Search:ste

GOLLIWOG is billy woods' first album in two years, preceded by 2023's Maps, his second collaboration with producer Kenny Segal. That nimble travelogue has little in common with woods' newest work, despite the fact that Segal shows up a couple times in the credits. GOLLIWOG is a haunting collection that weaves horror, humor, surrealism and Afropessimism into a cinematic tapestry, aided and abetted by a murderer's row of producers. African zombies, time traveling trap cars, malevolent ragdolls and a dying Frantz Fanon are just a few of the revelers in woods' danse macabre. GOLLIWOG features production from The Alchemist, Kenny Segal, EL-P, Conductor Williams, Preservation, Messiah Musik, Sadhugold, Ant (Atmosphere), Shabaka Hutchings, Steel Tipped Dove, DJ Haram, Willie Green, Jeff Markey, Saint Abdullah, and LA-based experimental jazz trio Human Error Club. Meanwhile, woods is joined on the mic by Backwoodz labelmates ELUCID and Cavalier, along with rappers Bruiser Wolf, Despot, Al.Divino, and singer-songwriter Yolanda Watson. GOLLIWOG is another triumph in the woods oeuvre, as layered and compelling as anything he has ever done. A black carnival pitched in a muddy field overnight, empty rides whirring and clattering in the dark.

SPF 50 aka Stephan Kimbel has been working the club circuit in NYC and abroad for years now. His approach to techno often incorporates breakbeats and a psychedelic attention to sound design details. He has released killer 12”s on Dzungla, Bliss Point, and his own label, Professional Music. Fixed Rhythms is now excited to present his latest 12” EP offering–”The Rush”.

The titular track, an acid breakbeat techno party starter for the heads, absolutely breaks down the door of the A-side. A2 “Deep Woods” descends into tasty, wiggly, spacious techno. B1 “Kinetic Ritual” is just that…you have arrived in the Zone, a dark corridor leading straight to One and Everyone. Then B2 “UV Got Me Faded” whips you wonky with a modular drumless wobble slap. This is well-crafted dance music that can plunge any crowd into the deep end.

Greville returns to Mad Habitat, consorting with the enigmatic Lonely Voices to realize a four-song suite steeped in vivid acoustic psychotomimesis. Each track is underpinned by Greville’s unerring sensitivity to sonic texture and atmosphere. The snappy, febrile drum programming of “I Miss Terry” is a deft counterpoint to the thrumming bassline. The chords of “Purgatory” swirl around the stereo field like hypnopompic hallucinations. On the flip side, vocals bleed in and out of the mix, spectral and elusive, threading through both tracks. “Electric Push” follows the monologue of “Dad’s Folk,” nudging it into even more surreal territory. It evokes a chance encounter between Ifach-era Baby Ford & the occult industrialism of late-period Coil.

REVOLT hits double digits with a special release from Athenian underground veteran Other Reality—aka Alex Psaltakis—a figure deeply rooted in the rave culture of the ’90s. His journey began in the late ’80s via the Amiga demoscene, inspired by the raw energy of acid house and hardcore breakbeat. By the mid-’90s, he was DJing at raves, clubs, and open-air festivals, fueled by a passion for psychedelic trance, ambient, Goa, and experimental acid rock. His dedication to the underground has remained unwavering ever since—fed by records, synthesizers, and a deep love for sound exploration.

Still Thrill EP is a 4-track release shaped by a wide musical range, bringing together elements of Detroit techno, trance, house, Goa, ambient, and progressive. More than just a debut on the REVOLT label, this is Other Reality’s first-ever release on vinyl—a deeply personal milestone shaped by years of dedication to his craft and the support of close friends and peers.

Crafted with a mix of hardware and software, the EP draws from years of studio sketches and archived musical ideas. A hidden detail runs through it: a fragmented sample from a rock track that deeply marked Alex in the past—a line that never fully completes in the track.

Each piece carries emotional weight and narrative depth, blending analog warmth with timeless dancefloor energy. The EP moves effortlessly through moods—nostalgic yet forward-looking, playful yet deeply personal.

Ohm ’95—with a name that subtly hints at the Goa trance soul—delivers acid basslines, trance elements, and dreamy pads. A transcendental, unifying experience. Kinda Free pulses gently like a groovy caress at dawn, with dreamy layers, steady rhythm, and acid touches that feel both tender and elevating. More Than Advice embraces movement, disorder, and acceptance, rolling through intricate percussions, hypnotic loops, and a cosmic atmosphere. Emotional and raw. Still Thrill closes the EP with slow-motion energy, submerged in flowing textures and a fluid, nostalgic groove.

Vinyl only. Limited edition.

[e] B1 When You Were Young, Mixed By – Alan Moulder, Flood, Producer – Alan Moulder, Flood, Producer [With] – The Killers
[f] B2 Read My Mind, Mixed By – Alan Moulder, Flood, Producer – Alan Moulder, Flood, Producer [With] – The Killers
[g] B3 For Reasons Unknown, Mixed By – Alan Moulder, Flood, Producer – Alan Moulder, Flood, Producer [With] – The Killers



[k] C3 Runaways, Mixed By – Alan Moulder, Producer – Brendan O'Brien, Producer [Additional] – Damian Taylor, Steve Lillywhite

Ride bassist Steve Queralt’s debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur Rós with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, Memorials).Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created.Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album’s dark intensity. This is most notable on the closing track, ‘Motor Boats’, where he overlays words from Julie Sheldon’s polemic poem The Same Boat (“We’re all in the same boat they say, but I would disagree”). According to Steve, these simple words of rejection “capture the reality of our times perfectly”. However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album. “After a few false starts, I had started to doubt the project altogether. It was going nowhere,” says Steve. “Then, out of the darkness, Emma got in touch to tell me that she’d found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had ‘Lonely Town’ and ‘Swiss Air’.”In the meantime, Verity from Electrelane had added vocals to the song ‘Messengers’ and transformed the track. Matthew Simms, now her bandmate in Memorials, would go on to mix the finished album.“Swallow has turned out so much better than I had hoped,” enthuses Steve. “I’d fallen out of love with it so many times I was thinking of calling it Loveless. But then, that wouldn’t be the whole story.”

