Search:the in sound

Fraufraulein, the San Francisco duo of Billy Gomberg and Andy Guthrie, are master world builders. Their work is immersive — it wraps around you like a warm coat, guiding you deep into a trance-like state. Time moves in slow circles, folds in on itself, and unspools like caught fishing line. It’s tempting to say Guthrie and Gomberg construct a new reality with their work, but I think they’re revealing the contours of familiar territory, gluing together a complicated mirror more than constructing a quotidian diorama. Their music reflects a truth that we all share in some way. It’s the pauses between thoughts, the little observations that color a day, the beauty of how others’ lives imbricate for brief moments before pulling apart completely. Fraufraulein’s music feels beamed from inner space, the soft parts of our consciousness that glow like a flashlight beneath fingertips.

It’s also tempting to call Greater Honeyguide, the duo’s new record — and first in four years — a tool for fostering presence. Each composition can serve as a meditative space, and observing the quietly unfurling layers of sound — a footfall and a quiet breath, scraps of overlapping melodies sung like notes to self, synthesizers droning lightly in the distance — can be a very calming, grounding experience. But I also love to let these pieces guide me through the sulci of my brain like a slot canyon, emerging at some long-forgotten memory or idea. Think of it as a passively-active experience, like looking out of a train window, watching the scenery blur together. At the end of the album’s 37 minutes, I feel transformed. Not necessarily different, just in tune with something else. Something beyond. Something within.

Laura Nyro's album “Walk the Dog & Light the Light” was released on August 17, 1993, marking her return to studio recordings after a nine-year hiatus since “Mother’s Spiritual” in 1984. This album is notable as it was the last collection of original material she released during her lifetime. The album features a mix of original compositions and covers, showcasing Nyro's distinctive blend of pop, soul, and jazz influences. Notably, the track "Broken Rainbow" was previously featured in the Academy Award-winning documentary of the same name, which addressed the relocation of the Navajo people. Musicians contributing to the album include Bernard Purdie on drums, Freddie Washington on bass guitar, and guitarists Elliott Randall, Michael Landau, and Ira Siegel. The album was co-produced by Nyro and Gary Katz, known for his work with Steely Dan. The sound is smooth and soulful, with Nyro's rich and smokier vocals singing her lyrics concerning topics such as feminism, animal rights and Native American rights.

Rosettes are finally here with their debut album on Timmion Records, Lifestyles, a compelling journey into psychedelic soul, jazzy funk, and introspective grooves. For the listener, it creates an experience that manages to be both sophisticated and raw to the bone. Expanding on the sound they refined with their previous singles, this 10-track album captures the group in top form while crafting intoxicating sonic potions that pull you in. Featuring standout tracks like the soulful opener "The Call," the Isaac Hayes-inspired title track "Lifestyles," and the introspective groover "Spirals," the album weaves together cinematic instrumentals, intricate horn arrangements, and deeply personal storytelling, courtesy of lead singer Tytti Roto. Drawing inspiration from a range of vintage and contemporary masters_Cymande, SAULT, and Sade, to name a few_the rest of the eight-piece group doesn't linger in the shadows. Instead, they make it their mission to position the groove front and center. The album closes with "The Queen," the sole instrumental track, which evokes the spirit of 1970s blaxploitation soundtracks with its wah-wah and fuzz guitars and jazzy changes. Every track on Lifestyles is a testament to the Rosettes' ability to craft genre-blending masterpieces that are as emotionally gripping as they are musically intricate. For fans of adventurous soul and funk, this album offers a rich and rewarding journey.

In the midst of recording his 12th album 'Why The Worry', wavering in his resolve to finish what he'd started, Seth Walker came to the realization: "This does not define me; this is not who I am forever; this is just a moment" . "Distance colors compositions over the years and each album is left as merely a reflection of its own period in time." The new album finds Walker reunited with old friends and familiar names. Once again Jano Rix steps behind the boards, co-producing the album with Seth and engineer Brook Sutton. In the producer's fifth outing he's become an invaluable sounding board, the kind that knows what's missing and, just as importantly, what needs to be taken away. Oliver Wood (The Wood Brothers) lends a pen to the title track and Seth's classically trained father Scott adds strings to "I'm Getting Ready," a song penned by Walker's contemporary Michael Kiwanuka. Mostly, though, the record was shepherded into shape by Walker's trio, rounded out by longtime confidants Rhees Williams (Guitar, Piano) and Mark Raudabaugh (Drums). The three let the studio guide them, entering without agenda, set straight by the title's mantra to stop worrying where they'd end up.

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Diese Box enthält 83 Titel aus den ersten drei Halo-Alben, die speziell für Vinyl neu gemastert und auf acht heavyweight LPs gepresst wurden. Jeder Soundtrack befindet sich in einer breitrandige Außenhülle und einer bedruckten Innenhülle. Diese wiederum befinden sich in einer stabilen Sammlerbox aus Karton mit silbernem Laminatüberzug und geprägtem Halo-Logo.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork der Box wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

Für Halo 2 taten sich die Komponisten mit hochkarätigen Musikern zusammen und verpassten dem Halo-Thema mit dem neuen „Mjolnir Mix“ ein Heavy-Metal-Makeover. Es war der erste Videospiel-Soundtrack, der es in die Billboard 200 schaffte.

Halo 3 zeichnete sich durch Tribal-Drums und Prog-Rock-Refrains aus, während Klaviermelodien, begleitet von einem 60-köpfigen Orchester und einem 24-stimmigen Chor, dem Soundtrack emotionale Tiefe verliehen.

- 83 Tracks aus Halo: Combat Evolved, Halo 2 und Halo 3
- Speziell für Vinyl neu gemastert
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist, Bungie)

On April 4th, Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes will release her fifth full-length album ‘A Requiem’. It comes alongside news of her signing to London imprint, One Little Independent Records. ‘A Requiem’ collects ten haunting, ambient soundscapes - incantations of dreams and nightmares, of death and grief, as well as power and autonomy. Carnal, transcendent cello drones are used to exorcise historical and generational traumas in an evocative and macabre piece of gothic experimentalism.

