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In Frank Herbert’s 1973 novel Hellstrom’s Hive, the Dune writer tells of a sinister narrative surrounding the maverick scientist Nils Hellstrom, who has created subterranean Hive of 50,000 insect-human hybrid life-forms. Ultimately his plan being for the inhabitants of the Hive to usurp humanity and take over the world. The decade thus far may not have seen anything quite so daunting, but it’s provided more than its fair share of challenges. Yet in such dystopian environments, Teeth Of The Sea flourish. This band has created a kaleidoscopic inner world all its own in Hive, their sixth and most outlandish album. Fundamental to Teeth Of The Sea’s mission thus far is that this band can go anywhere and make short work of any obstacles in their path. Inspiration flowed into Hive from all dimensions, with the band’s sphere of influence expanding to take in everything from Italo-disco to minimal techno, from dubbed-out studio madness to their most brazen forays thus far into pop songwriting. Here is a headspace where the psychic charges from records by Labradford, Nurse With Wound, Vangelis, The Knife, Nine Inch Nails and John Barry can happily co-exist. Hive is more than just a transformative force from subterranean origins. It’s an alchemical headspace where monochrome animates into vivid colour. It may not be a carefully ordered insectoid militia set to overthrow society, but it’s a transmission which transcends anything Teeth Of The Sea have thus far offered in their time on Earth. Step inside Hive, if you dare

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Genres collide and combine with an unraveling of blissful layers on "Parabolas".

Embark on an extraordinary sonic journey with these four mesmerizing pieces of art, each leading you to distinct destinations waiting to be unveiled. In collaboration with Traumer, Dragutesku delivers an enchanting masterpiece that is bound to captivate electronic music enthusiasts worldwide.

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HI-LO returns to Adam Beyer’s label for a sharp new outing ‘WANNA GO BANG’. The new track comes almost a year on from his energetic Drumcode debut ‘Hypnos’, which was followed by his remix of Adam Beyer & DJ Rush’s ‘Restore My Soul’. Oliver Heldens’ techno alias HI-LO has been building steam over the last 12 months, remixing Nina Kraviz’s ‘Skyscrapers’, sharing line-ups with everyone from Erol Alkan to PanPot and Enrico Sangiuliano on the world’s biggest stages, while also collaborating with Reinier Zonneveld, Eli Brown, and Space 92. All the while he’s kept in contact with Beyer, a sophomore offering on Drumcode always on the cards. ‘WANNA GO BANG’ is a high-powered Chicago-influenced weapon, that takes its vocal from the DJ Deeon classic ‘2 B Free’. HI-LO’s cut sees the vocal combine with a volley of drums throughout the mid-section, which adds a clever dynamic energy to the track. Already teased in HI-LO’s sets, and widely supported by the underground’s finest including Beyer, Amelie Lens, Enrico Sangiuliano, ANNA, and many more, ‘Wanna Go Bang’ is set to dominate clubs worldwide. Included in the pack, ‘LOKOMOTIF’ is five minutes of pure machine funk as HI-LO crafts a fantastic little groover driven by 90s house synths stabs. The track which has been in the works for the past two years has been teased in HI-LO’s sets over the summer, also garnering support from Carl Cox. On both tracks, Oliver Heldens says “‘WANNA GO BANG’ is my take on Chicago legend DJ Deeon’s classic vocoder vocal sample (from his 1992 song “2 B Free”, but it’s pitched down 5 semitones now which gives it such a dark vibe). I’ve always wanted to make my own DJ weapon version of it since I heard Bjarki’s trippy version in 2015, and I’m really happy with how it turned out, it’s such a monster! “LOKOMOTIF” is a high-energy groover, driven by 90s House synth stabs, funky percussion and banging drums, and it sits very nicely in between Techno and House. Both are really ‘dance floor’ focused, so I’m very pleased that many noteworthy DJs have been banging out these tracks in their sets already pre-release. And I couldn’t be happier than to see them released on one of my all-time favorite labels, Drumcode!”

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Diferit Records will focus mainly on young talented producers who will get the chance to perfect their skills, reaching step by step to a higher quality profile set by the CWR standard. Also, they will learn first hand how to sail smoothly through the ruff terrain of the musical industry, aided at all times by dedicated people. Having the necessary tools and the right amount of passion, Diferit Records prepares artists to embrace their careers in a professional manner and take them to the next level. Join the team and tomorrow you just might have the whole world cheering for you !, we support House, Tech-House, Deep-House, Minimal-Tech-House, Techno.

The Horn Track was created by Missile Records founder Tim Taylor in 1992. Released on the iconic FFRR imprint it crashed into the rave psyche and has been an ever present since.

