Cerca:the mist

Crystal Clear Vinyl

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

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

FFO: Cryptopsy, Aborted, Wormed, Dying Fetus

With his debut EP Mo Wrights delivers a jazz-focused and narrative-driven record navigating the inner dialogue of a creative struggle of inferiority, abstraction and commitment. The story finds him enlisting some friends along the way to advance from one act to the other.

With the title track - ‘things2proof’ - Mo tries to combine his myriad of influences in a 6-minute record that weaves together elements of jazz, broken beat, acid jazz, fusion, hip-hop and hints of rock. The coherence comes from his poignant narrative, which resembles a four-act structure, telling the story of alienation and his internal experience of inferiority, creative frustration, and his eventual recognition of a solution, concluding by finally permitting himself to simply ‘be’. And for that we thank him!

The b-side ‘proof of concept’ follows the title track, Mo embraces a more laid-back approach, sitting sonically closer to his beloved broken beat sound. Amsterdam-based pianist Misto Kay delivers a long soul-felt piano solo that carries the track into untold dimensions of groove. With this offering the soul feels both heard and yearned for. It’s as if desire and satisfaction are in conversation with one another. You can’t help but be gripped, pay attention, and listen.

As a co-founder of the Amsterdam-based music platform Steppin’ Into Tomorrow, whose ethos is anchored in the principle of collaboration and unification of the Dutch scene is a deeply felt sentiment throughout Mo’s EP. He enlists a slew of emergent local legends, such as QUANZA, drummer Jamie Peet, flutist Han Litz, bass player kotokid and pianist Misto Kay to embellish and remix his creation. The remixes also illuminate other bright creatives the local scene has to offer, with remixes by the likes of - Kofi the Unknown, LYMA, Misto Kay and Jazz n Dance.

2024 Repress

Steve Rachmad's richly melodic strain of techno has resulted in a huge body of work he has been growing since the early 90s. His sound is the perfect distillation of machine soul - dubby atmospherics and crisp, danceable dynamics balanced in perfect unison. Amsterdam's Delsin Records gathers together some of the Dutch techno figurehead's most important, sought-after works in a new EP series, all remastered from the original DAT tapes from Steve's archives. His flagship Sterac project is present - most notably the Asphyx EP, with a long-standing titling mistake now rectified on the iconic 'X-Tracks' comes first. Four absolute classic Sterac works dating from 1995. The Delsin Sterac series will focus on long-awaited represses and hard-to-find deep cuts from the Rachmad archives. Adding to the weight of this series, the accompanying artwork is being created by Boris Tellegen, aka legendary graffiti artist Delta who first began designing sleeves with Secret Life Of Machines. Since then he created many works for labels including Delsin.

The latest album from Australian singer / songwriter Grace Cummings, ‘Ramona’ is a work of raw truth rendered in its most beautiful form. In a departure from the self-produced approach of her 2019 debut, ‘Refuge Cove’, and its 2022 follow-up ‘Storm Queen’ - the Melbourne-based artist worked with producer Jonathan Wilson (Angel Olsen, Father John Misty, Margo Price) and dreamed up a lavishly orchestrated sound that fully accommodates the depth and scope of her vocal prowess

2025 Repress

Chicago legend, Green Velvet, returns to Toolroom as he locks horns with label founder Mark Knight and studio partner, James Hurr, for 'The Greatest Thing Alive'. A low slung, chunky affair that screams Miami Space terrace at 8am! Quirky, full of character and Green Velvets unmistakable vocal re-work of the classic 'Mannish Boy' from Muddy Waters pushes this record into a really special place. Green Velvet debuted on the label back in 2015 alongside Technasia with 'Suga', a record that went onto to be an overall Beatport #1 and remained as their highest selling track for many years that followed, the track also sits on an impressive 9m streams. On the flipside, head honcho Mark Knight, returns with studio cohort and DJs favourite James Hurr, as they take on one of House music's all-time classic records; 'Lady (Hear Me Tonight)'. No messing around, Mark and James offer up an alternative take to this stone cold classic, bringing the infectious vocal and iconic guitar riff to the forefront, mixing into a signature Mark Knight club heavy beat. Having previously collaborated on 'Make You Happy' with Todd Terry and last year's 'You Are A God' with vocalist Cari Golden, Mark Knight and James Hurr are fast becoming a killer duo in the studio, and throughout the scene. Offering up a killer reinterpretation of legendary House classic 'Lady (Hear Me Tonight)' by French House duo Modjo, a record which transcended the boundaries of dance music back in the early 2000's and has since become a record synonymous with the era. True to form, Mark Knight and James Hurr mix their musical prowess together and deliver yet another stomping hit for the clubs!

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Guests are Jessica Higgins and Matthew Walkerdine of Glasgow, UK, both formerly of the bands Vital Idles and Mordwaffe. They have been closely tied with DIY music, art and publishing for over a decade. Using (amateur) electronics, singing, speaking and field recording they make songs which blend the rhythms of popular music and contemporary approaches to collage, sampling, improvisation and repetition. As inspired by film and art as they are the legacies of twee underground and avant garde experimentalism, their loose, domestically twinged compositions explore feelings, atmospheres and moments which are hard to articulate and the quite literal notion of being a “guest”.

“I wish I was special” is their debut record, and with it a chance taken to explore terrain not previously covered by their other groups. The ideology of DIY practice appears integral to these eleven compositions, side-stepping virtuosity in favour of instinct and impression, unafraid to press unknown buttons and walk head first into mistake, finding inspiration where convention might not otherwise allow one to tread. The results are confoundingly fresh, sharp-of-mind, and unusually intimate. There’s an obvious intelligence at play here, and no little humour of course, but crucially there’s also a sense of the personal, a first-thought/best-thought (auto)didacticism that celebrates shared understanding and implicit trust. What, ultimately, we might view as the fearlessness in radically being yourself around another. It’s an approach that draws some comparison with the private musings of Flaming Tunes, Idea Fire Company’s domestic electronics, or perhaps even Annea Lockwood’s framing of emotional connection within avant garde structures. More so, Guests represent a compelling continuation of DIY post-punk experimentation that values intuition over prowess, and with it guides the listener into unexpected spaces that somehow comfort as much as they challenge.




d Arrangements, as in Making Them [VIDEO]

repressed !

Kloke joins the Run it Red label for a stunning 4 track jungle ep. Fresh from dropping several excellent releases on Future Retro, !K7 and several other labels as well as collaborations with Tim Reaper, Kloke brings the 93 darkside style into the year 2023 for Echo Chamber Sound's sub label.

These tracks have the perfect balance of rawness and intricacy that Kloke is known for and could be mistaken for lost dubs played at Rage or the Bluenote sessions with only a cassette recording to tell the tale. Luckily they are brand new tunes, crisply mastered at The Exchange and pressed on a 4 track 12inch. Label owner LQ reworks the title tune Dark Knight with signature low end power and dubwise sonic manipulation.

Anders als bei ihrem selbstproduzierten Debüt 'Refuge Cove' und dem Nachfolger 'Storm Queen' arbeitete Grace Cummings für ihr neues Album 'Ramona' mit Produzent Jonathan Wilson (Angel Olsen, Father John Misty) zusammen und schuf einen aufwändig orchestrierten Sound, der die Tiefe und den Umfang ihres stimmlichen Könnens voll zur Geltung bringt.

'Ramona', das am 5. April über ATO Records erscheinen wird, behandelt Trauer, Selbstzerstörung und emotionale Gewalt und verleiht Cummings Musik dabei eine neue Größe. “In the past I’ve been caught up in worrying about whether I’m being too emotional or over-the-top, but this time around I decided not to filter any of that out”, so Cummings. “My only intention was to be myself, which meant being extremely vulnerable in my writing and my vocal performance, without going back and editing myself later on.”

Das Album entstand in Zusammenarbeit mit einer Reihe von Gästen, darunter die Harfenistin Mary Lattimore und der Streicherarrangeur und Multiinstrumentalist Drew Erickson (Weyes Blood, Mitski, Lana Del Rey), mit Cummings an der Gitarre und am Klavier und Wilson an der Gitarre, dem Schlagzeug, dem Banjo und der Orgel. “I wanted everything and the kitchen sink on this record, to make it as big and dramatic as possible and show a whole range of colors.”

Svart Records release NYC crust punk band Nausea’s two legendary EP’s on one remastered 12” in March 2024! Crust punk originates from the misty moors and factory cities of the UK. Since the '80s, countless bands have been established to play their dirty apocalyptic ruckus in the vein of Amebix, Antisect, and Axegrinder. At the same time, across the ocean, in the squats of New York’s Lower East Side, bassist John John Jesse founded Nausea. Svart Records is releasing Nausea’s two legendary EPs in 12” format for the first time ever, including the Cybergod 7” from 1991 - with a bonus track, "Here Today," from the same recording sessions - and the Lie Cycle 7” from 1992. All tracks are remastered from the original, untouched studio tapes by Jack Control (Darkthrone, Kohti Tuhoa, Fear). Tribal and rocking apocalyptic crust for apocalyptic times. The Cybergod lineup might be the most legendary era of Nausea, where the tracks reach almost epic proportions. The EP is pretty much the blueprint of crust, where Vic Venom’s hypnotic and rocking guitar riffs meet the tribal drumming of Roy Mayorga. Al Hoon’s and Amy Miret’s dueling vocals spit out timeless issues dealing with consumerism and the hypocrisies of organized religions. Musically, the Lie Cycle EP rocks out more in the faster and straightforward style, where Discharge meets Motörhead, and lyrics reflect the times when war and nuclear destruction are still the plague of mankind. Nausea’s timeline lasted only seven years, but they managed to create a cult following with their true dedication to the punk scene and played shows in the squats of Europe and the eastern part of Europe. Their music is timeless, unpleasant music for unpleasant times, but hey! At least it’s more fun to rock out to the apocalypse!

Svart Records release NYC crust punk band Nausea’s two legendary EP’s on one remastered 12” in March 2024! Crust punk originates from the misty moors and factory cities of the UK. Since the '80s, countless bands have been established to play their dirty apocalyptic ruckus in the vein of Amebix, Antisect, and Axegrinder. At the same time, across the ocean, in the squats of New York’s Lower East Side, bassist John John Jesse founded Nausea. Svart Records is releasing Nausea’s two legendary EPs in 12” format for the first time ever, including the Cybergod 7” from 1991 - with a bonus track, "Here Today," from the same recording sessions - and the Lie Cycle 7” from 1992. All tracks are remastered from the original, untouched studio tapes by Jack Control (Darkthrone, Kohti Tuhoa, Fear). Tribal and rocking apocalyptic crust for apocalyptic times. The Cybergod lineup might be the most legendary era of Nausea, where the tracks reach almost epic proportions. The EP is pretty much the blueprint of crust, where Vic Venom’s hypnotic and rocking guitar riffs meet the tribal drumming of Roy Mayorga. Al Hoon’s and Amy Miret’s dueling vocals spit out timeless issues dealing with consumerism and the hypocrisies of organized religions. Musically, the Lie Cycle EP rocks out more in the faster and straightforward style, where Discharge meets Motörhead, and lyrics reflect the times when war and nuclear destruction are still the plague of mankind. Nausea’s timeline lasted only seven years, but they managed to create a cult following with their true dedication to the punk scene and played shows in the squats of Europe and the eastern part of Europe. Their music is timeless, unpleasant music for unpleasant times, but hey! At least it’s more fun to rock out to the apocalypse!