Ladies & gentlemen - get ready for something truly special: Scotland"s best jazz musicians meet one of the best and most influential bands from Scotland! The Colin Steele Quartet play the music of The Blue Nile, undisputed masters of Sophisti-Pop. Especially their second album "Hats" (1989) is regarded as an all-time classic masterpiece. The beautiful and atmospheric, often synth-driven songs of The Blue Nile get the deluxe jazz treatment in exciting new arrangements. All-time classics like "Easter Parade", "Heatwave" and "Let"s Go Out Tonight" shine in bright new shades and colours, and get transformed into something unique by Colin Steele"s very own trumpet style. The album perfectly captures and even enhances the late-night moods and aural landscapes of The Blue Nile"s music, while also adding some unexpected, and, yes, even slightly funky turns to songs like "Body & Soul" and "Headlights On The Parade". Colin Steele"s smooth and emotive trumpet caresses and lifts these beautiful songs to new heights.

For Wilkes-Barre's One Step Closer - the concept of home is complicated. "I've never felt so distant in my life," vocalist Ryan Savitski screams on the lead single "Pringle Street," a place in his hometown that binds the album's lyrics to both a precise location and feeling of displacement. On their first ever full-length album and debut for Run For Cover This Place You Know, the band offers a modern coming-of-age story about growing up and grasping both the known and the unknown. One Step Closer started in 2016 and in their short five years, Savitski, along with drummer Tommy Norton, bassist Brian Talipan and guitarists Ross Thompson & Grady Allen have come into their own as a modern hardcore mainstay. Their 2019 EP 'From Me To You' countered existing trends in exchange for a more melodic sound in the vein of bands like Turning Point and Title Fight. They went on to open for Have Heart at the band's now legendary reunion shows that summer, and joined bands like Knuckle Puck and Turnstile on tour before pausing to write their debut album. This Place You Know grapples with the weight of themes like isolation, depression, and loss - all amplified by driving bass lines, em-phatic guitar riffs and unwavering drumming performed by the band. From the first moments of album opener "I Feel So," the stakes are made clear by the anchoring lyric 'this place you know, sometimes it hides the truth and lets people go" - One Step Closer is attempting to resolve the unresolvable anguish of moving on from everything you once knew.

[a] A1 | Your Ghost; Vocals [Additional Vocal] – Michael Stipe

"Instant Holograms On Metal Film" ist das erste Stereolab-Album seit 15 Jahren mit 13 neuen Studioaufnahmen. Eingespielt wurde das Werk von Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson und Xavi Muñoz, mit Gastbeiträgen von Cooper Crain und Rob Frye von Bitchin Bajas, Ben LaMar Gay (Komponist/Jazz-Multiinstrumentalist), Holger Zapf (Cavern Of Anti Matter), Marie Merlet (Monade) und Molly Read, und weiteren. Die Band wird das ganze Jahr 2025 über live spielen - in Europa, Nordamerika, Südamerika und Großbritannien. Das neue Album folgt auf "Not Music" aus dem Jahr 2010, remasterte und erweiterte Neuauflagen von sieben ihrer Alben im Jahr 2019 sowie die Bände 4 und 5 der "Switched On"-Reihe, die 2021 bzw. 2022 erschienen.

Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you"ll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. Metallic Life Review features Susan Alcorn"s pedal steel, Owen Gardner"s glockenspiel, Thor Harris" drumming, Jason Willett"s (Half Japanese) guitar, and Jeff Carey"s aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded "live in the studio", ala Throbbing Gristle"s Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live.

Turquoise marbled vinyl. Handnumbered, limited to 200 copies. A bold new chapter in Stephan Thelen's sonic explorations, Worlds in Collision is a genre-defying fusion of polyrhythmic precision, hypnotic grooves, and experimental soundscapes. Inspired by the pioneering work of Brian Eno & David Byrne, this album pushes the limits of electric guitar textures, feedback, and layered rhythmic structures - bringing together David Torn's incendiary guitar work, Fabio Anile's rhythmic innovations, and Yogev Gabay's powerhouse drumming. Worlds in Collision captures the chaotic energy of Bullet Train, the eerie beauty of Voices from the Ether, and the intricate rhythmic interplay that defines Thelen's unmistakable style. Blending field recordings, speech samples, and complex time signatures, this album is an immersive journey into new sonic territory.

Orange vinyl. A bold new chapter in Stephan Thelen's sonic explorations, Worlds in Collision is a genre-defying fusion of polyrhythmic precision, hypnotic grooves, and experimental soundscapes. Inspired by the pioneering work of Brian Eno & David Byrne, this album pushes the limits of electric guitar textures, feedback, and layered rhythmic structures - bringing together David Torn's incendiary guitar work, Fabio Anile's rhythmic innovations, and Yogev Gabay's powerhouse drumming. Worlds in Collision captures the chaotic energy of Bullet Train, the eerie beauty of Voices from the Ether, and the intricate rhythmic interplay that defines Thelen's unmistakable style. Blending field recordings, speech samples, and complex time signatures, this album is an immersive journey into new sonic territory.

