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- 140G schwarzes Vinyl inklusive bedruckter Innenhülle und Downloadkarte

Conic Rose's debut album has finally come to life on stage. After two years of playing it live, the music has grown, shifted, and deepened. This live album captures that process - recorded in one night at Kantine Berghain, Berlin.

12" splattered Vinyl EP incl. Beiblatt, Bierdeckel und DLC Im Jahr 2015 lieferte die Rockgruppe Die Buben im Pelz einen gewagten musikalischen Stunt ab: die Übertragung des hünenhaften rockgeschichtlichen Referenzalbums The Velvet Underground & Nico ins Wienerische Idiom. Ein mutiger Versuch, der mit einem heftigen Bauchklatscher und darauffolgender, noch schmerzhafterer Schadenfreude des Publikums hätte enden können. Aber nein, die Buben haben ihre Sache wirklich sehr, sehr gut gemacht und ihrerseits ein Referenzalbum der lokalen Wiener Rockmusik vorgelegt. So groß war die Freude über die gelungene Immigration von Lou Reeds New York ins heutige Wien, so anhaltend die Begeisterung für das Oeuvre des amerikanischen Meisters, dass 2023 auch dessen Album Transformer dem Regelbuch für große Coverbands entsprechend für das einheimische Publikum verwandelt wurde. Nun folgt mit dieser köstlich verpackten EP ein finaler Nachschlag, eine Erweiterung zum dreigängigen Menü sozusagen. Und ein mehr als gelungener Abschluss einer nahezu epischen Hommage an eine der wichtigsten Bands und einen der größten Songwriter der Rockgeschichte. Nun befinden wir uns in der letzten Runde: noch einmal VU/Reed, diesmal in Form einer Vinyl-EP. Vier Songs von Frauen, deren Leben irgendwann ins Nicht-ganz-so-Gute abgebogen ist. Vier menschliche Tragödien, zeitlos, poetisch, fundamental traurig mit einem kleinen Funken Hoffnung. Noch einmal Warhol, denn: was sollte man denn einem thematisch so stringenten Tonträger sonst für ein Cover schenken? Noch einmal Kulinarisches: die Campbells-Suppendose natürlich, neben der Banane ein weiteres weltberühmtes Tribut Warhols an das kulinarische Alltagsleben. Aber: wie übertragen wir das ins Wienerische? Eigentlich ganz einfach: indem wir uns aus dem Sortiment des Lokalmatadors, also der Firma Inzersdorfer, versorgen. Die Inzersdorfer-Konservendose, diese Ikone der österreichischen Konsumkultur und Lebensmittelindustriegeschichte ist ein mehr als geeigneter Ersatz für die amerikanische Tomatensuppe. Genauer gesagt: passt. Wie die Faust aufs Strizziauge. Köstlich! Der Grafikdesigner Peter Hirth hat zwei historische Inzersdorfer-Dosen zu einem wunderbar geschmacksintensiven Coversujet verarbeitet. In der Kunstdruckinstitution Quint Screen Print in 1230 Wien wurden daraus im händischen Siebdruck eine farbenprächtige Hommage an die seriellen Arbeiten Warhols aus den 1960er und -70er Jahren gefertigt. Farblich perfekt abgestimmt wurde dazu das Vinyl, klarerweise ebenfalls aus heimischer Produktion. Da haben die Fachleute bei in 8350 Fehring wieder einmal ganze Arbeit geleistet. Und der geschätzte Musikerkollege Austrofred wiederum hat zwischen zwei Festivalaufritten Zeit gefunden, über einem schönen Teller Gulaschsuppe meditierend einen Begleittext zu verfassen, der keine kulturhistorischen Fragen offen lässt. Weder in musikalischer noch in kulinarischer Hinsicht. Mahlzeit!

Katie Meluas zweites Album Piece By Piece (2005) folgte auf ihr rekordverdächtiges Debüt Call Off the
Search und festigte ihren Platz als eine der erfolgreichsten jungen Künstlerinnen Großbritanniens. Mit gerade einmal 21 Jahren lieferte Katie eine reife, selbstbewusste und emotional reiche Songsammlung ab, die
weltweit beim Publikum Anklang fand. Das Album wurde europaweit mehrfach mit Platin ausgezeichnet
und enthielt mehrere Hit-Singles, allen voran „Nine Million Bicycles“, das zu einem internationalen Klassiker und einem von Katies beliebtesten Songs avancierte. Mit einer Mischung aus Folk-, Blues-, Pop- und
Jazz-Einflüssen unterstrich „Piece By Piece“ Katies unverwechselbare Stimme und ihr wachsendes künstlerisches Können. Anlässlich seines 20-jährigen Jubiläums wurde das Album in den Londoner Metropolis
Studios neu gemastert und um umfangreiches Bonusmaterial erweitert, darunter B-Seiten, Live-Auftritte
und unveröffentlichte Demoaufnahmen aus Katies Archiv.
Diese Jubiläumsausgabe ist eine prägende Veröffentlichung in ihrem Katalog und bietet Fans und Sammlern die Gelegenheit, ein Album neu zu entdecken, das Katie Melua in einem entscheidenden Moment ihrer
Karriere einfing.

Chopins Cellosonate op. 65 stammt aus den Jahren 1845/46 und vereint alle Reize seines Klavierwerks.
Mit einem erstaunlichen Verständnis für den Charakter des Cellos vergisst man, dass seine schöpferischen
Ideen anfangs pianistischen Ursprungs waren.
Schumann schrieb nur wenige Werke für Cello und Klavier, aber diese wenigen sind von herausragender
Bedeutung: das Adagio und Allegro op. 70 von 1849 ist charakteristisch für Schumanns Mischung aus
Melancholie und Natürlichkeit. Ein tiefgehendes Verständnis für einander und große Harmonie kennzeichnen diese außergewöhnliche Aufnahme von Argerich und Rostropovich.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Itako's new release on Sonic Groove signifies a creative evolution, stepping away from his electro-techno inspirations such as those on Maceo Plex's Lone Romantic Imprint. This fresh offering delivers a blend of deep, mental, and acidic techno that fits seamlessly into the many genres of today's techno sound, a perfect synergy that connects at home, in transit or on a dancefloor.

This is a harmonica-fuelled, hard hitting 8-track release.