This Is Street Funk” is part of a new series aimed at vinyl buyers who want a genre specific compilation to excite their ears. They will appeal to long-standing, discerning music acolytes and recent converts alike. Two sides of fantastic music, at an affordable price, hand-picked with TLC from Ace and its associated catalogues.

Compiled by Dean Rudland, who also writes the liner notes, “This Is Street Funk” brings you 14 tracks of hard hitting, heavy funk, and sums up the sound of 70s Black America. A combination of fatback drums, syncopated bass, rhythmic guitars and explosive vocals.

The line-up of tracks includes classics from the Fatback Band and Millie Jackson, dancefloor favourites from Billy Garner and Billy Sha-Rae and screaming organ instrumentals from the Fame Gang and Larry & Tommy.

This is fourteen tracks that defy you to start dancing.

Seth Price’s suite “Coinos Driftos“ announces itself with the sound of a rolling coin – a punctuation that repeats throughout the record – before dropping the listener into a storm of harsh winds and far-away bells. When the storm abates we find ourselves in a desolate field of stuttering electric harp and electronic sub-bass. Side B emerges from a mist of gentle tones that soon give way to a juddering contraption of dropped coins and clacking noises, which itself seems to summon the arrival of a war machine – a glorious squall of high tones, bristling with Helmholtz inner-ear sensations, all just barely kept in line by a loping, irregular bassline – that resolves into a final, more personal, piece of field recording. Seth Price made the music in 2023 by improvising three straight-through takes on Arp synthesizer, bells, and electric Nagoya harp, often playing two instruments at once, with all signals routed through pedals and processors; these tracks were sequenced before the addition of overdubbed bass guitar and field recordings.

Die Band "My Solid Ground" war eine deutsche Progressive-Rock-Band, die in den 1970er Jahren aktiv war. Dieses obskure Krautrock-Album mit dem Namen "My Solid Ground" aus dem Jahr 1971 gilt seit langem als Klassiker des Genres. Das erste Stück, das 13-minütige "Dirty Yellow Mist", wird seinem Ruf zweifellos gerecht, die Gruppe begibt sich in einen düsteren Space Rock. Der wie eine Mischung aus psychedelischem Rock und progressivem Rock klingt. Mit vielen langen Keyboard tönen, einem knackigen Gitarrenriff, einigen Acid-Gitarren-Sounds und verzerrtem Sprechgesang sowie einigen wortlosen Gesängen in höheren Tonlagen. "That"s You" hat genug Energie, um als Proto-Punk durchzugehen, und der Refrain von "Do you wanna die" tut diesem Eindruck keinen Abbruch. Der Song "The Executioner", ist ein finsteres Stück, das zwischen einem mit Echo untermaltem Gesang und intensiven Gitarrensoli wechselt. Die Songs auf dem Album sind geprägt von eingängigen Melodien, experimentellen Klängen und lyrischen Texten. Wenn du ein Fan von Progressive-Rock bist oder gerne neue Musik entdeckst, könnte "My Solid Ground" eine interessante Wahl für dich sein.

Circus of Desire is the much anticipated third studio album from Grammy-nominated folk singer-songwriter Olivia Chaney. Worked up over five eventful years, this collection of lovingly wrought songs was recorded in NYC with long-time collaborator, producer and musician Thomas Bartlett (David Byrne, the Magnetic Fields, Sufjan Stevens, The National, St. Vincent, Father John Misty)

Consisting of ten originals and one cover (a revoicing of Dory Previn’s haunting ballad ‘Lady with the Braid’), this album is Olivia set free. Taking their departure from real life experiences, these songs strain towards the universal. The title track blends the carnivalesque and meditations on ancient wisdom with an anthemic, dancy refrain. ‘Calliope’ is a tribute to Olivia’s daughter, named after the Greek muse of music and epic poetry, picturing this little life as part of the ever-revolving cosmos. ‘To the Lighthouse’ tells the story of her sister who left the capital to live on a remote island. Like ‘Mirror, Mirror’ and ‘Why’, a pair of tracks about erotic love, this song reflects upon our capacity to flee and transcend inherited trauma. ‘Zero Sum’ is a setting of a metaphysical number poem by Olivia’s grandfather, a mathematician and poet. ‘I Wish’ - the album closer, is the ultimate breakup song.

Whilst staying true to her folk roots, Olivia enters new musical territories with Circus of Desire, venturing into the realms of pop and dance. The record features cameos from a number of friends, including string arrangements by Nico Muhly and banjo and guitar from Sam Amidon. The result of this rich blend of musical influences is an album that looks honestly, sometimes despairingly, but primarily hopefully at the carnival that is life - ‘we’re in a dance with death, with fire…we’re all in a circus of desire’.

Circus Of Desire by olivia Chaney, released 22 March 2024, includes the following tracks: "Why", "Galop", "Bogeyman", "Mirror, Mirror" and more.

This version of Circus Of Desire comes as a 1xLP.

Standing in a Greyhound Bus station, wearing a Sylvester t-shirt and huge duct-tape-covered glasses, Baltimore ’s Dan Deacon doesn't invoke the image of a composer to the other bus riders. The two suitcases he loads under the bus, which accompany him from city to city, hold the sweat-and-grime-soaked electronics that he uses to craft his raging, maxed-out party music and light show. After 12 tours and 300+ shows in little over 2 years, the gear is beaten and battered, but the show and the energy it produces is anything but.

Dan Deacon has garnered a reputation in the underground as an intense performer and classic showman. The table top full of pedals, a sine wave generator, vocoder and casio blasting through the PA, joined by a makeshift light board with various bulbs and green skull strobe light, make his all out dance-til-you-drop performance a complete experience.

But it isn't all fancy feet and bouncy beats. Deacon is a classically trained composer with a Masters degree in electro-acoustic composition. He has released 7 albums from 2003 to 2006, but those self-produced recordings do not contain the vocal-based experimental pop that he has fine-tuned in live performance. His latest full length, Spiderman of the Rings is the first album bridging the gap between party performer and genuine composer. A mixture of his live show dance anthems, intricate instrumentals and humorous monologues, Spiderman of the Rings establishes Dan Deacon as a new type of entertainer in the contemporary underground.

Introducing "The Sevens” - A Sonic Revelation from A Place To Bury Strangers Prepare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You." Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. 'Chasing Colors/I Can Never Be As Great As You Are' is the second release coming March 22. "When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann. The vinyl is pressed as a white disc.

Canadian performer and composer Sarah Belle Reid’s 2021 acclaimed album, first time on vinyl, expanded with two new incredible songs, remastered featuring new artwork. From distant ocean song to the clang and howl of a murky forgotten memory, MASS is a dreamlike collage of shrill shrieks, gasps, corroded brass choirs, and melting modular synth soundscapes, all heard through a mist of hiss and noise. Fused with equal parts spastic improvisation, shrouded ritual, and meticulous arrangement, it presents a sonic topography at once tongue-in-cheek, sensitive, and nightmarish. With discordant chorales and angular trumpet improvisations churning in an ever-evolving wash of whispers and howls, MASS is a collection of three hazy, harsh, and frightful sound worlds. With tracks meandering between aggressive rhythms, eerie ambiances, and abrasive cut-up electronic textures, MASS draws inspiration from early tape music, horror film soundtracks, and grindcore. It was assembled between listening to extended doses of Else Marie Pade, Daphne Oram, Eliane Radigue, the Locust, Edgard Varèse, Maryanne Amacher, Dick Raaijmakers, Naked City, Mr. Bungle, and Thomas Ankersmit, bringing a little bit of all of them along with it. MASS was recorded and mixed over the course of three weeks in January–February 2021 while in the midst of a cross-country move. Recorded entirely in short-term housing away from her studio (and most of her instruments), Reid relied exclusively on her voice, trumpet, flugelhorn, household objects, and Make Noise's Strega semi-modular synthesizer for all sound materials. Original sound materials were recorded loosely and independently with little to no overdubbing, instead relying on meticulous editing and processing in the manner of classic tape music.

Canadian performer and composer Sarah Belle Reid’s 2021 acclaimed album, first time on vinyl, expanded with two new incredible songs, remastered featuring new artwork. From distant ocean song to the clang and howl of a murky forgotten memory, MASS is a dreamlike collage of shrill shrieks, gasps, corroded brass choirs, and melting modular synth soundscapes, all heard through a mist of hiss and noise. Fused with equal parts spastic improvisation, shrouded ritual, and meticulous arrangement, it presents a sonic topography at once tongue-in-cheek, sensitive, and nightmarish. With discordant chorales and angular trumpet improvisations churning in an ever-evolving wash of whispers and howls, MASS is a collection of three hazy, harsh, and frightful sound worlds. With tracks meandering between aggressive rhythms, eerie ambiances, and abrasive cut-up electronic textures, MASS draws inspiration from early tape music, horror film soundtracks, and grindcore. It was assembled between listening to extended doses of Else Marie Pade, Daphne Oram, Eliane Radigue, the Locust, Edgard Varèse, Maryanne Amacher, Dick Raaijmakers, Naked City, Mr. Bungle, and Thomas Ankersmit, bringing a little bit of all of them along with it. MASS was recorded and mixed over the course of three weeks in January–February 2021 while in the midst of a cross-country move. Recorded entirely in short-term housing away from her studio (and most of her instruments), Reid relied exclusively on her voice, trumpet, flugelhorn, household objects, and Make Noise's Strega semi-modular synthesizer for all sound materials. Original sound materials were recorded loosely and independently with little to no overdubbing, instead relying on meticulous editing and processing in the manner of classic tape music.

Hypnotische Harmonien, Psychedelic Folk und ganz viel Pop-Appeal. So klingt Su Yono, eine neue Band aus München und jetzt ganz neu bei Trikont. 2018 arbeiteten Marcus Grassl (Aloa Input) und Chris Hofbauer (Micro Circus) erstmals gemeinsam an musikalischen Skizzen. Zusammen mit der Sängerin und Leiterin des Female Indie Choir "The Witches of Westend", Pola Dobler, entstanden die ersten fertigen Songs. Musikalisch bewegen sich Su Yono irgendwo zwischen Misty-Experimental-Pop, Indie und Avant-Folk. Momente der Täuschung durchbrechen eine Kulisse aus Gitarren, Bass, Keys, Synths und poppigen Elementen, die sich vereinen, um ihre eigene Art von Klangwand zu erzeugen.

