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Vinyl release compiling both Nukuluk EPs on one LP. Curating their own unique sound and captivating crowds with their refreshing approach to hip-hop, electronica and indie, Nukuluk return with their new EP ‘SUPERGLUE’ on 21 April. The writing and recording process has never been executed in a conventional style for the group, a series of laptops and bedrooms manifesting the groups’ studio, aspiring to a fundamentally collaborative process as they piece their separate parts together in ever surprising ways. Respective members lead through a variety of formats, bringing a demo, a motif or concept in what can be a deeply stimulating process, ensuring the sound is ever-evolving. The EP acted as an educational vehicle that held the group together as they learned how to overcome certain challenges, and hold it together as one, hence the title SUPERGLUE. It presents a fractured journey and chaotic growth of five individuals trying to create the new together; honest vulnerable expression married with complex soundscapes, pulling from whatever genre feels natural and trying new combinations of internal collaborations in the group. The release spans genres from hip-hop to alternative rock, ambient to metal, dance music to r’n’b in what the band note as: “a kaleidoscope of sonics, songs, beats, noises and stories lurching between vulnerability and bravado, as a body of work growing in all directions at the same time.” Their latest single ‘I Just Wanna Luv U’, the follow up to the high octane ‘Covered In Gold’, marks a charged change of pace; an introspective, meditative trip-hop piece, with creeping synths, electronic drums and gruff vocals transitioning into acoustic guitars, live drums and rap verses. It tells the story of wrestling with childhood trauma, isolation and self-acceptance. Vocalist/producer Syd Nuku explores an eerie modern condition before conversing with an inner child’s trauma and memory - “be slow kid, go and take a place below the ceiling where it won’t fall”. The accompanying video was co-directed by Luke Kulukundis (Syd Nuku) and Iso Attrill, and takes reference from the likes of Michel Gondry, Charlie Kaufman and David Lynch. Nukuluk are Monika, Syd, Mateo, Louis and olivia. Entirely self made the collective successfully blend genres and styles to reach new spaces through a broad range of influences (including JPEGMAFIA, Jockstrap, SOPHIE, Wu-Lu and Yves Tumor as well as esteemed groups like Massive Attack, Portishead and Gorillaz). Formed in the midst of lockdown, the collective played their first show in July 2021 before releasing their debut EP DISASTER POP to critical acclaim in November, which subsequently led to multiple festival appearances and a 3-night sold out residency at Bermondsey Social Club in 2022. Their release campaign was littered with videos and creative visuals that were constructed by the collective and its extended family of artists - this multifaceted creative output of the group making them a unique prospect; directing and producing their own videos, exploring many avenues of creation and trying to exist in a unique contemporary DIY space. With nods across the spectrum of the music media – including The Quietus, CLASH, NME, Ransom Note, DIY, DORK, So Young and many more – Nukuluk are steadily carving out their own space in the British leftfield.

Klang ihre erste EP Piccolo Family noch wie ein Schrei der Ermächtigung, so haben Bipolar Feminin sich seither durch ihre mitreißenden Live-Gigs eine leidenschaftliche Anhänger*innenschaft erspielt, sind tatsächlich zu einer Art Macht geworden. "Wir spüren jetzt eine andere Form von Verantwortung", sagt die Band, "Durch die veränderte Reichweite ist es für uns wichtiger geworden, uns intensiver mit der Musik und dem Texten auseinanderzusetzen. Die Arbeit ist bewusster und reflektierter geworden. Ein immer fortlaufender Prozess." Um dabei nicht im eigenen Saft zu braten, haben Frontfrau Leni Ulrich, Jakob Brejcha (Gitarre), Samuel Reisenbichler (Schlagzeug) und Max Ulrich (Bass) sich mit Produzent FAZO666FAZO (u.a. Baits, DEATHDEATHDEATH) zusammengetan. Ein fragiles System enthält zehn hochgradig mitsingbare Konfrontationen mit der Bipolarität von Wut und Liebe.

So habt ihr Def Leppard noch nie gehört: mit dem Royal Philharmonic Orchestra interpretieren die britischen Heavy Metal Ikonen ihre größten Hits und persönlichen Favoriten neu. ”Drastic Symphonies” enthält die besten Songs von Def Leppard größer und mitreißender als je zuvor und erscheint nun in mehreren Vinyl- und CD-Versionen.

”Wir wollten nicht einfach nur das Orchester über unsere bisherigen Aufnahmen klatschen”, erklärt Gitarrist Phil Collen. ”Wir haben neue Parts eingespielt, bestehende Sounds neu abgemischt, teils
unsere Instrumente rausgenommen, um dem Orchester Raum zum Atmen zu geben – also buchstäblich ein neues Album gemacht.” Ein ganz besonderer Clou: an einigen Stellen duettiert Sänger Joe Elliott sogar mit seinem 22-jährigen Selbst!

Das Album ist nun als 1CD, Ltd. 1CD + Blu-ray und als Ltd. Edt. 2LP erhältlich.

