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In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

“The first full length LP by Joshua Massad and Dylan Aycock. Massad is a tabla player living in India and studying under Zakir Hussain. Massad and Aycock came together in Tulsa to record live at the legendary Church Studio which was founded by Leon Russell in the ’70s. Over a few nights they captured some moments in the studio before it came under new ownership and just before Joshua moved to India. “Aycock improvising on 12-string with Massad accompanying tabla and sitar. A flowing river of sound, a meeting of the minds. The little touches that Dylan’s brother Jesse Aycock adds (bits of synth) really sweeten the deal as well. Track two recorded in Leon Russell’s legendary Church Studio.” —Aquarium Drunkyard “Track one is an improvisation recorded at the home of Joshua Massad’s friend who he was house sitting for and invited me to come play. When I showed up the door was open and he was deep in practice so no words were spoken. I set up a mic and just started playing. We played for fortyfive minutes straight and the twenty mins of the first track was culled from that moment. We clicked immediately and that was the first time we ever played together. Joshua is studying and teaching in India now where he’s been since 2019.” —Dylan Golden Aycock

FIRST 100 ORDERS COME WITH A DOUGLAS DARE OMNI CONDOM, ON A FIRST COME FIRST SERVED BASIS**First Pressing on Limited Translucent Red Vinyl**British artist Douglas Dare announces the release of his fourth album Omni. Seen by Douglas himself as a bold rebirth and embrace of the electronic, Omni is all at once a throbbing, avant-garde, queer, dark and cinematic record imbued with a love of rave culture and sense of fearless storytelling that’s deeply evocative. Omni will be released on May 10 via Erased Tapes. To mark the announcement, Douglas today shares the first taster of the record with ‘Mouth To Mouth’, a pulsing, synth-laden track that begs to be played loud. ‘Mouth To Mouth’ sees a collaboration with label mate Daniel Brandt who appears on production duties, with beats supplied by Rival Consoles. Speaking on the track, Douglas says, “life, death, fate and orgies; this is the heartfelt club track I always wanted to write.” Since 2013, Douglas has blurred classical, chamber-pop, folk and avant-garde to dazzling effect, with a startling voice that can stop you in your tracks. It’s why he’s played with luminaries like Nils Frahm, Perfume Genius and Ólafur Arnalds, and was selected by David Lynch and The Cure’s Robert Smith for their respective cultural festivals in Manchester (MIF) and London (Meltdown). But Douglas’s fourth album, Omni, is a fresh awakening. Encouraged by Erased Tapes founder Robert Raths, he decided to step away from acoustic instruments, especially the piano he grew up playing, and swapped them for synths and drum machines. His new music has much in common with Arca and the late SOPHIE, two artists for whom self-expression meant liberation. “I got to hang out in the studio with her,” says Douglas of the latter musician, “the way she made music made a big impression on me.” And yet Omni is steeped in the kind of deft storytelling, sweeping strings, elegant contrasts and fairytale atmosphere that marks Douglas out as a crucial and singular voice. It’s not often you hear a strutting electro banger that could have been straight out of 90s Soho, with vocal loops inspired by US experimentalist Meredith Monk. For Douglas, Omni is about reconciling all those different sides of himself – the songwriter, the raver, the lover, the observer. It’s a hugely queer record: seductive, sexy, lusty, untethered from the genre binary. “It’s even got sailors on it!” laughs Douglas. “You don’t get more queer than that.

Das neue Flamingods-Album 'Head Of Pomegranate' wurde vom Grammy-gekrönten Produzenten Ben H. Allen (Animal Collective, Deerhunter, M.I.A.) aufgenommen. Die Londoner Band kreiert seit über einem Jahrzehnt unverwechselbare, genreübergreifende Musik. Das Durchdringen von Genres wie Psychedelia, New Wave, Electronica und Punk – oft innerhalb desselben Songs – ist ihre Spezialität, ebenso wie das Talent, Einflüsse aus dem einzigartigen kulturellen Erbe und die Liebe zum UK Rock'n Roll der 70er Jahre zu vermischen. Opener und erste Single 'Dreams (On The Strip)' geben mit stimmungsvollen Synths, düsteren Drum-Machines und dem euphorischen Refrain den Ton vor. Es ist eine neue Ära für die Band und sie möchte, dass wir dies von Anfang an wissen.

Das neue Flamingods-Album 'Head Of Pomegranate' wurde vom Grammy-gekrönten Produzenten Ben H. Allen (Animal Collective, Deerhunter, M.I.A.) aufgenommen. Die Londoner Band kreiert seit über einem Jahrzehnt unverwechselbare, genreübergreifende Musik. Das Durchdringen von Genres wie Psychedelia, New Wave, Electronica und Punk – oft innerhalb desselben Songs – ist ihre Spezialität, ebenso wie das Talent, Einflüsse aus dem einzigartigen kulturellen Erbe und die Liebe zum UK Rock'n Roll der 70er Jahre zu vermischen. Opener und erste Single 'Dreams (On The Strip)' geben mit stimmungsvollen Synths, düsteren Drum-Machines und dem euphorischen Refrain den Ton vor. Es ist eine neue Ära für die Band und sie möchte, dass wir dies von Anfang an wissen.

LIMITED 200 COPIES POSTER EDITION (inclusive stickers)

Dima Gastroler is back on Zodiak Commune Records with his first full Electro Acid EP!
Magnetic Storm EP takes you on a hypnotic, deep and emotional Acid Electro journey using classic analog synths.
Let yourself go and enjoy this journey!

