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Killah Priest’s Mystery Channel EP is his first release on 600 Block Records after his acclaimed features on Pugs Atomz’ Test Drive LP in 2022. The EP, coming on limited edition vinyl, features two original productions from Tusk57, an amazing Tall Black Guy Productions remix, and instrumentals of all three tracks. Tall Black Guy’s remix of Mystery Channel is a soulful jazzy take on the EP’s namesake, bringing his signature style to his first collaboration with 600 Block Records. From humble origins in Detroit, raised on a healthy diet of Motown, Jazz and early Hip Hop...Tall Black Guy has become a standard bearer for the current hip hop beats scene. Through a steady stream of productions filled with incredibly clever sample flips and deft production chops, he has won fans across the world, including Gilles Peterson, Lefto, Jazzy Jeff, Questlove and countless others. Killah Priest made his first appearances on such Wu-Tang side and solo projects as Gravediggaz’ 6 Feet Deep, Ol’ Dirty Bastard’s Return to the 36 Chambers, and Genius/GZA’s seminal Liquid Swords. His contributions to those releases especially Liquid Swords’ “B.1.B.L.E. (Basic Instructions Before Leaving Earth),” essentially a Priest solo track paved the way for the release of the MC's acclaimed debut album, 1998's Heavy Mental, and a lengthy and respected career in the hip-hop underground. In addition to his prolific solo work, he was an integral member of the groups Sunz of Man, the HRSMEN (aka the Four Horsemen), and Black Market Militia. About Tuskb 7 - A musician turned producer, Tusk57 brings a live feel to recording sessions and is most at home leading a band in front of a live audience. He is a multi-instrumentalist songwriter who has released multiple records under many other stage names in various genres, garnering critical acclaim including a Billboard hit. He is how based in LA and is using this moniker to develop a signature textured sound for hip hop and soulful music.

Buffalo Nichols sophomore album, The Fatalist, is in stores September 15. Milwaukee, WI-based Buffalo Nichols today announced his anticipated new album The Fatalist will be released on September 15th, 2023 via Fat Possum, and shared its lead single: a dusky take on Blind Willie Johnson’s original "You're Gonna Need Somebody On Your Bond." The follow-up to his 2021 self-titled debut LP for Fat Possum–a critically acclaimed record that earned him his network television debut on The Late Show with Stephen Colbert, various major festival performances, and rave coverage via NPR Music (All Songs Considered, Tiny Desk (Home) Concert), Rolling Stone, Guitar World, Texas Monthly, and more–The Fatalist sounds unlike any blues record you’re likely to hear in 2023. The lead single’s video, directed by Samer Ghani, captures songwriter, guitarist, and vocalist Carl Nichols singing of salvation and relief in his soundscape that teems with the joyous claustrophobia of classic gospel. Sampled triggers of Charley Patton’s version connect the earliest blues recordings to the present, both singers’ voices urgent in their message. Nichols explains: “A traditional song made modern. Which aspects of ‘the Blues’ are essential? Is it a melody? A certain vocabulary? Delivery? Instrumentation? Is this still a blues song? And most importantly: who gets to decide? I tried to reimagine the blues with this song as if it were allowed to grow and progress uninterrupted, uncolonized and ungentrified.”

Worriers' new album Trust Your Gut is what happens when a queer Springsteen sleeper cell emerges to throw an indie rock house party. It’s the opening scene of Empire Records if it were soundtracked by Frightened Rabbit. It’s about yearning for a better self when you constantly feel neither here nor there. While that isn’t entirely about their gender, it’s absolutely a part of songwriter Lauren Denitzio’s lived experience as a millennial. After Worriers released an album the same week as the 2020 lockdown - and after a history of what can only be described as music industry slapstick comedy - Denitzio rebuilt their songwriting practice from scratch. Armed with a small artist grant, new collaborators, and a lot of time on their hands, Trust Your Gut was written by taking everything apart and putting it back together again. The album was written and arranged with drummer Atom Willard (Against Me!, Angels & Airwaves), pianist Franz Nicolay (The Hold Steady), and guitarist Frank Piegaro who joined the band in 2019. With bass recorded by Allegra Anka (Cayetana) and strings by Ethan Philbrick, Trust Your Gut crafts a world of heart-punching indie rock with pop and folk influences after a career of fierce punk-leaning anthems.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Seit fünfzehn Jahren ist Marilies Jagsch ein fester Bestandteil der Wiener Musikszene. Im Jahr 2008 veröffentlichte sie ihr Debüt "Obituary for a Lost Mind" und 2010 das Album "From Ice to Water to Nothing" auf dem von Clara Luzia gegründeten Label Asinella Records. Abseits ihres Soloprojekts arbeitete sie mit der Elektropop-Ikone Bernhard Fleischmann zusammen und wurde zu Gastauftritten u.a. bei A Life, A Song, A Cigarette, Love & Fist, Alien Hand Syndrome oder Wolfgang Frisch (Sofa Surfers) eingeladen. Derzeit spielt der Künstler in der Band Vienna Rest in Peace und arbeitet mit der in Seattle ansässigen Performance-Gruppe Saint Genet zusammen. Dreizehn Jahre nach der Veröffentlichung ihres letzten Albums ist es Zeit für einen neuen Namen: MAIIJA. Für ihr aktuelles Projekt haben Marilies Jagsch und Produzent Peter Paul Aufreiter (Hearts Hearts) einige der spannendsten Musiker*innen Wiens eingeladen, um die elf Songs des Albums "I AM" aufzunehmen, das am 15. September 2023 auf Noise Appeal Records erscheinen wird.

Dark Entries and Papi Juice Records team up for No Jack Swing, the solo electronic debut of multi-hype man Brontez Purnell. The Southern-raised, Oakland-based musician and writer has centered his queerness and Blackness in projects Gravy Train and Younger Lovers as well as in his award-winning books 100 Boyfriends and Since I Laid My Burden Down. On No Jack Swing, Purnell gives us a love letter to the most beloved (and secularized) of drum patterns - that is, the electronic 808 “Amen Break”. Beginning recording in 2020, Purnell conceived of No Jack Swing as an audio zine of found sound materials: chain letters of instrumentals recorded in bedrooms, poems from boys in France, found gospel tapes from his childhood family Baptist Choir, and the sound of records skipping on his bedroom turntable. No Jack Swing is as much a homage to No Wave and New Jack Swing as it is an answering to the gods of Indie, Electroclash, Disco, and Gospel. Amidst all this background noise, the unexpected occurs: all the niche pretensions collapse to a singularity - the sound of High Pop! No Jack Swing was produced by Nightfeelings. Each copy of includes a lyric sheet with a photo of Brontez.