Power, Pain, Privilege is Specimens fourth album & most personal work to date, it follows up on his collaboration album ‘Intersections’ with Peter Broderick, Benoît Pioulard, Midori Hirano & Emilie Levienaise-Farrouch.

Power, Pain, Privilege is a commissioned piece by London’s Southbank Centre and is an abstract sonic exploration of biracial identity, in its historicity as well as through the lens of Ives’ own personal experience of being British-Jamaican. The album is a departure from his largely ambient work and explores haunted and twisted dancehall rhythms, industrial drones, and spoken word pieces that track a course through painful incidents of imposter syndrome, shame, privilege & racism.

The album opens with a computerised robotic voice reading excerpts of the 1930s Fletcher Report: “an Investigation into the Colour Problem in Liverpool and other ports” a report which heavily stigmatises children and mixed heritage families of African and European origin. It could be deemed the official outset in defining Liverpool's ‘half castes’ as a problem and blight to the “British way of life”. Ives’ states “this track sets the tone to the album, the cold analytical and dehumanising approach to reports like this, whilst over 80 years old set the standard for viewing biracial families and to have used a Human voice to recite these pieces of text would have been to give it too much life”

The album is accompanied by a film directed by the photographer & director Lucie Rox which was live scored at The Southbank Centre in London and in Paris at 3537.

Very Limited GREEN SKULL Vinyl.
Standing in a Greyhound Bus station, wearing a Sylvester t-shirt and huge duct-tape-covered glasses, Baltimore ’s Dan Deacon doesn't invoke the image of a composer to the other bus riders. The two suitcases he loads under the bus, which accompany him from city to city, hold the sweat-and-grime-soaked electronics that he uses to craft his raging, maxed-out party music and light show. After 12 tours and 300+ shows in little over 2 years, the gear is beaten and battered, but the show and the energy it produces is anything but.

Dan Deacon has garnered a reputation in the underground as an intense performer and classic showman. The table top full of pedals, a sine wave generator, vocoder and casio blasting through the PA, joined by a makeshift light board with various bulbs and green skull strobe light, make his all out dance-til-you-drop performance a complete experience.

But it isn't all fancy feet and bouncy beats. Deacon is a classically trained composer with a Masters degree in electro-acoustic composition. He has released 7 albums from 2003 to 2006, but those self-produced recordings do not contain the vocal-based experimental pop that he has fine-tuned in live performance. His latest full length, Spiderman of the Rings is the first album bridging the gap between party performer and genuine composer. A mixture of his live show dance anthems, intricate instrumentals and humorous monologues, Spiderman of the Rings establishes Dan Deacon as a new type of entertainer in the contemporary underground.

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Fresh out of high school, Hannah Jadagu released her debut EP, What Is Going On?, a collection of intimate bedroom pop tracks recorded entirely on an iPhone 7, which was, at the time, Jadagu's most accessible mode of production. An off-the-cuff approach to music making and instinctive ability to write unforgettable hooks belied the intensity of Jadagu's subject matter. What Is Going On? confronted some of the nation's most urgent struggles through Jadagu's compassionate perspective. What Is Going On? built on the small online fanbase Jadagu had developed by releasing music on SoundCloud for years as she realized her growing passion for songwriting. Now, Jadagu is releasing Aperture, her first LP and most ambitious work to date. Written in the years between graduating from high school in Mesquite, TX and her sophomore year of college in New York, Aperture finds Jadagu in a state of transition. "Where I grew up, everyone is Christian; even if you don't go to church, you're still practicing in some form," Jadagu says, laughing. "Moving out of my small hometown has made me reflect on how embedded Christianity is in the culture down there, and though I've been questioning my relationship to the church since high school, it's definitely a theme on this album, but so is family." As a kid, Jadagu followed her older sister - a major source of inspiration - to a local children's chorus, where she received choral training. "I hated it," Jadagu admits. "But it taught me how to harmonize, how to discover my tone, how to recognize and write melody." The aching single "Admit It" is dedicated to Jadagu's sister, whose love and impeccable taste have been a constant since Jadagu was a kid. The siblings were raised on mom's Young Money mixtapes and the Black Eyed Peas (to whom Hannah credits her love of vocoder) but it was in the sanctity of her sister's car that Jadagu discovered the indie artists who inspire her work. With Aperture, Jadagu faced the challenge of finding a co-producer capable of complementing her work without dominating it. Enter Max Robert Baby, a French songwriter and producer who captured Jadagu's attention with his take on Aperture's lead single "Say It Now." The duo worked remotely, sending stems to one another via email, before meeting in-person for the first time at Greasy Studios on the outskirts of Paris. "When I recorded my EP, it was all MIDI, but in the studio Max and I worked with a ton of analog instruments," Jadagu says. "Every track on this album, except for 'Admit It,' was written first on guitar. But the blanket of synths throughout helps me move between sensibilities. There's rock Hannah, there's hip-hop Hannah, and so on. I didn't want any of the songs to sound too alike." An aperture is defined as an opening, a hole, a gap. On a camera, it's the mechanism that light passes through, allowing a photographer to immortalize a moment in time. For Jadagu, the word perfectly encapsulates the mood of her debut album. In the years it took her to complete, she faced moments of darkness, sure, but the process of making it was ultimately a cathartic experience, one she now shares with you. Let the light in.