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

Total Reality is the sound of a group in constant forward motion, finding new sounds and new ways to express their joy and catharsis in making music together. On album opener 'Slug' the band sing ‘I’m feeling like a slug so I gotta visit the doctor’, and though reliably tongue-in-cheek you get the feeling they mean it - the members using Dr Sure’s Unusual Practice as a vessel to lift each other up while unpacking the collective fatigue of life in late-capitalist society. “A mood like that, you're apt to stay in it, not dial your way out. Despair like that, about total reality, is self-perpetuating." - Philip K Dick On their third LP Total Reality - a title ripped from the classic sci-fi novel ‘Do Androids Dream of Electric Sheep?’ - Dr Sure's Unusual Practice tackle lofty issues through a hopeful lense, avoiding the often cynical pastiche of modern punk music. Total Reality touches on varied influences - proto-punk to post-punk, new wave to no wave, krautrock to trip-hop - to concieve something fresh and inspired. Beginning in 2018 as a solo project, here Dougal Shaw is joined by an ever-expanding collective. In addition to a core band (Jake Suriano, Miranda Holt, Tali Harding-Hone, Mathias Dowle) the new record features contributions from Jack McCullagh (Cracodile), Stu Patterson (The Empty Threats/Placement), Alannah Sawyer (Babyccino/Mouseatouille), as well as Shaw’s partner Alivia Lester, and baby Blue - who also adorns the album cover. An almost polar approach to the band’s acclaimed second LP ‘Remember The Future? Vol. 2 & 1’, which was tracked live in a recording studio, Shaw refers to Total Reality as a ‘collage album’. There are pieces of pandemic-era demo’s; drum machines coexisting with a live-tracked rhythm section; fresh collaborations; layers of guitars, synths, horns and percussion; collected field recordings and samples - all cut and glued in Shaw’s home studio to realise an expansive and colourful record.

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

Cassette of 6 remixes by Ricardo Dias Gomes and Domenico Lancellotti from their recent albums. Domenico Lancellotti remixes Ricardo Dias Gomes and vice versa.

PRAISE FOR DOMENICO'S ALBUM 'SRAMBA'

"Another absolutely brilliant album from the drummer and singer" Gilles Peterson

"A synth-samba fusion you'll learn to love"
★★★★☆ The Times

"Very Tom Zé" ★★★★☆ MOJO

"Full of wonderful sonic surprises" ★★★★☆ Songlines

PRAISE FOR RICARDO DIAS GOMES ALBUM 'MUITO SOL'

"...beautiful experimental mûsica popular brasileira on a strikingly confident third album"
Jon Dale, Uncut 9/10

"...This album is massively enchanting, and I'm pretty sure when it's all said and done, Muito Sol will be my favorite recording of 2023"
Dave Sumner, Bandcamp

Khôra is the medium Matthew Ramolo uses to delve deeply into initiatory world-building by way of sound, image, and lyrical prose. Figuring wholly realized art-myths which distill and rouse the numinous while provoking the visceral and cathartic, Khôra intricately collages studio documents of ritualized instrumental performances, introducing overdubs by transient, heteronymic personae which dismantle stable points of reference in the music and open uncommon planes of consciousness.

"Gestures of Perception" is Khôra’s first double album with a supporting artbook and features a fascinating array of sources subjected to patterned assembly, poetic layering, and the elevations of the heart. Deft handling of modular synthesis is palpably central, while feedback, erhu, keys, flute, contact electronics, guitar, field sounds, and various percussion objects (rattle and frame drums, seed pod sticks, random metal objects, meditation bowls, kalimbas, bells) all serve to provide breathing structures and energetic contours that guide and scaffold inner and outer journeys into the far-near. Prominent across the record's span is a home-built, solenoid drum machine, responsible for the alive and askew techno-archaic flows and conceived as the album’s "rhythm seed”. The music on Gestures is teeming with organic and alien textures, soaring drones, inter-dimensional noises, and emotionally resonant melodies; balanced on the fringes of exotica and meditative trance, with capacities that untether the listener from the ballast of limited reality.

Operating hermetically in the penumbra of Toronto's cultural scene for well over a decade, Khôra has been invested in self-publishing handcrafted editions of spiritually driven recordings which led to the LP/CD reissue of inaugural album "Silent Your Body Is Endless" by Constellation. Khôra has toured extensively in North America and Europe both solo and in collaboration with Picastro, Nick Kuepfer (Hrsta,1/4 Tonne), and Brandon Valdivia (Mas Aya, Lido Pimienta), generated over a hundred hours of unreleased, bewildering drone through durational performance with experimental outfit Nidus (Marc Couroux, Jason Doell), composed for live dance and independent film, been commissioned by MaerzMusik, and seeded and co-run the now defunct music and art venue Ratio in Toronto.

FUJI||||||||||TA returns to Hallow Ground with his second full-length for the label after we had released his international breakthrough album »iki« in early 2020. Active since 2006, the Japanese composer and sound artist has become prolific since the release of »iki,« releasing a slew of records while also touring the world. His new album »MMM« is Yosuke Fujita’s most complex so far. Changing the set-up of his pipe organ by switching to an electric air pump allowed him to activate new sonic and compositional potentials of the instrument, while he also expanded upon his experiments with his own voice. »MMM« is a masterpiece of conceptual and formal rigour—a testament to how multi-layered and versatile the music of FUJI||||||||||TA can be.

Previous releases had already showcased Fujita's interest in working with the rhythmic potentials of the organ he built himself in 2009. Replacing its hand-operated air pump with an electric one allowed him to work with it more freely and simultaneously record its sounds. This marked the starting point for the opener »M-1,« for which he recorded the pipes by waving a gun microphone close to it, thus creating shifting rhythmic patterns. The piece engages in a perpetual play of repetition and difference, balancing sonic intensity with compositional dramaturgy. For »M-2,« the artist uses his voice and works with a singing technique he has developed over more than a decade: constantly exhaling and inhaling, he puts a strain on his internal organs in order to create what he calls a »third voice.« The resulting piece is built on a throbbing rhythmic foundation topped by wordless melodies.

