Search:te

Mit „Wagner: The Ring – An Orchestral Adventure“ erscheint Henk de Vliegers orchestrale Fassung des
„Ring des Nibelungen“ auf Vinyl. Die Einspielung mit dem Hong Kong Philharmonic Orchestra unter
der Leitung von Tarmo Peltokoski präsentiert die musikalischen Höhepunkte aus Wagners monumentalem
Opernzyklus, dessen vollständige Uraufführung vor 150 Jahren im August 1876 in Bayreuth stattfand.
De Vlieger formte aus den vier Teilen – „Das Rheingold“, „Die Walküre“, „Siegfried“ und „Götterdämmerung“ – eine etwa 70-minütige Orchestersuite. Im Mittelpunkt steht dabei die musikalische Dramaturgie
des Gesamtwerks. Prägende Leitmotive wie das Rheingold-Motiv, der Walkürenritt oder Siegfrieds Heldenthemen werden in einen geschlossenen symphonischen Spannungsbogen integriert. Wagners vielschichtige
Orchestrierung tritt in dieser Fassung besonders deutlich hervor.
Das Hong Kong Philharmonic Orchestra widmet sich der Partitur mit differenzierter Klanggestaltung und
präziser Dynamik. Unter Tarmo Peltokoskis Leitung entsteht eine Interpretation, die strukturelle Transparenz mit dramatischer Zuspitzung verbindet und die klangliche Bandbreite des Werks herausarbeitet.

I Owe You (Nothing) was written October and November 2016. Before, during and after election time in the US. Tension, fear, anger, dread and any other negative adjective you choose to use were in full swing and it felt almost impossible for this not to infiltrate into my music or even write about anything else. Henry Rollins: "I don't think there's a single track that Mr. Lunadon has done that is not worth checking outand live? Forget it! So cool."Rare Gems Volume One is comprised of 10 sick as fuck rare and unreleased studio tracks recorded between 2016 and 2026. Rare Gems Volume One is an essential Dion Lunadon release and also features fan favorites, 1976 and When Will I Hold You Again. Do not be fooled!! This is NOT just a bunch of b-sides or 2nd rate throw aways!! Dion has written and recorded 100's of songs during this period and for one reason or another these gems did not make it onto official albums. But gems they are! This is why we give you Rare Gems Volume One.

Der Name Packaging mag eine zynische Einstellung zur Musikindustrie vermuten lassen, aber die Musik, die das Duo Daniel Lyon (Spirit Award) und Daniel ,Connor" Birch (Flaural) macht, ist alles andere als zynisch. Stattdessen ist es eine leidenschaftliche Verschmelzung von Elementen aus ihren ganz eigenen Stilen: krautrockige Rhythmen, psychedelische Klänge, elektronische Pracht und eingängige Melodien, gewürzt mit einer Prise spritziger Selbstwahrnehmung. Ihr Debütalbum, Packaging, ist eine Sammlung emotional berührender Songs über Entfremdung, Langeweile und rastlose Bewegung. Mit dabei sind mehrere musikalische Mitwirkende, darunter Luke Temple (Here We Go Magic), Ash Reiter (Sugar Candy Mountain), James Barone (Beach House) und Andy Rauworth (Gauntlet Hair). Das Album ist, genau wie eine echte Verpackung, ein haptisches Erlebnis. Vom herzklopfenden Rausch von ,Running Through the Airport" und ,In My Pocket" bis hin zur benommenen Melancholie von ,Didn't Wanna Stay" und dem leise erschütternden ,On Holiday" verbinden Lyon und Birch ihre Talente auf eine Weise, die sie gegenseitig zu neuen emotionalen Höhen treibt. Unheimlich für alle Beteiligten schien sich ein glücklicher Zufall über das Projekt zu legen: keine Herausforderungen, keine Probleme, nur unheimliche Zufälle und intuitives Schaffen.

2026 Repress

Words by Costanza Acernese
MOVING PRESSURE 04 / Obscur
With its fourth release, Moving Pressure welcomes its first external artist: young Slovenian producer Obscur. With a signature sound that is driving and subtly psychedelic, his debut on the label doesn't stray from the core tenets of its sonic ethos. Obscur delivers minimalism with purpose-dynamic, intentional, and wholly physical.
'F135' opens the A-side with a sinister tilt-rubbery squeaks stretch and coil around a flickering, synthetic voice. It's tactile and strange, without losing movement. 'Soul Eater' follows with a slow-burn crescendo, nestling psychedelic inflections into a warm low-end. On the flip, 'Stockholm Syndrome' pares things back. Dry, stripped rhythms carry an atmospheric tension-it's austere yet playful, leaving space for darker hues to linger without fully settling. A precise, heads-down statement. 'Blasphemy' follows with a tighter percussive grip and Feral-esque, panning modulations. Highs slice through a foundation of finely textured grooves-functional at its core, but laced with enough detail to give the track a sharper, more intricate edge. The digital bonus, 'Diamond City', stretches the sonic palette even further. Not through layers, but through tone: steel blues and deep violets bounce off metallic bleeps with cinematic restraint, closing the EP on a reflective note.

