Search:vision

Introducing Airways, Alpha Tracks’ new record label, crafted to be an ultra-inclusive platform that celebrates the full spectrum of electronic music.

Airways is a space for experimentation, where fresh and unexplored visions can thrive. It’s an auditory stage for musical ideas in all forms—a place where genre boundaries dissolve, and connections emerge between diverse musical tastes.

Kicking off this new era, the label debuts with a stunning masterpiece from Scandinavian trance artist and avant-gardist Mikkel Rev.

Als Gaerea aus dem pandemischen Limbo auftauchten, brachte die maskierte Band eine Vision von Black Metal auf die Bühne, die sich nicht von Mythen oder heidnischem Glauben leiten ließ - sondern von einer Läuterung der Gefühle. Die Welt nahm diese Vision schnell an und folgte ihnen auf Festivals, u.a. Hellfest, bis hin zu gut besuchten Touren durch China und die USA.

Mit "Coma" sind Gaerea nicht mehr nur Black Metal. Obwohl ihr viertes Album wieder von ihrem Vertrauten Miguel Tereso produziert wurde, erweitert es ihren charakteristischen Sound, indem es ihn in zwei scheinbar entgegengesetzte Richtungen führt. Es gibt mehr Momente von intensiver Schönheit, aber sie verstärken nur die darauf folgende Brutalität.
"World Ablaze" läutet diese neue Ära von Gearea ein, indem es eine konventionellere Songstruktur über feurigem Tremolo-Picking aufbaut. "Hope Shatters" stellt selbst die höchsten Fan-Erwartungen auf den Kopf: nachdem der Song unter seiner rasenden Schwere zusammenbricht, hängt die Melodie gefährlich in der Luft, wie ein schwankender Kronleuchter, bevor sie von hämmernden Bässen und erschütternden Blastbeats zertrümmert wird.

"I've known faces within me", schreit der Sänger nach einem langsamen und düsteren Gitarrensolo, bevor "Unknown" in eine messerscharfe Hook einrastet. “I transform with every passing moment”.

Mit "Coma" setzen sich Gaerea endgültig an die Spitze des extremen Metal!

FFO: Orbit Culture, Zeal & Ardor, Bad Omens

Als Gaerea aus dem pandemischen Limbo auftauchten, brachte die maskierte Band eine Vision von Black Metal auf die Bühne, die sich nicht von Mythen oder heidnischem Glauben leiten ließ - sondern von einer Läuterung der Gefühle. Die Welt nahm diese Vision schnell an und folgte ihnen auf Festivals, u.a. Hellfest, bis hin zu gut besuchten Touren durch China und die USA.

Mit "Coma" sind Gaerea nicht mehr nur Black Metal. Obwohl ihr viertes Album wieder von ihrem Vertrauten Miguel Tereso produziert wurde, erweitert es ihren charakteristischen Sound, indem es ihn in zwei scheinbar entgegengesetzte Richtungen führt. Es gibt mehr Momente von intensiver Schönheit, aber sie verstärken nur die darauf folgende Brutalität.
"World Ablaze" läutet diese neue Ära von Gearea ein, indem es eine konventionellere Songstruktur über feurigem Tremolo-Picking aufbaut. "Hope Shatters" stellt selbst die höchsten Fan-Erwartungen auf den Kopf: nachdem der Song unter seiner rasenden Schwere zusammenbricht, hängt die Melodie gefährlich in der Luft, wie ein schwankender Kronleuchter, bevor sie von hämmernden Bässen und erschütternden Blastbeats zertrümmert wird.

"I've known faces within me", schreit der Sänger nach einem langsamen und düsteren Gitarrensolo, bevor "Unknown" in eine messerscharfe Hook einrastet. “I transform with every passing moment”.

Mit "Coma" setzen sich Gaerea endgültig an die Spitze des extremen Metal!

FFO: Orbit Culture, Zeal & Ardor, Bad Omens

Als Gaerea aus dem pandemischen Limbo auftauchten, brachte die maskierte Band eine Vision von Black Metal auf die Bühne, die sich nicht von Mythen oder heidnischem Glauben leiten ließ - sondern von einer Läuterung der Gefühle. Die Welt nahm diese Vision schnell an und folgte ihnen auf Festivals, u.a. Hellfest, bis hin zu gut besuchten Touren durch China und die USA.

Mit "Coma" sind Gaerea nicht mehr nur Black Metal. Obwohl ihr viertes Album wieder von ihrem Vertrauten Miguel Tereso produziert wurde, erweitert es ihren charakteristischen Sound, indem es ihn in zwei scheinbar entgegengesetzte Richtungen führt. Es gibt mehr Momente von intensiver Schönheit, aber sie verstärken nur die darauf folgende Brutalität.
"World Ablaze" läutet diese neue Ära von Gearea ein, indem es eine konventionellere Songstruktur über feurigem Tremolo-Picking aufbaut. "Hope Shatters" stellt selbst die höchsten Fan-Erwartungen auf den Kopf: nachdem der Song unter seiner rasenden Schwere zusammenbricht, hängt die Melodie gefährlich in der Luft, wie ein schwankender Kronleuchter, bevor sie von hämmernden Bässen und erschütternden Blastbeats zertrümmert wird.

"I've known faces within me", schreit der Sänger nach einem langsamen und düsteren Gitarrensolo, bevor "Unknown" in eine messerscharfe Hook einrastet. “I transform with every passing moment”.

Mit "Coma" setzen sich Gaerea endgültig an die Spitze des extremen Metal!

FFO: Orbit Culture, Zeal & Ardor, Bad Omens

Strange Power!, the fifth record from Durham, NC-based songwriter and poet Anne Malin Ringwalt, emerges from the darkest waters of the self into a world remade. Releasing in conjunction with her second book of poetry, What Floods (Inside the Castle, Oct. 2024), Strange Power! overflows with Ringwalt's teeming and sensuous personal symbolry: glowing lilacs and gentle queens, dolphins wild and girls who grew up brave _ T.S. Eliot sung by Cat Power, backed by Mount Eerie. She sings: "I rose up from water." Ringwalt writes and performs with the authority of a lifetime spent harnessing the alchemy of storytelling; her belief in the power of words to heal and transform is palpable in each achingly- delivered lyric. Made amidst profound inner and outer change, Strange Power! also sees Ringwalt taking up the role of self-producer for the first time, mirroring and supporting the record's Orphic quest by gathering contributions from a coterie of friends wielding an electric range of American instruments. Violins, vibraphones, drum machines, electric guitars dappled with spring reverb, wind-blown shells, and a host of other numinous sounds form an unfurling and shadowy world which was then carefully honed during the mixing process (shepherded by Michael Cormier-O'Leary and Lucas Knapp) _ settling the final record in an eerie meridian between spareness and verdancy. The result is a beguiling and darkly blooming realm: the sound of a personal cosmos being remade, piece by piece. Ringwalt is at the height of her spirit as both songwriter-poet and singer, her willowy voice by turns conjuring and keening as she reckons with her deep past and the stories told since. Opening track "The Pines" sets the stage for a record of truly life-long scope: "I was a child, now I hold her / I was asleep for many years." Some songs, like the gorgeous "North Carolina" and "The Saint," were written as early as 2013 but, Ringwalt says, "insisted upon being remembered" as the record took shape; in its final form, they serve as inciting moments of self-discovery before the journey to come. "The Visionary" recalls one of Ringwalt's earliest musical breakthroughs _ her re-rendering of an Emily Brontë poem into a song at age 15 _ and, she says, "`cites' the melody of that song in the context of this new one _ a holding of the past and present and every layer in between/beyond, in utter solitude _ a solitude that reflects certain aspects of abandon as a child and an adult..." This unusually lengthy time-scale lends Strange Power! a deeply moving sense of narrative fullness. Stretches of the record _ particularly the "Judgment Day" ? "River" ? "Lilac Bloom" trifecta that form the black heart of Side 1 _ may recall familiar wanderings of personal underworlds such as Mount Eerie's Lost Wisdom Pt. 2 or Neil Young's Ditch Trilogy. Yet this hollowed landscape is in turn exorcized by the a capella "I Know," in which Ringwalt sings "I won't be gutted by you / For giving and trying to heal / I won't be gutted, I am not a fool / I deserve a love that is new" before the song concludes with a piano passage that recalls hymnal music _ suggesting a faith in life itself to offer new beginnings. Side 2 features some of Ringwalt's most powerfully introspective writing to date, as the songwriter casts off myth after myth in her search for personal transformation. By the final song, "Stories," the energy that has been gathering all throughout the record breaks loose as Ringwalt reflects: "I wrote so many stories, not knowing what the end was." But at this stage in the journey, we know there is no such thing as an ending; if the healing process is never complete, the storyteller's strange power is what finally offers liberation.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Moon White Vinyl. All her life, Emma Hardyman has wrestled with contradictions. After all, she was practically rendered a living, breathing contradiction the moment she was born into her half-Peruvian, half-white working-class Mormon family. In young adulthood, Hardyman became increasingly disillusioned with Mormonism's righteous black-and-white thinking, as well as its exclusionary elitism, and decided to leave the church. But she also acknowledged that the institution's all-or-nothing philosophy had become a part of her, resulting in a considerable test of grace and unlearning. As the singer-songwriter behind Little Moon, the Tiny Desk Contest-winning, Utah-based avant-folk project, Hardyman uses music as an outlet to illuminate contradictions of all kinds. Following the release of her 2020 debut LP Unphased, Hardyman set out to write a romantic album about her newlywed husband Nathan (who also sings and plays guitar in Little Moon), but the universe had other plans. After Nathan's mother tragically passed away, Hardyman recalibrated her vision and started work on a love-as-grief, grief-as-love album titled Dear Divine. The record serves as a mirror for the darkest parts of ourselves, allowing us to examine our ego_not to dismantle it, but to better understand how we love, process adversity and move through the world. Centering the classical music, folk, video game soundtracks and Tabernacle Choir hymns she grew up with, as well as ephemeral snapshots of personal significance, Dear Divine is an abundant tapestry of Hardyman's life. As enlivening melodies radiate from a string trio, you can envision the classical music that thrums from her parents' radio 24/7, as Hardyman sings in an otherworldly coo, you can imagine her younger self swooning over the tranquil records of Vashti Bunyan and Joan Baez, and as arpeggiated synths twinkle, you can visualize the enchanting kingdom of Hyrule from The Legend of Zelda: Ocarina of Time that she still adores. Songs like "now" and "messy love" embrace the gloriously jumbled stew of life, with the former chronicling Hardyman's arduous quest for love and trust and the latter patiently navigating the ways romantic partners can mirror each other's shortcomings. As Dear Divine attests, Emma Hardyman may not have it all figured out, but that's kind of the point. Through grief, faith crises and all-encompassing love, she's found the most wisdom in life's maddeningly consistent inconsistencies, as well as the subtle ways one can cultivate a feeling of home. Dear Divine doesn't take a red pen to life, it brings an open heart, an open mind and achingly beautiful, opulently weird folk songs.

