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The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.

CADAVER, one of Norway's first and most influential death metal bands, has carved a distinctive path through the annals of extreme music. Formed in 1988 in Fredrikstad by Anders Odden (guitar/vocals) and Ole Bjerkebakke (drums/vocals), the band emerged from the ashes of their earlier black metal project, Baphomet. Their vision blended thrash and death metal with progressive influences from bands like Voivod and the chaotic insanity of Napalm Death, forging a sound that defied conventions. In 2024, Anders Odden delved deep into CADAVER 's history, unearthing unreleased material that offers a fascinating glimpse into the band's formative years. Before signing with Earache Records in 1992, CADAVER had worked on what would eventually become their second album, ...In Pains. During this period, they recorded raw and unpolished versions of many tracks in the same studio where Hallucinating Anxiety was born. These early recordings featured working titles that were later changed, and among them was a song titled "Maltreated Mind Makes Man Manic," which was never completed at the time. Anders revisited these hidden gems at Studio Tomb, located in Råde, Norway—the very place where CADAVER was first formed. With the old lineup reunited for this session, they finished the additional recordings necessary to bring their original vision to life. The result is Hymns of Misanthropy, a newly completed album from 1991 that will finally see the light of day through Listenable Records in April 2025. This release showcases CADAVER's unique approach to extreme music and highlights their previously underappreciated influence on the early Norwegian black metal scene. With Hymns of Misanthropy, listeners can experience a raw and powerful chapter of CADAVER's history, demonstrating once again that they were never just a typical death metal band. Instead, they remain an ever-evolving force that consistently pushes the envelope of what extreme music can achieve.

House of Gold & Bones – Part 1 is the fourth studio album by American rock band Stone Sour. It is the first Stone Sour album without bass player Shawn Economaki, who left the band in 2012, his studio replacement was Rachel Bolan from Skid Row. Musically, Corey Taylor also described the album's sound as "Pink Floyd's The Wall meets Alice in Chains' Dirt". House of Gold & Bones – Part 1 was released on October 22, 2012 and debuted at number 7 on the Billboard 200 music album charts. The album has sold just under 130.000 copies in the United States alone and got raving reviews all over the globe. The album hasn't been available on vinyl for over 10 years and is now available as a limited edition of 1500 individually numbered copies on gold coloured vinyl and includes a 4 page booklet.

Die beliebte New Yorker Rockband Sunflower Bean meldet sich neu belebt mit ihrem vierten Album zurück. In Eigenregie produziert, von Caesar Edmunds (The Killers, Wet Leg) gemischt und von Sarah Tudzin (Illuminati Hotties, Boygenius) engineert, liess sich die Band von Alternative Rock, verträumter Psychedelia und Arena-Ehrgeiz inspirieren, um mit "Mortal Primetime" das härteste und verletzlichste Album ihrer Karriere zu liefern. Die Songs sind ungeschminkt und offen, Dissonanz und Unsicherheit werden akzeptiert. Sunflower Beans breite Palette von Einflüssen würden die meisten Bands nicht wagen, in einem Satz zusammenzufassen, und diese Kühnheit hat sie undefinierbar gemacht. Der Power-Pop-Opener "Champagne Taste" kanalisiert Iggy Pops "The Idiot"-Phase, "Look What You've Done To Me" beschwört den beunruhigenden Wahnsinn und die Launenhaftigkeit von Kate Bush, und die hochfliegenden Powercords auf "Nothing Romantic" erinnern an Arena-taugliche 70/80er Hits von Heart, Pat Benatar und Joan Jett. "Manchmal denke ich, diese Platte ist wie eine Mischung aus Belle And Sebastian und Alice In Chains", sagt Frontfrau Julia Cumming.

