Ekin Fil is the solo moniker of Ekin Üzeltüzenci from Istanbul and 'KOMA' is her first release on Stockholm imprint Possible Motive.
'KOMA is an album which is based on the combination of separate songs made in various times in the last two years. Songs that sometimes include unwanted noises caused by my broken sound card, songs that I left unfinished with the intention of finishing later. The sleepy and still mood that's all over the 8 tracks may be the response to the hard times that I was not able to react sober to until recently.'
Ekin has been releasing albums on LP/digital and cassette formats on American and European labels under her moniker Ekin Fil since 2007. She was awarded 'Best Original Film Music' for her first Soundtrack 'Kaygi' at SIYAD, 2017 and 'Best Film Music' for the Soundtrack of 'Korfez - The Gulf' at Turkisches Film Festival in Frankfurt, 2018.
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Last delivered 7 years ago available to reorder, subject to availability
Boum Boum Boum! 25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock'n'roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent 'Around The World', all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.
Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as 'Chill Out' music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.
So once again, I had the pleasure to put together this year's edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline 'Ambient' might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year.
Although each and every POP AMBIENT edition doesn't shy away from diving into the relevant question of 'What is contemporary discourse music' - in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers.
Wolfgang Voigt Cologne, October 2018
Bum Bum Bum. 25 Jahre KOMPAKT. Wenn ein Musiklabel, das seine inhaltliche Ausrichtung im Wesentlichen auf den anfangs als schnelllebig und vor allem kurzlebig apostrophierten - hype' Techno setzt, nach 25 Jahren in jeder Beziehung immer noch voll im Saft steht, dann zeigt das zwei Dinge: Das erstens mittlerweile jeder bemerkt haben du¨rfte, dass Techno eben kein kurzftristiger hype ist, sondern vielmehr ein vielschichtiges, ernstzunehmendes Genre, das sich ebenso wie Rock'n'Roll oder Schlager fest in der Musikgeschichte etabliert hat.
Und zweitens, dass KOMPAKT nie nur ein reines Technolabel war und ist, sondern ein nach vielen Seiten aufgeschlossenes Experimentierfeld, das sich von Anfang an der Grenzu¨berschreitung und dem musikalischen Erfindungsreichtum verschrieben hat. U¨ber die Jahre wurden unter dem KOMPAKT-Signet etliche Subgenres, Konzeptreihen und Crossoverwagnisse auf Basis der unverhandelbaren geraden Bassdrum - around the world' und wieder zuru¨ck geschickt.
Eine der wohl scho¨nsten und nachhaltigsten Konzeptreihen du¨rfte wohl die bassdrumfreie POP AMBIENT-Serie sein, die ich als KOMPAKT-- Altvorderer' nach wie vor die ja¨hrliche Freude habe, zu kompilieren. Dabei hat sich u¨ber die Jahre aus dem anfa¨nglichen Bedu¨rfnis der seit den fru¨hen 90er Jahren in den sogenannten - Chilloutrooms ' grossra¨umiger Technoclubs, - Lounges' und - Muzakkneipen' entstandenen - Entspannungsmusik' etwas entgegenzusetzen, eine eher von Pop-Eleganz, Diskurs und Hedonismus beseelte, eigene Spielart ambienter Musik, eine vielschichtige programmatische Musik mit hohem Widererkennungswert entwickelt.
So hatte ich auch im Jubila¨umsjahr einmal mehr die Qual der Wahl, aus den aus aller Welt kommenden, grossartigen Klangpreziosen guter alter sowie neuer Freunde die subjektiv besten zu einem homogenen Ho¨rerlebnis zusammenzufu¨hren. Dabei ist mir immer sehr wichtig, einerseits den Erwartungen der treuen Ho¨rerschaft im Bezug auf Traditionsverpflichtung gerecht zu werden und andererseits auch immer mo¨glichst viele Mikrofacetten, Varianten und Einflu¨sse angrenzender Stile und Universen aufzugreifen. Innovativ und verbindlich. Konspirativ und weltoffen. Auch wenn der U¨berbegriff Ambient, fu¨r eine Kompilation die sowohl Aspekte von Neuer Klassik, Atonalita¨t und Kunstmusik mit den allerscho¨nsten Seelenkitschklangwelten zu vereinen sucht, zu eng gefasst ist, so hilft er doch bei der notwendigen Orientierung im besten Sinne. Ebenso wie die Tradition gewordenen, wunderscho¨n abstrakt-floralen Kunstblumenwelten der von Veronika Unland gestalteten Cover, die ein ums andere Jahr auch die Augen in Verzu¨ckung versetzten.
Auch wenn jede Kompilation sich aufs Neue an den relevanten Fragen zeitgema¨sser Diskursmusik abarbeitet, so ist der erhabene Moment am Ende doch der, in dem sich alles zu Gunsten eines - ho¨heren, kosmischen' Ho¨rerlebnisses, im wahrsten Sinne des Wortes in ambiente Luft auflo¨st.
POP AMBIENT ist die sakrale Musik der Ungla¨ubigen.
Den meisten dürfte FREILAND eher von den jüngeren Profan
Veröffentlichungen Klaviermusik und Geduld bekannt sein.
FREILAND war aber vor allem das 1998 gestartete, auf 6 Maxis
begrenzte Nachfolgeprojekt der legendären Studio 1 Reihe.
Keine Hihats, keine Snares, keine Samples. Weniger ist Mehr.