Pøltergeist haben bei Bad Omen Records (Watch Hazel, Satan's Satyrs) unterschrieben, und die Kanadier veröffentlichen ihr Debütalbum. Pøltergeist wird als eine Mischung aus Post-Punk, traditionellem Metal und Shoegaze aus den frostigen Ebenen beschrieben und spielt treibenden Coldwave, der einen Weg von den Katakomben in den Kosmos zeichnet. Die vielleicht prägenste Destillation des Pøltergeist-Stils kommt mit der Vorab-Single 'Children Of The Dark', einem eingängigen, stürmischen Rocksong, der auch thematisch auf einer doppelten Ebene funktioniert. Sänger Kalen Baker hegt seit langem eine Vorliebe für die mystischen Metal-Klänge von Angel Witch, Cauldron oder Blue Öyster Cult und war sowohl von der zeitgenössischen Post-Punk-Band Spectres als auch von der britischen Melancholie von 'Script From The Bridge' der Chameleons berührt. Ganz zu schweigen von Gothic- und Post-Punk-Legenden wie Sisters Of Mercy, The Sound und Paradigmen des Himmlischen wie Cocteau Twins, Slowdive und My Bloody Valentine. Gestärkt durch den lyrischen Einfluss spiritueller Vorläufer wie Moorcock, Lovecraft, Poe und David Lynch von Twin Peaks wurde der Sound von Pøltergeist geboren; ein düsteres, aber magisches Reich, in dem dämmrige Intensität in einem psychischen Kampf mit metallischer Stärke verbunden wird. 'Nachtmusik' bleibt Bakers Vision eines "Kaleidoskops aus Emotionen, Klängen und Ideen" treu. Dies ist eine Platte, die sich im Herzen nach dem spirituellen Reich der 1980er Jahre sehnt, aber mit den Füßen fest im Hier und Jetzt des 21. Jahrhunderts steht. Während sich am Himmel Gewitterwolken zusammenbrauen, beginnt Pøltergeists Reise in die Dunkelheit gerade erst.

Deaf Forever
8/10
"'Nachtmusik' alles mit, was eine gute Postpunk-Platte braucht: eingängige, gekonnt komponierte Songs, schwermütige Atmosphäre, guten Gesang mit klassisch monoton-melodischer Stimme und einen Spritzer Shoegaze"

Metal Hammer
5.5 / 7
"NACHTMUSIK fa?ngt die Sehn- sucht und dunkle A?sthetik des Achtziger Jahre-Deathrock fu?r die Gegenwart ein - ohne zu kopieren. Ganz ohne Zwang, dafu?r mit jeder Menge emotionalem Tiefgang und einem gewissen Gruselfaktor. Ein starker Auftakt und definitiv ein of- fenes Ohr wert - nicht nur an regne- rischen, euphorieberaubten Herbsttagen".

Rock Hard
8/10
"Wer auf Unto Others, In Solitude, Lunar Shadow oder Tribulation steht, wird mit ziemlicher Sicherheit auch Gefallen an der Musik von PØLTERGEIST finden, die für ihr Debütalbum "Nachtmusik" Elemente aus Gothic Rock, Heavy Metal, Post-Punk und Hardrock in einen Hexenkessel schmeißen, einmal kräftig durchrühren und die Suppe mit einer kräftigen Geisterbahn-Lyric-Würzmischung (in Anlehnung an weltbekannte Horror-Autoren wie Edgar Allan Poe und H.P. Lovecraft) abschmecken".

Orkus
"Dieses Debütalbum wartet auf mit charmanter Dunkelheit, gehüllt in einen intensiven Sound, der über Post-Punk-, Metal- und Death-Rock-Ein-Aüsse hinausgeht. Stimmungsvolle Vocals, starke Atmosphären und eingängige Dynamiken tragen Arrangements, in die man nur zu gerne versinkt".

DJ MAG:
"Spanning 10 tracks, 'The Fifth Chakra (Ambient Space Tea)' explores sound system culture, covering one of the British-Jamaican artist's biggest influences. The record is largely beatless and focuses on the power of sub-bass and other electronics, moving away from the percussive house energy of much of his past material."


909Originals:
"The largely ambient album is a departure from the thumping beats that Mr G has become famous for, but it also displays his personal, emotional side - tracks like Constant, Solar Eclipse NYC and The 5th Chakra encapsulate an artist allowing himself the freedom to roam through his influences."


Resident Advisor:
"Never did I think I'd get to a meditative place and learn restraint,' he said. "This is the album I've always wanted to make, never thinking I could. Also, after loving others' bass-heavy albums, it's a joy to put my own into the mix. But I always remember my thing is weight and tone in whatever I take on. Especially in this flat, compressed world."

Pedro Bertho, following the positive reception of his debut
album Mêlé, which features notable tracks like "Tigueretá"
and "Jour 4"—both frequently highlighted in Boiler Rooms
and sets around—has launched his own label, Chez Pedro.
Dedicated to consistently releasing new music, the label
plans to unveil monthly tracks, showcasing Bertho's ongoing
creative drive and deep passion for music without
distinctions of genre. His latest offering, Starlit Craves,
compiles tracks curated over the past two years. Previously
unreleased, these tunes have been meticulously crafted for
the dance ­oor. Each track on this EP re­ects Pedro Bertho's
distinct style and artistic vision, guiding listeners through an
immersive and exhilarating musical journey. Let Me Tell You:
Infused with electro vibes and in­uenced by Detroit’s rich
musical legacy, this track blends intricate rhythms with
soulful melodies, delivering a captivating sonic experience.
Blue Hot Monday: A hypnotic techno odyssey where
pulsating beats merge with deep bass grooves, creating an
enveloping atmosphere that lingers long after the music
ends. Shaved: A dynamic fusion of house and techno,
pulsing with rhythmic intensity and layered textures, inviting
listeners on a groove-driven exploration. Rouya: Radiant
melodies and hypnotic rhythms transport listeners to a sunlit
realm, intertwining uplifting harmonies with intricate sonic
nuances seamlessly. Have You Ever Played in Abidjan:
Exploring percussive intricacies and dub-infused textures,
this track offers a captivating blend of rhythmic diversity andatmospheric depth, evoking vivid imagery and immersive
storytelling.

New West Records is proud to release Can’t Steal My Fire: The Songs of David Olney. This album features new versions of David Olney songs recorded by Lucinda Williams, Steve Earle, Willis Alan Ramsey, Jimmie Dale Gilmore, Mary Gauthier, Jim Lauderdale, and Buddy Miller among others. The tracklist is also highlighted by a never-before released live recording by Townes Van Zandt. Originally from Rhode Island, Olney moved to Nashville in the early 70s and fell in with a group of songwriters including Townes Van Zandt, John Hiatt, Steve Earle, Guy Clark, and Rodney Crowell. With his rock band David Olney and the X-Rays he toured tirelessly. He went on to release a string of brilliant albums and his songs were recorded by Emmylou Harris, Steve Earle, Del McCoury, Linda Ronstadt, and many others. But the bright lights of stardom never shone on David, and he died the way he lived: onstage in a club, far from home, singing a song. This album gathers some of David’s friends and colleagues to pay tribute to his unique vision. Many of these artists are legends in their own right; all are here because of their deep admiration and respect for the man and his songs.

"Turmion Kätilöt, the Finnish-singing industrial and electronic metal band hailing from the barren wastelands of Savo, is rapidly becoming a new favorite among open-minded metal fans in the mid-2020s. The odds of their rise to prominence are nothing short of great.
Known for their ecstatic and theatrical concerts, Turmion Kätilöt invites you to dive into their twisted world of ""disco metal."" The current lineup features singers MC Raaka Pee and Shag-U, guitarist Bobby Undertaker, bassist Master Bates, keyboardist RunQ, and drummer DQ. Since the early 2000s, this vivid sextet has been delivering a unique blend of electrifying heavy music, characterized by its peculiar, perverted, and catchy style. Their journey includes numerous sold-out concerts, gold and platinum records, and Emma nominations (Finland's equivalent to the Grammys).
Turmion Kätilöt's depraved disco ball has also shone beyond Finland. Many fans remember their legendary European tour with Pain in 2011. In the 2020s, their fame continued to grow, highlighted by their selection as the opening band for Nightwish's sold-out European arena tour in 2022.

Now, Turmion Kätilöt is ready to unveil their latest creation: ""Reset."" Founding member and main songwriter MC Raaka Pee explains, ""Reset is simply the perfect name for our new studio album. For us, Reset is more about taking advantage of everything we've learned over two decades and then adding new nuances to our metallic disco vortex."" With twenty years and ten studio albums behind them, Turmion Kätilöt continues to push their boundaries. ""We have relentlessly raised our own bar with every record,"" says the band. ""Reset is our best album to date, and we simply couldn't be more satisfied.""

""Reset"" features all the hallmarks of Turmion Kätilöt: twisted synths, underfoot grooves, pounding beats, and cryptic lyrics, all with a stronger musical vision than ever before. The album is described as a ""bastard child"" of their previous records, with new spices added. The vocal parts, a mix of fierce screams and melodiousness, add a special twist.


Line up:
MC RAAKA PEE -vocals
SHAG-U - vocals
MASTER BATES - bass
BOBBY UNDERTAKER - guitar
DQ - drums
RUNQ – synths
"

One True Pairing, auch bekannt als Tom Fleming, ehemaliger Songwriter, Sänger und Multiinstrumentalist von Wild Beasts, veröffentlicht sein zweites Soloalbum 'Endless Rain' am 25. Oktober 2024 über Domino.

