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Founded by Robbie Redway and psychedelic researchers Mathieu Seynaeve and WaiFung Tsang, UK-based 'United Freedom Collective' has grown into a network of artists including Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul. Originally conceived around psychedelic therapy sessions, online yoga and breathwork channels, the musical scope has expanded on each of the four EPs released on Maribou State's 'Dama Dama' label, and here continues with their debut on Multi Culti. This time Robbie takes the lead on production and sole vocal duties on all five tracks, presenting a range of influences and style. Lead single 'Between Memories' blends tropes of ecstatic dance with uplifting vocal piano house, somehow making flutes fit in with Detroit strings to epic, hands-in-the-air effect.' Title track ‘Bright Patterns’ bridges the gap between Jungle, Jai Paul, and Jamiroquai, a fusion of funky filtered disco-house and electroclash with side-chained pop vocal hooks. ’El Yo’ smooths things out, a dope, laid back groove with a measured reflection on psychedelic healing and the perils of spiritual bypassing. ‘Higher Drums’ warms things back up for the dancefloor with trumpet, afro-latin percussion, and flute flourishes. Finally, ‘Moonshine’ is a soaring, Amapiano-inflected post-desert-house ballad. Influenced, in their words, 'by birds, trees, Buddhism, yoga, headless way meditations, Jungian analysis, Zen Taoism, Chinese plant medicines, indigeneity, Amazonian and psychedelic cultures, icaros and world healing traditions,' the music is eclectic, ranging from afro-inspired jazz to Chinese folk, psych-rock to dub and dance music, an ambitious and inclusive range, collabs that extend well beyond the borders of western musical traditions. Their sound was described by Clash Magazine as an 'aural mosaic that glitters with colour and potential,' and while the sheen of the production and precision of the arrangements might seem a departure from Multi Culti's left-field endeavours, the psychedelic idealism and global connectivity make it a natural fit with the open-ended ethos of the label. Having already had radio support from KEXP, BBC6 Music (Laverne, Ravenscroft, Charles, Nemone, Letts), Jazz FM and Worldwide FM (Gilles Peterson), with a live show that sold out Dalston Curve Garde and The Waiting Room as well as supporting Maribou State for their recent comeback show at Islington Assembly Hall in London the collective's future is looking exceptionally bright.

It has been over a decade since Anthony Mills created Wildcookie, his most celebrated project. With tracks like Heroine and Serious Drug, the album Cookie Dough gained worldwide recognition, landing on numerous radio playlists, including Gilles Peterson’s show. Even after all these years, it remains a favorite on streaming platforms. Now, fourteen years later, Mills returns, teaming up with Marek “Latarnik” Pędziwiatr to create Crack Rock—a bold evolution of Wildcookie’s legacy.
While Wildcookie’s signature warm, jazzy Fender Rhodes sound defined its identity, Crack Rock shifts toward 1980s-inspired compositions crafted by Pędziwiatr, known for his work with EABS, Błoto, and Zima Stulecia. The duo explored yacht rock, drawing inspiration from Fleetwood Mac and Michael McDonald, maintaining the genre’s clean vocals and catchy melodies. However, their experimental spirit pushed the sound further, distorting the polished yacht rock aesthetic—leading to Crack Rock, a clever wordplay reflecting both the music and its themes.
Anthony Mills is known for layered wordplay, and the album’s name nods to deeper personal struggles. “I listened to the song Crack on repeat—it brought me to tears. Growing up in the crack era was painful. The PTSD I endured is now a powerful source of inspiration.” This raw emotional backdrop adds an edge to Crack Rock’s themes of love and human relationships—what Mills calls “cold love”: alluring, grand, yet ultimately destructive. Like an addiction, you keep coming back for more.
This idea of addiction shapes the duo’s sonic exploration—beneath the catchy melodies lie deeper, pain-laden themes wrapped in metaphor. “I see this album as therapy, a testament to the magic we create in the studio,” says Pędziwiatr. “Our process is a mix of musical mastery and deep conversations about life. For me, it feels like soul cleansing.

From the deepest trenches of deadstock 45s and the unsung annals of soft rock infamy, we present SR4HT02: (Till You're) Back In My Arms.

Universal Cave and the Street Road Band cover Dan Strimer with Insured Sound's cult anthem (Till You're) Back In My Arms which was originally released as a 45 in 1977 on Lost Nation Records out of Guysville, Ohio. When Universal Cave featured Back in My Arms on Soft Rock for Hard Times Vol 8 in 2023, we reached out to Dan Strimer to tell him how much we loved his record, and quickly made a friend who helped us release a cover of his song 47 years after it first came out. Dan is still making music to this day and there are even rumors of some unreleased recordings making their way out in the near future.