Seeking solitude for what she knew would be an intense and cathartic writing experience, Trappes travelled to Scotland and isolated completely. Amidst meditative and psychedelic states, she channeled demons and accessed parts of herself she’d long desired to cleanse. During candle-lit recording sessions she found herself drawn to cello, an instrument she has no formal training in, she explains, “I always felt an affinity toward the cello, I embraced it, held it, and became one with it as a way to accompany my voice. The nerve-like strings of the cello became external chords of my vocal folds… I scratched on them, leaned into them, and conjured all of the textures I could muster”.

‘A Requiem’ is a musical service in honour of the dead, a sanctuary Trappes built for herself to explore familial chaos and history. “I was looking for an equilibrium between a ‘heaven' and a ‘hell’” she explains, “screaming out to the wisdom of our foremothers - surfacing and leading me into true strength and beauty. I listened to the sorrow closely. Death is a part of our reality. Inevitable. Omnipresent. But nightmares can be beautiful”.

She continues, “This album is my personal requiem for my parents, my ties to the land where I was born, along with all of my epigenetically connected ancestors before them. The songs helped me summon up the strength to move through my own awareness of mortality, death, and impending loss. This album is a living funeral. It’s a ceremonial collection of music. It’s an externalising of the power and strength to fight the generations of abuse and darkness that my parents self-admittedly played out in their parenting and to keep it away from my own social patterns and my psyche. It’s not an uncommon thing in the world and this lamented warcry goes out to everyone to help exorcise patriarchal, political, and religious systems of abuses of power”.

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.

Following the success of their 2023 release "Stockholm Kobenhavn", two of Denmark"s most celebrated musicians in multi-instrumentalist Gustaf Ljunggren and drummer Emil de Waal present their fourth collaborative album. Expanding on their growing reputation for crafting songs and sounds with masterful senses of subtlety, narrative and capacity to form meaningful connections with their collaborators and audiences alike, "Mikroklima" is set to release on February 7th on April Records. Emil de Waal has been one of Denmark"s leading drummers for three decades, best known for his work leading the band Kalaha and his collaborations with Elith "Nulle" Nykjær, as well as performing alongside most of the finest names in modern Scandinavian jazz. Gustaf Ljunggren initially studied the saxophone at the Rhythmic Conservatory of Copenhagen, where whispers spread throughout the school that he was the best saxophone player in town and yet never practiced. His career has seen him prove that he can bring grace, musicality and heart to any instrument he touches, from the pedal steel guitar, to the bass, piano, and more. "Mikroklima" is a testament to and celebration of musical growth, community, and the joy of musical gathering. One element that truly sets this album apart, is the bold move of inviting a group of 12 year old school children from a music class into the studio to record alongside Gustaf and Emil. Drawing from years of experience leading music workshops with young musicians, on Mikroklima Ljunggren and de Waal wanted to capture the sound of musicians from different generations and experiences coming together to contribute their ideas to their compositions. Showcasing Ljunggren"s colorful, comforting, folk-influenced approach to harmony and songwriting alongside de Waal"s distinctive touch on the drums, crafting simplistic yet creative grooves that feel as pleasing and refreshing as they do restrained and purposeful. As each piece unfolds, it becomes more and more apparent how present and communicative the duo are, playing only what the music needs and placing more weight on texture and feeling than soloistic flair. "Mikroklima" is an organic, generous offering that shows Gustaf Ljunggren and Emil de Waal doing what they do best: connecting with music.

- Voice of the Beehive's sophomore album. 1991's Honey Lingers, saw the UK/US pop-rock band build further on their signature mix of jangly guitars, upbeat rhythms, and melodic pop hooks, edging closer to a glossier, more mainstream sound
- Working with producers such as Don Was (The B-52s, Bob Dylan), Hugh Jones (Echo & The Bunnymen, The Charlatans) and Alan Tarney (A-ha, Saint Etienne), its 3 singles - 'Monsters And Angels', 'I Think I Love You', and 'Perfect Place'- all broke the UK Top 40.
- 'Monsters And Angels' was also a significant top ten Modern Rock track at US radio as well as breaking the US Top 100.
- The album saw the band build on the indie-rock of their debut to bring in more mainstream pop influences.
- The album sold over 60,000 copies in the UK, enjoying silver sales.
- These new versions see the album remastered :
1. re-issued on vinyl for the very first time, pressed on limited edition hot-pink vinyl..
2. The expanded - 37 tracks- and remastered double CD delves into the archives to uncover B-sides, acoustic versions and alternate takes, as well as live tracks from an iconic 1991 performance at The Kentish Town & Country Club recorded for BBC Radio One.

Pat Kelly out of all the Jamaican singers was influenced most by the voice of American soul singer Sam Cooke.As were indeed many of the singers from that time,few however could carry out this daunting task as well as Pat Kelly.
His delivery was perfect and so was his ability to carry any song that came his way.
Pat Kelly (born 1949,Kingston,Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques,his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin.
Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 slot in Jamaica for the six weeks.
For this release we have focused on material that Mr.Kelly had recorded with legendary Jamaican prodcer Bunny'Striker'Lee.
A match made in heaven and one that produced some of their finest work.
Tracks such as 'One In a Million','One Man Stand','Man Of My Word','I Started a Joke'.. .
So sit back and you better get ready for an albums worth of great songs sung and delivered as only the great Pat Kelly could...
Respect Jah Floyd........

"A mysterious object is revealed; the drum sound of the rite arouses; flares are blazing; the soul slides through water’s surface; the breath lights up the air; the body as a sacrifice, I hear myself, in this dream."