Die preisgekrönte, mehrfach mit Platin ausgezeichnete Band Thirty Seconds To Mars, bestehend aus den Brüdern Jared und Shannon Leto, veröffentlichen am 15.09. das mit Spannung erwartete sechste Studioalbum ”It’s The End Of The World But It’s A Beautiful Day”.

Mit ihrem Album betritt die Band neues klangliches Terrain, mit straff arrangierten, prägnanten Songs, die sich auf gefühlvollen, direkt aus dem Herzen kommenden Gesang konzentrieren. Die 11 Songs des Albums erforschen ein neues Kapitel der Gefühle der Brüder, während sie Trost in den elementaren Dingen finden:
Liebe, das Ergreifen des Augenblicks, Herzschmerz und letztendlich Transzendenz. Besonders herausragend ist die 1.Radiosingle ”Stuck”, wie auch die zweite Radiosingle ”Seasons”.

Anfang des Monats war die Band Headliner bei zwei ausverkauften offziellen Lollapalooza Aftershows im Chicagoer House of Blues, wo sie den IG ”Seasons” erstmals vorstellten. Außerdem kehrte die Band zum ersten Mal seit 2006 auf die Hauptbühne des Festivals zurück, die mit Spannung erwartet wurde. Forbes bezeichnete ihren Auftritt als ”visuelles Spektakel” mit ”einem Auftritt, der schwer zu toppen sein wird”, in Anspielung auf Jareds Sprung vom Dach der Bühne zu Beginn des Sets.

Auch für Deutschland ist eine grosse Tour geplant für Anfang 2024, das announcment folgt am 08.09.!

Feiern Sie den 50. Jahrestag der Veröffentlichung von The Joker. Das zeitlose Album wurde ursprünglich im Oktober 1973 veröffentlicht und enthielt die Single ”The Joker”, die im Januar 1974 Platz 1 der Billboard Hot 100 Singles erreichte.

J50: The Evolution of The Joker wurde von Steve Miller kuratiert und enthält 30 bisher unveröffentlichte Demos, Live-Auftritte, Studio-Outtakes und Samples aus stundenlangen Aufnahmen, die jahrelang in Millers persönlichem Archiv schlummerten. Die 3LP + 7ff Box und das 2CD Set sind eine von Miller kommentierte Reise, die die ”Entwicklung” jedes Songs dokumentiert, der auf The Joker erschienen ist.

Die Box und die 2CD enthalten Linernotes von Steve Miller und Anthony DeCurtis. Die Box enthält außerdem eine Reproduktion eines alten The Joker-Covers und eine Lithographie. Ab dem 15.09.2023
verfügbar

Ein Meisterwerk unentrinnbarer Finsternis!

Die schwedische Instanz SHINING wird am 15. September 2023 ihr selbstbetiteltes 11. Studioalbum über Napalm Records veröffentlichen. Die 1996 gegründete Band gilt als eine der kontroversesten und musikalisch brillantesten Bands der Black Metal-Szene.
Auf ihrem elften Werk präsentieren sie sich noch düsterer und brutaler als je zuvor. Laut eigener Aussage wird Shining ”eine abwärts gerichtete Reise in Stereo sein, die die Welt in eine hypnotisierende, unentrinnbare Dunkelheit tüncht”.

Auch wenn die musikalischen Einflüsse hauptsächlich im Black Metal liegen, lässt sich die Band um Mastermind Niklas Kvarforth nicht auf ein Genre alleine festlegen. SHINING verbinden auf unvergleichliche Weise Einflüsse aus verschiedenen Stilen wie Klassik, Jazz und Progressive Rock, um eine düstere Stimmung, schmerzende Wunden und tiefe Leere klanglich darzustellen. Themen wie Selbstzerstörung, Selbstmord und Gewalt spielen eine wichtige Rolle in der Musik der Band. Im Laufe von zehn Studioalben, darunter Meisterwerke wie das legendäre V. Halmstad und Redefining Darkness, haben SHINING sich eine große Fangemeinde erspielt, die in den Bann des musikalischen Genies und der exzentrischen Art von Niklas Kvarforth gezogen wurde.

Sydney Northern Beaches' very own hard-biting rockers C.O.F.F.I.N are proud to announce their fifth full-length studio album entitled 'Australia Stops', the highly-anticipated follow-up to their monumental 'Children In Finland Fighting In Norway' album from 2020. Due for release on September 15th 2023 via Bad Vibrations in Europe, the new album comes off the back of the band's world tour with Amyl and the Sniffers in 2022, and their recent UK headline dates this May where C.O.F.F.I.N stunned audiences with the high-intensity rock action they are renowned for. 'Australia Stops' was recorded in January 2023 at The Pet Food Factory studio with producer Jason Whalley (Frenzal Rhomb) behind the desk. A record that showcases a collection of diverse and gripping new works that highlight the band's evolution into more melodious, 1970's Australiana and boogie rock and roll. Frenzied, high-voltage guitars, thumping rhythms, flowing melody and clever, captivating lyrics exhibit an undeniable progression in composition and songwriting, while still unmistakably the C.O.F.F.I.N that fans world-wide have come to worship over their 18-year lifespan. 180g green vinyl, printed inner-sleeve, download card included

Recorded in 1989 on the remaining ten minutes left at the end of Swiz’s Hell Yes I Cheated reel-to-reel and originally released at the time as a 33 RPM 7-inch, this 2023 release presents a 12-inch 45RPM version remastered by Tim Green with an extra song recovered from the tape archives of Jason Farrell. The brief story of Fury: At some point in 1989, members of Washington DC punk bands Swiz and Ignition formed Fury as a loose experiment with no intentions beyond being a diversion. The band existed for a few months, wrote six songs, and played two shows. Shawn Brown and Chris Thomson switched their musical roles from their regular bands as vocalist and bass player. The eyes-closed leap into those unfamiliar positions imbued the recording its feeling of deranged chaos, while the well-seasoned duo of Jason Farrell and Alex Daniels nailed down each song with the signature agility and power displayed in their more familiar work together. The recording is a vexing listen that sounds like a Neapolitan swirl of Swiz, Void, and the Germs. Was it precision theatre? Or was it a natural step back into a more primitive and comfortable place for four young veterans that just wanted to fill the daily void of existential restlessness? The track “Resurrection” famously made it onto the final Swiz LP. The final track “Last One” got cut off halfway through recording and the band looped and spliced it into a dizzying psychedelic nightmare / masterpiece. The recording has faded into somewhat of an obsurity, a footnote to the larger careers of all of its members. In its time, it was revered by a small cult of obsessives from numerous early ’90s underground punk circles. It notably had a pronounced influence on the emerging Gravity Records scene, where its echoes can be heard on quite a few of the earlier releases. Resurrection is finally getting the deluxe treatment that it deserves after 34 years!

