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Various - Duets

dO iT nOw Recordings makes its debut in the world of vinyl with a various artists' sampler that shows just what they are all about. First up is Pigsie's wonderful 'Silk' which sets a fine tone with lush jazz-inspired keys, dreamy pads and intricate drum work that make it well suited to those late-night sessions. Wearing Shoes then offers 'Finding Your Words' with buttery Rhodes licks and looped vocals over fat bass, and the B-side begins with Michael Oberling and his deep jazz grooves, trumpet solos and swinging drums. Massive R closes with the lovely, jazzy house of 'This Feeling' complete with snappy drums and a catchy piano hook.

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13,87

Last In: 11 months ago
Enrico Sangiuliano - Transcendence EP

Techno tastemaker Enrico Sangiuliano returns to his influential NINETOZERO label with his bold new Transcendence EP featuring two very different but equally powerful sounds; one track is to dance to, the other one to listen to.

This new release caps off an impressive year for the Italian underground icon. Coming just a couple of months after his Interconnection EP and a packed season of headline shows, it marks yet another subtle evolution of his always hard-to-classify sound. The EP is a collaboration with psychedelic trance pioneers GMS, who have been making their mark since the 90s. The award-winning pair have had their music used in a trio of Tony Scott movies and have dropped several vital albums and EPs.

“GMS and I met many years ago in their studio in Ibiza and spontaneously cemented our relationship through our passion for sound”, says Enrico Sangiuliano. “They are a pillar of psytrance, and collaborating with them to interpret the concept of Transcendence was the perfect way for us to finally merge our creative visions. With this release, we transcend our individual musical paths to create something entirely new. We explore the theme of elevation, challenging ourselves to move beyond the tangible. Here, music becomes a portal, expanding consciousness and providing an escape from material reality. Together, we shaped our sounds to build an immersive experience, with a guiding voice to lead you through it. Transcendence is an invitation to let go, release mental constructs, and flow with the sound. It's a journey into a timeless realm where what you feel and who you are become one. To transcend is to connect with your deepest self—and beyond.”

Superb opener 'Transcendence' is a sleek and futuristic soundscape with dynamic drums that take you up amongst the stars. The smeared pads bring a cosmic atmosphere, the lush arps layer in plenty of trance-tinged emotion, and smart spoken words add a cinematic feel to this most escapist track. 'The Inner World' is then a suspenseful two-minute synthscape with wise spoken words that muse on inner strength. It is a rousing piece of emotional electronic grandeur.

The Transcendence EP is another strong statement from the forward-looking creative mind of Enrico Sangiuliano.

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19,12

Last In: 5 months ago
Kim Gordon / Ikue Mori / DJ Olive - SYR 005 LP 2x12"

"Donald Duck, kill Minnie!" These words, ordered with urgency against a circular series of drum strikes and manipulated guitar/electronic textures, come over three fourths of the way through the album known as SYR 5 (aka "Olive's Horn"). While the words and sounds taken on their own may shock, their appearance within this collaborative effort between Kim Gordon (Sonic Youth, Body/Head, solo efforts), Ikue Mori (DNA, solo) and DJ Olive (We, solo) by this point in the album are not surprising. Taken on whole, SYR 5 sees its creators' respective histories forged in the 80s downtown noise scene, No Wave zone and Marclay-inspired club collide head on to create the audio equivalent of a slow-playing J.G. Ballard novel. Starting from the album's initial impressions where shimmering tones are interrupted by the sounds of winding clocks and bird calls before giving way to a cinematic sweeps of percussion, alien samples and blown out wasteland subs, the listener is constantly taken on a guided journey through a waking dream state where anything is possible. It is a world where dub samples, gurling beats and plaintive vocals (as only Gordon can deliver) fit together like the final locking puzzle pieces, the only elements needed to fully grasp a new reality. Re-appearing on vinyl for the first time in 25 years, these sounds have proven to be jaw-droppingly timeless. - Cory Rayborn, 2025