Mit seiner konsequenten Konzeption, mit jeweils nur einem
einzigen synthetischen Sound, der in stoisch-minimaler
Rhythmik lediglich um eine Bassdrum kreist, war und ist
FREILAND, neben Sog, Wolfgang Voigts wichtigstes Projekt
dieser Art. Im Sinne der ' Kunst des Weglassens " stellt das
Stück FREILAND - ROT 2, gewissermassen den Inbegriff
dieses Konzeptes dar. So bildet auch 'ROT 2' den Auftakt der
Remixreihe 'FREILAND - FREIE SICHT'. Wie eine rostige
Stahlskulptur à la Richard Serra steht auch heute noch das
Original auf freiem Feld und trotzt Wind und Wetter. Für seinen
Z.O.M. Mix hat Wolfgang Voigt das Ding rein ins Haus geholt
und in einen fast discohaft, warmen Groovemantel gehüllt. So
verpackt geht's dann durch silbern glitzernden
Lamettamaschinenregen aus dem Arpeggiator. Ein kleiner
Vorgeschmack auf das im September erscheinende Album
'Zukunft Ohne Menschen'.
'ROT 3' , die Mutter aller Schaffelbomben, kommt im Gaffelmix.
Heißt: Gabber trifft Schaffel. Kompakt Extra / Speicher, die
Heimat des Edelschweinerock lässt grüßen. Gewissermaßen
als Ehrengast gibt sich auf B1 der Maler Albert Oehlen unter
seinem Musik -Alter Ego Wendy Gondeln die Ehre. Ganz der
expressiven Radikalität seiner Malerei entsprechend,
bearbeitet er das bisher als Originalversion unveröffentlichte
'ROT 4'. Vermittels aggressiv, abstraktem Geigeneinsatz in
Echtzeit bringt er die stabile Statik des Beats an seine Grenzen.
Ein kurzes aber intensives Intermezzo und ein Annäherung an
Techno, wie man sie so nur sehr selten gehört hat. Für smart-
souveräne Abrundung in Richtung Dancefloor sorgt Michael
Mayer im besten kompakt'schen Sinne. Er verdichtet die
Zutaten des subtil groovenden Schaffeltracks 'GELB 3' zu
einem zischelnden Geäst aus verwischten Drumsounds.
Musikalisches Eigenblutdoping mit knappen Breaks und
sparsam gesetzten düster-housigen Akkorden.
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Over the last decade and a half, Rotation Sound System’s annual gathering in the Staffordshire countryside has become one of underground dance music culture’s true success stories – an intimate gathering of like-minded friends and partygoers, powered by a custom-built six-way sound system, with music provided by a carefully curated line-up of dusty-fingered diggers, selectors and hand-picked live performers.
At the heart of the collective’s unique and much-loved approach lies a dedication to finding and sharing lesser-known gems and audio obscurities – fantastic records whose charm and quality has long been overlooked.
Last year, the core members of the crew – founders Dean Meredith and Ben Shenton (renowned for their productions as Mind Fair), and Wrekin’ Havoc trio Rob J, Stuart Robinson and Rich Hall – offered a snapshot of their unique musical approach via debut compilation Everything You Are About To Hear Is True, Volume 1, in the process introducing a global audience to some of the countless unknown mid-tempo classics nestled in their collections.
Fresh from another sold out edition of their acclaimed micro-festival, they’re back with volume two, another must-have collection of slept-on classics, loved-up shufflers and wide-eyed Balearic beats, all of which have played a part in Rotation’s story over the last 13 years.
Appearing on gatefold double vinyl with extensive liner notes telling the stories behind the tracks, Everything You’re About To Hear Is True, Volume 2 is full to bursting with music that sounds mind-blowing on the crew’s high-end sound system.
For proof, check the analogue-rich intergalactic shuffle of Paul Atreides’ 2015 jam ‘Arrakis Walk’, the relaxed boogie-soul of Rocky Winters’ Chaz Jankel produced ‘Vicious Circle’, the easy-listening-jazz-rock bliss of Vincent Maclin’s ‘Should’ve Took a Chance’, the 80s soul squelch of ‘Ecstasy (Centurion Mix)’ by Endgames and the immersive British dub drift of Sigma’s ‘Remember (Dub Style)’.
Everywhere you look, you’ll find eye-opening and ear-pleasing delights. There’s Pinky’s lightly acid-flecked, breakbeat-fuelled, acid house-era street soul classic ‘I Wanna Be The One (Instrumental Groove)’, the 1992 new age downtempo seduction of Linda Myers (‘Shine On Me’), the Clavinet-and-synth sporting jazz-rock/space-rock fusion of Wolfhound (1984 gem ‘Another Moon Song’), the Gallic colour of Buzy’s ‘Keep Cool (Version Maxi)’ and the guitar solo-laden electrofunk explorations of mid-80s UK act Lifesighs (‘Get Serious’, here presented in its extended instrumental form).
Nous'klaer Audio presents Nikos: A central figure and driving force of the Rotterdam nightlife, behind the scenes as well as on stage with powerful, ever-evolving live performances. Four tracks to make your body move, cut loud and going deep. The release marks the start of a new series on the label dubbed Spine. Supporting the head, connecting the brain to the body, a base for movement. The Spine series will focus on flow, while remaining energetic and driving. The sound design is bending and twisting, the solid sub bass will keep you grounded. The release comes in a special sleeve designed by Alice Vink aka Dirtydms.
A couple of years after his last outing on Constant Black, Rotterdam-based Fabio Santos is back with another precision -tooled tech house EP that mangles dub, tech, minimal and house. 'Slow Burner' isn't really - it's a full-flavour sound with a dubby undercurrent and weighty kicks. 'Fever Dreams' pulls back and zones out musically, but with another forceful and deep groove that burrows into the cosmos. 'Changes' is balmy tech house that marries an irresistible snap down low with nice swirling pads up top, perfect for smooth cruising in the club. There is a more playful vibe to 'Feeling It?' With its tribal percussion and wigged-out synth details, 'Dancing To The 00's' throws it back to prime tech house dons like Terry Francis. A very useful EP
Der dämonisch großartige Soundtrack zum erfolgreichen Action-Roguelite-X-Base-Management-Game CULT OF THE LAMB von River Boy (Narayana Johnson). 42 speziell für Vinyl gemasterte Tracks erscheinen auf 180g rot-schwarzem Splatter-Doppelvinyl im Deluxe-Gatefold, verziert mit Kunstwerken des Illustrators Carles Dalmau.