Enjoy The Toons Records in partnership with Paramount
Pictures proudly presents Teenage Mutant Ninja Turtles:
Out of the Shadows (Music from the Motion Picture),
Score by Steve Jablonksy. Michelangelo, Donatello,
Leonardo, and Raphael are back to battle bigger, badder villains,
alongside April O’Neil (Megan Fox) and a newcomer:
the hockey-masked ally Casey Jones (Steven Amell).
After supervillain Shredder (Brian Tee) escapes custody,
he joins forces with two dimwitted henchmen, Bebop
(Gary Anthony Williams) and Rocksteady (WWE's Sheamus),
to unleash a diabolical plan to take over the world. As the Turtles
prepare to take on Shredder and his new crew, they find themselves facing an even greater threat with similar intentions: the notorious Krang (Brad Garrett). Teenage Mutant Ninja Turtles: Out of the Shadows (Music from the Motion Picture) features music by Steve Jablonsky (Transformers film series, The Sims 3, Gears of War 2). Jablonsky's signature sound is present, with a unique call-back to the original theme and fun, exciting orchestration for the 2016 film score. Teenage Mutant Ninja Turtles: Out of the Shadows (Music from the Motion Picture) is a 2xLP, housed in a gatefold jacket and pressed on colorful themed vinyl. The pressing is limited to 750 copies across 3 color variants. –

Recorded in 1990 for the noted New York audiophile label Chesky Records, My Blue Heaven was John Pizzarelli's frst signifcant album release, heralding the arrival of a major talent and future Grammy- winning star

Supported by a dream team line- up of veteran jazz stars - including Pizzarelli's guitarplaying father, Bucky, together with trumpeter Clark Terry , bass supremo Milt Hinton, and drummer extraordinaire Connie Kay - the New Jersey- born singer and virtuoso of the seven- string guitar serves up a swinging cache of evergreen jazz standards. With the album's highlights ranging from spirited revamps of the Nat King Cole Trio's 'Candy,' and Dave Frishberg's 'Can't Take You Nowhere,' the impeccably recorded My Blue Heaven represented a signifcant step in Pizzarelli's early musical journey, helping to introduce him to a wider audience. The album is reissued on 180g One Step Pressing Vinyl LP.

Der Platz #82-Charterfolg von 2018 wiedr auf Vinyl lieferbar! Mit rauem Ton und brachialen Texten stellen die Ruhrpottpunks "Harte Worte" mit Ihrem neuen Album "So wie Ihr uns kennt?!" die Gesellschaft und die Musikszene in Frage. Provokation mit Ohrwurmgarantie die wachrütteln soll und den Standpunkt der Band noch einmal in den Vordergrund rückt. Das neue Album besticht unter anderem durch klare Aussagen und deutliche Stellungnahmen gegen gewisse Umtriebe aus Teilen der Deutschrockszene - unterlegt von eingehenden Gitarrenriffs, dem typischen kollektiven Singalongs der Band und dem dadurch mitreißenden United. Man kann den Punkrock nicht nur hören sondern buchstäblich fühlen. Laut. Direkt. Bedingungslos. Weiterhin gibt es klare Abgrenzungen zu den alten Alben, da neue Stile und musikalische Veränderungen in "So wie Ihr uns kennt?!" integriert wurden. Es finden sich bei "Kopie" Ska-Gitarren wieder, "Geliebt, Gehasst" wurde zusammen mit "Das weiße Rauschen" eingesungen und an ein komplett englisches Lied hat sich die Band diesmal ebenfalls herangetraut. Das Album befindet sich durchgängig in Bewegung und sorgt beim geneigten Hörer durchweg für Überraschungen. Dennoch sind sich "Harte Worte" treu geblieben. Mit erhobenen Fäusten und gezücktem Mittelfinger machen die Jungs keinen Hehl daraus, was und wer ihnen nicht passt und sich besser nicht in den Weg stellen sollte. Punkrock der bewegt, Spaß macht und sich nicht zensieren lässt. So kann man das neue Album der Jungs wohl am besten umschreiben. "So wie Ihr uns kennt!?" - nicht ganz! Langweilig können alle. Und denselben Scheiß auch. Hier wird Punkrock neu definiert. Da bleibt dem geneigten Zuhörer nur eine Wahl: Anhören! Schwarze Vinyl LP.

The seeds of Her's have well and truly rooted themselves in Liverpool. Originally a meeting of minds between Norway's Audun Laading and Barrow-born Stephen Fitzpatrick, Her's forged a strong chemical bond through a mutual love of off-kilter humour and outsider art. Having clocked over one million streams between the two tracks on their debut single 'Dorothy' and 'What Once Was', and after following it up with the lackadaisical thrift-store humour of their sun-bleached single 'Marcel', Her's have compiled a rollicking record of their infant career so far. 'Songs of Her's' will be released on LP 16th March and it includes all their recorded output to date plus six new songs to make for the most complete introduction to their slacker world yet. Her's will be teasing this gnarly collectors-item-to-be with the release of 'Speed Racer'. With its sultry vocals and signature descending guitar and bass lick, it plays like the soundtrack to some oddball American stoner comedy involving a beach, a girl, a conspiracy, and a musical group from Liverpool.