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30,21

Last In: 13 months ago
Andreas O. Hirsch - The Salamander Treaty LP

ver the years, Andreas O. Hirsch has shaped a distinctive sound, exploring the possibilities of the electro-acoustic instruments he const- ructs. The Carbophone as well as the Electrified Palm Leaf are plucked instruments akin to the African Kalimba or Mbira. In combination with effects and loops, Hirsch creates an experimen- tal space, influenced by early electronics, Asian and African music as well as the possibilities of editing and collage. The majority of the pieces on The Salamander Treaty were made using the Carbophone Jr., a small traveling version of his original Carbophone which was the basis of the previously released Early Carbophonics. Shaped by the joy of discovery, the eight tracks traverse peculiar worlds of sound, carried by a warm downbeat and analogue vibe. Alongside the Car- bophone Jr., other instruments come into play: a vibrato-soaked guitar leads through the slowly evolving ‘Rise’, marked by a recurring Shepard tone and sounds made by striking the bars of an antique wall clock. In the straightforward yet sub-aquatic ‘Te- atime Unlimited’, a pitch-shifted Morse key wanders erratically in the background. Tape-delayed har- monicas serve as a flying carpet for ‘Drifting Newts’, and rubber bands make their melodic-rhythmical appearance through ‘Back Door Minimal’.

The Salamander Treaty refers to War with the Newts, a prophetic and black-humoured science fiction novel by Karel Čapek from 1936, which tells the story of the rise of the salamanders, who become in- creasingly intelligent and eventually begin to compete with mankind. The album is a pacifist response to this dark scenario: Hirsch’s salamanders prefer to hang out under the stars (‘Drifting Newts’), drink tea (‘Tea Time Unlimited’) and — as illustrated on the back cover — write conspiratorial-pacifist demands instead of calling for war (e.g., ‘Teaoism International’, ‘White Lilies’, ‘For Congress’). In image and word, the album invites looking at the term ‘treaty’, which phonetically contains the words ‘tree’ and ‘tea’, as a friendly reminder that the drafting of every treaty and agreement on this planet should be accompanied by a peaceful spirit.

Music, mix and artwork by Andreas Oskar Hirsch. Mastered by Volker Hennes. Pressed on BioVinyl by Optimal, who state that their manufacturing process reduces CO2 emissions by approximately 90% for the PVC component. 12“ LP, coloured sleeve, download code included,

LIMITED TO 100 COPIES!.

pre-order now11.04.2025

expected to be published on 11.04.2025

21,43
LORADENIZ - SUN SHONE

‘SUN SHONE’ is a multidisciplinary music and art project of Istanbul-born, Amsterdam-based Deniz Omeroglu AKA Loradeniz,. ‘SUN SHONE’ marks the arrival of her debut full-length album: eight tracks of ambient electronic music painted masterfully with a palette of synthesizers, effects, percussion and ethereal voice.

‘SUN SHONE’ was conceived in two parts: the first tracks coming spontaneously to life in the aftermath of heartbreak, with Omeroglu trusting the creative flow and using it as a method of self- healing. What was initially planned as an EP release grew into a full-length album as she spent one month consciously working on the perfect B-side to complement the music.

Omeroglu wrote, performed and produced everything on the album, drawing on her deep knowledge of music theory and production; in addition to studying classical piano in the Conservatory from an early age, she holds both a Bachelor’s degree in Composition Studies and a Masters degree in Sound Design.

Many of the compositions on ‘SUN SHONE’ centre around interplaying synth arpeggios, oscillators expertly tuned for an equal degree of menace and sweetness that balances on a knife-edge. This ambiguity is echoed lyrically across the record, with its recurring themes of love lost and memories revisited. From the spoken word of opener ‘Saint Odds’ and ‘Swimmer’ to the layered choral swells of ‘No Moon’ and the melodic hooks of ‘Brick House’, Omeroglu’s voice is central to ‘SUN SHONE’, employed with impressive versatility. At times, it feels simultaneously fragile and powerful, perhaps nowhere more so than in the yearning swells of “Cloud Sofa’, a healing lullaby for lost love that offers up one of the most delicate moments on the album. 


Whilst this may loosely be referred to as an ‘ambient’ album, Loradeniz’s knowledge of modern day production techniques and experience as both a sound designer and seasoned DJ (both in clubs and on radio) makes its presence felt throughout; echoes of Artificial Intelligence-era IDM appear in the dancing arpeggios and rhythmic pulses of ‘Sea Serpent’ and ‘Waterbear’, while the album closer ‘Aftersun’ could easily be imagined working as the euphoric last tune of a club set at sunrise. 


With her debut album, Loradeniz weaves together an impressive breadth of styles and sounds, all held seamlessly together by a feeling; a cathartic desire to bring out all the melancholia from within. The album opens with the words ‘The search of love continues in the face of great odds’ a suitable mantra for a record that manages to combine melancholy with intense rushes of positivity and hopes for the future.