'‘Begin Again’ is the first single to be taken from The Mysterines’ forthcoming LP, and sees the four piece build on their signature introspective lyricism, stripping instrumentation back for an incredibly powerful set up and delivery. It’s the sound of a band truly refining and maturing their craft, and speaking further about the single Lia Metcalfe says: “Written during a full moon in a barn in the West Country, ‘Begin Again’ felt like finding a key to the spirit realm the evening it arrived. It felt like I was embarking on a surreal journey of self dissolution; think of the first verse as a set of instructions, and see how far reality stretches.”
Riding high on the success of their critically acclaimed, UK Top 10 debut album ‘Reeling’ released March 2022, The Mysterines have been achieving remarkable success since the release, including two tours of the UK, two of North America and one in the EU, and now a tour with their personal heroes Arctic Monkeys across UK stadiums this summer.

'A bold voice for a frustrated generation, Mae Muller makes pop music that packs a real punch, and her debut album is no exception. The 17 track LP is full of songs that are deeply personal yet demonstrate her deft ability
to celebrate the female experience at large, capturing the mood of her generation with playful precision. Mae explores love and loss, dating and relationships with fearless honesty, confronting her own experiences whilst also capturing the broader frustrations of young women today. Whilst a fierce feminism often informs her songwriting, her new music exposes a much more vulnerable side. Beginning a dynamic new era, 2023 has been an incredible year for Mae. In January she was chosen to represent the UK at the 67th Eurovision Song Contest in Liverpool with dance-pop anthem, ‘I Wrote A song’. Following the show, the track became the No.1 trending song in the UK and charted Top 10 this week, giving Mae her first top 10 single.

Fake Yourself is an act of revolt as much as it is a celebration of life and an expression of human alienation. As usual in most of his work, soFa here reflects contrasts and contradictions as our existence so often does. It’s about sadness and joy, ups and downs and the fine line which connects them to tell a story. Fake Yourself comes as a spontaneous output of an artist escaping a scene of which the constant superficiality is unavoidable. Mistakes and wrong production with a strong DIY flavor are a conscious choice to not lose the spontaneous feeling which defines these recordings. A pure and direct self, exploring a realm of sound with sharp curiosity, emotion and humour. Where simplicity and complexity marry. This album is a good example on how some of the most authentic musical explorations are the most personal ones. soFa leaves all boundaries behind and let many of his influences confluence. Unconsciously or not, traces of IDM, Disco, New Beat, Dub and mostly Krautrock cross heavenly paths, followed by ironic and confronted vocals and his hypnotic signature basslines. Everything seems to make sense, to fill the chapters of an adventurous short novel. What makes Fake Yourself remarkable is not the deep blend of genres, but the definition of one man shaping and finding his authentic sound. Killing boundaries to create this journey in his very own "style-no-style". All tunes were improvised, recorded and arranged within 10 days in a wooden cabin, isolated in the middle of the nature in Alentejo/Portugal in 2022. This album was not meant to happen and one can strongly feel its spontaneous soul. No overdubs.

Der mit einem GRAMMY Award und mehrfach mit Platin ausgezeichnete Singer-Songwriter, Schauspieler und New-York-Times-Bestsellerautor Corey Taylor (Slipknot, Stone Sour) verrät Details zu seinem neuen Solo-Studioalbum CMF2. CMF2 ist der Nachfolger von Taylors Solodebüt CMFT aus dem Jahr 2020, das die
Nummer-1-Billboard-Mainstream-Rocksingle "Black Eyes Blue" und die Streaming-Sensation "CMFT Must Be Stopped" (feat.Tech N9ne und Kid Bookie) enthielt.
Das Album erreichte Platz sechs der US-amerikanische Billboard Top Rock Album Charts und #9 der deutschen Albumcharts.

"Mein erstes Soloalbum spiegelte wider, wo ich herkam. Dieses Album zeigt eher, wo wir hinwollen", fügt Taylor hinzu.
CMF2 - auf dem Taylor singt und Lead- und Rhythmusgitarre, Klavier und Mandoline spielt - bündelt die Energie, Experimentierfreudigkeit und Direktheit, die eine Karriere ausmachen, in der Taylor mit seiner mit einem Grammy ausgezeichneten Band Slipknot mehr als zwölf Millionen Alben und mit den Chartstürmern Stone Sour weitere Millionen verkauft hat.

CMF2 ist Taylors erstes Album für BMG und das erste auf seinem eigenen Label, Decibel Cooper Recordings.

Jay Ruston (Anthrax, Steel Panther, Amon Amarth), der sowohl Stone Sours 2017er Album Hydrograd als auch CMFT produziert hat, kehrte für Taylors zweites Album zurück.