A rare gem (Rock Hard - Album of the Month)
This album is an excellent example of what good boogie should sound like, reminiscent of AC/DC in 1977-1978 (La Planète du Stoner Rock)
It's not just a comeback: it's an act of faith. And it's damn convincing (United Rock Nations)

Sixteen wonders from the first three years of Franco’s own imprint Les Editions Populaires, founded in 1968. Mostly OK Jazz, performing ravishing rumbas and bolero ballads in Lingala, traditional songs in Kikongo, Kimongo, and even Yoruba, collaborations with Ngoma artists Camille Feruzi and Manuel d’Oliveira, and their own tough take on US funk.
Glorious music. Bim.

Acclaimed Scottish composer Craig Armstrong releases his new work Pacific via his own label CMA Records. Written for piano, cello, and electronics, the three-movement piece was originally commissioned in December 2024 by Christian Kellersman, a pioneering figure in contemporary classical and jazz music, for his new live event series Berlin Confidential, co-curated with Alexander Szlovák. The series aims to promote innovative new music projects, with a particular focus on emerging musicians and composers.

Armstrong was among the first artists invited to perform as part of Berlin Confidential, premiering Pacific at Berlin’s historic Meistersaal concert hall in March 2025. The concert featured Armstrong on piano alongside cellist Lena Angelina von Almen and producer and musician Guy Sternberg, combining acoustic instruments with live electro-acoustic treatments to create a rich and atmospheric sound world.

Recorded in May 2025 at Lowswing Studios in Kreuzberg, Pacific continues Armstrong’s ongoing exploration of blending acoustic and electronic sound in a natural, seamless way. Over several days in the studio, Armstrong, von Almen and Sternberg developed the work’s intricate textures and dynamic interplay, resulting in a recording that captures both the intimacy and expansiveness of the original live performance.

Speaking about the inspiration behind the piece, Armstrong says: “I wrote this work during a time of great instability in the world, I wrote “Pacific” as an Elegy dedicated to the many suffering in today’s conflicts and in the hope that peace will prevail.”

Across its three movements, Pacific 1 is elegiac in nature, with the main themes stated and developed throughout the piece, punctuated by recurring piano motifs. The movement is reflective and atmospheric, with subtle electronic interventions. The second movement is arrhythmic in nature, following shifting time signatures that reflect a sense of uncertainty - the music is searching and static, ending without resolution but leaving hope for one to come. Pacific 3 moves towards peace and resolution, bringing the work to a close with quiet strength and emotional release.

When speaking about the creative process and his collaborators, Armstrong said: “Lena’s beautiful playing , tone and expression worked so beautifully on Pacific, Lena was also a great collaborator and was always willing to experiment and try new musical approaches. Lena is such a natural musician and she brought so much emotion and beauty to the piece. I wish her all the best in her future musical journey.”

He continues: Guy is a unique combination of being a brilliant engineer and mixer and a prolific very talented musician/composer. I was very fortunate to spend time with Guy in his studio in Berlin. His sensitivity to the project and his electronic programming made a wonderful contribution to the composition. His collaboration and friendship made the days working in Berlin such a great experience I would like to thank Emma Ford for her dedication, enthusiasm and guidance on Pacific”

For both von Almen and Sternberg, the collaboration was equally meaningful. Von Almen reflects on the experience of recording the piece, saying: “As a musician, it is always a great privilege to work on a piece together with the composer, and of course I felt even luckier to go through the process of creating something new with an artist like Craig Armstrong. Figuratively speaking, it felt like knitting a silk scarf: using the finest materials and taking the utmost care during the recording, we have realised another beautiful and touching work by Craig, which will bring us and certainly many others great joy. I feel very honoured to have been part of this and to have experienced this warm encounter.”

Sternberg adds: “Diving into Armstrong’s music while working on this record felt like examining a diamond under a microscope, discovering endless beauty within simplicity. Perfection and complexity emerging from simplicity, where every note, tone, noise, and gesture has meaning. I’m deeply grateful to have been part of this process, and for the freedom Craig gave me to express myself through his music, to let our sonic visions merge into one. It’s been both a lesson in music-making and in setting the ego aside, if only for a moment.”

Reflecting Armstrong’s belief in the role of music as a force for empathy and reflection, proceeds from Pacific will be donated to charities working towards peace: Médecins Sans Frontières and the Red Cross.

The limited-edition vinyl release has been pressed on Eco Vinyl at SeaBass Vinyl, a sustainable plant near Edinburgh. The record features striking cover art by Dirk Rudolph, who has designed several of Armstrong’s previous releases.

Originally released as an edition of 50 lathe-cut LPs housed in silk-screened jackets in 2020 (fast on the heels of What's Tonight To Eternity), Cat O' Nine Tails has long intrigued die-hard Cindy Lee fans with its combination of the classic songwriting that would dominate Diamond Jubilee a few years later and an actual suite of classical songs under the title itself.

Opening with the gothic soap opera theme of "Our Lady Of Sorrows" into the manic exploration of "Cat O' Nine Tails," onto the dusty western walk through Patrick Flegel's lovely guitar work on "Faith Restored," the album seems to soundtrack the coolest movie the late '60s ever produced. All of this builds to the lush and sweeping ballad of bruised hearts that introduces that beautiful voice via "Love Remains."

Side Two sees 2024 live show closer "Cat O' Nine Tails III" complete the suite to epic effect, before introducing the absolute showstopper that is "I Don't Want To Fall In Love Again." It is tender and fragile in that way that only Flegel can make both familiar and unique. Closing with the ethereal soul shuffle stomp of "Bondage Of The Mind," the album showcases nine songs from an essential time in the Cindy Lee evolution.

W.25TH / Superior Viaduct bring this collection to the larger audience as it deserves.

Laaps starts into 2024 with the release of the first collaborative recordings by Benoît Pioulard and Offthesky, two long-time explorers of the experimental ambient genre.

Benoît Pioulard is the primary audiovisual project of Michigan-born, Brooklyn-based Thomas Meluch. With six LPs on the renowned kranky imprint, as well as a catalog of works for Universal (UK), Morr Music (DE) and others, he has constructed a unique aesthetic steeped in the textures of analog decay and pop song structure using chiefly guitar, piano and tape processing. He has also built an extensive archive of Polaroid photographs (many of which grace his album covers), the first official collection of which is the hardcover book "Sylva", released in 2019. His most recent album "Eidetic" (Morr Music, 2023) was his first vocal-heavy work in several years.