It’s the last W133 release for the summer of ’26 and it’s a big one. Label Papa Pino and Rotterdam’s samwho pair up for a banging, driving, proggy collaboration/split EP entitled “Baobab”. The duo behind W133 bestseller “Jacarandas” unite again for two more collaborative productions, complemented by one solo track each! Samwho starts off the EP with “D’espia”, a highly energetic progger with dreamy pads, crispy dembow percussion and sexy vocal stabs! On A2, we find the first collaboration, “Caramelo”. The two producers return to their signature percussion work, paired with a venomous rolling bassline and mysterious vocal snippets. On the flip side, the second collaborative track, “Lemon Hasj”, bangs in! A highly intense breaker with catchy vocal shots and chart-hit character. To close it off, Pino Peña delivers his solo production “Swarm Mystique”. The tune starts with a laid-back yet energising groove before swarm-like melodic pads creep in mysteriously! The cover artwork features a photograph taken by Philipp in Kyiv, Ukraine, printed on a two-sided cover sleeve. “Baobab” will be released worldwide on vinyl and digitally on 16th October.
*2026 repress - with new labels and small hole. NOTE NEW CATALOGUE NUMBER! One of Shella’s most popular reissues, “Rebel” by Jamaican Canadian roots maestro Rothadam is finally back in stock! Pressed with a small hole (as opposed to the 2017 re-issue with the jukebox punch-out). Supported by King Shiloh, Gilles Peterson and countless others, Rothadam’s “Rebel” is one of the deepest and most sought after roots 45s to ever come out of Canada. “Rebel” evokes Black Ark studio wizardry with Rothadam’s delicate yet defiant vocal, thunderous bass and a massive horn section. This release is a monster double-sider: Two different versions of “Rebel” were recorded in Toronto circa 1975, 76 by different producers (Sid Lovejoy at LMP and Ron Lewis at Half Moon) and backed by different bands. The “Rebel” message in Rothadam’s music is obvious, but more than anything the song is a call for peace and unity reflecting on his life in Trenchtown, Jamaica. Rothadam explains: “…..because where I was living , It’s hard to don’t get involved. It wasn’t an easy thing to just live and just be happy….. Hard life man, hard life…most of my friends when they were doing things that aren’t right…Not me. So in other words, I was born to be a strong man.” Rothadam passed away in 2026 but was delighted with the new audience his music had found. This latest reissue is dedicated to his eternal memory.
Available for the first time since 1976 the official reissue of Sid Lovejoy’s roots missile “King Kong Man” puts this absolute gem back in circulation.
Bursting out of the gate with psychedelic lead guitar, the track pares down to roots militancy followed by a monstrous Channel One dub.
Originally released on Toronto label “G Clef”, “King Kong Man” was a very tough pull until now.
The song’s mastermind Sid Lovejoy, was a singer, musician and producer who ran a record store, studio and label at 917 Bathurst St in the beating heart of what was then Toronto’s “Little Jamaica” community.
50 years on, Sid’s rallying cry to stand up to tyrants, bullies and oppressors is as relevant as ever.
Sid Lovejoy passed away in 2025 in Jamaica, this release is dedicated to his eternal memory.
One of 3 official releases showcasing Sid Lovejoy's Toronto productions including the long out of print “Rebel” by Rothadam and the impossible to find horns version of “Garden of Life” by Leroy “Heptone” Sibbles.
If you dig deep enough into the internet's lower depths, you'll find a shaky video shot on a camcorder. In 43 seconds, we see a makeshift drum kit built out of backyard Ostbahnhof trash, hear distorted vocals, and feel the anarchic energy of band and ravers dissolving into each other. It's now been twenty years since Bonaparte played their very first show at the legendary Bar25 on Berlin's Spree river. The ringmaster of this unhinged musical theater was Tobias Jundt then, and it's Jundt again now bringing the Bonaparte extravaganza back to the stage. New and nostalgic sit close together when the party's been going this long. Or, as they put it: "PARADISE IF YOU CAN STAND IT."
From late October through mid-November, Bonaparte will tour Germany, Austria, and Jundt's native Switzerland at full intensity, the full lineup - band to burlesque. Since their 2006 debut through their supposed farewell in 2019, Bonaparte played over 800 shows in 28 countries. Bottom line: "Too Much" isn't enough to properly celebrate a body of work like this. And the new songs from "PARADISE IF YOU CAN STAND IT" are far too significant not to bring to the stage. The lo-fi trash-punk of Bonaparte's earliest records has been built out with added layers, in production (largely alongside British avant-garde electronic artist HELiX) and in the songwriting itself.
The world certainly hasn't gotten any simpler since 2006. Tracks like "EVERYBODY PRESiDENT," loosely riffing on Zoe Leonard's poem "I Want A Dyke For President," and the corrosive "BRAiN ROT" mirror the social chaos we find ourselves in 2026. "OBEY (THERE iS STiLL A RiOT GOiNG ON)" is just as furious, though here the principle of hope still holds, as a multigenerational choir concludes "everything will be okay." Jundt speaks across generations again on "i LOVE YOU (MORE LATER)," dedicated in equal measure to his parents and his daughters: "Let the echo chamber bleed - from here into eternity."