»M-3« closes the album as a synthesis of these two pieces, but is far more than the mere sum of its parts. The subtle tonal shifts of the organ take on a more subdued role this time, and Fujita’s scat growling and singing reappears in processed form. »M-3« combines the rhythms and melodies of the previous pieces to let something entirely new emerge out of them, much like the album is based on perpetual changes and recombinatory strategies. In fact, Fujita explains, the acronymic title can be read in many ways: this album is minimalistic, but freely mixes and mingles different materials in magical and even metaphorical ways while also paying its dues to his wife and daughter—M. and M. Just like its title can mean a lot of different things, »MMM« itself is ever-evolving, traversing different moods and opening itself up to a plethora of interpretations at each of its many turns.

Memories are, to say the least, complex. They can weigh us down like stones or be treasured in their unresolved ambivalence. In Ciro Vitiello’s debut album, they take on a dynamic and elusive nature, both bouncy and tricky, moving away when approached and dipping into the haze of the subconscious. Dreams, in turn, find their shape through memory itself. The Island Of Bouncy Memories is, for Vitiello, a place populated by reveries and hypnagogic impressions, interwoven with the imprints of childhood experiences—a threshold between the comforting embrace of nostalgia and the acceptance of adulthood.

The album's inception traces back to a collection of toy recordings initially amassed by Vitiello as a backdrop for his wide-weave synthetic fabric. Evolving these initial sketches, the Naples-born artist intended the 13 tracks to form a continuous flux of undeciphered impressions. Repeating motifs phase in and out of the cloudy ambience, punctuating the inevitable waves of melancholy with delicate melodic structures.

Crucial to the album's development were contributions from vocalist Zimmy, vocalist/guitarist CRÆBABE and guitarist Attilio Novellino. Their input not only expanded the sonic palette but also cultivated themes and poetic scenarios through intense and sincere exchanges of personal experiences, recurring dreams, and childhood remembrances. CRÆBABE’s lyrics, in particular, provide an adult counterpoint to the album's more childlike elements—a map of murmured relics and epiphanies as she sits in conversation with herself.

The music's emotional depth envelops Vitiello's Island in an ocean of pure sensitivity, its tides drifting through apparitions of talking animals, reminiscent of those in his recurring dreams. At other times, it reflects the tragic echoes of Nisida—an island off the coast of Naples, infamous for hosting a youth detention center.

The Island of Bouncy Memories is a meditative reconnection with the past, a puzzling journey through pain and acceptance. Notably it marks the first-ever co-production between Hundebiss and Haunter Records, uniting two main players in the Italian electronic and experimental scene in an unprecedented collaboration.

Chaos Emeralds started out as a breezy collection of experimental beats made mainly from natural sounds, synths and vocals. There are sparsely arranged drums, with subtle percussive layers enmeshing
with canopies of found sounds that bounce around excitedly, weaving around pools of melodic poetry that speak deeply in metaphor and sensory images

The genesis of ACID BODY MUSIC, MODULHATER's second album, took place in the anxiety-inducing atmosphere of the first confinement.

Like an outlet for the injunction to keep quiet, MODULHATER produce 10 tracks with ACID, EBM and INDUSTRIAL influences that are both explosive and raging, rigorous and cathartic analogue techno strongly influenced by the pioneers of DETROIT or the late 80s atmosphere of the NEW BEAT / EBM scene, vintage synthesizers and drum machines roar, hypnotic basslines thump, MODULHATER takes us into a dystopian universe where the dancefloor drowned in strobes is populated by cyborgs.

Origu and Unique Records bring you a UK Hip Hop Holy Grail.
For the first time on vinyl this double sider features two standout tracks from the 1993 "The Rhyme Wrecka EP“.
The short lived group Freakin’ Inglish from Salford & Manchester gained massive respect in the Hip Hop scene with their tape only debut just to break up in the year after. After a digital only release in 2013 and a CD reissue by Chuck D’s SpitSlam label in 2021, the uptempo title track and the cleverly produced „A-Dorable“ make their vinyl debut.

Freakin' Inglish is a Hip Hop group from Salford & Manchester, (United Kingdom). Formed in 1993, The group originally consists of Emcee's (Red Venom, Eric-T & Yozzer) the group quickly split up the following year. They released their debut EP "The Rhyme Wrecka" in '93, along with other tracks via Fat City Records and other stores round the UK.

A reunion on the 2nd decade (2013) of their formation in (1993) was planned by Red Venom & Hip Hop Producer: Nate Whittaker Featuring original members Red Venom & Eric-T along with Nate Whittaker as the missing 3rd member, taking Yozzer's place in the group, but as a producer. red venom has now gone on too be a member of the rhyme syndicate and is putting out albums and a reunion is set now for 2021 with eric t and red venom and a new member .

MIHN records proudly presents the new EP ‘Apollo’ by the duo from Washington DC, Rush Plus. The title track offers up heady, cerebral, celestial techno. Ready to kick up dust and initialise the dance floor. French producer Amor Satyr provides a rambunctious, bass heavy twist to ‘Apollo’. Flip it around and turn it you get ‘Flexibility’, a track that at first builds a minimal thread of tension between rhythm and sound that widens and relaxes to open up a projection of night skies eager to part so daylight can break. ‘Orange Turbo (feat. Bordon)’ injects charged, syncopated static into bodies to accentuate an angular degree of posture to move the collective’s sensations toward a euphoric climax. The tracks all combined exerts focus and mindfulness for the dancefloor. Apollo is a summoning of forces ready to conjure an electrifying, ecstatic experience. For devotees at the altar of atmospheric techno, inquire within. Style: Techno + Electro

Marbled Yellow Vinyl 2024 Repress

NEOACID07VA is an EP of collaborations between Jacidorex and 4 artists in very eclectic styles.