Themes of birds and flying are woven throughout the album, which includes traditional songs such as "Peace Like a River" and "Little Bird, Little Bird," as well as favorites by Bob Marley, Lou Reed, Vashti Bunyan, and Woody Guthrie. Joined by her family, including her daughter Storey and husband and Ida bandmate Daniel Littleton, Mitchell crafts an inviting, homespun sound that draws young listeners in with its warmth and tenderness. To celebrate the landmark album's 20th anniversary in 2026, it has been reissued by Smithsonian Folkways on LP for the first time.

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Legendary hard-bop pianist and composer Horace Silver (1928 - 2014) was influenced by a wide range of musical styles, notably gospel, African, Latin, and Soul Jazz. He recorded primarily for Blue Note between 1952 and 1980, resulting in 25+ album releases. Presented here is Horace Silver's fourth LP Silver's Blue taped for the Epic label during two sessions in 1956, which followed three earlier sessions he had already recorded for Blue Note. The Epic session was to be the last LP he cut for the label, following which he returned to Blue Note where he remained until 1980 with the album 'Silver'n Strings Play the Music of Spheres'. The longevity of Silver's tenure with Blue Note was down to a deep friendship with the label's boss Alfred Lion, who allowed him greater input on aspects of album production than was usual at the time. Silver's Blue includes Blue Note stable mates Donald Byrd and Hank Mobley.

One of the finest singing brother duos of all time, The Everly Brothers ' close harmonies became one of the most identifiable sounds of the early rock & roll era of the late 1950s and early 1960s. Presented here are the very best of The Everly Brothers' pop charting-singles from the peak of their career. "There have been some wonderful harmony pairings in popular music: John Lennon and Paul McCartney, Michael Stipe and Mike Mills, Marvin Gaye and Tammy Terrell, everyone will pick their own; but there is something very special about family and especially sibling harmony. A modern group like The Proclaimers took their inspiration directly from the Everleys, who borrowed something in turn from The Louvin Brothers and other acts of the time. The voices were not just in tune but shared a very particular timbre. The brothers fell out in time, as brothers do, but when they sang - and there's no need to list the songs; they're stitched into the history of rock'n'roll - they didn't sound like two men, but like one." - Brian Morton "Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful." - Paul Simon

The band's name stems from the idea of reinterpreting and renewing what already exists: a creative drive that has underpinned their songwriting and the development of their sound from the very beginning. Following the EP/ demo 4 Little Hanged Toys (Copro Records/Casket Music), they made their debut in 2012 with Technicolor Noise (Zeta Factory), an album blending alternative rock, electronica and industrial influences. In 2015, they released Daytime Sleepwalkers on This Is Core, marking an evolution towards darker atmospheres, in which dark and new wave elements are woven more consciously into their sound. The following year saw the release of DSRMX, a collection of remixes that further expands the project's electronic dimension. After a hiatus due to personal circumstances, the band returned in 2026 with Faithless on Overdub Recordings, an intense, conceptual and political album that heralded a new artistic chapter, deeply influenced by their lived experiences.

Futurismo are thrilled to present Give Thanks, the long out of press 1984 hardcore classic by Articles Of Faith. Produced by Bob Mould, and newly remastered directly from the original tapes, this powerhouse of a record is now coming on both LP and CD after being unavailable for decades. Originally released in 1984, the debut LP Give Thanks by Chicago hardcore legends Articles Of Faith, is proof a hardcore record can be both political and poetic. Fuelled by rage, introspection and a musical progression that could be seen as a blueprint for what would later become known as post-hardcore, this album ticks every box you want from a record of the era: intense, emotive, scathing, unpredictable, all topped off by the masterful production of Bob Mould (Hüsker Dü/Sugar). Give Thanks is perhaps overlooked in many top ten’s of the genre, but leaving the bands debut LP off that list would be a mistake. A demonstration in raw emotion and political angst, Give Thanks harnesses a sound that could have only happened during the Reagan era. Hardcore was of course a musical explosion built upon aggression and discontent, yet Give Thanks forcefully fuses this concept of raw power with a multitude of musical influences at a time when some of their contemporaries perhaps seemed to tread water. Whilst the principles and sonics harnessed on AOF’s debut album may have had more in common with the sounds coming out of Washington D.C., this record has an authentic Chicago savvy running through it, effortlessly projecting a street level tone whilst simultaneously aiming to show the possibilities of what a hardcore record could be. In retrospect, AOF’s debut was a hardcore album ahead of it’s time, perhaps the reason it’s fervent themes and artistry still feel so fresh and relevant. Whether that’s due to Vic Bondi’s gravelly tones geared to critique the societal regime at play, or the considered guitar work aimed to both blast and texturize, or the intense drums rhythms inspired by jazz and dub, there is a depth to the final album that feels like a band testing their parameters, one listen to ‘Every Man For Himself’ and you know you are listening to something special. Familiarity and originality rarely crossover, but in this case they coexist to leave us with a forward thinking punk record that is more interested in shouting it’s emotions from the street, than it is screaming into a vacuum.