The reconciliation and hope Bonaparte allows for and tends to, amid violence and all that noise, make "PARADISE IF YOU CAN STAND IT" a singular document of an artist grown wiser. Separation and grief don't cancel out love and vitality - they depend on each other. Ultimately, the album is a record of searching for and finding a home. To arrive, you have to let go.
And what better place to let go than in step with Bonaparte's wild, hedonistic party circus, finally back to gently terrorize our cities?
A Portal To The Unknown – 7 Rotations of Neptune Discs brings together 12 producers across a double LP. Tifra and Match Box return following their own ep’s on the label this year, joined by familiar contributors Wigs, Aiden Francis, Jeku, Cybernet and Mahkina. COZi, Dive Crew and Thurlow Joyce make their first appearances, with Milès Borghese and Biodive completing the four sides.
Run independently by Astro from Edinburgh, Neptune Discs treats the exploratory ideas of ’90s and early-’00s club music as unfinished business. Prog, trance, tech house and dub techno remain reference points rather than templates, with more than 50 releases—and the arrival of Jupiter’s Depth and Pyramid Fields—allowing that identity to keep developing.
Wigs’ “Strangers” and Aiden Francis’ “Uno” bring warped, driving prog. COZi makes his Neptune debut with “Ride The Snake”, a lean, stripped-back tech-house roller that brings early-2000s economy into the present. Jeku follows with “Droop”, a trippy, ozone-soaked slow roller, while Thurlow Joyce closes with the warm, deeply submerged dub techno of “Sundowner”.
Beyond the vinyl, three digital exclusives expand the release: Bert Vesper’s “Babbel Truc”, Azzecca’s “Home” and Foley’s “What Could’ve Been”.
Featuring artwork by theAJM, the release is pressed across two 12-inches, distributed by One Eye Witness and arrives on 23 October 2026.
On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer.
Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players.
On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer.
Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players.
Layne & Chang might not be household names to everyone, but in the underground they’re long-established fixtures. Chang—who’s released music under a string of aliases over the years—was tipped by Urb magazine as one to watch back in the mid-’90s and has been embedded in dancefloor culture ever since. Alongside him, Layne Fox (formerly San Francisco, now back in Florida) brings deep disco credentials, having helmed the cult-loved Disco Dimensions label and recording as 40 Thieves—best known for the underground anthem Don’t Turn It Off. In short, the boogie lineage on this record runs deep.
And that’s before you even get to Dan Tyler. As one half of the Idjut Boys and co-founder of Noid Recordings, Tyler helped lay the groundwork for London’s edit culture long before it became a global phenomenon. His involvement here only strengthens the package.
“Shake Your Body” opens the release with a locked-in, funk-driven groove—swirling melodic lines, subtly acidic textures, warm vocoder touches, and tight, punchy drums all dialed for peak-time movement. On the A2, “In The Desert” shifts the mood into something more transportive: a hazy, late-night burner equally suited to open-air parties, after-hours sessions, or home listening with the lights low.
Flip to the B-side and Dan Tyler delivers two cosmic reworks that push things further out. Psychedelic, elastic, and built for serious systems, both cuts hit that sweet spot between heady and physical—already circulating among a handful of tastemaker DJs and primed for heavy rotation as festival season ramps up.
A strong, floor-ready release that sits comfortably in the Whiskey Disco catalogue—rooted in disco, but reaching well beyond it.
On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.
This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.
The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.
FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.
On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.
This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.
The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.
FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.
"ABYSSUS stand as one of the most significant forces within the Greek Death Metal scene, having forged their path since 2011. Drawing profound inspiration from genre-defining pioneers such as DEATH, OBITUARY and BOLT THROWER, the band preserves the unadulterated spirit of old school death metal while imprinting their own distinct identity.
From the very outset, ABYSSUS placed equal emphasis on studio output and live performance. A steady stream of EPs and split releases established their presence within the international Underground metal community. Their debut full-length, „Into the Abyss“ (2015), garnered widespread acclaim and marked a pivotal moment in the band’s evolution - leading to increasingly frequent appearances both in Greece and across Europe, often sharing the stage with renowned acts, like POSSESSED, SINISTER, SUICIDAL ANGELS and ROTTING CHRIST.
With renewed creative vigour and greater maturity, ABYSSUS unveiled their sophomore album „Death Revival“ in 2022 via Transcending Obscurity Records. Adorned with an arresting cover by the legendary Andreas Marschall (KREATOR, BLIND GUARDIAN, IN FLAMES a.o.), the album was met with universal praise, further cementing the band’s reputation for delivering unrelenting, yet masterfully crafted, death metal. More shows with a.o. ASPHYX, TANKARD, GRAVE DIGGER and THE CROWN followed.
Now in 2026, ABYSSUS return with their third full-length opus, “The Reign” - a ferocious testament to their artistic evolution. The album encapsulates all the core elements that have defined death metal through the decades: raw aggression, blistering riff-work, and a suffocating, commanding atmosphere. Once again, the visual narrative is entrusted to Andreas Marschall, whose artwork enhances the band’s sonic vision with striking intensity.
Relentlessly evolving, ABYSSUS remain true to their roots while continuing to push the boundaries of the genre. With a prolific discography and an ever-growing presence on the live circuit, they have rightfully earned their place as a formidable name within the global death metal landscape."
Zwölftes und finales Studioalbum der US-Rocklegenden erstmals wieder auf Vinyl. - Erstes Album seit 1984 mit Original-Sänger David Lee Roth. - Sieben unveröffentlichte Demos aus den 70er/80er-Jahren neu eingespielt. - Top-Chart-Erfolg: Platz 2 der Billboard 200 und Gold-Status. - Audiophiles Schwergewicht: Hochwertige 180g Doppel-Vinyl für Sammler.
