Lindstrand has received acclaim for his ability to craft evocative compositions that create space for inner peace and introspection. His poetic soundscapes, infused with a touch of Nordic melancholy, have captivated a growing international audience. Well-known in Denmark as the sonic wizard ofthe iconic rock band Kashmir and with aparallel career as a film, TV and game composer, Lindstrand has previously released four soloalbums.

With Horror Spectrum, Bunnies plunges headfirst into the shadowy abyss of their art-rock multiverse, unearthing sounds that slither, shimmer, and scream.

Equal parts psychedelic hallucination, krautrock ritual, and noise rock exorcism, this record feels like the sonic aftermath of mad scientists summoning ghosts through an analog synthesizer they excavated from a cursed tomb. It's less an album and more an experiment gone deliciously wrong—a séance that channels the chaotic energies of dimensions better left untouched.

From the extraterrestrial pulsations of “Eyer of Ire” to the technicolor bliss of “That Evil Ghoul,” Horror Spectrum is a seven-track odyssey that detonates the boundaries of Bunnies’ already unhinged catalog. These tracks drag you by the ankles into realms where sound has teeth, time melts into warped rainbows, and the music feels like it’s plotting something sinister. Few bands dare to tread where Bunnies boldly hop, but here they are, mapping out mythical soundscapes with the glee of cartographers lost in their own creation.

This freakish entity of a record is profoundly unsettling and weirdly exhilarating. Horror Spectrum is the sound of a band digging deep into their subconscious and inviting you to get lost in the labyrinth.

Will you find your way out?

And if it sounds this good, why not just stay?

The Modbirds kombinieren souligen Ska und mitreißenden Punk. Obwohl sie erst 2023 gegründet wurden, bringen sie mit Mitgliedern von Los Placebos und The Porters einen reichen Schatz an Bühnenerfahrung mit. Ihr Live-Debüt bei "Ska im Westend" in Dortmund hat sofort gezeigt, dass sie gekommen sind, um zu bleiben. Jeden Frühling kehren die Zugvögel aus ihren Winterquartieren zurück! Also aufgepasst, denn auch die Modbirds sind im Anflug mit ihrer ersten Mini-LP "Spin it to win it". (Release Date 25.04.25) Mit ihrem musikalischen Mix aus Ska, Reggae und Punk feiert die Band in fünf Songs verteilt auf zwei Seiten ihre Liebe zum Vinyl, lässt vergangene Jugendlieben aufleben und schwelgt in den Erinnerungen an unbeschwerte Zeiten. Getrieben von druckvollen Bläsern, eingängigen Melodien und dem tanzbaren Offbeat werden aber auch gesellschaftliche Missstände oder das Thema mentale Gesundheit besungen. Also nicht den Arm am einarmigen Banditen ziehen, sondern den Tonarm auf den Plattenteller legen mit 45RPM im 12-Inch Format für den bestmöglichen Vinyl-Sound:, eben "Spin it to win it" - hier sind The Modbirds! Ska, Reaggae, Soulpunk, klassisch schwarzes oder farbige 12"-Vinyl erhältlich.

Trumpeter, santur player, vocalist, and composer Amir ElSaffar joins electronics performer and composer Lorenzo Bianchi-Hoesch in a new project exploring electro-acoustic spaces, maqam, microtonal harmonies, and improvised and composed structures in a modular musical composition that accommodates a variety of musical styles across genres. Together, they create an immersive sound that transcends notions of form, musical language, electronic, and acoustic categories in music. This new work will be a modular composition combining pre-determined structural elements with freely improvised sections, played live by ElSaffar and Bianchi-Hoesch. The work will explore electro-acoustic spaces in a microtonal environment that embraces the sonic spectra of multiple musical languages. Bianchi-Hoesch and ElSaffar are interested in creating a transcultural collaboration combining jazz, contemporary classical music, maqam, raga, and other musical backgrounds, inclusive of all the richness, complexity, and idiomatic expression, without compromising or oversimplifying in order to be compatible with others. They are in search of boundary-less spaces in music.