First track of the A-side with Raito use synths from 90's rave with nice grooves en percussions, sharp acid line and a huge kick.

A2 with Zahia is an electro-techno track with a heavy bass synth and an exploding clap.

B-side turns up the BPM with the first track produced with Dyen, nearing hardcore techno with gabbersynths & discorded kick.

The last track of this EP is the second collaboration between Jacidorex & Epidemie, the second generation of Belgian Acid scene. This one is an energic hard track, with hard floor kick, dark hovers and heavy acid lines.

The whole EP is a really good example of what Neoacid can propose as different kind of acid music.

Law follows up his 2022 debut solo EP on Repertoire with a continuation of the Holographic Principle series.

Volume 2 expands on the ideas of the original, with an overriding theme of emotive, cosmic synths and keys, conjuring up visions of retrofuturist ideals of the mid 20th century.

Whilst Dead Man’s Chest makes his third outing for Repertoire with a stripped-back, junglistic re-working of Holographic, in his own imitable style.

Dombrance is back with a colourful new EP on Discolypso featuring two new songs and remixes from a stellar cast, including Francois K, Lindstrom,

Dombrance has been described by The Sunday Times as a 'French Jarvis Cocker with a bushy moustache and flares'. He is a musical maverick who last year released his debut full-length album and performed relentlessly across the globe from Glastonbury Festival to Downtown Los Angeles, a set before Underworld at Tropico Festival in Mexico and many more.

‘Bayrou’ is a politician who had to leave the government barely after entering it after being indicted for embezzlement of public funds. It’s a timeless electronic disco sound with sugary chords and glistening arps that bring cosmic warmth to the retro-future beats. ‘Cope’ is a politician who disappeared suddenly from circulation after publicly mistaking the price of a ‘pain au chocolat’. The fantastic tune is a prickly seven-minute disco odyssey with pulsating synth sequences and crunchy percussion. It’s twitchy and edgy and perfect for peak time.

First to remix is the legendary Francois K, who flips ‘Cope’ into a psychedelic wonder that navigates in different directions and through several genres that will make dancers lose their minds. Scandi-disco king Lindstrom then comes through with an exotic remix of ‘Bayrou’ that makes you imagine a cocktail pool party filmed by David Lynch.

Warehouse Find!

Toby Tobias coming through with the fresh raw s**t for Delusions! Two original tracks here absolutely loaded full of old school analogue machine funk and crazy dub tricknology. It's Burning builds around a beautiful chiming synth while a filtering acid bass line and 808 snares add a distinct bit of B-Boy to the mix. I Give You love heads for a more rugged house vibe complimenting the intense, loosely timed vocal hits perfectly. On the flip we have London Housing Trust bringing serious heat on their remix, jacking up the tempo but adding some decidedly tripped-out synth tweaks resulting in a show stopping reworking primed for freaking people out on the dancefloor. Finally we have that man Lauer working his magic on It's Burning, building up the track around some beautifully euphoric synth stabs and bassline. The perfect close to an EP in which it's very difficult to try and find words to justify. We think Toby Tobias has turned in some of his best ever work here and absolutely love this whole record so really hope you share the same admiration for the release as we do!

Musik wird hier nicht um ihrer selbst willen zelebriert. Natürlich, hier wird fast physisch in die Goschn g'haut, einerseits offensichtlich, anderseits auch einfach mal erfrischend anders. Hier wird schlichtweg ein Hitalbum abgeliefert. Jeder Song ist stark, jeder Song macht Sinn. Für alle die Anbiederung an bekannte Erfolgsformeln, in Superlativen eingebettete Selbstgeilheit, oder einfach Bands, die so gar nicht zu sagen haben super finden, werden hier nicht glücklich werden. Für alle anderen: Keine Angst, es ist alles sehr "Leiwand"!

Vinyl-Neuauflage des letzten Heckspoiler Longplayers kommt als Solid Purple Coloured Vinyl (180g, inklusive Download-Code)!

Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the founder of Modern Obscure Music - presents his fourth solo album (following his 2020 release, "Ibillorca"). Due for release in spring 2024, "Earth, Our Planet?" promises to immerse us in a moving odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the protection of our planet. On this occasion Vian has composed the album influenced by the myth of the eternal return, the compositions are long and repetitive, generating states of pure trance.
Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the line of convention and breaks the boundaries of electronic and experimental music with artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each track reveals his distinctive ability to create immersive landscapes, guiding the listener into deep emotional introspection. This is not just music; it is a transformative experience.
The beauty of this album lies not only in the musical vision. The album features high-calibre collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde approach and ability to conjure unique landscapes, elevates the album's opening tracks "Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian collaborated closely on his previous album "Cascades", known for his experimental approach and talent for creating extraterrestrial atmospheres also contributes to "Les Tambours Subterraniens". His artistic perspective adds more complexity and texture to the piece, pushing the boundaries of contemporary electronic music. There is also a collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting “Font De la Vera Pau”, an album that The Guardian defined as "a wonderful piece of electroacoustic music, a captivating mix of strings and analogue synth drones which sometimes flirts with Alice Coltrane-ish spiritual jazz". With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it is also a call to reflect on our relationship with the natural world. As a part of a planet where environmental awareness is more crucial than ever, he urges us to protect and preserve our world as an extension of ourselves. This extensive work is a statement, Vian addresses the notion that too often we prioritise immediate needs over the well-being of the planet. It highlights the fact that we often consider the Earth as a possession when, in reality, we are but a part of it.