The release follows a run of major live moments, including supporting Frankie and The Witch Fingers at The Garage, standout festival appearances at Wild Paths and Down Stokes, and three packed-out sets at Left of the Dial, including highlight performances at De Doelen and V11 in Rotterdam. Sharing stages with Wine Lips and The Bug Club, Dreamwave have quickly become one of the most exciting and fast-rising live acts in the UK psych scene. Two EPs, one essential 12"-Drifter on one side, Moon Dogs on the flip.
Blume presents two pieces composed in 1970 by the American pianist and composer David Tudor (1926-1996), one of electronic music's most important pioneers, for the Pepsi-Cola Pavilion, a unique artist-designed and programmed space for Expo '70 in Osaka, Japan, created by Experiments in Art and Technology (E.A.T.). Pepsibird and Anima Pepsi deploy electronic technology as a means to experience sound in ways that are anything but matter of fact, rendering liberated environments within and through which one might democratically express and commune. Viewed through the lens of what was, is, and might have been, they offer the tools for time travel: an unmediated encounter with radical, optimistic ideas that gave way to the complex cultural landscape of our time.
Initially trained on organ and then piano, Tudor emerged as a leading figure within New York's musical vanguard after his groundbreaking 1950 performance of Stefan Wolpe's Battle Piece and the American premiere of Pierre Boulez's Second Sonata. Within less than a year he had joined the Merce Cunningham Dance Company as its accompanist, a role he kept until his death, and began one of his most lasting creative relationships with John Cage, who would state that his entire output between 1951 and the end of the 1960s was written with Tudor in mind. Christian Wolff, Earle Brown, Morton Feldman, Sylvano Bussotti, Mauricio Kagel, and Karlheinz Stockhausen all wrote works for him during the 1950s and '60s. Through indeterminacy and chance-based methods, Tudor was noted for radically intervening with the works he played, often making them entirely his own, and it was this same singularity of vision that led him to gradually abandon the piano in favor of electronic process, through which he began working as a composer in his own right.
His engagement with electronics dates to the early 1950s and Cage's Project for Music for Magnetic Tape. By the following decade the pair had moved to live electronics, with Tudor rendering works like Cartridge Music and Variations II through contact microphones and complex systems of feedback and amplification. Before modular synthesizers existed, he designed and built his own electronics, often with engineers from Bell Laboratories, producing dozens of unique instruments and processing tools that helped lay the groundwork for the technological needs embraced by most electronic musicians ever since. A clear marker of his emergence as a composer came in 1966 with 9 Evenings: Theatre and Engineering, where he premiered Bandoneon! (a combine), turning the cavernous performance space into a feedback instrument and a total environment. The event led directly to the founding of E.A.T. the following year by the engineers Billy Klüver and Fred Waldhauer, alongside Robert Rauschenberg and Robert Whitman.
Among the most ambitious of E.A.T.'s projects was the Pepsi-Cola Pavilion, for which Tudor composed four pieces between March and April 1970: Pepsibird, Anima Pepsi, Pepscillator, and Microphone. Together with Forrest "Frosty" Myers, Robert Whitman, the sculptor and filmmaker Robert Breer, and the architect John Pearce, he was tasked with the design and function of the building: a 120-foot diameter steel and polyvinyl dome, shrouded in mist and fog and lit in the evenings by a square of intense blue-white xenon light. Tudor worked with Gordon Mumma and Fred Waldhauer on a unique sound system capable of processing and variable distribution through 37 speakers, controlled both by automated means and by the performer, and with Lowell Cross on a sound-activated laser deflection system inside the pavilion's mirrored performance hall.
Both pieces are an advanced form of musique concrète: libraries of tape recordings, live mixed and processed through the pavilion's sound console and distributed through 8 channels of stationary and rotating patterns designated by Tudor's instructions (small circle, great circle, large rhomboid, spiral, small triangles, small ovals). Pepsibird is focused upon a physical interiority, its source tapes being recordings of the brain wave activity of humans and animals: cat's eye, nerve firing, bats, EKG, alpha waves, a modified nightjar. Recorded in situ in 1970 and mixed down to stereo, it retains a striking sense of the space and ambience that Tudor achieved in performance. For more than eighteen minutes he merges subtle textures and pulses, at times resembling birdsong, within a blanket of vast, resonant ambience of subaquatic density, foreshadowing the relationship to the natural world of later works like Rainforest IV (1973).
Anima Pepsi is centered on the exterior: field recordings that Tudor made of animal and insect sounds (mosquitoes in a jar, a fly on flypaper, a wasp chewing, a beetle walking) and a mix of human and animal sounds that he called the "funny tape". Where Pepsibird deploys interior sounds in ways that allude to the natural world, Anima Pepsi pushes the sounds of nature and humanity toward the otherworldly through the clear presence of electronic sounds and processing, moulding detailed, pointillistic patterns of abstract sonority into gauzy blankets of ambience and space.
The collaboration did not last: less than a month after the opening, Pepsi withdrew its support, fired E.A.T., and disregarded Tudor's tapes, which according to accounts had to be smuggled out by staff, playing its own soundtrack in the pavilion for the rest of the Expo. Heard today, Pepsibird and Anima Pepsi anticipate many territories of later electroacoustic practice, from field recording to live processing, while the terms on which they were made, radically unpredictable, indeterminate, and experimental to the core, reconfigure what we've come to expect from electronic process, making one wonder if the past was ahead. Issued by Blume in a highly limited vinyl edition of 300 copies on red vinyl, with a 20-page LP-size booklet containing You Nakai's essay and newly commissioned liner notes by Bradford Bailey.