Aufgenommen in Dublin im Jahr 2022 mit Produzent John 'Spud' Murphy (Lankum, black midi, caroline) in den Hellfire Studios in Dublin, bekräftigt "Endless Rain" mutig Flemings künstlerische Vision - mit einem herbstlichen, suchenden und oft erhebenden Album, das von den Einflüssen traditioneller Musik, Klassik und Noise-Rock geprägt ist. Flemings langjähriger Kollaborateur Josh Taylor-Moon arrangierte, produzierte und spielte auf dem Album, ebenso wie Cormac MacDiamarda von Lankum und Eleanor Mylor von Percolator. Klanglich ist "Endless Rain" ein ehrgeiziges und weiträumiges Album, das sich deutlich von Flemings bisherigem Werk abhebt. Das Album enthält die bereits veröffentlichten und hochgelobten Singles "Frozen Food Centre", "Mid-Life Crisis" und "Be Strong".
Flemings Songs haben sich stets mit Ideen rund um Männlichkeit auseinandergesetzt - die traurige und verführerische Musik von Wild Beasts unterlief die akzeptierten Rollenbilder junger Männer aus dem Norden. Nun älter und weiser, nutzt "Endless Rain" diese Basis, um neues Terrain zu erkunden, tritt einen Schritt zurück, schaut tiefer und verwendet die neu gewonnenen Erfahrungen, um etwas völlig anderes zu erschaffen.

The French electro-dub scene is in turmoil! Julien and Fabrice Oresta, founding members of the legendary band High Tone, are bringing out Twinkle, their new electro-dub side-project! These visionary twin brothers are back at the forefront of the scene they forged themselves, with a debut album due for release in autumn 2024 on the Jarring Effects label. On stage, the duo invite us on an intense journey, fusing sonic and visual dimensions.

Eight cuts of cinematic electronic music from synthwriter OFFLINE. To follow this rainbow of silky sounds is to reach a point of no return, where the last person on Earth you'll be able to communicate with will be a 1970s synthesiser.

Studio 1/11 – Schwarz

Beside GAS, Studio 1 is probably the most known project within Wolfgang Voigt’s oeuvre. The series, comprising ten vinyl-releases and one CD-compilation, was brought into being in 1995 and is - until today - known as one of the most important conceptual precursors of Minimal Techno.

The formally strict but highly memorable series of ten maxis without individual titles, whose covers only distinguish themselves by the chosen colour gained international attention, even far beyond the techno discourse.

In the context of the latest mammoth project »EARQUAKE – Wolfgang Voigt 1991-1999«, a comprehensive digital new-, respectively initial release of Voigt’s almost entire musical work of the 1990s, there are also some so far unpublished pieces going to be released on vinyl. So is the maxi-single »Studio 1/11 – Schwarz« from 1997, which - in respect of its sound and vision - assimilates seamlessly in the so far known series. A collector’s item.

Studio 1 ist neben GAS das wohl bekanntestes Projekt im Gesamtwerk von Wolfgang Voigt. Die 10 Vinyl-Veröffentlichungen und eine CD-Compilation umfassende Reihe wurde im Jahr 1995 ins Leben gerufen und gilt bis Heute als einer der wichtigsten konzeptionellen Vorläufer des späteren Minimal Techno.

Die formal strenge Serie aus 10 Maxis ohne individuelle Titel, deren Cover sich nur durch die gewählte Farbe unterschieden, erlangte - nicht nur durch den hohen Wiedererkennungswert - internationale Aufmerksamkeit, die weit über den Techno-Diskurs hinaus ging. Im Kontext des aktuellen Mammut-Projektes »EARQUAKE – Wolfgang Voigt 1991-1999«, einer umfassenden digitalen Neu- bzw. Erstveröffentlichung von Voigts nahezu gesamten musikalischen Schaffen der 90er Jahre, werden auch einige bisher unveröffentlichte Stücke auf Vinyl erscheinen. So auch die drei Stücke umfassende Maxi »Studio 1/11 – Schwarz« aus dem Jahr 1997, die sich in Sachen „Sound & Vision“ nahtlos in die bislang bekannte Reihe einfügt. Ein Sammlerstück.

Repress!

Post Punk inspired heat from London's Moin. TIP!

Moin is made of Joe Andrews and Tom Halstead (Raime / Blackest Ever Black) as well as long time collaborator and percussionist visionary Valentina Magaletti (Tomaga / Vanishing Twin). A serendipitous conversation brought the project to life. The band say simply: “The record was made as an experiment really, it felt like the right time to play on the fringes of this kind of music. The priority was to be direct at first and then change the edges perhaps. Make something to experience rather than something as a spectacle.”

Moot! a quick and painless album to create, allowed the musicians to re-appreciate the recording process, using a combination of live recording and studio techniques. As Andrews, Halstead and Magaletti come together as Moin, they’re freed from any past inhibitions or self-made parameters to explore uncharted territory. The album spans psychedelia, alternative rock and post-punk mixed with their signature electronics and sampling practice.

The band conclude: “All of this sounds very matter of fact, which is correct. It’s immediate music that isn’t pretending to be anything but.”

The prolific & visionary artist known for his work with TV ON THE RADIO, and SPACEK emerges from the shadows with this extremely limited 7" on his newly formed label SPA. This will not be repressed so get it while you can! Full pic sleeve. (SPA) NUJAZZ SOUL HEADZ
"COULD IT BE UR LOVE" introduces a gentle and soothing half-time rhythm, inviting the audience to experience a love bruk atmosphere. SPACEK draws inspiration from the heavenly nights at Plastic People, creating a track that resonates with selectaz who love to move on the dance floor. The warm and luscious sonic of this piece is a testament to SPACEK's meticulous attention to detail and passion for creating music that transcends boundaries.
On the flip side, "DANCING IN THE LIGHT" presents a horse-step rhythm that underpins a future lovers rock style track. With synths and bass pulsating, this track is tailor-made for dance floor enthusiasts who enjoy a one-foot skank.

Parisian label Cracki Records has teamed up once again with Hong Kong label Fauve Records, headed by producer and DJ Romain FX, for a new compilation entitled “Make Italo Disco Great Again Vol. IV”!

Following in the footsteps of COEO, Arash & Quasar, Tre Turner, Maltitz and Mangabey, this new album continues to give the floor to artists from all over the world (Ireland, Korea, Mexico, Germany...) to share their vision of the unique genre of Italo disco.

With contributions from Mystery Affair, Shubostar, Sara Miller, COLE, Maltitz and Romain FX.

2024 Repress

All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.

A New Musical Portal for Latin America: ROCK THA HOUSE TRAXX.

Born from the iconic Rock Tha House party, which celebrates 20 years this year, the brand now evolves into a vinyl-only label led by legendary Chilean DJ and producer Camilo Gil, alongside Mario Flores in Mexico City. Their mission is to focus on musical culture, recreating soundscapes that have left a lasting impact on time and influence.

For the first release, they bring together a fusion of styles and global sounds, featuring artists like Mihai Popoviciu from Romania, Swiss legend Quenum, seasoned Ibiza-based producer Nima Gorji, and Australia’s own Carlo Gambino.

This is not just about the party—it’s about creating and celebrating musical schools, styles, and artistic vision. ROCK THA HOUSE TRAXX is born today, bringing Chilean talent to the world.

Forgive Yourself. Learn to live with yourself. Don't hurt yourself. This is the mantra of the new album Venus Smiles Not in the House of Tears from Samora Pinderhughes. Made over 8 years with loving detail by Pinderhughes and his longtime producer Jack DeBoe, it is a deeply personal exploration & reflection of mental health in the modern age. It tells a non-linear story about a relationship that didn't last, and the lessons learned through it. How can love exist when grief is in the way? Musically it's intentionally tough to pin down. Although Pinderhughes is Juilliard-trained, Venus is an open-genre exploration of musicmaking with wide-ranging production and a cinematic landscape of feeling and spirit. From quiet, contemplative piano pieces to hard-hitting and soulful full band jams, to expansive and fullthroated choir celebrations, Venus is a fitting accompaniment to a multitude of daily human experiences. It also features artists from Pinderhughes's tight-knit NYC community, representing a wave of new artists who thread the ethics of honesty & vulnerability into their work. Says Pinderhughes of the album, "Mental health isn't solitary; it's about how our feelings, fears, traumas, and conceptions of self meet the world around us. Like so many, I've struggled with depression, anxiety, and isolation within a complicated matrix of identities. I wanted to make a project that would be brutally and lovingly honest about what it feels like to try to sift through the debris of time. A project that really engages with what it means to love, in the midst of a society that teaches us all the wrong lessons. Our modern world wants us to get over things quickly and easily. That's where shame enters the picture, because when you struggle with deep cyclical feelings, the process of engaging with these elements in your life is never linear. It is always two steps forward, one step back. Kindness and honesty are required in equal measure in this life. Hopefully through the prism of these songs, you can feel something that resonates with you in your own life and experience." Pinderhughes is known for striking intimacy and carefully crafted, radically honest lyrics alongside high-level musicianship, and for using his music to examine sociopolitical issues and fight for change. His work delves into the things our society tries to hide - its history, its structures, and the things we all experience but don't know how to talk about. It is an invitation to feel and think deeply about how we live and a commitment to making art that is useful for everyday life. The New York Times described Pinderhughes' 2022 album GRIEF as a "visionary" work from "one of the most affecting singer-songwriters today, in any genre." Pinderhughes - a collaborator across boundaries with artists including Herbie Hancock, Glenn Ligon, Sara Bareilles, Common, Robert Glasper - is the creator and director of The Healing Project, a project that examines trauma & healing from incarceration, detention, and structural violence. Pinderhughes was the first-ever Art for Justice + Soros Justice Fellow and a recipient of Chamber Music America's 2020 Visionary Award. He is also a United States Artist Fellow, Creative Capital awardee, and Sundance Composers Lab fellow.

Das neue Album des Rephlex-Alumnus Bogdan Raczynski ist eine Sammlung warmer, melodischer, elektronischer Skizzen, mit Tracks, die abwechselnd beatlos im Wind dahintreiben oder von Lo-Fi-Drums untermalt werden, manchmal gerade mal zusammengehalten von einer filigranen Konstruktion aus merkwürdigen Synthie-Patches und Ping-Pong-Percussion. Jedes Stück ist kurz und auf den Punkt, eine Platte perfekter Miniaturen. Auch wenn diese Beschreibung utopisch klingen mag, ist das Album um Themen wie spätkapitalistische Brutalität, Hyperkonsumismus, Online-Untergang und algorithmische Apokalypse herum konzipiert. Schönheit angesichts des planetaren Zusammenbruchs und des rund um die Uhr live gestreamten Mordens.

Gerüchten zufolge wurde Raczynski von Aphex Twin entdeckt, als er auf einer Parkbank in Tokio schlief. Er erschien erstmals 1999 auf der Bildfläche, direkt im ersten Jahr mit 3 Alben. Er erkundete u.a. halluzinatorische, basserschütternde IDM, Aussenseiter-Junglism und traditionelle polnische Volksmusik, arbeitete mit Björk zusammen, produzierte den Soundtrack für ein PlayStation-Spiel und remixte Tracks von u.a. Autechre, Jonsi und CLIPPING. 2019 begann das Label Disciples, sich um seinen Katalog aus der Rephlex-Ära zu kümmern, stellte die "Rave 'Till You Cry" Compilation mit unveröffentlichtem Gold aus den Archiven zusammen und veröffentlichte seinen Klassiker "Samurai Math Beats" neu. Sein letztes Studioalbum "ADDLE" erschien 2022 bei Planet Mu.