Mit ihrem kommenden, vierten Studioalbum "Daenacteh" erweitert die norwegische Melodic Death Metal-Band DECEPTION ihr kreatives
Songwriting. Das Ergebnis ist ein größerer Sound mit experimentelleren Passagen und mehr harmonischen Inhalten als jemals zuvor im Kollektiv aus Stavanger, während sie versuchen, tiefer in den internationalen Markt einzutauchen, um ihr Publikum zu erweitern. Textlich und musikalisch nimmt "Daenacteh" den Hörer mit auf eine Reise durch die Wüste, auf der er einer jungen Frau folgt, die versucht, in einem brutalisierten Staat während eines nationalen Notstandes für ihre Familie zu sorgen, und trifft damit genau den Punkt des grandiosen, epischen Melodic Death Metal mit der
richtigen Menge symphonischer Einflüsse.

Inspiriert von Bands wie Wintersun, Septicflesh und Blood Red Throne, kreieren Deception brutale, harte, technische Musik, umgeben von dunklen, schönen und majestätischen Klanglandschaften mit dem Einsatz von Orchesterinstrumenten und Synthesizern. Nach zwei ersten Alben war "The Mire" (2021) das erste Album, das in diese Richtung ging und sowohl national als auch international gut aufgenommen wurde. Im Laufe ihrer Karriere tourten Deception im Ausland, waren Headliner mehrerer nationaler Tourneen und unterstützten unter anderem Bands wie Hypocrisy, Insomnium,
Testament und Entombed.

Bei BRODEQUIN ist das, was man sieht, das, was man bekommt. Immerhin ist die Band nach einem französischen Foltergerät aus dem Mittelalter benannt. Natürlich haben BRODEQUIN ihre eigene Geschichte. Die Brüder Jamie und Mike Bailey headbangen seit 1998 zusammen, bevor ihr Debütalbum sie weit über ihre Heimatstadt Knoxville, Tennessee, hinaus katapultierte. Doch nachdem sie den Thron als einer der brutalsten Bands im gesamten Death Metal erobert hatten, verschwanden BRODEQUIN in den Schatten. Jetzt, nach 20 Jahren, sind BRODEQUIN mit 'Harbinger of Woe' zurück. Auch ihr lang erwartetes viertes Album enttäuscht nicht. Die Leadsingle "Of Pillars and Trees" ist klassisch BRODEQUIN. Die Riffs schleudern abgetrennte Gliedmaßen durch den Fleischwolf. Der neue Schlagzeuger Brennan Shackelford schlägt auf seine Becken mit brutaler, mörderischen Absicht ein. Die Death-Growls sind so fies, dass man meinen könnte, Jamie würde das Blut seiner Feinde durch einen Strohhalm saugen!
Endlich sind BRODEQUIN wieder da und holen sich ihre Krone zurück.

FFO: DEVOURMENT, MORTICIAN, DISGORGE, INTERNAL BLEEDING

Bei BRODEQUIN ist das, was man sieht, das, was man bekommt. Immerhin ist die Band nach einem französischen Foltergerät aus dem Mittelalter benannt. Natürlich haben BRODEQUIN ihre eigene Geschichte. Die Brüder Jamie und Mike Bailey headbangen seit 1998 zusammen, bevor ihr Debütalbum sie weit über ihre Heimatstadt Knoxville, Tennessee, hinaus katapultierte. Doch nachdem sie den Thron als einer der brutalsten Bands im gesamten Death Metal erobert hatten, verschwanden BRODEQUIN in den Schatten. Jetzt, nach 20 Jahren, sind BRODEQUIN mit 'Harbinger of Woe' zurück. Auch ihr lang erwartetes viertes Album enttäuscht nicht. Die Leadsingle "Of Pillars and Trees" ist klassisch BRODEQUIN. Die Riffs schleudern abgetrennte Gliedmaßen durch den Fleischwolf. Der neue Schlagzeuger Brennan Shackelford schlägt auf seine Becken mit brutaler, mörderischen Absicht ein. Die Death-Growls sind so fies, dass man meinen könnte, Jamie würde das Blut seiner Feinde durch einen Strohhalm saugen!

Kyiv (Ukraine) born Sasha Renkas, made music as Antenna for almost a decade, releasing many EP's and a full length album. Now he follows his urge to make a different kind of music. The result is a full length album with slow, intimate, nighttime music varying from abstract pop ballads to ambient movie score pieces. At times they sound like stripped down Kate Bush instrumentals, drenched in reverb, or introvert Roxy Music with a touch of dub and nineties trip-hop. "This time I wanted to compose music and then perform my instruments live making this album. I used mainly old synthesizers and other instruments and a heavy layer eighties reverb machines. Before moving to the Netherlands, I was growing up in the nineties in Kyiv, surrounded by economic turbulence and a weird mix of music from different decades that overflowed the country after years of isolation. Accompanied by the weird early Ukrainian visual culture I was mesmerized by the music videos I saw on TV and I wanted to belong there. I guess I never really grew up, still drifting like a cowboy through imaginary spaces, in a timeless vacuum, outside of real life. I decided to release this album as Sasha Renkas, because it felt very personal and pure, all coming from a spacious, misty place where everybody is still alive and safe."

Mon Goose is multi-instrumentalists Yegang Yoo and Robert Lombardo (both ex-Alex Delivery Jagjaguwar). Flowing seamlessly between dance grooves to experimental soundscapes, their songs twist and turn melodically through dense layers, animated by inventive live percussion and a creative melding of electronic and acoustic sounds. A Seoul-native trained in classical piano and composition at an early age, Yegang transplanted to New York City in 2000, where she and Robert began playing music together. Robert's history spans from playing guitar and drums in garages and basements, to the rabbit-holes of experimental and dance musics, to the present where he pulls from all of those influences in the music of Mon Goose and as a sound designer and composer for films.

Very Still Right Now lives in the intersection of music to listen to and music to dance to. Showing influences from space disco (stand-out track “I Feel Goose” is gloriously remixed by Lindstrøm) to Krautrock to techno ... to soundtrack records ... to classical ... it shifts and turns, sweeping you unaware from the disco dance floor to the melancholic high seas with a unique ability to contain, expand, and gradually distort moods without sacrificing a sense of lightheartedness. The album is the culmination of several years’ work from the duo, tangled in the wires of an arsenal of analog gear in their basement studio in Greenpoint, Brooklyn, and is the first offering of much to come.

Celebrated new wave compilation from Japan reissued for the first time on Glossy Mistakes.

A much-cherished gem from the 1980s underground Japanese music scene returns as Soft Selection 84 is reissued by Glossy Mistakes for its 40th anniversary. Originally released on DIY label Soft, the compilation sees 13 tracks from nine acts spanning minimal, ambient, zolo and more for a beguiling listen.

The result is a charming time capsule of eclectic creativity in which nothing sounds dated. Take La Sellrose Can Can, whose two party jams predate Kero Kero Bonito's hyperpop by decades. In addition, an impeccable remastering from the original master tapes adds to the "could have been recorded yesterday" feel of the collection.

Soft Selection 84 also includes the eccentric Picky Picnic. One of the few featured artists with recordings beyond the anthology, the trio is an essential act for those curious about Japanese art pop of the era. There is also new wave introspection from Name, whose "Do We All Need Love" plays out as a sensual nod to John Lennon. In a similar vein is Clä-Sick, the recording name of Goro Some, the compilation's original producer and founder of Soft.

The record's rerelease comes with Some's blessing, along with his original artwork and photography. Ultimately, the listener is left tantalised by his selection and its bold excursions into no wave, synth pop, radioplay and bizzaro house. Most of the artists on this release would fade into obscurity, but the transient nature of the potential showcased has helped cement the compilation's reputation over the years.

Soft Selection will be released on vinyl LP by Glossy Mistakes on March 2024, with a remastering from the original master tapes.

On a faim!" was originally an anarchist music fanzine created in 1984.
An entire network, with no geographical ties, grew up around the fanzine, helping to write articles and distribute them (often by hand). The fanzine's name even began to appear in connection with the organisation of concerts (Ludwig Von 88, Raymonde et les Blancs Becs, les Thugs, Les Ejectés, Kortatu, Yo Pizza Jump, etc.) and the creation of radio programmes.
The On A Faim ! label came into being at the end of the 80s, following the release of a host of live tapes and themed compilations: "A Bas Toutes Les Armées", "Cette Machine Sert A Tuer Tous Les Fascistes", "Ni Jah Ni Maitre", "Pogo Avec Les Loups". Then came the first artistic albums with Désert Culturel, Un Dolor, Have Nots, Kargols, Pleum, Mister Moonlight, Rude Boy System... Here again, the artistic choices were made primarily on the basis of human encounters, the attention paid to the bands' approach and discourse, and their attitude to the public... even before listening to the slightest demo!

Archives de la Zone Mondiale wanted to pay tribute to this inspiring label, which marked the history of independent and committed music for nearly 15 years. With one of its founders, Jean Pierre Levaray, we have cleverly concocted a sort of musical anthology retracing the essential bands that have marked the history of the label and the fanzine.

On A Faim ! - Anarchy & Musik is a double 20-track vinyl compilation in a highly graphic gatefold sleeve, retracing the label's extraordinary trajectory regardless of musical style: punk, of course, but also ska, hardcore and popular chanson...

Last but not least, all the royalties from this double vinyl compilation are donated to the Uzine (Le Havre) and Fanzinarium (Paris) fanzine libraries.

Footballhead is a Chicago-based alternative rock band headed by singer/ songwriter Ryan Nolen - At its heart, the band is a vessel to toil forward through internal and external insecurity It also serves the unrelenting spirit of new- millennium Midwestern youth, with MTV and skatepark dreams in the core of their memories. By blending pop structures with alt and emo sounds, Footballhead channels the frantic, dramatic, and anthemic to map the pressure points of existence. It's outcast music, revitalized in search of a modern, blissful awakening. Nolen was a skate kid from the western Chicago suburbs; the one who only kicked it with older neighborhood kids. The punkish attitude of late-90s and earlyaughts alt- rock galvanized Nolen, from the infectiously fun music down to the fashion.

A teenage relocation to Palm Springs, CA coincided with Nolen inundating himself with all the music he could: Warped Tour, 411 videos, Limewire, and the like. The Footballhead ethos comes from this comfort zone of pop impulses and raucous energy, carried by a DIY spirit that grants Nolen the autonomy to facilitate honesty and reflection. Joined by Adam Siska, snow ellet, Liam Burns, and Robbie Kuntz, Footballhead crafts supercharged rock songs like brief, open secrets. However weathered one is from their struggles and mistakes, this music offers unbridled fun as a reprieve, and salves for the shaken. These are your old friends inviting you in to commiserate, elevate, and believe.