Tape

Fresh out of high school, Hannah Jadagu released her debut EP, What Is Going On?, a collection of intimate bedroom pop tracks recorded entirely on an iPhone 7, which was, at the time, Jadagu's most accessible mode of production. An off-the-cuff approach to music making and instinctive ability to write unforgettable hooks belied the intensity of Jadagu's subject matter. What Is Going On? confronted some of the nation's most urgent struggles through Jadagu's compassionate perspective. What Is Going On? built on the small online fanbase Jadagu had developed by releasing music on SoundCloud for years as she realized her growing passion for songwriting. Now, Jadagu is releasing Aperture, her first LP and most ambitious work to date. Written in the years between graduating from high school in Mesquite, TX and her sophomore year of college in New York, Aperture finds Jadagu in a state of transition. "Where I grew up, everyone is Christian; even if you don't go to church, you're still practicing in some form," Jadagu says, laughing. "Moving out of my small hometown has made me reflect on how embedded Christianity is in the culture down there, and though I've been questioning my relationship to the church since high school, it's definitely a theme on this album, but so is family." As a kid, Jadagu followed her older sister - a major source of inspiration - to a local children's chorus, where she received choral training. "I hated it," Jadagu admits. "But it taught me how to harmonize, how to discover my tone, how to recognize and write melody." The aching single "Admit It" is dedicated to Jadagu's sister, whose love and impeccable taste have been a constant since Jadagu was a kid. The siblings were raised on mom's Young Money mixtapes and the Black Eyed Peas (to whom Hannah credits her love of vocoder) but it was in the sanctity of her sister's car that Jadagu discovered the indie artists who inspire her work. With Aperture, Jadagu faced the challenge of finding a co-producer capable of complementing her work without dominating it. Enter Max Robert Baby, a French songwriter and producer who captured Jadagu's attention with his take on Aperture's lead single "Say It Now." The duo worked remotely, sending stems to one another via email, before meeting in-person for the first time at Greasy Studios on the outskirts of Paris. "When I recorded my EP, it was all MIDI, but in the studio Max and I worked with a ton of analog instruments," Jadagu says. "Every track on this album, except for 'Admit It,' was written first on guitar. But the blanket of synths throughout helps me move between sensibilities. There's rock Hannah, there's hip-hop Hannah, and so on. I didn't want any of the songs to sound too alike." An aperture is defined as an opening, a hole, a gap. On a camera, it's the mechanism that light passes through, allowing a photographer to immortalize a moment in time. For Jadagu, the word perfectly encapsulates the mood of her debut album. In the years it took her to complete, she faced moments of darkness, sure, but the process of making it was ultimately a cathartic experience, one she now shares with you. Let the light in.

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

Mit seinem frischen Blend aus Reggae und Hip-Hop gelang dem Jamaikaner Kabaka Pyramid mit seinem Debütalbum 'Kontraband' (2018) ein Überraschungserfolg, an den der Nachfolger 'The Kalling' nun ansetzt. Das Meisterwerk, produziert von Damian und Stephen Marley, Young Pow und Kabaka Pyramid, gewann dieses Jahr den Grammy für 'Best Reggae Album'. Diese Symphonie von 15 Songs hebt den Reichtum der Reggae-Musik hervor, von der scharfen Perfektion von Percussion und Bass bis zu ikonischen Tunes von Junior Byles ('Faded Away' ft. Buju Banton), Peter Tosh ('Mystic Man') und Eddie Fitzroy ('EZ Ride'). Features kommen u.a. von Protoje, Jemere Morgan, Black-Am-I, Jesse Royal und den Marley-Brüdern.















[o] D3. Kontraband, Pt. 2 (feat. Damian Marley) [Bonus Track]

Der Gitarrist Jesse J. Heikkinen (The Abbey, Iterum Nata) und der Sänger King Aleijster de Satan (King Satan, Saturnian Mist) haben sich zusammengetan, um ein bewusstseinsveränderndes, progressives Black-Metal-Projekt zu gründen: HENGET. Inspiriert von der Welt des Okkulten und den Wegen des alten Schamanismus, beschreibt 'Beyond North Star' eine gewaltige halluzinatorische Reise in die Tiefen des Geistes und darüber hinaus - mit psychedelischen und synkretistischen Aussichten.

FFO: Imperial Triumphant, Oranssi Pazuzu, Dodheimsgård, Blut Aus Nord, Enslaved

After releasing their debut project “Voyage” in 2022, Tapioca, the Brussels-Kigali-based, Brazil-inspired duo return with LP “Samba em Kigali.” Building on their sound and influence, “Samba em Kigali” is a definitive step up and clear sonic growth for the twosome, whose debut, RA wrote, is "if Anderson Paak. & Marco Valle made a Brazilian pop-funk record.” Arriving via Berlin’s Jakarta Records May 19th.