Edgar Allan Poes zeitlose Poesie, gelesen von Künstlern, Schriftstellern, Dichtern, Musikern und Magiern, im Dienste des Werks und auch im Gedenken an einen großen Freund und Weggefährten auf den musikalischen Wegen, Hal Willner. Kramer hat eine eklektische Liste von Stimmen zusammengestellt, um den alten Worten eine neue Vision zu geben. Mit dabei Joan As Police Woman, Edgar Oliver, Thurston Moore, Britta Phillips, Lydia Lunch, Rick Moody, und andere. Die von Kramer geschaffene Musik, die jede Lesung begleitet, lässt das Licht auf den Interpreten scheinen und poliert den Raum zwischen der Poesie und der Aufführung. Den Abschluss des Albums bildet eine Archivaufnahme von Allen Ginsberg, der ,The Bells" lebendig vorträgt. Die unbegleitete Lesung vom Juni 1981 ist ein Auszug aus seinem Studienkurs ,Expansive Poetics" an der Naropa School of Disembodied Poets in Boulder, Colorado.

The Intima led a chameleon-like existence from 1999 to 2004, confounding critics who struggled to describe their distinctive sound while sharing stages with everyone from The Rapture to The Mekons. Hailing from Olympia and Portland, the postpunk quartet utilized sharp rhythms, prescient lyrics, and a collaborative compositional approach to conjure forth a sound that manages to be explosive yet detailed, experimental yet propulsive and melodic. Featuring a classically-trained violinist, custom-tuned guitars that careen at odd angles, and an imaginative and powerful rhythm section, the band explored the intersection of art-punk and agitpop with a spirit and tenor uniquely their own. In 2017, the Polish website More Noise summed up their sound by saying that "the first association that comes to mind is The Ex and the Dutch avant punk scene of the 1980s, but fans of the bands Dirty Three, Godspeed You Black Emperor and Unwound may also be intrigued."The group toured the States extensively during the 4+ years that they were active, including one grueling six-week tour undertaken just after 9/11 and another one in 2003 during which the US began bombing Iraq. The group's live sets are remembered for their combination of unbridled intensity and tightly-coiled musicianship, as well as their chaos potential, whether that chaos was performing in the middle of an illegal street party or causing a PA to burst into flames immediately preceding a headlining set by Deerhoof. A memorable show in DC with Q And Not U was mentioned by Dischord group Black Eyes in their Speaking In Tongues booklet last year, with Hugh McElroy describing the Intima as "a really aggressively-beautiful and poetic punk band with a violin where a guitar normally would be...pushing genre barriers in a way that helped me see a vision of how we might want to do that ourselves."Peril and Panic was recorded in Olympia over eight months in 2002 and was released in 2003 on LP (Zum/Collective Jyrk) and CD (Slowdance). In 2022, in the midst of the pandemic, the group commissioned Jason Powers to remix the original tracks from the ground up, which turned into an 18-month endeavor that included some compositional edits, significant work to improve the sound of the drums, and the uncovering of unreleased songs. Today, a fully remixed and remastered Peril and Panic is finally being released into the wild sounding much closer to how it was originally meant to be heard. Sounding more relevant than ever, it seems increasingly clear that the ideas and feelings that informed both band and album are no longer so "radical" - if anything, they've become the zeitgeist of today, as a confluence of global crises points to a fraught future long predicted.

Coming together as Raz & Afla, Raz Olsher and Afla Sackey converge worlds through their dynamic fusion of electronic and traditional African rhythms, forging a path that is as bold as it is innovative. Rooted in their deep-seated passion for music and cultural exploration, they seamlessly blend their distinct musical backgrounds to create a unique sonic landscape that captivates audiences worldwide.

Raz Olsher is a visionary producer and composer known for his boundary-pushing electronic soundscapes, bringing his expertise in blending diverse musical elements to the duo. His meticulous attention to detail and penchant for experimentation form the foundation upon which Raz & Afla's sound thrives.

Already part of the Wah Wah 45s family with his band Afrik Bawantu, Afla Sackey is an esteemed percussionist and vocalist with roots tracing back to Ghana. He infuses the duo's music with rich traditional African rhythms and melodies. Afla's virtuosity on percussion instruments and his soulful vocals add a visceral, organic dimension to their compositions, creating a mesmerising auditory experience that transcends cultural boundaries.

Together, Raz & Afla defy genre limitations, seamlessly weaving together electronic beats, Afrobeat grooves, and intricate percussive textures. Their music resonates with a deep sense of cultural authenticity and a forward-thinking approach that pushes the boundaries of contemporary music.

Following on from their critically acclaimed full length debut The Cycle, and its subsequent remix project, their sophomore LP, Echoes Of Resistance, finds the duo remaining committed to exploring new sonic territories and creating music that speaks to the universal language of rhythm and melody. Once again, they invite listeners on a journey that celebrates the beauty of cultural exchange and the power of music to inspire and unite.

From more politically conscious cuts like the singles What's Going On? and We Taya, and On Da Phone, which deals with addiction to social media, to dealing with more personal and social issues on songs like ENo Be Me and Ano Be Mumu, Raz & Afla's music is something for the mind, body and spirit, as well as the feet.

There are moments of pure euphoria and unadulterated joy too though, as tracks like Mon Ni Fere, Voodoo Zeezee and Baby Moo inspire elated, tribal dance floor pleasure, and there's still time for a little, good old fashioned loving as Shikor Shikor conjures up the raw emotions of care and affection whilst delivering a hypnotic beat and instantly irresistible vocals from Afla Sackey.

With a growing discography that includes critically acclaimed releases and collaborations with musicians from around the globe, Raz & Afla continue to carve out their place in the international music scene. Their electrifying live performances are celebrated for their energy and the profound connection they forge with audiences, making every show a vibrant celebration of musical diversity and harmony.

The highly acclaimed NYC duo embodies DIY culture, a lo-fi sound w a distinctly hi-fi, maximalist cultural vision. Genre-transcending music for an overstimulated generation. Infamous for cathartic, erratic performances, MG has a rabid following thru sonic maximalism & anime/B-horror visual flair. Anthemic & fast-paced, the new studio album MG Ultra is Machine Girl’s heaviest music to date & also offers a boiling-the-frog intro to MG for new fans. MG lore juxtaposes whether the picture painted is that of reality, a fantastical escape, or a jarring future. Infamous for cathartic, unpredictable performances & genre-agnostic catalog, Machine Girl's vitriolic, organic following has developed through sonic maximalism & anime/B-horror visual flair.

Limited to 500 copies on gold vinyl, contains download also. A hugely influential album cited as the embryo for punk, grunge and beyond. Featuring epic 1970 concepts from this far reaching trio much praised by Underworld’s Karl Hyde, Captain Sensible, Stephen Malkmus and a host of others. ‘Thank Christ For The Bomb’ is a visionary tale of cold war fear, alienation and everyday drama. “This is a masterpiece!” NME // A thinking man’s rumination on alienation, the album is a game of two halves; side one tackling the thermo nuclear threat while side two traces riches to rags alienation in everyday London. First of a trio of ground-breaking albums that steered the band from the Blues into a heavier, more prog-based sound and a true reflection of their much-praised live sound

Regrooved Records proudly present the ultimate reissue of Axiom Funk's legendary album, Funkcronomicon! This psychedelic and funkalicious masterpiece continues to amaze listeners with its eclectic variety, thanks to the impressive roster of artists under the name Axiom Funk.

At the heart of this project is legendary producer and bassist Bill Laswell, whose artistic vision and skills seamlessly unite the album. Funkcronomicon features appearances by many (former) members of Parliament-Funkadelic, making Funkcronomicon a de facto release of this legendary band. Among the featured musicians are the p-funk legends George Clinton, Bootsy Collins, Bernie Worrell and Jerome “Bigfoot” Brailey, and it features the last studio recordings from guitarist extraordinaire Eddie Hazel. Nex to that it also features contributions from icons such as Sly Stone, Maceo Parker, Fred Wesley, Bobby Byrd, the dynamic duo Sly & Robbie and Herbie Hancock and many, many others.

Funkcronomicon masterfully combines funk with the mythical Necronomicon by H.P. Lovecraft Lovecraft's cosmic horror stories, which radiate liveliness despite the ominous title. The cover art by the legendary Pedro Bell, this was one of his last projects before his vision was tragically lost, adds to the album's enigmatic allure and is reminiscent of Lovecraftian rituals.

Now it's time for a high-quality vinyl reissue of this cultural phenomenon. Remastered and pressed onto three discs, this new batch of Funkcronomicon now comes with extensive artwork and now offers you the ultimate listening experience for this classic album. Don't miss your chance to own a piece of funk history. Get your funk on with this must-have reissue!

Chita, the third album proper by Japanese guitar pop trio Usurabi, is their most elegant, stylish confection yet. Over the past four years, Toshimitsu Akiko (vocals, guitar), Kawaguchi Masami (bass) and Morohashi Shigeki (drums) have been recording, playing live, and releasing songs of rare melodic warmth, centring Toshimitsu’s unique musical vision, where melancholy and joy can co-exist, a split-second flick of her wrist switchblading the guitar from languorous sweetness to overloaded rock action.

Chita expands on the smartly sculpted pop and rock songs found on their previous albums, Remains Of The Light (2021) and Outside Of The World (2023), while infusing the music with more of the rough- housing energy that also coursed through the live CD, Once In A Red Room, they self-released in January 2024. There’s still a through-line, of course, that connects the music here to Toshimitsu’s earlier groups, Doodles and Animone, but Chita feels more deeply like a sussed, sharp take on the crumbling edges of sixties psychedelic folk and rock: the harmonica that blasts through the opener, “Bansho”, is pure Dylan in effect.

One of the many smart things about Usurabi, though, is that they never feel beholden to the historical moment. Soon after “Bansho”, we encounter “TurnOff”, a lush pop song that turns on a dime, with Toshimitsu tearing fuzztone notes from six strings that are like a more folk-reverent Kaneko Jutok. And there’s something about the guitar and bass riff that doubles through the thrilling two-and-a-half minutes of “Hakanonaka” that’s a dead ringer for the Only Ones. Flip the record, and things get more expansive, the spindly jangling of the title song spiralling ever inwards, before the sweet, sugary rush of “Kanata” resolves to the martial rhythms that pulse through “Aseranai”, winding the album down to its poetic, becalmed resolution.