Influential to dance generations worldwide and sampled by the likes of The Prodigy and RL Grime, The Horn Track does not sound like any other track. The Original and Micky Finn remixes are remastered and joined by a kick ass drum and bass remix from Blade of ONE7SIX Records.

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Blue Lake is the musical moniker of American born, Copenhagen based multidisciplinary artist and musician Jason Dungan, who signs to the Tonal Union imprint for the release of his new longform album ‘Sun Arcs’. It follows 2022’s release ‘Stikling’, earning a nomination for ‘Album of the Year’ at the Danish Music Awards plus warm praise from The Hum blog and musicians and DJs alike including Jack Rollo (Time is Away/NTS) and Carla dal Forno. A self taught player, Dungan began freely experimenting with self-built multi-string instruments, preferring to build his own hybrid 48-string zither and working in the realms of left-field ambient music, off kilter folk and improvised acoustic minimalism.

The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the idyllic Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.”

The album’s immersive world unfolds with the opener ‘Dallas’, an ode to his home state and a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material much like an artist would, recording and reviewing, adding and subtracting.

Musically it portrays a form of double life led by an American-identifying person living in Scandinavia, and a new found presence in Denmark, seeking out underdeveloped marshlands and barren stretches of beach adrift from other rhythms and distractions. Highlighting their individual and potent importance Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new glorying heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, borning his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery.

The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile /Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

The organic minimalism of composer and producer Kirk Barley is collected on his new studio album Marionette, released via Odda Recordings.

Whether drawing from field recordings, found sound, instrumental improvisations or synthetic processes, Barley’s compositions evoke unfolding sound worlds, as simple ideas or motifs are layered and developed into complex set-pieces that reveal themselves over time.

Marionette showcases the breadth and variety of the Yorkshire-born artist’s sound, weaving together familiar and uncanny moods of rural England and its Victorian architecture, as suggested by the gated garden print of the album’s cover. Unfurling between physical textures – the patina of vinyl crackle or gentle rain – and the hyper-real spaces that his music inhabits, Barley describes the compositions as “landscape or static scene paintings,” with many of the album’s tracks taking nature’s rhythms as their compositional cue.

On ‘Seafarer’, this manifests in the repeated synth swells of a boat on rough waters, while title track ‘Marionette’ imagines an eerie scene, were shadows flicker by an open fire. Similarly,‘Lake of Gold’ layers plucked strings at different scales and velocities to create what Barley calls the “rain-like quality” of the rhythm.

Drawing from jazz, minimalism and techno, Barley focuses on the detailed qualities of sound, experimenting with time signatures, temporals and tuning systems. His esoteric alter-ego Bambooman (2013-2018) found a home on Matthew Herbert’s Accidental imprint, releasing the album Whispers in 2017.

In contrast, under the pseudonym Church Andrews (most notably in collaboration with drummer Matt Davies), he produces synthetic, often beat-focused music, using digital synthesis and algorithmic composition techniques, with the live drum performances triggering and modulating Barley’s synths. The duo has recently performed at festivals such as Rewire and Waking Life, filmed sessions for Fact Magazine and Slate & Ash, and recently had their music played out by Aphex Twin.

Under his own name, Barley released his debut album Landscapes in 2019 on 33-33 Records and received support from the likes of NTS Radio and BBC 6 Music. Barley has performed at events across the UK and Europe alongside the likes of Andy Stott, Beatrice Dillon, Jan Jelinek, MF DOOM and Madlib. He has also completed commissioned work for the British Art Show, Camden Arts Centre, MSCTY and the Open Music Archive.

Vladislav Delay presents the fifth and last EP in his "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

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Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

From the Dolls-meets-the-devil opening title track to the desperate Sister Lovers-adjacent finale "The Findings," The Interrogator is thirteen vibrant, crackling, scary and hilarious songs which taken together represent nothing less than a thorough and thrilling moral inventory of our decadent and depraved times. Following up and doubling down on the themes of last year's lionized cult favorite For Executive Meeting, Elizabeth Nelson has authored an album as politically potent and pointedly hilarious as antecedents like The Mekons' Rock 'n' Roll and Neil Young's on On the Beach and wed it to the sound of ZZ Top's Eliminator. As writers like Rob Sheffield and Robert Christgau have known for years Elizbeth Nelson has been one of our very best songwriters for going on a decade. On the charged anthem "Bad Day for the Group Chat" she reassesses the current state of affairs: "I have bested all my peers." “Elizabeth Nelson showcases the simultaneously fraught and giddy frequency of our weird, wired world. The Paranoid Style may be the bearer of bad news, but at least the band bears it smashingly.” NPR // “You’ll forgive them for being critic’s darlings because they’re also the goddamn life of the party.” SPIN // Features performances by Peter Holsapple of The dB’s, Continental Drifters & REM through out. Elizabeth Nelson writes for the Oxford American, N.Y. Times, Pitchfork, The Ringer and more. She has over 15,000 followers on Twitter. A