Debut album by Korean psychedelic fuzz masters and the perfect introduction to Sanullim’s unique world.

Formed in the early 70s by the three Kim brothers while they were still in University, Sanullim managed to release their first album in 1977 despite censorship, misunderstanding from their record company and rudimentary recording techniques problems. Fuelled by piercing psychedelic fuzz guitars, Farfisa styled garage organ, keyboards and sweet melodies, the created a very unique sound, unheard in Korea at the time. Including some of their most iconic songs like “Already Now” and “"Likely Late Summer" (famous for its inclusion on the “Love, Peace & Poetry” series.

*Original artwork in hard cardboard sleeve
*Sourced from the original masters
*Insert with liner notes by Hugh Dellar (Shindig!) and rare photos / memorabilia

“Their debut album featured a blistering fuzz guitar sound that bleeds in and out of the mix as well as what sounds like a tinny Farfisa set behind the sweetest of pop vocal melodies, and the nine tracks stretch out into strangely hypnotic diversions. It’s easy to grasp how psych and garage heads coming to these tracks cold would find much to dig here, and also simple to see how the recordings could be mistaken for something cut many years earlier” – Hugh Dellar (Shindig!)

Debut album by Korean psychedelic fuzz masters and the perfect introduction to Sanullim’s unique world.

Formed in the early 70s by the three Kim brothers while they were still in University, Sanullim managed to release their first album in 1977 despite censorship, misunderstanding from their record company and rudimentary recording techniques problems. Fuelled by piercing psychedelic fuzz guitars, Farfisa styled garage organ, keyboards and sweet melodies, the created a very unique sound, unheard in Korea at the time. Including some of their most iconic songs like “Already Now” and “"Likely Late Summer" (famous for its inclusion on the “Love, Peace & Poetry” series.

*Original artwork in hard cardboard sleeve
*Sourced from the original masters
*Insert with liner notes by Hugh Dellar (Shindig!) and rare photos / memorabilia

“Their debut album featured a blistering fuzz guitar sound that bleeds in and out of the mix as well as what sounds like a tinny Farfisa set behind the sweetest of pop vocal melodies, and the nine tracks stretch out into strangely hypnotic diversions. It’s easy to grasp how psych and garage heads coming to these tracks cold would find much to dig here, and also simple to see how the recordings could be mistaken for something cut many years earlier” – Hugh Dellar (Shindig!)

Produced by Amir Amor (Rudimental) , the album sees the Kaiser Chiefs return with a fresh and bold new sound. From the Nile Rodgers co-write of new single 'Feeling Alright', to the frantic 'Beautiful Girl', horn-laden Kaiser Chiefs throwback 'Job Centre Shuffle' and joyous punch in the gut that 'Jealousy', these ten tracks are a true statement of intent from a band that continues to deliver the goods again and again. Where 2019's Duck straddled the tide between Northern- Soul euphoria and early '00s antithesis, 2024 will see Kaiser Chiefs stepping into a renewed spotlight; a hook- heightened universe in which Ricky Wilson, Andrew "Whitey" White (guitar), Simon Rix (bass), Keyboardist Peanut and Vijay Mistry on drums, come together to once again create what they craft best; breakthrough belters for the world's dancefloor.

Pt. 9 of the 'Dub me crazy' series by Mad Professor.
Reggae meets twisted electronics for wild dub trips!

Originally released in 1989 on the same Ariwa imprint.
True D.I.Y. business from this UK dub pioneer.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



Wer THE RAZORS EDGE sagt, denkt natürlich zuerst an die Single ‘Thunderstruck’. Das Video zum Track wurde auf YouTube über eine Milliarde Mal aufgerufen.

Chicago? Absolutely! Detroit? Definitely! For many, however, a significant chapter in the coming-of-age story of House music was also written in The Netherlands.

This 8-track compilation is the result of a nationwide search for lost Digital Audio Tapes (DAT’s), dusty home-studio recordings, and other relics from those early days. The distinctive "House" sound eventually evolved into a rainbow of local styles and grooves. Back then, DJ’s played their heart out and didn’t limit themselves to any particular musical genre. Following that spirit, this compilation contains everything that makes the Dutch sound so special, from energetic Breaks to atmospheric Deep House.

These are not your usual suspects, not even the most revered diggers have this collection at their fingertips. It's raw, pure material from the time when house parties were fresh and dirty at the same time. Back when the only dress code was a wide smile from ear to ear. Four sides with two tracks each, ensuring maximum DJ enjoyment. Now get out there and spread the Dutch 90's House vibes!

Tyranny and Mutation is the second studio album by American hard rock band Blue Öyster Cult, released on February 11, 1973, by Columbia Records. The album was recorded at the Columbia Studios in New York City during the year before and was produced by Murray Krugman and Sandy Pearlman. On May 12, 1973, the album peaked at #122 on the Billboard 200.

The song “Baby Ice Dog” features lyrics by singer/poet Patti Smith (who was keyboardist Allen Lanier’s girlfriend at the time), who would make several lyrical contributions to the band’s repertoire during its career. The song “The Red & The Black”, with lyrics referencing the Royal Canadian Mounted Police, is a renamed, re-recorded version of “I’m on the Lamb But I Ain’t No Sheep” from the same-titled debut album. The song was later covered by the Minutemen and Band of Susans.

Celebrating its 50th anniversary, Tyranny and Mutation is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl.

Seit ihren Anfängen hat sich Merrimack zu einem Wesen entwickelt, das die schattigen Gefilde erforscht, in denen die Spiritualität zusammenfließt. Schon der Name MERRIMACK, der für unendliche Tiefe und Abgrund steht, ist ein Vorbote für die Reise, die sie mit ihrem Black Metal antreten.

"Of Gravity and Grace" stellt das Gewebe der Realität in Frage, in dem sich die Dichotomie zwischen flüchtigen Wahrheiten und dem göttlichen Partikel manifestiert. Dieses Album ist eine Rückkehr zu einer ursprünglichen luziferischen Revolte, die die Gefühle von Antonin Artauds Proklamation widerspiegelt: "Wir sind die Mikroben Gottes". In einer Welt, die mit oberflächlichen Ausdrücken des Satanismus vollgestopft ist, überschreitet MERRIMACK die Klischees, indem sie eine tiefgreifende Erforschung des Glaubens und der Dissidenz einschließt. Während sich die eindringlichen Melodien der sieben Titel entfalten, taucht der Hörer in eine akustische Pilgerreise ein, die die Grenzen des konventionellen Black Metal sprengt.

Erleben Sie die Essenz der Alchemie von MERRIMACK, wo das Körperliche und das Kosmische aufeinanderprallen und eine transformative Reise durch die Schatten des Kreuzes bieten. "Of Gravity and Grace" zeigt die ungebrochene Kraft des Black Metal, die den Geist provoziert, herausfordert und erhebt. Umarme die Dunkelheit und lass dich von MERRIMACK durch die Gefilde führen, in denen Chaos auf Ewigkeit trifft.

FFO: Watain, Valkyrja, Ondskapt

Seit ihren Anfängen hat sich Merrimack zu einem Wesen entwickelt, das die schattigen Gefilde erforscht, in denen die Spiritualität zusammenfließt. Schon der Name MERRIMACK, der für unendliche Tiefe und Abgrund steht, ist ein Vorbote für die Reise, die sie mit ihrem Black Metal antreten.

"Of Gravity and Grace" stellt das Gewebe der Realität in Frage, in dem sich die Dichotomie zwischen flüchtigen Wahrheiten und dem göttlichen Partikel manifestiert. Dieses Album ist eine Rückkehr zu einer ursprünglichen luziferischen Revolte, die die Gefühle von Antonin Artauds Proklamation widerspiegelt: "Wir sind die Mikroben Gottes". In einer Welt, die mit oberflächlichen Ausdrücken des Satanismus vollgestopft ist, überschreitet MERRIMACK die Klischees, indem sie eine tiefgreifende Erforschung des Glaubens und der Dissidenz einschließt. Während sich die eindringlichen Melodien der sieben Titel entfalten, taucht der Hörer in eine akustische Pilgerreise ein, die die Grenzen des konventionellen Black Metal sprengt.

Erleben Sie die Essenz der Alchemie von MERRIMACK, wo das Körperliche und das Kosmische aufeinanderprallen und eine transformative Reise durch die Schatten des Kreuzes bieten. "Of Gravity and Grace" zeigt die ungebrochene Kraft des Black Metal, die den Geist provoziert, herausfordert und erhebt. Umarme die Dunkelheit und lass dich von MERRIMACK durch die Gefilde führen, in denen Chaos auf Ewigkeit trifft.

FFO: Watain, Valkyrja, Ondskapt

Tritt mit Tamás Kátais visionärem Projekt in das Reich des Avantgarde-Metal ein: Thy Catafalque. Seit mehr als zwei Jahrzehnten leistet Thy Catafalque meisterhaft Pionierarbeit im Bereich der extremen Metal-Musik.
Die Reise geht weiter mit Thy Catafalques zweitem Meisterwerk Microcosmos, einer Offenbarung, die die Dichotomie zwischen Black Metal und Avantgarde-Kunst fein ausbalanciert. Das ursprünglich 2001 erschienene Album erforscht strukturierte thematische Elemente, die vom Weltraum und dem weiten Kosmos inspiriert sind. Eine klangliche Entdeckungsreise, die die rastlose Abnutzung von Tremolo-gezupften Zweiklängen und subtil eingemischten Blastbeats beibehält, während die psychedelisch klingenden Gesänge, die den charakteristischen Sound von Thy Catafalque ausmachen, beibehalten werden.
Jetzt präsentiert Season of Mist stolz die offizielle Wiederveröffentlichung von Microcosmos und stellt damit sicher, dass dieses bahnbrechende Werk für die Nachwelt erhalten bleibt. Fans, sowohl erfahrene als auch neue, können in die Feinheiten von Kátais visionären Kompositionen eintauchen und die Verschmelzung von Aggression und Kunstfertigkeit erleben, die Thy Catafalque ausmacht.

First ever vinyl release of the album recorded in 1969/70 by UK prog-psych band Misty. Including their terrific mod-psych “Hot Cinnamon” 45.

A dazzling fusion of classically-inspired progressive rock and song-based psychedelic pop with an organ-based sound, in the vein of Procol Harum and The Nice.

“In October 1969, King Crimson released their debut, In The Court Of The Crimson King, Pink Floyd unleashed Ummagumma and Led Zeppelin put out their second LP. At the same time, Misty were in London’s Regent Sound Studios recording what turned out to be the only album of their career with producer, Adrian Ibbetson, who had cut his teeth as an engineer working with everyone from the Beatles to the Equals.