On vacation in Hawaii when we released Soft Rock for Hard Times Vol 8, Alex Tebbs Mitchell of Universal Cave kept coming back to Dan's catchy, rural classic rock tune. When Alex returned to Philadelphia, he assembled the Street Road Band to record a laid back, 'southwestern Balearic' cover version with André Ethier on vocals, Charles Simon on guitar, Jesse Spearhawk on Pedal Steel, Alex Tebbs Mitchell on Rhodes and bass, Ryan M. Todd on synthesizers, and Shawn Ryan and Brian Cassidy on additional programming and arrangement. The result is a blissful soft rock ballad inspired by the likes of Chris Rea and Mark Knopfler.

After recording the cover, we called in the UK's finest Balearic maestro's Coyote to take the multitracks to the White Isle and back for a remix worthy of Cafe Del Mar. Coyote send the song into a dreamy, dubby, deep house groove, confirming that the record is, in fact, Balearic.

Mixed by Alex Tebbs Mitchell
Mastered by Mat Leffler-Schulman

"Released in 2002, Head on Straight marks Tonic's third studio effort, a testament to the band's steadfast dedication to their sound amidst a rapidly evolving alternative music landscape. The album garnered significant recognition, earning a Grammy nomination for Best Rock Album at the 45th Grammy Awards, while the track ""Take Me As I Am"" received a nod for Best Rock Performance by a Duo or Group with Vocal.
Producer Bob Rock introduced a more polished sound to the album but still showcases Tonic's signature blend of driving rock rhythms and emotive ballads. Head On Straight is available on vinyl for the first time and includes an insert."

Cornflake Zoo was one of many untamed garage rock bands that burst out of Sweden in the wake of The Nomads. Their debut single, Hey Conductor, dropped in 1985 on the legendary Tracks On Wax label – the same stomping ground as the early days of The Creeps. With fuzzed-out guitars, a swirling Farfisa organ, and raw energy, they tore through the scene, releasing an EP, another single, and making stellar appearances on international garage rock compilations. But by the time they pulled the plug in 1990, their sound had transformed from ragged, riff-heavy garage rock to shimmering, melodic wimp-pop. And every note they played was pure magic. Now, we’re thrilled to announce the release of the ultimate Cornflake Zoo compilation, Knights Of Fuzz! This collection captures all their released tracks and throws in a few bonus tracks for good measure. It’s time to unearth Haninge’s best-kept secret and experience the sounds of a band that truly deserved to conquer the world. Set for release April 2205.

Born from a childhood friendship, the five members of Ciao Kennedy have crafted their own sound and feeling after exploring a variety of different musical horizons. Following the release of EPs 'Keldercave' (2021) and 'the problem is' (2022), as well as being featured on the compilation Lefto presents Jazz Cats Vol. 3 in the spring of 2024, it was only a matter of time for the Brussels-based band to reappear on the music circuit.

As part of the Magma collective, alongside groups like TUKAN and ECHT!, they started to stand out with their instrumental music merging the playfulness of jazz,the repetitive facets of post-rock, and the overtly grand electronic sound evident in what is nowadays described through the grapevine as the 'Brussels sound'.

With Solarium, their debut album set to be released under the Sdban Ultra label, they have found a course and common denominator in guitars drenched with post-rock effects, steered by hypnotic electronic beats, creating an atmosphere of rare, dense melancholy, peppered with a sound that belongs in a blockbuster sci-fi movie.

Ciao Kennedy and its debut album are a tangy candy bursting in your mouth, the thrill of an afternoon at the fair, modernity meeting up with the nostalgia of childhood. Or standing beneath the shimmering neon lights of a rainy night, like colourful poetry, blending tenderness with electric intensity. Many of these musical descriptions would be completely off the mark, but after a few listens, they don't seem to miss the mark either. There's something for everyone to discover on this album, oscillating between the familiar and the unexpected, melancholy and cheer, and while everyone keeps on talking about something being a 'vibe', we can only conclude that Ciao Kennedy is the only one putting this into action.

To celebrate the release of Solarium, the band will host a release party at the Brussels venue Botanique on April 17, 2025. A must-attend event for everyone who wants to see if the live reputation which precedes Ciao Kennedy is actually true. Whatever happens, make sure to keep that date free.

Release show: 17/04 Botanique, Brussels.

American director and actor Eli Roth takes you on a forbidden journey across the vaults of legendary Italian soundtrack label CAM Sugar. Setting the mood for his very own red light discothéque, Tarantino’s right-hand man and Italian B-movies connoisseur has sourced and selected 20 juicy tracks, spanning from kinky disco and funk to seductive bossa nova and psych, from Italian Sexy Comedy and softcore films (1969-1981). It includes 9 previously unreleased tracks with 4 previously unreleased on vinyl and music by some of Italian film music's most cult composers, including Stelvio Cipriani, Bruno Nicolai, Riz Ortolani, Franco Campanino, Gianni Ferrio, Nico Fidenco as well as unique vocal performances by actress and Italian sexy comedy actress Gloria Guida.