A true American hardcore record, and a must for fans of Minor Threat, Dead Kennedy’s, Bad Brains and Fugazi.

Gloss laminated digipak CD & Limited edition pink & white colour vinyl.

In 2016, with the blessing of David Lynch and Angelo Badalamenti, Xiu Xiu released and toured the surprisingly successful album and concert, Plays the Music of Twin Peaks. Out of respect and deference to the beloved series, the band decided to put the concert to rest in 2018. After the recent and untimely passing of David Lynch, Xiu Xiu began to receive several high-profile requests to revive their interpretation of this iconic music. However, in wanting to always try to follow, honor, and continue to be inspired by the incredibly high bar of artistic challenge set by Lynch, Xiu Xiu is instead going deeper. Eraserhead Xiu Xiu is a new live concert with an accompanying film and full-length album that uses field recordings, concert-specific homemade instruments, organ, modular synths, vocals, flashlights, electrical interference, and elements of musique concrète to express the bizarre emotionality, conflicted sexuality, relentless darkness, and singularly unsettled moonscape of this most incredible of midnight masterpieces. The album itself is a masterpiece in sound collage and experimentation, with tracks like “Tetra” and “Sleep Synth” shifting from minimal auditory sensations to a clobbering, grotesque cacophony. The album’s closing track, “In Heaven,” is a beautiful rendition of Peter Ivers’ original composition, with Stewart’s delicate and soft vocals showcasing the elegance and wonder found in Lynch’s directorial debut, Eraserhead. Eraserhead’s original sound design and score by Alan Splet and Lynch guide Xiu Xiu’s expanded interpretation, reflecting their influence as fans and musicians. The original film gives birth to Xiu Xiu’s visual lens, through which audiences are baffled and pummeled by the band’s imaginary unused auxiliary footage.

Is it a short-term art installation, an exploded tribute to a cinematic triumph, an epitaph to an idol via an entirely new work? Yes. Is it intense, odd, curious, and shrouded in the gloomiest of nights? Of course. After all, it is Eraserhead.

If you have kept a keen eye on what is going on in German thrash these days, you cannot have missed the comeback of Protector, legendary thrash/death outfit from Wolfsburg, Lower Saxony. Formed in 1986, Protector first called it a day in 2003, only to return in 2011 and releasing their “Reanimated Homunculus” on High Roller Records in 2013. Protector are widely regarded as one of the most underrated outfits from the prolific German thrash/death scene of the Eighties. Their debut-EP “Misanthropy” from 1987 is a thorny gem of uncompromising thrash metal, raw and fast, and with a strong feel of evil blackness. This first official release laid the base for Protector's reputation as “Germany’s most brutal band”, as some people called them. Protector? Really? Some band from some far out place in Lower Saxony? It’s true, Protector never rose to the same heights of fame as Kreator, Sodom and the likes, but back in the days, they made a name for themselves by playing not only fierce and sharp thrash metal, but always being extremely harsh, brutal and very very evil. “Misanthropy” is a perfect testimony for this: In its six-tracks-brevity, Protector’s debut-EP is a violent attack on the listener, giving you six razor sharp cuts and leaving you behind, crushed and bleeding. “Misanthropy” was recorded in the summer of 1987 at the White Lines Studio in Braunschweig. While the band's main influences at that time were Slayer’s “Reign in Blood”, Possessed’s “Seven Churches” and Exodus' “Bonded by Blood”, “Misanthropy” actually sounds like none of these albums – but very unique; In part this is due to Martin Missy's extraordinary extreme vocal performance, which always bordered on the verge of death metal growls and thus added a lot to Protector’s very own way of evil. The reactions to “Misanthropy” were mixed: Fans and the underground media celebrated the release, while the bigger magazines were sceptical about Protector's brutal and aggressive style and sound. Anyway: “Misanthropy” made people aware of this four-piece who lived in the shadow of the then still intact German Wall, far away from the Ruhr-Area, the heart of Teutonic thrash. For the High Roller re-release, nothing will be changed about the sound, which makes total sense, given that “Misanthropy” is great just as it is. Instead, “Misanthropy” comes with a very special feature: To make the release as complete as possible, High Roller includes the two songs from the demo from 1986, “Protector of Death” and “Apocalyptic Revolution”, something Martin Missy totally appreciates: “I think this is a great thing to do. That way the fans get an idea about what Protector sounded like before the EP was recorded.” One thing is already clear: Protector never got any more aggressive, sharp and shattering than on „Misanthropy”.