Spacemen 3 began assembling their third album, 1988's Playing With Fire, at perhaps the freest, most confident point in their career. Recording began with the band road-tested and rugged, even amidst the functional volatility that famously motivated their course. The sessions' first offering came in the form of "Revolution," a single of heroic Stooges-devotion and the most commercially successful release the group had to date. High expectations for the album were soon exceeded, as Playing With Fire would become Spacemen 3's crowning studio achievement and cement their rightful place on the vanguard of otherworldly rock 'n' roll.

An exquisite mix of stuttering tremolo guitars and wistful melodies, Playing With Fire sheds any trappings of revisionism and furnishes a nuanced grade of psychedelia. Epic entries like "Suicide" (named after the notorious NYC band) and the mesmeric "How Does It Feel?" catch Spacemen 3 at their celestial apex, the very point where their collective writing, performance and production would crest and wondrously splinter.

Includes download card and new insert with liner notes by Marc Masters.

1990's Recurring, the fourth and final studio album by Spacemen 3, is often considered the introduction of two brilliant solo projects (Spectrum and Spiritualized) rather than the work of a functioning band. While Spacemen 3's departing statement surely reveals a deep divide within the S3 camp – each side of the LP was written by Sonic Boom and Jason Pierce separately and, unlike previous releases, the two do not play on each other's songs – Recurring maintains a cohesive, dreamy feel with its chief sonic officers backed by fellow travelers Will Carruthers, Mark Refoy and Jon Mattock.

Opening saga "Big City (Everybody I Know Can Be Found Here)" marries ambient haze with narcotized indie rock, while "I Love You" manages to arrange a beautiful flute alongside a defiantly throbbing bass track. "Hypnotized," a reimagined fuzz-pop hymn, would become the group's first entry in the UK Singles Charts. Recurring lays bare the essence of Spacemen 3's persistent sound, rooted in both aural expansion and phenomenal songwriting.

Includes download card and new insert with liner notes by Marc Masters.

Remastered from the original tapes by Kevin Metcalf and then reissued for the first time in 2009 as part of the WORLD IN YOUR EYES 3CD set on Reactor.

Now re-mastered for vinyl and re-cut to lacquers by Shawn Joseph / Optimum Mastering and issued as TWELVES. (ref: the 3 x 7” set SEVENS released 2020)

Each side of this 3LP set has one of the 12”s in full, 16 Dreams / Spinning / Collision / Black Sun / Arc-Lite...as well as the promo only LIVE 12” Prisma Uber Europa. The 12” cover of each LP has the relevant sleeve on each side to recreate the original sleeve image, and each 12” side will have labels as close to the original designs as possible.

Hear Loop expand their sound from the Stooges / Velvets / garage pyschout of 16 Dreams, into the Spinning era and then develop their motorik fuzzed-out nihilistic pummel through the Collision and Black Sun EPs to finish this set with the Arc-Lite side, possibly Loop at their most visceral. Unable to be pigeon holed like most bands of this time, their live shows also wiped the floor with everyone as evidenced on the Prisma Uber Europa 12”.

Not reissued on vinyl when first remastered, now its time. PLAY LOUD

For the first time on vinyl, all of the 12” single releases from loop, remastered by Kevin Metcalf in 2008, and originally part of the WORLD IN YOUR EYES 3CD set (also being reissued ). Remastered for vinyl and lacquers cut by Shawn Joseph / Optimum Mastering in January 2025. Packaged so that each side of the LP is one complete LOOP 12” in chronological order (all 5 released 12”, plus the limited Live Promo 12”), with printed inner bags displaying original single cover art, and indeed, labels replicated to match original 12” label for each side/single. Has tracklisting insert also.

A1 - Planet Genesis

Chronicle makes his Spatial debut in style with Planet Genesis, opening with a beautifully crisp 2-step break over light atmospheric padwork, quickly accompanied by Hot Pants snares and dancing strings. Graceful hi-hats and insanely subtle vocal usage ebb and flow in the mix while soothing melodies enter and depart at will. The breakdown offers an intense change of tone before the breaks resume and continue the journey to a destination unknown.