LOS TRES PUNTOS : the enthusiasm of ska and the rage of punk rock inherited from the 80s french alternative movement, combined for an explosive cocktail to wake the dead! Unbridled rhythm, relentless brass section, unifying songs in French and Spanish ; the band has scoured concert halls in France and abroad.

This "live in Mexico" was recorded in November 2023 in front of 60,000 people at the Skatex Festival in Mexico City, celebrating the 30th anniversary of the group.

14 Tracks taken from the best of their discography, played with the energy and experience of the Los Tres Puntos gang.

Saxon are an English heavy metal band formed in Barnsley in 1975. As leaders of the new wave of British heavy metal (NWOBHM), they had eight UK Top 40 albums during the 1980s. They established themselves among Europe's most successful metal acts. The band tours regularly and have sold more than 23 million records worldwide The Eagle Has Landed - part II was recorded during their European tour in support of their Dogs of War album (MOVLP3570). It delves deeply into the band's latter-day catalog and offers excellent sound quality to boot. It's packed with fan favourites and features guitar legend Yngwie Malmsteen as a guest on the track "Denim and Leather". The Eagle Has Landed - part II is available a limited numbered edition of 1000 copies on translucent red vinyl and contains a 4 page booklet and additional cover print.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

First time on vinyl! Unique duets album from country music greats Lorrie Morgan and Pam Tillis (under touring moniker 'Grits & Glamour'). The project features solo performances by Morgan and Tillis as well as fun collaborations and poignant duets. Highlights include original material written by Lorrie and Pam as well as songs penned by some of country music's most talented songwriters. With titles such as “That’s So Cool,” “Bless Their Hearts,” “I Am a Woman,” “I Know What You Did Last Night,” and “What Was I Thinkin’” (a Tillis/Morgan co-write), the 14-song collection is as diverse as the many moods of both women. It shows their remarkable range, showcasing everything from traditional country to cutting edge contemporary. Veteran recording artists and performers, they grace the country format with style, flair, and undeniable talent that is captivating and timeless. Their career highlights are numerous and varied. Combined, they have recorded 28 top 10 hits, more than 18 million records sold, and 12 number one songs. There have been Grammys, CMA Awards, movie credits, television appearances, and Broadway performances. They have rocked arenas, helmed world-class symphonies, and toured on almost every continent. “We've been called divas a time or two,” laughs Lorrie. “Now, I'm sure they meant it in the best sense of the word,” Pam responds. “As far as being 'divas', we share the title and the responsibility!” Striking a more serious note, they both recognize the importance of compromise in this unique and special relationship. They respect one another’s artistry, they respect each other as women, and they respect the fact that they’re carrying on the legacies of their fathers, late Opry star George Morgan and living legend Mel Tillis.

2025 marks 40 years since Ricky Ross met Dougie Vipond and they started to form Deacon Blue, the songs on "The Great Western Road" reflect the journey the band has taken and remain honest to the age and experience they all share. Ricky Ross: "It"s just the next part of the adventure and it"s as exciting now as it was back in 1988". The joyous lead single "Late "88" fondly remembers the care-free excitement of those early days. The "Great Western Road" was recorded at the legendary Rockfield Studios, Ricky Ross and (Deacon Blue guitarist and long term collaborator) Gregor Philp return to production duties, having last produced the bands" Top 5 charting and their last full length album, 2020"s "City Of Love". This album was recorded by Matt Butler, who first worked with the band on their debut, "Raintown".

On their latest album, XIXA leave the sunbaked desert behind, taking listeners on a journey through the underworld. Diving into the richness of folklore, Brian Lopez and Gabriel Sullivan, who share XIXA’s songwriting, lead vocals and lead guitars, expand on their mystic, psychedelic rock, reaching more into their Latin influences to create a musical and lyrical narrative for XOLO, an album exploring both a mythic journey and what messages it might have for today. XOLO (in both band name and album title, the x is pronounced like ch) refers to the breed of Mexican hairless dog, Xoloitzcuintli. In Mayan and Aztec cultures, these dogs were held sacred and believed to have been guides through the underworld, Mictlán. The record loosely tells the story of a young girl, Arcoiris, who is guided through all nine levels of Mictlán by her sacred protector, El Xolo. The songs represent the various encounters El Xolo and Arcoiris experience while finding their way through a land of mystery and shadow. In a way, the idea of a Xolo-themed record pre-dates the band itself.

The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound - or more accurately, the Young Widows feel - is in full battering ram motion on their fifth studio album. The heaviness of Power Sucker isn't mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career. Historical accomplishments aside, Power Sucker has the shock and wonder of a new band's debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.

The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound - or more accurately, the Young Widows feel - is in full battering ram motion on their fifth studio album. The heaviness of Power Sucker isn't mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career. Historical accomplishments aside, Power Sucker has the shock and wonder of a new band's debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.