DESCRIPTION
Looming above Hastings on the South Coast of the UK, carved into East Hill, three black shapes are visible from a distance. Mysterious and ominous, they assume the aspect of the entrance to a church or a portal to dimensions unknown. Closer inspection however reveals them to be no more than mere follies carved and painted into the rock, as hoaxster John Coussens sought to convince visitors that an elaborate subterranean kingdom lurked within. Centuries later, this coastal town remains a place that serves as a magnet to the wyrd and the mischievous. And it’s here that the meeting of minds took place that led to 'Folly' - the second release for Rocket’s Black Hole series - an imprint focused on the unorthodox, otherworldly and esoteric. The journey that led to ‘Folly’ began in the dingy cellar of a wine bar in the town. Black Arches formed around a regular local experimental night in such environs aptly named Weird Shit, initially as a freeform musical outlet for author and musician Gareth E. Rees’ later incorporating Matt Frost from his garage rock troupe The Dirty Contacts, and frequent collaborator James Weaver, to form a vehicle for wild experimentation and psychic abandon. Given he was also a regular attendee, it was no surprise when Sexton Ming, arch maverick outsider artist and uncompromising iconoclast of over four decades standing, entered the picture. Soon after a perplexing but serendipitous chain of events took place, with demons conjured up via improvised sessions, poetic licence taken, dystopias chronicled, audio files gone awry, vocals overdubbed and laptops lost, Somehow amidst the sturm-und-drang ‘Folly’ was summoned in all its murky glory. As we embark on the second quarter of an uncertain century, just maybe this psychic travelogue is a dark prism to make sense of the chaos we confront. Whichever, it remains a spectacle as compelling as that by which Black Arches were named

Basing himself off the works of Cuban guitarist-composers José Angel Navarro and Hector Angulo, Italian guitarist Walter Zanetti intimately recreates sacred Afro-Cuban batá drum songs on guitar. Santería draws heavily on music for its ceremonies. This Afro-Cuban syncretic religion, sometimes called La Regla de Ocha, saw the Orisha deities of the West African Yoruba peoples codified with Catholic saints. Yoruba practitioners, brought by force to the West, continued to worship their gods under the nose of those who sought to dehumanize them by adopting their spiritual language. The chants that became Santería’s prayers were often accompanied by the beat of the batá drum. This heartbeat runs through every invocation, through every sacred song. In the same way that the shuffling chains on the feet of enslaved African peoples dancing defiantly in Colombia birthed the distinctive rhythm of cumbia, syncretism has been present in music as much as it has in religion. It has always been about challenging the odds, about creation, creativity, and heart.

The Arockalypse is the third studio album by Finnish rock band Lordi. It includes the hit single "Hard Rock Hallelujah", which won the Eurovision Song Contest 2006 for Finland. The album was certified with a triple Platinum status in Finland, Gold in Germany, and Sweden. It reached the number one chart position in Finland, Sweden, and Greece. The Arockalypse has several guest appearances: Dee Snider and Jay Jay French from Twisted Sister, Udo Dirkschneider from Accept/U.D.O. and Bruce Kulick from Kiss. The Arockalypse is available as a limited edition of 666 individually numbered copies on black and gold marbled vinyl.

"Released in 2011, Revelator is the debut studio album by the Tedeschi Trucks Band, a powerhouse blues-rock ensemble led by Susan Tedeschi and Derek Trucks. The album blends blues, rock, soul, and jazz, showcasing the band's rich, full-bodied sound. Standout tracks like ""Midnight in Harlem,"" ""Come See About Me,"" and ""Bound for Glory"" highlight Tedeschi’s soulful vocals and Trucks’ masterful slide guitar work. Produced by Jim Scott and Derek Trucks, Revelator received critical acclaim for its organic musicianship, heartfelt songwriting, and dynamic arrangements. The album won the Grammy Award for Best Blues Album in 2012, solidifying the band’s reputation as one of the finest acts in contemporary blues and rock. For fans of blues-infused rock with deep soul influences, Revelator is an essential listen, capturing the magic of a band that seamlessly blends technical brilliance with emotional depth. Revelator is available as a limited edition of 1500 individually numbered copies on red coloured vinyl."

Die beliebte New Yorker Rockband Sunflower Bean meldet sich neu belebt mit ihrem vierten Album zurück. In Eigenregie produziert, von Caesar Edmunds (The Killers, Wet Leg) gemischt und von Sarah Tudzin (Illuminati Hotties, Boygenius) engineert, liess sich die Band von Alternative Rock, verträumter Psychedelia und Arena-Ehrgeiz inspirieren, um mit "Mortal Primetime" das härteste und verletzlichste Album ihrer Karriere zu liefern. Die Songs sind ungeschminkt und offen, Dissonanz und Unsicherheit werden akzeptiert. Sunflower Beans breite Palette von Einflüssen würden die meisten Bands nicht wagen, in einem Satz zusammenzufassen, und diese Kühnheit hat sie undefinierbar gemacht. Der Power-Pop-Opener "Champagne Taste" kanalisiert Iggy Pops "The Idiot"-Phase, "Look What You've Done To Me" beschwört den beunruhigenden Wahnsinn und die Launenhaftigkeit von Kate Bush, und die hochfliegenden Powercords auf "Nothing Romantic" erinnern an Arena-taugliche 70/80er Hits von Heart, Pat Benatar und Joan Jett. "Manchmal denke ich, diese Platte ist wie eine Mischung aus Belle And Sebastian und Alice In Chains", sagt Frontfrau Julia Cumming.