After only a handful of gigs, Misty signed a deal with Parlophone and began to gather momentum with the release of Hot Cinnamon. Although they received a lot of airplay, the single failed to chart and the band’s hopes of releasing their debut album were dashed. Reluctantly, Misty went their separate ways and the Here Again master tapes sat gathering dust on a shelf until Gelardi came across the original acetate and decided it was time for the album to finally see the light of day.

Bridging late psych and early prog, songs like Life Has Just Begun, Witness For The Resurrection and the title track were played with a perfect mix of high-flying experimentation and virtuosic musicianship. Blurring the fine lines between rock, jazz, classical and chamber pop, Here Again is a transcendent kaleidoscope of colour that is beyond definition.

Maybe you can tell an album is truly timeless when it takes half a century for it to be properly appreciated. Misty were a rare bird, a brilliant, truly original band who should have left an indelible mark instead of joining what now seems like the never-ending line of half-remembered and long-forgotten flotsam and jetsam of the psychedelic era.

Both the first and the final statement from a group who never really got their chance to be heard, Here Again is a slice of pristine psychedelic pop that so embodies the dizzying energy and the progressive spirit of the time, it’s astonishing that it stays afloat under the weight of its own intentions. But float it does, like mist in the air - a half-forgotten diaphanous dream slowly coming back to you after 50 years of silence.” – Jonathan Wingate

Grandioser Sampler mit den besten Tracks aus den ersten beiden LPs der Aschaffenburger AOR/Yacht-Rock-Band People: "Misty Mood" & "Easy Going" (beide 1981). Limitierte Auflage auf schwarzem Bio-Vinyl im Deluxe-Gatefold-Cover mit unveröffentlichten Fotos und Download-Code mit 5 weiteren Bonustracks.

Blizzard is an italian project well known for those who loves those 1995/1996 sounds from Italy, when Eurodance took over the european charts. Release originally on the X-Energy Records label. Produced by Francesco Alberti, also responsible for many sucessfull releases on the DWA label, teh track was sung for a young Sharon May Linn, dutch singer with a large carreer in Italian productions. It’s hard to decide which track from Blizzard is our preferred to we decided to come up with an EP including their two first singles ‘It’s Only Love' (1995) and ‘Without You’ (1996).

Warehouse Find!

- The Black Angels' classic sophomore album - Special color edition pressed on Metallic Silver Wax. - Triple LP housed in a Stoughton tri-fold gatefold jacket // "The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in `Never/Ever.' `They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it `hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words "psychic information from the past and future." See, The Black Angels really are in contact with ghosts. "Civil War battlefields are prime spots for seeing ghosts," says Bland. "One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like `retreat,' and I did. I later learned that the spot where I was on the battlefield was known as `the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek." The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. The band released Passover in 2006 to critical acclaim for both the album and the song "The First Vietnamese War". Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. "Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes," says Christian. "Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life." _"War is Peace. Freedom is Slavery. Ignorance is Strength. Keep Music Evil."_

Malka Tuti is proud to present the solo debut EP by mister Andrei Rusu, 
 one half of Khidja.

After a series of stellar remixes in the past year to Cosmo Vitelli (on Im a Cliché), Dadalus & Bikarus, Santaka & Nic Arizona, Rusu is finally ready to present his own original solo materials to the world.


Ahead of a full LP planned on MT for later this year, Rusu is presenting us with 2 fresh new tracks. The A-side is a 120bpm dirty and distorted super- trippy banger for the biggest floors and the darkest rooms.

On the B-side Rusu collaborates with an artist known to the followers of the label - Decha, who contributes her signature expressive vocals on this half time industrial dub track. This time however, the vocals run through the hands of Rusu who soaks them with distortion and even more punk attitude, almost echoing the energies of the late Genesis P-Orridge.

The release includes 2 remixes by a couple of master remixers who also happen to be part of our extended family. 


Remixing the title track, and off the success of his 2 incredible albums
released on 2023 (Music From Memory & Offen), Philipp Otterbach supplies a remix for the books, channeling the original track’s intensity through oceans of reverb, whimsical samples and addictive trippy rhythms.
For the Hedesch Remix we’ve asked one of our favourite remixers out there aka Black Merlin to contribute his cut and boy he didn’t disappoint (does he ever?)


Black Merlin supplied us with a long and addictive psychedelic synthetic and very dubby journey for the b-side.

Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on tape. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on tape guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on tape. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on tape guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

REMO DRIVE, the longstanding project of brothers Erik and Stephen Paulson, want you to feel something. Following a six-year run of pristine emo-influenced rock "n" roll records comes Mercy, the band"s fourth album and third for Epitaph. It"s the band"s most lyric-focused offering to date, a record about reinvention, trusting yourself, and wearing your heart on your sleeve even when it"s painful or vulnerable. Sonically, Mercy is also a major departure for REMO DRIVE. It"s less indebted to the emo and pop punk that foregrounded the duo"s career and instead invested in thorny, baroque indie pop byway of Father John Misty and Fleet Foxes. It was produced by Phil Ek, a legendary Seattle-based indie rock producer who has previously worked with those two bands as well as the Shins and Band of Horses, among others. REMO DRIVE worked with Ek over the course of ten days. "It was refreshing to work with Phil," says Erik, "It made music feel like how it did when we were younger. He was like fuck it, let"s go, let"s have fun." Mercy is a study in intimacy, in being real with yourself, in entering an exciting new creative chapter where you are making the art you really want to make. That"s where REMO DRIVE is today.

High Roller Records, reissue 2024, black vinyl, ltd 300, 425gsm heavy cardboard cover, lyric sheet, poster, mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in January 2016

High Roller Records, reissue 2024, white vinyl, ltd 300, 425gsm heavy cardboard cover, lyric sheet, poster, mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in January 2016

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.

NYC speed rockers PONS are wound up and hot for skronk on The Liquid Self, a golden spiral into insanity at sea surfacing on cassette and streaming October 6, 2023. Besieged by a lighthouse panopticon of pummeling, engine-room percussion, The Liquid Self rises higher than the tides of destiny. These eleven songs churn like a gluttonous maelstrom consuming everything in its path. The Liquid Self chums indie rock’s murky waters with bloody chunks of Lightning Bolt, Van Halen and King Crimson to lure PONS’ mythical and unhinged rock ‘n roll creation to the surface. Harpoons in hand, the dual drums and guitar trio swing, shuffle and strut across oceanic horizons of playful, unhinged garage-prog-pop inhabited by a cast of unreliable narrators; bottom feeders carrying the entire ocean’s weight on their polyrhythms.

On the single “Coral King,” PONS usurp noise rock’s old guard while pledging fealty to the dystopia under the sea with a foamy, froth-mouthed manic industrial scuzz-prog rant seething with sludgy, dissonant bile oozing from every sour note. Furious violin-fuzz riffs and a chorus of lost souls lead the procession at this brutal coronation of the damned.

“Sinking Feeling” hangs ten with bright and beachy major chords anchored by fleet-flippered guitar solos breaching the surf like suppertime at SeaWorld. Chaos reigns on “Queen Conch,” soaking the splash zone with misty waves of undulating percussion and tsunami force sheets of six-string shredding. Barbed post-punk rager “Hooks” swallows the bait whole—and it turns out PONS fish with dynamite.

The first revolutionary fracture in The Fall was the sudden departure of guitarist Martin Bramah. Commonly understood as the only viable challenger to Mark E Smith's dominance of the band, Bramah was The Fall's first singer and primary songwriter at the start. His subsequent group, Blue Orchids, was originally a reconstitution of the first recorded line-up of The Fall, without Mark, but with another slightly later Fall member, Eric McGann. After slight revisions in the lineup, Blue Orchids created a singular sound of maniacally aberrant psych on two thrilling singles - "The Flood" and "Work" - before recording one of the most imperfectly perfect debuts in what could no longer really be called 'rock and roll'. 'The Greatest Hit (Money Mountain)' eschews the frenetic energy of those singles to present itself as the greatest 'morning after the trip' albums ever - Martin and Una's wonderful explanations of the experiential backdrop to "Sun Connection" take up nearly as much space as those of all the other songs combined! Without exception, the songs are brilliant, majestic and memorable . . . plus it's possible that more covers of songs from 'The Greatest Hit' have been recorded by bands of credibility and renown than from any single Fall LP (although we're counting!), with near-contemporaneous versions arising from Fish & Roses, Slovenly, Dustdevils and Aztec Camera and many others since. Never reissued on vinyl since its 1982 release, due to objections from the WB Yeats estate for the album's musical interpretation of the author's "Mad As The Mist And Snow" (now in public domain!), this deluxe edition includes a bonus album with two unreleased pre-album demos, two further demos released only on long out-of-print cassette compilations from more than forty years ago, and scorching live set featuring several of their early songs, extensive liner notes from Martin Bramah and Una Baines, a reproduction of the original lyric fold-over booklet and (with the 2LP version), a download card. The original artwork for the album and booklet have been restored painstakingly, and as Bramah himself says, "It's better than the original." Four decades later, we're ecstatic to make this classic available again. Tiny Global Production's first album, "Awefull", is also available. A companion to this release, it contains the band's first two 7" singles, the album's four-song follow-up 12" 'Agents Of Change', and two unheard demos.

Mandalaband began life in the early 1970's, gaining cult status as one of the most forward-thinking prog outfits of the time. The brainchild of David Rohl, who formed a lineup featuring future Sad Cafe members Vic Emerson (keyboards), Ashley Mulford (guitars), John Stimpson (bass guitar and backing vocals), Tony Cresswell (drums) and vocalist Dave Durant.

Mandalaband received critical acclaim with legendary BBC radio presenter John Peel playing the entire album on his show before promptly re-broadcasting the whole thing immediately after. Unfortunately, at the time, this didn't translate to sales and Mandalaband fell into obscurity. However, with the advent of the internet, their legend grew, exciting a new generation of prog fans.

We are now pleased to make these recordings available again and offer a chance to dig into some of the most interesting progressive music of the '70s. As well as presenting the original album remastered, David gained access to the original 24-track analogue master tapes, having them restored and digitised at Abbey Road Studios before reinforcing the sound and instrumentation before remixing the entire album.

Nearly fifty years on, a veil of sonic mist has been lifted from these unique recordings.

Format: 2LP 180g gatefold edition featuring the original album and David Rohl 2024 remix of entire album, both remastered at AIR Mastering, with rare bonus track. Includes newly written liner notes.