Der Soundtrack nicht nur einer Jugend! Die ersten beiden But Alive Platten "Für uns nicht" (1993) und "Nicht zynisch werden?!" (1995) als Reissues auf dem Label B.A. Records von Marcus Wiebusch (Kettcar). Satte 26 Jahre waren diese Klassiker des deutschsprachigen Punk/Rocks nicht erhältlich. Nach dem Erscheinen des Debütalbums "Für uns nicht" war für viele politisch interessierte Musikhörer*innen die Welt nicht mehr dieselbe. Selten zuvor gelang es einer Band die politische Situation des Landes lyrisch so zu sezieren und zu kommentieren. Schnell erspielten sich die Hamburger eine riesige Fangemeinde, die alle auf das 2. Album "Nicht zynisch werden?!" warteten, mit der die Band ihren Ruf als eine der besten deutschsprachige Punkband manifestierte.

Der Soundtrack nicht nur einer Jugend! Die ersten beiden But Alive Platten "Für uns nicht" (1993) und "Nicht zynisch werden?!" (1995) als Reissues auf dem Label B.A. Records von Marcus Wiebusch (Kettcar). Satte 26 Jahre waren diese Klassiker des deutschsprachigen Punk/Rocks nicht erhältlich. Nach dem Erscheinen des Debütalbums "Für uns nicht" war für viele politisch interessierte Musikhörer*innen die Welt nicht mehr dieselbe. Selten zuvor gelang es einer Band die politische Situation des Landes lyrisch so zu sezieren und zu kommentieren. Schnell erspielten sich die Hamburger eine riesige Fangemeinde, die alle auf das 2. Album "Nicht zynisch werden?!" warteten, mit der die Band ihren Ruf als eine der besten deutschsprachige Punkband manifestierte.

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

Reinventing himself as a vocalist on his new album 'Silver Blue', Pomrad fuses 80s fusion funk, raw electro-dance, and 90s rave grooves to craft his unique style of cosmic crooners. For Fans of Prince, Hudson Mohawke and Herbie Hancock.

Drawing inspiration from a wide range of genres, the record pays homage to the iconic African American productions of the '80s-such as Prince, One Way, the Gap Band, and Whitney Houston-while also nodding to UK-styled genres like Street Soul (The Antipode), '90s R&B (Is It True) or even grotesque 2-step (Sad Dancer).

Throughout the album, layered synth textures from instruments like the Yamaha DX7, RolandD-50, Simmons SD-5, and Korg Opsix create otherworldly atmospheres (Silver Blue), as tracks swing from the playful funk naivety of an '80s TV show intro (How It Feels) to corny synth ballads (Sweet Dear Lucky) or happy clapping turned hardstyle (Suzy Got Lost).

Pomrad wrote the songs over the past few years in his home studio in the Antwerp area. After a seven-year hiatus, following his collaboration with Onra, he returns as a fearless singer and storyteller with a distinctly Belgian surrealist flair.

Besançon, sometime before lockdown… Still in high school, Laszlo, Baptiste, Matthieu, Maël and Marius, driven by a common desire to make people dance till they sweat, formed Wet Enough!?, and began to make music together, driven by a burning passion for funk, electro, rap and disco.

Early 2023, they were contacted by Antoine Rajon from label KOMOS who was to go on to produce their debut EP “DASH”, released in January 2024. A series of gigs followed in Paris, London, Brussels and the Jazz à Vienne festival under the aegis of Astérios Spectacles. That same year, they were also selected to take part in the Inouïs talent showcase at the Printemps de Bourges, as representatives of the Bourgogne Franche-Comté region.

The “Burgundy Five” then studied at music schools in Brussels, Amsterdam and Lausanne, in institutions more open than their French counterparts when it comes to exploring the full gamut of musical styles; they also frequently met up for composition sessions and concerts.

In September 2024, they left for London to record their debut album, in the studio of producer and musician Malcolm Catto, as he was charmed by a live at ‘91 Living Room’ in Brick Lane. The Heliocentrics drummer and sonic wizard behind Yussef Kamal’s famous ‘Black Focus’, used his trademark analogue approach to help craft 10 powerful tracks, collectively composed and arranged by the group.

On this release, we detect the influence of American groups like Ghost-Note and Butcher Brown, but also an energy almost akin to punk rock. And especially, we can sense an enthusiastic appetite for defying genres, without a care for codes or the constraints of aesthetic purism.

Their starting point is new jazz, conjuring up current scenes in the UK and America (‘Green Tangerine’, ‘Emile Lédonien’, ‘Lullaby for a riot’), but they soon wander into the club with the unashamed housey inflections of ‘Dump’ (carried aloft by Galawesh Heril on vocals). When Marius, the trombonist grabs the mic, he displays mastery of chiselled flow and old school French hip-hop vibes (‘Lascars, San Pé’) as well as ultra-modern, alternative aesthetics (Les 2).

During the studio sessions in London, the band invited two British musicians to guest on the record - a junglist rapper from Manchester, OneDa, who illuinates up single ‘One Leg’ with the brightness of her rhymes; and a Londoner, saxophonist Camilla George who offers a vibrant solo, riding high over the amped-up groove of Funk4.