White vinyl, limited to 500 copies. Liam Cromby, known for his work as the lead singer and songwriter of We Are The Ocean until 2017, has today announced his forthcoming debut solo album What Can I Trust, If I Can't Trust True Love, due for release on December 1st 2023, also sharing the title track, available to stream/download worldwide now. "Drawing from my own experiences, this song is a testament to those early, fragile moments of a relationship_where every misstep feels like a fall and every kind gesture feels like flying," he explains. "Choosing to name the album after this song was instinctive, given that it was among the final tracks to be crafted. Even though it came later in the creative journey, it perfectly embodies the central theme of the album." Since revealing the first taste of new music in March, with the release of `Here I Am' - accompanied only by a contemplative, artful film featuring an elaborate dance between two performers - followed by `Breakdown', and last month, `At This Table', this new phase of his career is already off to an impressive start. With early airplay from BBC Introducing and Absolute Radio Country among others, an appearance at The Great Escape festival and sold-out headline shows across the country, Cromby was invited to play at the prestigious Black Deer Festival of Americana, and along with a full-band set, joined Brandy Clark, Drake White, Elles Bailey and Bella White for a Songwriter Session. Although recorded in a matter of days, the project was at least five years in the making.

Oceanvs Orientalis and Ilhan Ersahin first entered each other's orbits by chance at a performance at Turkey's Cappadox Festival in 2018. Oceanvs Orientalis is renowned for his fusion of Eastern musical
motifs and traditions with cutting-edge electronica while Ilhan Ersahin has long plowed a unique path uniting assorted musical strains from around the world via an exploratory jazz-improv sensibility.

Following two tracks ("Mesta" and "Pire") co-written by Ilhan and OvO and released as collaborations, and two more Ersahin/OvO co-writes ("Revenge Of The Wankers" and "Television") released under OvO's name alone, a fresh and exciting new song called "1980" now heralds a full-length collaboration slated to land in Spring 2024.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

COTONETE is back!

After releasing numerous and now collectable standalone singles, plus some now famous collaborations with Dimitri from Paris, 2019 saw Parisian based 8 piece, Cotonete release their first long player in 15 years! Under the guidance of Melik Bencheikh from Paris’ rare record emporium, Heart Beat Vinyl. The dark moody mover "Super-Vilains" came out to great success on Heavenly Sweetness.

After playing some packed live shows around France and the UK, including the acclaimed Sunday at Dingwalls in Camden, hosted by Gilles Peterson and Patrick Forge. Somewhere along this part of the journey, they came across the Brazilian music legend and vocal powerhouse, Di Melo. He softened their souls, and from this love affair came the album "Atemporal". Released on Favourite Recordings, this 8 track album would end up being sampled by Canadian superstar Drake, for his 2023 album ‘For All the Dogs Scary Hours
Edition’.

So now into 2024, and we have Cotonete full length number two. They’ve enlisted the producer Guts to guide them towards sunshine, groove, warmth and all the colours in his rainbow. With their tongues firmly in their cheeks, the album is titled ‘Victoire de la Musique’ - a dig at the annual French music award ceremony. Taking the band deep, producer Guts showed them new and exciting rhythms from all corners of the world. The record’s first example of this is ‘Venezuela’, a track directly inspired by the jazz funk from the great Caribbean nation.

Other key musical exploration on the record can be attributed to the late composer Francis Lai. On ‘Cinq Pour L'aventure’ - an almost 15 minute epic monster showcasing the band’s love for 70's French movies soundtracks. “L’aventure c’est l’aventure”, was a movie by one of the most famous French directors Claude Lelouch The single from the soundtrack was sung by French music superstar Johnny Halliday.

Guests are scattered very tastefully across the album, on the only cover version of the record, the Brazilian master Jorge Ben’s ‘Bebete Vãobora’, Sabrina Malheiros was invited to lend her lungs. The daughter of Azymuth’s Alex Malheiros helps join perfectly the dots from a band that are without a doubt Cotonete’s biggest influence. Brazilian jazz funk, now with an added French touch.

On ‘Day in Day Out’ a powerful performance is given from Leron Thomas on vocals and trumpet. Perhaps also known for his role as the musical director for Iggy Pop and touring member of his band. This track is an already tried and tested dance floor filler, emphasizing just how tight the band really can play - the track even found its way into BBC Music’s Craig Charles’ ‘Track Of The Year’ selection.