REPRESS of the sophomore album Sang Dragon. "The whole tone of the album is one of pure DOOM though shades of Psych Rock and Stoner Metal do appear to show you there is much more to the bands sound. Though this will take a few listens to fully appreciate as Witchthroat Serpent have created quite a complex album at times. Tracks such as - Lady Sally, Into The Black Wood and Mystical Detective - even venture into the world of Prog Rock as some of the guitar solos can only be described as epic." - Outlaws of the Sun

REPRESS of the sophomore album Sang Dragon. "The whole tone of the album is one of pure DOOM though shades of Psych Rock and Stoner Metal do appear to show you there is much more to the bands sound. Though this will take a few listens to fully appreciate as Witchthroat Serpent have created quite a complex album at times. Tracks such as - Lady Sally, Into The Black Wood and Mystical Detective - even venture into the world of Prog Rock as some of the guitar solos can only be described as epic." - Outlaws of the Sun

"Chamber Music" is the second studio album from American nu metal band Coal Chamber. It came out originally in 1999. This is the first time on vinyl in quite awhile. The album features the hit cover of Peter Gabriel's "Shock the Monkey" with a guest vocal from Ozzy Osbourne. The cut "Tyler's Song" was featured in the movie Scream 3. Coal Chamber reunited in 2023 playing festivals and touring with Mudvayne. They are also putting out a new autobiography.

Founding member of Band of Horses, Tyler Ramsey, returns with his fourth solo, full length studio record “New Lost Ages” - finding him facing the harsh realities of the world as we know it. Fans of Ramsey’s former projects, Father John Misty and Lord Huron will find “New Lost Ages” to be a relatable reprieve - one that feels both familiar and starkly new. Traversing genre-bending terrain, the new record from Ramsey is as indie and psych-rock as it is singer-songwriter, showcasing his talent and dedication to the craft.

What happens when a four-headed human drum computer meets a classical trained vilonist turned beatmaker to spend time in the studio? A beautiful lily blossoms. At least this was the case when Bokoya and FloFilz entered Atelier 21 in Aachen (a Produzentengalerie für globale Kunst) for a musical encounter with no goals set. The music that was born out of these sessions is simply amazing and we are more than happy to release them as an album under the name “Yurika” - which is a Japanese name that means “beautiful lily”.

The artwork was created by Jens Roth & Jeremias Diekmann who are responsible for almost all Bokoya artworks yet. The 19-track strong instrumental album includes one vocal track featuring Japanese singer Kan Sano.

FloFilz is one of Europe's most acclaimed Jazzbeat-producers with four albums on MPM under his belt. His last album “Close Distance” came out in 2022 an featured artists Alfa Mist, Blue Lab Beats, Jerome Thomas and Summers Sons. FloFilz is a classical trained musician who not only plays the TR 404 but also violin.

Bokoya describe themselves as a four-headed human drum machine that play improvised beat music. You can call it jazz if you like (all four members are graduated jazz musicians ) but be ready to stumble over some Dilla, Kraut Rock, Ambient or Dub in the mix. In 2022 Bokoya released their second album Hausensession on MPM , followed by a collabo album with Cologne-based producer Ginanni Brezzo (Jakarta Records) called „Minari“.

Part two of the retrofuturistic 12’’ compilation series introduced by To Pikap Records. LEGACY inaugurates the release with an acid JeffMillsian ode to Detroit’s techno-electro sound, Future Draft takes us back to Europe with a euphoric broken house, while The Jaffa Kid concludes side A with a number of quirky melodies floating over Autechre’s (or Aphex Twin’s) memories of the genre previously known as idm. On side B, Odpein updates the Drexciyan electro palette slipping in elements of Chicago’s footwork combined with heavy acid bass, subsequently Dj Tsoug’s misty atmosphere crawls over some dry city bringing catharsis with its most anticipated drops of acid and finally happy99 enforces us to open up our eyes with a stripped and muffled techno-acid anthem of the future. It’s a must have till the next one!

Kicking off our new Toolroom Trax vinyl series which celebrates the best releases from Toolroom’s sister label is Italian super-duo Twolate with the incredible new single 'Baila'. A straight-up 4 to the floor club shaker, with powerful hard-hitting drums, deep punchy afro vocals with carnival whistles and percussion hits that will turn the dancefloor into a fiesta. Two dance heavyweights collide on our next offering; best-selling house artist CASSIMM and Chicago house royalty Gene Farris for their latest collaboration 'Party People'. With numerous #1 singles and remixes on Beatport and Traxsource, CASSIMM returns to Trax with his notorious sound of feel-good, high-energy house music, team that with Gene Farris as he effortlessly delivers another irresistible vocal hook. 'This is for my people, my party people'. James Haskell kicks things off on the b-side with 'Check It Out'. With numerous releases on D4 D4NCE, LoveJuice and of course Toolroom, James Haskell is fast gaining support from the scenes top tastemakers including Bob Sinclar, Leftwing : Kody, David Guetta, Tita Lau and Dombresky to name a few. Gracing club hotspots around the world, James Haskell is set to top the charts with his Tech House and Big Room sound. Closing out the Sampler is Toolroom Trax A&R and Music Curator Danny Rhys with his percussive tech house weapon 'Sibali'. Following on from his 2021 Traxsource number #1 single 'Damn Good', in collaboration with house vocalist legend Mr. V. With releases on respectable labels such as Farris Wheel Recordings, Flashmob, HouseU and There Was Jack, Danny Rhys boasts high, feel-good energy, bumpy basslines, rolling percussion and infectious vocals that has since gained respect from AAA talents such as Gorgon City, TCTS, Kryder and of course Mark Knight.

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

***After birthing Street Riffs, their hi-definition, hi-energy, statement from 2020, CCR Headcleaner turned inward. The retreat from the pro-studio to the home studio was partially by design and partially decided by global events. Cleaner is very much a pandemic album, more of a homespun head trip than its predecessors. At the same time guitarist, songwriter and spiritual center of the group, Lacey Emmanuel, left the Bay for the shores of Lake Michigan. By most accounts an apocalyptic live-band became by and large a home recording animal. This is most apparent when Headcleaner turns up the balladry. “Don’t Feel the End” is a proto-metal campfire anthem, and “Everyday” hovers somewhere between keyboard misfit John Bender and the White Album. Make no mistake, the record will still be filed under “Punk” at your local record shop. It kicks off with “the brining pt. 2” the hottest slice of Funhouse free-rock that the band has committed to record. “Too Much” gives us its jail abolition rap over a two chord hardcore stomp. In a town (San Francisco) that is experiencing something of a DIY pop renaissance, Headcleaner has always fought to establish the fact that they have actual songs. This is no 70s throwback, but instead an attempt to up the ante. Without all the rock histrionics, technical arrogance and misogyny can the rock riff deliver on its ultimate promise: heavy music for total liberation. All tracks were mixed and lovingly fucked with by none other than Eric Bauer at his Bauer Mansion (RIP) Chinatown SF.

Waxwork Records in collaboration with Walt Disney Records announce the pre-order for the highly anticipated Star Wars Jedi: Survivor Original Video Game Soundtrack vinyl album. Composed by Stephen Barton and Gordy Haab, this 2xLP vinyl edition is set for release on February 2, 2024, offering fans an immersive musical experience from the acclaimed video game.

The soundtrack, comprised of 27 tracks, is pressed on 150-gram colored vinyl and presented in heavyweight gatefold jackets with a matte satin coating. To enhance the collector's experience, the vinyl will be accompanied by an 11” x 11” four-page booklet, providing a glimpse into the creative process behind the mesmerizing score.

Star Wars Jedi: Survivor received a GRAMMY® nomination in the Best Score Soundtrack for Video Games and Other Interactive Media category. This marks the first GRAMMY® nomination for composers Stephen Barton and Gordy Haab. The album is produced by Nick Laviers, Stephen Barton, Gordy Haab, Alan Meyerson, and Steve Schnur.

About Star Wars Jedi: Survivor

Star Wars Jedi: Survivor continues the story of Cal Kestis. This narratively driven, single player title picks up five years after the events of Star Wars Jedi: Fallen Order and follows Cal’s increasingly desperate fight as the galaxy descends further into darkness.

Fabled jazz-rock group Soft Machine present this heartfelt tribute to one of the greats of British jazz - trumpeter Harry Beckett - covering his stunning “The Dew at Dawn” on this limited edition 7” vinyl, with a cover of a classic Softs tune on the B side.

This is the second 7” in My Only Desire Records’ Brit Jazz 45s series, which sees some of their favourite contemporary jazz acts each making brand new studio recordings of two classic compositions from the golden era of ‘60s and ‘70s British jazz.

Now led by guitar master John Etheridge, an original Soft Machine member since the mid-‘70s and Canterbury scene veteran saxophonist Theo Travis, the band has undergone some recent lineup changes with bassist Fred Thelonious Baker (a former Harry Beckett bandmate) joining for 2023’s ‘Other Doors’ album. This is also the first recording with drummer Asaf Sirkis, who has replaced the late British jazz legend John Marshall.

Etheridge and Travis’ unique arrangement has upped the tempo of the “The Dew at Dawn” (originally released on Ogun Records in 1975) pushing the Caribbean-infused groove to the fore. Beckett’s joyful theme - first played on Etheridge’s guitar and then picked up by Travis’ mesmeric soprano saxophone - evokes the sun rising over the misty Hackney marshes and the hope of a better future. The track is underpinned by Baker’s nimble bass guitar and Sirkis’ scattering drums, with Etheridge’s superb soloing honed over a stellar five-decade career.

Es gibt Black Metal, es gibt Death Metal. Und dann gibt es NECROWRETCH, eine Band, die das Beste aus beiden Welten zu einer Musik vereint, die direkt aus den Tiefen der Hölle kommt. Obwohl sie ursprünglich aus Valence, Frankreich, stammen, klingt ihr Debüt "Putrid Death Sorcery" wie direkt aus dem Inferno ausgespieen. Bisher haben sie zwei klassische Blackened-Death-Alben veröffentlicht: "Satanic Slavery" und "The Ones From Hell".

Jetzt sind NECROWRETCH mit "Swords of Dajjal" zurück, einem Album, das im wahrsten Sinne des Wortes die Manifestation des Antichristen ist. Es gibt keinen Messias, nur NECROWRETCH, die mit dieser brutalen Darstellung die Pforten des Himmels aufbrechen und seine Ketten zerreißen! Erwartet brutale Blastbeats, maximale Riffs und ohrenbetäubende Bässe.

Es gibt Black Metal, es gibt Death Metal. Und dann gibt es NECROWRETCH, eine Band, die das Beste aus beiden Welten zu einer Musik vereint, die direkt aus den Tiefen der Hölle kommt. Obwohl sie ursprünglich aus Valence, Frankreich, stammen, klingt ihr Debüt "Putrid Death Sorcery" wie direkt aus dem Inferno ausgespieen. Bisher haben sie zwei klassische Blackened-Death-Alben veröffentlicht: "Satanic Slavery" und "The Ones From Hell".