Jason Corder aka Offthesky is an experimental-ambient multimedia artist based in Denver, CO. He has been producing music, video art, audio software, and the occasional interactive sound sculpture, for over 20 years. He teaches private courses on generative music and occasionally lectures on various sound design topics at Denver University. He currently is the Audio Director at the Denver based videogame studio Dire Wolf. Over the years, he has worked with labels such as Home Normal, 12k's term, Facture, and more. Over the years he has performed at Mutek, Decibel, Communikey and other festivals, sharing the bill with likeminded artists Pole, Matmos, William Basinski, and more.

Was lief musikalisch in 2025? BRAVO The Hits gibt Aufschluss! 48 Tracks aus den Charts auf 2 CDs,
4 LPs und Download. Hier ein paar Beispiele: Ed Sheeran ”Azizam”, Oimara ”Wackelkontakt”, Jazeek
”Akon”, Alex Warren ”Ordinary”, Gracie Abrams ”That’s So True”. Aber auch brandneue Titel, wie Lady
Gaga ”The Dead Dance” und Sabrina Carpenter ”Tears” sind zu finden. 2026 kann also kommen!

Back again with another release for the Meeting Of The Minds series, this time with lucky number 13!

First track on this is by me & Fez The Kid, who has been regularly sending me music for years, most of which I admit to sleeping on due to the sheer volume of demos submitted to the label. But when I was able to actually check some music that he sent me, there was one tune (at the time called All Round Juggling) of his that I gave me a few ideas on how it could sound. He was thankfully up for me working on it with him & the end result is "Skin Out Crew (Magnificent Mix)", which I've been playing a lot in sets this year.

"BDC" is a track done by me & The Last Ronin (aka Stretch & Enjoy) which they had started and I was really into it because it reminded me of some of the "ruff with the smooth" ragga jungle style tracks I'd hear on labels like Slam!, Tom & Jerry, Kemet & so on. It was really fun to work on this with them & we were also able to do a 2nd collaboration, which will be coming out on the next Defender compilation on Stretch's label AKO Beatz.

Settle Down is someone that was on my list of potential collaborators for a long long time but I just kept neglecting to reach out to him about actually doing something together. I eventually got round to getting in touch with him last year for collaborating on a track for Meeting Of The Minds, so he sent me something he had started, which I added some more to & sent back to him, so that he could add the finishing touches. The end result is "Shell Of A Man", which I like because it's quite sparse & ominous, dark but not in the typical "darkside hardcore" way.

"Altitude" by me & Flex Luthor has been through quite a lot haha. He initially reached out about working on a tune together in 2021 & at the time, I was keen but already quite occupied with other artists I was collaborating with for the series, as well as contemplating ending the series on Vol. 10, due to the amount of work it takes to compile each one (which also explains why Vol. 14 is not currently ready for release yet). But around the end of 2022, he sent me a track he had done where he said that he was struggling to get any kind of bassline that he was happy with. I liked what he sent so I asked him to send the track over for me to work on, but I then sat on the track for a whole year due to other commitments before finally working on it in 2024, during a long plane ride where I had time to actually focus on it. I was able to get the track to a place we were both happy with, until it became one of the tracks of mine that got lost when my backpack was stolen a few weeks later, with my computer inside. I didn't have the backup of the project, so unfortunately, we had to master this track for release from the mp3 file of the first & only version we had of it. I think it still sounds fine though, especially as this is not the first (or only) time I've had to send mp3 files off for mastering, but yeah, what a journey this tune has had!

Presenting this limited edition 300 picture disc vinyl on Warehouse Manifesto from label boss GAMADON with the original sci-fi inspired Daleks In The Dancehall and five excellent remixes by Kafkactrl, C-System, Code Rising, Robodrum and EKATA. The style of tracks vary considerably and encompass a variety of Techno and Electro infused influences - all with a heavy punch and sure to get you moving on the dancefloor. This is part two of a three part series from GAMADON with remixes from some of the best in the business.

DJ Vibe, widely regarded as one of Portugal’s most influential and sought-after DJs, has played a pivotal role in shaping the country’s electronic music scene. Not only has he been instrumental in launching some of Portugal's most iconic clubs, but he is also behind some of the biggest anthems in the scene, such as “So Get Up” and “Dance With Me,” both released in 1994 on Kaos Records and Tribal America. Since the early 90s, he has released music on seminal labels such as Nervous, Twisted, and Innervisions, among many others.

From the underground rave scene to iconic club parties, from radio airwaves to packed dance floors, from DJing to production - DJ Vibe has traversed many paths in his decades-long career, contributing to the foundation of the modern "dance culture" that emerged in the mid/late 80s.

After over four decades of dominating clubs and festivals worldwide, what’s left to accomplish? For DJ Vibe, the answer is simple: a new adventure fueled by the same passion and excitement that defined his career. In 2024, he took a bold step forward with his debut album, Frequências—his first full-length work under his own name.

Frequências is an album defined by freedom and passion—two words that might sound cliché but perfectly capture its essence. A balanced body of work that seamlessly moves between high-energy moments for the dance floor and introspective chapters ideal for late-night reflection and relaxation.

Very excited to present this new project on Macadam Mambo, actually it’s not properly new…
Dr Strange was one of the alias of Erick ‘ADN’ Ckrystall’ circa mid-90’s till early 2000’s, when he was producing a sort of Leftfield-Trippy-Goa music, including a lot of Ambient stuff mostly released on CD on a series called Animorph. Everything had a very cinematographic touch like it was made for some documentaries about amphibians and snakes that would evoluate in the deepness of the jungle or on some exotic island...

The music was so magical, that the envie to do a mini-retrospective of the CD series came instantly, specially because none of those golden gems had never been printed on vinyl, It was also a good way to put into the light the Dr. Strange side of ADN’ Ckrystall which was kept in the shadow since many years and that deserves much more attention as the regain of interest for the goa scene has been rising in the last few years.

For the afficionados of proto/early Goa music and trippy ambient in the vibe of the Orb or labels like em:t or Barooni…

Turbo Recordings is proud to present the revival of German techno giant Gregor Tresher’s Sniper Mode alias with the Riot Gear LP. We have been promised that this release will usher in a Golden Age of Electro in which we will serve at the right hand of the Lord for a starting annual salary of €43,000. Not bad.

Riot Gear showcases Tresher’s established production genius over 11 cuts of S-tier electro marked by menace, depth, and sharp melodic hooks. Lead single “Blinded by the Dark” is a collaboration with Dave Clarke, the most respected man in electro and perhaps just in general, and features the most punishing drop in recent memory. The album also includes standout vocal contributions from Detroit techno pioneer Jay Denham (“Sanctuary of Vices”), Miami Bass kingpin Exzakt (“Echoes From a Wasted Land”), dance-world enigma Kira (“Phantom Pain”), and Turbo favorite Perel (“Modesty Is a Virtue”). We would argue that this album represents a landmark achievement in the genre, which you have to admit would reflect pretty well on us as a label.