Sacred Leather is a traditional heavy metal band from the heart of Indianapolis, consisting of Dee Wrathchild (vocals), Lynn St. Michaels (lead guitar), Cvon Owens (rhythm guitar), Magnus Legrand (bass) and Don Diamond (drums). Following a privately manufactured live cassette, 2018’s debut album »Ultimate Force« and numerous (digital) singles, the new »Keep The Fire Burning« is the band’s most definite statement yet. Produced by the legendary Arthur Rizk (Eternal Champion, Power Trip), every track on the record is a call to arms. High-octane compositions such as “Spitfire At Night”, “Phantom Highways” or “Malevolent Eyes” show that Sacred Leather are true defenders of the faith. All songs breathe the raw power of classic 80s metal. Bassist Magnus Legrand comments: “Judas Priest has been a massive influence on us - not just aesthetically or stylistically, but in their ability to cover a wide range of sounds while always remaining unmistakably themselves. That balance is something we actively strive for: to explore every facet of heavy metal without ever losing our identity. The same can be said for KISS, Scorpions, and Queensrÿche - bands that can rock, rip, soar, go epic, or strip it down to something tender, all while keeping their signature intact. That versatility, anchored by a strong sense of self, is the standard we hold ourselves to.” According to Magnus Legrand, »Keep The Fire Burning« is a clear progression from the debut album »Ultimate Force«: “It’s sharper in its songwriting, stronger in its musicianship, and more focused in its execution. Where »Ultimate Force« laid the foundation, this record pushes further into those same territories with greater intent and refinement. It builds on what we established before, expanding the scope while tightening the strike. As a whole, »Keep The Fire Burning« is a relentless ride through the heart of traditional heavy metal - familiar in spirit, but undeniably Sacred Leather in execution.“

A label compilation can be the first sign of a new cycle. After years shaped by individual trajectories, it brings the focus back to what made scenes powerful in the first place: shared language, mutual influence and a sense of collective movement.

For a label built on deep rhythm, organic textures and emotional drive, this carries an even stronger meaning. These musical spaces hold connection, memory and exchange at their core.
In this light, a compilation becomes more than a format: it becomes a statement of identity, a meeting point where different voices contribute to one evolving vision.
Following the previous chapters, “MoBlack presents: COLORS OF INDIA” marks the third instalment in the series. Built around hypnotic percussion, evocative vocals and textures inspired by Indian tradition, the collection moves between organic groove and club energy while maintaining a strong sense of atmosphere.

Rameff – “Ferena” opens the collection with rolling percussion and warm melodic details, establishing a hypnotic atmosphere that naturally sets the foundation for what follows. From there, Bull&Jems – “Asha” brings a brighter sense of movement, introducing expressive vocal textures and rhythmic lift while keeping the groove connected to the same organic pulse. The mood then becomes more immersive with Rameff – “Bondhu”, where repetition and subtle melodic shifts create a steady build in tension without breaking the flow of the journey. Closing the selection, Hefty (CA) – “Taka Dum” injects a more playful rhythmic energy, tying everything together through percussion-led movement and a vibrant late-night spirit.

With “COLORS OF INDIA”, MoBlack adds a new chapter to its compilation series, bringing together cultural references and club-driven energy through a shared rhythmic language. The result is a collection where tradition and contemporary interpretation meet naturally on the dancefloor.

First release from the brand new label Modular Dreams run by Sound Synthesis & UTR head honcho JDSK. This label will focus more on the deeper dreamy electro side of Sound Synthesis. MD 101 features 4 high quality cutz that will surely stand the test of time.. Limited hand stamped copies, no repress!

'New World' is the first release from Naarm/ Melbourne based artist Coloursound, a record presenting four unconventional dance floor tracks that bridge future-facing dubstep to warped techno and everything in between. The EP is an expansive sonic landscape woven together by delicate layers of bass wobbles, chugging percussion and spaced out atmospheres. Across the EP, ethereal textures and mutilated vocals lapse between one another, rooted in dub-influenced foundations, but with a futuristic twist. Coloursound is setting a new blueprint for rhythmic experimentation with respectful nods to the history of the vast range of genres that have influenced his sound. A versatile release divinely timed to soundtrack the imminent northern hemisphere's summer solstice.

Produced through live jam sessions with machines and gear, Omar Akhrif’s music embraces the small imperfections that naturally emerge during the creative process. Tiny timing shifts, unstable textures and unexpected movements — what could be perceived as an error becomes the soul of the track, the human value inside the machine.

Of Course sneaked into both Ivan Smagghe and Nic Arizona’s sets after it was encountered on Valerj’s semi-lost album (in the mountains of Corsica). It proposed a straight (hypnotic) answer to the eternal question: what is house music? A track reminiscent of the hazy days of Derrick Carter’s first European gigs, the tripped-out funk of D.I.Y., or Brett the E Texan. It spoke to them.
As a true believer in those simpler times, Roman Flügel delivers a remix, staying true to the roots of the original but elevating it to impossibly higher skies. Both Say Sorry and Midnight Pulse are more of the same: house music for those who may, at times, lost faith in it.

Butter Side Up’s 15th release comes from a familiar face. DANCE PROTOCOL (FKA Midge Thompson), responsible for the label’s second release some 7 years ago, returns to the label with The Shop Floor EP, another chapter in a relationship that stretches back to the party’s earliest years.

A self professed audio nerd, Midge has been operating quietly but consistently for well over a decade in Leeds and more recently London, honing an intentional studio-craft which draws inspiration from quite literally anything he can get his hands on, from 12-bit samplers and vintage synths to YouTube interviews and iPhone field recordings.