The 12 songs that constitute Dreams, the third full-length from the Kaohsiung trio Elephant Gym, explore the deep spacetime continuum that consciousness cannot capture. Beyond the trio’s staple instrumentation of guitar, bass, and drumset, Dreams blends in wind instruments, traditional drums, and Taiwanese narrative. Through collaboration with Hakka singer-songwriter Lin Sheng Xiang and pop musician 9m88, notable for their accomplishments in jazz, soul, and R&B, Dreams is a sweeping narrative about a fantastical dream that crosses the boundary. After pressing play, please do close your eyes, and enjoy the dream.

MACROCOSM is BALTHVS' first LP.

The name implies the diverse nature of the music, the substantial genre blending throughout, and the general psychedelic vibe of the songs.

It's a cross-continental trip across time, styles, languages, and rhythms.

In just five years, BALTHVS has carved out a unique space in the global music scene, emerging as Colombia’s most prominent alternative international act. Blending psychedelic grooves with hypnotic funk, the band has captivated audiences across three continents, performing in 56 cities throughout 19 countries. Their ever-expanding reach is backed by over 45 million streams, 10,000 vinyl records sold, and a relentless touring schedule that has seen them grace stages at premier festivals such as Austin City Limits, Outside Lands, Electric Forest, and SXSW Sydney. As three-time SXSW alumni, they’ve cemented their presence in Austin’s thriving music circuit while remaining a staple at Colombia’s top festivals, including Rock al Parque and Estéreo Picnic. With critically acclaimed releases and appearances on influential platforms like KEXP, Gilles Peterson’s Worldwide Café, and the BBC, BALTHVS continues to redefine modern psychedelic music with a sound that is both immersive and irresistibly groovy.

“On course towards future raucous, beer-soaked headline festival
sets.” - NME
“Screw-you power, relentless motorik rhythms and impressively large
choruses.” - The Guardian
“Unrelenting, gritty energy” - Daily Star
Sprints unearth their frenzied new EP, ‘Manifesto’, out via Nice Swan
Records.
Produced by Daniel Fox of Girl Band - Dublin’s answer to Steve Albini
- the four tracks make for a hard-hitting gloom-punk journey you
can’t miss. Like the Irish guitar acts who have paved the way for
them - Fontaines D.C., Silverbacks and Girl Band - Sprints sound
urgent and vital at every turn.
‘Swimming’ is a confluence of rabble-rousing stadium rock, sleazy
garage rock and Sonic Youth experimentation. Lyrically, there’s a lot
to hang on to too, which is unsurprising given how topical the band
are: ‘Drones’ took on imposter syndrome; ‘Manifesto’ tackled
homophobia.
‘Swimming’ scorns on the increasing lack of opportunity after
following prescribed paths to become society’s idea of a ‘success’.
Sprints singer Karla Chubb explains: “While the homeless crisis
worsens, the city is sinking in debt and everyone can barely keep
their heads above water, you see an article stating that a new €25
million white water rafting centre is being developed after approval
by Dublin City Council. Sometimes you’d just rather drown.”
Sprints have hit a nerve. The velocity of this argument comes from
personal anguish but will chime with a generation. And with such
honesty running through their core it’s no wonder The Guardian,
NME and BBC Radio 1 and 6Music have tipped them for big things.
Tourdates - October 7 Roisin Dubh Galway, 8 Kasbah Limerick, 9 The
Grand Social Dublin, 21 The Waiting Room London, 23 Heartbreakers
Southampton, 26 Sneaky Pete’s Edinburgh, 27 The Attic Glasgow, 28 The
Castle Manchester, 30 The Sunflower Lounge Birmingham, 31 Bootleg Social
Blackpool, November 2 Surf Cafe Newcastle, 3 Sidney & Matilda Sheffield, 6
Mutations Festival Brighton, 7 Festival of Voice Cardiff, 9 The Shipping
Forecast Liverpool, 10 Oporto Leeds.

Long coveted by diggers, connoisseurs and beat makers, here we have the first-ever reissue of Amedeo Tommasi's "Industria 2000", released in 1974 via RCA's "Original Cast" series under his Jarrell alias. These 12 sonic experiments - totally devoted to synthesizers - offer tense tonalities, dissonant ambiences, complex textures, white noise rides and muted rhythms that can easily be seen as cornerstones of what would become later known as Industrial Music, also anticipating the sonic landscapes found in some of the early Warp Records releases.
Comprising 12 tracks entirely devoted to synthesizers, Industria 2000 explores a range of stark, tense tonalities and dissonant atmospheres. The album’s complex textures, white noise swells, and muted rhythms can be seen as precursors to industrial music, anticipating the aggressive, abrasive soundscapes that would later come to define the genre. It is clear that Tommasi's work was not only ahead of its time, but was also laying the foundations for the sound realms explored in the early days by major electronic record labels of the 1990s and future electronic pioneers.

"BODIES marks a bold evolution in our ever-developing sound. HEROINE was defined by its meticulously crafted and tightly woven concept, but the weight of this careful construction sometimes overshadowed the energy of the music itself, leaving some listeners feeling disconnected. With BODIES, we have embraced a more immediate, unfiltered approach that feels like a lightning bolt, looking to capture the energy of “Thornhill right now.” The album thrives on spontaneity and freedom, foregoing rigid concepts in favor of pure, in-your-face authenticity. It’s less about delivering a carefully constructed narrative and more about creating a visceral, open-ended experience. BODIES serves as a sonic moodboard—a collection of feelings and vibes—intentionally left open to interpretation. It has an upbeat and almost celebratory, party energy at times, but also retains all the emotion and intensity Thornhill are known for, making it our heaviest and most explosive work to date. With BODIES, we invite listeners to connect on their own terms. It’s raw, personal, and unapologetically immediate—a record that thrives in the moment, capturing our band at our most authentic and free."