A2 - Crystal Clear

Very much living up to its title, Crystal Clear sees Chronicle deliver a finely tuned assortment of beats with a remarkable clarity that truly shines in the "old school brand new" sensibilities of throwback atmospheric drum & bass. Snippets of various classic breaks can be heard in the mix with a superb attention to detail, taking you back with a style quite reminiscent of the golden era of late 90's Logical Progression.

B1 - Libra

Airy pads and a rousing yet subtle melody delicately introduce Libra, as Chronicle gradually builds towards a thrilling yet thoughtful amen workout set to blissful atmospherics. With a plethora of exquisite production techniques on show, the track showcases the versatility of Chronicle, offering something new to enjoy on each listen - the layers of detail are truly impressive.

B2 - Higher Limits

Echoing whirs and clicks dance playfully around light pads in the unique DJ-friendly intro to Higher Limits, a detailed, joyful track which celebrates a bygone era with sharp, expertly edited breaks and a smooth 808 bassline to die for. Micro melodies and long waves of delicious synths add texture and depth to the mix, resulting in the perfect closing track to a superbly varied and elegantly produced debut EP.

Words by Chris Hayes (Spatial / Red Mist)

The Spouse's self-titled album is a captivating compilation of nine tracks that embody their signature vintage sound and reverb-soaked vocals, featuring singles originally crafted as soundtracks for some of Indonesia's most acclaimed films directed by notable filmmakers such as Joko Anwar and Razak Robby Ertanto between 2015 and 2022.

Pressed on Bio Mint Vinyl LP

Eluveitie, formed in 2002 by Chrigel Glanzmann, has consistently merged modern metal with Celtic musical traditions. Originating from the Swiss Alps and deeply rooted in Celtic history, mythology, and spirituality, the band has become a cornerstone of the modern metal scene.Their debut, "Vên" (2004), set the stage for a unique blend of melodic death metal and traditional folk. Subsequent albums like "Slania," "Everything Remains (As It Never Was)," "Helvetios," and "Origins" solidified their reputation. The acoustic albums "Evocation I – The Arcane Dominion" and "Evocation II – Pantheon" showcased their versatility.

In 2022, Eluveitie released the singles "Aidus" and "Exile of the Gods," marking a new chapter in their musical journey and thematical cycle pursuing the lyrical
concept opened by their last studio album "Ategnatos". These tracks were followed by the announcement of their upcoming album, "ÀNV," set for release in April 2025. The first single from this album, "Premonition," has just been unveiled, offering a glimpse into the band's evolving sound.

Over the years, Eluveitie has undergone lineup changes, including their latest addition with Lea-Sophie Fischer on violin in May 2024. Despite these changes, the band's essence and soul remains untouched. With nine studio albums, numerous tours all around the globe, and headline shows worldwide, Eluveitie continues to be a dynamic force in the metal genre.

As they approach the release of "ÀNV", Eluveitie remains committed to their roots while exploring new musical horizons. Coming as one of their most profound and earnest albums, "ÀNV" presents a result of more than 20 years of intense involvement with Celtic mythology and spirituality, translating deeply pagan knowledge for a modern generation.

Eluveitie's journey reflects a dedication to authenticity and innovation, ensuring their place as a defining presence in modern metal.

Nocturnes 2 was created at the initiative of the label Midnight Special Records. We invited artists to write music for a new planet, a new world, and then to come and record it in our studio.



With this album, we aim to offer you a journey across different celestial bodies, each designed by the selected artists who participated in this project.



The album is also a tribute to Joe Meek's work I Hear a New Word, recognized for its innovative approach to production and its sound explorations.



We recommend listening to this album when you are calm, or wish to be.

Vilhelm Hasselgren is a Gothenburg-based producer and DJ with a focus on Jungle and productions that move between 160-170 bpm. Vilhelm focuses a lot on complex rhythms and ambient soundscapes and takes inspiration from both older and modern Jungle, as well as other electronic acts such as Basic Channel, Mala, Skee Mask and Arkajo. Vilhelm tries to create soundscapes that move between different musical starting points.
He has previously released on Rezonant Body, Canape Records, Bukva Sound and Of Paradise Records. Also has an upcoming EP releasing on Bukva as well as a V.A on Western Lore. In 2025, Vilhelm also has a residency at London-based Subtle Radio.