Jetzt sind NECROWRETCH mit "Swords of Dajjal" zurück, einem Album, das im wahrsten Sinne des Wortes die Manifestation des Antichristen ist. Es gibt keinen Messias, nur NECROWRETCH, die mit dieser brutalen Darstellung die Pforten des Himmels aufbrechen und seine Ketten zerreißen! Erwartet brutale Blastbeats, maximale Riffs und ohrenbetäubende Bässe.

Like a complex optical illusion perceived as a banner over the sea horizon, where sight is significantly distorted and changes rapidly, unlike any other ordinary mirage, a true Fata Morgana comprises several inverted and steepled illusions, stacked on one another, showing alternating compressed and stretched sonic lands.

The term named after the Mistress of the Fairies of the Salt Sea, King Arthur's half-sister Morgan le Fay, encapsulates the hallucinatory prowess of the seduction myth, a symbol of incantation and sensorial catharsis among the pleasure and the pain meanders.

Musically the 5 track EP presents an uncharted lysergic soundscape unfolding with hallucinatory electro-glitter and gritty fat notes (Wickbush), evolving like the poisoning stages of a vividly cosmic intake- dub acid darkness (Acid Tears) conveying a magnetic grip, a true obsession which turns to be a spell (Una y Otra Vez), steadily building up a hypnotic subtle theme that takes you as high as an astral trip (Mirage) and slowly descends from the alternate consciousness state on the latter, March 3rd as a premise of the deepen future journey blazing ahead.

Utopia is an unimaginable alter world that is created by Mastering Black’s universe of sonic escapism.

When I have been overwhelmed with the amount of work that I've been doing in the past years, I have decided that I needed a certain get away - a certain sacred space for me to pursue the reason why I actually signed up for this in the beginning. Music composing that love is!

Earlier this year , during a trip in African island group Cabo Verde, we went to this night excursion to the Viana desert. We have taken some random photos shot some videos of the Moon thru a telescope. That didn’t struck me as an amazing experience yet I was there many distorted feelings in my mind trying to enjoy and forcing myself trying to be in the moment.

So when I have looked at these pictures back on a calmer state when I was home In NL , I've seen the vast amount of breather - a space - enough that is needed in life to let the blood flow in vein the way it’s suppose to flow. Envisioning your life from moon to create clarity - looking to life on earth - to understand what our mistakes are as human beings - or learning from 8 years old’s pure heart - that’s when my 8 year old daughter collaborated with the fist opening track to summarize the main purpose of our life - love or so called Utopia!
- Īlker (October 2023)

Soms is haat het enige waar je over hoort, maar er is in deze wereld meer liefde dan je je ooit kunt voorstellen.

Mista Sinista officially started DJing in 1986 and joined the X-Men in 1992. They later became the X-ecutioners and released two albums. Mista Sinista toured the world several times with the X-ecutioners and was a tour DJ for Common, Beatnuts, Joe Fatal and Lauryn Hill just to name a few. Some of his album credits include The Beatnuts Street Level LP and Common’s Resurrection LP. His work was also highlighted on Fat Joe’s sophomore release, Jealous One’s Envy. He continues to perform worldwide and is featured on The Rewind with DJ Safire which airs weekly on Beatminerz Radio. Mista Sinista’s debut LP is a mix of well-produced tracks along with live turntablism. The project features emcees Mr. VooDoo, Ill Bill, Vinnie Paz, The One Chadio, U.G. & The former MC Jean Grae to name a few. This album also features Rugged One, Q-Bert, The Cut Lieutenant, Ace & Rob Swift. Production credits on the project include Mista Sinista, Steve Dee, Nick Wiz, Statick, Eitan Noyze, Cee da Cuban & DJ Safire

Finnogun’s Wake is the delightful portmanteau of a band fronted by Shogun (vocalist of Royal Headache, and later Shogun and the Sheets) and newcomer Finn Berzin. Decades apart in age but united in tutelage and outlook, they have mitigated the Joycean tome of What To Do Now, and crafted the four debut songs of the Stay Young EP from the inside out, sharing the spotlight for a riveting, deafening smear of melodic pop and buzzsaw guitars.

Mourning the departure of his best mate to a life overseas, Shogun started hanging out with his friend’s younger brother, Finn. The two of them started spending their free time together, one having seen a fair chunk of the world through music, the other just starting to figure it all out. They went through the essential lessons that could be gleaned from Definitely Maybe and Hüsker Dü, Finn got himself a guitar, and the songs simply fell out of both of them, with this initial batch as the result. Shogun sings on “Blue Skies” and “Strawberry Avalanche,” and Finn takes the lead on “So Nice” and “Lovers All,” and while there’s no mistaking Shogun’s striking delivery and fatalistic lyrics, Finn proves himself as a carousing foil, holding his ground like the natural he’s become.

Taking into account the fevered, quick-burning success of Royal Headache, this group is the most likely candidate to do it all again, giving the sense that some people can write bounding guitar leads that stick to you like burrs from the brush, and sing so effortlessly you’re embarrassed and a little mad about how great it all sounds. Backed on these recordings by keyboardist Gabrielle De Giorgio (a longtime collaborator of Shogun’s from back in the Sheets era), bassist Campbell Troy (who was in Shogun’s first hardcore band Nintendo Police back in the mid ‘90s), and DMA’s drummer Liam Hoskins (on some COVID-enforced boredom with no tour-dom), Finn and Shogun stare down a changed world from two very distinct poles, and aim to fill it with glorious songs just like these.

Sonor Music Editions proudly presents "A TEMPO DI JAZZ" by Maestro Piero Umiliani. This lost gem captures the formative years of Modern Jazz in late 1950s Italy - alongside the legendary Basso-Valdambrini recordings in the early 1960s, as well as the early years of Piero Umiliani's long and prolific career as a composer with over 190 soundtracks, 40 library albums, and 35 TV title themes recorded.

A TEMPO DI JAZZ includes seven original compositions by Piero Umiliani recorded in 1959. Here, at the age of 33, he lays a perfect ground with himself as a pianist, accompanied by some of the best Italian soloists at the time: Marcello Boschi on alto saxophone and flute, Ivan Vandor on tenor saxophone, Peppe Carta on bass, and the American trombonist Bill Gilmore. With plenty of room for improvisation, the sextet fuses Big Band moods with West Coast experimentation of Latin American rhythms and Modern Jazz ballads that sit perfectly between his soundtracks for the films "I Soliti Ignoti" (Big Deal on Madonna Street) from the same year that attained him international recognition, and his masterpiece "Smog" (featuring Chet Baker and Helen Merrill) from 1962.

Five compositions are outtakes from Piero Umiliani's mega-rarity "Tempo Jazz", released on RCA Custom in 1960, while 'Tema In Blues' has been published on the two - impossible to obtain - 45 releases "Moderato Swing" (RCA Camden 45CP 112) and "Tema In Blues" (RCA Custom 45 R3) from 1960 as well as the previously unreleased track 'Mezza Cottura.'

The music has been transferred and remastered from the original master tapes and lacquer cut in MONO, preserving the original sound of the recordings.

Ben E. King's "Don't Play That Song!" remains an essential piece of the R&B and soul music
landscape, showcasing his vocal talent and contributing to the evolution of these genres during the early 1960s. The album continues to be appreciated by soul music enthusiasts and is a testament to King's enduring legacy: his expressive, emotive vocals and the heartfelt themes of the songs set a standard for future generations of soul singers.

Third studio album by Ben E. King, released in 1962, the record is notable for its fusion of soul, R&B, and doo-wop influences, and it includes some of King's memorable songs as "Don't Play That Song (You Lied)," (written by Ahmet Ertegun and Betty Nelson, top 10 on the Billboard Hot 100 chart) and other noteworthy songs such as "Ecstasy," "On the Horizon," "Young Boy Blues," and "Here Comes the Night.”

This release is part of the New Ermitage collection available from December 2023: 18 jazz and soul titles reissued on yellow vinyl with new codes and renewed graphics.

Both hailing from Birmingham, Alabama, Shurlock launched his production career in 1990, Byron career began in 2007. Byron began collaborating with well-known Parisian producer Onra on an EP entitled "The Big Payback."

His catalog of songs and remixes for artist/groups where for artist Mista, Xscape, the Temptations, Juliet Arrington, DJ Nabbs, Ghost Town DJs, and many more. Together these 2 eclectic producers have come together to form a new experience in Hip Hop. From the classic styles of sampling and chopping beats, that was used in Egyptology, Time, and Play That Back.

To the new generation of beat making that encompass House, Jazz, Funk, and Soul, used in songs like Take It Back (Fool), I Miss Love (Love), and Love Instrumental (Tribe). This pairing has been years in the making, with both preparing in their own lanes and perfecting their craft. They’ve been told their hold life that you’re from Birmingham and you can’t make it in this world of music. Well this project is for those that stop dreaming, and believed that Shurlock, and Byron would never make it the world of music. Because they have had to make it without support or help, they obviously named this Album “Us Against the World”.

Exocrine verschiebt weiterhin die Grenzen des Extrem- und Präzisionsspiels und schlägt die Brücke zwischen der Wildheit von Archspire und Cryptopsy und den kraftvollen progressiven Tendenzen von Obscura und Gorod. Auf ihrem neuen Album „Legend“ strebte die Band noch mehr danach, technischer und schneller zu werden, legte aber auch Wert auf die Epik ihrer Musik und erhöhte diese. Damit haben Exocrine ihrer Musik einen noch grandioseren Sound verliehen.
FFO: Archspire, Gorod, Fallujah

Exocrine verschiebt weiterhin die Grenzen des Extrem- und Präzisionsspiels und schlägt die Brücke zwischen der Wildheit von Archspire und Cryptopsy und den kraftvollen progressiven Tendenzen von Obscura und Gorod. Auf ihrem neuen Album „Legend“ strebte die Band noch mehr danach, technischer und schneller zu werden, legte aber auch Wert auf die Epik ihrer Musik und erhöhte diese. Damit haben Exocrine ihrer Musik einen noch grandioseren Sound verliehen.
FFO: Archspire, Gorod, Fallujah

Die norwegischen Death Metal-Könige BLOOD RED THRONE feiern ihr 26-jähriges Bestehen und sind mit ihrem 11. und bisher stärksten Album "Nonagon" zurück!

BLOOD RED THRONE wurde von Daniel "Død" Olaisen (Gitarre) gegründet, als er in den 90er Jahren bei Satyricon spielte. Der ursprüngliche Schlagzeuger, Freddy "the Shred" Bolsø, kehrte 2013 zurück und Ivan "Meathook" Gujic (Gitarre) ist seit 2010 dabei. Stian "Clammy Hackett" Gundersen (Bass) kam 2018 hinzu. Sindre Wathne Johnsen schließlich übernahm 2023 die Vocals.