Tapioca (32k Monthly Listeners on Spotify), the Belgian duo made of rapper / lyricist Alessandro “Le Tagarel” Vlerick and producer & composer Simon “SiKa” Carlier, tapped into a unique and infectious groove with their debut LP “Voyage,” released in 2022 via Jakarta Records’ “Dubplates” series. Positive reviews came flooding in, including coverage from, among others, BBC Radio 6, KCRW, Resident Advisor, JAZZIZ as well as performances and features on Worldwide FM and Bandcamp Daily. Their debut also landed on global editorial playlists such as Spotify’s “Global Groove,” (600k) “Tulum Vibes” (110k) and Deezer’s “Chilling Pool” (31k). “Voyage,” as the name indicates, was an ode to freedom, escape and the discovery of alternative cultural horizons that brought together various spoken-word testimonies from Portuguese friends around the world. Tapioca’s upcoming LP, “Samba em Kigali,” picks up the thread where “Voyage” left off, acting as an ode to traveling and, more broadly, of the inherent beauty of the African continent. Le Tagarel has worked as a teacher in Kigali, Ruanda, for the past years and his time there is reflected in the album’s buttery lyricism, putting forth the proposition that Africa and Brazil are in fact not so far apart - Africa is, and will always be, present in Brazilian culture. Featuring the Dillaesque sound infused with inspiration from rap, jazz, MPB and funk of the 70/80’s to the stunningly fleshed out lyricism - the LP sways like a ship on the smoothest of seas, a pure ray of aural sunshine to welcome the warm weather. Artwork was stunningly put together by Simone Cihlar (Anderson Paak. Tom Misch, Ivan Ave) and visualizers done by the stalwart crew at Die Ottos (Flofilz, K Le Maestro, Suff Daddy, S.Fidelity, Gianni Brezzo). Jakarta is ecstatic to share such a high-water mark of an album, out everywhere physically / digitally May 19th.

Kicking off “Samba em Kigali” is the impeccably smooth 1st single, “Lagoas de Ruanda” out March 22nd along with LP pre-order announcement. Instantly catchy, the crisp guitar, funky bass and buoyant underlying percussion are the perfect vitamin of joy that gives rise to Le Tagarel’s vocals. The track is a perfect sonic voyage that encapsulates the continued growth of Tapioca’s sound and gives a sonic peek into the LP. Infectious and groovy, the song skirts a line along samba, R&B and jazz with an almost hip-hop bounce.

2nd single, “Sabor Swahili,” out April 12th, is a nostalgic groovy splash that melds soft keys, bass and a percussive edge that slides you into an aural pocket. The song moves in a joyous melancholy that is almost impossible to move to, the under-water synth stabs keep your shoulders loose while the rhythm keeps you bouncing along. Even if you don’t know Portuguese, you’ll be singing along by the tracks end. The joyous 3rd single “Terra Preta” is out April 26th and will lift you up high to keep you in a serene mood anytime, anywhere. Focus track is the headnodding grooves of “Cara de Arabe.” Building from “Voyage,” Tapioca provides a fresh, rare vibe, adding a slight dose of disco to the R&B-driven progressions. “Samba em Kigali” is a unique album that is soaked and marinated in a sonic and visual aesthetic that brings with it feelings of joy, movement, and a global home, and sonic moods ranging from Bruno Berle and Marcos Valle inspired arrangements to bouncing progressions with a swingin’ percussive edge. Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US and UK.

Die Singer-Songwriterin, Multiinstrumentalistin und Produzentin Lindsay Olsen aus der Bay Area ist der brillante Kopf hinter dem schrägen und magischen Projekt Salami Rose Joe Louis. Auf der Grundlage ihres Studiums der Planetenwissenschaften erschafft sie eine einzigartige Erfahrung: Sie erforscht Ideen von Multiversen und Klimawandel durch die Linse eines fiktiven postapokalyptischen Erdenbürgers mit Keyboard, einer Taschenlampe, einer Dose Cashews und einem hoffnungsvollen Optimismus. Durch die Verschmelzung von Einflüssen aus Jazz, Rock und Hiphop, wie bspw. Shuggie Otis, Captain Beefheart, Stereolab oder R. Stevie Moore, schafft sie eine einzigartige Mischung aus experimentellen Klängen aus der Galaxis mit jazzbeeinflusstem Gesang und Keyboard.
Das neue Album folgt auf kürzliche Kollaborationen mit Toro Y Moi oder Alice Phoebe Lou für ihr Strongboi-Projekt, auf einen Remix für die Brainfeeder-Labelbuddies von Hiatus Kaiyote und auf die Mitwirkung am Song „Scapegoat“ des mit einem GRAMMY ausgezeichneten Rappers Baby Keem. Olsen hatte außerdem die Ehre, mit Flying Lotus, The Cinematic Orchestra, Toro Y Moi, TuneYards, Clairo, MNDSGN, Homeshake, The Comet is Coming und Still Woozy zu touren. „Akousmatikous“ ist die erzählerische Fortsetzung von ihrem letzten Studio-Album: Nachdem das Metropolis-Raumschiff am Ende von „Zdenka 2080“ auf die Erde gestürzt ist, kommt es zu einem dimensionalen Kollaps. In der Folge verwandeln sich die Köpfe und Hände der Erdbewohner:innen in Bildschirme, womit das neue Album beginnt. Die Erdbewohner:innen stecken in einer nicht enden wollenden Video-Feedback-Schleife zwischen ihren Köpfen und Händen fest. Ein interdimensionales Wesen, Zeeanori, manipuliert diese Rückkopplungsschleife, weil es will, dass die Pflanzen die Erde zurückerobern und die Natur wieder blüht und gesund wird. Ein alter Freund und frühere Liebe des Monsters, Akousmatikous (von einem fernen Planeten), kommt auf die Erde, um es zu sprechen, weil er neugierig auf seine Motive und die komplizierte ethische Situation ist. Akousmatikous stimmt zu, dass die Natur schön sein und blühen wird, ist aber besorgt über das Schicksal der Erdbewohner:innen, die in unendlichen Rückkopplungsschleifen gefangen sind. Akousmatikous hofft auf eine Lösung, die für jedes Wesen und jede Entität von Vorteil sein kann, einen Weg zur Symbiose.