Vilhelms words:
Central Line EP is an EP that I'd myself consider to be my debut EP. The tracks were created within a two-and a half year span, with some tracks being re-worked and replaced. Later ending up with the final track-list, which I am very happy in how it ended up in the end. One of the tracks that were later added onto the EP being 1000 a co-production with my brother Einar (Local Arms), which we spontaneously recorded at our parents house over a weekend.

I mostly start from percussion, onto bass and later melody in my productions. The title track "Central Line" was started when I lived in Brighton for half a year, together with Theo Soderlund (Theomega). The Eski sample is a bit tricky one, but wanted to experiment with it, further I chopped an Amen and a Think break with an idea to create a pretty simple rhythm that could leave the riff to speak for itself. Even though the tracks were created within a pretty long span of time, I feel like they portray a sound that I want to further explore and produce at this point. Also Arcne adding a monster remix of Central Line that has been getting lot of love. Could not be happier to release it on Bukva Sound which prior releases I think really captivate a sound that has been really inspiring throughout the process.

Deerhoof haben sich schon vor langer Zeit als eine der großartigsten Rockgruppen des Planeten etabliert - wer das für übertrieben hält, hat noch nicht genug Zeit damit verbracht, Deerhoof zu hören - das wahnsinnig erfinderische Quartett behandelt jedes seiner neuen Alben als eine Gelegenheit zur kreativen Wiedergeburt. Und doch sind sie irgendwie auch zutiefst zuverlässig, eine seltsame, aber wahre Beschreibung für eine Band, die so kreativ rastlos ist. Man weiß nie, wie ein neues Deerhoof-Album klingen wird, außer dass es immer nach Deerhoof klingen wird. Die Band wird durch solche Paradoxien definiert, wie "Noble and Godlike in Ruin" erneut bestätigt. Ihr neuestes Album ist entweder ein Porträt einer Welt, die in monströsen Hass, Entmenschlichung und Dollarzeichen abgleitet, oder ein eindringliches Selbstporträt der Band als Monster: ein intelligentes, sensibles, hybrides Wesen, das unermüdlich von Liebe singt, sich aber zunehmend von dieser Welt entfremdet. Die Musik ist fröhlich und ahnungsvoll, kybernetisch und zutiefst menschlich, alles zugleich. Streicher, die an avantgardistische Kammermusik und klassische Horrorfilm-Soundtracks erinnern, prallen auf Gitarren- und Basslinien. Das Schlagzeug ist manchmal gefiltert und klingt fast elektronisch, aber kein Computer könnte einen so funkigen und dynamischen Rhythmus erzeugen, bei dem jede winzige Variation von einem Snare-Schlag zum nächsten Welten der Möglichkeiten vermittelt. An der Spitze steht die unnachahmliche Altstimme von Satomi Matsuzaki. Eine Stimme der Einsamkeit, deren schlichte Ruhe seltsam außerhalb des Mahlstroms der Band zu stehen scheint, zu dem sie mit ihren zackig-präzisen Bassläufen selbst beiträgt. Als Einwanderin der ersten Generation in den USA hat sie nie versucht, ihren japanischen Akzent oder ihre Karaoke-esken Vortrag zu verbergen. Auf "Noble und Godlike in Ruin" wirkt dies abwechselnd als Ausdruck von Einsamkeit und als kühle Provokation gegenüber Systemen der Unterdrückung und Kontrolle. ,Kindness is all I needed from you", singt sie auf dem epischen Albumabschluss ,Immigrant Songs`. ,But you think we're in your house." Nicht lange danach explodiert der Song, sein eng gewickelter Art-Pop macht Platz für mehrere Minuten heulenden Lärm. Auch wenn das Thema düster sein mag - wie könnte es anders sein - tragen die Songs trotzigen Optimismus in ihrer Weigerung, sich den Konventionen oder überlieferten Weisheiten zu beugen. Da ist diese berühmte Zeile von Dylan Thomas über das Wüten gegen das Sterben des Lichts: "Noble and Godlike in Ruin" fühlt sich ein wenig so an. Die Welt mag untergehen, aber Deerhoof gehen schwungvoll unter.