This is a Raving Disorder... A Carbon Roma Dancefloor Techno-Core EP.

A future vision.. a RIOT weapon !

ENJOY :)

The band was formed in 2019 from an idea of musicians who at the time were part of acts such as Black Rage, In-sight, Atlas Pain and Sojourner. After a debut show supporting Asphyx and some line-up changes, the band entered the studio to record their debut album "Front: Toward Enemy" in 2020. After its release in 2021, HUSQWARNAH kept themselves busy on the live front, sharing the stage with acts such as Mortuary Drape, Baest, Discharge, High On Fire and Voivod. The latter show was recorded and then independently released under the title "Live At Bloom" in 2023. HUSQWARNAH's death metal is as genuine and convincing as it can possibly get, paying homage to certain traditional formulas dating back to the early nineties, with songs that are particularly compact in structure and dynamics, ideal for being performed live and thus reminiscent of bands such as Asphyx, Bolt Thrower and Benediction. "Purification Through Sacrifice" is a title that reflects the intent of the band to evolve musically, the themes range, as in the previous chapter, from films to crime news stories through visionary and bloody episodes. This time the sound is further enriched with technique and violence while remaining faithful to old school death metal.

Bridge was to be the Edinburgh-born Kieran Warren’s debut release circa 1994 on Metatone - a short-lived techno label by J. M. Adkins (Electro Music Union) and Damon D'Cruz (Jack Trax, Chill). As fate had it, Metatone folded before the album got printed, and the music was lost in time. That is, until Adkins tipped the Cold Blow boys off while they were working on his anthology, the 2019 double LP "Electro Music Union, Sinoesin & Xonox Works 1993-1994".

Atonal’s Cithare EP last year was the world’s first glimpse at the fuzzy, warm techno archives of Kieran Warren. As a sequel, Cold Blow has restored and compiled their vision of the ‘94 “Bridge” while tapping into the same demo archives that were being scoured through by Metatone in their day.

Essential for the fans of early Aphex Twin, the album moves between warm melodic techno cuts and nostalgic ambient pieces before reaching the grand finale of Arkanoids, an 8-minute ambient epic straight from the school of Selected Ambient Works 2.

Housed in full, cosmic artwork designed by Ed Cheverton. Mastered by Keith Tenniswood.

2024 Repress

Seasons are changing - energy is shifting. The next Frenzy release is here, presenting the next-best-local talent on the block: Levzon. This born-to-be gearhead from the outskirts of Amsterdam began experimenting with electronic music as a youngster. Immersing himself in a variety of genres throughout his early years, he decided to take the next step and provide an output for his vision on techno as 'Levzon'. For our next Frenzy adventure, he is going all out for the first time, profiling his sound through a 4-track heavy-hitting EP with old-school-induced cuts and loopy basslines, including two remixes by like-minded associates.

Imagine an era where speed has no limit and the night knows no dawn. That's about the atmosphere 'Mambata' is creating at the start of the A-side. Followed by drum-led 'Bang the Drums', Levzon continues to ride the wave of heat, pressure, and movement. The adventure doesn't end here yet: talent on the rise Phil Berg is providing a perfectly executed dubby remix of 'Bang The Drums' Enter the B-side where a body-heavy peak time experience is awaiting you with 'Baraa'. A true weapon on the dancefloor. At the end of his story, Levzon leaves us with the beautifully composed 'Baila', casting a subtle rhythm of basslines with funk-induced vocals within a more subtle tempo. To close off the record in style, Ruiz OSC1' provides a remix of 'Baila' - throwing her 90s rave techniques into the battle.

Visionary art-pop duo Faux Real (a.k.a. Los Angeles-based Franco-American brothers Virgile and Elliott Arndt) release their debut album "Faux Ever" on City Slang.

Faux Real’s long-awaited debut album "Faux Ever" is a self-described “11-piece symphony for head-banging and longing,” the album sees the fraternal duo continuing to play on the outskirts of language and sound, exploring themes of heartbreak, labor, and the home with harmonies and humor, playful beats, and en franglais. Recorded between Paris, New York, London, Los Angeles, and Provence, "Faux Ever" thrusts Faux Real’s sultry, surreal, and unclassifiable sound towards a glossier pop horizon, an existential sonic pastiche with a glistening digital sheen. "Faux Ever" also includes such certified bangers as the bold, glitchy, and infectious “Rent Free” and the acclaimed “Faux Maux,” both available everywhere already alongside self-directed official music videos streaming now on YouTube. Known far and wide for their DIY, Iggy Pop-meets-Eurodance live performances, Faux Real are building anticipation for "Faux Ever" with international shows in the UK/EU and US.

Format: 140g Crystal Clear Vinyl

About Faux Real:
Elliott and Virgile Arndt founded Faux Real in 2018, blending post-punk, glam rock, and a taste for pop grandeur, fashioning a truly inimitable musical experience. From their increasingly accomplished studio output to mesmerizing, unprecedented live performances, Faux Real invite the audience to join them an enthralling post-realist expedition through contemporary pop culture with razor-edged satire, inspired boy band choreography, and a charged sensuality that has fast earned them a fervent fan following that includes among their number such iconic stars as Duran Duran, Beck, Paramore, Metronomy, and Wet Leg. Now, with the imminent arrival of Faux Ever, Faux Real continue to gleefully ignore boundaries and barriers, assuring the journey is as exhilarating as the ultimate destination.

After a near decade spent in obscurity, Peter Cat Recording Co. or PCRC, emerged from the toxic winter smog of Delhi to enter the global Krishna consciousness with the release of 2019's "Bismillah", the culmination of years of refining their unique vision of 21st century pop music. Seeking a transcultural sound, centered around the song writing of Suryakant Sawhney, PCRC's music mines ideas from both time and space, across centuries and continents, extracting and transforming them into modern hymns and timeless folk, something you could perhaps imagine hearing in the holo-deck of a ship from Star Trek. As the name suggests, Peter Cat Recording Co. is less a band and more of a self-sufficient factory of music and art. With 3 potent song writers in Suryakant, Dhruv & Kartik, the group is building a legacy informed and echoing the spirit of groups like The Velvet Underground and The Beatles. The next chapter of this entity began with the announcement of their new album, "BETA", a name inspired by the birth of Karan Singh's son. PCRC is Suryakant Sawhney on vocals and guitars, Karan Singh on drums, Dhruv Bhola on bass and samples, Rohit Gupta on keys, horns and woodwind, and Kartik Sundareshan on guitars, horns and woodwind.

Im Rahmen unserer fortlaufenden Suede 30-Kampagne wird Demon Records die fünfte, sechste, siebte und achte Single von Suede als sammelwürdige 7inch Picture-Single herausbringen. Die sechste Single der Band erschien am 12. September 1994 und war 'We Are The Pigs'. Der erste Song, der vom sensationellen, zweiten Album 'Dog Man Star' veröffentlicht wurde, wurde von The Times kommentiert: "Angetrieben von einer der besten Riff-Akkordfolgen von Bernard Butler und befeuert von den alptraumhaften Visionen von Brett Andersons Text, stürmt der Song mit einem herrlichen Refrain nach Hause, der altmodischen Mitsing-Charakter mit einer faszinierend finsteren Note verbindet." Die Single erreichte Platz 18 in den britischen Charts. Die B-Seite war 'The Killing Of A Flash Boy'. Dieser Song erschien nicht auf dem Album aber zuletzt Hat Sänger Brett Anderson kommentiert, dass er das Lied im Nachhinein in die Titelliste des Albums aufgenommen hätte. 'Dog Man Star' wird zum 30. Jubiläum am 04.10. als Deluxe-LP und CD erscheinen.

Ein Nachfolger zur 2016 erschienenen Country-Rock-Compilation "Cosmic American Music"! Dieser zweite Band geht weit über Gram Parsons' Country-Rock-Vision hinaus und erforscht die twangigen Falsettos und kommerzielle Neugier, welche auch die Eagles aufsteigen ließ. Obwohl verwurzelt im Westküsten-Folkrock der späten 60er Jahre, präsentierte diese neue Generation einen "Safe-for-the-suburbs"-Sound, der von den politischen Unruhen der Hippie-Ära geprägt war. 20 Tracks, zwei LPs im Klappcover.

Neon Sky Vinyl!. Ein Nachfolger zur 2016 erschienenen Country-Rock-Compilation "Cosmic American Music"! Dieser zweite Band geht weit über Gram Parsons' Country-Rock-Vision hinaus und erforscht die twangigen Falsettos und kommerzielle Neugier, welche auch die Eagles aufsteigen ließ. Obwohl verwurzelt im Westküsten-Folkrock der späten 60er Jahre, präsentierte diese neue Generation einen "Safe-for-the-suburbs"-Sound, der von den politischen Unruhen der Hippie-Ära geprägt war. 20 Tracks, zwei LPs im Klappcover.

Die Londoner Band Famous hat im Laufe von zwei sehr unterschiedlichen und hochgelobten EPs (2019 ,England" und 2021 ,The Valley") ihren eigenen, unnachahmlichen Sound geschmiedet. Himmlische Melodien, verzweifelte Elektronik, die auf wärmende Akustik trifft, und schillernde Songstrukturen - all das ist die einzigartige kreative Vision von Jack Merrett - Famous' Sänger, Texter, Haupt-Songwriter und einziges konstantes Mitglied -, die nun in ihrem bevorstehenden Debüt "Party Album" einen spektakulären Ausdruck findet. Als Teil der gefeierten South-Londoner Brixton Windmill-Szene neben Black Country, New Road und Black Midi wurde die Gruppe schnell für ihren grenzüberschreitenden Post-Punk-Sound bekannt. Jack Saunders von BBC Radio One bezeichnete Famous als ,die originellste Band im Vereinigten Königreich", Während Famous die Muster ihrer Musik herausarbeiteten, die mit jedem Song und jeder neuen Besetzung breiter und tiefer wurden, wuchs ihre Mystik - etwas, das Merrett mit den musikalischen Helden seiner Jugend identifiziert, wie er lachend, aber mit ungeheuchelter Aufrichtigkeit erklärt: ,Mein ganzes Leben lang hatte ich eine bestimmte Vorstellung von Rockmusik.". Mary-Anne Hobbs, BBC 6 Music: ,Wenn du auf Slint stehst, wenn du das magere Ende des Hardcore magst und vielleicht nur eine Prise Jim Morrison, dann wirst du das hier lieben. Recht alleinstehend, recht einzigartig.