First released back in the fall of 1989, the In Order To Dance album was a compilation LP that pulled together tracks from a
select band of electronic producers, pushing the boundaries of the house and electronic music that was in its infancy stage.
Released on the R&S Records label, the IOTD series would become pivotal in the development of the electronic music scene
at large.
The world of music is a constant shape shifting, trend moving behemoth. Style may come and go (and come back around
again), stars are made, stars can fall. But the ethos behind In Order To Dance remains the same as it ever has, with a fierce
independent spirit, and a pledge to bring forward the next generation of young artists and their music. And so, here we arrive
at a new collection, fresh for 2023, and just in time for the labels 40th anniversary year, and with the ardent A&R’ing of label
founder Renaat Vandepapeliere, a selection of new tunes is assembled to reinforce the strength and power to be found within
music.
Across thirteen tracks, a squad of refreshingly contemporary producers from around the globe are brought together under the
In Order To Dance banner. Ushering the series into a new era, new variations on the electronic genre and fresh ideas are
fused into a delightfully engaging collection of tracks. There’s deep breakbeats courtesy of UK producer Dharma, smooth and
dubby live action from Saytek and complex bass heavy rhythms from Vromm. There’s esoteric electronics from Hyphen, epic
piano driven deep house from Dino Lenny and swinging jazzy breaks from Nphonix & Matrika. Paul Roux’s melancholic
‘Bapteme’ unfurls waves of deft pianos and guitar swirls over taunt beats, and a driving electro tone is set on Acidulant’s
contribution. Intoxicating rave tropes and hefty breaks come courtesy of Pascal Nuzzo and Adam Antine delivers a wall of
sound anchored by shuffling, funky beats on ‘Sortavala’.
And to accompany the new wave of In Order To Dance, a series of music videos have been produced. Acclaimed artists and
video directors, including Alessandro Amaducci, Ben Marlowe and Gala Mirissa, have all stamped their digital artistic
visions onto these stunning compositions, synching audio and visual for a multi-sensory experience!
‘In Order To Dance 4.0’ by Various Artists is available on R&S Records from 14th April 2023 on 3LP vinyl, download &
streaming services.

The latest venture in the ToneShift imprint from UK-based label Comma Traxx welcomes emkay and Janthe to the Comma releases catalogue alongside label boss Hannd and frequent releaser Cosmic G. Each track stands out individually but works together seamlessly to create a complete compilation package. Hannd’s ‘Ratio Extract’ acts as the modernized progressive house representative on the VA, merging intricate sound design with developing goa’esque melodies forming a fine line between euphoric uplift and rolling peak time ammo. emkay’s ‘Rays Of The Sublime’ does as the title suggests, sending the listener into an uplifting state of bliss, combining raw break percussion with intricate synth developments - a strong representation of why the talented producer is a name to be reckoned with at the moment. Cosmic G draws on old-school goa trance influences for ‘Life Pride’ fusing tribalistic percussions tastefully immersed with deep and atmospheric sound design. Janthe’s ‘Conversations’ blends dubbed-out house flavours with prog-like rhythms to bring the fantastic finishing piece to the compilation puzzle.

The Emergency Declaration has been issued, so... past iron up... between iron chan... it is commonly known as the limited express... the chill system (Red Belt) + (Blue Belt) formation crab-crab. Limited operation @ Sultan Al Sham, Magnetic Dress, and Dedicated Computer Realm.

Vic Spencer’s unconventional rap style coupled with his consistent output has made his name synonymous with the new era of underground Hip-Hop. And while 38 Spesh may be best known for his bars, he has built up a production resume that puts him in the company of the best beatmakers in the industry. Yet, neither of their fanbases know how closely affiliated they are, so Greenthumbs Meets Trigger Fingers comes as a complete surprise. This project is a concentrated shot of both artists’ flavor that will have listeners fiending for more. The LP features guest spots from Rome Streetz, The Musalini, Rasheed Chappell, and Risktaker.