In the Red Records will proudly present the U.S. edition of Rantings from the Book of Swamp, the freewheeling eighth studio release by Australia’s magnificent and unpredictable Kim Salmon and the Surrealists, as a two-LP. The Surrealists were formed by the Scientists’ singer-songwriter-guitarist Kim Salmon in 1987, betwixt the last two tours by the original incarnation of that pathfinding Perth-bred band. The Surrealists had been dormant in recent years, as the bandleader focused his energy on recording and touring with a reunited lineup of the Scientists featuring guitarist Tony Thewlis, bassist Boris Sujdovic, and drummer Leanne Cowie, who had recorded the career-summarizing 1986 LP Weird Love. (In 2021, In the Red issued Negativity, a new album by that unit, to wide acclaim.) In 2020, as the COVID-19 pandemic lockdown settled around the globeSalmon reconvened with bassist/baritone guitarist Stu Thomas and drummer Phil Collings, who had appeared on the Surrealists’ 2010 release Grand Unifying Theory, the group’s most recent record. As with that work, the new material was created live on the studio floor, and emphasized improvisation in both its structure and content. “The premise for this recording,” Salmon explains, “was that at its commencement the band members would come prepared with no other material than whatever ideas they might be able to individually bring. The lyrical content was all derived from my notebooks (Book of Swamp) from sketches I’d been jotting down over the last couple of years. There was to be no consultation about musical forms until the event began. Once the event began, the band had carte blanche to do whatever necessary to salvage compelling performances over the two live events @ 7PM AEST 6/13/20 + 6/14/20 respectively…….i.e., we had to make it up from scratch!” Captured at Rolling Stock Recording Rooms in Collingwood, Victoria, Australia, by Myles Mumford, the music heard on Rantings from the Book of Swamp was originally presented as a pair of live streams directed by Andrew Watson at Semiconductor Media. The resultant album comprises 13 brain-bending tracks characterized by Salmon’s percolating lyrical imagination and the raw, unfettered interplay of the three seasoned musical collaborators. After the world began to emerge from the pandemic lockdown in 2022, the Surrealists hit Australian stages on the double-barreled “You Gotta Let Me Swamp My Rantings” tour, which featured two different lineups performing two albums in toto: the Rantings from the Book of Swamp trio, and the threesome of Salmon, Thomas, and drummer Greg Bainbridge, who played the material from You Gotta Let Me Do My Thing, the 1997 Surrealists album they cut together. Offbeat, off the street, off the map, and off the wall, Rantings from the Books of Swamp serves as a potent reminder that Kim Salmon and the Surrealists remain a puissant force in boundary-pushing rock music.

It’s been nearly eight years since the last Mondo Drag album came out. In that time, the Bay Area psych-prog band toured the US and Europe, performed at major festivals and—once again—reformed their rhythm section. But in the context of the band’s nearly two-decade existence, this period may have been the most fraught. Vocalist and keyboardist John Gamiño lost friends and family members. Meanwhile, humanity suffered the throes of a global pandemic. “It was a dark chapter,” he recalls. “I was going through a lot of stuff personally—there’s been a lot of death, loss of family members, and grief. Plus, the band was inactive. It felt like time was slipping away from me. I felt like I was wasting my opportunities. I felt like I wasn’t participating in my story as much as I could have.” This feeling of time slipping away is the prevailing theme on Mondo Drag’s new album, Through the Hourglass. “For me, Through the Hourglass really encompasses the quarantine/pandemic years,” Gamiño says. “But in a way that includes a couple of years before that for us, because the band was stagnant during that time. Living with that was really impactful on our daily lives. So, the album is reflective. It’s looking at time—past, present, future.” Luckily, Mondo Drag emerged from this dour period reborn. Freshly energized by bassist Conor Riley (formerly of San Diego psych squad Astra, currently of Birth), who joined in 2018, and drummer Jimmy Perez, who joined in 2022, Gamiño and guitarists Jake Sheley and Nolan Girard have triumphed over the seemingly inexorable pull of time’s passage. “Astra was the one contemporary band that we felt was on the same tip as us,” Gamiño says. “We saw the similarities and felt the same vibe. Conor moved to San Francisco in 2018 and heard we were looking for a bassist, so we got in touch. For us, it was like, ‘The synth player from Astra wants to play bass for us?’ We couldn’t think of anybody more perfect.” Perez, meanwhile, brings deep psych-prog knowledge and impeccable skill. “He’s an amazing drummer, and he allowed us to do what we’ve been trying to do,” Gamiño says. “Before he came along, it was like, ‘Where are the drummers who like psych and prog and can play dynamically?’ We ended up trying out metal drummers, but they couldn’t swing. Jimmy was the final piece of the puzzle.” The result is a dazzling and often plaintive rumination on the hours, days, and years—not to mention experiences—that comprise a lifetime. Two-part opener “Burning Daylight” smolders with melancholy, offering a whirl of multi-colored and hallucinatory imagery. “It’s about the California wildfires and a feeling of helplessness,” Gamiño explains. “There’s a juxtaposition between the dark lyricism and upbeat music which is meant to imply a sort of delusional state—and choosing our own delusion to overcome the crushing despair of reality.” Eleven-minute centerpiece “Passages” is a sprawling prog-rock adventure, festooned with lofty guitar melodies, sweeping organ flourishes and a delicately finger-picked outro. But the heaviest song, thematically speaking, might be the mournful and hypnotic “Death in Spring,” which borrows its title from the like-named Catalan novel. “In the novel, people are placed inside opened trees and their mouths filled with cement before they die to prevent their souls from escaping,” Gamiño explains. “The song is about three people I knew who lost their lives to gun violence, addiction, and mental health. It’s my way of cementing their souls in song form.” Mondo Drag fans might be surprised by this blend of hard reality with literary surrealism, but it’s a perfect example of how the last several years have impacted Mondo Drag—and Gamiño in particular. “On all of our previous albums, the lyrical content is more psychedelic and out there,” he acknowledges. “This is the most personal stuff I’ve ever done, so I’m definitely feeling vulnerable on this one.” The title Through the Hourglass comes from the opening of the long-running soap opera Days of Our Lives. It’s less inspired by a predilection for daytime TV than Gamiño’s connection with his late mother, who passed during the time since the last album. “I used to watch Days of Our Lives with her everyday growing up,” he explains. “The song is kind of a reinterpretation of the theme song, although it’s different enough that probably no one will catch it. Now that I’m getting older, I like to put these little Easter eggs in the songs for myself and for archival purposes—for memories.” Through the Hourglass was tracked at El Studio in San Francisco, with an additional ten days of recording at the band’s rehearsal space, which doubles as a hybrid analog-digital recording studio. The album was engineered and mixed by Phil Becker, drummer of space-punk mainstays Pins Of Light. “We’re still here,” Gamiño says. “We’ve been in the studio working on our craft and honing our skills. Now we’re re-emerging for the next stage of our life cycle.”

Former Guided By Voices guitarist and co-songwriter Tobin Sprout presents Demos And Outtakes Two, a collection of unreleased demos, live recordings and alternate versions of songs from throughout his career. Including songs from his first solo album Carnival Boy (1997) to his latest Empty Horses (2020), it also contains two remastered songs from hard-to-find compilation albums, “Cryptic Shapes” (1998) and “Small Parade” (1997), as well as piano versions of GBV favorites “14 Cheerleader Coldfront” and “Atom Eyes.”

Piotr Kurek’s new album “Smartwoods” is a sprawling root system of tiny melodic phrases that loop and curl around subtly evolving instrumental thickets. The Warsaw-based producer and composer takes his cues from early music, baroque music and experimental jazz, entangling his influences with filigree traces of contemporary computer music and fueling it with sonic vapors from the near future.