Genau genommen stammt die Idee zu Who Believes In Angels? von drei befreundeten Musiker:innen:
Neben Elton John und der 11-fachen GRAMMY-Gewinnerin Brandi Carlile aus dem US-Staat Washington
war auch der vielfach preisgekrönte US-Produzent und Songwriter Andrew Watt (zweifacher GRAMMYGewinner) von Anfang an am kreativen Prozess beteiligt. Ihre Vision war eine echte Zusammenarbeit: Sie
wollten einen Longplayer aufnehmen, der ein echtes Gemeinschaftsprojekt ist, der durch und durch auf den
Faktor Kollaboration setzt. Konkret schwebte ihnen ein Mix aus Stücken vor, bei denen mal Elton, mal
Brandi am Mikrofon den Ton angeben sollte, wobei die Songtexte sowohl von Brandi als auch von Eltons
angestammtem Kreativpartner Bernie Taupin stammen sollten. Als Produzent und Co-Songwriter kam
obendrein Andrew Watt ins Spiel, dem als kreatives Bindeglied und Vermittler eine zentrale Rolle zukam.
Schon im Oktober 2023 kamen sie alle in den Sunset Sound Studios in Los Angeles zusammen, und nach 20
Tagen war schließlich alles im Kasten. Unterstützung bekamen sie dabei von weiteren Weltklasse-Musikern
– u.a. von Chad Smith (Red Hot Chili Peppers), Pino Palladino (Nine Inch Nails, Gary Numan, David
Gilmour) und Josh Klinghoffer (Pearl Jam, Beck).
Erhältlich als CD I LP I CD Box (CD & DVD & Aufklappbare Box)

Los Angeles-born music producer, artist, and DJ DF Tram is thrilled to announce the release of his highly anticipated new album, Bittersweet Afternoon on Orbscure Records. Orbscure Records, founded by Alex Paterson of the legendary electronic act The Orb, continues its tradition of championing innovative and boundary-pushing artists with this remarkable release. DF Tram is a leading figure in the global downtempo electronic scene, celebrated for his meticulously crafted audio-visual performances and immersive storytelling through sound. His work seamlessly blends ambient, sampling, spoken word, vocals, and psychedelia into genre-defying sonic journeys, offering listeners a unique and transformative experience.

Ennio Morricone composed and arranged scores for more than 500 film and television productions, making him one of the most influential and best-selling film composers since the late 50s. The Legend of 1900 (Italian: La leggenda del pianista sull'oceano) is a 1998 Italian drama film directed by Giuseppe Tornatore and starring Tim Roth, Pruitt Taylor Vince, and Mélanie Thierry. The film is inspired by Novecento, a monologue by Alessandro Baricco. The Legend Of 1900 was nominated for a variety of international awards, winning several for its soundtrack, including a Golden Globe for Best Original Score - Motion Picture. This release includes the song “Lost Boys Calling” featuring Roger Waters & Eddie van Halen. Throughout his career, Morricone received an unprecedented amount of awards, including Grammys, Golden Globes and BAFTAs. Ennio Morricone has influenced many artists including Danger Mouse, Dire Straits, Muse, Metallica, Radiohead, Hans Zimmer, and many more. The Legend of 1900 is available as a limited edition of 2500 numbered copies on green coloured vinyl and contains an insert and is housed in a deluxe sleeve with silver foil finish.

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Dieses Doppel-LP-Set enthält die Musik aus dem Spiel, mit dem alles begann, speziell für Vinyl neu gemastert und auf heavyweight LPs gepresst. Die Schallplatten befinden sich in einer breitrandigen Außenhülle und zwei bedruckten Innenhüllen.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork des Sets wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

- 26 speziell remasterte Titel aus dem Spiel von 2001
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist bei Bungie)

Mechanisms of Omniscience - a brutal and unrelenting journey through technical death metal, returns to the market as a special vinyl reissue, brought to you by our newly established record label. Originally released by Abnormality in 2016, this album has left a lasting mark on the genre with its punishing riffs, precise technicality, and intense lyrical content. Abnormality explores profound and provocative themes in every track, addressing existentialism, corruption, and the darker side of human nature. This is an album that defies genre expectations, marrying complex arrangements with raw aggression. Abnormality, a force hailing from Massachusetts, has carved a niche within extreme metal for its signature blend of technical prowess and relentless heaviness. Led by the fierce vocals of Mallika Sundaramurthy, the band is complemented by the exceptional talents of guitarist Jeremy Henry, bassist Josh Staples, and drummer Jay Blaisdell. Together, they create a sound that is as precise as it is punishing, offering fans a visceral experience in each performance. This reissue celebrates the lasting impact of Mechanisms of Omniscience while paying homage to Abnormality’s powerful contribution to metal.

Mechanisms of Omniscience - a brutal and unrelenting journey through technical death metal, returns to the market as a special vinyl reissue, brought to you by our newly established record label. Originally released by Abnormality in 2016, this album has left a lasting mark on the genre with its punishing riffs, precise technicality, and intense lyrical content. Abnormality explores profound and provocative themes in every track, addressing existentialism, corruption, and the darker side of human nature. This is an album that defies genre expectations, marrying complex arrangements with raw aggression. Abnormality, a force hailing from Massachusetts, has carved a niche within extreme metal for its signature blend of technical prowess and relentless heaviness. Led by the fierce vocals of Mallika Sundaramurthy, the band is complemented by the exceptional talents of guitarist Jeremy Henry, bassist Josh Staples, and drummer Jay Blaisdell. Together, they create a sound that is as precise as it is punishing, offering fans a visceral experience in each performance. This reissue celebrates the lasting impact of Mechanisms of Omniscience while paying homage to Abnormality’s powerful contribution to metal.