Die genreübergreifenden Tropical Fuck Storm präsentieren ihr mit Spannung erwartetes viertes Album "Fairyland Codex" auf ihrem neuen Label Fire Records. Aufgenommen mit Co-Produzent Michael Beach im Dodgy Brothers Studio der Band in Nagambie, Australien, lassen uns die Songs auf "Fairyland Codex" in das Chaos eines schicksalhaften Erdrutsches eintauchen und die Charaktere herauspicken, die den drohenden Zusammenbruch der Gesellschaft besudeln. Sauer, bissig, anarchisch: Tropical Fuck Storm beherrschen das Wortspiel, das durch knurrende Gitarren, pulsierende Rhythmen und explosive Salven unterstrichen wird, und bevölkern ein Hinterland zwischen Licht und Dunkelheit. Das stimmliche Zusammenspiel zwischen Liddiard und den hochfliegenden Harmonien von Kitschin und Dunn schafft einen schwankenden Balanceakt, der durch die verzweifelten Erzählungen, die sich aus ihrer kollektiven Psyche entwickeln, noch verstärkt wird. Tropical Fuck Storm entstand, als The Drones - die vorherige Band von Gitarrist und Sänger Gareth Liddiard und Bassistin und Sängerin Fiona Kitschin - 2016 in eine Pause ging. Zusammen mit der Gitarristin, Keyboarderin und Sängerin Erica Dunn und der Schlagzeugerin Lauren Hammel hat die Gruppe eine Reihe von der Kritik gefeierten Alben veröffentlicht und sich einen Ruf für ihre aufrüttelnden Live-Shows erworben.

Die genreübergreifenden Tropical Fuck Storm präsentieren ihr mit Spannung erwartetes viertes Album "Fairyland Codex" auf ihrem neuen Label Fire Records. Aufgenommen mit Co-Produzent Michael Beach im Dodgy Brothers Studio der Band in Nagambie, Australien, lassen uns die Songs auf "Fairyland Codex" in das Chaos eines schicksalhaften Erdrutsches eintauchen und die Charaktere herauspicken, die den drohenden Zusammenbruch der Gesellschaft besudeln. Sauer, bissig, anarchisch: Tropical Fuck Storm beherrschen das Wortspiel, das durch knurrende Gitarren, pulsierende Rhythmen und explosive Salven unterstrichen wird, und bevölkern ein Hinterland zwischen Licht und Dunkelheit. Das stimmliche Zusammenspiel zwischen Liddiard und den hochfliegenden Harmonien von Kitschin und Dunn schafft einen schwankenden Balanceakt, der durch die verzweifelten Erzählungen, die sich aus ihrer kollektiven Psyche entwickeln, noch verstärkt wird. Tropical Fuck Storm entstand, als The Drones - die vorherige Band von Gitarrist und Sänger Gareth Liddiard und Bassistin und Sängerin Fiona Kitschin - 2016 in eine Pause ging. Zusammen mit der Gitarristin, Keyboarderin und Sängerin Erica Dunn und der Schlagzeugerin Lauren Hammel hat die Gruppe eine Reihe von der Kritik gefeierten Alben veröffentlicht und sich einen Ruf für ihre aufrüttelnden Live-Shows erworben.

Die genreübergreifenden Tropical Fuck Storm präsentieren ihr mit Spannung erwartetes viertes Album "Fairyland Codex" auf ihrem neuen Label Fire Records. Aufgenommen mit Co-Produzent Michael Beach im Dodgy Brothers Studio der Band in Nagambie, Australien, lassen uns die Songs auf "Fairyland Codex" in das Chaos eines schicksalhaften Erdrutsches eintauchen und die Charaktere herauspicken, die den drohenden Zusammenbruch der Gesellschaft besudeln. Sauer, bissig, anarchisch: Tropical Fuck Storm beherrschen das Wortspiel, das durch knurrende Gitarren, pulsierende Rhythmen und explosive Salven unterstrichen wird, und bevölkern ein Hinterland zwischen Licht und Dunkelheit. Das stimmliche Zusammenspiel zwischen Liddiard und den hochfliegenden Harmonien von Kitschin und Dunn schafft einen schwankenden Balanceakt, der durch die verzweifelten Erzählungen, die sich aus ihrer kollektiven Psyche entwickeln, noch verstärkt wird. Tropical Fuck Storm entstand, als The Drones - die vorherige Band von Gitarrist und Sänger Gareth Liddiard und Bassistin und Sängerin Fiona Kitschin - 2016 in eine Pause ging. Zusammen mit der Gitarristin, Keyboarderin und Sängerin Erica Dunn und der Schlagzeugerin Lauren Hammel hat die Gruppe eine Reihe von der Kritik gefeierten Alben veröffentlicht und sich einen Ruf für ihre aufrüttelnden Live-Shows erworben. Magenta farbenes Vinyl plus Band signiertem 30 x 30 cm Art Print, streng limitiert (100 Stück).

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.
Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.
The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.

Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.