Ever-evolving Amsterdam duo ANOTR continue their forward momentum with the release of their highly anticipated third studio album, ‘Withness’, out via their own imprint No Art. Rooted firmly in dance music, ‘Withness’ sees the pair refine their sound into their most dance-floor focused and cohesive project to date.
Born during their global tour, ‘Withness’ was shaped in real time: written, tested and refined on dancefloors across the world. Following the expansive, genre-blurring approach of their 2025 LP ‘On A Trip’, the duo felt a pull back toward the club - not as a limitation, but as a unifying space. “We really wanted to have a wide variety of songs that we can play out and create moments,” they explain. “Every track needed to make sense wherever people come together to dance.”
That intention sits at the heart of ‘Withness’. A title that reimagines the idea of “witnessing” into something more active and collective. ‘Withness’ is an album about experiencing life with others. It’s about the moments you share, the people who shape them, and the energy that becomes real only when you’re fully present. The album captures the collective high of friendship. Whether in a packed club, at a festival, or in a living room with friends, the album is designed to soundtrack moments of connection.
“The memories you make with people, they’re the witness of those moments. Withness is about being in it together.” - ANOTR
Sonically, the album marks a clear evolution. Drawing from their early club roots while building on the songwriting confidence developed on their previous records, classic drum machines and 909 samples sit alongside warm, 80s-tinged textures, layered vocals and modern production techniques, creating a sound that feels both nostalgic and forward-thinking.
A key part of the process was spontaneity. The duo embraced a free-flowing, collaborative studio environment, often working with a rotating cast of contributors. Their now-signature “open mic” approach encouraged anyone in the room to experiment with melodies, lyrics and vocal ideas. This energy translates directly into the album’s standout moments. From the euphoric pull of ‘Withness’ to the groove-led ‘Do It With Ya’, the uplifting ‘Paradise’, each track is built to live beyond a single setting.
The LP comes at a timely moment, as their single ‘Talk To You ft. 54 Ultra’ has become the biggest global breakout dance single this year. Sitting firmly in Spotify’s Global Top 200, it has surpassed 175 million streams, and is currently No. 21 in the UK Singles Chart. Spotify have tipped it in their much-coveted global ‘Sound Of The Summer 2026’ list and other highlights include peaking at No. 7 in Shazam’s Global Chart, No.1 on Beatport Top 100 and gaining over 600M UGC views so far.
The Rotterdam producer duo Vesuvio Vortex and DJ Seutek first connected through a shared love for records, long listening sessions, and spontaneous DJ sets at his record store.
One evening, Seutek recited his poem ‘Ruimte Zat’ (In Space There’s Space Enough). The reaction was immediate: this had to become a record. That same night, the vocals were recorded and the music began to take shape.
The result is a melancholic piece driven by his unmistakable voice, weaving spoken word through ’80s-inspired sounds. Raw and unmistakably Rotterdam, ‘Ruimte Zat’ finds hope in uncertainty while keeping its eyes on the horizon.
Join the trip with some breakbeat euphoria by HAAK. on the flip. Ga mee op reis!
Stu Chapman, Nee & Wendy combine for 1 side of this banging breakbeat '92 style 4 track EP with Core Dimension's second outing on Return of The Vibes on the flip. Brought to you on black vinyl
The return of the Dutch masters of deep! Rotterdam techno veterans Duplex show how it's done with three lush & warm interstellar techno tracks from that forgotten future... Pure, dedicated and very well-crafted. This will orbit the dancefloor straight into outer space. And as an extra the Steven Tang remix of 'Jx3PO' to heat things even more up. Well done Dolly!
From the depths of Rotterdam's machine soul, Gerd returns with Plasmic Echo - a four-track transmission drifting between submerged dub atmospheres, decayed textures and hypnotic late-night pressure. Released on Frame Of Mind, the EP moves through dense fog, frozen delays and low-end currents with precision and restraint. Deep, spacious and subtly psychedelic, Plasmic Echo balances stripped-down rhythm tracks with immersive atmospheres and pulsing analog textures. Built for dark rooms, long blends and those moments where time starts to dissolve into the groove.
Eine Hommage an innovative mexikanische Musiker, die elektronische und indigene Instrumente mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik verschmolzen haben Mit 12 visionären Künstlern, darunter Luis Pérez, Arturo Meza, Jorge Reyes, Aristeo und Tribu, um nur einige zu nennen Zusammengestellt und produziert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill Cover-Artwork vom legendären Künstler Eduardo Terrazas sowie Design und Layout von D.Norsen Design Doppel-LP, gepresst bei Optimal, inklusive Booklet mit Liner Notes Audio remastered vom GRAMMYr-nominierten Toningenieur John Baldwin Limitierte Farbvinyl-Edition, gepresst auf violettem und rosa Vinyl //// ,A LA ALTURA" - oder ,To The Height" - würdigt mexikanische Musiker, die sich in den letzten Jahrzehnten des 20. Jahrhunderts mit elektronischen und indigenen Instrumenten auf experimentelles Terrain wagten und dabei im Dialog mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik standen. Über ein Jahrzehnt in Arbeit und liebevoll kuratiert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill, basiert A LA ALTURA auf Originalbändern und Masteraufnahmen mit unveröffentlichten, längst vergriffenen und privat gepressten Aufnahmen. Die Bände 1 & 2 präsentieren 25 visionäre Künstler, die sich aktiv für eine Art Bewusstseinserweiterung einsetzten - sei es durch die Suche nach den Sternen mittels ihrer Musik oder durch die Weiterentwicklung der Kunstform selbst. Ebenso kühn setzen diese beiden Bände ein Zeichen dafür, dass mexikanische Künstler und Komponisten wie Luis Pérez, Arturo Meza, Jorge Reyes, Ana Ruiz und Antonio Zepeda in einem Atemzug mit Michael Rother, Terry Riley, Hiroshi Yoshimura und den vielen anderen Künstlern genannt werden sollten, die zu Recht für ihren Experimentiergeist gefeiert wurden.