"Fred van Zegveld's album ""Dynamite,"" released in 1969, is a remarkable showcase of his prowess on the Hammond organ. The album features a blend of original compositions and covers, all highlighting Van Zegveld's soulful and jazzy style. The album comprises nine instrumental tracks, with the majority being Van Zegveld's original works. Notable originals include ""Family Blues,"" ""Blue Organ,"" and the title track ""Dynamite,"" which are celebrated for their dynamic Hammond organ performances. The album also features covers such as ""Here, There and Everywhere"" and ""I Wanna Be Your Man"" by Lennon-McCartney, as well as ""Misty"" by Erroll Garner. The supporting musicians on the album include Ruud Jacobs on bass, Louis de Bey on drums, and Rick Beekman on guitar, all contributing to the album's rich and engaging sound. Finally available again on vinyl in a limited edition of 500 copies on translucent red coloured vinyl."

Hiromi’s band Sonicwonder formed in early 2023, leading up to the release of the group’s first album together.  She selected each musician in the group strategically, choosing artists with a specific sound in mind who could paint the picture of her compositions. Hiromi’s Sonicwonder has been playing and touring together since then. With their second album as a group, OUT THERE, the band reaches a new level of chemistry and musical cohesion.

die ärzte liefern mal wieder – das kann man beim besten Willen kaum präziser formulieren – the nuttiest
sound around. Und Schwarz ist selbstverständlich beautiful. Vor allem mit Weiß. In Karos. Shake your
Willy! Skank in the name of Jah!
BelaFarinRod sind – auch das hätte man schon früher wissen können – evilous men, denen nichts heilig
ist, vor allem nicht das eigene Werk. Zumindest, wenn sich ein Offbeat drunter oder ein Rockabilly-Lick
drüber legen lässt. Oder beides.
Frei nach der Regel, ein Lied ist erst dann gut, wenn er auch als Ska oder Rock-a-billy funktioniert, finden
wir hier zwölf Songs mit hohem Wiedererkennungsfaktor auf Vinyl und exklusiv zur Buffalo Billy-Tour.
Mutig mutwillige Variationen von neuen und einem alten Song der besten Roots-a-Billy-Band der Welt
(elt….elt…elt)!!!!
Eine Skank-de-force durch den ganz normalen Wahnsinn von Shakin’ B, Rudy Urlaub und Desmond
González. Du kannst gehen, aber dein Lieblingslied bleibt nicht ungeschoren!
NUMMUS CECIDIT setzt der Besten Band der Welt jedoch nicht nur in Inhalt, sondern auch in der
Form ein würdiges Denkmal: als Weltneuheit präsentieren die ärzte eine 11-inch!!!! Mehr Vinyl braucht es
nicht. (nur etwas weniger)
NUMMUS CECIDIT von die ärzte ist als 11”-Vinyl mit Downloadcode für Tracks und Lyrics erhältlich –
aber nur, solange der Vorrat reicht. Also zieh dir dein Kettenhemd über und jag das Teil. Haile boppin’!
Selassi möge mit dir sein. Denn auch du bist Ska
(selbst wenn du Billy bist)

die ärzte liefern mal wieder – das kann man beim besten Willen kaum präziser formulieren – the nuttiest
sound around. Und Schwarz ist selbstverständlich beautiful. Vor allem mit Weiß. In Karos. Shake your
Willy! Skank in the name of Jah!
BelaFarinRod sind – auch das hätte man schon früher wissen können – evilous men, denen nichts heilig
ist, vor allem nicht das eigene Werk. Zumindest, wenn sich ein Offbeat drunter oder ein Rockabilly-Lick
drüber legen lässt. Oder beides.
Frei nach der Regel, ein Lied ist erst dann gut, wenn er auch als Ska oder Rock-a-billy funktioniert, finden
wir hier zwölf Songs mit hohem Wiedererkennungsfaktor auf Vinyl und exklusiv zur Buffalo Billy-Tour.
Mutig mutwillige Variationen von neuen und einem alten Song der besten Roots-a-Billy-Band der Welt
(elt….elt…elt)!!!!
Eine Skank-de-force durch den ganz normalen Wahnsinn von Shakin’ B, Rudy Urlaub und Desmond
González. Du kannst gehen, aber dein Lieblingslied bleibt nicht ungeschoren!
NUMMUS CECIDIT setzt der Besten Band der Welt jedoch nicht nur in Inhalt, sondern auch in der
Form ein würdiges Denkmal: als Weltneuheit präsentieren die ärzte eine 11-inch!!!! Mehr Vinyl braucht es
nicht. (nur etwas weniger)
NUMMUS CECIDIT von die ärzte ist als 11”-Vinyl mit Downloadcode für Tracks und Lyrics erhältlich –
aber nur, solange der Vorrat reicht. Also zieh dir dein Kettenhemd über und jag das Teil. Haile boppin’!
Selassi möge mit dir sein. Denn auch du bist Ska
(selbst wenn du Billy bist)

Path of Fire by Aeon returns to the market on vinyl, a fierce and unforgiving blast of death metal that pushes boundaries with its intense riffs and powerful lyrics. Originally released in 2010, this album cemented Aeon’s reputation for brutal, precision-driven death metal, infused with dark themes of anti-religion, rebellion, and defiance. Path of Fire brings an unfiltered, visceral approach to the genre, making it essential listening for die-hard metal fans and collectors. Tracks like "Forgiveness Denied" and "Kill Them All" capture the essence of Aeon’s style: rapid-fire guitar riffs, thunderous drumming, and an unrelenting vocal performance by frontman Tommy Dahlström. With Zeb Nilsson and Daniel Dlimi delivering searing guitar work, Marcus Edvardsson on bass, and Arttu Malkki on drums, the band crafts a soundscape that is both relentless and intricate. Every song on Path of Fire is a journey through extreme metal, marked by high-octane aggression and skilled musicianship.