The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

Benét betrachtet sein neues Indie-Rock-Album „Make `Em Laugh“ als eine Art Clue-Spiel. Er versucht herauszufinden, wann und wie genau eine Beziehung gescheitert ist. „Make`Em Laugh“ ist ein Dokument der Entdeckung und Selbstverwirklichung, das eher Fragen als Antworten enthält und Benéts Fähigkeit, viele komplexe und widersprüchliche emotionale Zustände zu durchlaufen, prägt auch den Klang der Musik: Das Album ist dynamisch, lebendig und genreübergreifend. Seine warme Stimme glänzt in nachdenklichen Indie-Rock-Stücken wie „Pieces Of Me“ und „Demon“. In „Too Scared to Say“ setzt er Autotune ein, um ein Gefühl der Verwirrung zu vermitteln, ein Gefühl, das in dem experimentellen elektronischen Stück „Slimmer“ noch verstärkt wird. Benét und die Sängerin AnnonXL tauschen ihre Strophen aus, während sich die Produktion von kristallin und sanft zu aufregend laut und energiegeladen wandelt. Benét genoss auch die Zusammenarbeit mit den Künstlern, die auf dem Album vertreten sind. Er entdeckte die Musik von Margaux, als sie in dem Brooklyner Lokal Baby's All Right auftrat, in dem er arbeitet, und war begeistert, als er feststellte, dass die Fans in den YouTube-Kommentaren zu seinen Videos bereits eine Verbindung zu ihrer Arbeit hergestellt hatten. Faye Webster ist seine beste Freundin und jemand, von dem er glaubt, dass sie zu seiner Begabung passt, scharfsinnige Fragen über Beziehungen zu stellen. Und der wirbelnde, vibrierende Vers von AnnonXL auf „Slimmer“ war so gut, dass er Benét kreativ anspornte. „Make `Em Laugh“ mag damit begonnen haben, eine Trennung zu verarbeiten, aber als Gesamtwerk blickt es weit über die Besonderheiten einer einzelnen Beziehung hinaus. Es ist Musik, die sich über die großen Fragen des Lebens Gedanken macht, die uns alle verbinden, und die Trost in der Gemeinschaft findet. Wenn das Album ein Clue-Spiel ist, dann eines, das alle Einsichten und Geschichten der unzähligen Spieler im Raum ebenso einfängt, wie es sich auf das Ergebnis des Spiels selbst konzentriert.

Benét betrachtet sein neues Indie-Rock-Album „Make `Em Laugh“ als eine Art Clue-Spiel. Er versucht herauszufinden, wann und wie genau eine Beziehung gescheitert ist. „Make`Em Laugh“ ist ein Dokument der Entdeckung und Selbstverwirklichung, das eher Fragen als Antworten enthält und Benéts Fähigkeit, viele komplexe und widersprüchliche emotionale Zustände zu durchlaufen, prägt auch den Klang der Musik: Das Album ist dynamisch, lebendig und genreübergreifend. Seine warme Stimme glänzt in nachdenklichen Indie-Rock-Stücken wie „Pieces Of Me“ und „Demon“. In „Too Scared to Say“ setzt er Autotune ein, um ein Gefühl der Verwirrung zu vermitteln, ein Gefühl, das in dem experimentellen elektronischen Stück „Slimmer“ noch verstärkt wird. Benét und die Sängerin AnnonXL tauschen ihre Strophen aus, während sich die Produktion von kristallin und sanft zu aufregend laut und energiegeladen wandelt. Benét genoss auch die Zusammenarbeit mit den Künstlern, die auf dem Album vertreten sind. Er entdeckte die Musik von Margaux, als sie in dem Brooklyner Lokal Baby's All Right auftrat, in dem er arbeitet, und war begeistert, als er feststellte, dass die Fans in den YouTube-Kommentaren zu seinen Videos bereits eine Verbindung zu ihrer Arbeit hergestellt hatten. Faye Webster ist seine beste Freundin und jemand, von dem er glaubt, dass sie zu seiner Begabung passt, scharfsinnige Fragen über Beziehungen zu stellen. Und der wirbelnde, vibrierende Vers von AnnonXL auf „Slimmer“ war so gut, dass er Benét kreativ anspornte. „Make `Em Laugh“ mag damit begonnen haben, eine Trennung zu verarbeiten, aber als Gesamtwerk blickt es weit über die Besonderheiten einer einzelnen Beziehung hinaus. Es ist Musik, die sich über die großen Fragen des Lebens Gedanken macht, die uns alle verbinden, und die Trost in der Gemeinschaft findet. Wenn das Album ein Clue-Spiel ist, dann eines, das alle Einsichten und Geschichten der unzähligen Spieler im Raum ebenso einfängt, wie es sich auf das Ergebnis des Spiels selbst konzentriert.

Der Sänger und Multiinstrumentalist Nad Sylvan kehrt mit seinem fünften Studioalbum "Monumentata" zurück. Die 8 Tracks zei-gen Sylvan von seiner verletzlichsten und persönlichsten Seite, mit einer Sammlung, die ein breites Spektrum an Themen und Stilen abdeckt, von dunklem und schwerem Prog bis hin zu Pop und R&B. Auf dem Album wird Nad von einer hochkarätigen Band unterstützt, darunter Tony Levin (King Crimson), Randy McStine (Steven Wilson), Nick Beggs (Steven Wilson), Jonas Rein-gold (Steve Hackett), Lalle Larsson (The Flower Kings), Mirko De Maio (The Flower Kings), Joe Deninzon (Kansas), Marco Min-nemann (The Aristocrats), Felix Lehrmann (ex-The Flower Kings), David Kollar (Steven Wilson), Sheona Urquhart, Jade Ell & Neil Whitford. Das Album wird als Ltd CD Digipak, Gatefold LP in transparent-grünem Vinyl sowie als Digital Album erhältlich sein.

For All The World, the black watch's twenty-fifth (and first double) album is a darkly poppy, brightly moody, many-splendored take on a number of the great themes: Death and Sex, Memory and Lament and Hope and Love. And it is, arguably, this heralded Los Angeles band's most sonically ambitious and moving record yet, since front man/novelist/ex-English professor John Andrew Fredrick formed the group in 1988 in Santa Barbara after he'd seen a London-by-way-of-Canada band called The Lucy Show play to twelve-or-so people in his hometown.