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23,11

Last In: 12 months ago
DOSEONE & STEEL TIPPED DOVE - ALL PORTRAIT, NO CHORUS
  • 01: That Work
  • 02: Restaurant Not
  • 03: Went Off (Featuring Open Mike Eagle)
  • 04: Ta Da
  • 05: Dial Up (Featuring M.sayyid)
  • 06: Scales Sway
  • 07: Inner Animal
  • 08: Recycling Night (Featuring Fatboi Sharif)*
  • 09: Untouchable
  • 10: No Cops
  • 11: Wasteland Embrace (Featuring Billly Woods)
  • 12: Epinephrine Pen
  • 13: Breakneck (Featuring Myka 9)
  • 14: Not For Airports
  • 15: Best Metric (Extended)

All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick. It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it: "I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel's latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so once I heard Decay I reached out and sent Fatboi Sharif and Dove some kind words about that record. The rest is history." At the end of December 2023 Dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done. "I'm not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear," doseone explains. Listening to All Portrait, No Chorus you can hear the battery in doseone's back as he pythons his way through each instrumental. For his part, Steel Tipped Dove_a prolific producer over the last two years_delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.

pre-order now11.04.2025

expected to be published on 11.04.2025

32,35
DEAD PIONEERS - PO$T AMERICAN

Dead Pioneers

PO$T AMERICAN

12inchHOFFLPC470
Hassle Records
11.04.2025
  • A.i.m
  • Po$T American
  • My Spirit Animal Ate Your Spirit Animal
  • Pit Song
  • The Caucasity
  • Mythical Cowboys
  • Dead Pioneers
  • White Wine
  • Juicy Fruit (Ode To Chief Bromden)
  • Stfu
  • Bloodletting Carnival
  • Love Language
  • Fire And Ash
  • Working Class Warfar
  • Untitled Spoken Word No. 2
also available

TRANSPARENT YELLOW VINYL[23,11 €]


Crystal clear vinyl. 'PO$T AMERICAN' is the second full-length album by Dead Pioneers. Written in February and recorded in July, it preempts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band's 2023 self-titled debut. "Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us" says vocalist and songwriter Gregg Deal. "The title PO$T AMERICAN informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab." The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES, and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys. Overall the resulting feeling across the new album is one of cautious optimism: "Although we didn't expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need." It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

pre-order now11.04.2025

expected to be published on 11.04.2025

26,01
DEAD PIONEERS - PO$T AMERICAN

Dead Pioneers

PO$T AMERICAN

12inchHOFFLPC470
Hassle Records
11.04.2025
  • A.i.m
  • Po$T American
  • My Spirit Animal Ate Your Spirit
  • Animal
  • Pit Song
  • The Caucasity
  • Mythical Cowboys
  • Dead Pioneers
  • White Wine
  • Juicy Fruit (Ode To Chief Bromden)
  • Stfu
  • Bloodletting Carnival
  • Love Language
  • Fire And Ash
  • Working Class Warfare
  • Untitled Spoken Word No. 2

Crystal clear vinyl. 'PO$T AMERICAN' is the second full-length album by Dead Pioneers. Written in February and recorded in July, it preempts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band's 2023 self-titled debut. "Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us" says vocalist and songwriter Gregg Deal. "The title PO$T AMERICAN informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab." The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES, and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys. Overall the resulting feeling across the new album is one of cautious optimism: "Although we didn't expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need." It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

pre-order now11.04.2025

expected to be published on 11.04.2025

26,01
Triola - Triola Im Fünftonraum (Remastered 2025)  (LP)

Originally released on CD only – those were the days – “Triola im Fünftonraum“ counts as one of the most iconic albums of the early Kompakt era. Experience this timeless masterpiece of lush electronica lovingly restored and remastered for the first time on vinyl – 21 years after its inception.

We found this review from back in the days that perfectly sums up what “Triola im Fünftonraum” is all about:

The press material for “Triola im Fünftonraum” made allusions to home listening, when the album is mostly about movement… in a car …preferably a fast one … on a muggy spring day.

This might catch followers of producer Jörg Burger off guard. Up until this point, the producer’s Triola tracks – limited to three consecutive appearances on Kompakt’s yearly Pop Ambient series and a spot on “Leichtes Hören Teil 1” – were free-floating ambient washouts (albeit wondrous free-floating ambient washouts) with no pulse. The album, on the other hand, is beat-driven. Though still resolutely ambient – more an update of Burger’s lushest Bionaut tracks, only fully engaging instead of mildly diverting.