Brown/ Black Marbled Vinyl

Die norwegischen Death Metal-Könige BLOOD RED THRONE feiern ihr 26-jähriges Bestehen und sind mit ihrem 11. und bisher stärksten Album "Nonagon" zurück!

BLOOD RED THRONE wurde von Daniel "Død" Olaisen (Gitarre) gegründet, als er in den 90er Jahren bei Satyricon spielte. Der ursprüngliche Schlagzeuger, Freddy "the Shred" Bolsø, kehrte 2013 zurück und Ivan "Meathook" Gujic (Gitarre) ist seit 2010 dabei. Stian "Clammy Hackett" Gundersen (Bass) kam 2018 hinzu. Sindre Wathne Johnsen schließlich übernahm 2023 die Vocals.

Aufbauend auf dem Fundament ihres Debütalbums "Sunyata", ein Titel, der frei übersetzt Leere oder Nichtigkeit bedeutet, präsentiert VIPASSI auf ihrem zweiten Album "Lightless" ihre außergewöhnliche Kunstfertigkeit, ein Album, das sich mit dem zeitlosen Thema von Licht und Dunkelheit beschäftigt.

Benannt nach dem zweiundzwanzigsten Buddha, charakterisiert VIPASSI treffend die Aura der absoluten Hellsichtigkeit der Band. Diese Qualität spiegelt sich in ihrer erstaunlichen technischen Musikalität wider, die sie als instrumentale Superstars auszeichnet. Lightless" ist ein Zeugnis ihrer Entwicklung und zeigt einen Grad an Reife, der im Bereich des instrumentalen Progressive Metal beeindruckend ist.

Was VIPASSI wirklich auszeichnet, ist ihre Fähigkeit, eine fesselnde musikalische Erzählung zu schaffen, die über Worte hinausgeht. Jedes Instrument in ihrem Arsenal ist nicht nur ein Werkzeug, um Töne zu erzeugen, sondern vielmehr ein fein abgestimmtes Instrument in der Sinfonie der Emotionen, die sie schaffen. Der Zuhörer wird in ein klangliches Universum eingeladen, in dem er zum Autor seiner eigenen Geschichte wird.

Die Töne des Fretless-Basses umspülen das Publikum wie sanfte Wellen, beruhigend und einhüllend. Die eklektischen Gitarrensätze, die mit einer Präzision ausgeführt werden, die an das Jenseitige grenzt, schaffen eine dynamische und sich ständig weiterentwickelnde Klanglandschaft. Diese Elemente werden durch das donnernde und komplizierte Schlagzeugspiel wunderbar ergänzt, das der Musik eine dynamische und kraftvolle Unterströmung verleiht.

VIPASSI's "Lightless" ist mehr als nur ein Album; es ist eine Reise, eine Erkundung von Emotionen und eine Einladung, tief in die Gefilde von Licht und Dunkelheit einzutauchen. Es ist ein Beweis für das außergewöhnliche Können der Band und ihre Fähigkeit, eine Leinwand zu schaffen, auf der der Hörer seine eigene lebendige und persönliche Geschichte malen kann. In der Welt des instrumentalen technischen Metals ist VIPASSI ein unübertroffenes Leuchtfeuer der Kreativität und musikalischen Meisterschaft.

Aufbauend auf dem Fundament ihres Debütalbums "Sunyata", ein Titel, der frei übersetzt Leere oder Nichtigkeit bedeutet, präsentiert VIPASSI auf ihrem zweiten Album "Lightless" ihre außergewöhnliche Kunstfertigkeit, ein Album, das sich mit dem zeitlosen Thema von Licht und Dunkelheit beschäftigt.

Benannt nach dem zweiundzwanzigsten Buddha, charakterisiert VIPASSI treffend die Aura der absoluten Hellsichtigkeit der Band. Diese Qualität spiegelt sich in ihrer erstaunlichen technischen Musikalität wider, die sie als instrumentale Superstars auszeichnet. Lightless" ist ein Zeugnis ihrer Entwicklung und zeigt einen Grad an Reife, der im Bereich des instrumentalen Progressive Metal beeindruckend ist.

Was VIPASSI wirklich auszeichnet, ist ihre Fähigkeit, eine fesselnde musikalische Erzählung zu schaffen, die über Worte hinausgeht. Jedes Instrument in ihrem Arsenal ist nicht nur ein Werkzeug, um Töne zu erzeugen, sondern vielmehr ein fein abgestimmtes Instrument in der Sinfonie der Emotionen, die sie schaffen. Der Zuhörer wird in ein klangliches Universum eingeladen, in dem er zum Autor seiner eigenen Geschichte wird.

Die Töne des Fretless-Basses umspülen das Publikum wie sanfte Wellen, beruhigend und einhüllend. Die eklektischen Gitarrensätze, die mit einer Präzision ausgeführt werden, die an das Jenseitige grenzt, schaffen eine dynamische und sich ständig weiterentwickelnde Klanglandschaft. Diese Elemente werden durch das donnernde und komplizierte Schlagzeugspiel wunderbar ergänzt, das der Musik eine dynamische und kraftvolle Unterströmung verleiht.

VIPASSI's "Lightless" ist mehr als nur ein Album; es ist eine Reise, eine Erkundung von Emotionen und eine Einladung, tief in die Gefilde von Licht und Dunkelheit einzutauchen. Es ist ein Beweis für das außergewöhnliche Können der Band und ihre Fähigkeit, eine Leinwand zu schaffen, auf der der Hörer seine eigene lebendige und persönliche Geschichte malen kann. In der Welt des instrumentalen technischen Metals ist VIPASSI ein unübertroffenes Leuchtfeuer der Kreativität und musikalischen Meisterschaft.

Some Female:Pressure right here with the latest NVST release; Silence Itself Is Noise! This is her debut for SSPB delivering a 6 track ep which are a reflection of her adventurous club sets, a well-balanced mix of powerful beats and expansive atmospheres haunted by skittering echoes of the dancefloor. Each track feels like fleeting memories of the club filtered through the human experience - flickering moments illuminated by strobes and shrouded in smoke, laced with the tang of sweat and psychedelics. Opener "Tiny Mistakes Feeling HOT (Hellisnotamyth version)" coalesces from curling vapors into infernal acid lines and rhythmic fragments that evaporate almost as soon as they appear. "The Devil Loves The Detail (Lucifer's Fire Version)" builds into an inescapable pulse amidst frayed synthesizers, pressure building to fever pitch before "The Danger Zone Of GFY (Freedom Version)" opens out into icy, astral synths. "Monster of Business (Style Edition)" shifts closer to the dancefloor with a slinking, syncopated groove, conversations from the smoking area or studio creeping in at the edges, before erupting into the frazzled bounce of "The Goat and the Night." "The Silence Itself is Noise (Nonstop Bass Version)" loops back once again to more cavernous atmospheres, warped bells and strafing melodic flourishes ringing out amidst fizzing distortion and skeletal percussion. Silence Itself is Noise doesn't clamour for attention, it necessitates it. Once again, NVST proves herself unafraid to challenge club orthodoxy, and unwilling to patronize listeners, instead making deft use of tension and release to create genuine moments of surprise and transcendence.

Kepler is free” represent the brand new Athenian Urban Jazz scene in full. You may say that they actually started the whole scene with their debut album "Teegarden" by Veego Records, an instant sold out! Voted by local music portals as one of the best albums of 2020 and probably one of the best debuts ever when it comes to the Greek jazz game. “Kepler Is Free” jazz rock ensemble makes expansive music that straddles the line between '70s soul-jazz, alternative hip-hop, and experimental electronica.

The name of the band is inspired by a retired space telescope launched by NASA to discover Earth-size planets orbiting other stars. Named after astronomer Johannes Kepler. Founded in November of 2018 by Sokratis Tsentoglou (drums) who gathered George Migdanis (electric guitar), Nikiforos Nugent (keys), Spyros Zardas (trumpet) and Vasilis Alexopoulos (bass guitar), they all came together from different musical backgrounds in order to create original and groundbreaking material.

Commuting over their shared love of jazz and hip-hop, they composed their debut album, “Kepler”, with five tracks that highlighted their love for the music of GoGo Penguin, Badbadnotgood and Alfa Mist.

The fact that all the members were young and had not played in other Jazz bands before was something that shook the Greek Jazz community. ''Second Light'' was recorded in difficult conditions and was delayed quite a while until it was finished due to the pandemic.

The band played a handful of sold out shows in Athens over the last few months proving with their performance and the attendance that the band created a crossover from Jazz to pop audience. "Juno" track was a smash hit on legendary "En Lefko'' Radio station over the last two years. Worth to mention that just a month before the release of their second album Kepler is Free collaborated with LEX, one of the most famous rappers in Greece with the "Spike Lee" track.

Repress!

Immerse yourself into the universe of orcs, hobbits and elves through the soundtracks of The Hobbit & The Lord of the Rings with this limited edition 2LP.

Emmavie is one of the London R&B's scene most exciting talents - equally shining as both a leading vocalist and a one-of-a-kind producer. Known for her collaborations with Alfa Mist, Soulection, The Alchemist, IAMNOBODI, ROMderful and an outpouring of public support from respected names the like DJ Jazzy Jeff, Phonte, and Knxwledge - Emmavie has quickly become the talk of the town in many music circles at the moment, with her refreshingly unique original production (think late 90's Timbaland meets neo-soul era J Dilla), sharp writing skills, and a voice that instantly pulls you in.

Saxon proudly release their latest album Hell, Fire And Damnation on January 19th 2024, and when internationally-renowned actor Brian Blessed OBE delivers a proclamation for opening track, “The Prophecy”, expectations are automatically high. Have no fear and make no mistake, Saxon meet and exceed them on their 24th studio release, creating a superlative British Heavy Metal classic which strides the perfect line between confident, current power, and gloriously irreverent flexing of the New Wave of British Heavy Metal muscle which Saxon co-created.

Alice In Chains’ “Rainier Fog” is a haunting auditory journey that immerses listeners in a dense atmosphere of introspection and melancholy. Released in 2018, the album’s title track, “Rainier Fog,” encapsulates the band’s signature grunge sound, blending gritty guitar riffs with Layne Staley’s successor William DuVall’s soulful vocals. The music unfolds like a misty landscape, mirroring the album’s title inspired by the ominous Seattle weather. The lyrics evoke a sense of longing and reflection, weaving a narrative that navigates through personal struggles and the passage of time. The song’s dynamic shifts create an emotional ebb and flow, accentuated by Jerry Cantrell’s masterful guitar work. “Rainier Fog” stands as a testament to Alice In Chains’ ability to capture the essence of the Pacific Northwest’s moody ambience while delivering a powerful and resonant musical experience.