Denzel Curry's forthcoming King Of The Mischievous South Volume 2 finds him presenting a sequel to the project, and bringing back the sound, that helped launch his career. While the first installment of King Of The Mischievous South was performed from the perspective of his Raven Miyagi persona, a name bestowed upon him by Raider Klan founder SpaceGhostPurrp, Volume 2 finds Curry operating under his Big Ultra persona -- an elevated version of Raven Miyagi that is bragadocious and revels in the success that Curry has seen over the last decade of his career. Creating King Of The Mischievous South Volume 2 has been a goal of Curry's for some time, though his earliest attempts to do so ultimately morphed into other projects, namely his 2016 album Imperial and 2020's 13LOOD 1N + 13LOOD OUT. It wasn't until he stopped overly attempting to create Volume 2 that its songs started to emerge naturally. 

Given the project's sound, which pays homage to the great musical heritages of the South -- from Memphis to Houston and Curry's own South Florida -- its features include the region's greats, both old and new, as well as others whose style is indebted to the South's musical legacy. Features include fellow former Raider Klan member Key Nyata, Memphis stalwarts Juicy J and Project Pat, Texas' Maxo Kream, That Mexican OT and Mike Dimes, North Carolina’s TiaCorine, Atlanta's 2 Chainz and Kenny Mason and South Florida's Ski Mask The Slump God and PlayThatBoiZay, as well as ASAP Ferg and ASAP Rocky, among others. The project more broadly and the intentional inclusion of Rocky and Ferg is Curry's attempt to show what could have been had relationships not soured with SpaceGhostPurrp, fulfilling the promise that existed at the rise of their respective careers in the early 2010s.  

With all of the otherworldly adventures Denzel has taken listeners on over the course of his last few conceptually-driven albums, this project serves as a showcase for the fun, spontaneity and technical mastery that has made him one of rap's most in-demand talents over the course of the last decade. 

Long and intermittent running duo of Discrepant head honcho Gonçalo F Cardoso and Angela Valid's Alex Jones, with sometime collaborator Phil Laney aka Kenny Hosepipe joining in somewhere along the way, Hair & Treasure crossover from Sucata Tapes to Discrepant wax via 'Disc Rot'. Described by the duo, in their cryptic and scatological fashion, as "a fetid spread from the buttery catacombs of Hair & Treasure", one can only speculate on the mindset, if not for the scenario, for these file swap recording sessions. As if decaying throughout this back & forth process, the synthscapes, field recordings, voices from who knows where? and subliminal pulses assembled in these 11 pieces all coalesce into this out-there murk where invocations of "a" real are mangled into unhinged, squinting eyes moments of near- consciousness.

Compared to previous Hair & Treasure ventures like 'Two Fucking Tapes' or 'Forked Piss Blues', 'Disc Rot' forgoes side-long tapestries by focusing on shorter and clearer transmissions from the netherworld. Still, the feeling of pieces of discarded hardware and sound hubris lying around and turned music of the duo remains unscathed, filtered through a newfound precision. After the opening feverish threat of 'Warm Night', the suspended synth pads and working machinery of 'Byzantine Turd Skirt' actually comes as a relief, pulling away (a bit) of the dread to resurface with the Texas Chainsaw Massacre OST ambience of 'Amateur Depravity' and 2004-ish Midwest noise stylings of 'Busy Hubby's Flight to Gstaad' and 'Tit Ale'. 'Roads Gonad Today' and 'Just Jerkers' are not that far removed from a lower fidelity take on Black Dice circa 'Creature Comforts', while -'Professional Babies' goes back a couple of years to their collabs with Wolf Eyes, bust mostly, all of this sounds like nothing but Hair & Treasure themselves. If you know, you know.

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse).

Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the monicker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them a influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London.

Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmush and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing: “It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.”

They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”.

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego.

Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release - to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only).