It is not every day that Turbo Recordings embraces the responsibility of husbanding a full-album release, and you should know that it comes as a cost. The additional listening time, track title typing, and intensive download/upload workload have pushed our dedicated staff of 90 to its breaking point. We have a lot going on over here.

The Mighty Ryeders' rare groove classic Help Us Spread the Message has been remastered and reissued here because it forever remains a favourite with DJs and dancers. It's a timeless soul and funk blend with many a standout jams, not least 'Evil Vibrations,' a super cool and breezy groove famously sampled by De La Soul in 'A Roller Skating Jam Named Saturdays' and later covered by The Rebirth. Alongside funk staples like the aching beauty of 'Help Us Spread The Message' and the collector-favourite 'Let There Be Peace' the album blends rich horns, clavinet and deep grooves with great songwriting and vocal harmonies. Do not sleep on this masterpiece of funk.

No Speakers scores a major coup here by signing a Detroit legend from Underground Resistance's Galaxy 2 Galaxy. This guy's shared stages with figureheads like Jeff Mills, Carl Craig and Goldie so his creds cannot be questioned. His signature fusion of jazz and electronic fire burns bright here with A-side bangers 'Layers to This' and 'Bridgehouse' primed for future classic status as well as peak-time destruction. Flip it for South London's L.A. Synthesis remix. No stranger to dropping their own iconic techno, their take twists and turns into otherworldly soundscapes. Label boss El Prevost closes the EP with a savage twist of 'Bridgehouse' that is dark and twisted in all the right ways.

DJ Feedback

Kai Alce:
"Bridgehouse is just that, a bridge to the future."

Chris Udoh:
"Bridgehouse is an exceptional cut! "

Kosh:
"Nice release."

D'Julz:
"Best EP I heard in a long time. Lovely."

Radio Slave:
"So good to see La Synthesis here !!! and another great EP. from Jon. Full support."

ICYKOF:
"This is really fun. Love the first track."

Barbara Preisinger:
"The original tracks are sounding great to me and will go into the box. Thanks a lot!"

Orlando Voorn:
"Dopeness, all killer no filler."

Okain:
"Classy stuff."

Cristi Cons:
"Very nice, thanks."

Ryan Crosson:
"El Prevost remix is great, also enjoying the la synthesis remix."

Harri:
"Nice, will play and support."

Domenic Cappello:
"Jon is Detroit royalty, love this."

DJ Hutch:
"Love this release. Bridgehouse remix is crazy."

Harvey Sutherland:
"Bridgehouse is hot, thanks!"

Colin Dale:
"Excellent EP. All the cuts rock."

Greg Gow:
"Nice soulful tracks full support."

Laurent Garnier:
"Cool deepness."

Aleqs Notal:
"Jon Dixon, always on fire!!!"

Man Power:
"Layers to this is great."

DJ Bone:
"Smooth and funky release. Very nice."

The collaborations between Chet Baker and Art Pepper were originally issued in such a disparity of ways that it might seem difficult at first to think about them as a coherent body of work. Their first session, for instance, was originally segmented in a variety of compilation albums, one tune each, and many times the selections were even abridged, suppressing a solo here or there.

Along with another equally splendid session, it was included in Baker and Pepper's most famous album together, Playboys, which was also released under the title picture of heath. At the time, both Baker and Pepper were at their peaks, which is to say that each was playing as much or more on his instrument than anyone in jazz.

Quartz is a respected drum & bass head with a precise and minimalist - but always cinematic - production style and that's clear again on this new one for Droogs. The A-side features solo cut 'Duplicity', which is a stark and electrifying trip into drum & bass darkness with tight basslines and subtle shifts that prove less is more. The B-side, 'Black Prism,' sees Quartz team up with Overlook for a throwback to raw 90s techstep and all the tight but manic breakbeat action that comes with it. It's a tune of unrelenting tension that resolves into an unexpectedly serene close. Sophisticated stuff from all.

"We first became aware of the Florence-based composer Marco Baldini’s work via the incredible Another Timbre label.
"His albums, Vesperi and Maniera, blew us away. Maniera, Marco’s second album for the label consists of seven chamber works for strings, beautifully played by Apartment House. If for some reason you haven’t heard it go straight to Another Timbre’s Bandcamp and check it out! Vesperi, Marco’s first release on Another Timbre, from around a year before is also absolutely unmissable, it’s comprised of three pieces derived from works by 16th century Italian composers alongside original compositions.
"Both albums have provided much needed calm in turbulent times. Marco kindly accepted our invitation to compile a mixtape, and here it is! Thank you so much, Marco!"

Eisenmund, the debut by Berlin-based Schimmel über Berlin is a thing of pounding, brittle beauty that seeks to continue on from where angst-ridden, early-eighties Berlin left off. Angular, monophonic synths, guitars that slice through with wiry yet melodic urgency, basslines that pulse with a taut, driven precision and drums that meld everything together. Liv Billerbeck’s vocals come from the middle distance, drifting between detached and desperate, as if transmitted through a wintery cityscape.

Title track Eisenmund jangles with reedy synths floating over a carpet of bass and mournful vocals dripping with a sense of loss. This mood spills over into the other tracks, like post-punk jewel Schreck with its iridescently lovely guitars.

Eisenmund is sharp, atmospheric, and quietly thrilling - proof that the shadows of the eighties can still dance under today's flickering lights. The album, immaculately produced by T-Rex, captures that classic post-punk mood of urban decay, late-night introspection and stubborn sense of motion, which for someone like me, who was there back in the day, seems utterly familiar without ever sinking into mere nostalgia.

Fiona Sangster (Xmal Deutschland)
Die Band Schimmel über Berlin ist eines der vielen Klanggesichter der Liv Billerbeck, ein Gesicht, das man niemals sieht, das im Verborgenen sich umblickt und agiert und das trotzdem aber in einer seltenen Klarheit erscheint. Man sieht es beim Hören, schemenhaft. Ihr Schaffen ist befallen vom West-Berlin der 1980er Jahre (Xmal Deutschland, Malaria etc.).