End of Everything is the intrepid seventh album from Mega Bog, a nightmarish experimental pop ensemble led by Erin Elizabeth Birgy. In 2020, Birgy was surrounded by seemingly endless turmoil: mass death, a burning planet, and a personal reckoning when past traumas met fresh ones. Living in Los Angeles, against the backdrop of brilliantly horrifying forest fires, she questioned what perspective to use moving forward in such dumbfounded awe. Deciding to seize something tangible, she produced a record that spoke of surrender, of mourning, and support in the face of tumultuous self-reflection. Writing on piano and synthesizer, instead of the familiar guitar, Birgy explored a spectrum of new sounds to illuminate a state of volatility and flux that was both universal and personal. Speaking of this transition, she describes the need “to feel… instantly. I didn’t want to dig into secret codes. I no longer wanted to hide behind difficult music. I was curious to give others the same with the music I create; to make music someone could use to explore drama, playfulness, and dancing, to shake the trauma loose.” Heavy grooves, metal guitar squeals, Italo disco bass lines, rhapsodic synth layers, and huge choruses stomp around the delightfully sanguine pop drama. Where previous records stretched out into the abstract and ethereal, End of Everything delivers a hit straight to collective awareness and healing. A seemingly disparate jukebox of sounds – ranging from Thin Lizzy, Bronski Beat, Franco Battiato and Ozzy Osbourne to 90’s house classics like Haddaway’s ‘What is Love’ and Corona's ‘Rhythm of the Night’ - foregrounded a new punchy theatricality in Birgy’s music. The songs she was creating at home followed suit with bolder hooks and more dancefloor energy than she’d ever dared before.

This track is a huge Detroit synth- / strings affair in the fashion of Los Hermanos. The kick drum is very hard. With the bassline, you sometimes have three melodies at once. Very groovy and funky track, highly danceable. Perfect for outdoor events because of its rather buoyant character.

The talent on this Repressing is monumental Optic Nerve, Strand, Posatronix and Marty Bonds. This is a must have repressing that has been requested to be repressed by the most popular dj’s in the business. Dedicated to Juan Atkins and the spirit of Metroplex Records. This ep was originally called the Metroplex Social Club.

"Into The Abyss", the new album by Joel Holmes (former band leader of Carl Craig's synthesizer ensemble and member of Grammy-nominated cult band Roy Hargrove) is a perfect capturing of Berlin's new jazz and electronic scene.

»Tabulatura« is a 2008 indeterminate composition for sixteen pre-recorded guitar parts and computer with custom software. It is conceived as a system to generate different acoustic patterns.

The »Volume 2« documents eight pieces recorded live at Palazzo Castagna, Città Sant'Angelo, Italy, in November 2020. The album was recorded on two-track, directly on hard drive, without DSP and overdubs.

Emiliano Romanelli (b. 1979) is an Italian musician with a background in visual art. His work includes sound installation, live performance and composition. His recordings are published by Terziruolo, Cassauna and Senufo Editions. Romanelli has been co-founder of the duo Tu m' (1998–2011).

After a creative break of more than 10 years the Contemporary Noise Ensemble returns with the brand new album called »An Excellent Spiritual Serviceman«. With the band’s line-up reduced and the sound of the brass section replaced with programmable synthesizers comes an entirely new sound of the band’s music. Leaning towards composition instead of improvisation the music is now less jazzy sounding - with electric bass being used instead of double bass and drums actually being the only strictly acoustical instrument. But then again you can hear a lot of other prerecorded instruments like marimba, vibraphone, Rhodes and upright pianos surrounded by arpeggiated synths and other programmable electronic instruments.

The album takes you to a journey through jazz, space rock, funk and electronic music with a destination in a form of a rock song which is as well the title song of the album. The Contemporary Noise Ensemble still impresses with maturity and class.

Ten years ago, Parish Bracha anonymously released his Disconscious album Hologram Plaza, significantly influencing the still nascent Vaporwave scene. He continued producing a number of disparate anonymous projects until Cascade II was released in 2020 on Arca's Mutant Mixtape.

Cascades of Refinement, which includes the single Cascade II, is Parish's debut album released under his own name and his focus on the dialogue between the digital and the organic continues. The techniques that defined his influential early sound have been refined into a flawless hybrid of analog and digital textures which give his post-minimalist compositions an unmistakably personal expressivity.

Classical instruments are mutilated and transmuted into razor-sharp shards of glass suspended on piano wire above warped opalescent metal while never losing sight of their tonal integrity. Much like the impartial juxtaposition Parish employs in his timbral exploration, each composition explores the concepts of beauty and gentleness through and with extremity, violence, and chaos as equal counterparts, with each successive piece refining and relieving the artificial tension between these states. Employing use of the Una Corda, prepared piano, bowed piano, plucked piano, harpsichord, church organ, untuned violin, voice, synthesizers, and resampled field recordings, Cascades of Refinement lies somewhere in the indefinite space between acoustic and electronic and is beholden to neither.

Parish's initial electroacoustic experiments with piano and strings were interrupted by the pandemic lockdown when he was limited to sampled instrumentation and digital processing available on a computer. Out of this necessity evolved an appreciation for the incidental nature of digitally sampled acoustic instrumentation and the unpredictability of its interaction with digital signal processing.