Path of Fire by Aeon returns to the market on vinyl, a fierce and unforgiving blast of death metal that pushes boundaries with its intense riffs and powerful lyrics. Originally released in 2010, this album cemented Aeon’s reputation for brutal, precision-driven death metal, infused with dark themes of anti-religion, rebellion, and defiance. Path of Fire brings an unfiltered, visceral approach to the genre, making it essential listening for die-hard metal fans and collectors. Tracks like "Forgiveness Denied" and "Kill Them All" capture the essence of Aeon’s style: rapid-fire guitar riffs, thunderous drumming, and an unrelenting vocal performance by frontman Tommy Dahlström. With Zeb Nilsson and Daniel Dlimi delivering searing guitar work, Marcus Edvardsson on bass, and Arttu Malkki on drums, the band crafts a soundscape that is both relentless and intricate. Every song on Path of Fire is a journey through extreme metal, marked by high-octane aggression and skilled musicianship.

Peter Matson is a Brooklyn, NY based musician, producer, DJ, and founder and leader of the seminal NYC post-punk dance outfit Underground System.

Hotel PMis the debut LP from Matson and third release with Bastard Jazz having released two EPs Short Trips in 2019 and The Right Way in 2022.

Album features a who's who of artists collaborating with Matson including Toribio, Kendra Morris, Pahua, The Phenomenal Hand Clap Band, and core members of The Rapture, Ibibio Sound Machine, Poolside, and Sly5thAve.

Including Bastard Jazz, Matson has released music with Soul Clap, planet e, Razor N Tape, Heist Recordings, Heavenly Sweetness, and Hell Yeah.

Recording, production and mixing by Ross Orton (M.I.A., Arctic Monkeys) and Ewan Pearson (Depeche Mode, Confidence Man) between London, Sheffield, UK, Mexico City and Oaxaca, Mexico and Peter's home of New York City.

Press, Radio, and Sync support include Apple Music's WWDC22 Keynote Speech, Rolling Stone, DJ Mag, NTS, Worldwide FM, BBC Radio 6, KCRW, Ibiza Global Radio and more.

Artwork and Typography by Stefan Marx

Four new and ultra deep italo-deephouse cuts from Jacy aka Giacy Bozzi from Bari in Southern Italy.

Jacy is running his own label Home Of House Records and is well-known in his comfort-zone, the very Underground. May it be for his contributions to the amazing „Welcome To Paradise“ Compilation Series on Safe Trip, being featured on Volume I, II and III or his records on Kalahari Oyster or Hot Haus Records.

All of these come with Jacy signature sound– timeless and deep tunes to stay, intense balearic feels that guide you through the night and revive the golden-era of House music.

Smallville 68 as always comes with a Full Cover Artwork by Stefan Marx.

Die vierköpfige Band aus Columbus, Ohio in den Vereinigten Staaten ist seit langem für ihre kraftvolle Mischung aus treibenden Rhythmen, melodischem Gesang und eindringlichen Klanglandschaften bekannt. Mit "Get Well Soon" fügen sie dieser Liste noch packendes Songwriting hinzu. LO-PAN definieren ihren amerikanischen Hard Rock weiter und tiefer aus: Dieser mischt brutzelnden Hardrock mit Metal und einer satten Prise Grunge. LO-PAN haben sich in der pulsierenden Underground-Szene von Columbus, Ohio aufgrund ihrer geteilten Liebe zu Vintage Rock, Stoner Metal und modernem Heavy Metal zusammengefunden. Die vier Musiker eint außerdem die Leidenschaft zur Grenzüberschreitung. Es war kein Zufall, dass sie sich nach dem magischen Erzschurken aus dem Kultfilm "Big Trouble in Little China" benannten, denn die Band wollte filmisches Drama mit überlebensgroßer Energie verbinden. Von Anfang an zeichneten sich LO-PAN auch durch eine intensive Live-Präsenz und einen Sound aus, der klassischen Rock mit dem erdrückenden Gewicht von Stoner- und Doom-Einflüssen kombiniert. LO-PANs Debütalbum "Sasquanaut" aus dem Jahr 2009 brachte den sofortigen Durchbruch. Das zweite Album "Salvador" (2011) verfeinerte das Klangerlebnis und demonstrierte musikalische Reife. Im Jahr 2019 veröffentlichten LO-PAN "Subtle", das eine Weiterentwicklung ihres Sounds markierte. Die Band wagte das Risiko, mit einer introspektiven und atmosphärischen Herangehensweise neue emotionale Tiefen zu erkundete, was sich bei Kritikern und Fans gleichermaßen auszahlte. "Get Well Soon" läutet einen weiteren großen Sprung nach vorne für LO-PAN ein. Heavy, cool, eingängig und mit einer ausgeprägten emotionalen Kraft, die aus Erfahrung und Reife erwachsen ist, trägt "Get Well Soon" die Amerikaner sicherlich an neue Orte rund um den Globus.

"Children Will Be Furious" ist bereits das dritte Album der Hamburger Band Palila. Das Indie Rock Trio entwickelt sich in Sachen Punch, Druck, Groove und kompositorischer Dichte immer weiter und erschafft noch rauere und zum Teil angriffslustigere Songs als zuvor. Palila nennen Bands wie Built To Spill, Guided By Voices, Dinosaur Jr., Nada Surf, Pixies oder die frühen Smashing Pumpkins als Einflüsse, schaffen aber ihren ganz eigenen Sound, der sie bereits u.a. auf das Orange Blossom Special und das Rolling Stone Beach gebracht hat.

Ein fantastischer Live-Mitschnitt vom 8. November 1975 in Bremen von "Reedman" Gary Bartz mit seiner ultra-hippen NTU-Band, die man von ihren 1970er Klassikeralben bei Milestone kennt. Fast zwei Stunden Free & Spiritual Jazz. Limitierte Auflage auf 180g Black Double Vinyl im Gatefold. Erster Release des neuen Cinedelic-Sublabels Free Flow Archive.