Eine Rolle, gerade in der musikalischen Brillanz und Produktionsraffinesse, spielt britischer Post-Punk, der sich sehr klar auch im treibenden Spiel von T-Rex ​​​(Bass + Produktion), Việt Phương Vũ (Gitarre) und Christian Ramisch (Schlagzeug – mit Phương übrigens bei der ebenfalls sehr guten Band NOJ) zeigt: The Sound, Killing Joke et. al.!

Es handelt sich bei dieser Musik um einen Sound mit retroesquem Anstrich, der spürbar eine vergangene Luft atmet, einer Nostalgie an eine ferne Zeit anheimfällt, die das Quartett ob ihres Alters nicht erlebt haben kann, und die vielmehr eine Sehnsucht bedeutet, in der Unerfüllbarkeit eine Melancholie mitbringt, eine Art treibende Traurigkeit spürbar macht. Das allein ist groß! Was weitergehend daran aber so interessant, besonders und wahnsinnig schön ist: Das klingt in Billerbecks Schaffen – und insbesondere hier, beim Schimmel über Berlin – nicht wie eine Kopie, ein Abklatsch, eine Reminiszenz oder das, was in der so called NNDW bald flächendeckend geschieht: das Anzapfen einer überholten Coolness. Denn etwas ist ganz gegenwärtig daran, in der Eigenständigkeit, macht einem eindringlich das Hier und Jetzt spürbar, auf unterschiedlichen Ebenen: Traurigkeit, ja, aber auch Bock, bis in die Morgenstunden auszugehen, schnellen Schrittes über rutschiges Kopfsteinpflaster zu traben. Musik dann wieder zum Verkrümeln in zugigen Altbauten, von Schreien über einen nebelbedeckten See im Umland Berlins.

Und eben kein Eskapismus, auch wenn die Musik zur Flucht taugte. Merkwürdig ist, dass in dieser Retroschleife dann etwas Märchenhaftes mitschwingt. Vielleicht liegt es auch in der authentischen 1980er-Jahre Produktion, in der immer wieder so ein Klimpern, ein Schellen durchkommt. Es mag aber auch an den Texten liegen, die etwas von Minnesang haben und in ihrer Klarheit, die aus der Kühle und den Kargheiten (der Vergangenheit, der Gegenwart, der Zukunft) entsteht, doch Wärme transportieren.

Wir hören darin heute, trotz all dem Bewusstsein für die Vergangenheit, den Sound einer seltenen Dichterin der Gegenwart. Das ist von einer Intensität, die einen bald absorbiert. Eisenmund etwa, das Titelstück, ist so ein Song, bei dem man sich hinsetzen oder gleich hinlegen muss. Da sind Dinge, die man nicht ändern kann. Wie geht das? Also: nach vorne, heftig, und dann aber so weich und traurig. Hätten Schimmel über Berlin die 1980er-Jahre dieser Stadt beschallt, sie wären hiermit, das mögen sie selbst vielleicht gar nicht hören, die Helden dieser Zeit gewesen. Eisenmund ist das tollste Album, das mir seit Jahren begegnet ist – und die bisherige Klimax dessen, was aus der Allee der Kosmonauten hervorgeht.

Und wenn man das alles so hört, aufmerksam hört, wird einem, obwohl das alles so ein einziger, riesiger Hit ist, völlig klar: Hier geht es nicht darum, irgendwo damit zu landen, irgendwo mitzumischen, erfolgreich zu sein oder in aller Munde. Hier geht es darum, einfach nur genau das zu machen, was es ist! Alles andere ist egal.

Der Klagegesang wird mich immer umwehen.

– Hendrik Otremba

Since first arriving on the scene in 2009 with blistering inversions of shoegaze, Montreal's No Joy has always found formidable ways to reinvent itself. Now solely composed of musician Jasamine White-Gluz, No Joy has evolved over four studio albums and five EPs, defying expectation and genre, and cementing itself as something rare: a band without a category. Clearly sympatico at the time of collaborating, Fire-Toolz and No Joy (Jasamine White-Gluz) had both resituated to secluded woodsy milieus prior to the "Bugland seshies", as I now name the historic pairing. Together, they created an aural equivalent of a late 1980 I-d magazine front and back cover, with a non-problematic National Geographic hiding within. Fire-Toolz sums it up: "The collaboration really felt limitless. I didn't have to adhere to a certain vision in a way that made me feel like I couldn't be Fire-Toolz. I could easily relate to this album because Jasamine and I liked a lot of the same music, and I was able to be creative in ways that were freeing as if I was making my own album. " Both spent days driving through on empty rural highways listening to the mixes, and it reflects in the final product. With an open ear, many "influence eggs" can be detected by the listener. Garbage Dream House is Zooropian without any of U2's ego baggage. Seven-minute closing track Jelly Meadow Bright even manages to meld Stooges' Fun House out of control saxophone with the chill buoyancy of a high-end spa. Touching on respected, familiar genres and sounds while attempting to advance one's own isn't easy but Bugland manages to. What genre is it anyway? Is it even shoegaze when it could live happily on a shelf next to Boards of Canada and Autechre? The right answer is `yes'. What a lovely shelf `twould be as well. A marble shelf, with cyberpunk elements. Bugland`s a testament to White-Gluz's evolution and her ability to channel a wide variety of tastes into something cohesive that can descend into fine-tuned chaos, then out of that chaos with ease.

This compilation of the best of Gil Scott-Heron’s Flying Dutchman output was originally released in 1974 and pulled together tracks from his first three albums “Small Talk At 154th And Lennox” (1970), “Pieces Of A Man” (1971) and “Free Will” (1972).

Ace first reissued this album on vinyl in the UK in 2017 (BGPD 306) although that version came in a single sleeve with a printed inner.
This version restores “The Revolution Will Not Be Televised” to its original Flying Dutchman format in a gatefold sleeve. The music and words - pressed on 180gm vinyl - are as relevant today as they were in the early 1970s.

Die in Manchester lebende Kalifornierin Jesca Hoop wurde von Tom Waits entdeckt, von Peter Gabriel als Tour-Sängerin mitgenommen, sie arbeitete mit Produzenten wie John Parish (PJ Harvey), Blake Mills (Alabama Shakes) und Tony Berg (Phoebe Bridgers) zusammen. Der Grund sind ihre meisterhaft komponierten, im Folk verwurzelten Songs, detailreiche, harmonische Kuriositäten voller guter Ideen und tiefer Emotionen. ""Selective Memory"" ist die Unplugged-Version ihres vierten Studioalbums ""Memories Are Now"" (2017) und reiht sich in die Riege der reduzierten Formate ihrer ersten drei LPs ein. In Anlehnung an diese Tradition mit ihrer rauen Ästhetik haben Hoop und zwei Bandkolleginnen das Album von Anfang bis Ende live in Jescas Haus in Manchester eingespielt. Es ist voller brillanter Harmonie, gehaltvoller Texte und authentischer Darbietungen, süß und bitter, frisch und roh zugleich und sehr aktuell.