The soft, synthetic hand drums and tranquil vapors of “Leuchtturm” from Pop Ambient 2003, remain untouched and begin the album. Two other tracks that might sound familiar receive dynamic overhauls, now supported with quick dance rhythms and additional layers of synth gauze; the whispy flute trills and lightly flickering keys of “AG Penthouse”, for instance, are melted into a churning rhythm and some singing keyboard vamps that resemble a relaxed take on Tangerine Dream’s suspenseful soundtrack work for “Thief” (minus the crazy guitars).

What really makes the whole thing glow is the manner in which the tracks are attached, flowing in and out of another, rising and cresting and receding, with supreme poise – even if its title provides no indication, the album is as much a travelogue as Carl Craig’s “Landcruising”, Morgan Geist’s “Driving Memoirs” and Model 500’s “Deep Space”.

These are some of Burger’s most inventive productions, a remarkable feat since he’s been doing this so long. Catch yourself in the right frame of mind and you’ll wonder if everything he has released has been one extended ramp-up to this. In this age, it’s also refreshing to have a purely ambient techno album with absolutely no connection to “Boards of Canada”.

In other words, it’s a landmark for both its label and its genre.

Andy Kellman

Copyright 2025 TiVo Corporation
Ursprünglich nur auf CD veröffentlicht – das waren noch Zeiten – zählt „Triola im Fünftonraum“ zu den ikonischsten Alben der frühen Kompakt-Ära. Dieses zeitlose Meisterwerk schwelgerischer Electronica erscheint nun 21 Jahre nach seiner Entstehung erstmals liebevoll restauriert und remastered auf Vinyl.

Wir haben diese zeitgenössische Rezension gefunden, die perfekt zusammenfasst, worum es bei „Triola im Fünftonraum“ geht:

Das Pressematerial für „Triola im Fünftonraum“ spielt auf das Zuhören zu Hause an, obwohl es in dem Album hauptsächlich um Bewegung geht … in einem Auto … vorzugsweise einem schnellen … an einem schwülen Frühlingstag.

Das könnte die Fans des Produzenten Jörg Burger überraschen. Bis zu diesem Zeitpunkt waren die Triola-Tracks des Produzenten – beschränkt auf drei aufeinanderfolgende Auftritte in der jährlichen Pop-Ambient-Reihe von Kompakt und einen Platz auf „Leichtes Hören Teil 1“ – frei schwebende Ambient-Auswaschungen (wenn auch wundersame frei schwebende Ambient-Auswaschungen) ohne Puls. Das Album hingegen ist beatgetrieben, obwohl es immer noch entschieden Ambient ist – eher eine Aktualisierung von Burgers üppigsten Bionaut-Tracks, nur dass es voll und ganz fesselt, statt nur leicht abzulenken.

Die sanften, synthetischen Handtrommeln und die ruhigen Dämpfe von „Leuchtturm“ aus Pop Ambient 2003 bleiben unangetastet und bilden den Auftakt des Albums. Zwei weitere Stücke, die einem bekannt vorkommen könnten, erhalten eine dynamische Überarbeitung, die nun von schnellen Tanzrhythmen und zusätzlichen Schichten von Synthesizer-Gaze unterstützt wird; die flüsternden Flötentöne und leicht flackernden Tasten von „AG Penthouse“ zum Beispiel verschmelzen zu einem aufgewühlten Rhythmus und einigen singenden Keyboard-Vamps, die an eine entspannte Version des spannenden Soundtracks von Tangerine Dream erinnern, der für „Thief“ (ohne die verrückten Gitarren) verwendet wird.

Was das Ganze wirklich zum Leuchten bringt, ist die Art und Weise, wie die Tracks miteinander verbunden sind, wie sie ineinander fließen, ansteigen und ihren Höhepunkt erreichen und wieder abklingen, und das mit höchster Gelassenheit – auch wenn der Titel nichts darauf hindeutet, ist das Album ebenso ein Reisebericht wie Carl Craigs „Landcruising“, Morgan Geists „Driving Memoirs“ und Model 500s „Deep Space“.