If his productions have earned their place through character and an unmistakable sense of groove, The Shop Floor EP is a culmination, presenting perhaps his strongest work to date.

Across four tracks, subtle textures and repeated vocal samples are stretched and twisted over broken beat rhythms and heavy sub-bass. A fine balance of UK-rave tropes and European minimal sensibilities that glide patiently, building and dissipating tension. From the driving, acid-tinged The Shop Floor to the bouncy, breaksy Riding Up Front and deeper Perry Lane, there’s a breadth of moods across the EP, which peaks with the celestial The Back Bench, surely one of the BSU’s most sunrise coded tunes, an softly inviting ‘Give Me Some More’ vocal refrain accompanied with woozy chords, pads and a chunky slap baseline.

The A side opens with two ambient pieces: "Inception," gritty and haunting, built from field recordings and layered chords, and the dreamier "Regulator Dial." "Air Lock" and "DFtB" turn breaky and low-tempo, evoking early electronica. The flip moves through "Waterproof's" downtempo electro and "Make Right," the LP's most club-ready cut. Title track "Bean Soup" channels early Four Tet: bleepy, minimal, emotional, while "Sunlight" closes with blissful, calming sounds, rounding out a beautifully balanced record.

Tudor Gheorghe, aka Romansoff, is a Bucharest DJ, producer and vinyl collector with over 13 years on the capital's underground scene. Inspired by small local parties in the 2000s, he started collecting vinyl, then DJing, quickly becoming a key figure in the Bucharest club scene. Since founding his imprint Raw Tools in 2013, he's released on Lobster Theremin's Mork, Creme Organization, Les Yeux Orange and Solar Phenomena.

In 2018 he co-founded venue Platforma Wolff, a full club by 2021, as booker and resident, hosting headliners like Prosumer, Paramida and Tornado Wallace. Versatile and creative, he stays a fixture at Bucharest's best nights. His debut LP lands this year on Bar Ton's vinyl label.

Based out of Brighton, UK, Murmurations have been steadily carving their path as an essential label for distinctive dancefloor moods. The fourth record on the imprint is the launch of a new series titled 'Flock', focusing on bringing different artists together who share similar visions and tastes. Volume one features Evasive frontman Rob Pearson with Paul Donton and label founder Leo Christopher on the A-side. On the flip, you have rising Manchester talent Huw Shipps and Bubble resident The Adventures Of Dogman. This amalgamation of producers has materialised into a record that focuses on nostalgic tech house textures, infused with modern elements and deep, dub tones.

First up is Rob Pearson & Paul Donton's excursion, 'Ideas Abstract'. Slinky drums pave the way, as pensive vocals circulate around the distinct and perky drive of the track. The aptly named 'Underground' from Murmurations boss Leo Christopher teases a more mysterious energy, with pulsating bass in combination with tight drum arrangements. The emerging producer Huw Shipps kicks off the B-side with a playful outing; quirky elements splash in and out throughout the track. Finishing off the release is dancefloor heater 'Cruising Around On A Pair Of Naughty Pennies', chunky and driven as it moves, ready to do the damage, keeping the club locked in.

The Murmurations curation thus far has seen each release shine bright, with timeless music for the club, no-nonsense, heads-down action, and long may that continue.

The 12th studio album from Death Metal Veterans, JUNGLE ROT. DAVE MATRISE (Vocals/Guitars): "Let's start off by saying what an amazing accomplishment it is to hit 12 releases in my career. Never would I think I'd still be doing this 30+ years later. I guess be careful what you wish for I'm very grateful to all of our fans that have supported us for so many years and for never giving up on us. To my bandmates for all of their hard work and dedication to me and JRot over all these year’s. Cruel Face Of War will not disappoint. It's full of crushing grooves and violent hooks that will surely break anyone’s neck. We have stood the test of time. We are still here playing our trademark style of Oldschool Death Metal that has carved a legendary name for us in the underground scene today." Produced by Chris Djuricic at Bell City Sound Company. Mixed and Mastered by Dan Swano at Unisound Studio. Artwork and design by Gyula Havancsak

and the second chapter in an ongoing improvisational document recorded inside one of Santa Cruz de Tenerife’s abandoned oil tanks.

Gaf & The Love Supreme Arkestra work outside conventional studio frameworks. Their music emerges from extended improvisation sessions that unfold sporadically, sometimes over several days. Built around drums, guitar, bass, modular synthesis and samplers, and expanded with vibraphone and winds (flutes, saxophone, Herreño whistle), the group continues to move between jazz, psychedelic rock and free-form experimental composition.

While Ganzfeld drew from the misty northern coast of Isla Baja, Retiro Espiritual turns toward Taganana, one of Tenerife’s most remote regions. Its isolation, Atlantic exposure and volcanic terrain inform the record’s pace and focus. The title reflects this shift: a space for retreat, collective creation and suspended time.

Sonically, Retiro Espiritual leans warmer and more reflective. Flutes drift over slow grooves, extended jams unfold patiently, and traces of 70s spiritual jazz surface throughout. The experimental core remains, now shaped by repetition, space and a calmer, sunlit atmosphere.