"""Disguise In Love"" released in 1978, is the debut album of British punk poet John Cooper Clarke. Renowned for his quick-witted delivery and sharp humor, Clarke fuses punk rock with spoken word, resulting in a one-of-a-kind sonic experience. The album includes tracks such as ""I Don't Want To Be Nice,"" ""Valley of the Lost Women,"" and ""(I Married a) Monster from Outer Space,"" highlighting Clarke's talent for social commentary and dark comedy. Produced by Martin Hannett, known as (one of) the creator(s) of the ‘Manchester sound’, the album captures the unrefined energy of the late '70s punk scene. Other notable artists produced by Hannett include Joy Division, Magazine, New Order, Orchestral Manoeuvres in the Dark and Happy Mondays. ""Disguise In Love"" stands out not only for its incisive, observational poetry but also for its stripped-down and edgy musical accompaniment, solidifying its status as a pivotal work in Clarke's career and a significant contribution to the punk genre. The album comes as a limited edition of 500 copies on translucent blue coloured vinyl."

Unfiltered and raw, Basement's colourmeinkindness, cuts with the emotional honesty of a personal diary backed with a flawlessly representative soundtrack. Featuring the iconic Basement songs "Covet" and "Spoiled."

Moor Mother is an American musician, poet, and interdisciplinary artist known for her avant-garde and experimental work. The Great Bailout is an expansive meditation that acts as a non-linear word map about colonialism, slavery, and commerce in Great Britain. Featuring guest contributions from Lonnie Holley, Angel Bat Dawid & Sistas of the Nitty Gritty, Vijay Iyer, Mary Lattimore, and more, it"s Moor Mother"s most uncompromising vision to date. Moor Mother has gained recognition for her unique blend of spoken word, noise, and electronic music, addressing themes of race, gender, and socio-political issues. She hails from Philadelphia and has been an influential figure in the city"s vibrant arts and music scene. She has received critical acclaim for her albums, with reviewers praising her fearless approach to sound and her thought-provoking lyrical content on albums like "Jazz Codes" and "Analog Fluids of Sonic Black Holes", showcasing her boundary-pushing sonic experiments.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

Die Musik von Prima Queen ist offen, mitreissend, charismatisch und eine Welt für sich. Wenn man sich ihr grossartiges Debütalbum "The Prize" auf Submarine Cat anhört, möchte man in all seinen überschwänglichen, einfühlsamen Melodien eintauchen und in der Wärme der beneidenswerten Verbindung zwischen den beiden Musikerinnen baden, die den Kern der Platte bildet. Die 12 Songs von Louise Macphail und Kristin McFadden greifen auf das schillernde Pop-Gefühl von HAIM und Jenny Lewis zurück und sind von der Offenheit des Geistes geprägt. Sie sind von der Euphorie inspiriert, die Prima Queen im vergangenen Jahr auf der Bühne erlebte, als sie mit Olivia Dean, Dream Wife und Swim Deep tourten. Die beiden Frauen etablieren sich als scharfsinnige, erfrischend offene Songwriterinnen, die übergrosse Gefühle mit Anmut und Witz zum Ausdruck bringen.