No record so soulful would be complete without a trip to the UK. Omar, London’s Godfather of New Soul pops in. Having recorded with artists like; Courtney Pine, Level 42 & Erykah Badu, in his distinctive smooth style, he blesses the track ‘What Did Run You For?’ The final vocal visitor is Gystere Peskine, a Parisian based musical hero, who shows off his retro future funk feels on ‘O Ceu es Preto’ - which literally translates as ‘the sky is black’ - although given the hugely uplifting and almost Gospel Soul of this Russian/Brazilian singer, he
has us seeing things far brighter.

Cotonete have endeavored to build a worldwide rainbow warrior team of merry boys and girls. Fighting the brave fight to shine light towards the fact that music will always win…. "Victoire de la Musique" - a symphony of spring, songs of the new world, a "Victory Of Music”

Harm’s Way is Duck Ltd.’s most intuitive and organic album yet, the result of keen observation, self-possessed songwriting, and a collaborative spirit. Building on the successes of their previous releases, the deeply relatable album displays a band operating at a nuanced, lyrical and musical best.

Ducks Ltd. make inviting and frenetic guitar pop for when life feels overwhelming. While the band’s songs are ostensibly breezy, a palpable anxiety boils underneath that communicates something deeper about everyday existence. On their latest album Harm’s Way, the Toronto duo of Tom McGreevy and Evan Lewis hones in on interpersonal and societal collapses, urban decay, and the near-impossibility of keeping a level head when everything around you seems to be falling apart.

“They’re songs about struggling,” says singer and lyricist McGreevy (who also plays bass and rhythm guitar). “About watching people I care for suffer, and trying to figure out how to be there for them. And about the strain of living in the world when it feels like it's ready to collapse.” 

Even with its often dark subject matter, Harm’s Way is Ducks Ltd.’s most vividly rendered and collaborative collection yet. It’s an undeniable evolution for the band, not just in how these songs soar, but in their entire writing and recording processes. Composed on tour while supporting acts like Nation of Language, Illuminati Hotties, and Archers of Loaf, the album displays the band’s finely tuned songcraft and well-earned, road-tested confidence. “When we got signed, we had played maybe five or six shows ever. After last year, it’s in the hundreds. That experience can change your perception of your own music and songwriting,” says McGreevy. “In the past when we got stuck on a song we had a tendency to look at our favourite records to see how they tackled it. But now, instead of asking ‘what would Orange Juice do?’, we’d ask, ‘what would we do?’.” Lewis adds, “We have this really great thing where every decision with the band is filtered through both of us. Here especially, we really figured out how to make something that truly sounds like us.”

The band, fortified by this strong sense of sonic identity and a self-assurance in their new material—and in contrast to their critically acclaimed 2021 debut Modern Fiction and 2019 EP Get Bleak, both self-recorded and self-produced in a Toronto basement—wanted to bring Harm’s Way to life in a new city, with an outside producer, and with some of their favourite musicians. “We realised that so many of our favourite bands who are making guitar music right now are from Chicago,” says McGreevy. Working with producer Dave Vettraino (Dehd, Deeper, Lala Lala), they enlisted a marquee cast of Windy City collaborators to round out the tracks on Harm’s Way, including: Finom’s Macie Stewart (violin, string arrangements); Ratboys’ Marcus Nuccio (drums on most tracks); Dehd’s Jason Balla (who helped arrange the backing vocals, to which he also contributed); and backing vocals from Julia Steiner (Ratboys), Nathan O’Dell (Dummy), Margaret McCarthy (Moontype), Rui De Magalhaes (Lawn), and Lindsey-Paige McCloy (Patio). The band’s touring drummer, Jonathan Pappo, and bassist Julia Wittman also appear on the LP.

Ducks Ltd. are a band that already thrives on skirting the edges of buoyant jangle pop and driving power pop, and the duo credits these collaborators with helping to push their sound even further. “Historically our process has been really tightly controlled and insular. On this record, we worked with people who we trusted with a pretty wide range of musical backgrounds and they had approaches and ideas that helped open up the record's sonic palette,” explains McGreevy. “Jason thinks about backing vocals in a totally different way than I do and is super intuitive with melodic ideas. Julia and Margaret have a really deeo understanding of harmony. Macie and Dave were comfortable with the idea of improvising string parts which took some of those layers in some surprising directions. Dave also has an amazing ability to create atmosphere on a recording, and encouraged us to use a bunch of different techniques, tones, and processes to achieve that.”

Harm’s Way’s lush, melodic swagger is clear from the first notes of opener “Hollowed Out.” A song about living with decline (inspired by a Toronto sinkhole), its bright, indelible catchiness serves in contrast to its lyrical unease. Anchored by Lewis’ shimmering electric guitar, “The Main Thing” laments growing apart from a person whose views you once shared while managing to toss in references to both the unglamorous lives of middle relief baseball pitchers and the occult. Other songs split the difference between country and krautrock, like the rollicking “Train Full of Gasoline,” which uses the 2013 Lac-Mégantic rail disaster in Quebec as a metaphor for self-destructive patterns. Meanwhile, “Deleted Scenes” mourns the absence of someone no longer in your life (even if for very good reasons) and recalls The Cure at their most direct, and closer “Heavy Bag” employs enveloping, mournful strings to evoke a sense of how misery frequently loves company.