Another autonomous transmission from a band committed to ritual, territory and long-form collective improvisation at the edge of the Atlantic.
—
Recorded live in 2020 in Tenerife Canary Islands
Produced by Mladen Kurajica
Mixed by Jorge Lozano
Master by Daniel García
Artwork Felipe González Cabezas

Featuring Sarathy Korwar, Dudú Kouate, Marysia Osu and more

French-born, London-based composer and musician Pascal Bideau aka Akusmi announces his second full-length Terra Incognita, an album of intrepid sonic exploration that delights in the sensation of being somewhere you've never been before. The listener is invited to experience seven faraway sonic imaginariums, as global and spiritual jazz are fused with modern electronics and life affirming minimalism into a hypnotic, polyrhythmic odyssey.

The album's rich multilayered sound world features contributions from tabla virtuoso Sarathy Korwar, Senegalese musician Dudú Kouate adds an array of percussions, ngoni and flutes and Levitation Orchesta's Marysia Osu brings harp and flutes. Following Akusmi's widely acclaimed debut album Fleeting Future (2022) which was supported by The Guardian, The Quietus, MOJO , Gilles Peterson, Mary Anne Hobbs etc, this time, the sound palette for Terra Incognita is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations

Life In Patterns welcomes Amsterdam-based live act and producer VNTM for his debut appearance on the label with “Ostbahn”, a five-track EP arriving on vinyl and digital formats on 24 July 2026. For VNTM, Ostbahn marks a departure from his usual creative process. While most of his productions are conceived and developed within the familiarity of his studio, every track on this release originated elsewhere — each one tied to a specific place, encounter, or moment beyond its walls. These external sparks became the foundation for a collection that feels both deeply personal and unmistakably geared towards the dance floor. Across the EP, VNTM explores the intersection of emotional depth and physical intensity. Dark, immersive pads and melancholic atmospheres are woven into powerful techno frameworks, driven by heavy low frequencies, tightly locked grooves, and a precise sense of movement. The result is a body of work that balances introspection with impact, equally suited to peak-time systems and solitary listening. Based in Amsterdam, VNTM has established himself as one of techno's most distinctive live performers, appearing at major festivals and clubs worldwide with a hardware-focused setup dedicated entirely to his own productions. His sound combines harmonic exploration and narrative-driven composition with distorted percussion, futuristic sound design, and a constant embrace of emerging synthesizer technologies. Beyond his performances, VNTM is the driving force behind the acclaimed Mindscape events at Amsterdam's Lofi, where he has hosted artists including Len Faki, Kangding Ray, Sterac, Âme, Recondite, Polygonia, Luigi Tozzi, Vril, and JakoJako. Recent highlights include his debut on the Awakenings Festival Mainstage, an all-night-long live set at Lofi Amsterdam, and a sold-out debut performance at Refuge in New York City. With “Ostbahn”, VNTM delivers a compelling first chapter on Life In Patterns — a release shaped by experiences beyond the studio, translated into hypnotic, emotionally charged techno built for deep immersion and maximum physicality.

Es gibt Kooperationen, die sich wie ein Kunstgriff anfühlen, und dann gibt es solche, die sich anfühlen wie die Wärme der Sommersonne an einem Sonntag. ,Helado Tropical", das gemeinsame Debütalbum von Helado Negro und Reyna Tropical, setzt diese ungezwungene, sonnenverwöhnte Zärtlichkeit klanglich um. Es begann weniger mit einem Plan als vielmehr mit einer Begegnung: Zwei Künstler, die sich mit ähnlichen Fragen rund um Sprache, Identität und Musik beschäftigten, landeten schließlich im selben Raum. Was folgte, war weniger ein traditioneller Schreibprozess als vielmehr eine gemeinsame Entfaltung - ein instinktiver, intensiver Austausch, der sich über Geografien, Zeitzonen und Seinszustände erstreckte. Das Duo traf sich erstmals im Juni 2024 in North Carolina, zusammengebracht durch einen gemeinsamen Freund und eine lockere Einladung, Zeit im Studio zu verbringen. Was eine kurze Session hätte sein können, entwickelte sich zu etwas, das eher einem dreitägigen Übernachtungsbesuch glich - zu gleichen Teilen Gespräch, Neugier und kreatives Wagnis. Reyna Tropical, die an enge Kooperationen gewöhnt war, betrat neues kreatives Terrain, während Helado Negro eine ähnliche Neugier und Fluidität mitbrachte. Was dabei entstand, war unmittelbar: Anstatt sich langsam an die Zusammenarbeit heranzutasten, wurden die beiden von ihr vorangetrieben - sie schufen Songs in Echtzeit und reagierten auf die Instinkte des anderen, ohne diese übermäßig zu erklären. Es gab keine starre Rollenverteilung. Der eine brachte eine Idee ein, der andere antwortete darauf. Eine Melodie suggerierte einen Rhythmus; ein Rhythmus formte einen Text neu. Auf ,Helado Tropical" ist eine spürbare Abwesenheit von Zwängen zu bemerken: nicht nur musikalisch, sondern auch konzeptionell. Beide Künstler teilen einen langjährigen Widerstand gegen die Erwartungen, die oft an lateinamerikanische Musik gestellt werden: wie sie klingen sollte, wie sie sich anfühlen sollte, welche Geschichten sie erzählen sollte. Wie auch in ihrer Solokarriere schaffen diese beiden Künstler in diesem Projekt Raum für etwas Fließenderes und Persönlicheres.