Having recorded 2024's Weird Rooms with producer Misha Bullock and Fredrick's son Chandler at Bullock's studio in Austin, TX, the TBW founder was keen to repeat the experience with, he says, more straightforward, classic psych/jangle/shoegaze songs. The result, though artistically satisfying, spurred a yen in John to write more songs as a sort of reaction against the batch he'd carried with him from LA to Texas. "We had such a productive time recording ‘Weird Rooms’ that I wanted to repeat the experience... without repeating the experience. And once it was over and I left Misha to do what he pleased with respect to mixing and overdubbing, all I could think was 'I need to write another album now.'" So Fredrick brought longstanding producer/engineer and TBW-associate Scott Campbell (Stevie Nicks, Acetone) along this time to help out with engineering and good cheer.

Fredrick, who has been "accused" of being "astonishingly prolific," learned that bandmate Andy Creighton had recently become unemployed, seized the opportunity to have yet another multi-instrumentalist flesh out the new songs he quickly wrote after he came back from Austin. “Achilles Past,” the first single, is in fact a song that John wrote when the production team thought the album was done—and the front man avers that it’s often the case that a very strong song comes to him, as it were, in the eleventh hour. The same could be said for “Listen You Wait”—another number that came late to the Austin sessions.

Nevertheless, the recording of the first half of For All The World has Creighton's signature indelibly stamped on it - especially on such tracks as “Fainting” and “Surely You Rally”- just as the latter half highlights Bullock's formidable talents. "They're both not just brilliant musicians and they understand my aesthetic and bring their own sensibilities to bear on my stuff. Our respective tastes meet in, you guessed it, The Beatles' realm - the great shadow that hangs over all I do, at least."

"There's A Place," the final song on side two, serves in fact as a distinct homage that's been a long time coming for a band that included a cover of "It's All Too Much" as a bonus track and that release a quite punkish, uptempo version of "Eleanor Rigby" on a 7".

BPitch präsentiert die nächste Ausgabe ihrer WE ARE NOT ALONE Compilation-Reihe - ein vielfältiges Paket mit Sounds, die den Geist der WE ARE NOT ALONE-Partys widerspiegeln und einen Einblick in eine Szene von Künstlern geben, die sich dem Underground verschrieben haben. WE ARE NOT ALONE pt. 8 bietet zwölf unverzichtbare Tracks für DJs, Raver und Musikfans, die eine breite Palette an Genres abdecken und dabei nie den Dancefloor aus den Augen verlieren. Die neue Compilation spannt die Fäden zwischen den Genres und dokumentiert mit der gewohnten Qualität des Berliner Labels das nächste Kapitel in seinem stetig wachsenden Beitrag zur Kultur.

WE ARE NOT ALONE pt. 8 zeigt, dass das Label keine Pläne hat, die Hitze zu drosseln, mit einer weiteren Runde reinstem Hedonismus für die Ewigkeit.

BPitch present the next iteration of their WE ARE NOT ALONE compilation series - a diverse package of sounds reflecting the spirit of the WE ARE NOT ALONE parties, and offering a glimpse into a community of artists that have committed themselves to the underground.

Touching on a wide range of genres whilst never losing sight of the dancefloor, WE ARE NOT ALONE pt.8 offers twelve essential cuts for DJs, ravers, and music heads alike. Tying the threads between genres, and with the mark of quality expected from the Berlin label, this new compilation documents the next chapter in its ever-growing contribution to the culture.
Returning to the label appearances on both BPitch and its accompanying label UFO Inc. - Turin-based duo Boston 168 open the club doors with a masterful fusion of trance build-ups and stripped back pointillism on ‘Feeling You’. Another member of the BPitch roster having just released an EP on the label, Tigerhead steps up with heavy kickdrums and uncanny pads on the aptly-titled ‘Alice Through The Looking Glass’. Stepping into more minimal territory, Sina XX - founding member of the Paris rave collective Subtyl - offers a warm, bouncing cut that teeters between the dark and euphoric with a masterful balance. Taking a swift 180 into the darkest industrial spaces, Endlec serves up a gritty percussive workout on the formidable ‘Panther’.

Theo Nasa - a South London-based purveyor of weird, melodramatic techno - moves into hazier spaces on ‘Sex and Acid Pleasure’, an eccentric dose of acid for the senses. Shaleen - a resident of the WE ARE NOT ALONE event series - continues into the warmth with a headspin of analogue sounds and modular experimentalism with ‘Vernalagnia’. Öspiel, the French-Korean producer and label head known for his cinematic sounds weaves together angular rhythms underpinned by a strong sense of minimalism. In hot pursuit, Puglia’s Raho comes through with a cyclone of bouncing kicks and harsh leads.

Diana May, a Berlin-staple and resident at KitKat offers us a welcoming spiral on ‘Just Shut The F*** Up’. Plunging into deep industrial caverns, KRTM ’s ‘Küss Mich Jetzt’ is a pounding glitch of hardcore techno for the biggest speakers. VUUDUU’s ‘SNAXX’ shifts the speed up a gear with an expansive gothic rave banger. Rounding things off is madwoman’s ‘Chaos Theory’, a sparse but unrelenting cut of atmospheric techno from deep inside a warehouse.

WE ARE NOT ALONE pt.8 shows the label have no plans on lowering the heat in 2024, with another round of pure hedonism for the ages.










j d1 | KRTM - Küss Mich Jetzt (04 05)

Die vierköpfige Instrumentalband Yuuf signed bei Ninja Tune-Sublabel, Technicolour, und veröffentlicht ihre neue EP, „Alma's Cove“ am 20. Juni 2025!