Die Londoner Band Famous hat im Laufe von zwei sehr unterschiedlichen und hochgelobten EPs (2019 ,England" und 2021 ,The Valley") ihren eigenen, unnachahmlichen Sound geschmiedet. Himmlische Melodien, verzweifelte Elektronik, die auf wärmende Akustik trifft, und schillernde Songstrukturen - all das ist die einzigartige kreative Vision von Jack Merrett - Famous' Sänger, Texter, Haupt-Songwriter und einziges konstantes Mitglied -, die nun in ihrem bevorstehenden Debüt "Party Album" einen spektakulären Ausdruck findet. Als Teil der gefeierten South-Londoner Brixton Windmill-Szene neben Black Country, New Road und Black Midi wurde die Gruppe schnell für ihren grenzüberschreitenden Post-Punk-Sound bekannt. Jack Saunders von BBC Radio One bezeichnete Famous als ,die originellste Band im Vereinigten Königreich", Während Famous die Muster ihrer Musik herausarbeiteten, die mit jedem Song und jeder neuen Besetzung breiter und tiefer wurden, wuchs ihre Mystik - etwas, das Merrett mit den musikalischen Helden seiner Jugend identifiziert, wie er lachend, aber mit ungeheuchelter Aufrichtigkeit erklärt: ,Mein ganzes Leben lang hatte ich eine bestimmte Vorstellung von Rockmusik.". Mary-Anne Hobbs, BBC 6 Music: ,Wenn du auf Slint stehst, wenn du das magere Ende des Hardcore magst und vielleicht nur eine Prise Jim Morrison, dann wirst du das hier lieben. Recht alleinstehend, recht einzigartig.

Highly anticipated recording by two leading Dutch artists: cellist Quirine Viersen and pianist Thomas Beijer.

Founded in 2015, BarcaNova Records has a unique vision of classical music. Passion, perfection, and perseverance are paramount.

By cleverly combining musicians, producers, instruments, and equipment, artists at BarcaNova can push the boundaries and create music that comes straight from the heart.

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

A new chapter in the Spazio Disponibile story. Since 2016, Donato Dozzy and Neel released a wide range of their favorite electronics on their collaborative imprint. From here they inaugurate a new side branch named Spazio Nero, focussing on heady dancefloor techno only. First edition comes from Neel himself, his Movimente EP sets the tone for what to expect. Four cuts of flawless techno pressure for the late nights.

As we approach the threshold leading us back to the Black Lodge on our transformative 8th journey, we are escorted through and beyond the mystical portal by the vigorous and fierce forces of Sneaker. Portrait in House is a collection of 3 resonant works, which are unified into a singular vision within its uncanny language that is rooted deeply in the foundations of Jak, New Beat, EBM, and Wave. Existing inside the liminal spaces of where light meets dark, we are presented with a documentation of dissonance and harmony. We begin our voyage with Jihad, a sluggish and slogging piece that unforgivingly drags us through the grime and the dirt in a ritualistic fashion that would have the ghost of Georges Bataille dancing in circles. Voices call out and howl into the dark as the drum patterns of the 707 rhythmically grasps onto its anarchic components. In the dark, we can see the light beyond the known universe. In the words of Sneaker "The name is not our message, but a document of an evident, traditional concept in (y)our world." As we find ourselves sprawled out on the ground following the 1st sonic stanza, a menacing voice bellows and warns that this is a Sax Track. Referencing Chicago icon Lil Louis, this work juxtaposes classical elements of house music together with the bare knuckled spirit of Jak. A magical spell led by disharmonious Portasound FM keys in conversation with a teetering sub bass, where at its core, this plus this, equals something that is uniquely familiar and unfamiliar at the same time. A number fit for any uncanny ritual that will fall under the night sky. Bringing our cosmic procession to a close we pick up the pace with a commanding number titled, Dance On, a no holds barred work that will possess your soul in the name of Jak. Flangers wail unforgivingly alongside a pulsating 101, as samples of the human voice are chopped up and arranged into a conversation that hypnotically calls for our bodies to be transformed into soft machines, while powered by ceremonious motions that are generated from the liberating process of ritual movement. We command you to dance! Words by Justin Aulis Long

2024 Repress
For Frenzy's third release, and the first solo release, the Uruguay-based William Arist is introducing us to his world of 'tribal techno'. Hailing from the city of Montevideo, this Southern-American-born artist already is a talent to watch overseas. Through their like-minded vision of electronic music, William bonded strongly with our Amsterdam-based Frenzy crew over the last couple of years. This warm connection evolved into Frenzy 03 - showcasing pure dance floor eclecticism that only William can deliver, including two remixes by no other than VIL and rising star Kenji Hina aka Alarico.

The A side instantly kicks off at full good vibe-throttle with two productions that reminisce about those iconic Love Parade moments during the very first days of rave culture. Balancing on the edge of house and techno, 'Chaka Chaka' loops the listener into a straight sense of movement. With rhythmic drums and uplifting vocals, 'Days' feels like stepping into an after hour dance-floor at the beach while the morning sun rises through the exotic vegetation. On the B side, William leans towards a more hypnotic sound. With a great tempo and a dark yet subtle mood, 'Tero' sets the tone for those murky clubbing moments where the boundaries dissolve and bodies merge. Slowly climbing out of the deep, 'Gultural' stays on the same energy level while adding dubby hints and a taste of freshness.

To top it off, the release is provided with two remixes that leave no room for interpretation. Portuguese producer VIL turned 'Chaka Chaka' into a true peak-hour beast while Italian multi-talent Alarico shows his versatile skill set with a speedy house remix of 'Gultural' under his Kenji Hina alias.

ERIS inaugurates the Plexus 4 label with the stylish psychedelic club sounds of 'Glimmers'. The Sardinian-Croatian duo consisting of Enrica Falqui and Dea Dvornik drops their next EP this June. ERIS, AKA Enrica Falqui and Dea Dvornik, mint the Plexus 4 label with the 'Glimmers' EP.

Their music mixes acid, techno, and house and has found a home on the likes of Warning, 20/20 Vision and DJ Masda's CABARET Recordings. ERIS 'Glimmers' drops via Plexus 4 15th June 2024.

Finnish electro duo Morphology, comprised of Matti Turunen and Michael Diekmann, is set to release ‘Made Up Reality’ on Deeptrax Records, the label with a mission to deliver high-quality, groundbreaking electronic music focusing on the deeper side of electronica and eclectic leftfield dance jams, exploring those spaces between deeper house and techno, with hints from the past and a strong vision of the future.

Continuing Morphology's tradition of dark, melodic, and skilfully produced electro funk that has captivated international audiences, they’ve have been holding down the retro-activism of Detroit and its call for an illuminated future of programmable, motorized, electro-fantasies for over 15 years. With releases on Semantica, Solar One Music and a slew of albums for Germany’s Zyntax Motorcity, it’s been Cultivated Electronics and Central Processing Unit that have given new rise to the music of Morphology. Their Traveller LP released through FireScope, helmed by the UK’s B12 in 2018, the floodlights remain unshakably fixed on the Finnish pair’s brilliance, appearing on landmark compilations like CPU’s 50th release jubilee to DJ Stingray’s Kern mix for Tresor, or holding it down in the underground at Scand nights in London, to bookings at Concrete Paris and Closer in the Ukraine, to Berlin’s unmissable Berghain. With a forever exploratory live set, Morphology’s place as a mainstay of futurist electro is rock solid and burning bright.

Renowned for their soul charged, emotion rich melodies and signature blend of techno and traditional electro, Morphology's new EP takes listeners on an unforgettable auditory journey. ‘Made Up Reality’ showcases the duo's ability to integrate acid lines and vibrant drum patterns creating a sonic landscape that is both innovative and deeply resonant. ‘Seven Fingers’ is a deep dive into the darker side of electro, with haunting melodies and pulsating rhythms. ‘Particle Swarm’ is an acid-infused cut that melds techno elements with classic electro beats. ‘Gradient Descent’ is a more electrifying electro acid heater, blending head nodding bassline with sharp acid riffs and pulsating rhythms that will ignite the floor. ‘Active Inclusion’ is a vibrant, drum-heavy composition that brings the EP to a powerful close.

We are excited to announce the creation of Dentelles Records, a new sub-label of Diki Records, founded by Greg All, the visionary behind the Les Dentelles Electroniques festival, known for its festive atmosphere and resounding successes.

To mark this debut release, Dentelles Records highlights the La Fontaine concept, a flagship event of Les Dentelles Electroniques, centered around House, Tech House, and Afro House sounds. This vinyl features four tracks created by the La Fontaine residents: Francesco Marra, Laurent Top, DJ Steven, and Greg All himself, capturing the very essence of the rhythms that make the most energetic parties come alive.

With this first vinyl, Dentelles Records immerses the listener in festive and enchanting grooves, reflecting the unique atmosphere of La Fontaine and offering a true dive into the world of these parties.

Uyama Hiroto, one of the most important artists behind Nujabes works, released his debut album 'a son of the sun' on 2LP after 12 years.

Uyama Hiroto provided "Letter From Yokosuka" for Nujabes "metaphorical music" released in 2003 and was featured on the title track of "modal soul" released in 2005.

A son of the sun" was released in 2008 and continues to fascinate many listeners to this day.

Her tracks have been played and recommended by Iggy Pop, Mary Anne Hobbs and Nine Inch Nails. ZAMILSKA, one of the most original artists on the European electronic scene, announces a new album, "United Kingdom Of Anxiety" – out October 4.
Combining the rawness of techno and the trance-like nature of world music, industrial sound and a fine blend of trip-hop, the Polish producer created a dystopian, post-apocalyptic,
fascinating vision of a collapsing world. "United Kingdom Of Anxiety" begins with a sonic assault. The breaks and powerful bass in "Phantom" awaken from hypnotic slumber, numbness caused by the daily hustle, serve as a reminder that to survive in an unfriendly world, concentration, willpower and perseverance are essential. This is the beginning of a journey through "United Kingdom Of Anxiety" - the new album by Zamilska, a sensitive outsider.

"I’m here to ruin you again," announces a voice in "Mummy," while the crescendo of beats and noise in "Better Off" further amplifies the tension. It's hard to find peace when hell lurks just around the corner. Is it the horror of civilization or perhaps cosmic dread? The answer depends on the listener's sensitivity.
The much-needed balance and coolness are brought by huskie vocals - that is Ola Myszor - an incredibly talented young artist who appears in several tracks on the album. Besides huskie, there are other guests on "UKOA": Natalia Przybysz, who, with a robotic voice, delivers a manifesto of indomitable, proud solitude in "Persist" and Lukasz Pach, the charismatic frontman of the grindcore band Hostia. His growling is heard in the intense, uncompromising "No Gods," which was presented by Iggy Pop on his BBC6 Music radioshow.