Dennis van Aarssen gibt uns einen Einblick in seine Gefühlswelt des neuen Albums 'Souvenirs': „Dieses Album ist mein bisher ambitioniertestes Projekt. Die Songs auf diesem Album sind allesamt musikalische Souvenirs, die ich im Laufe meines Lebens gesammelt habe. Jeder einzelne davon ist mir wichtig und weckt wertvolle Erinnerungen. „Souvenirs“ ist mehr als nur eine Sammlung von Songs, die mir etwas bedeuten; es ist ein wichtiger Teil meiner Mission, die großen Crooner am Leben zu erhalten. Ich habe all das, was ich über die Jahre gelernt habe und all mein Herzblut in die Musik dieses Albums einfließen lassen und versucht einige meiner Lieblingslieder, meine liebsten musikalischen Souvenirs, im Crooner-Stil in die Gegenwart zu bringen. Mit meinen Versionen wollte ich diesen Geist aufgreifen und ihm eine neue Note verleihen. Strahlender. Swingender. Als würde man an einem sonnigen Morgen die Fenster aufreißen und sagen: „Her damit, Welt!“. Alles, was man hört, ist echt. Eine Live-Big Band, Weltklasse-Musiker, kein Schall und Rauch. Nur Handwerkskunst, pure Freude und jede Menge Herz. Eine Hommage an die Großen, die vor uns kamen, aber mit einem jungen Geist und meiner eigenen Stimme.“

Straight out of the local mud of the city of Antwerp comes dancing this next Souvenirs from Imaginary Cities slab of free-flowing bits of electronic wonder : Schönen Abend by Simon B. Just in time to ease you out of this endless winter and right into springtime. Like the previous hit by Purple Uncle, this flower takes some time to bloom and fill up your head and body with it's ear wormy fragrance.

It's hazy and cinematic, makes you think of Italian electronic pioneers and their library magic, Patrick Cowley's School Daze and Haruomi Hosono in some kind of gothic manner. It's quite stripped and lush at the same time, rhythms like minimal mechanics make you fly above the river and land just outside reality. It's a nice place where soft jazz tingles right around the dark corner, and that particular mix of exotica and melancholia — the trademark of this port city's best electronic auteurs is definitely in the air. The river still shines, but she’s deeply poisoned. The old town has lost every bit of fresh air but keeps on digging for old gold. This bitter pill is served with delicacy and lightness, the wound is dressed up seductively — feet in the mud, head in the air. Stuff is sensuous, with quiet places reminding of the good side of those times when the big wheel stopped turning ever so madly. A strange quietness whistles through the leaves. Some things take time to unfold. In or out of C.

Four years in the making, this is the solo debut LP of Simon B, a longtime contributor to Antwerp's improvised music scene (Groovecats Deluxe, Wij Blij Trio ). Primarily a double bass player, he also has a deep-felt passion for offbeat electronica and the rainbowy side of American minimalism, which takes front here. The smoky voice on the last track belongs to Nina-Joy Thielemans, Nina-Joy is part of Particals, a trio working with live electronics and field recordings, releasing an lp on Ultra Eczema later this year. Furthermore, you can hear the tenor and soprano saxophone of Adia Van Heerentals on 4 tracks, deepening out Simon's naturally flowing compositions and playing around with his melodies. You may know her from Bodem and her strong presence in the Belgian jazz scene lately.

Simon's electroacoustic experiments — using a clarinet and some outboard effects — were important tools in finding the very specific colour of this record. There's this airy character, like wind blowing through old layers of bricks and over the river, anchored with a deep sense of bass, gathering ages of dust and memories in these eight elegantly wobbling tracks, forming a perfect whole that’s really coming together in one deep listening from A to Z.

The centrepiece is perhaps Come to Me, instrumental and reprise with vocals, but no fillers on this one. Every part of the mystery is needed to come to its end and back again. It's a record that works in the morning, to open up a day and in the quiet corners of the night, with it's sleazy quirkiness, smiling towards you from the right corner of the eye. A perfect compagnon for your long-form wandering habits, light reflections on a wet surface obsessions, coffee slurping in the morning and the forgotten art of beachcombing. Quite essential these days, witnessing a world going apeshit.

Manchester’s own The Slow Readers Club are set to embark on a special anniversary tour celebrating ten years since
their seminal breakthrough album, Cavalcade. Titled ‘A Decade of Cavalcade’, the tour will see the band revisiting the
album that set them on their path to becoming one of the UK’s most revered indie acts, while also marking an exciting
new chapter in their journey.
The tour announcement follows a milestone year for the band with their latest album Out Of A Dream landing at
UK Number 11 in the Official Charts in the first week. With growing momentum on streaming platforms and an everexpanding fanbase, The Slow Readers Club continue their upward trajectory, making A Decade of Cavalcade both a
reflection on the past and a celebration of what’s still to come.
A Celebration of a Pivotal Moment
Originally released in 2015, Cavalcade was a turning point for The Slow Readers Club, capturing hearts and minds with
its brooding, atmospheric sound and emotive lyricism. Featuring fan-favorite tracks such as Plant The Seed, I Saw A
Ghost and Forever In Your Debt, the album resonated with a generation of music lovers and laid the foundation for the
band’s future success. One of those supporters were the band James who personally invited The Slow Readers Club to
support them on a huge headline tour which brought them to a whole new audience.
Now, a decade later, the band will bring Cavalcade back to life on stage, performing it in full alongside other cherished
songs from their extensive catalog. The tour promises to be an electrifying experience, blending nostalgia with the raw
energy of and ambition that continue to define The Slow Readers Club today.