„Alma's Cove“ umfasst fünf Tracks und ist eine meditative Klanglandschaft, die die Hörer:innen auf eine klangliche Reise durch die Natur mitnimmt, abseits des Alltagsstresses. „‚Alma's Cove‘ ist ein verträumter, tropischer Raum ohne Stress, in dem man sich zufrieden und präsent fühlen kann. Ein geschütztes Paradies, das man in aller Ruhe genießen kann.“, so die Band. „Als wir die EP schrieben, war das Hauptziel, einen Ort zu schaffen, der das komplette Gegenteil unseres Londoner Lebens ist und z.T. aus Stress, Angst und Überforderung besteht. Sich wieder mit der Natur verbinden und die Gegenwart genießen. Ein Traumland.“
Zusammen mit der Ankündigung veröffentlichen Yuuf den Titeltrack der EP, „Alma’s Cove“, der heute auf Technicolour erschienen ist. Reich an organischen Texturen, schimmernden Details und psychedelischen Rhythmen, lädt die Single Zuhörer:innen in die heitere Welt von „Alma's Cove“ ein. „Die Hörer:innen spazieren umher und nehmen die Natur, die Geräusche und die Aussicht in sich auf und schwelgen in ihrer natürlichen Schönheit.“. Zur Single gibt es auch ein offizielles Musikvideo, das eine komplette Live-Session zeigt, die während der jüngsten Reise der Band nach Kreta gefilmt wurde. Die Vermischung internationaler Klänge und globaler Einflüsse steht im Mittelpunkt des Ethos von Yuuf. Selbst die Mitglieder der Band kommen aus verschiedenen europäischen Ländern - aus der Schweiz, Dänemark, Frankreich und England. „Wir vermischen auf natürliche Weise unsere verschiedenen musikalischen Vorlieben aus der ganzen Welt, um den Sound unserer Musik zu formen.“, erklärt die Band. „Alma's Cove“ ist ein Paradebeispiel dafür, inspiriert von klassischer spanischer Gitarre, Americana-Soundscapes und der Musik der Filme von Studio Ghibli. Yuuf starten im Mai eine Europa-Tournee mit mehreren Stopps bei verschiedenen Sommerfestivals, darunter Wilde Weide Festival, Green Man, Chez Hubert und Psych Festival. Die Band hat im Sommer 2024 ihre Debüt-EP, „In The Sun“, veröffentlicht, die bereits über 1,5 Millionen Streams allein auf Spotify erreicht hat und von BBC 6Music, KEXP, KRCW und der Instagram-Plattform, Somewhere Soul (919K Follower:innen), unterstützt wurde. Das gleichzeitig mit der EP veröffentlichte virale Live-Session-Video von „The Sun“ hat mittlerweile beeindruckende 1,8 Millionen Views, 84.000 Likes und 4.000 Kommentare auf Youtube.

Jess Kerber aus Nashville nahm im Alter von 12 Jahren erstmals eine Gitarre in die Hand, um mit ihren frühreifen Stimmungen und Zupfstilen zu experimentieren - beeinflusst von Gleichgesinnten wie Joni Mitchell und Susan Tedeschi. Dies führte zur Entwicklung einer einzigartigen Klangpalette und zu einem authentischen, persönlichen Zugang zum Songwriting. Inspiriert wurde sie gleichermaßen von ihrer Erziehung in Louisiana und dem Studium am Bostoner Berklee College of Music. Ihr Debütalbum "From Way Down Here" zeigt die Dynamik und Tiefe ihrer großartigen Stimme und ihrer nachdenklichen, humanistischen Texte, sowie die raffinierte Komplexität ihres Gitarrenspiels. Während der Entwicklung vieler dieser Kompositionen, bei frühen Live Auftritten in und um Boston und Cambridge, lernte Kerber den Songwriter Will Orchard kennen, der schnell zu einem Partner und Kollaborateur in der Entstehungsphase ihrer Aufnahmen wurde. Orchards Fähigkeiten als Produzent und Multiinstrumentalist heben Kerbers Arrangements auf eine neue Ebene, mit einer entwaffnenden Reinheit und Emotion in einer Dynamik, die derjenigen von Gillian Welch und David Rawlings angelehnt ist. Mit den Traditionen der Americana erschaffen Kerber und Orchard zusammen mit Mischtechniker Charlie Dahlke von The Brazen Youth ihr eigenes Subgenre, das gleichzeitig intim und und universell, tröstlich und rau ist. Über das gesamte Album hinweg erhält Kerbers reicher, samtener Tenor eine tiefe Zärtlichkeit und Wärme, während unterschiedliche Elemente wie Pedal Steel, Wurlitzer, Schlagzeug und Ambient-Gitarre für den schimmernden Background sorgen. Der Einfluss ihrer Erziehung - und und das, was sie liebevoll als ,Abgehobenheit vom Rest der Welt Gefühl" des tiefen Südens nennt - zeigt sich in den ehrlichen, geradlinigen und zeitlosen Qualität ihrer Kompositionen. "From Way Down Here" ist das seltene Debüt, das alle Merkmale einer erfahrenen Songwriterin aufweist. Sie konstruiert eine fesselnde Welt von rauer Schönheit und Wahrheit, deren Bann lange nach dem Verklingen der letzten Töne anhält.

Father's Children waren eine Funkband, die sich Ende der 1960er aus der in Washington D.C. ansässigen Doo-Wop-Formation The Dreams entwickelte. 1979 nahmen sie als achtköpfige Band unter der Leitung von Wayne Henderson (The Crusaders) und Augie Johnson (Side Effect) ihr selbstbetiteltes Debütalbum auf, an dem auch Bobby Lyle (The Genie) und Dean Gant (Keni Burke) beteiligt waren. Die beiden Keytracks des Albums - der oft gesampelte, britische Rare-Groove "Hollywood Dreaming" und der Two-Stepper "Got To Get Away" - werden hier erstmals zusammen auf einer 7" präsentiert, dazu noch erstmals in den vollständigen Albumversionen.