A little-known tenor saxophonist deserving of wider recognition, Teddy Edwards made two Pacific Jazz albums including 1960’s Sunset Eyes, which was a showcase for his rich, powerful sound and featured a cast of musicians including pianist Joe Castro, bassist Leroy Vinnegar, drummer Billy Higgins, and others. This mono Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

Introducing our second vinyl release, Stagecraft, a mesmerizing EP by Field Recordings on WH8'S. Immerse yourself in a captivating blend of electronic sounds, featuring intricate melodies, pulsating basslines, and rich harmonies. The EP also includes a special remix by Monica Venturella, adding a unique and dynamic perspective to the original tracks.

"Jellywish" is the fifth record from NY based indie folk quartet Florist, out April 4th 2025 via Double Double Whammy. "Jellywish" sees a departure of Florist's former foray into meandering soundscapes and improvisational tendencies of their previous self-titled album, instead embracing shorter stripped back song structures and an emphasis on melody. The result is a succinct and focused 10 track album showcasing Florist's dynamic growth and Emily Sprague's gift of empathic songwriting.

Die schwedische Rock-Band Spiders präsentiert ihren neuen Longplayer 'Sharp Objects'! Wie bei ihren früheren Veröffentlichungen ist der Sound von Spiders tief im klassischen Rock'n'Roll verwurzelt. 'Sharp Objects' bietet jedoch etwas Neues, indem es Einflüsse aus der New-Wave- und Garage-Rock-Szene der frühen 80er Jahre einfließen lässt. Klingt wie Blondie, Dead Boys, The Hellacopters oder Bikini Kill.

Chris Ryan Williams (trumpet & electronics) and Lester St. Louis (cello & electronics) work together as HxH (H by H). Their skills have seen them move smoothly across various situations, constantly carving out new terrain and working in new configurations of musicians at a rapid pace. While worth reading, their biographies capture only a part of their complex rhizome.

HxH started about three years ago. The project is a direct response to all their activity with others and more importantly all their future leaning sonic desires. Their debut album STARK PHENOMENA is both their first studio recording and their first physical release. The album is appropriately set to be released by KMRU on his growing label OFNOT. It’s an ideal introduction to their sound world and their approach.

HxH describe their music as “electroacoustic,” but until recently the presence of Black musicians in this field has been greatly overlooked and largely ignored, making this phrase only partially appropriate. What HxH do really is to always be unpredictable. Every gig is a new soundscape. Sometimes you might hear echoes of Autechre or Robert Hood but then the sound-field will open up into a new terrain all their own. Chris and Lester bring together techniques from across the sound spectrum of electronic music and also draw on their deep backgrounds in Jazz, Improvisation, Classical and Noise scenes to create a sound that is true to them. After all, these two have worked with the likes of Bennie Maupin and the music of Black Fluxus artist Ben Patterson. Their rhizome is deep.

One of the ways that their unique approach manifests is in their merging of both acoustic instruments and electronic instruments in real time. This is something few have managed to do – but their spontaneous leanings work in both complex and accessible ways because of their deep understanding of landscape crafting. You can hear this clearly on the track “Pyrex Vision.” Their approach makes it tempting to compare their music to Sun Ra jamming with Laurel Halo – a comparison that would be only partly accurate.

Chris and Lester note that the sounds on STARK PHENOMENA are “imbued with such hopeful, gracious care; one that is far flung from obsessive carefulness or fuck the world carelessness, but more a caring embrace without the fuzziness of nostalgia.”

They note that when they began working together, they would “always come back to speaking on our concepts of an architecture of the expanse,” noting that their live sets often take on the joyfully noisy task of “dreaming big.” For HxH it was essential that STARK PHENOMENA have a quality that is “almost sculptural.” They consider the album “an object to be viewed from all sides.” This kind of thinking has resulted in them directly engaging with numerous sculptors and artists including Torkwase Dyson. Shape wise HxH’s sound fields work in a parallel to Dyson’s black architectural works.

They also note that the opening cut “BEACH” (the opening and longest track from the album) was “written weeks after our first gig in a studio session donated to us by our dear friend jaimie branch.” And that Pyrex Vision “was continually being edited months after sending our ‘final mixes’ to KMRU.” Their sound sources and samples come from studio sessions, live gigs, durational installations, 3am improvised downloads and more.

KMRU notes: "I think there is an in-between layer on this record. I was first caught by the Pyrex Vision track which organically flows between monologue, subtle field recording, and instrumentation. It's such a beautiful track, evoking deep emotion through simplicity. STARK PHENOMENA effortlessly glides in between imaginative mosaics of sounds — free yet complex — unlocking memories within its layers."

Another foggy day in Yorkshire. A steel grey sky. Raindrops tracing one another down the windowpane. Kirk Barley sits in his studio and assembles compositions from scraps of found sound and live instrumentation. Melodies swell, withdraw and repeat like waves. Time slows. Accelerates. Slows again. The light bends, tweaked at the edges. Twisted by rhythms that never quite resolve.

Written, recorded and produced by Barley in Yorkshire in early 2024, Lux picks up where 2023 LP Marionette leaves off, conjuring a mystical, reflective space between formal minimalism and sonic imaginaries of northern landscapes.

And yet, where Marionette relied at times on more recognisable field recordings, Lux leans into Barley’s skill as an instrumentalist and sound designer, working from a palette of short samples and utilising a variety of alternate tuning systems to build, layer and coax his compositions into being. Most evident on tracks ‘Vita’, ‘Sprite’ and ‘Descendent’, these tunings create an otherworldly harmonic language that is easier to perceive than describe.

Alongside more familiar instruments of guitar, bass, drums, organ and clarinet, here Barley draws on plastic saxophones and bells, and recordings of glass, wood and metal sound objects to provide the organic matter. Rather than directly representative of the natural world, Lux enters into a dialogue with it which, like the grasses and flowers of the album’s cover, exists somewhere between reality and artifice.