Eine Hommage an innovative mexikanische Musiker, die elektronische und indigene Instrumente mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik verschmolzen haben Mit 12 visionären Künstlern, darunter Luis Pérez, Arturo Meza, Jorge Reyes, Aristeo und Tribu, um nur einige zu nennen Zusammengestellt und produziert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill Cover-Artwork vom legendären Künstler Eduardo Terrazas sowie Design und Layout von D.Norsen Design Doppel-LP, gepresst bei Optimal, inklusive Booklet mit Liner Notes Audio remastered vom GRAMMYr-nominierten Toningenieur John Baldwin Limitierte Farbvinyl-Edition, gepresst auf violettem und rosa Vinyl //// ,A LA ALTURA" - oder ,To The Height" - würdigt mexikanische Musiker, die sich in den letzten Jahrzehnten des 20. Jahrhunderts mit elektronischen und indigenen Instrumenten auf experimentelles Terrain wagten und dabei im Dialog mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik standen. Über ein Jahrzehnt in Arbeit und liebevoll kuratiert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill, basiert A LA ALTURA auf Originalbändern und Masteraufnahmen mit unveröffentlichten, längst vergriffenen und privat gepressten Aufnahmen. Die Bände 1 & 2 präsentieren 25 visionäre Künstler, die sich aktiv für eine Art Bewusstseinserweiterung einsetzten - sei es durch die Suche nach den Sternen mittels ihrer Musik oder durch die Weiterentwicklung der Kunstform selbst. Ebenso kühn setzen diese beiden Bände ein Zeichen dafür, dass mexikanische Künstler und Komponisten wie Luis Pérez, Arturo Meza, Jorge Reyes, Ana Ruiz und Antonio Zepeda in einem Atemzug mit Michael Rother, Terry Riley, Hiroshi Yoshimura und den vielen anderen Künstlern genannt werden sollten, die zu Recht für ihren Experimentiergeist gefeiert wurden.
Eine Hommage an innovative mexikanische Musiker, die elektronische und indigene Instrumente mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik verschmolzen haben Mit 12 visionären Künstlern, darunter Luis Pérez, Arturo Meza, Jorge Reyes, Aristeo und Tribu, um nur einige zu nennen Zusammengestellt und produziert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill Cover-Artwork vom legendären Künstler Eduardo Terrazas sowie Design und Layout von D.Norsen Design Doppel-LP, gepresst bei Optimal, inklusive Booklet mit Liner Notes Audio remastered vom GRAMMYr-nominierten Toningenieur John Baldwin Limitierte Farbvinyl-Edition, gepresst auf violettem und rosa Vinyl //// ,A LA ALTURA" - oder ,To The Height" - würdigt mexikanische Musiker, die sich in den letzten Jahrzehnten des 20. Jahrhunderts mit elektronischen und indigenen Instrumenten auf experimentelles Terrain wagten und dabei im Dialog mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik standen. Über ein Jahrzehnt in Arbeit und liebevoll kuratiert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill, basiert A LA ALTURA auf Originalbändern und Masteraufnahmen mit unveröffentlichten, längst vergriffenen und privat gepressten Aufnahmen. Die Bände 1 & 2 präsentieren 25 visionäre Künstler, die sich aktiv für eine Art Bewusstseinserweiterung einsetzten - sei es durch die Suche nach den Sternen mittels ihrer Musik oder durch die Weiterentwicklung der Kunstform selbst. Ebenso kühn setzen diese beiden Bände ein Zeichen dafür, dass mexikanische Künstler und Komponisten wie Luis Pérez, Arturo Meza, Jorge Reyes, Ana Ruiz und Antonio Zepeda in einem Atemzug mit Michael Rother, Terry Riley, Hiroshi Yoshimura und den vielen anderen Künstlern genannt werden sollten, die zu Recht für ihren Experimentiergeist gefeiert wurden.
Eine Hommage an innovative mexikanische Musiker, die elektronische und indigene Instrumente mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik verschmelzen Mit 13 visionären Künstlern, darunter Ana Ruiz, Oxomaxoma, Gerardo Bátiz, Antonio Zepeda und Airwaves, um nur einige zu nennen Enthält 4 bisher unveröffentlichte Titel Zusammengestellt und produziert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und dem Creative Producer des LA Phil, Mark ,Frosty" McNeill Covergestaltung vom legendären Künstler Eduardo Terrazas, Design und Layout von D.Norsen Design Doppel-LP, gepresst bei Optimal, inklusive Booklet mit Liner Notes Audio remastert vom GRAMMYr-nominierten Toningenieur John Baldwin Limitierte Farbvinyl-Auflage auf gelbem und blauem Vinyl ///// ,A LA ALTURA" (zu Deutsch: ,Zu den Höhen") würdigt mexikanische Musiker, die sich in den letzten Jahrzehnten des 20. Jahrhunderts mit elektronischen und indigenen Instrumenten auf experimentelles Terrain wagten - im Dialog mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik. Über ein Jahrzehnt in der Entstehung und liebevoll zusammengestellt vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill, basiert A LA ALTURA auf Originalbändern und Masteraufnahmen mit unveröffentlichten, längst vergriffenen und privat gepressten Aufnahmen. Die Bände 1 und 2 präsentieren 25 visionäre Künstler, die sich aktiv für eine Form der Bewusstseinserweiterung einsetzten - sei es durch das Streben nach den Sternen mittels ihrer Musik oder durch die Weiterentwicklung der Kunstform selbst. Ebenso kühn setzen diese beiden Bände ein Zeichen dafür, dass mexikanische Künstler und Komponisten wie Luis Pérez, Arturo Meza, Jorge Reyes, Ana Ruiz und Antonio Zepeda in einem Atemzug mit Michael Rother, Terry Riley, Hiroshi Yoshimura und den vielen anderen Künstlern genannt werden sollten, die zu Recht für ihren Experimentiergeist gefeiert wurden.