There’s no doubt they shall join the group for upcoming shows whose philosophy is also expressed in the album’s title :

DANCING PEOPLE DON’T DRY.

Based in Ottawa, Ontario, the capital city of Canada, The Riptides have been cranking out high-energy blasts of melodic, poppy punk rock for over 25 years. With their new LP Burn After Listening, the band makes the move to Pirates Press Records, and are ready to bring their sound to an all new worldwide audience! Originally formed in 1998, the band wasted no time assembling their own studio and label, putting out their own records as well as their fellow Ottawa bands. Word spread quickly, and the band's notoriety grew, particularly in the US, and soon the band found that they enjoyed rising to the challenge of leaving home and recording at noted US studios, with Burn After Listening being no exception. This album was recorded at the legendary Blasting Room in Fort Collins, CO, with Andrew Berlin at the helm for tracking and Jason Livermore in charge of the final master. These studio sessions included a cavalcade of friends & guest musicians, including members of Teenage Bottlerocket, All American Rejects, Screeching Weasel, and The Queers. A number of songs on the record also bear co-writing credits from fellow Pirates Press Records artist Matt DeeCRACK. Blending attitude-driven downstroke riffs with irresistible hooks and harmonies, combined with an aesthetic informed by everything from nerdy pop culture and surfing, they've already amassed quite the following across the decades, but this record stands poised to introduce them to many new fans.

Here is an expanded edition of one of Nurse With Wound's most intense and unique albums, so much so that for long-time fans, it was a strange, chaotic lounge oddity upon its release. For the first time, all four audio sides are complete (originally, there were only three sides).

To top it off, there is a stunning new cover by the great and talented Babs Santini, who is none other than Steven Stapleton using his artist pseudonym, continuing in the luxurious tradition of the "silver collection" at Rotorelief Records.

The album Huffin' Rag Blues by Nurse With Wound is unique in the NWW discography. Stapleton teams up with composer, producer, and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the genres of exotica and lounge, crushed into a joyful cacophonic mess. Longtime NWW friends Colin Potter and Matt Waldron also join in.

Blues, jazz, cop movies, bachelor pads, and TV show music are treated, discarded, then chopped up and recycled into a mix that contains tons of space but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry, and a certain rock & roll abandon. It's a very surprising album for long-time fans, like a soundtrack that could accompany a David Lynch film.

It's brilliant, exasperating, hilarious, and dark enough to earn a spot in any collection that appreciates a bit of weirdness and eccentricity.

Huffin' Rag Blues incorporates more familiar musical elements—including live-played instruments, rhythm, and vocals—than nearly any other Nurse With Wound album to date. As always, the album's main focus is to create environments for lucid dreaming rather than music per se.

TC.KYLIE x The Hourglass brings dynamic jazz fusion music from her debut album, integrating Hong Kong, Japanese and British cultures. Kylie leads her band dynamically on stage playing keyboard and synth keytar, iconic in Japanese jazz rock & highly memorable to watch.TC.KYLIE, a jazz fusion pianist, performs regularly in both Hong Kong and London. Inspired by the likes of Shaun Martin and Robert Glasper, she also continues to write songs in the areas of Japanese acid jazz, following Fox Capture Plan, Jabberloop, Toconoma, Jizue and Bohemianvoodoo. Prior to becoming a performing artist, Kylie previously worked as a news documentary journalist for radio and TV networks in Hong Kong, She spent much of her time connecting human stories and investigating the connections between people and society which was inspiring and enlightening but also often heavy and difficult within increasingly tricky political landscapes unfolding around her.

Under the changing social environment in her hometown and with the hit of the pandemic, she decided to take an indefinite well-earned break in 2020 to take care of her own well-being & passions. During a stay at a jazz cafe and hostel in Lake Towada in Aomori, Japan, encouraged by the hostel owner as a jazz enthusiast; Kylie sat in front of the piano, contemplated and played scattered notes to express what she had been enduring during her time as a political/social reporter.

Finding herself joyfully picking up music in her life again after years of leaving it behind, she wrote the song "The Last Grief" a tribute to one of her deepest sorrows and in remembrance of her best friend in childhood who battled heavily with depression. This song went on to be an official selection for the International Toronto Music Video Festival as well as the Toronto Asian Independent Film Festival in 2023.

Yellowstone is an American neo-Western drama television series. The series stars Kevin Costner, Luke Grimes, Kelly Reilly and follows the conflicts along the shared borders of the Yellowstone Dutton Ranch, a large cattle ranch, the Broken Rock Indian reservation, Yellowstone National Park, and land developers. The first part of the fifth and final season premiered on November 13, 2022, with the second part scheduled to premiere on November 10, 2024. Composer Brian Tyler, who once worked and performed in a Native American musical group, said he worked hard to blend his knowledge of traditional Native American music with the melting pot of western cultures in his score. “What I ended up doing was finding ways to incorporate some of the percussion, some of the woodwinds, some of the instrumentation and weave it into things like cellos, basses, cimbaloms and all these exotic instruments,” Tyler said. The package includes an insert.