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.

In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.

The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.

In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.

The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)

Alara Music is releasing the new album of OXY, the new stunning electronic project by Ivan Pavlov (COH) and Sasha Galianov (Shortparis).

OXY is a transient project combining talents of Ivan Pavlov, major electronic artist better known as CoH who has collaborated with Coil, and Sasha Galianov, the main force behind the electronic sound of the avant-garde performance collective Shortparis. The two once met at a festival where they performed a semi-improvised live set. The first performance sparked mutual interest in continuing joint experimentation, which, after a series of concerts, eventually led to this studio recording.

The name of the album is constructed of the two titles presented each on one side of the LP. The first side, AETHER, delivers a powerfully charged contemplative exploration, in which the two seem to carefully study the sound of each other's instruments. The search for balance between the analogue and the digital reveals a murky terrain of focused sonic pressure interwoven with potent silence filled with echoes. Towards the end, AETHER, amorphous in the beginning, gains structure and rhythm, as if preparing the listener to its more agitated sequel, GUST.

Side two, starting with trademark minimalistic patterns of CoH quickly picks up in intensity and wanders into the domains of digital heavy-metal, in which Sasha's menacing guitar riffs are meticulously disjointed in favour of power focus. Then GUST takes the listener through a minor apocalypse, past a few relieving joyful moments of temporal enlightenment, and towards a strange peace found in a disorienting, synth-framed collage of acoustic guitar sounds.

AETHER GUST is a record that requires listener's full attention, offering in return a captivating journey though peculiar landscapes at the intersection of the worlds of two adventurous music explorers, exchanging their sonic beliefs and passions. An intense journey through a landscape of contrasts, between the warmth of analogue sounds and the aridity of demanding electro, both minimalist and abundant. This journey, these intersections, but also this permanent encounter between analogue and digital, are magnified by the physical version of AETHER GUST: it comes as a bundle of both Vinyl + CD versions of the album, all in a 12" vinyl sleeve then nestled in a thick crafted carboard black embossed sheath.

Meltheads have been spreading wildfire on stages in Belgium and The Netherlands for a good while now, driven by the metronomically tight rhythm section of Tim Pensaert (bass) and Simon de Geus (drums), and fuelled by the razor-sharp and skilful guitar of Yunas de Proost. And then there’s frontman Sietse Willems, a man born to be on stage, like Morrison, Plant and Iggy Pop in one brutal and gnarly package. On 9 February they will be releasing the long-awaited debut album ‘Decent Sex’. The album kicks off with the title track, linking Stooges to The Doors, and not beating about the bush: it’s going to be at breakneck speed, and it’s going to be loud. Just 30 minutes later, once the final notes of fever dream Melvin have died out, ‘Decent Sex’ leaves you knocked out on the floor after an insane trip along blaring post punk, visceral noise, sweeping psych and good old rock ‘n’ roll. Part of the world is already turning its head, as renowned radio stations like KEXP and Radio X Manchester are picking up songs like I Want It All and Theodore, and fellow Antwerp based rock legends dEUS took them on tour, even as far as London’s Electric Brixton. Influential music magazines like Visions (DE), Clash and DIY (UK) dug up superlatives – and comparisons to The Birthday Party – for Theodore, a song about looking for (self) love, but also about the mess drug use can lead to. All not very uplifting, and most themes return in several songs, like the dark side to relationships and sex (White Lies, Decent Sex), or toxic masculinity (Vegan Leather Boots, Theodore again) and even politics (No One Is Innocent, Arbeit). Pretty heavy stuff, but wrapped in the highly infectious and piercing guitar rock Meltheads are serving, it’s going like a bomb. Decent Sex is out on 9 February, followed by release shows in Belgium, The Netherlands and Paris. At the end of January, Meltheads will vigorously kick off the year with a show at the highly influential ESNS showcase festival, where the part of the world that is still in blissful ignorance will get to know the brute force of Meltheads.

Decent Sex by Meltheads, released 9 February 2024, includes the following tracks: "Vegan Leather Boots ", "White Lies ", "No One Is Innocent ", "Gear " and more.