Dies sind einige von Burgers einfallsreichsten Produktionen, eine bemerkenswerte Leistung, wenn man bedenkt, wie lange er schon dabei ist. Wenn man sich in die richtige Stimmung versetzt, fragt man sich, ob alles, was er bisher veröffentlicht hat, eine einzige Vorbereitung auf dieses Album war. In der heutigen Zeit ist es auch erfrischend, ein reines Ambient-Techno-Album zu hören, das absolut nichts mit „Boards of Canada“ zu tun hat.

Mit anderen Worten: Es ist ein Meilenstein für das Label und das Genre.

Andy Kellman

Copyright 2025 TiVo Corporation

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21,81

Last In: 12 months ago
DJ Narciso - Diferenciado

Dj Narciso

Diferenciado

12inchP056LP
Príncipe
11.04.2025

Narciso has been running parallel to most of his contemporaries, staying close to the main lane but researching in his own distinctive way. He takes pride in "being free from limitations and conventions. To me, music doesn't follow fixed rules; it is a field for experimentation, where any sound can be transformed into something pleasing to the ear". Depending on what one considers "pleasing", this is a pretty challenging set of tracks. The artist never loses the balance, though, mindful of a certain "dance" context in which this music thrives, but it is also that same context that is being constantly twisted and reshaped into other forms. Some of those provide fresh ground for others to follow; some are of such individuality that no one else dares disturbance; some quickly return to a safer way of communication.

"Diferenciado" does communicate, but like words can be changed to sound different and still mean the same, such are music and sound with Narciso. It's not about alienation of the listener nor alienation of the self from the surrounding areas. "I believe music is present in everything around us." And if anyone can say her/his/their music "reflects vision, experience and perception", you know the end result is not often surprising or even that different from previous examples. Well, we stand by "Diferenciado" in its obvious distinctiveness, and if all the blurb so far may read like a nervous justification it's just because of the excitement in helping put this out into the world.

As a founding element of RS Produções, where Nuno Beats, DJ Lima, DJ Nulo and Farucox are also found, Narciso has been contributing to a spiritual and creative atmosphere that permeates the environs of Lisbon where that golden, inspired air has to fight for space with many kinds of instability. The beauty and drama of opening tracks "Ziu Ziu" and "Cabelinho" (this one with mate Farucox) should be able to touch any sensitive soul that appreciates the quirkiness often attached to pure expression. As in "Pipipi" too, for example, where melody and rhythm gently and moodily lead you into a brief but sudden interruption feeling like a change into another state of being. Do not shy away. Narciso steps up as himself, not as representative of whatever or whoever.

pre-order now11.04.2025

expected to be published on 11.04.2025

25,17
Dubfire - I Feel Speed (2025 Remixes) (LP 3x12"

SCI+TEC celebrates a pivotal moment in its history with the release of I Feel Speed (2025 Remixes), a special project revisiting one of Dubfire’s earliest solo works and one of the label’s foundational releases. Originally released in 2007, Dubfire’s cover of Love and Rockets’ “I Feel Speed” marked a bold venture into uncharted territory, with the Grammy-winning artist taking on vocal duties himself to reimagine the iconic ballad.

In Dubfire’s own words, “Throughout my career, I’ve made no secret of my love—bordering on worship—for Love and Rockets (and, of course, Bauhaus). Tackling their soft ballad ‘I Feel Speed’ in 2007 was a daunting but transformative experience. Over the years, fans and colleagues have kept their love for that cover alive, which makes this new remix package even more meaningful.”

This release brings together a stellar list of artists, each offering a distinctive interpretation of the classic. Stephan Bodzin adds his signature emotive touch, while Yulia Niko dives deep into hypnotic textures. SNYL, whose admiration for the original track sparked the project, delivers a rework that strikes a balance between reverence and reinvention. Rafael Cerato and Laherte craft a dynamic reinterpretation, and indie dance pioneer Erol Alkan offers a genre-blurring remix full of energy and innovation.

I Feel Speed (2025 Remixes) is a testament to Dubfire’s enduring legacy, the timeless influence of Love and Rockets, and SCI+TEC’s continued role as a beacon of innovation in electronic music.