Don McLean's The Western Album is a 1973 release blends folk, rock, and country influences. The album features McLean's storytelling style, exploring themes like love, loss, and Americana, with a focus on Western imagery. It includes tracks like "The Good Old American Dream" and "The Legend of Andrew McCrew. The Western album remains notable for its introspective lyrics and rich sound.

Ihr zehntes Studioalbum, Bird in Paradise, soll am 7. März 2025 veröffentlicht werden und enthält
den aktuellen Dancefloor-Füller „La Gracia“. „Als wir uns daran machten, das Album Bird in Paradise
aufzunehmen, wollten wir ein musikalisch reichhaltigeres Album als zuvor machen, das die Band instrumental wie nie zuvor in den Vordergrund stellt.“ „Musikalisch gesehen ist Bird in Paradise ein australisches,
Flamenco-, afrokubanisches Projekt. Wir haben uns an den Themen des zeitgenössischen Flamenco und der
kubanischen Musik orientiert und sie mit der Entschlossenheit und Härte der australischen Rockgeschichte
kombiniert.“

Die Rockikonen Rush feiern ihr 50-jähriges Jubiläum und präsentieren der Welt die erste vollständige RushAnthologie, die die gesamte Karriere der Band umspannt, mit 50 Titeln, darunter 7 unveröffentlichte, auf 4
CDs und 7 LPs. Den Auftakt der Sammlung bildet die allererste offzielle CD- und LP-Wiederveröffentlichung
der allerersten Singles der Band, „Not Fade Away“ und „You Can’t Fight It”. Abgerundet wird die Anthologie durch Auszüge aus jedem Studio-, Live- und Deluxe-Wiederveröffentlichungsalbum, das die Band
offziell veröffentlicht hat und Vault Editions von „Working Man“ und „The Trees“, die beide alternative
Gitarrensoli enthalten. Als nächstes folgen 5 unveröffentlichte Live-Songs aus dem Jahr 1974 und den
Abschluss der Feier bildet die feurige letzte Aufführung von „What You’re Doing / Working Man / Garden
Road“ mit Neil Peart am 1. August 2015 in Los Angeles.
Hugh Syme, der langjährige Kreativdirektor der Band entwarf brandneue Grafiken zum 50. Jubiläum
sowie neue Illustrationen. Die Rockjournalisten David Fricke und Phillip Wilding berichten in einem 100-
seitigen Hardcover-Buch, das in allen drei physischen Formaten erhältlich ist, anhand unglaublicher Fotos
der Band über ihre persönlichen Erfahrungen mit der Band und ihre größten Erfolge. Exklusiv für die Super
Deluxe Edition hat Fantoons als zweites gebundenes Buch einen 100-seitigen Graphic Novel erstellt

Celebrate 50 years of RUSH with their first-ever complete career anthology. . Igniting the experience are the very first two singles “Not Fade Away” and “You Can’t Fight It” remastered & reissued for the first time ever. The collection showcases 7 unreleased tracks including five 1974 live selections with the non-album songs “Bad Boy” and “Garden Road,” a Vault Edition of “The Trees” with an alternate guitar solo, and the very last performance with Neil Peart in Los Angeles on August 1, 2015 of “What You’re Doing / Working Man / Garden Road.” The 104-page hardcover book features new Hugh Syme 50th anniversary artwork along with stunning new song illustrations, photos and liner notes by renowned rock journalists David Fricke and Philip Wilding..

50 tracks on 7 180g LPs featuring selections from every studio, live and deluxe reissue album

Their tenth studio album, Bird in Paradise, is set to be released next March 7, 2025 via BMG Australia and includes recent dance-floor filler ‘La Gracia’. "When we set out to make the album Bird in Paradise, we wanted to make a more musically rich album than we had before, which featured the band instrumentally like never before." - Ollie “Musically speaking, Bird in Paradise is an Australian - Flamenco, Afro-Cuban project. We've drawn from the themes of contemporary flamenco and Cuban music, and combined it with the grit, and toughness of Aussie rock history." – Felix. Available on: 1CDSoft Pack packaging. No Booklet. Standard Disc Artwork or 1LP Standard Sleeve. Inner Sleeve Component. Blue Wren Colour (Opaque). No booklet.