Rotterdam’s Nathan Homan jumps into the Spectral Bounce spotlight on SPEC09 — Frog Mine. These three cuts of mesmeric tech house roll, slip and spring from the speakers.
His Spectral Bounce debut is exemplified by punchy percussion playing against obscured, otherworldly sonics — something Homan has a particular instinct for, and which slot seamlessly into the SPEC catalog. Starting proceedings with a taut beat, snappy drums and hallucinatory croaks, the titular “Frog Mine” creates a hypnotic trip. Second track “Hyp” is a well-honed tech house roller: its adeptly slinking rhythm hearkens back to the 00’s, yet this framework is expanded upon with alien timbres and pinwheeling FX. Having set a heady tone, Homan doesn’t shy away from loosening up his sound: swapping the original’s smooth propulsion for a healthy dose of jackin’ bounce, the house mix of “Hyp” strips the ingredients back, before adding a cascade of syncopated toms and a seriously thumping kick.
Das rare German New Wave-Kultalbum von 1982 neu aufgelegt! Inkl. sagenhafter Versionen von "Psychokiller" (Talking Heads) & "Mongoloid" (Devo) sowie der ERNST-Originale "C2H5OH" & "Autonome Einheit" "Ernst entstand wegen der Talking Heads. Ernst ist keine typische Neue Deutsche Welle Band. Ernst kam nicht aus dem Punk. Ernst war auch kein Spaß-Produkt der Plattenindustrie. Ernst gab eine so eigenwillige wie charmante Antwort auf die Frage, wie New Wave in Deutschland klingen könnte. - Auf dem ersten, einzigen, unbetitelten und nun wieder veröffentlichten Ernst-Album von 1982 finden sich gleich mehrere Coverversionen der Talking Heads - ins Deutsche übersetzt, gesungen von Bassistin Dorle Bausinger. Die New Yorker hatten die Tübinger dazu inspiriert, eine New Wave Combo zu gründen. Auch ihre geniale Version von Devos "Mongoloid" steht dem Original in nichts nach. Die Band verstand sich aber nicht nur darauf, sich coole Musik aus Amerika anzueignen, sondern schrieb selbst sehr gute Songs wie "C2H5OH (Alkohol)" oder "Autonome Einheit". - Also veröffentlichten Ernst ihre Platte kurzerhand im Eigenvertrieb. "Wir schickten ein paar Exemplare ans Radio, und bestückten die Plattenläden in der näheren Umgebung, viel mehr unter-nahmen wir nicht." Beim Tübinger Plattenladen Rimpo waren die Verkaufszahlen so hoch, dass Ernst, das Album, mehrmals Platte des Monats wurde. Die knallblau-roten Cover füllten über Wochen ein ganzes Schaufenster. - Dennoch blieben die Band und ihr außergewöhnliches Album bis heute ein Geheimtipp. Ernst bekam nie die Anerkennung, die er verdient hätte. Zeit, dass sich das ändert." - Ulrich Gutmair (Kulturredakteur taz, Autor u.a. "Wir Sind Die Türken Von Morgen" (2023), "Die ersten Tage von Berlin" (2013)), 2026 aus den Linernotes zur Neuausgabe von ERNSTs "Ernst". Wiederhergestelltes original Artwork! Transparent rotes Vinyl in Glanzlack-Sleeve mit ausführlichen deutschsprachigen Linernotes und Fotos auf 6-seitigem, gefalztem 12"-Insert oder inside-out Digipak-CD (das Format erstmals überhaupt) mit den Linernotes in 28seitigem Booklet. Beide Formate sind in den Erstausgaben streng limitiert auf nur 500 Stück weltweit!
"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!
"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!
In late 2025, Manchester producer Psychederek established the Via Jupiter label as an outlet for his work.
For the label's fourth release, Psychederek returns with 'The Right Side Of The Ocean', a guitar and percussion themed record that drifts somewhere between balearic pop, new age and loose-limbed disco.
Danny Ward's percussion runs throughout, giving the record a warm, organic pulse beneath its hazy melodies.
'Saint Joan' sets sail with a nostalgic, guitar-led groove, easing us into the world of the EP.
From there, things get a little baggier on 'Aire Salado', a Happy Mondays-adjacent pop song built around Stan Lewis' catchy saxophone riff, with Lois Holmes' backing vocals adding another layer of laidback charm.
'In The Sun' settles deeper into the groove, built around repeating vocal and guitar hooks, dreamy synth pads and a deep, rolling bass line.
Then comes 'Central Drive', where the tempo lifts and the record heads towards disco territory. Its roto-tom driven breakdown takes its time, opening up the groove before eventually slipping back into the track's main synth riff.
Finally, 'Everything Settles' brings things back around, dissolving into an ambient reprise of the opening track. The guitars give way to synths, the vocals become a repeating mantra and the whole thing slowly drifts off into full new-age bliss.
Lion Charge return bringing you the next edition in our 10” vinyl series with the sounds of Tenshu.
‘Badda’ has been on rotation and played by many big names across the dubstep / dub scene with it’s smooth sampling in tribute of the late Billy Boyo. Blazing soundsystems worldwide and being a much requested track at Outlook Festival.