Made up of seven distinct segments, the album blurs its acoustic and electronic elements into an illusory hedge of abstract sound. Harp, saxophone, clarinet, double bass, voices and guitar twist into computerized processes and synthesizer chirps, creating an uncanny dreamworld where the real isn’t always what it seems. Each player is entwined with the other to create a living, breathing whole.

Like Kurek’s painterly 2021 album “World Speaks”, “Smartwoods” is also inspired by visual art - particularly the whimsical work of Algerian-French graphic designer Jean Sariano. The album cover features artwork by Polish painter Tomasz Kowalski, whose shapeshifting creatures and miniature stories aptly reflect the music’s wild fantasy. The first manifestation of “Smartwoods” – a live show at Unsound in Kraków in 2022 – featured animations by Italian artist Francesco Marrello, who put together a visual treatment for the single “Harps”.

Music composed, arranged and produced by Piotr Kurek
Anna Pašic - harp
Tomasz Duda - clarinets, saxophone, flute
Wojtek Traczyk - double bass, electric bass
Piotr Kurek - keyboards, MIDI wind controller, electric guitar
Recorded in June and November 2022 by Piotr Kurek, Piotr Zabrodzki (Studio Pasterka) and Tomasz Duda

2023 Repress

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

Ash sind seit 30 Jahren zusammen, aber es waren die zwei Jahre, die sie voneinander getrennt waren, die sie zu ihrem brillanten neuen Album inspirierten. Wie der Rest der Welt wurden auch Tim Wheeler (Gitarre/Gesang), Mark Hamilton (Bass) und Rick McMurray (Schlagzeug) von der Pandemie überrumpelt. Es war nicht nur die erste längere Auszeit, die die Band in ihrer unglaublichen drei Jahrzehnte währenden Karriere hatte, sondern auch die längste Zeit, in der die drei sich nicht gesehen hatten, seit sie sich in der Schule in Downpatrick, Nordirland, erstmals begegnet waren. Tim Wheeler - wie man es von einem der größten Songschreiber seiner Generation erwarten würde - hatte während Ashs Zwangspause weiter Songs geschrieben. Zum Reboot-Camp der Band erschien er bereit zum Loslegen mit einem Rucksack voller Hard-Rock-Hymnen. Und schwere Zeiten verlangen schließlich nach härterer Musik. Das selbst produzierte "Race The Night" - das achte Studioalbum der Band - ist in jeder Hinsicht herausragend. Aufgenommen im Oh Yeah-Studio in Belfast und mit neuem Fokus, kombiniert die Platte die unwiderstehlichen Rock-Riffs von "Meltdown" (2004) mit der melodischen Meisterschaft von "Free All Angels" (2001) - und das alles verpackt mit einem deutlichen Twist ins Jahr 2023. Und mit den fernen Anzeichen eines oft beschworenen Rock-Revivals am Horizont, könnte es das essentielle gitarrenzentrierte, hymnenreiche Album sein, auf das die Welt gewartet hat. Seit Ash als Teenager mit ihrem Nummer-Eins-Debütalbum "1977" aus Downpatrick auftauchten, ist die Band ein vitales, wachsendes Anliegen. Die meisten ihrer Zeitgenossen sind verschwunden oder haben sich zumindest aufgelöst, bevor sie zurückkehrten, aber Ashs Licht leuchtet so hell wie eh und je. Für dieses Album sind sie sogar zu Fierce Panda Records zurückgekehrt, die eine ihrer ersten Aufnahmen, "Punkboy", auf der 1994 erschienenen Crazed And Confused EP veröffentlicht haben.

”Show” ist ein Live-Album der britischen Alternative-Rock-Band ”The Cure” aus dem Jahr 1993. Es wurde während der erfolgreichen Wish-Tour 1992 an zwei Abenden im Palace of Auburn Hills, Auburn Hills, Michigan live aufgenommen und enthält 18 Singles wie ”Pictures of You”, ”Lullaby”, ”Just Like Heaven”, ”The Walk”, ”Let’s Go To Bed”, ”Friday I’m In Love” und ”Inbetween Days”.

Erstmals Remastered von Robert Smith und Miles Showell in den Abbey Road Studios, London, ab dem 08.09.2023 als 2LP verfügbar

Palma Music Studios, Oktober 2022. Die funkigen Vier aus Schweden werden während der sonnigen Tage beim Trinken von Margaritas und Estrella Damms gesichtet, aber nach der Siesta legen sie das laute Fundament für das achte Album der ELECTRIC BOYS."Die Pandemie inspirierte zu einigen ernsteren Themen, so dass "Ups!de Down", das 2021 erschien, ein etwas düstereres Album war, auch wenn die Hoffnung immer präsent war", sagt Conny Bloom, der Hauptsongschreiber der Band."Grand Explosivos", das neue Electric Boys-Album, das am 15. September über Mighty Music erscheint, ist jedoch genau das Gegenteil. Es könnte tatsächlich sein, dass die Jungs die beste Party seit "Groovus Maximus" schmeißen!

Das Album ist ein hart rockendes, melodiöses, funkiges und spaßiges Abenteuer, das zu einem Markenzeichen der Band geworden ist.Die erste Single "I've Got A Feelin'" wies den Weg in die klassischen Rock-Arenen, während die Folgesingle "Domestic Blitz" wie ein Maultier kickt und keine Gefangenen macht. (Oder vielleicht doch?)
Schauen Sie sich das Video an und entscheiden Sie selbst:). Die Jungs haben sichtlich Spaß daran, zusammen zu spielen und wir freuen uns auf ein verdammt gutes Partyalbum am Ende des Sommers.

Palma Music Studios, Oktober 2022. Die funkigen Vier aus Schweden werden während der sonnigen Tage beim Trinken von Margaritas und Estrella Damms gesichtet, aber nach der Siesta legen sie das laute Fundament für das achte Album der ELECTRIC BOYS."Die Pandemie inspirierte zu einigen ernsteren Themen, so dass "Ups!de Down", das 2021 erschien, ein etwas düstereres Album war, auch wenn die Hoffnung immer präsent war", sagt Conny Bloom, der Hauptsongschreiber der Band."Grand Explosivos", das neue Electric Boys-Album, das am 15. September über Mighty Music erscheint, ist jedoch genau das Gegenteil. Es könnte tatsächlich sein, dass die Jungs die beste Party seit "Groovus Maximus" schmeißen!