Deutschland, deine Städte. Der Schauplatz aller Songs und Erzählungen des Berliner Duos Die Anteile ist klar umrissen: Sie interessieren sich für die dunklen Ränder, für Ecken, in denen lange niemand mehr gekehrt hat. Holzvertäfelte Eckkneipen, asphaltierte Garagenhöfe, aber auch mitten in die Scheinwerfer blicken sie, die ihr Licht werfen auf alles, was einmal subversiv und anders war. "Pelzwerk", das nun bei Tapete Records erscheinende Debütalbum der Anteile, wurde geschrieben in einem feuchten Berliner Kellerraum. Einige Meter unter der Erde erblickte eine Vielzahl an Figuren das Licht, die auch einem düsteren Varietétheater entstammen könnten: Nazi-Erben, die dem Sheriff hinterher reiten, Sammler, die Vergangenheiten in Vitrinen ausstellen und Zirkusdirektoren im Gewand von Bürgermeistern sind im "Pelzwerk" beschäftigt. Dabei sind Die Anteile keine Kinder von Traurigkeit: Das Debütalbum ist umspült von quirligen Synthielines, überschwänglichen Gitarrenriffs und liebevoll garniert mit allerlei Sounds aus dem Krautrock-Zauberkasten. "Ich beherrsche wenig / aber du würdest mir auch schon reichen", singen sie auf dem Titeltrack. Bass und Drum Machine zielen auf die Beine, die Stimme - mal als Sprechgesang, mal oddly elegant - auf den Kopf. Hinterher ist man immer schlauer - "Und ich wurde aufgeklärt / vernünftig ist was sich rentiert" - oder zumindest nass geschwitzt. "Pelzwerk" vereint viele Genres in sich. Ist es EBM, ist es IDM oder - Gott bewahre! - NNDW? Ein begeisterter Konzertbesucher beschrieb Die Anteile einmal als "freundliche DAF". Doch eigentlich sind Die Anteile auch dafür zu verspielt. Statt mit Diktatoren tanzen sie eher im 4-eck, packen den Vocoder aus und halten die tanzende Menge mit knarzigen Basslines in Schach. Die Anteile sind im Nebenberuf Gärtner:innen. Ungeachtet der heimischen Witterungsbedingungen pflanzen sie munter verschiedenste musikalische Gewächse an. Prominent im Rundbeet wurzeln die japanischen Elektropioniere von Yellow Magic Orchestra in der selben Erde wie Proto-Industrialisten der Marke Crash Course in Science und Pyrolator. Am Gartenzaun treiben Post Punk-Bands wie Talking Heads und Magazine Blüten, während im Nachbarbeet gerade neu mit Electroclash gedüngt wird. Reichlich Grünzeug also, sodass jeden Tag ein frischer Wildblumensalat den Weg aufs Die-Anteile-Buffet findet.

Einst waren Rialto unverletzlich ("Untouchable"), sind aber bereits Ende der 90er erst morgens nach fünf heimgekommen ("Monday Morning 5.19"), nun kündigen die britischen Kult-Britpopper ihr erstes neues Album seit 24 Jahren an: "Neon & Ghost Signs" wird im April 2025 über Fierce Panda Records veröffentlicht. Es ist eine Reunion, die nicht so sehr von der Sehnsucht nach der Vergangenheit angetrieben wird, sondern vielmehr von der Dringlichkeit, das Beste aus dem Jetzt zu genießen. Vor sechs Jahren wurde Sänger und Songschreiber Louis Eliot während eines Spanienurlaubs für eine Notoperation ins Krankenhaus gebracht und ist dabei kurz dem Tode nah gewesen. Seine vollständige Genesung war eine Epiphanie. "Man könnte meinen, wenn man dem Tod sehr nahe ist, sollte man anfangen, sich um sich selbst zu kümmern", sagt er. ,Aber ich bin einfach mit Vollgas meiner Jugend hinterhergejagt. Ich dachte mir nur: Egal, vielleicht bin ich nächste Woche nicht mehr da, ich stürze mich einfach rein." Ein Teil von Eliots Wiedergeburt bestand darin, dass er eine langjährige Beziehung hinter sich ließ, um erneut in die Londoner Club-Szene einzutauchen. Ein bedeutender Teil davon waren die Romantik und die Verwundbarkeit, die er dort fand. Ein anderer Teil davon war die Erkenntnis, dass die Songs, die in dieser Zeit entstanden - Lieder über Liebe und Verlust, Hedonismus und Reue, die in wehmütigen Geisterstunden spielen - ein Ruf aus der (eigenen) Vergangenheit waren. Neon and Ghost Signs eröffnet in gewollt simpler und eingängiger Dancefloor-Ästhetik mit der ersten Single "No One Leaves This Discoteque Alive". Eliot, mit einem lasziven Brel-Knurren, vergießt Tränen in der Discotheque, ist "der Hund der Londoner Stadt", wo "die Laken mit Gold befleckt sind", der darauf aus ist, "seinen Kopf zu verlieren" und Liebe als perfekten Sturm zu erleben. Es ist der Auftakt zu einem "Durch die Nacht mit...", den das gesamte Album mit der von Rialto bekannten Widescreen-Pop Leidenschaft verfolgt. Rialto waren in Südostasien Superstars mit Doppel-Platin und in Großbritannien immer ein hochgelobter Kult, aber zweifellos eine Band, die ihrer ästhetischen Zeit voraus war. Nach dem zweiten Album Night on Earth im Jahr 2001 löste sich die Band auf und Eliot arbeitete regelmäßig mit Grace Jones und Danny Goffey von Supergrass zusammen; als Songwriter schrieb er u. a. das mit dem Ivor Novello ausgezeichnete "Leave Right Now" für Will Young; er veröffentlichte 2004 ein Soloalbum und 2010 eine sehr ländlich klingende Platte als Louis Eliot And The Embers und veranstaltet das Port Eliot Festival in Cornwall mit 8.000 Besuchern. Als col. LP, CD oder MC!