Ruutu Poiss with his second album “II” after his 2021’s debut full length “Palav Aed“, a welcome return to Wake Dream. Recorded in a concentrated period of time during the dark winter days of late 2022 and early 2023, “II” now finds it’s way to the public’s ears in the brighter days of the year.

An album as conceptual as it is emotional, with feelings of transformation and dreaming, hope and arrival, and an aesthetic that is both cinematic and hypnagogic, nostalgic and futuristic, it turns contradictions into harmonies, brings together the dark and the light, spinning and whirling freely around a steady core.

Recorded mainly with one synth and a collection of old drumcomputers, Ruutu Poiss once again shows his futuristic sonic virtuosity within the boundaries of a compact studio setup.

Featuring new mixes of "2 Another Planet". Delicate Instruments escapes in the spaceship and floats in outer space for the breakdown.
Introducing Memory0, a 'West Coast Electro' project launched on leap year 2024. Only problems when looking back at earth for mixes of "Solamente".
Forward and back 5seconds...

Kaito Cuts: Revert / Sequoia b/w Trek / Wait Up/ Sloan by Kaito | Galaxy Sound Co. — GSC45-042, Test Pressing | With their 42nd donut in the always-on-point 45 edit series, @galaxy_sound_company drops a new batch of lo-fi hip-hop beats instrumentals. This time out GSC is showcasing a newcomer to the head-nodding beat maker scene — @kaitoian.


Kaito, an out cold skater as well, has a couple of self-releases you can find on his Bandcamp page, which are solid & sound at home alongside his pop’s ( Todd Osborn) Ghostly International releases. This 7” EP outing spins at 33 1/3 to pack in as much as GSC can squeeze in & is straight up beatloverz heaven. What is impressive, for this old timer, is how clearly deep Kaito’s musical knowledge goes. He clearly has learned well from his father & all the good music he certainly has had at his fingertips. From Madlib to Os Mutantes to Fela Kuti to J Dilla & other artists who were not afraid to dig deep & unearth beats & melodies to tickle your fancy, Kaito’s tastes are as refined as anyone in the game. I know a number of the original source materials that comprise each track, but that I leave to you to dig out for yourself. Here I encourage you to open your eardrums & listen deep with your fav pair of headphones & let each track wash over you. From straight forward head-nodding hip-hop thumpers to beautiful Brazilian femme fatale vocals that lure you into the loop, to a Afrobeat driver that’ll break ya neck, to a mellow, soulful MPC hopper that will lovingly recall a Arlo Parks joint, to then closes out with a synth-laden spaced-out dreamy loop to end credits.

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists.

“Fela Kuti meets Aphex Twin”
This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Following his meeting with Mathias Duchemin, founder of the Circus Company record label and a keen enthusiast of the new Israeli jazz scene, Yuval chose to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums.

While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.

‘Musica E Computer’ is a momentous release from Slow Motion label head Fabrizio Mammarella and Rodion recorded in the legendary Marche Synth Museum (Museo Del Synth Marchigiano).

A fully functional recording space that houses a fusion of several private collections of Italian electronic musical instruments gathered over the many years since their creation. The Marche region, being home to some of the most ground-breaking and foundational instruments, has created the likes of Crumar, Farfisa and Elka with innovative use from the likes of Tangerine Dream, Pink Floyd and Vangelis.

The opening track ‘Iris’ sets the exceptional tone for this release. Fully exploring the realms within the Marche with an eerie, metallic tropical soundscape showing their discoveries’ breadth. ‘A Corrente Alternata’ brings us back to Mammerella and Rodion’s revered partnership as unmatched creators of enigmatic, timeless earworms. The driving bassline sits beautifully within the characterfully saturated drums and tweets of an equally enigmatic synthesiser.

‘Un Segnale Di Speranza‘ launches us into the infectious, mind-bending signature arps of Mammerella and the rising harmonies of Rodion, with another ground-shattering bassline and arcane vocoders that transport you to peak time at Slow Motion’s Italorama Bar. ‘Musica E Computer’s’ soundscapes provide rich blends of the synthetic and organic sounds of the Italian region, acting as a geographic coda that can also be heard in ‘La Domenica Del Villaggio’.

‘La Memoria Dei Sistemi’ slips us back into the energetic, electronic environment that Rodion and Mammerella have so delicately crafted. Driving us through the celestial alchemy of this atmospheric track, which leads us to the chiming finish of ‘Una Nuova Era’. This ties together a transcendent homage to Musica E Computer’s recording surroundings and a bar-setting conclusion to another captivating masterpiece from the duo.

Here is #3, the third album of Bed Bunker! Six-strings, synth and drum machine, Bed Bunker provides the perfect mix of hardly ever heard experimental-rock for fans of Mudhoney, Alan Vega and Suicide. GENRE: SYNTH-PUNK

2024 Repress

Rotterdam based artist ''Ben Buitendijk'' has been around for quite a while now. With a string of releases of labels such as ''Ogun Records'', ''Eshu Records'' and appearances on the mighty ''Field Records'', the time has come for Ben to launch his own imprint. Inspired by the city of Rotterdam and his love for anything architectural, Oblique was founded. A label that is designed to cater to Ben's vision on the overall electronic landscape and to display his love for well thought out drum patterns with dense long-stretched builds and strained atmospheres.