Saracen's initial reign was in the late 70s and early 80s, which saw the release of their now legendary debut album “Heroes, Saints & Fools”. Some twenty years later, in 2003, they surprised & delighted fans with the release of Red Sky. Both albums, plus bonus tracks, featured in a special boxed set, with new artwork and mastering, released in January 2006 on the Escape Music label. The main focus of the signing, however, was Saracen's eagerly awaited release of their 2006 album – “Vox In Excelso”. “Vox In Excelso” is a concept album, based on the mysterious and controversial history of the Knights Templar – a medieval body of warrior monks, who grew to become one of the most powerful military & financial organizations in Europe. Their story goes far beyond battlefield exploits – the Knights Templar were guardians of Ancient Knowledge; secrets that had major implications for the nations and religions of the western world... secrets that are still cherished and protected even to this day. “Vox In Excelso” (pronounced Ex-chel-so) is laced with poignant narration, linking the tracks, and thereby helping the listener to navigate this turbulent yet touching epic story. The combination of original members, vocalist Steve Bettney and guitarist Rob Bendelow, new blood, former HELLOWEEN drummer Mark Cross amongst others, proved to be an exciting combination on this now classic album.

An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London.

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens.

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.

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.

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.

“Machine Against Rage” is the first release on OAOE - a new experimental music series on Wodawater.

Real and cloned voice becomes intertwined with physical space forming a call and response chain of a spatial imaginary emerging from a certain passage from Philip K. Dick. The machine never stops and enfolds the listener with affective feedback tones, subtle rhythms, disjointed impacts and noise. The record is result of a collaboration between the label’s founder Miko Szatko, also known as the techno producer and performer TRSSX and co-founder of EXIT Glasgow, and Verena Lercher, a Berlin-based media artist and resident at spæs - lab for spatial aesthetics in sound in Berlin. All recorded at Funkhaus Berlin between 2023-24, the six compositions originate from various feedback spatialisations and turntable movements amplified by an IKO, the 20-membrane speaker-instrument developed by spæs lab’s co-founder Gerriet Krishna Sharma and the IEM in Graz.

Vol. 2 of TRAXMAN's (DANCE MANIA, TEKLIFE) FUNKBOMB REWORX series digs 6 more cuts out of the private archive. On tap this time we've got reworks of of FOUR TOPS, THE SPINNERS, BOOKER T. & MG'S, PEOPLE'S CHOICE and even LED ZEPPLIN, among others.

After many years of artistic collaboration, the long-awaited album, KILLING TIME, bringing together London-based MC Killa P and Italian Bass music collective Numa Crew, has finally arrived.

Killa P, a name synonymous with potent lyricism and raw energy in the Grime scene, delivers a vocal masterclass throughout his debut long-player, soundtracked by the stellar production of the Numa Crew. Together they expertly navigate genres including dubstep, grime, dub, and jungle, while maintaining a distinct and cohesive musical identity.

Not simply a collection of individual tracks, Killing Time is a meticulously crafted journey through sound system music. There are no stylistic boundaries, as the long-player encompasses the entire musical spectrum that unites the Italian crew with the London-based MC, with Killa P free to showcase his evolution as an artist. Alongside them, the album also brings together a diverse cast of friends and collaborators, vocalists, and producers, each adding their own unique flavor.

From the pulsating dubstep-infused Boys in Blue, a searing commentary on social inequality, to the reggae-tinged steppa tune Love Inna We Heart featuring Charlie P and Long Range, a plea for unity and love, Killa P's lyrical dexterity shines.

Tracks such as Champion Sound, Badman City Pt.2 featuring the French Ragga legend Big Red, and No Laugh featuring Big Chain and Bristol’s Buggsy are a nod to Killa P's roots, beautifully showcasing his mastery of grime's signature sound, while the sped-up tempos of the Fleck collaboration Jungle Leng, and Can't Get Me Down featuring Ras Demo, inject a jolt of Junglist attitude. Different Life is a vibrant ‘carnival’ jam, that infuses grime and dancehall moods and sees the great Lady Lykez on the second verse.

The album wraps on a contemplative note with Dreaming, a collaboration with Abstract Sonance, and Heartless, featuring Killa’s son GK on production, revealing an introspective note that adds yet more depth to Killa P's artistry.

As the album’s second track, Family, proclaims: ‘man a deal with family, not friends’ - a fitting line to define the album as a whole… An ode to the unity and strength of family.

Since his early days at Chain Reaction, K. Soublis (Fluxion) has carved his own unique style, combining elements of dub, ambient, techno, score, textural, and even jazz elements, all glued together with his distinct production aesthetic.

Haze is a broad selection of pieces that was recorded between 2023- 2024. The music is moving from more slow cyclic compositional pieces on Life Motif, Nexus, Desiderium, to ambient dub pieces, on Magenta and Touch, on to more euphoric and uplifting ones on Footsteps, Berlin and What Tommorow Brings, reflecting on artist's need to tell stories. As a whole Haze showcases the artist's versatility on moving and combining different genders with his own distinct crafted sound, bringing a bold always fresh unique view, making the album an indulging and intriguing listening experience as a whole.