On album opener ‘Cache’, Barley constructs his own sense of time from a recording of an umbrella crank, a sparse and spectral piece which hints at memories embedded in the track’s title. Introspection blossoms into new life on ‘Vita’, crumpling again into the percussive ambience of ‘Verre’. A track that takes its harmonic lead from the clinks of glass, it features Barley’s long-time collaborator Matt Davies on drums, whose nuanced, tonally sensitive playing gives ‘Verre’ a fizzing, ice-like quality.

There are several moments where Lux picks up on themes Barley explored under electronic moniker Church Andrews on recent works with Davies, stretching and distorting temporalities most explicitly on ‘Descendent’, whose ritualistic air unfurls around a pattern in exponential decline.

Embracing the surrealism Barley absorbed over years watching classic film noir and the works of David Lynch and Federico Fellini, Lux wends its way through the enchanted sound worlds of ‘Sprite’ and ‘Balanced’ before arriving at the album’s title track.

An expression of his recent experiments in live, prepared guitar, ‘Lux’ brings the album back to earth, returning us to the room where the rain has stopped, the clouds have parted, and the soft warmth of the spring sun is pouring in through the open window.

Marking the fourteenth chapter in the Swinging Flavors series, Beat Machine Records proudly unveils a gripping release by Helsinki-based producer DJ Sofa. Packed with deep, nostalgic energy, this installment delves into the darker side of drum and bass, with a sound inspired by the genre’s golden era of the late 90s and early 2000s.

DJ Sofa, known for their emotive and intricate productions, brings a raw, jungle-infused energy to the forefront. Drawing inspiration from jungle and breakbeat hardcore, their sound reflects a deep connection to the classic UK rave era while maintaining a forward-thinking edge. Known for captivating listeners with rich atmospheres and complex breakbeats, DJ Sofa’s music resonates strongly with audiences far beyond their Finnish roots, particularly within the UK underground scene.

“Drums For The Lost,” the lead track on Swinging Flavors #14, exemplifies this blend. A menacing roller, it marches forward with unwavering determination, offering a guiding light through shadowy soundscapes. With its haunting basslines, intricate percussion, and mysterious atmosphere, the track is a testament to DJ Sofa’s ability to create immersive and emotionally charged music.

The journey doesn’t stop there. Swinging Flavors #14 also features a remix of “Drums For The Lost” by Siu Mata. The Parisian producer reinterprets the track with their signature style, adding pulsating rhythms and hypnotic layers that elevate it to a peak-time dancefloor weapon. Siu Mata’s remix infuses the original with a modern edge, creating a vibrant and dynamic sound that bridges the gap between tradition and innovation.

Swinging Flavors #14 is available in both digital format and as a limited edition 7” vinyl, ensuring it finds its way into the hands of collectors and music lovers alike. DJ Sofa and Siu Mata’s contributions to the Swinging Flavors series underscore Beat Machine Records’ commitment to showcasing the best of underground electronic music. With its bold exploration of drum and bass and an eye on the future, this release is set to captivate audiences worldwide.

Hüma Utku returns to Editions Mego with her new album. The title Dracones makes reference to the mediaeval latin term "Hic sunt dracones" (Here be dragons), marking the unexplored, dangerous places on world maps, expressing the fear of chaos, the unexpected and the unknown.

This new work by the Istanbul sound artist is a sonic journal of an expedition into uncharted territory, one which occupies self and domesticity. Inspired by Utku’s experience of matrescence, Dracones explores the themes of familial demonology, metamorphosis and homecoming as well as human relationship to the experience of love woven layers of euphoria, alienation and consumption.

Musically, Dracones traverses a wide array of sonic tools whereby industrial sounds are imbedded with certain psychological angles, this is an album where, all matter meshes into a sly snapshot of the human experience with a tension and release exposure occurring frequently with dark corners opening up to bright layers of electronic experimentation.

The haunting opening track ‘A World Between Worlds’ tackles pregnancy, of which Utku was experiencing when making this record. The emotional, physical, spiritual and mental experience of this journey is all documented here.. This track features the ‘Lyraei’, an electromagnetic string instrument and modern interpretation of the ancient lyre, that was built and played by Mihalis Shammas. ‘Comfort of The Shadows’ moves from within to without, what was once hidden is now exposed. Utku’s ability to conjure the visual in the sonic is at the forefront as howling electronics give a distinct impression of movement. ‘A Familial Curse’ presents a desire to break the cycle of generational trauma with a creeping sense of dread that rolls into an industrial rhythm prior to landing in a beautiful place represented with shimmering guitar tones. ‘Here be Dragons’ is a rich and dark evocation, a spooked surrender to the themes of the record whereby Utku’s wildly distorted voice beckons all manner of phantasmagoria over cello and recordings of her ultrasound. ‘Care in Consume’ engages in further sonic exploration as a means of conjuring ‘matriphagy’, with its unique psychic energy coursing through electronic veins. ‘A House within a House’ could also be read as a body within a body as the pulse of ultrasound audio rattle amongst a cage of thudding rhythms and swirling electronics, one also ending in optimism as an exquisite melody is born from the prior fire. The striking journey ends with the more soothing ‘Ayaz’a’, a track embracing love and all the hardships that a period of fundamental metamorphosis brings, this is a heartfelt dedication to her son and concludes an album draped in life, experience, joy and pain.

Dracones is a deeply visual journey through inner and outer worlds, a space where symbolic evocation is supreme and passive listening is not an option.

All tracks composed,performed and recorded by Hüma Utku
Buchla 100, vocals, cello, electric guitar performed by Hüma Utku
‘’A World Between Worlds’’ features the ‘Lyraei’ built, played and recorded by Mihalis Shammas
Buchla 100 recorded in EMS Stockholm 2022-2023

Mixed by Enyang Urbiks
Mastered by Heba Kadry, NYC
Cover Artwork by Marco Ciceri
Design by Tina Frank