Die Spinners wurden in ihrer Blütezeit in den 1960/1970ern als Detroit Spinners bekannt. Zwischen 1964-1971 nahmen sie für V.I.P./Motown auf, wobei der Motown-Sound den Northern Soul massgeblich prägte und einfache Tracks (und nicht kommerzielle Hits) zu Klassikern der Dancefloors Nordwestenglands wurden. "I'll Always Love You" ist ein Hunter/Stevenson-Song aus 1965, dessen britische Tamla Motown-Pressung für über 500 Pfund verkauft. "What More Could A Boy Ask For" ist ein Bristol/Fuqua-Song aus 1966, der erst als Bonustrack der 2012 erschienenen CD "Yours Truly" das Licht der Welt erblickte und erstmals auf 7" erscheint.

Black Truffle is thrilled to announce Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear this year. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (Black Truffle, 2022). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.

The two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. On opener ‘Gerak Maju’, intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. ‘Strollabout’ then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. The remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On ‘Ghostly Klang’, two drumkits mirror each other’s moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell’s ‘Uncle’, performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell’s dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.

Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

Hell Yeah have been busy making musical connections and reaching out to like-minded beatmakers once again. This time, it is Pier Paolo Polcari aka Polcari, a founding member of cult Italian band Almamegretta, who steps up with the magnificent new album I Will Try To Imitate The Birds. The eight-track record also features Adriano Viterbini, another Italian music icon and guitarist with the revered Bud Spencer Blues Explosion and I Hate My Village as well as Ubjk, San Ignacio and Sergio Dileo.

Label head Marco first got in touch with Polcari after he remixed Italian cultural hero Sergio Messina's cover of 'Fly Away' back in 2021. The pair began sharing music, discussing their favourite records and, eventually, the natural next step was to work towards the album now served up here.

The multi-talented Polcari is a master of downtempo sounds and as well as several solo projects that fuse trip hop, folk, dub and world music, he made a global mark as part of Almamegretta. The revered Naples band formed in the late 80s and has worked with greats like Massive Attack and Adrian Sherwood across more than 15 albums and are currently on a special 30th anniversary tour. Also playing on the album are Adriano Viterbini, a composer and member of blues-rock outfit Bud Spencer Blues Explosion, San Ignacio who is a downtempo and cumbia innovator behind the much sought-after albums like La Identidad Es Una Trampa and Sergio Dileo, sax player in the much-loved Naples band Nu Genea as well as being a busy jazz collaborator.

Opener 'Jardino' Feat. San Ignacio sets a laidback vibe from the off with gently breaking drums topped with whimsical melodies. 'Vita Nova' is cavernous dub with more lush instrumentals, xylophones and wispy synth motifs making for a world escape and 'Mundo' (Feat. Ubjk) has an air of Eastern melody with delicate pads and glowing keys floating above the pillowy drums. 'The Birds' (Feat. Adriano Viterbini) has fluttering harp strings that bring real beauty to a downtempo groove packed with vocoder vocals, synth smears and organic percussion.

'Orcos Ou Fadas' carries on with a rich blend of strings and percussion, shuffling rhythms and curious moods, 'Raifuki' lurches on moody drums and introverted melodies and 'Ligea' Feat. Sergio Dileo brings some romantic Latin rhythms and seductive clarinet while 'Superluna' completes the odyssey with more wavy dub and magnificent collages of melody and percussion.

I Will Try To Imitate The Birds will lift you off your feet and carry you away to a lush world of cathartic, sun-kissed musical pleasure.

SR002 marks the label's return with a 4-track VA release curated to contrast subtle nuances between transient moments of heavy and light, percussive and driving. Housing two arresting debut vinyl productions, SR002 showcases sonic versatility from both fresh perspectives of newcomers and respected producers. Each track is linked through poised sound-design from the deep corners of techno.

SEXYRECS entices an intimate, steamy club setting with SR002.

Depth.Request proudly announces the debut full-length album from French electronic artist Pierre Berge-Cia - a culmination of two years of dedicated experimentation and creative exploration. This inaugural LP represents a significant milestone in Pierre Berge-Cia's musical journey, showcasing his innovative approach to electronic music.

Crafted through experimental processes and delving into themes of tension, control, and movement, "If You Do, Then When?" unfolds as a visceral journey through the complexities of bodily and sensory experience. Each track is designed to reflect the human body in all its shapes and forms, using innovative sounds and structures to evoke physicality and movement, and aiming to resonate with listeners on a deeply corporeal level.

The album was produced using a combination of the Elektron Digitone synth, a Mackie CR1604 mixer, a Shure SM57 microphone, and a limited selection of digital plugins to maintain sonic consistency. Mastering was handled by Pierre's close friend, Stefan Brown - also known as "Lesser Of". His expertise as a top-tier sound engineer at Abbey Road Studios helped shape the LP's pristine and powerful sound identity. Additionally, the tracks were tested and refined using some of the electronic scene's most beloved sound systems, ensuring an impactful club experience.

The album's artwork, created by Pierre Berge-Cia himself, is a reinterpretation of one of his favorite art performances: "Rest Energy" by Marina Abramovic and Ulay. The tension of the drawn bow and the close-up framing of the subject evoke a palpable sense of danger and emotional intensity, mirroring the physical and psychological strains within human connection. Pierre used his own hands as the model, infusing the artwork with a deeply personal and intimate touch that amplifies the psychic gravity and thematic cohesion of the album.

Pierre Berge-Cia's debut LP is a multi-sensory experience that challenges listeners to feel sound in its most physical and affective form.