Coloured vinyl reissue of the sixth studio album by Canadian technical death metal masters Cryptopsy, originally released in 2008. Notable for a significant shift from their technical death metal roots to a deathcore sound, incorporating breakdowns, clean vocals, keyboards, and metalcore elements, which showcased drummer Flo Mounier's skill and introduced new vocalist Matt McGachy.

It’s hard to believe that it’s been over 40 years ago that we started out as a cover band in the night clubs of California before writing and recording our own songs and selling millions of albums. Just like our musical heroes The Beatles, Rolling Stones, or even Jimi Hendrix, all artists who honed their craft by learning cover songs from the legends before them, we did the same as youngsters and still enjoy paying tributes and recording cover songs today. HOMAGE is our new album that not only pays tribute to legends but gives us a chance to showcase our lead singer’s diversity as well as the musical dynamics we learned as a band many years ago. And now, our new album HOMAGE is a thank-you note written in sound. An offering to the great singers and songs that shaped the music we grew up listening to and the songs we would eventually write.

Each track showcases Jeff Keith’s incredible vocal ability Something that may have been overlooked throughout our long career. But not by our fans.........!!! HOMAGE isn’t about imitation. It’s about acknowledgment. About tracing the line from influence to identity, from listening to becoming. You ask why ? .....why not! It felt like a good thing to do, it’s been 20 years since we did Real to Reel.....It sparked writing a new original Tesla song called “Never Alone” And it’s what bands are supposed to do ..make music. These songs were picked for various reasons… Mostly because they’re some of the greatest singers of all time: Elvis Presley Freddie Mercury Sam Cooke David Ruffin Etta James James Brown And some of the others because we liked the songs and grew up hearing them on the radio or on our turntables. Anyway, we hope you all enjoy this as much as we did making it....Thank you for all the years ..Keep it Real and keep Rockin!!!!!

"Impala", das sagenumwobene zweite, ursprünglich 1998 erschienene und längst vergriffene Songs:Ohia Album wird im August von Secret Canadian auf Vinyl neu aufgelegt. Diese Veröffentlichung enthält ein neu gemastertes Demo von "Tess", ursprünglich während der Aufnahmesessions für "Impala" aufgenommen. ,Lorain, Ohio; es ist ein schwieriger Ort zum Aufwachsen. Entweder man entkommt oder nicht. Angesichts der Industrie, die es dort gibt (oder gab) - das Stahlwerk, das Ford-Werk und die Werft - ist die Mischung der Menschen wie keine andere. Eines ist jedoch sicher, es ist eine Arbeiterstadt durch und durch. Was hat das mit einer neuen Veröffentlichung von Songs: Ohia zu tun? Nun, Jason - der Hauptverantwortliche für Songs, wuchs wie ich in diesem gottverlassenen Loch einer Stadt auf und so sehr man die Stadt auch verlassen kann, sie verlässt dich nie. "Impala" ist ein weiterer Beweis für das Songwriting-Talent von Jason Molina. Die hier enthaltenen Tracks bieten einen Einblick in die die Seele eines Mannes, der versucht die Dämonen des Lebens und des Verlusts auszutreiben. Das ist nichts, was man vortäuschen kann. Das kommt davon, wenn man mit dem Wissen aufwächst, dass die Fabriken, in denen deine Eltern gearbeitet haben, keine Option für dich sind und dass deine einzige wirkliche Option ist, zu versuchen, auszusteigen (leichter gesagt als getan). Die auf Jason und Geof Comings reduzierten Tracks auf "Impala" sind die spärlichsten und strukturiertesten Stücke, die die Band bisher veröffentlicht hat. Eine der ehrlichsten und stärksten Veröffentlichungen von Songs:Ohia.