Das Album ist ein hart rockendes, melodiöses, funkiges und spaßiges Abenteuer, das zu einem Markenzeichen der Band geworden ist.Die erste Single "I've Got A Feelin'" wies den Weg in die klassischen Rock-Arenen, während die Folgesingle "Domestic Blitz" wie ein Maultier kickt und keine Gefangenen macht. (Oder vielleicht doch?)
Schauen Sie sich das Video an und entscheiden Sie selbst:). Die Jungs haben sichtlich Spaß daran, zusammen zu spielen und wir freuen uns auf ein verdammt gutes Partyalbum am Ende des Sommers.

BBA was a short-lived super group made up of Jeff Beck (Guitar/Vocals), Tim Bogert (Bass/Vocals), and Carmen Appice (Drums/Vocals). Their brief, meteoric trajectory as a band included the 1973 release of their eponymous debut studio album, Beck, Bogert & Appice. On May 18th and 19th 1973, they recorded a live show at Koseinenkin Hall in Osaka, Japan, which was released as Live In Japan. The album was only released in Japan and has not been in print widely for some time.
Jeff Beck’s team also discovered a previously unreleased live show recorded at the Rainbow Theatre in London on the 26th of January 1974. The original masters were located and cleaned up where necessary by all three band members, with full approval by Carmine Appice, Tim Bogert, who passed away in 2021 and Jeff Beck, who passed earlier this year. These two amazing live shows will now be properly released or the first time in five decades as Beck, Bogert & Appice Live 1973 & 1974.
Both shows include an eclectic mix of rock, blues, boogie and experimental cuts that reflect the musical prowess of the super group. “Superstition” appears in both concerts, with a heavy pocket groove, highlighted by Beck’s solo and Talk Box contributions. “Going Down” and “Morning Dew,” featured in the Japan set, went on to become ongoing staples in Beck’s live show. The skill and musicianship of Appice and Bogert are displayed throughout and Beck’s unmatched guitar process is in full effect.
Beck, Bogert & Appice Live 1973 & 1974 will include an expansive booklet with extended liner notes detailing the story of the group by music journalist/manager Bruce Pilato, along with memorabilia, archival photos, and a replica poster.

Das mit Spannung erwartete neue Album von Staind, Confessions of the Fallen - das erste neue Studioalbum der Band seit 2011 - wird am 15. September 2023 veröffentlicht.



Die 10 Tracks auf Confessions of the Fallen erkunden eine Vielzahl von klanglichen Nischen. Die Debütsingle "Lowest In Me" (derzeit auf Platz 2* der aktiven Rockcharts), "Cycle of Hurting", "Was Any of it Real?" und "Hate Me Too" preschen mit unerbittlicher Wut voran, wobei die Elektronik die frenetischen Angriffe der Musiker noch verstärkt. Tracks wie "Out of Time", "In This Condition" und "The Fray" zeichnen sich durch fließende Arrangements und mitreißende Dynamikwechsel aus, während "Here and Now" und das vorsichtig optimistische "Better Days" uns daran erinnern, dass Staind das Hübsche nicht fremd ist - wenn es angebracht ist, versteht sich. Textlich schöpft Confessions of the Fallen wieder aus den dunklen, nachdenklichen Ecken, die Lewis in Stainds Songs schon immer einbezog, trotzdem sind diese 10 Songs so persönlich wie nie zuvor. "Ich arbeite mich immer noch durch meine Probleme", sagt Aaron. "Und bis dahin träume ich von besseren Zeiten. Ich hoffe, so fühlt sich jeder im Moment... bessere Tage stehen uns noch bevor."



Eine Legion von Staind-Fans wird ihre besseren Tage sicherlich in den neuen Songs der Band finden.

Das mit Spannung erwartete neue Album von Staind, Confessions of the Fallen - das erste neue Studioalbum der Band seit 2011 - wird am 15. September 2023 veröffentlicht.



Die 10 Tracks auf Confessions of the Fallen erkunden eine Vielzahl von klanglichen Nischen. Die Debütsingle "Lowest In Me" (derzeit auf Platz 2* der aktiven Rockcharts), "Cycle of Hurting", "Was Any of it Real?" und "Hate Me Too" preschen mit unerbittlicher Wut voran, wobei die Elektronik die frenetischen Angriffe der Musiker noch verstärkt. Tracks wie "Out of Time", "In This Condition" und "The Fray" zeichnen sich durch fließende Arrangements und mitreißende Dynamikwechsel aus, während "Here and Now" und das vorsichtig optimistische "Better Days" uns daran erinnern, dass Staind das Hübsche nicht fremd ist - wenn es angebracht ist, versteht sich. Textlich schöpft Confessions of the Fallen wieder aus den dunklen, nachdenklichen Ecken, die Lewis in Stainds Songs schon immer einbezog, trotzdem sind diese 10 Songs so persönlich wie nie zuvor. "Ich arbeite mich immer noch durch meine Probleme", sagt Aaron. "Und bis dahin träume ich von besseren Zeiten. Ich hoffe, so fühlt sich jeder im Moment... bessere Tage stehen uns noch bevor."



Eine Legion von Staind-Fans wird ihre besseren Tage sicherlich in den neuen Songs der Band finden.

Glacial Domination, das zweite Album von FROZEN SOUL, lässt das Death-Metal-Quintett aus Dallas in noch tiefere Abgründe eintauchen als es ihr Century Media-Debüt Crypt of Ice aus dem Jahr 2021 andeutete. Tracks wie 'Invisible Enemy' (unter Mitwirkung von Mitgliedern von Power Trip und Creeping Death), 'Abominable' oder der Titeltrack des Albums sind eine Lawine von Riffs und unvergesslichen Hooks, die an eiskalte Klassiker des Death Metal erinnern und FROZEN SOUL zu einem Spitzenprädatoren des modernen Extrem-Metal machen. Glacial Domination, das von Matthew K. Heafy (Trivium) mitproduziert wurde, markiert eine Verschiebung hin zu brutaler Zugänglichkeit, ohne FROZEN SOULs Markenzeichen - die Düsternis und Grausamkeit - aufzutauen. Mit dem 2-Song-Zyklus des Albums, 'Frozen Soul' / 'Assimilator', inspiriert von John Carpenters antarktischem Sci-Fi/Horror-Klassiker 'Das Ding aus einer anderen Welt', verfeinern Frontmann Chad Green und seine kalte Crew den unverwechselbaren Sound und die Vision der Band weiter. Der ewige Winter ist da. Die Eiszeit von FROZEN SOUL ist angebrochen. Glacial Domination ist als Standard CD Jewelcase, Ltd. black LP (in schwerem 180g-Vinyl und mit einer speziellen Matt/Glanz-Beschichtung der Cover-Hülle)