The sonic spectrum is also filled with anonymous voices: echoes of quarrels, media messages, sounds of war clamor, monologues - looped, accelerated, manic, psychotic, but also a wistful singing coming from the depths, from afar. The metaphysical horror of Lovecraft on one hand, and the sober, no less gloomy diagnosis of George Orwell on the other, constantly correspond here.
This entire album is a story about society as a whole and the contemporary, dystopian world, which is inevitably heading towards war. The track "1984" clearly defines the inspiration for the artist's post-apocalyptic vision. A distorted radio signal, alarm siren and gabba/techno beats driving into the head like nails serve as an expression of the fear and anger born in a world of impending totalitarianism.

"OneDa's story is so clearly mirrored in her music: a sprightly flow preaching a message of empowerment, enveloped in a dark, raucous soundscape…interlacing vibrant, punchy lyrics with that classic drum & bass sound has given OneDa a new lease of life." – DJ MAG

“OneDa is solidifying her position as one of the UK’s most thrilling hip-hop artists. With poignant lyrics and charisma that is off the charts, she dives deep into the complexities of life, love, and liberation.” – DIVA

Manchester rapper and poet OneDa is set to soar with the release of her debut album, 'Formula OneDa', on October 4th via Heavenly Recordings. Featuring the singles 'Major Pay' and 'Set It Off.'

On the ethos behind the album, OneDa says:

“In early 2023, while listening to my mixtape demos, the line ‘had to step away, get the levels up fast, Formula OneDa never come last' from my song ‘Off My Light’ stood out. We decided to name my album 'Formula Oneda'. Coincidentally, I discovered that the F1 Academy had just started, aligning perfectly with my album’s vision. For the first time in over 30 years, Formula 1 has created a platform to inspire and support young girls and women. Previously indifferent to Formula 1, I am now excited by the progress these women are making in the male-dominated racing circuit. While becoming a racing driver was never my goal, the F1 Academy metaphor fits my journey from a backmarker to a leader. This year, I plan to support these inspiring women as they drive with Pussy Power to take pole position in motorsports.”

Having supported Kneecap and Baxter Dury, and with standout performances at The Great Escape, OneDa is establishing herself as one of the UK’s most dynamic hip-hop artists. Her music transcends genres, blending hip-hop, drum and bass, afro-trap, and afrobeats, reflecting her Nigerian heritage and Manchester roots. Known for her dexterous wordplay and poetic verses, OneDa's voice is a unique force in the evolving drum and bass scene. Her boundless linguistic talent and poetic verses set her apart. Named by The Face as a key MC in the drum ‘n’ bass renaissance, OneDa is dedicated to empowering others.
Her live performance credits include headlining with Angélique Kidjo at Aviva Studios' launch in Manchester and leading performances at Manchester Pride 2023. She continues to gain acclaim from BBC Radio 6, DJ Mag, The Face, NTS, Wonderland, UKF, and The Line of Best Fit.

Beyond her music, OneDa is dedicated to community initiatives, leading hip-hop therapy for Manchester youth and championing projects like Herchester, which amplifies marginalized voices in music. Her vision extends beyond chart success; she aims to establish a hip-hop therapy school for all ages, showcasing music's potential for positive change. Her drive and authenticity inspire others to embrace their true selves.

Citing 'empowerment' as her greatest inspiration, OneDa channels her struggle with acceptance of her queerness into her music, promoting a message of self-love and freedom: “When you truly love yourself, that overpowers anyone else’s opinion.” Although she only began producing music two years ago, OneDa’s debut LP showcases her mastery across multiple genres. Collaborations with artists like Sam Binga, Songer, Devilman, and Mr. Scruff highlight her versatility. Her standout verse on Vibe Chemistry’s 'Ballin’', with over 35 million streams, further cemented her reputation. Her first fully produced track, 'Rude Girl Flex', earned her a spot on the BBC 6 Music playlist and an appearance at the BBC 6 Music Festival.

Blu’s music has been championed by outlets like XXL, Pitchfork, Okayplayer, HipHopDX, and more. In recent years, he has been interviewed by Billboard, Complex, LA Weekly, Noisey, Red Bull Music Academy, and more. Blu has collaborated with prominent artists like The Roots, Logic, Miguel, MF DOOM, Madlib, Anderson .Paak, Lupe Fiasco, Freddie Gibbs, Aloe Blacc, Roc Marciano, Slum Village, 9th Wonder, and more. Classic 2014 album on gatefold 2LP vinyl, now available after years out of print. Good To Be Home features guest appearances by Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, Chace Infinite, Cashus King, and more. L.A. rapper Blu burst onto the scene in the late 00s with the widely acclaimed Exile collaboration Below The Heavens, igniting a West Coast hip-hop renaissance in the process. With his cool Cali demeanor and undeniable lyrical talent, Blu drew praise from fans and tastemakers alike, launching a remarkable career that continues thriving to this day. His first ever double album, the 2014 masterpiece Good To Be Home is an essential part of this story. An unapologetic celebration of Los Angeles music and culture, the album takes listeners on a vivid journey through Blu’s storied stomping grounds. With sweeping strings and hypnotic bass lines supplied by producer Bombay, Good To Be Home features a host of West Coast hip-hop luminaries, including Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, and more. A cohesive collection with 20 tracks and no filler, this classic release is now available again on vinyl after years out of print.

"A group of tried-and-true musicians got together and found the sort of camaraderie and kinship you typically only find once in a lifetime. They didn’t overthink it. They didn’t waste a second. They simply left their blood, sweat, and tears on tape—like they’ve always done. For as much as Better Lovers represents the union of former Every Time I Die members Jordan Buckley guitar,Steve Micciche [bass], and Clayton “Goose” Holyoak [drums] with The Dillinger Escape Plan and Killer Be Killed frontman Greg Puciato [vocals],and musician (Fit For An Autopsy/END) and GRAMMY® Award-winning producer, Will Putney [guitar], it really cements the bond of five friends around a shared vision. That vision is as uncompromising, unapologetic, and undeniable as anything they’ve individually done, yet it’s refined by experience and a commitment to a future together. They’re in it for the long haul... “To me, this band is refreshing,” exclaims Jordan. “Looking back, I’m so happy everything got me to where I am. The pandemic and the last few years made me hungrier and more grateful. This isn’t a hobby. This isn’t temporary. This is the next evolution for each of us. Greg and Will rejuvenated me and made me even more confident.



Now, everybody needs to know we’re a wild animal that just broke out of the zoo—there’s no trying to put it back in the cage.” “Better Lovers definitely feels like its own thing,” states Greg. “I’m in so many lanes right now, so it was important that one lane didn’t step on another. However, nothing I’m doing is this vicious. This is full-on scathing. It’s been really fun. I forgot how much I liked that.” As the story goes, Jordan ended up back in Buffalo, NY, jamming in a basement rehearsal spot with Steve and Goose during the winter of 2022. After working with Will on the last two Every Time I Die records, they shared a handful of early demos with him to produce. As the year progressed, Jordan caught Greg on the road with Jerry Cantrell in Las Vegas, mentioning the new music. Once ideas solidified, he shared them with the vocalist who replied at 3am one night in December. “The text said, ‘Let’s give these motherfuckers what they want’,”chuckles Jordan. “I went to bed smiling and laughing. There is no one like Greg on stage, off stage, or over text. Once I told Will, he was like, ‘Can I play?’ We said, ‘Of course!’ That’s how it was born.” “Once I pick up the scent, I’ll go for the kill,” smiles Greg. “We’ve all hung out, gotten to know each other, and it’s all fire now. Everyone has already been through shit. You know yourself better. Your ego isn’t as big as it used to be. You can share your opinions. It’s a cool dynamic.” Fittingly, they introduce this era with the single “30 Under 13.” A seasick guitar groove bleeds into an incisive riff punctuated by Greg’s vitriolic and venomous screams, “Hold onto me, try to let go of me, let go of what you’ll never be. ”This barrage unpredictably subsides on a haunting clean vocal, only to ramp back up into a pit-splitting thrash crescendo and rapid-fire solo played at warp speed. “We always try to up our game,” notes Jordan. “This is the next step for all of us. There’s just constant forward motion, and we don’t want to compromise that. We want to keep going. We’re doing a lot of shit we haven’t done before in Better Lovers. I’m not going to spoil it for you, but get ready.” “For some reason, this song got me,” recalls Greg. “Once that happens, you have the toe of the dinosaur skeleton in the dirt. You start brushing it away, and soon you have a fucking T-Rex.” The name might give you a hint of what’s coming—or it might not. So, what does the future hold for Better Lovers? Well, it’s entirely in their control. Expect a lot of touring. Expect more music. Expect these five guys to leave a trail of destruction in their wake—really would you want anything less? “We feel like we’re going to explode if we sit around any longer,” Jordan leaves off. “This is my life’s work. I learned all of my lessons, passed all of the tests, and took all of the right turns and the wrong turns. It turns out what I thought were wrong turns got me here, and that’s all that matters. I have no regrets. I know this is what I’m supposed to be doing.” “I just want you to view this on its own merits,” Greg concludes. “I hope it reaches some new people. For me, the enjoyment is making the music and putting it out. The second it’s released, I don’t look back. You drop the bomb and keep flying the plane. You don’t circle back to see how much destruction you cause. You keep moving, which is what we’re going to do.” "

After almost 2 years in development, Manata’s debut LP - The Golden Age, is by far the most challenging project we had worked on until this day.

This 9 track double vinyl represents perfectly what our vision is through music and what we aim to do as a label. In this album you will dive into Joao’s biggest influences between house and techno, a journey which will take you back to the golden era of electronic music. As you slide into the tracks, you can notice how the album goes from light to dark, with disc 1 delevering a more housy and groovy vibe, and disc 2 beeing more dark and energetic. Reachable to all ears and dancefloors is how we classify this golden nugget.