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33,19

Last In: 3 months ago
Inner Lakes - Dislearn Ep

2025 Reissue

Exhibiting a solid background as a mastering engineer, Inner Lakes has spent quite some years locked in his studio (located between two of the biggest internal lakes in the north of Italy), to perfect his vast experimental sound. The use of modular synths, modified machines and sequencers is prevalent throughout his work. Defined in his own words as a "contemporary DJ tool" the forthcoming four tracker debut EP is set to be released via Vae Victis Records. The record is far from just a 'tool' with multilayered textures encompassed in dreamy soundscapes and a heavy driving energy throughout. His perfection in his work and passion for all things sound are a major catalyst for his sets. A mixture of unreleased material, futuristic sounds and hard hitting classics is what you can expect.

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9,87

Last In: 6 months ago
Stefan RINGER - Fever

Top tier US house head Stefan Ringer has many different styles up his sleeve and many of them come to fore on this new dance floor heater on his FWM Entertainment. 'Fever' is built on fat, mid-tempo drums with rattling hits and congas peppering the beats next to snippets of vocal that bring a sense of sensuality and sexuality as pixelated synths also make their mark. On the flip, the remix by Ben Hixon has jazzy, live-sounding percussion and deft drum patterns that are organic and loose. Vamping chords build some energy while steamy vocal words layer in intimacy and emotional intensity. It's a brilliantly original sound packed with real heart.

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25,63

Last In: 9 months ago
Cousines Like Shit - Permanent Earthquake (LP)
  • A1: To-Do-List
  • A2: No
  • A3: Frenemies
  • A4: Boring
  • A5: Blood Young
  • B1: Sober At The Club
  • B2: Transformation
  • B2: High

Cousines like Shit heben ihren Avant Trash-Sound auf ihrem zweiten Album 'Permanent Earthquake' auf ein neues Niveau!

Zwischen markant und catchy, den cleveren, oft doppelbödigen Texten und ihrem charakteristischen zweistimmigen Gesang bleiben die Cousines like Shit ihrem hauseigenen Avant Trash auch auf ihrem zweiten Album treu. In ihrer Energie jedoch heben die Cousines ihre Songs auf ein neues Niveau. Boring is the worst word that I know, singen sie auf dem dritten Song Boring und machen damit auch klar, was man sich von den 8 Songs in flotten etwa 26 Minuten Laufzeit erwarten, beziehungsweise nicht erwarten darf.

pre-order now11.04.2025

expected to be published on 11.04.2025

21,81
Damian Lazarus - Magickal LP 3x12"

Audio alchemist Damian Lazarus continues to redefine the boundaries of electronic music with his fifth studio album, ‘Magickal’.

Renowned for his unparalleled ability to craft transformative sonic journeys, Damian Lazarus is a master of rhythm, melody, and vibration—a true pioneer among his generation’s visionary artists. Damian’s broad depth of experience encompasses a variety of disciplines: tastemaker, selector, label owner, A&R and a Grammy-nominated artist in his own right - each informed by his unique ear for sound. He is chief wizard of the hugely influential and culture-defining Crosstown Rebels label, a globally renowned DJ with a penchant for exotic outdoor locations and a highly regarded recording artist with four albums and a plethora of solo cuts, collaborations and remixes in his sprawling discography.

With his fifth album, ‘Magickal’, Damian steps into his next evolutionary phase, combining his newly found sobriety with a more mature outlook while still pushing boundaries and creating unforgettable moments. At the root of it all is the magical power of togetherness and human connection that only music can facilitate. Driven by this core ethos, Damian continues on his mission to share his heartfelt music, taking the dance floor into unexplored realms of experience, facilitating moments of transcendence, bliss and pure, unadulterated magic.

Damian Lazarus, the avant-garde architect of spiritually nourishing sounds, is joined by a stellar lineup of collaborators on his latest excursion. It’s imaginative and mystical, rhythmically captivating and daring in its own way, as is typical of Damian’s approach. Taking consideration of his past, the album references his previous work to create a tapestry of compositions that tap into the energy of key moments from his discography. Drawing on his existing catalogue creates cohesive through lines and thematically serves as a continuation of previous stories. November’s single, ‘Sunrise Generation’, for instance, works as a companion to ‘Vermillion’, which was recorded by Damian with his band The Ancient Moons and vocalist Moses Sumney back in 2015. ‘Sunrise Generation’, featuring the beautiful vocals of Fink, was Damian’s first major release since his Grammy-nominated 2021 collaboration ‘Don’t Be Afraid’ with Diplo and Jungle, and continues to take inspiration from global gatherings at solstice and those moments of collective awe at sunrise.