Meister Musik Vinyl! Meister der Tournee 2023! Kaum wartet man ein Vierteljahrhundert, schon gibt's endlich ein Jubiläum im Hause J.B.O.!
Die Erfinder des Comedy-Metals zelebrieren zum 25. Geburtstags ihres Meisterwerks "Meister der Musik" das gesamte Album live, am Stück! Schließlich war diese Platte 1998 das erste Top 10 Album (von insgesamt acht) der "Könige des Spaßmetalls". Außerdem finden sich auf diesem Album - das nicht wenige Fans als das Beste von J.B.O. überhaupt bezeichnen - etliche Kult-Songs, die im Live-Konzert die Hütte wackeln lassen: "Verteidiger des Blödsinns", "Ällabätsch", "Wir ham ne Party" und natürlich darf auch "Ein guter Tag zum Sterben" nicht fehlen!
Nachdem das Album als CD inzwischen nicht mehr lieferbar ist, haben J.B.O. mit ihrer damaligen Plattenfirma eine limitierte Vinyl-Auflage als dreiseitiges Doppelalbum ausgehandelt, die kurz vor der Tour erscheinen wird - und wenn noch welche übrig sind, wird es die auch bei den Live-Konzerten zu kaufen geben!
Da J.B.O.-Konzerte aber deutlich länger dauern, als so eine LP, bleibt auch noch genug Zeit für "Alles nur geklaut", "Bolle", "Der Hofnarr" oder auch neuere Songs wie "Metal Was My First Love". Langjährige J.B.O.-Fans werden sowieso die Hallen stürmen, aber auch wer "früher mal J.B.O. gehört hat", kann hier die gute alte Zeit wieder erleben! Natürlich kann man diese Gelegenheit auch nutzen, um zum ersten Mal die wohl bescheuertste Band der Welt auf der Bühne zu sehen.
Gerade die komplette Live-Aufführung des "Meister der Musik"-Albums mit all seinen wahnsinnigen Zwischenspielen und herrlich blödsinnigen Quatsch-Einlagen, gepaart mit knackigen Metal-Riffs und biergeschwängerter Partystimmung, bietet auch Anfängern im J.B.O.-Universum die perfekte Chance, auch zu einem Meister zu werden. "Meister der Musik" - das 25jährige Jubiläum! Live, in voller Länge und laut!
Gatefold-Plattenhülle und auf Seite 4 ein lustiges Etching!

The house of Sakskøbing is witnessing a spawn of a sub label with the catalogue code RVZ. This is a coastal part of the main city, with abundance of nature & clear water, the rhythms in Zealand as one may say. The number one comes together as a four track Various Artists and consists of long-term friends of Sakskøbing as well new faces welcomed to the label.

The side A comes from a hardware live project Cattle Freq consistent of three musicians SIL, Keroz and BRTS. The trio have launched the project called Cattle Freq with performance of all original material recorded & rehearsed in the outskirts of their hometown in the end of 2021. Following up is the close friend of the label the Tommy Vicari Jnr, an artist highly praised not only in his native city Sheffield but is consistently played by hard working dj’s in the whole world. With “No matter what” the gentleman returns to label for the second time since 2016 which marks for a special date.

Chansons for the replicates. Hymns for the algorythmed. Operatic minimal wave. Spoken words. Otherworldly electronica. Oh pop, Oh techno. Oh Pose Dia. Now on R.i.O. simulating herself on an album full of weeping synthlines, melding melodies, unreeling theatre between the notes, camouflaging in fashion and rhyme. Impulsive, destructive, yet so perceptive, gently repetitive. “Simulate Yourself” is her second album since “Front View,” released in 2020 on Bureau B.

Now the Hamburg-based filmmaker, DJ and musician Helena Ratka, aka Pose Dia, brings a notion of digital archeology. Nine otherworldly chanting cold blooded Lieder and tracks, manic, longing for the real in the un- real. The matter of her poetic-abstract lyrics is rhizomatic, linking psychological “Suspiria” fantasy with sociology, media theory and all that never obsolete post-structuralism. Hyperreality for the hyped. Fully illusionistic. Wrapped in touching airs, drilling into cold waving Risiko spheres. X-mal rotating towards novel corners, shading light on old ones. Track make-up transforms into lacquered songs. Fog and fire. Night and light. Hairspray and cigarettes. Pose Dia transfers fine-tuned dissatisfaction to all those fully satisfied. Welcome to the other side of the Ocean.

Brussels-based power trio Don Kapot are set to release their rousing new album 'I Love Tempo' on the 15th of September via W.E.R.F. Records - NEWS distribution.

A lifeboat of free jazz, afrobeat and krautpunk sailed by Giotis Damianidis (bass), Viktor Perdieus (baritone saxophone) and Jakob Warmenbol (drums), the album follows the release of their critically acclaimed 2022 album 'Un Peu Live' recorded with Dutch multi-instrumentalist, vocalist and composer Fulco Ottervanger, and described by Bandcamp Daily as a 'very fun mix of modern jazz and krautrock.'

Don Kapot strike hard with their fourth album, mixed and co-produced by Greg Saunier (Deerhoof). Using a wide range of instruments, they evolve their sound into a solid complex rhythmic wave, shaken by demented samples and punk attitude.

From the vibrant, pounding rhythms of opening track 'Me Pig' to the off-kilter, whimsical beats of 'Macarona' and 'Terryble,' Don Kapot integrate new instruments and sounds into their repertoire, including keyboards and sampling. The groove remains a central element to the sound as the trio deliver a palpable blend of high tension and joyous energy where genres are demolished.

Elsewhere, the funk-heavy 'Bernadette' allows the magical, freestyle sax work of Perdieus take centre stage while 'Don Be No' is an urgent, flippant blast of vigour and zest before the album title track 'I Love Tempo' is an exhilarating and hypnotic journey that combines the freedom and verve of free jazz with the trance-like zeal of artists such as Tony Allen, Fela Kuti and Kologbo

Releasing their self-titled debut album in 2018 via Mr. Nakayasi Records, in 2021 they signed to Flemish record label W.E.R.F. Records and have released three albums under the label and have performed sold-out shows across Belgium and the Netherlands.