As work on Cascades of Refinement continued and acoustic recording was reintroduced, the focus turned to the tension between recorded and sampled instrumentation, with the goal of integrating the two into a singular indistinguishable material to be warped and shaped together. Each of the four pieces of the Cascade series explore this tension, successively integrating and collapsing their distinction with each piece.

The subtle artifacts of digital processing and incidental mechanical sounds of the acoustic are amplified and given presence alongside the tonal elements of each piece until a point of indivisibility is reached. The sound of a bow scraping along a string or a granular buffer freezing are neither discarded nor hidden, but selected as the ripest material to accompany and structure each composition. Cascades of Refinement is a dialogue between organic and digital, between the mercurial and infinitely reproducible, not as opposites, but as mereologically cohabiting counterparts with equal expressivity.

Nach ihrem Hit 'Funky Worm' verließen die Ohio Players Westbound Records und ihr Keyboarder und Sänger Junie verließ die Band. Es folgte eine Solokarriere, die weniger kommerziell aber musikalisch faszinierend war. Er nahm drei Soloalben für Westbound auf, wobei 'Freeze' der unmittelbare Nachfolger seines Debüts 'When We Do' war. Aufgenommen im renommierten Ardent Studio in Memphis, spielte Junie jedes Instrument, von traditionellem Rhythmus-Backing bis hin zum Sperrfeuer neuester Synthesizer-Technologie. Das Ergebnis war ein Avant-Funk-Meisterwerk, das vom erhabenen 'Not As Good As You Should' bis zum wilden 'Granny's Funky Rolls Royce' reichte. Später wechselte er dann zu Funkadelic und sollte dort u.a. an dem Hit 'One Nation Under The Groove' beteiligt sein.

"Sven Helbig writes symphonies for the here and now: Orchestra meets Electronics in Song format

The Pocket Symphonies are a coherent cycle of 12 compositions for orchestra and piano quartet in which the composer Sven Helbig pursues the idea of creating symphonic pearls in the form of songs: short, catchy and yet possessing the impact and depth of great classical symphonies. The Pocket Symphonies were recorded by the MDR Symphony Orchestra under the direction of Kristjan Järvi and with the Fauré Quartet as soloists. "

It’s always a joy to release music from friends, and ZamZam 91 is our first collab with a dear one, Jim Coles AKA Om Unit. It’s impossible to frame the breadth and depth of such a storied career in bass music in just a couple lines- so suffice to say that releases over decades on a who’s-who of seminal labels including Exit, Fabric, Planet Mu and of course his own Cosmic Bridge have cemented his rep as an absolute force in production and DJing across any number of genres and sub genres.

Coles’ roots in Bristol and deep love of dub and reggae - made beautifully explicit on his recent Acid Dub Studies LPs - come through strong on both sides. “The Canopy (Armageddon Style)” opens with ravey, arpeggiated synths worthy of Vangelis, punctuated by a brooding piano chord, building steadily into a dark and utterly apocalyptic steppers guaranteed to storm & batter down Babylon walls inside and out.

“Mystic 808” is a deep meditation, a slow stepper that ices down the furious energy of the A side and drops the tempo to suit. Recalling the heady days of original late 90s/early 2000s UK Dub - as well as early dub techno - stabs and melody caress, restrained percussion swims and multiplies in reverb and echo, orbits locked to the gravitational force of the massive and truly timeless bassline. Proper sound system material that will satisfy the heart and soul long after the dance is done.

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

We are delighted to announce that the highly anticipated collaboration between Timo Maas and Marc Romboy, "Die Zeit," will be released on a limited color splatter vinyl. This 12" release features a powerful combination of progressive tech beats and a thought-provoking German female vocal sample, making it a must-have for fans of both artists.

"Die Zeit" is the result of a spontaneous studio session following the duo's back-to-back DJ set at the end of 2022. The track showcases the immense talent of both Maas and Romboy as they explore new creative territories together.

Der Gitarrist Jesse J. Heikkinen (The Abbey, Iterum Nata) und der Sänger King Aleijster de Satan (King Satan, Saturnian Mist) haben sich zusammengetan, um ein bewusstseinsveränderndes, progressives Black-Metal-Projekt zu gründen: HENGET. Inspiriert von der Welt des Okkulten und den Wegen des alten Schamanismus, beschreibt 'Beyond North Star' eine gewaltige halluzinatorische Reise in die Tiefen des Geistes und darüber hinaus - mit psychedelischen und synkretistischen Aussichten.