''Venomous EP'' comes in a package of three extended techno cuts with a certain corresponding theme. As the title might suggest, all cuts have a certain
touch of hazardousness to them.

''Black Mamba'' is best explained as the experience of poison slowly creeping through one's veins and leaving an irreversible trail of destruction.

''King Cobra'' feels more boisterous than it's predecessor. Again, a long repetitive build keeps on changing into a slightly psychotic state of being while razor-sharp bits of synthesis tickle the listeners brain like when undergoing acupuncture.

''Stingray'' is the final cut of this first ''Oblique'' effort. Whilst maintaining the corresponding ''Venomous'' theme, the last endeavour is a thumping outcry of muscular drums, a ponderous bass shot, and haunting pad sounds that together create a dystopian character. As an extra, Ben has thrown in an ominous locked groove that should be useful in adventurous club settings.

BENIGHTED, deren Wurzeln tief in den makabren Gefilden des extremen Metal verwurzelt sind, haben sich von einem Nebenprojekt zu einer bösartigen Kraft entwickelt, die Fans auf der ganzen Welt mit ihrem schädelzerschmetternden Sound und ihren thematisch fordernden Stücken in ihren Bann zieht.Tauche mit "Ekbom" in den Abgrund ein - dem neuesten Werk von BENIGHTED, das von der seltenen neurologischen Störung "Ekbom-Syndrom" inspiriert wurde. Mach dich auf eine groteske Reise gefasst, auf der wilde Musik die beunruhigenden Empfindungen von delusionaler Parasitose widerspiegelt. "Ekbom" ist ein albtraumhaftes Album, das mit unerbittlicher Brutalität pulsiert und eine Geschichte des psychologischen Horrors webt, die den Hörer in die dunkelsten Abgründe der menschlichen Psyche zieht. BENIGHTEDs meisterhafte Beherrschung viszeraler Klanglandschaften und thematisch reichhaltige Kompositionen gipfeln in einer schaurigen Klanglandschaft, die noch lange nach der letzten brutalen Note im Bewusstsein verweilen wird.

- Hervorgegangen aus den französischen Death- und Black-Metal-Bands DISHUMANIZED, DARKNESS FIRE und OSGILIATH, gründeten sich BENIGHTED 1998 mit dem Ziel, eine brutalere, härtere und modernere Form des musikalischen Ausdrucks zu finden.
- Die Wirkung ihres ersten selbst produzierten und unter ??tled veröffentlichten Albums im Jahr 2000 machte BENIGHTED von einem Nebenprojekt zu einem Hauptact, der sich schnell eine treue Fangemeinde erspielte.
- BENIGHTED feierten ihr 20-jähriges Jubiläum, indem sie 2018 den Live-Wahnsinn mit Dogs Always Bite Harder Than Their Master einfingen.
- Der auditive Angriff spiegelt die abstoßenden Empfindungen des Syndroms (Ekbom) wider, eine viszerale und beunruhigende Reise in die Abgründe des menschlichen Geistes.

FFO: Cryptopsy, Aborted, Wormed, Dying Fetus

Crystal Clear Vinyl

BENIGHTED, deren Wurzeln tief in den makabren Gefilden des extremen Metal verwurzelt sind, haben sich von einem Nebenprojekt zu einer bösartigen Kraft entwickelt, die Fans auf der ganzen Welt mit ihrem schädelzerschmetternden Sound und ihren thematisch fordernden Stücken in ihren Bann zieht.Tauche mit "Ekbom" in den Abgrund ein - dem neuesten Werk von BENIGHTED, das von der seltenen neurologischen Störung "Ekbom-Syndrom" inspiriert wurde. Mach dich auf eine groteske Reise gefasst, auf der wilde Musik die beunruhigenden Empfindungen von delusionaler Parasitose widerspiegelt. "Ekbom" ist ein albtraumhaftes Album, das mit unerbittlicher Brutalität pulsiert und eine Geschichte des psychologischen Horrors webt, die den Hörer in die dunkelsten Abgründe der menschlichen Psyche zieht. BENIGHTEDs meisterhafte Beherrschung viszeraler Klanglandschaften und thematisch reichhaltige Kompositionen gipfeln in einer schaurigen Klanglandschaft, die noch lange nach der letzten brutalen Note im Bewusstsein verweilen wird.

- Hervorgegangen aus den französischen Death- und Black-Metal-Bands DISHUMANIZED, DARKNESS FIRE und OSGILIATH, gründeten sich BENIGHTED 1998 mit dem Ziel, eine brutalere, härtere und modernere Form des musikalischen Ausdrucks zu finden.
- Die Wirkung ihres ersten selbst produzierten und unter ??tled veröffentlichten Albums im Jahr 2000 machte BENIGHTED von einem Nebenprojekt zu einem Hauptact, der sich schnell eine treue Fangemeinde erspielte.
- BENIGHTED feierten ihr 20-jähriges Jubiläum, indem sie 2018 den Live-Wahnsinn mit Dogs Always Bite Harder Than Their Master einfingen.
- Der auditive Angriff spiegelt die abstoßenden Empfindungen des Syndroms (Ekbom) wider, eine viszerale und beunruhigende Reise in die Abgründe des menschlichen Geistes.