`La Camita’ is an incredible Latin funk nugget –recorded in Peru by Traffic Sound and later on by funk pioneers Black Sugar, comprising all the right ingredients to shake dance floors worldwide. Both takes on the song were released on records that today are extremely difficult to find in any condition. Latin party music in all its glory! Peru enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain’s and Los York’s, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music genres, as Peruvian bands kept an eye on the groundbreaking British and US artists. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career. In 1971 Traffic Sound recorded ‘La Camita’ where their Latin influences overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabás, they started to show a growing interest in disco music, resulting in some line up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on ‘La Camita’ was released in 1978 and adds a modern twist to the original song, becoming decades later a winner spin at the most discerning dance floors worldwide. Latin party music in all its glory!

Tony Boninsegna: Notes From The Underground 1986-1994 (Volumes 1 and 2) Cold Blow / Musique Pour La Danse

The story of dance music is littered with hidden heroes and underground activists whose immense contributions have been overlooked, ignored and under-documented. Tony Boninsegna, a producer who made and released countless classic cuts and forgotten gems during the acid house and rave era, is one such example.

Melding elements of all that was popular in underground clubs at the time to create his own dancefloor-friendly sound worlds, Boninsegna amassed a huge catalogue between 1986 and '94, while hiding his involvement via an array of oddball aliases and opaque pseudonyms. Boninsegna's story first came to light four years ago when he appeared in Join The Future: Bleep Techno and the Birth of British Bass Music, Matt Anniss's critically acclaimed alternative history of UK dance music in the rave era. Now Cold Blow has joined forces with Musique Pour La Danse to deliver a much-needed anthology of his greatest productions and
co-productions - many rare or hard-to-find - for the first time.
Featuring 24 restored and remastered tracks stretched across two volumes on vinyl and digital, including a handful of previously unreleased tracks and mixes, and accompanied by detailed sleeve notes by Anniss, Notes From The Underground 1986-1994 is a joyful celebration of one of British dance music's most under-appreciated artists. The full breadth and depth of Boninsegna's rave-ready catalogue, as well as an indication of
the sheer volume of aliases he utilised during the period, is explored in detail across the two-part compilation.

Fittingly, volume one features two previously unreleased recordings that mark his earliest explorations of the emerging house sound (both as The Rhythm Squad, with Richard Compton), alongside touchstone releases such as Zeco's 'The Witch Trials' (a 1989 production that marked his first outing on vinyl), celebrated workouts recorded with regular collaborator Mykey Tee (Lab Technicians' bleep-inspired 'We Gave U Life', Big Showdown's epic 'They're Here' and AEK's mind-mangling, bleep & breaks number 'Lick It'), and genuinely overlooked gems (the proto-tribal house of Pierrepoint's acid-smothered 'Tonnerre' and saucer-eyed rush of Estudiantes' 'Let The Music Into Your Mind').

It all adds up to the definitive musical retrospective of a genuine underground, rave-era hero whose time in the spotlight may finally have arrived.

COLOURED VINYL RE-ISSUE OF THE 12TH STUDIO ALBUM BY PROG-METAL FOREFATHERS FATES WARNING Deluxe RED VINYL edition of this 2016 release, the twelfth studio album from American progressive metal veterans Fates Warning. They are one of the most successful US-based prog bands who have sold over a million albums worldwide. Right from the impressive first minutes of this album, Fates Warning proves itself to be one of those rare veteran bands capable of delivering new material as poignant and powerful as their many high points of the past. Fates Warning rose to international fame in the 1980s and was ranked as one of the early "flagship bands of progressive metal" along with Queensrÿche and Dream Theater, who were responsible for creating, developing and popularizing that genre.

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and the second to celebrate the ‘90s, NOW – Yearbook 1990; 79 tracks from a fantastic year in Pop! Available on 4CD deluxe book format with 79 tracks , 4CD std digi with 79 tracks and 44 tracks from a fantastic year in Pop, pressed on gorgeous translucent triple orange vinyl. Disc One includes #1s from New Order, New Kids On The Block, Steve Miller Band, and The Beautiful South, as well as Pop smashes from The KLF, The B-52’s, Kylie Minogue, Whitney Houston Kim Appleby, and concluding with the theme from Twin Peaks, Julee Cruise’s ‘Falling’, Chris Isaak with ‘Wicked Game’ and Pet Shop Boys defining ‘Being Boring’. Dance floor-fillers kick off Disc 2 from Deee-Lite with ‘Groove Is In The Heart’, #1s from SNAP!, and from Adamski & Seal plus club classics from Bass-O-Matic and Adventures Of Stevie V with ‘Dirty Cash (Money Talks)’, plus the unexpected collaboration between DNA & Suzanne Vega. Disc 3 opens with the still-breathtaking interpretation of Prince’s ‘Nothing Compares 2 U’ from Sinéad O'Connor. Up next are film related hits; Maria McKee’s ‘Show Me Heaven’, from the ‘Days Of Thunder’ soundtrack, and the ‘Young Guns II’ track ‘Blaze Of Glory’ from Jon Bon Jovi

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

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

Zum ersten Mal überhaupt wird die Debauchery-Version von "Enemy Of Mankind" auf Vinyl erhältlich sein!
Aufgenommen von Dennis Ward und mit einem exklusiven LP-Cover-Artwork versehen, das von Thomas Gurrath gestaltet wurde.
Die Texte der 11 Songs sind wie gewohnt in Gurraths dunklem Fantasy-Universum, der World of Blood Gods, angesiedelt.