FFO: Imperial Triumphant, Oranssi Pazuzu, Dodheimsgård, Blut Aus Nord, Enslaved

Packed full of bonus content, the album has had a fresh 2023 Stereo Remix by Mike Hunter, liner notes by Rich Wilson, and brand-new artwork. Originally released in 1989, Seasons End was Marillion’s fifth studio album and first with Steve Hogarth fronting the band, following the departure of former frontman Fish, spanning three singles; Hooks In You, The Uninvited Guest and Easter which all went on to chart in the UK. As well as a change in vocals, Seasons End also marked a change in visual identity with the band, which has been reflected in the 2023 deluxe edition of the album. At the time there was a desire for a change of direc-tion from the more illustrative style of Mark Wilkinson’s artwork & logo, replacing that with a more photo-graphic graphic style provided by Bill Smith Studio & Carl Glover who went on to work with the band over the coming years. A new direction began, with Steve Hogarth now fronting the band, and with this first release of Seasons End there was a need to retain some familiar elements for existing fans of the band, so a decision was made to carry through the original logo & some nods to previous artworks. The 2023 Deluxe Edition has taken on another new approach, which took some of the original artwork ele-ments without the need for older logos and imagery - presented in a slightly different form. Based around the four main elements of Earth, Air, Fire & Water, from the original cover concept, the rectangular panels became triangular as these elements are often depicted in symbology. The panels are sat in a background with an ab-stract representation of the space out of which these elements are born, giving it all a more universal feel. A whole range of new images were then created for each of the ten tracks using the same abstract painted col-lage style to tie it all together as content for these extended art books that accompany the 2023 releases.

Packed full of bonus content, the album has had a fresh 2023 Stereo Remix by Mike Hunter, liner notes by Rich Wilson, and brand-new artwork. Originally released in 1989, Seasons End was Marillion’s fifth studio album and first with Steve Hogarth fronting the band, following the departure of former frontman Fish, spanning three singles; Hooks In You, The Uninvited Guest and Easter which all went on to chart in the UK. As well as a change in vocals, Seasons End also marked a change in visual identity with the band, which has been reflected in the 2023 deluxe edition of the album. At the time there was a desire for a change of direc-tion from the more illustrative style of Mark Wilkinson’s artwork & logo, replacing that with a more photo-graphic graphic style provided by Bill Smith Studio & Carl Glover who went on to work with the band over the coming years. A new direction began, with Steve Hogarth now fronting the band, and with this first release of Seasons End there was a need to retain some familiar elements for existing fans of the band, so a decision was made to carry through the original logo & some nods to previous artworks. The 2023 Deluxe Edition has taken on another new approach, which took some of the original artwork ele-ments without the need for older logos and imagery - presented in a slightly different form. Based around the four main elements of Earth, Air, Fire & Water, from the original cover concept, the rectangular panels became triangular as these elements are often depicted in symbology. The panels are sat in a background with an ab-stract representation of the space out of which these elements are born, giving it all a more universal feel. A whole range of new images were then created for each of the ten tracks using the same abstract painted col-lage style to tie it all together as content for these extended art books that accompany the 2023 releases.

So habt ihr Def Leppard noch nie gehört: mit dem Royal Philharmonic Orchestra interpretieren die britischen Heavy Metal Ikonen ihre größten Hits und persönlichen Favoriten neu. ”Drastic Symphonies” enthält die besten Songs von Def Leppard größer und mitreißender als je zuvor und erscheint nun in mehreren Vinyl- und CD-Versionen.

”Wir wollten nicht einfach nur das Orchester über unsere bisherigen Aufnahmen klatschen”, erklärt Gitarrist Phil Collen. ”Wir haben neue Parts eingespielt, bestehende Sounds neu abgemischt, teils
unsere Instrumente rausgenommen, um dem Orchester Raum zum Atmen zu geben – also buchstäblich ein neues Album gemacht.” Ein ganz besonderer Clou: an einigen Stellen duettiert Sänger Joe Elliott sogar mit seinem 22-jährigen Selbst!

Das Album ist nun als 1CD, Ltd. 1CD + Blu-ray und als Ltd. Edt. 2LP erhältlich.

Label boss Ben Jones steps up to curate the third outing on Before. It finds him working with Benjamin Joseph on opener 'Soothe', a stripped-back and warm house roller with crisp hits. Robert James then remixes with a more broken vibe and old-school baselines. On the flip, James then steps up with 'Dmode' with its a punchy cut with drilling bass and tripped-out effects. Ben Jones & Benjamin Joseph then return the remix favour with their own take on 'Dmode'. It's darker and more heads down, with silky synths and plenty of late-night intrigue keeping you locked.

Brazilian beat maker Fabe has emerged over recent years as one of tech house's most skilled groove smiths. His drums and bass are always seductive no matter their style. Here he links up with Burnski aka Instinct's Constant Sound label for four more irresistible nuggets. 'The Greater Good' is super quick as it glides over rippling bass with silky chords, then 'Newbie Bounce' has a more weighty groove. There is elastic funk and US swing in the shuffling goodness of 'Flow Groover' then 'On Edge' closes out with bulky deep house beats and late-night synth work of the highest order.

A digital twin is a computer system programmed in such a way that, receiving the same inputs as the physical object or process it is a twin of, it provides the same outputs.

Characteristics of digital twin technology
1 Connectivity
2 Homogenization
3 Reprogrammable and intelligent
4 digital traces

«There is no light without shadows and no fullness of mind without imperfections. Life requires for its realization, not perfection, but fullness. Without imperfection, there is no progress or growth.»