Iconic British band McFly are celebrating their 21st anniversary with the
release of a special live album, marking over two decades of musical success
This landmark release, recorded at the McFly 21 Show at the London O2 Arena, parts
of which was recently broadcast on ITV, offers fans a unique opportunity to
experience the band's journey through their most beloved songs.
The album serves as a time capsule of McFly's evolution, blending their infectious
pop-rock sound with deeper, more mature moments. The tracklisting is packed with
crowd favourites, from early hits like "I Wanna Hold You" and "Bubblewrap" to later
tracks such as "Shine A Light" and "The Heart Never Lies." The band's musical range is
on full display, with upbeat tracks like "Broccoli" and "Party Girl," as well as
introspective songs like "Memory Lane" and "Forever's Not Enough." The anniversary
collection also includes the powerful "Transylvania" and fan-favourites like "Red" and
"I've Got You," showcasing McFly's versatility and timeless appeal.
The ITV broadcast and physical release offer an opportunity for fans to relive McFly's
greatest moments, both on stage and in the studio. This anniversary album is a
celebration of McFly's lasting legacy and their continued relevance in the pop music
world. With an impressive tracklist and the stunning ITV broadcast, this milestone
release is not to be missed.

"The classic album now returns with new analogue mastering and stunning smoky blue vinyl pressing
Released in Jamaica in 1971, Soul Revolution Part II is the follow-up to Bob Marley and the Wailers’ 1970 debut album Soul Rebels. Going from strength to strength on the material they recorded for Lee Perry, this 12-tracker constitutes another crop of exceptional early-roots reggae anthems. Some of the songs are among the more widely lauded efforts in the repertoire of Bob Marley, Peter Tosh and Bunny Wailer. ‘Don’t Rock My Boat’, ‘Duppy Conqueror’, ‘Sun Is Shining’ are about the most acclaimed of them and sound better than ever on this newly remastered edition using vintage analogue gear.
Recorded at the famed Randy’s Studio (also known as Studio 17) located at 17 North Parade in Kingston, Jamaica, this is the second full-length collaboration (and last!) between Bob Marley and the Wailers and producer Lee ‘Scratch’ Perry!
* 1971 classic album with new analogue mastering 
* Pressed on smoky blue vinyl 
* Released on the Upsetter label, celebrating the groundbreaking collaboration between Bob Marley and The Wailers and Lee ‘Scratch’ Perry "

"Héctor Roberto Chavera (1908-1992) under his stage name Atahualpa Yupanqui is the most important Argentinian folk singer-songwriter. His father was a mestizo of Quechua and Basque ascendant who worked for the railroad company. The family moved to Tucumán, in the Argentinian northwest when he was nine years old. There Héctor adopted the stage name of Atahualpa Yupanqui in tribute to two legendary Incan kings. His quechua nickname can also be read as “he who came from afar to tell stories”.
In his youth, he travelede through the northwest of the country studying the indigenous cultures. He would get into politics joining the Argentinian Comunist Party and in 1931 took part in the failed Kennedy Brothers uprising against José Félix Uriburu coup d’êtat. when the uprising was defeated he had to seek refuge in Uruguay until 1934.
In his poems set to music, Yupanqui depicts scenes of his country¡s live and landscapes and has a very present commitment to the working class in a similar way to that of other famed singer-songrwriters, with the name of Woody Guthrie coming first to mind.
This compilation collects some of the best songs of his extensive discography in their original recordings. Many of them have been covered internationally by artists such as Daniel Viglietti, Mercedes Sosa, Facundo Cabral, Victor Jara, Los Albas, Marie Lafôret or Joan Manuel Serrat, among others."

Presenting the vinyl reissue of "French" by the legendary Buzzcocks, an electrifying live album capturing the band’s dynamic performance during their iconic Paris show in 1995. Known for their pioneering sound that fused punk’s raw energy with melodic sensibilities, Buzzcocks deliver a setlist packed with fan favorites and deep cuts, showcasing their impact on generations of punk and alternative rock. This album captures the intensity of their live presence, with Pete Shelley's unmistakable voice delivering heartfelt lyrics on love, desire, and disillusionment, supported by Steve Diggle’s powerful guitar riffs and the tight rhythm section of bassist Tony Barber and drummer Phil Barker. Buzzcocks have long been celebrated for their emotionally charged songwriting and high-energy performances, making "French" an essential recording that preserves their legacy. This vinyl edition invites both long-time fans and newcomers to experience the unfiltered sound of a Buzzcocks concert in its raw, analog glory.

Reissued for the first time, the third album by the UK reggae band originally released on Vulcan in 1976, considered by many as their masterpiece. Including one bonus track.
Known as the first British reggae unit – often working as a backing band for several Jamaican musicians heading to the UK at the time such as Jimmy Cliff and Bob Marley - The Cimarons also worked as a session band for Trojan records. Propelled by a fantastic documentary on their career - “Harder Than The Rock” officially screened in UK cinemas in late 2024.