CROWD welcomes Gina Demarchi with 'Other Side', a driving 4-track EP that adds a new voice to the label's growing roster. Born and raised in Buenos Aires, Gina Demarchi has spent the last nine years refining her signature hypnotic blend of tribal-infused grooves, rolling percussion and emotionally charged energy, showcasing a sound rooted in 2000s techno and dubbed chords. As a resident at the event series Fungi and founder of her own label Seduction, she has built a strong reputation through performances all across South America, Europe, Australia, Asia and beyond. Opening track 'Never Enough' immediately sets the tone. Powered by a tom-driven bassline, huge open hats and uplifting chord melodies, it moves with a propulsive forward energy that plants the listener firmly on the dancefloor from the first bar. Next up on the A-side is 'I'm In Love', where endlessly echoing warm chords churn above a pulsing low end while marching claps and driving percussion lock the track into pure peak-time territory, serving as a reliable anchor for any uncompromising techno set. The title track 'Other Side' leans deeper and groovier, combining a gliding bassline with swinging chord stabs and crisp percussion that give full focus to the track's powerful low-end movement. Sitting somewhere between hypnotic and relentless, it is perhaps the clearest expression of what makes Gina Demarchi's sound so compelling. Closing cut 'Lonely' strips things back but lands with maximum impact: fast-paced chord repetitions, tight closed hats and sub-heavy drums generate a sense of momentum, creating a track that feels explosive and intense without relying on excessive speed. With 'Other Side', Gina Demarchi delivers a high-impact debut that reflects both the raw spirit of her unmistakable sound and the identity of the CROWD universe. The 11th release of the label is another statement from a label that has consistently refused to follow trends, instead carving out a singular identity rooted in raw energy. Join us for a high energy release party on July 5th 2026 al Le Sucre in Lyon!

The second Jai Alai album takes its name from a track on Winners (1979) by New York band Kleeer, who evolved from Pipeline via The Universal Robot Band before becoming a major force on the soul and boogie scene; their full-length “Open Your Mind” is simply sublime.

Two originally unreleased tracks will delight completists of Aretha Franklin and Dionne Warwick. Aretha co-produced “The Boy From Bombay” with Quincy Jones — perhaps a little too quirky at the time — while Warwick’s Ashford & Simpson-produced “Someone Else Gets The Price” has all the hallmarks of a missed hit.

Philadelphia’s Pieces Of A Dream, discovered by Grover Washington Jr., were fêted across Europe throughout the 80s. Their Elektra album Imagine This (1983) yielded the wonderfully moody “It’s Time For Love”. Further mining of the Elektra vaults yields a highly collectable Phat Phili Mix of Teddy’s “Believe In Love”, alongside a jewel from Leon Ware’s Rockin’ You Eternally (1981). I was lucky to know this genius, still underappreciated as a master of sensuous soul; “Got To Be Loved” ranks among his finest.

There’s not enough space here to fully cover Gerald Levert’s “What About Me”, but my liner notes to the Jai Alai release JAR14 “Top Of My Head” detail just how talented he was — and this is further proof.

The two least-known artists make a strong impression. Andy Bey’s “I Know This Love Can’t Be Wrong” recalls Jon Lucien at his best, while Phajja — a promising Warner Bros. signing in 1997 — disappeared after just two albums; their Cutfather & Joe production here is as polished as The Emotions.
By the time Etta James recorded “Evening Of Love”, she was four decades into her career, delivering this beautiful ballad with total assurance. Truly epic Southern soul.

Following his recent appearance on Blueprint, Mark Broom returns to the label with a unique project, revisiting the work of techno pioneer Regis. Entitled "Power Is Neutral", the release sees Broom rework a selection of seminal Regis recordings originally released on Downwards Records across the albums Gymnastics (1996), Delivered Into The Hands Of Indifference (1998) and Penetration (2001).

Known as one of the key architects of the Birmingham techno sound, Regis (Karl O'Connor) helped shape British techno through his work as co-founder of Downwards Records and a catalogue that continues to influence generations of artists.

For Mark Broom, few artists embody British rave culture quite like Regis. Drawing on source material that has long stood as a cornerstone of UK techno, Broom approaches these edits with both respect and imagination. As Regis puts it, "Mark Broom is like some modern day Bagpuss... he has fired up his techno mouseorgan and polished old relics to make them all shiny and new."

Power Is Neutral delivers six expertly crafted reinterpretations that bridge the raw energy of Regis' original works with Broom's unmistakable contemporary dancefloor sensibility, bringing these timeless tracks to a new generation of listeners.

Huge classic techno history! Echoes originally appeared in 2001 on Kanzleramt, and from the moment it landed, it was clear this was something different. Eleven techno-dub-house tracks, rich in texture and depth, that mapped out a singular vision of Berlin's dancefloor aesthetic at the turn of the millennium. Not a collection of club tools, but a fully realised album statement, one that understood the dancefloor and the living room in equal measure.
Twenty-five years on, Alexander Kowalski reissues Echoes on his own label Cycles Music - remastered, on double vinyl, and presented as it always deserved to be heard. The ten tracks across four sides move through deep, rolling grooves, melodic undertow and the kind of emotional precision that made Kowalski's name in the first place. Echoes are fragments from the past which follow us into the future, the album's original motto reads like it was written for this moment.

Baby Ford perfected the minimal sound with his impeccable early run of releases. Now, one of them gets reissued many years on and it still sounds as strikingly new as ever, not least because it has been remastered by the legendary Dubplates & Mastering in Berlin. The sought-after EP from Peter Adshead emerged during his shift toward stripped-back techno and tech-house and captures a deeper, more hypnotic side of his craft. 'Serpentine Tale' coils through hissing rhythms and shadowy bass pressure, while 'Night D3 Died' pairs crunchy drums with mournful synth chords. Closing cut 'The Introducer' drifts into warm, spacious territory.