FFO: Cryptopsy, Aborted, Wormed, Dying Fetus

Die schottisch-dänische Komponistin Clarissa Connelly präsentiert ihr erstes Warp-Album. Im Laufe der Jahre hat Clarissa heilige Stätten und Mythologie erforscht und sich dabei von der keltischen und nordischen Kultur inspirieren lassen. Für ihr jüngstes Werk 'The Voyager' (2021) wanderte sie durch die skandinavische Landschaft und kanalisierte Melodien aus alten vorchristlichen Stätten. Das Album erhielt weltweite Anerkennung und wurde mit dem renommierten Nordic Music Prize ausgezeichnet. In 'World Of Work' erkundet Clarissa Themen wie Akzeptanz und Wachstum, indem sie eine traumhafte Synthese aus Nordic Folk, mittelalterlichen Gesängen und modernem Pop schafft, das einem kraftvollen Zeugnis ihrer Produktions- und Kompositionsfähigkeiten gleichkommt.

When we started playing music together in 1997, we could spend a lot of time on each individual track. It would mutate, go through many phases, until we’d get to the point when we’d decide to capture it and mix it on the fly.

Twenty-five years later, we changed gears. This album was produced across a two year period, during several sessions in our studio (the third member of the band), following this process: we plug the machines, we start a musical conversation, we press record when it gets interesting.

In the studio, that moment always comes, when a fragile and magical balance happens. That’s when we record, usually in one take, sometimes all in the same stereo channel, the computer sitting in a corner, its presence not interfering with our ears.

La Folie Studio is the fruit of this process.

Let’s get numerologistic with this new age reactionary-philosophic strategy manifesto:

Playing electronic music, whether alone or not, must be joyous, funky, and make you feelgood.

The studio is not a sanctuary but a place of life. Technology must not be intimidating.

Welcoming friends and new objects in the studio should be an infinite source of inspiration.

If nothing happens in the studio, turn off the light and play a percussion record.

Techno heads of all ages need something more spontaneous and freer than little thumbnails shared on a pocket computer. Château Flight offers a musical experience carved on grooves.

With 25 years of experience, Château Flight can cure all your musical ills, instantly and painlessly.

The key to success: midi sync + din syc + external trigs.

Datashader emerges from the shadows with a striking breaks- and bass-heavy debut release that challenges the fabric of our digital existence. Replete with a Dopplereffekt remix, it nods to the legacy of revered anonymous acts such as Scopex, Drexciya and Underground Resistance, pushing the boundaries of both electronic music exploration and its conceptual underpinnings. As a critique of the erosion of genuine human connection in the digital age, Datashader delivers a barrage of billowing subs, infectious electro, recontextualized jungle, and techno, serving as a poignant counterbalance to current dance floor-centric norms. It’s a contemporary anti-soundtrack that offers a haunting mirror to the societal costs of technological convenience.
In a world engulfed by the digital realm, where social media platforms thrive and dominate every aspect of our lives, the enigmatic project known as Datashader was founded to reflect on the pervasive erosion of authentic human connection through various virtual realities. Artistically, Datashader seeks to critique the impact of technology on human identity and relationships, breaking with an archetype of digital conformity and expressing a profound disillusionment with the superficiality of online interactions through music. Genuine human connection and art cannot be quantified by likes, comments, or followers but rather thrives in the visceral realm of shared sonic experience and human emotion. This idea is at the core idea of Datashader, whose artistic expression ranges from avant-garde composition and electronic experimentations to art, installation, film and more.
Expressed within the varied contexts of diverse artistic mediums, Datashader explores the concept of “technological gentrification”, which describes the gradual displacement of human interaction by technology. Just as gentrification alters the urban landscape, driving out communities and cultures, digital gentrification transforms the social landscape, replacing genuine connection with curated online personas.
Musically, Datashader’s practice confronts this dystopian reality, highlighting the alarming consequence of people becoming mere nodes in a network, reduced to a collection of data points. This is manifested sonically by a blistering assault of breaks, recontextualized IDM, abstract electronics and otherworldly synthscapes, conceived as the aesthetic counterbalance to much of contemporary electronic music’s dancefloor focus.
Datashader dives deep into genres and influences which stand for a form of sonic resistance: A contemporary anti- soundtrack – a sonic mirror of the price we pay for convenience and instant gratification. A self-image in constant flux. No false technological idols.

Empires rise and fall every day in the human heart, and riding these cycles--stories with no beginning or end, only transformation--churns us through the reckless, ridiculous, rueful, redemptive. A founding member of Lake Street Dive and writer of some of their most enduring songs, Iowa-born and Brooklyn-based Bridget Kearney is known for writing smart, unexpected lyrics and melodies built for a heart-baring dance or an introspective drive. Kearney writes music as if filtered through a camera lens. Her stories, steeped in nostalgia and joy, construct a bittersweet framework around the memories that make us human, and shape who we are. As the absurdity of life abounds, Kearney can hold these fragile snapshots and rolling reruns with evident notes of levity, and compassion for a past self. On her new album Comeback Kid, produced by Dan Molad (Lucius, Buck Meek), there are reminders to cherish the moments that make up the collage of what we see in the mirror, but to also plant our feet firmly in the present, for those are the times that will come to form the future. The tracks hop through time, from the relentless, obsessive romanticization of the past, to unrestrained lust for a different future, all inherit the spirit of resilience needed for any move forward, whether it's to dive back in, walk away, or wrestle with the memory itself. In moments, our Comeback Kid wishes to encase a night in amber to revive it at will, like the old man in Jurassic Park, but ultimately is hip to the bittersweet truth that it will never be the same when you return. Kearney began making Comeback Kid back in 2021, in between her work with Lake Street Dive, and a new position as a songwriting teacher at Princeton University. During the process of Comeback Kid, Kearney took inspiration from her Princeton students, as well as her peers when she embarked on a song-a-day workshop. As she found herself surrounded by the thoughts and processes of others, she was able to pinpoint what it is about songwriting that she truly cherishes: namely, the textures and flourishes that come to form the mood of each creation. Comeback Kid is soaked in vintage synths, Kearney's soughing vocals and delicate-yet-driving percussion that ushers in a bright and serene tenor. "If you're driving, baby I wanna go," she soothes on opener "If You're Driving," welcoming us to the LP with windows down, eyes closed, air rushing through our fingers. It's a celebration of staying in the moment, of saying "yes," even though you know it won't last forever. With references to real psychological games, like Rorschach tests and the phenomenon of Ironic Process Theory, they help build the theme of the mind bending nature of obsession, memory, and perspective. Just like the acrobatic brain games we play in relationships, Kearney plays with language and references, with multiple meanings of "comebacks and coming back," and nods that run the gamut from Samuel Barber's mid-20th century masterpiece Adagio for Strings to Jerry Seinfeld's late-20th century masterpiece Seinfeld. The single "Security Camera" captures the carefree liminal space of reminiscence, as Kearney collects those significant, special moments of a past love. There is no animosity or even sorrow here but rather a warm, propulsive rush of gratitude and awe. "You have these really wonderful, blissful times in your life that are fleeting," she explains. "It's an attempt to keep loving the moments in your past, to carry them with you." These moments are carried with care throughout Comeback Kid, but with an eye on the farcicality of simply existing. Kearney is both sincere and silly, somber yet spirited, expertly gathering the iridescent spectrum of what it means to be alive.