The players in Don Kapot also extend their musical adventures to other projects. Damianidis leads Punk Kong and has performed with Akira Sakata, Sakis Papadimitriou, Oghene Kologbo, Tony Allen, Baba Ani, Balasz Pandi and Gonzalo Almeida among others. Warmenbol was a member of The Unrevealed Society, Robbing Millions and M(h)ysteria. He also performs with Ruth Tafebe & the Afrosoul Messengers (with Giotis), Under The Reefs Orchestra and Monolithe Noir. Perdieus performs in Punk Kong and with Pompelmoes and The Milk Factory and took part in Ifa y Xango, Laia Arkestra, Bolhaerd, Nest and VVolk. He has also recorded and played with Andrew Cyrille (Bambi Pang Pang).

The last time Canadian underground techno tastemaker Rennie Foster had a record on a French label it was the historic F-Communications. Back then Rennie’s penchant for bringing warehouse nostalgia together with hi-tech futurism was a consistent theme and in 2023 this fusion based musical concept is realized further toward the future through a new EP release, Cryptic Layers on Parisian imprint Skylax Records.


The record opens with Let It Go, a simple title for a complex and dreamy piece of lo-fi rave house featuring clattering breaks, ear worm vocals and a drastic bassline driving the whole custom vehicle. Then the similarly, simply titled Just Do It explodes into action with an inspired mix of Detroit inspired dub techno chords, fierce amen breaks and a hip-house energy akin to both current urban style and authentic musical roots. These tracks sound like they could have been released at any time during the past decades but still sound current, or even futuristic. Apparent is craft, design and an understanding of dance music from the perspective of obsession, experience and passion.



The remixes come from absolute legends in the world of techno, representing Rennie’s other home-base territories, the techno cities Detroit and Tokyo. Japanese electronic music icon Ken Ishii provides a storming acid remix of Just Do It with liquid 303 bass, anxious and trip vocal snips, and punchy drums that will sound absolutely ace in a club. Detroit third wave pioneer Sean Deason closes out the record with a crisp dose of hi-tech funk that is sure to be a DJ weapon with it’s hypnotic energy and timeless production style.



The digital only portion of Cryptic Layers begins with a second version from Ken Ishii, this time sans vocals leaving the acid stripped down and bare. Two more original tracks by Rennie Foster are also on offer. Sadlands is an organ laden deep house, synth-wave, contrasting piece of melancholic dream dance while I Say Peace signs off the project in a layered classic house style with early rave stabs and grooving after-hours appeal.

A true surprise success for Paharas Musica, originally written during the end of the pandemic, 'White Isle Memories' captured the loss of not being able to visit the white isle of Ibiza and combines the producer talents of Ridney & Inner Spirit (aka Richard Earnshaw).

A production aimed at the beach bar culture of the island the production duo are joined by multiinstrumentalist, vocalist and loop pedal extraordinaire Michael Sebastian. In it’s original guise the track has racked up well over 1.3 million streams and in that gained the attention of German producer SOMMA (1.7 million monthly listeners), who was keen to grab the stems and deliver a special 2023 remix.

Adding to the package Ridney’s sunset reprise from his Café Mambo Ibiza DJ sets and Inner Sprits own incredible 2023 remix.

DJ Support:

Mark Knight (support on Kiss FM), Purple Disco Machine, Mousse T, Ken Fan (Café Del Mar), Ryan McDermott (Café Mambo Resident), Hector Romero, Des Mitchell (Radio One Mallorca), Mr V, Lenny Fontana, Loeca, Jazzy M, Dario D’Attis, Danny Rampling, Chad Jackson, Brandon Block, Booker T, Black Legend, David Dunne, Graham Sahara, Lizzie Curious, Martyn the Hat.5

vinyl 12" black repress !

Purple Disco Machine & Lorenz Rhode Remix

2023 Reissue

AKO150 arcade returns with two new tracks from Shay & DJ Chromz. Shay returns after his debut track on the defender album and Chromz makes his debut on the AKO label. two amazing jungle tracks we’re both taking you on different journeys. both tracks will teleport you straight back to the 1994 era.

2023 Reissue

Fortunea Records continues its release schedule of 2023 with the 4th edition of their VA-series ‚Fortunea Cookies‘ to highlight the status quo in Austrian house music.

A band that is generating buzz in this country right now is Spitting Ibex. Their music is a mixture of funk and heavy rock, in the style of Red Hot Chili Peppers, Prince and Rage Against The Machine. Currently they are touring with their brand-new album ‚E.G.O.‘ through Europe and Peletronic had the honor to remix the title-track of their
previous record ‚Love Hate Fear Fate‘. In this ‚Disko Miks’ he transforms the song into a driving house weapon.

In 2021 Nick Hanzo released his ‚Candy Places‘ EP. And on this record was a memorable abstract lo-fi house track called ‚Saturn Nate’ that gets on FC4 a treatment by Klaus Benedek. In this new version he accelerates the speed and focuses even more on the aspect of space travel with the addition of sound fx, pads, pianos and a Italo disco-inspired baseline.

Of course this release has not only remixes of previous tracks, but also 2 originals!

The B-side features Dzc. again with her ‚Expressions‘ of night culture. Caution! This will catapult the crowd up to new heights. An energetic peak-time tune that delves deep into 90s house and trance sonic images.

And finally Markus Quittner returns from Linz and brought his ‚Game‘ to the table. A board full of bouncing dices, strong drum patterns and funky orchestrations. A pleasure for the ears.
Fortunea Cookies Vol. 4 will come out this summer on white limited vinyl. Don’t sleep on this!

2023 marks the 40th anniversary since the original release of the Roy Ayers album “Silver Vibrations” on Uno Melodic Records in 1983. For the first time, “Good Good Music” from that album is released here for the first time on 7” single.

After the A/V performance at Up To Date Festival back in 2022, Claudio PRC’s “Unda” project is going to be released as LP on vinyl and digital next September 2023.

Claudio PRC’s upcoming ambient album is a sonic journey through ethereal landscapes and intimate atmospheres. Drawing inspiration from the waves and their movement, “Unda” (in Sardinian native tongue “wave”) evokes a sense of calmness and introspection. Throughout the whole piece, Claudio PRC creates a blend of meticulously crafted organic and synthetic elements that seamlessly integrates together, showcasing his versatility as an artist and his commitment to exploring all facets of electronic music. With its textured layers, this work offers a soothing and reflective musical experience, inviting the listener to escape into a world of contemplation and meditation.