Black Screen Records, Lost In Cult Records and Chuhai Labs are proud to tee up, for the first time, this terrific Cursed to Golf vinyl featuring the complete and unabridged soundtrack from the inimitable Mark Sparling! Captured in its grooves are the energetic chiptunes that goaded you on from course to course, as you ascended from Purgatory to become a Golfing Legend. Relive your finest drives or be introduced to this world of caddie-ridden fantasy in this beautiful collection of fearsome hooks and catchy choruses. Mark Sparling shares with us some insight into his aims for the Cursed to Golf soundtrack: "Cursed to Golf was simultaneously some of the funnest and most challenging music I have had to write in a long time. The original pitch for the music was 'Castlevania meets Mario Golf,' and it took me some time to find a good balance that we were happy with. But I'm really proud of the end result!" Enjoy all your favourite tunes across this 2xLP set, presented in a thematic duo of 180g heavy duty records, one golf course green and the other ghostly transparent magenta. Brought to life with art from Crisppyboat, this playful gatefold reinterprets Cursed to Golf's iconography through a joyous new lens.

Franco-British artist, born in Birmingham suburbs in 1993, Albert Newton welcomes us into the metaphysical universe of his debut album scheduled for release early 2024 on Byebye records.

After releasing his first EP «Bedroom Posters (*Spring)» in 2020, Henry met a quantum researcher and an astrophysicist who opened his eyes to the reality and beauty of the scientific world we live in. These encounters would prove a major inspiration for the writing of his first album, «Twin Earth».

A 10-track album influenced by a wide range of musicians from Bowie, MGMT and Tame Impala to Frank Ocean or even Philip Glass. Produced by Max Baby (Hannah Jadagu, Goldie Boutilier).

The multilayered lyrics map the traditional rollercoaster of emotions as well as their place in the celestial architecture . Nothing is ever perfect on this twin planet, but Albert Newton looks upon it with tenderness and gratitude, and shares a much-needed optimistic vision.

Formed in Fullerton, CA in 1978, Social Distortion were one of the original LA punk groups and their first single was released on legendary LA punk label Posh Boy. But far more rare than that first single ("Mainliner" b/w "Playpen") is the unreleased EP Posh Boy's Little Monsters. This EP only made it to the test pressing stage back in 1981, and featured those two tracks from the first single along with "All The Answers" and "Justice For All." This is the absolute holy grail for Social Distortion fans and it's finally available in commercial form on two limited edition pressings for RSD 2019, black vinyl available worldwide and a Europe only red vinyl limited edition. Includes 2 bonus tracks.
“Of the 3 teenagers who recorded for me, one has died, another was believed to be dead and one became immensely wealthy from playing music. The one who did hard time in prison was not Mike Ness. It was the drummer Carrot, better known as John Stevenson, now living a very ordinary life in rural Florida.
I now count John as a dear friend. Apparently, he was only l6 years old when he rolled into the studio that day in April l98l, armed with a taped up pair of drumsticks. He played great as did both Mike and Dennis (RIP). This time there was no fighting in the studio over production values. I had promised Ness that we would not fight so once there was a minor disagreement over the artwork for the proposed l2", I dropped the project in favor of the Playpen/Mainliner 7" which sported iconic artwork from the band.”

This is a drug record, but not in the way you might think. Chances are, if you’re reading this you’re burnt out. You’re tired, you’re stressed, you’re working. You’re surviving. So what do we do? We consume. Turning to screens, alcohol, substances and transactional relationships for a quick fix of dopamine, a little endorphin rush, a sharp boost of oxytocin. As we move along, our tolerance for all of these things rises, and our capacity to operate without them falls. We block up our neurotransmitters, and need more and more hits just to function and feel human. Put simply, it’s addiction. It’s ruining our brains, taking over our lives, but it’s all so… gratifying. Set in a not-too-distant and - crucially - not-at-all-unrealistic future, Normandie’s fourth album, ‘Dopamine’ finds the band asking and answering two unsettling questions: what if we pushed our brains and bodies far beyond their limits? And what if we already are? “The whole album is about the chase for different highs and natural chemicals: oxytocin, serotonin, dopamine, endorphins, adrenaline…” starts frontman Philip Strand. “What if dopamine had to be clinically provided because we've burned through our receptors?” “Making this album futuristic and dystopian came very naturally when we started discussing the current state of the world. We’re all on overdrive. We’re upping the stakes all the time, and everybody has a higher tolerance now for stress in a way that nobody saw coming,” he explains.