Die Band The Reds, Pinks & Purples aus San Francisco bleibt auf ihrem einmal eingeschlagenem Pfad und kündigt ein neues Album an, das im April erscheinen wird. RPPs Gehirn Glenn Donaldson hält es düster - wie könnte es anders sein - mit Titeln wie "What's Going On With Ordinary People", "We Only Hear The Bad Things People Say" und "Dead Stars In Your Eyes". Die DIY-Pop-Titanen The Reds, Pinks & Purples kristallisieren auf "Unwishing Well" den tragischen, sich selbst feiernden Reichtum der glücklichen Versager, der falschen Helden und der Menschheit mit all ihren romantisierten Sich-Wundern - und nehmen die Fäden der Hoffnung mit ungebremster Hingabe ins Visier. Das Album, das sich über 10 wunderschöne Stücke erstreckt, ist ein weiterer Beweis für Glenn Donaldsons makellose Beherrschung des intimen, aber dennoch ausladenden, niedergeschlagenen Pops. In den letzten fünf Jahren haben The Reds, Pinks & Purples sechs Alben, mehrere EPs und zahllose Singles veröffentlicht, die sich alle dem Ziel verschrieben haben, dem Independent-Guitar Pop neues Leben einzuhauchen, der die düsteren Teenager, College-Radio-DJs und Plattenladenangestellten der 80er und 90er Jahre animierte. Vorbilder wie The Go-Betweens, The Smiths, Magnetic Fields, Felt und andere sind offensichtliche Inspirationen, aber Donaldsons unermüdliches Talent für Stimmung und Melodie hat praktisch ein eigenes Genre geschaffen, und "Unwishing Well" ist dessen bisher reinste Verkörperung. Die erste Single des Albums ist ein großartiges Beispiel für die Weltanschauung von RPP, ein Blick auf die Zugeständnisse des Popstars durch die Augen eines Ausgestoßenen mit dem Titel "Your Worst Song Is Your Greatest Hit". Über verträumten, grauen Gitarren- und Synthie-Waschungen beklagt Donaldson: "Deine erste Idee wurde verwässert" und fügt hinzu: "Nur die schlimmsten Teile konnten gefunden werden." Weißes Vinyl und/oder CD, für Freunde von The Field Mice, Blue Boy, The Clientele, Cindy...

Wenn Geduld eine Tugend ist, könnten Love Sex Machine genauso gut Heilige sein, wenn auch Heilige mit einer Vorliebe für die dreckigsten Sludge-Metal-Riffs, die durch Downtempo-Post-Metal-Grooves und einen teuflischen Sinn für lyrischen Humor ausgeglichen werden. "Trve" besteht aus 10 neuenTracks voller rechtschaffener Empörung, ironischer sozialer Kommentare und natürlich unsagbar ekelhafter Härte. Von Anfang an zeugt das Album von der jahrzehntelangen Erfahrung der Band als eigenwillige Veteranen der europäischen Sludge-Szene. In den letzten acht Jahren haben die vier Franzosen das Fett von ihren Knochen gestrichen, so dass nur noch ein schlagendes Herz aus bedrohlichen, hypnotischen Riffs übrig geblieben ist, die sich unaufhörlich in dein Gehirn bohren. Obwohl die Band noch nie so rau geklungen hat, gibt es auch eine faszinierende, raffinierte und unbestreitbar poppige Note in "Trve", die dieser musikalischen Konfrontation ein neues Element hinzufügt, in dem Love Sex Machine gedeihen. Atmosphärische Intros, überflüssige Refrains und unheimliche, instrumentale Outros mögen klassische Kennzeichen ihres Genres sein, aber hier findet man nichts davon. Ähnlich wie bei der Vorab-Single "FUCKING SNAKES" sind die meisten Tracks auf "Trve" um die drei Minuten lang und zeichnen sich durch hochoktanige Black-Metal-Riffs aus, die in einer beunruhigend optimistischen Dur-Tonart gespielt werden, durch Synthesizer-Motive, die ans Triumphale grenzen, und - zum ersten Mal bei Love Sex Machine - durch Gesangsharmonien, die den Hörer für einen kurzen, schönen Moment in die Höhe heben, bevor die nächste Welle von groovigem, nihilistischem Schlamm einen wieder in die Knie zwingt.