Indeed, the album’s themes of mental elevation and psychedelic sonic journeys are evident throughout. Damian channels this energy through tracks like the soulful ‘So Low’, featuring the incredible Zoe Kypri, and the luminous ‘Searchin’, with Jem Cooke, whose collaboration with Damian dates back to ‘Flourish’ (2020) and lead single ‘Into The Sun’. Uplifting is the operative word here, as Damian aims straight for our hearts and inner selves, stripping away the layers to take us on a trip inwards, and out into the ether all at once. There’s a clear nod to Damian’s appreciation of amapiano when he teams up with Ghanaian interdisciplinary healer Jojo Abot on ‘Warrior Dance’. Old friend and inspirer Mathew Jonson brings his virtuoso touch to ‘Are You Dreaming?’, while TEED and A-Trak form an awesome alliance for ‘Falling Down’ with its heartrending vocals. ‘Alive’ features the Bloom Twins, and also additional production from acclaimed producer Mark Ralph, who incidentally worked on Damian’s debut album ‘Smoke The Monster Out’ in 2009 and forms another throughline to the past. ‘Alive’ blends pop sensibilities and song structure with Damian’s inimitable sound - and could become one of Damian’s biggest moments to date. ‘La Hija De Juan Simon’ delves into the Latin energy synonymous with vibrancy and self-expression as Damian teams up with acclaimed Spanish flamenco-influenced duo Mëstiza. On a solo tip, he rolls out with the eight-minute-plus soulful funk flex ‘Why Don’t U’.

In a suitably aligned instance of serendipity, the arrival of ‘Magickal’ comes at a pivotal period in Damian’s life, just as it has been with previous album concepts. Albums made and released during big shifts in his life speak to the correlation between growth, personal evolution, creativity, catharsis and sharing that process musically. The last album ‘Flourish’, for instance, was recorded and released in the space of a few months during the first summer of the global pandemic. As a result, there’s a kind of vulnerability in the music, a subtle story that’s being told with emotional touchpoints that will be relevant to anyone listening. The universal human experience and spectrum of emotions are things almost everyone can relate to. With the enhanced clarity of his sobriety, Damian’s compositions embody the uplifting nature of simply being alive, connected and unified in our love for music and one another.

Day Zero, Damian’s iconic annual festival, is intrinsically linked to ‘Magickal’. It’s the setting for his imagination when producing the music, it’s the launchpad for each year’s kaleidoscopic adventures around the world, and this year’s edition will be the backdrop to the release of ‘Magickal’. As the pinnacle of Damian’s annual experiences, Day Zero marks a vital milestone for his artistry, an extension of his inner realm, carefully curated and created for his global family of lovers and dancers to revel in the awe-inspiring beauty of Mother Nature. Central to the ethos of Day Zero is its sustainability practices and deep consideration for the locality within which it is held. Connections with local elders embolden its depth, cultivating a strongly aligned purpose with the ritual, customs and energy of the land and its people.

‘Magickal’ will be released in the same week as Day Zero, tying the two projects together in a neat dovetail. 12 years since it started, Day Zero continues to play a significant role in the music Damian makes, curates and plays. For him, it’s the epitome of his vision: a stunning natural setting, the very best party people from around the world, an unparalleled lineup of friends and family, high production values, eco-centric policies and music from another dimension. With these interdimensional transmissions, Damian channels his inner alchemist, which, in turn, permeates into the vibrational framework of ‘Magickal’.

Never one to adhere to convention, Damian has opted for a disruptive album release. ‘Magickal’ is to be kept under wraps and then announced and released on Crosstown Rebels on 8th January 2025, bypassing the modern trend of prolonged single drops and ‘tombstone’ album releases. ‘Magickal’ is the embodiment of Damian and his intentional, against-the-grain approach and reinforces the album as a complete artistic statement, offering listeners the full cohesive experience from the very beginning. This is a return to the album as the pinnacle moment and not the afterthought. Singles, edits and remixes will follow the ‘Magickal album’ release, and, of course, there will be a world tour to promote the album (including Glastonbury and Coachella) and a chance to present the album in exciting, innovative and unique ways.

Forever dreaming, a sincere student of magic, new and old, social sorcerer, lover of nature and master of musical wizardry, Damian Lazarus is a potent force. With ‘Magickal’, he reaffirms his place as one of electronic music’s most influential figures, taking listeners on a profound journey into sound, spirit, and connection.