Fluxion has managed to constantly adding to his sound through the years always evolving and Haze is a testament of his restless nature and the artist's need to move towards more uncharted territories without alienating the listener.

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

The B is back! Roza Terenzi puts the B in SBC; bounce, bass and.. Boss. Returning with a four track all original EP “Ministry of Wish” the label head is calling on corners of her ever expanding distinctive sound with a sliding scale (etherial to filth) sound bath. Something for every occasion, whether you’re looking to get down and dirty, leave the dancefloor in dust or stargaze via subbass, we got you covered. Recorded between Berlin and Perth, the tracks all signify moments in time that feels like it’s going too fast, an archival stamp on the year 2024; sometimes after a party that lingers with mythical adrenaline, sometimes a personal moment to express reflection.

With the only predictability being Roza’s penchant for Genre Bending, STEP14 sets the tone for the freaky, fabulous year to come of Step Ball Chain in 2025.

Introducing the ultimate Rock and Power Ballads collection - NOW That’s What I Call Rock Anthems – Out 31st May! Get ready to crank up the volume and let the music take you on a journey through 79 epic hits, spread across 4 CDs.and with 45 epic hits on 3-LP’s pressed in stunning Neon Violet Vinyl

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

FOR FANS OF: Black Label Society, AC/DC, Ozzy Osbourne, Black Sabbath, Torus, Pearl Jam, Candlebox, Alice In Chains
Featuring Dario Larina von Black Label Society
Dario Larina ist vor allem durch seine Arbeit an der Seite des legendären Gitarristen Zakk Wylde bei Black Label Society bekannt. Neben den
Tausenden von Kilometern, die er mit der Band unterwegs war, schredderte Dario neben Zakk Wylde auf dem 2021 erschienenen Album Doom Crew
Inc. und begleitete den Black Label Society-Mastermind und die Sechssaiten-Legende auf das Cover von Guitar World. Bei letzterem brachte Wylde
den Grund, warum er den aufstrebenden Gitarristen an Bord holte, auf den Punkt: „Weil Dario großartig ist.“ Nebenbei brachte er auch zwei
Soloalben heraus, nämlich Dario Lorina und Death Grip Tribulations. Im Laufe des Jahres 2024 stellte er sorgfältig zusammen, was Spirit in the Glass
werden sollte. Er vervollständigte das Lineup mit Brody DeRozie, Mike Gunn und Luis Silva und schrieb und nahm in seinem Heimstudio in Las Vegas
auf, auch bekannt als „Dark Chapel“.

The Seeds of love is the third studio album by Tears for Fears.The album was released in September 1989, entering the UK Album Chart at No.1 and would be certified Platinum by the BPI within three weeks. In the US, the album peaked at no.8, and was also certified Platinum. The album also reached the top ten in various other countries around the world.

The album contained the Singles: Sowing the Seeds, Woman in Chains, Advice for the Young at Heart and Badman’s song, upon release it was seen (and still is) as one of the greatest albums of the 80’s

Dies ist die zweite Auflage von The Monsters "You're Class, I'm Trash", dem noch aktuellem Monsters-Album aus dem Jahre 2021 (erste Auflage war gelb und mit einer 7" Bonus-Single). Diese zweite Auflage hat ein neues pinkfarbendes Sleeve-Design, kommt als 180g Vinyl und mit einem zweiseitig bedrucktem Insert. HI-SPEED-BOOGIE-FUZZ-GARAGE-TRASH-ROCK-N-ROLL FROM LEGENDARY BERNESE GARAGE PUNKS PLAYED WITH A CHAINSAW-ON-STEEL 13 SPLATTER HITS INCLUDING SMALL HORROR OPERA BY SWISS FILM COMPOSER MARIO BATKOVIC The Monsters wurden 1986 in Bern der Schweiz gegründet, als Alternative zur damaligen populären Musik (z. B. Disco, Pop, Top 40 Rock). Sie nannten dies "Teenage Primitive Rock n' Roll Chainsaw Massacre Garage Trash Mix up Rockabilly mit Punkrock und Garage" und haben sich zu einer gefragten Garagen-Punkrockband gemausert, die auf Festivals, in Klubs und großen Hallen so weit gen Osten wie Japan, gen Süden wie Brasilien und gen Norden zu den Skandinavier resit und dort audspielt. Sogar im so Wilden Westen wie New York City in Amerika. Und dann öffnet 2020 die Türen, YAHOO!!! Die Welt wurde komplett abgeschottet und die Pläne aller änderten sich! Da es in naher Zukunft keine Tourneen gäbe, war es jetzt an der Zeit, ein neues Album zu machen. So widmete sich die Band zwei Wochen, um ihren Proberaum aufzuräumen und neue Musik zu schreiben, und 3 Tage im Berner Shirt Off Studio um diese aufzunehmen. Voila! Hier hast du Rosemary's Baby den Knüppel aus dem Sack: 13 raue, laute und spritzig klingende Tracks, die live ohne Overdubs (nur der Gesang/das Geschrei') aufgenommen wurden. Textlich ist das Album eine komplette Katastrophe mit nicht viel mehr als 120 Wörtern, welche aneinandergereiht meistenfalls keinen Sinn ergeben! Es ist eigentlich völliger Quatsch, aber THE MONSTERS lieben es! Das Cover stammt übrigens vom Berner Surrealisten Jerry Haenggli.