The next space probe and the third of four releases from our VA Series is currently traversing The Third Room universe en route to the new world. On board, it carries various sonic relics - timeless and fascinating, much like the vastness of space itself.

Featuring four exceptional tracks by Anastasia Kristensen & CTRLS, Jayat, Nadia Struiwigh and UFO95, this release showcases sounds from long-forgotten times in an authentic, modern context. The T3R VA Series 03 is as timeless as space and time itself, destined to explore many more worlds.
Ensure you don't miss the opportunity to order your limited copy of this part of the series and reserve a ticket for an exciting journey to a new dimension.

Mastered & Cut by Sean Magee at Abbey Road Studios, London

OVERVIEW: Stylotone in association with The Bernard Herrmann Estate, The Hitchcock Trust and Universal Picturesis proud to announce the World Premiere Release of...Marnie. Composed and Conducted by Bernard Herrmann (Vertigo, Psycho, Taxi Driver)

A 4-Track 7” 45RPM Vinyl EP featuring music from the Original Motion Picture Soundtrack to Alfred Hitchcock’s 1964 Production.

“No composer contributed more to film than Bernard Herrmann, who in over fifty scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, Francois Truffaut, and Martin Scorsese.”Steven C. Smith, author of ‘A Heart at Fire’s Center: The Life and Music of Bernard Herrmann’

Jonny From Space is the moniker of Miami-based producer, DJ, and co-founder of Impacto, Jonathan Trujillo.

After two EP’s on Omnidisc and a few more self-released, Incienso is excited to announce his debut solo LP, ‘back then I didn’t but now I do’.

Loping drum loops, warbling synth lines, sun-streaked pads and voice amble into the depths of the humid world Jonny’s music inhabits, where tempos shift and often float off into the ether altogether.

In the words of JFS himself- this album is “built 2 chill”

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

Seasons come and go, so does the moods and modal alternations on Klofink's debut album that we humbly present to the world through this dear label of ours.

Pastoral soundscapes pierce through post-industrial dub riddims on this highly distinctive artefact recorded by Jämtland born and Malmö based producer and musician Linus Jönsson.

The profound and, albeit paradoxically, decorative sounds on this album consists of a minimal-maximal approach; few, well-leveled elements produces an almost ancient sounding sonic signature of sorts, perfect to immerse ourselves in over the many years to come.

Excessive Mobility, the second long player from the Norwegian industrial/ avant garde cult-band Munch (released 1990) was a document of movement further into their own world of droning soundscapes and theatrical approach, but also showed a more contemporary jazz detailed universe that was already lurking under the surface. Remastered by Lars Årdal of Munch.

Romuvos neues Album "Spirits" ist ein absolutes Meisterwerk, welches Heiling/Wardruna Vibes mit Dark Metal Riffs verbindet! Das muss man gehört
haben, um es zu glauben.Romuvos sind eine Folk-Metal-Band mit einem starken Fokus auf die baltische Kultur und Traditionen. Ihr Name und ihre
Mission sind tief verwurzelt in der Wiederbelebung der alten Praktiken und heidnischen Traditionender baltischen Völker vor ihrer Christianisierung.
Romuvos wurde 2014 als Ein-Mann-Band von Velnias gegründet, der als Leadsänger, Gitarrist und Keyboarder fungiert.Nach der Veröffentlichung
ihres Debütalbums "Romuvan Dainas" expandierte die Band, indem sie Freunde aus der Metalszene rekrutierte, um zu einer vollwertigen Gruppe zu
werden. Romuvos haben ihre Musik auf die Bühne gebracht und treten live für ihre Fans auf, wobei sie den traditionellen Stil einbeziehen und ein
fesselndes Erlebnis für ihr Publikum schaffen. Deren viertes Album "Spirits", kombiniert klaren Gesang, verzerrte Riffs und traditionelle Instrumente
mit Texten in Englisch, Litauisch und altpreußischen Sprachen.

WELCOME to 'Jettes Rock and Roll Palace! Make sure to grab a sweet treat from the snack bar, and don’t forget to bring your song requests to the DJ booth. Hope your skates are warmed up and let’s ROCK and ROLL! Hi-Tide presents the debut LP from the world’s premier surfing combo - The Surfrajettes!

Stanislav Tolkachev unveils his fourth EP on Semantica. This 12" entitled 'Vira' is probably h is most personal and deeper work to date; recorded in Ukraine between September 2021 and June 2022 it showcases a level of sensibility and rawness hard to find into the current techno scene.