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40,76

Last In: 46 days ago
Dennis Brown - Tribulation Times

Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. Overseas success also came Browns way with crossover hits like the massive ‘Money In My Pocket’. He will always be fondly remembered on the sound systems across the caribbean as the Crown Prince of Reggae.

Dennis Brown (b Dennis Emanuel Brown,1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodds Studio One stable. His first hit in 1969 a cover of Van Dykes ‘No Man Is An Island’ still stands the tests of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and
studio’s perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. Where many of the other producers stayed with the tried and tested Lovers Rock formula that did prove so popular with Dennis’s voice, producer Niney the Observer as he is fondly called, pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.

Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ‘Here I Come’ (a live favourite that Dennis always liked to start his set with) and ‘Children of Israel’ made these both strong roots era albums.

We have stayed with this period for our Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit ‘Money In My Pocket’ (1979) produced by Niney but often credited as a Joe Gibbs production as it was released (and sweetened by adding Orchestration for the foreign market place) on his label. By the way this is the original Jamaican version (unsweetened) that you will find on this album a more truthful version in our humble opinion. His voice reigns supreme across these Niney produced cuts ‘Smile like An Angel’ ‘Silver Words’, ‘Play Girl’ and the fantastic ‘Poor Side Of Town’ (helped along by the great harmonies of the Heptones group), ‘Tribulation’ and ‘We Will Be Free’. Dennis Brown’s prolific catalogue of tunes that also found an outlet on his own DEB inprint (named after his initials) stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself...Tribulation Times indeed and long may the records of the Crown Prince of Reggae Dennis Brown rule the world.....

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13,40

Last In: 13 months ago
DEAD PIONEERS - PO$T AMERICAN

Dead Pioneers

PO$T AMERICAN

12inchHOFFLPB470
Hassle Records
10.04.2025

Transparent yellow vinyl, limited to 300 copies. GSA exclusive Indie variant. 'PO$T AMERICAN' is the second full-length album by Dead Pioneers. Written in February and recorded in July, it preempts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band's 2023 self-titled debut. "Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us" says vocalist and songwriter Gregg Deal. "The title PO$T AMERICAN informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab." The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES, and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys. Overall the resulting feeling across the new album is one of cautious optimism: "Although we didn't expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need." It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

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23,11

Last In: 13 months ago
Dream Theater - Images And Words Demos LP
also available

3LP + 2CD[36,09 €]

3LP + 2CD[31,13 €]


'Images And Words Demos (1989-1991)' wurde ursprünglich 2005 auf Ytsejam Records veröffentlicht und dokumentiert eine besondere Zeit für die Band, als sie sich auf die Veröffentlichung ihres bahnbrechenden Albums 'Images and Words' vorbereitete. Diese Sammlung enthält Instrumentalversionen von Dream Theater -Klassikern wie 'Take The Time' und 'Learning to Live'. Außerdem sind seltene frühe Versionen einiger der bekanntesten Songs der Band zu hören, wie z.B. 'Oliver's Twist', der später zum Fan-Favoriten 'Pull Me Under' werden sollte. Außerdem sind die Originalaufnahmen der Probeaufnahmen zu hören, bei denen Dream Theater James LaBrie als ihren neuen Sänger verpflichteten. Remastered und zum ersten Mal auf Vinyl erhältlich, ist dies ein faszinierender Blick auf die ersten gemeinsamen Tage der Band. Diese neueste Ergänzung zu den 'Lost Not Forgotten Archives' ist als 2CD Digipak, Gatefold 180g 3LP+2CD und als Digitales Album erhältlich.

pre-order now04.04.2025

expected to be published on 04.04.2025

26,68
Eliza Niemi - Progress Bakery
  • A1: Do U Fm
  • A2: Novelist Sad Face
  • A3: Green Box
  • A4: Dusty
  • A5: The Linda Song
  • A6: Dm Bf
  • B1: I Tried
  • B2: Melodies Like Mark
  • B3: Wildcat
  • B4: How U Remind Me
  • B5: Pocky
  • B6: Bon Tempiii
  • B7: Pt Basement
  • B8: Alberqurque Ii
  • B9: Mary's
also available

Yellow Coloured Vinyl[29,37 €]


Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

pre-order now04.04.2025

expected to be published on 04.04.2025

27,10
Eliza Niemi - Progress Bakery

Eliza Niemi

Progress Bakery

12inchTAR118SX
Tin Angel
04.04.2025

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

pre-order now04.04.2025

expected to be published on 04.04.2025

29,37
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