High Roller Records, violet vinyl, 425gsm heavy cardboard cover, insert, bonus CD, ltd 200

High Roller Records, violet vinyl, 425gsm heavy cardboard cover, insert, bonus CD, ltd 200

Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of SENSITIVE the first ever vinyl anthology to cover the indiepop scene of the 1980s. SENSITIVE features 30 songs in total by artists who defined the indiepop aesthetic, among them The Jesus & Mary Chain, The Sea Urchins, Primal Scream, The Pastels, Talulah Gosh, Orange Juice, The Field Mice, The Primitives, The Wedding Present, Miaow, Razorcuts, Dolly Mixture, The Bodines, Shop Assistants, The Soup Dragons, The Loft, The Chills, That Petrol Emotion and The Railway Children. SENSITIVE takes its name from the single released by The Field Mice, and marks the first time that The Field Mice have allowed one of their songs to be used on a compilation released by any label other than Sarah Records, who released all their records at the time. Also features on SENSITIVE is Dying Day from Orange Juice’s hugely influential debut album You Can’t Hide Your Love Forever – marking the only time that Edwyn Collins and his wife and manager Grace Maxwell have given permission for an Orange Juice song to be featured on an anthology. Many of the records featured on SENSITIVE have become highly sought-after collectors’ items since their original release. The Sea Urchins’ Pristine Christine changes hands for up to £400. Original mint copies of April Showers’ only single Abandon Ship command up to £380. If you were to try and individually buy all the records featuring the songs on SENSITIVE, you can expect to pay something around £1150. SENSITIVE features 10,000 words of extensive track-by-track notes and an essay by Pete Paphides, who was and remains an avid proponent of the indiepop scene that this collection chronicles. All the songs on SENSITIVE have been newly mastered at Abbey Road by Miles Showell. SENSITIVE will be released on double LP and double CD Needle Mythology Records.

Tricatel is releasing on gatefold vinyl a selection of tracks composed by Bertrand Burgalat for Ça, c'est Paris! the series directed by Marc Fitoussi, starring Alex Lutz, Nicolas Maury and Monica Bellucci.

Marc Fitoussi - extract from the sleeve notes
After collaborating on my film "Les Apparences", I knew he'd be the ideal man for this series. Someone who could make real revue music, like you'd hear at the Paradis Latin or the Alcazar, and who could also be resolutely contemporary, like when the troupe relaxes and dances in a bar to a hit of the moment.

Stéphane Lerouge - extract from the sleeve notes
It's a genre that dates back to the thirties, that of the backstage musical, a genre with well-defined codes: the struggle of a collective, a troupe of singers and dancers, to put on a show that, despite a tsunami of obstacles, will end in triumph and reveal a new star. A broad spectrum of films can be linked to this, from "Quarante-deuxième rue" to "Tous en scène", from "Chorus line" to "Trois places pour le vingt-six". And today, the original link in this long chain is the series "Ça, c'est Paris!", in which Marc Fitoussi strips away this tradition, reenchanting it, making it crackle with new energy. In the end, his mission is almost the same as that of his main character, Gaspard Berthille (Alex Lutz), heir to a cabaret, the Tout-Paris, for whom he must invent a present, or rather, a future. To carry out this delicate task, Gaspard Berthille needed an accomplice, invisible on screen: Bertrand Burgalat. His freedom, the way he juggles harmony and tonality, shines through in every measure, as if Marc Fitoussi's subject had triggered something decisive and essential in him.