One of the UK’s most exciting breakout stars of the past decade, Rebecca Lucy Taylor AKA Self Esteem emerged from cult favourite status to mainstream hero following the huge success of her empowering, truth-telling 2021 single ‘I Do This All The Time’. The song resonated intensely as a perfect example of Taylor’s affectionately termed ‘trojan horse’ or ‘salad and chips’ approach, fearlessly packing important, emotive messages into witty, resonant pop music.

Self Esteem’s wildly acclaimed second album Prioritise Pleasure quickly followed, tackling the hypocrisies and joys found in her experiences of modern day womanhood across dating, friendship, comparison culture, self love, women’s safety and sexual assault and much more. Prioritise Pleasure received Mercury Prize, BRIT Award, Sky Arts and NME Award nominations, was crowned The Guardian and Sunday Times Culture’s Album of the Year, and ‘I Do This All The Time’ was also named The Guardian’s #1 song of 2021.

Quite the opposite of an overnight success, Taylor spent a decade as one half of indie duo Slow Club before adopting the pop star persona she’d always dreamed of. She released her first Self Esteem album Compliments Please in 2019, featuring fan favourite singles ‘The Best’, ‘Girl Crush’ and more.

Gathering a passionate and vast legion of fans ever since, Taylor has appeared on The Graham Norton Show, Celebrity Gogglebox, Friday Night Live & Taskmaster, performed three times on Jools Holland including the NYE Hootenanny, graced the covers of magazines from Grazia to NME to Sunday Times Style, and is one of a handful of artists to have been playlisted across BBC Radio 1, 2 and 6 Music simultaneously.

Having reached new heights of acclaim, Taylor continued to grow, diversify, and create in 2024. Branching out into the world of acting, Taylor starred in a regular role in the Sky series SMOTHERED before completing a run playing Sally Bowles in the multiple Olivier Award-winning production of 'Cabaret at the Kit Kat Club' in London's West End. Starring alongside Jake Shears (Scissor Sisters) as Emcee, the pair’s time on stage was extended due to popular demand and showcased the sheer range of talent in Taylor’s repertoire. Last year’s releases ‘Big Man’ and ‘Love Second Music First’ followed a collaboration with Becky Hill on her song ‘True Colours’.

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records' soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows' recent effort "Is There Love In Outer Space? "July Blue Skies" glides on a slightly more raw and mystical plane. Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album's opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs "Sky Train Baby" propels the listener on a locomotive ride through the star systems while "Venus of Barsoon" with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory. The album's B-side opens with "Ikuchi," where Tenor's always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime "Summer Of Synesthesia" and the demonic "Tsicroxe" both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.