Manchester’s own The Slow Readers Club are set to embark on a special anniversary tour celebrating ten years since
their seminal breakthrough album, Cavalcade. Titled ‘A Decade of Cavalcade’, the tour will see the band revisiting the
album that set them on their path to becoming one of the UK’s most revered indie acts, while also marking an exciting
new chapter in their journey.
The tour announcement follows a milestone year for the band with their latest album Out Of A Dream landing at
UK Number 11 in the Official Charts in the first week. With growing momentum on streaming platforms and an everexpanding fanbase, The Slow Readers Club continue their upward trajectory, making A Decade of Cavalcade both a
reflection on the past and a celebration of what’s still to come.
A Celebration of a Pivotal Moment
Originally released in 2015, Cavalcade was a turning point for The Slow Readers Club, capturing hearts and minds with
its brooding, atmospheric sound and emotive lyricism. Featuring fan-favorite tracks such as Plant The Seed, I Saw A
Ghost and Forever In Your Debt, the album resonated with a generation of music lovers and laid the foundation for the
band’s future success. One of those supporters were the band James who personally invited The Slow Readers Club to
support them on a huge headline tour which brought them to a whole new audience.
Now, a decade later, the band will bring Cavalcade back to life on stage, performing it in full alongside other cherished
songs from their extensive catalog. The tour promises to be an electrifying experience, blending nostalgia with the raw
energy of and ambition that continue to define The Slow Readers Club today.

Previously we’ve mentioned influences from the 1970s self-reflective work of Nick Drake & John Martyn to the lovelorn tragedy of troubadours such as Elliott Smith and Jeff Buckley creating a fusion of 1960s/70s folk and blues.

Now Cardiff-based indie folk singer-songwriter Ivan Moult returns with his most personal work to date, Stood Out In The Storm, due to be released on November 7th through Bubblewrap (home to The Gentle Good). The album follows the acclaimed Songs From Severn Grove (2023), which drew praise for its warmth, intricacy and timeless songwriting, cementing Ivan’s reputation as one of Wales’ most compelling contemporary voices.

While Songs From Severn Grove captured moments of renewal and joy - written in lockdown and
during the early days of fatherhood - its follow-up takes a braver, more vulnerable step. Stood Out
In The Storm was written in the aftermath of a personal crisis and charts Ivan’s gradual process of
healing and recovery. The record traverses darkness and light, despair and resilience, offering a
deeply honest exploration of fragility, survival and hope.

Ivan’s signature sound remains at the core: a seamless blend of 1960s/70s folk and blues infused
with modern textures, drawing influence from John Martyn, the late great Terry Reid and Ry
Cooder. On Stood Out In The Storm, that familiar intimacy is expanded with a greater presence
of guitars and organs, adding new depth and urgency to the sound. As with his previous records,
Ivan wrote, played, recorded and mixed the album at his Cardiff home studio, and the record sits
as a companion piece to Songs From Severn Grove.

Over the years, Ivan has gained support from BBC Radio 6 Music, BBC Radio Wales and KLOF
(Formerly Folk Radio UK), earned festival slots at Cornbury Festival, Festival of Voice and Sŵn,
and shared stages with the likes of This Is The Kit, Becca Mancari and Willy Mason. Now, with
Stood Out In The Storm (out November 7th), he offers his most powerful and affecting work yet –
an album born of struggle, but defined by resilience.

“Exquisite”- Folk Radio UK 

“Beautiful” - Huw Stephens, BBC Radio

“Utterly wonderful” - Adam Walton, BBC Radio Wales

”There is a wonderful delicateness that resonates through Ivan’s heartfelt lyrics, deamy music and vocals. Ivan is able to take listeners on their own journey of growth through his soft melodies and blissful atmosphere”
- Amplify The Noise

2025 Repress

"Cake" was a New York band formed in 1973, following a line-up tweak and a change from their previous name "Mixed Company» (referring to the racially mixed personell). At Arabellum Studios in Colony, Albany, NY, the band recorded their only 7-inch single. "Make Up Your Mind" / "Let Your Body Go» was released on Key Records in 1979.



Half a life time later, after appearing in DJ mixes and online auctions in the late 2000s, the single started gaining notoriety among DJs and diggers. Working its way up to "holy grail" status on the modern soul and disco collector scene, original copies of the sought after record would eventually sell for as high as $1000.



In 2012, Hans Jørgen Wærner (Mutual Intentions Co-Founder and notorious disco collector) got in touch with Arabellum studio owner Art Snay who produced the record. This lead him to lead singer Bob Treffiletti who had a cassette tape with unreleased long versions of the songs. The sound quality of the tape was not adequate for what Hans had in mind, and so the hunt for the original master tapes began! Unfortunately, Art Snay later passed away. At one point chances of finding the original recordings seemed so slim, the project was all but abandoned….



Luckily, Bob managed to get hold of the master tapes via Art's wife and they were sent away to legendary disco mixer / remixer John Morales, who transferred the tape to digital format. After several rounds in one of Norway's best mastering studios (Strype Audio), noise reduction and sound surgery were done while retaining the soul of the original recordings. The songs were finally ready to be pressed on the format they have always deserved: the 12-inch disco single!



The 12-inch comes with four 5 min + long songs and can be pre-ordered now. The high-quality lacquer cut pressing is produced at Optimal Media in Germany and limited to 300 copies worldwide.

ROTTEN, FOUL, DERANGED!

Around the end of the 1980s and the first years of the 1990s bands like PUNGENT STENCH, DISHARMONIC ORCHESTRA, DISASTROUS MURMUR or MIASMA made a name for themselves by putting out some classic albums. "Been Caught Buttering", "Changes" or "Expositionsprophylaxe" were records spawned by Austrian hordes which were globally hailed by devotees of Death Metal. As fertile a soil Austria once seemed to be, throughout the last 30 years not one single Death Metal album was put out that would match the quality of the pioneers.

Apparently, it took Brenton, an Australian settling in Vienna, to eventually put Austria on the map again. After having founded FESSUS with 3 other members in 2023, the quartet put out their first demo "Pilgrims of Morbidity" in the same year.

Now, two years after the very promising demo, FESSUS return with their first full-length. Cryptically entitled "Subcutaneous Tomb" the album's six lengthy songs stylistically continue where the demo left off. Whereas other bands focus on hyper-speed, over-technicality and brutality, FESSUS' brand of Death Metal is mostly played in moderate tempi with outbursts of speed and aggression scattered throughout the album. The songs are foremost characterized by memorable compositions and groove. Every song literally oozes with morbidity and conjures a dense macabre atmosphere. Brenton's vocals which are partly reminiscent of NECROPHAGIA's Killjoy are one of the highlights of the album. With his performance being equal parts versatile and deranged, Brenton spews vile bile and brimstone like not many lunatics before him. Although there are hints of other bands like AUTOPSY or PURTENANCE found on the album, FESSUS actually managed to come up with a sound that’s distinctly their own.