Es ist das Jahr 2000. Der Begriff „Kuschelrock“ muss neu bewertet werden. Nach dem Megaerfolg des Vorgängers „13“ soll ein neues Album her. die ärzte wollen es noch ein bisschen alberner. Also wird zum Aufwärmen mit „5, 6, 7, 8 – Bullenstaat“ erstmal eine Ultra-Deutschpunk-EP eingespielt. Die Entstehung des neuen Albumtitels ist zwar beschreib- aber nicht erklärbar. Und: Plüsch. Unter der flauschigen Hülle entpuppt sich „Runter mit den Spendierhosen, Unsichtbarer!“ als Füllhorn von Hits, die nahezu alle noch ein knappes Vierteljahrhundert später einen festen Platz im nicht gerade schmalbrüstigen Klassiker-Kanon der Besten Band der Welt innehaben und dabei dem Zeitgeist weit voraus eilen. Denn die ärzte sind – Überraschung! – vor allem bei einem Thema außerordentlich divers aufgestellt: Geschlechtsverkehr. Den gibt es in allen erdenklichen Spielarten, inklusive mehr oder weniger geläufiger Probleme, die den Spaß zwischen Männern, Frauen und allem dazwischen leider zu oft verkomplizieren. „Du nervst noch mehr als Yoko Ono“ ist nicht nur längst Alltagssprache sondern landet für das kurze, aber schmerzvolle Video sogar im Guinness-Buch der Rekorde. „Manchmal haben Frauen“ wächst sich ob des handfesten Themas fast zu einem mittleren Skandal aus, wird dann – dank des noch handfesteren Videos – zum Radiohit und zeigt letztendlich eine Option zur feministischen Selbstermächtigung auf. „Rock Rendezvous“ ist überaus F-Wort-intensiv und hemmungslos lustig. Aber auch sonst sind BelaFarinRod äußerst gut aufgelegt, reimen sich selbst für ihre Maßstäbe extensiv um Kopf und Kragen und sind außerdem noch total Rock.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

A new artist appears on the streets of City HC Records, he is Andrey Orenstein
multidisciplinary artist, part of the alternative Rock band ‘Tequilajazz’, with several solo musical incarnations such as: Amor Entrave, for electronic Indie beats with tocuhes of IDM of broken beats, Do you like trains? for Acid House, and 50DIX, dedicated to street beats such as jungle, drum n bass, ghetto house, Juke and Footwork, and the pseudonym he uses for Go Ahead! EP, the new and multifaceted 22nd release from the Valencian label.

IF U WANT 2 is the elegant track that takes us into the bustling avenues of the 2st century megapolis, where the urban rhythms of the dance battles in Chicago, Footwork and Juke, along with brief Jungle passages alternate in a brilliant composition with funk and jazz nuances accompanying tight percussion and distorted kicks at 160 BPM.

Tough and Ghetto House and rugged acid define FOOLZ, second track of the A-side in which the demonic power of the 303 sounds embrace the thick and husky voice that together with infectious laughter set a rhythm as pugnacious as it is playful.

FETTA DI LIMONE, Juke, Footwork and Jungle, a perfect combination of American influences, legacy of Dj Rashad together with the English tradition around bass music, are fused by 50DIX with the unexpected and playful Italian lyrics of Tomasso Girardi, in perfect conjunction with the pianos, ethereal pads and mutant synths, that forge the development of the track. Already anthemic before the first beat sounds.

Juke, IDM, Halftime and abstract broken beats combine for the ultimate dance elixir, in the last track of the vinyl titled ICE FEELS KEEN, reaching 170 BPM in a catharsis of braindance, soul and acid exaltation in a dreamy harmony, where the syncopated notes of Oleg Egorov's bass and the velvety voice of Julia Garnits (Ice Hokku) commune.

Bonus digital track - 50Dix ICE FEELS KEEN (DZA REFLIP). Hypnotic, sharp and minimalistic, DZA's remix transforms the original track into an intimate and evocative experience, in which every sonic element acquires more prominence and presence.

Bonus digital track 2 - Fetta di limone (Kaxtelian remix) Inspired by the classic hardtrance sounds of the 90s, from Valencian dance temples such as Chocolate, Kaxtelian reinterprets the track with distorted drums, catchy melodies and Rave spirit at 165 bpm.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK), except for the Bonus track 2 mastered by Raszia.

Once again, artwork and design by Dani Requeni, giving artistic coherence to the label's aesthetic.

At the border of genres, OGIVES is an ambitious musical project, initiated and led by composer and musician Pavel Tchikov. This large ensemble leads us onto a path to a sacred universe, to a cathedral of sounds, whose foundations are rock and classical music. Born in Liège (Belgium), OGIVES offers a resolutely intense personal and poetic work, dominated by layers of melodious, polyphonic, shouted or lyrical voices. This first album from OGIVES, 'La mémoire des orages' (The Memory of Storms), is build and orchestrated around poems written by two members of the group. These texts revolve around the themes of the perception of time and the perspective of death. We find here all the group's influences, ranging from post-rock, prog' to contemporary music, baroque and medieval music, through electronic music and noise, all exploited to forge a homogeneous and singular material. From the first choral notes to the last sharp riff, it is a dense and melancholic epic, carried by inhabited and versatile musicians. The album was mixed by Steve Albini.