"Subcutaneous Tomb" is a perfectly produced album that those worshipping at the altar of morbid, rotten Death Metal can't afford to miss out on.

Recording, mixing, mastering: Thomas Taube (Five Lakes Studio)

DA-Dee-MiX, the hip-hop band that's a fixture on the MC battle scene, offers a bold cover of "Today," the source material for a shining classic in the history
of sampling! The B-side features "INCENSE," a collaboration with rapper Jun Ku, which has garnered much buzz, released for the first time on 7-inch,
making this an incredibly powerful double-sided album!

DA-Dee-MiX, the instrumental hip-hop band that continues to support the MC battle and live music scenes, releases their long-awaited new 7-inch, their first
in seven years. This two-track 7-inch single blends hip-hop's roots with a hands-on spirit.
Side A features guest appearances from 45trio SWING-O, who delivers a bold cover of Tom Scott's "Today" the source material for a shining classic in the
history of hip-hop. DA-Dee-MiX's signature groove, which intertwines jazz, soul, and hip-hop, reconstructs the track, offering more than just a cover; it
offers a new interpretation for today's listeners. SWING-O's electric piano and the ensemble of live performances beautifully elevate the warmth and power
of the original.
Side-B features the long-awaited vinyl release of "INCENSE," a collaboration with Yokohama-based rapper Kujun!
Released in 2020, this track captivated many listeners with its melodic flow and unique musical sense, leading to endless calls for it to be released on vinyl.
DA-Dee-MiX's soft yet powerful track is complemented by Kujun's fragrant words, creating a track that truly lives up to the title: a track that permeates the ears!
This double-sided album is a must-listen for DA-Dee-MiX's "performative hip hop"!

A glimpse through the window into the mind of Ox Omni, No Prayers to the Devil is a declaration of war against all things ungodly—an unflinching, uncompromising statement from an artist who refuses to bow. Fully produced by 94Maax and mixed/mastered by Shiggy, the album weaves razor-sharp lyricism through haunting samples, crisp drumwork, and cinematic textures. Ox Omni blends street wisdom with introspective storytelling, delivering a project that is both raw and thought-provoking.

The album features carefully curated guest appearances that enhance its immersive atmosphere. RocxNoir joins on “Paid in Full,” Rome Streetz lends his presence to “Kitchen Counter,” and Daniel Son adds his touch to *“Favorite Episode.” Each collaboration amplifies the album’s dynamic range, seamlessly shifting between moments of darkness and revelation.

The striking album artwork, created by Stab Master Arson, reinterprets Friedrich August Moritz Retzsch’s classic painting Checkmate, reinforcing the album’s core themes of power struggles, fate, and the fight for one’s soul. Just as the painting portrays a man locked in a high-stakes chess match against the devil, No Prayers to the Devil finds Ox Omni navigating the trials of life with unwavering conviction.

With its eerie production, calculated lyricism, and masterful sequencing, No Prayers to the Devil is a gripping body of work that cements Ox Omni’s place in the modern underground scene.

DJ Support: Andy Votel, Nemone (BBC Radio 6), Andy Bell, The Quietus and more

The sweet hum from the vampire wood returns as Five Green Moons make another orbit. Ritual incantations and Dubwise vibrations are fused with angular guitars and skittering basement electronics to form a new entity. Moon 2.

Justin Robertson's second outing as Five Green Moons is a fusion of influences. The presence of occult mystery can be felt in the chants and vocal motifs, there lurks a manifestation of elastic post punk in the zigzag echo further enhanced by the appearance of Brix Smith, former high priestess of the Fall on two tracks. One could draw comparisons with P.I.L, Holy Tongue, the hauntological sound of Current 93, the trippy off kilter hypnotism of Brown Rice era Don Cherry, and of course the solid foundations of Dub. The bass is heavy, the sound spacious. This is a new form of pastoral dub!

Pressed on Limited Green Vinyl.

RAW, RUTHLESS AND CEREMONIALLY DARK!

Only two years after its inception in 2023, the ominous entity hailing from Germany has come up with their first full-length. Consisting of 6 songs with the first one being an instrumental intro, "Fiery Paths" is a very convincing effort on all levels. Notwithstanding the fact INFERNAL PRESENCE has only been active for 2 years, their hybrid of Black and Death Metal sounds as if it had been composed by a seasoned band. Unlike many outfits whose songs consist of a salad of riffs randomly thrown together, INFERNAL PRESENCE are apt at cleverly composing their material by frequently alternating between different tempi and moods. Fast tremolo picked riffs akin to DISSECTION or MAYHEM are alternated with palm muted Thrash riffs or atmospheric slow-paced arpeggios reminding of WATAIN or ONDSKAPT.

In so doing the two-piece creates dynamic songs that succeed in truly capturing the listener's attention. Just listen to standout tracks like "Eternal Exodus" or the exceptional "Tomb Procession" with its slithering groove and you will see our point proven. Although, only sharing certain musical elements with said bands, the suffocating atmosphere of "Fiery Paths" reminds of NEGATIVE PLANE's first album or early SECRETS OF THE MOON. Fortunately, the production fits the material just splendidly, too. While being gritty and raw, thus emphasising the album’s ferociousness, it's still polished enough so that no detail gets buried in the mix.

INFERNAL PRESENCE unleashed a record suffused with unrelenting darkness! If you consider yourself a fan of some of the bands mentioned above, do yourself a favour and listen to this beast of an album!

Italian jazz beat maestros Koralle & Yawuh team up for their first collab album, 'Primo Quarto'.

'Primo Quarto' is a record full of late-night tales about beats and jazz (you guessed it) and a musical friendship that manifested itself in an apartment building in Bologna after dark. Thirteen tracks were produced and mixed on the first floor (where Yawuh lives) and on the fourth floor (where Koralle’s studio is located). With the help of an A-list of local musicians (Matteo Magnaterra, Piergiorgio Perrella, Giovanni Tamburini, Gianluca Arcesilai), three MCs from the US (Anti Lilly, Tiff The Gift, Physical Graffiti), and producer friends Saib (Berlin), Phlocalyst (Luz), and Lorenzo Morresi (Milan).
“'Primo Quarto' is an Italian expression that refers to the first quarter of the moon,” Koralle and Yawuh explain. “The lunar phase when the moon is half illuminated and half in shadow. For us, this moment captures the emotional core of the album: a balance between light and dark, the seen and the hidden, clarity and mystery.”
Artwork by Japanese illustrator Tomo Oriyama.