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022's Pigments_icy and warm, stripped-down and grand, familiar and otherworldly_and now it has reunited them for Quiet in a World Full of Noise. By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing_driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. This year, Richard's musician father experienced mini strokes while being diagnosed with cancer; and last year, her cousin Cisco was fatally shot seven times in New Orleans. Richard channels the emotional impact of these traumatic experiences of loss into her lyrics and vocal performances, which are left bare and human here, raw and unprocessed across the album. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether. On paper, Richard and Zahn's audacious, impressionistic musical collaborations feel like a surprising match. Richard, a New Orleans-reared visionary, has had an improbable journey from late 2000s reality television and mainstream pop with girl group Danity Kane to become one of the most prolific, experimental, and visible indie R&B singer-songwriters of the last decade and a half, with seven solo albums under her belt. Zahn is an East Coast-raised multi-instrumentalist and composer working at the intersections of jazz, Americana, classical, and ambient pop. His growing solo discography includes People of the Dawn, Sunday Painter, Pale Horizon, and Statues I & II, as well as the duo's first release, Pigments. "Pigments was one of the best projects I've ever made," Richard says, "and the furthest I've ever been pushed as an artist." The album was a critical hit, hailed as Best New Music by Pitchfork and receiving praise from Stereogum as Album of the Week, NPR Music, Bandcamp Daily, The Fader, Bitter Southerner, and Edition, among many other publications. The making of its follow-up, Quiet in a World Full of Noise, began in 2023 in upstate New York. Fresh from a break-up, Zahn sat at his piano and poured himself into writing and recording instrumental compositions. "I wrote all these stream-of-consciousness pieces on piano, and they were eerie, spacious piano tracks," he said. He used a piano that had been unconventionally tuned to the room rather than to standard pitch. These oddly-tuned, eerie instrumental recordings were never intended to be an album. Six months later, he listened to the recordings again and sent them to Richard who immediately recognized their potential and said, "Oh, this is the next album." Richard went into the studio the next day and wrote and recorded melodies and lyrics to Zahn's piano recordings. Zahn brought in gifted musicians like Bryan Senti on strings (violin, viola, and violoncello da spalla) and CJ Camerieri on brass (French horn, flugelhorn, and trumpet). In some cases, like on the track "Life in Numbers," Zahn used only the original first-take piano recording and scratch vocal, resulting in an intimate close-up of both Richard and Zahn.

Four years after their Discrepant debut - 'OOOO' -, Lisbon-based travellers Jibóia return to the fold with another offering of globetrotting psychedelia with 'Salar'. With the core trio of Óscar Silva, Ricardo Martins and Mestre André augmented by a stellar parade of collaborators on various roles, 'Salar' further expands on the transglobal visions by now pretty trademarked by the band. Intersped among shorter vignettes for drums, saxophone and bass, each of the more fully fleshed tracks casts a guest to elevate Jibóia's music to uncharted realms - both in a mystical and geographical sense.

Opener 'Selar' summons the cello of songstress Joana Guerra for a skewed dialogue with Silva's guitar, propelled by Martins' drums and percussion and André's electronic textures into 4 minutes and 20 seconds that feel epic - if there was any psychedelic numerological symbolism needed. On 'Solar', Silva's non-western plucking rides on for Yaw Tembe's trumpet to veer in a multitude in directions, while the mysterious 'Sitar' conjures the voice of moroccan musician Ayoub El Ayadi for a contemplative nighttime prayer. Elsewhere, guitarist Rui Carvalho aka Filho da Mãe injects dissonant guitar lines unto 'Sarar's pummelling dance and Pedro Augusto's electronics hover below the shapeshifting dynamics of 'Sonar', among mesmerising keyboard lines. 'Salir' featuring Daiyen Jone enchanted flute brings the album to a close at its most reflective, all crepuscular synth lines and reverbed handclaps.

Building on the foundation of his two EPs for Samurai Music, we proudly present Urmah, the first LP exploring the 170 tempo from acclaimed Techno/Electronic producer Juan Rico aka Reeko, aka Architectural.

Reeko has now become an integral part of the overall Samurai Music sound. His work resonates deeply within the label's ethos, and Urmah exemplifies this synergy, highlighting his ability to enrich and expand Samurai Music's vision and push the boundaries of his own artistic expression.

For Urmah, Reeko delves even further into sound and psyche with a richer, more enveloping exploration into his distinct interpretation of the tempo. Reeko's production prowess shines brightly on Urmah with the warmth and weight of each track leaving an indelible impression.

Urmah focuses on heady fathomless grooves that tease shards of breakbeats like delicious icing, binding themselves to a gentle psychedelia with celestial textures. This is dexterous, meditative journey music from a producer who has an intimate relationship with groove creation.

As one of the most respected Techno producers in the genres long history, Reeko's influence and mastery are undeniable. With Urmah, he further showcases his expertise, expanding his palette to display a refined command of the 170 BPM tempo. The LP is a testament to his ability to innovate and redefine, solidifying his reputation as a pioneering force in electronic music.

Her tracks have been played and recommended by Iggy Pop, Mary Anne Hobbs and Nine Inch Nails. ZAMILSKA, one of the most original artists on the European electronic scene, announces a new album, "United Kingdom Of Anxiety": Combining the rawness of techno and the trance-like nature of world music, industrial sound and a fine blend of trip-hop, the Polish producer created a dystopian, post-apocalyptic, fascinating vision of a collapsing world.

Atlanta native Stefan Ringer steps up for a solo release on Bristol’s Black Acre, tracing a lineage of sonic references into an unmissable four-track EP. From radiant, soulful house to wonky machine funk, Soulflow is a distillation of cultural and personal narratives, tracing the evolution of his sound over a number of years. As an influential force in Atlanta’s dance music community - and with a strong connection to the sounds of Detroit - Stefan’s music reflects a genuine love for the underground. He held a residency at the legendary Sound Table with Ash Lauryn until its closure, runs the beloved monthly party Kudzu, and has spent years committed to his craft as a producer, DJ, promoter, and label manager. Tying the threads between an ever-expanding pool of sounds, his approach to production looks beyond the restraints of formal genre, and instead towards community, offering new sonic frameworks for others to soundtrack their own personal journeys. Black Acre has, since its inception in 2007, focused on strains of electronic music that mutate across different styles, and as such, Soulflow touches on a number of subcultural moments. As the name suggests, the title track is an uplifting, 101 groove of stripped back soul, driven by Stefan’s vocal treatments. ‘What’s Your Sign’ heads into hazier territory for an angular cut of minimal hypnotism. Taking a trip further into Stefan’s musical heritage with a nod to mid-2000s dubstep, ‘Cleanse’ is a half-time stepper adorned with glistening keys and improvised melodies that flawlessly embodies the cross-pollinated spirit of the genre, continuing the lineage of what occurred before with a sincere appreciation. Rounding things off is ‘Body Know’ - born from an experiment with a bass guitar and beat-boxed percussion - that fuses echoed vocals with a driving, analogue funk. Soulflow offers an honest portrayal of Stefan’s musical story, honing in on its past to build an expansive vision of its future. As he summarises succinctly: ‘This collection offers a glimpse into my journey thus far, with the anticipation of more to come.

Good Neighbours release their self-titled debut EP on 4th October. The EP includes their huge debut hit single ‘Home’ which has had over 300 million streams globally alongside follow-up feel-good singles Keep It Up, Daisies and Bloom. Since playing their debut headline show in November 2023, the band consisting of Scott Verrill and Oli Fox have come together to create an indie-euphoric dreamscape of sound and vision, racing through the London gig circuit and beyond with likes of Reading & Leeds Festival, Latitude, Boardmasters, and All Points East. Available as a Limited edition CD edition includes cover of Taylor Swift’s Wildest Dreams recorded for BBC Radio 1. The Limited edition Blue Vinyl includes mash up cover of MGMT’s Time To Pretend with Lorde’s Perfect Places recorded for BBC Radio 1 earlier in 2024 (doesn't include Taylor cover)

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

On 4 October 2024 Universal Music Recordings and Decca Records are making Jamaican/British jazz saxophonist Joe Harriott’s album ‘Movement’ available again for the first time since it was released in 1964. Long sought after by collectors and connoisseurs, original copies now sell for upwards of £1,000.

This new edition was mastered at Abbey Road using high definition 24bit/192kHz audio files, copied directly from the original stereo analogue master tapes (previously only the mono version has been on vinyl). Images of those tapes are included in the package alongside new sleeve notes written by noted author, compiler and documentary maker Tony Higgins, who also acts as Executive Producer for Decca’s ‘British Jazz Explosion’ series.

Recorded in 1963, ‘Movement’ was released as part of the Lansdowne Series, overseen by the influential Denis Preston, one of the UK’s first independent record producers, and engineered by Adrian Kerridge. Of the nine tracks, seven are Harriott originals, whilst the other two were written by another pioneer of British Jazz, Michael Garrick. Playing alongside Joe were bassist Coleridge Goode (b. 1914 Jamaica, d. 2015 London), drummer Bobby Orr (b. Scotland 1928, d. 2020), pianist Pat Smythe (b. Scotland 1923, d. 1983), and trumpet/flugelhorn player Ellsworth ‘Shake’ Keane (b. St. Vincent 1927, d. 1997).

Born in Jamaica in 1928, Joseph Arthurlin Harriott was a pupil at the Alpha Boys School (alma mater to Harold McNair, Dizzy Reece, and a myriad of Ska greats). He arrived in Britain in the early ’50s, initially touring with the Ozzie Da Costa Band, followed by a brief spell with the Ronnie Scott Big Band, and sessions backing the likes of George Chisholm, and Lita Roza.

By the mid ’50s Joe was a big enough draw to release records under his own name, and whilst these early recordings conform to the then popular bop style, the following decade would see him release albums whose titles chart his development; ‘Free Form’ in 1960, and ‘Abstract’ in 1963.

‘Movement’ is a testament to Joe Harriott’s visionary approach to jazz. It blends structure with freedom, tradition with innovation, and individual expression with collective creativity. His development of free-form jazz represents a significant contribution to the genre, paralleling yet distinct from the work of Ornette Coleman and other American free jazz artists. It is an essential listen, not only for fans of British jazz, but jazz fans in general.

It is perhaps best summed up by the epitaph that now adorns Joe’s gravestone; “Parker? There’s them over here can play a few aces too.”

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022’s Pigments icy and warm, stripped-down and grand, familiar and otherworldly and now it has reunited them for Quiet in a World Full of Noise. By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. This year, Richard’s musician father experienced mini strokes while being diagnosed with cancer; and last year, her cousin Cisco was fatally shot seven times in New Orleans. Richard channels the emotional impact of these traumatic experiences of loss into her lyrics and vocal performances, which are left bare and human here, raw and unprocessed across the album. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether. On paper, Richard and Zahn’s audacious, impressionistic musical collaborations feel like a surprising match. Richard, a New Orleans–reared visionary, has had an improbable journey from late 2000s reality television and mainstream pop with girl group Danity Kane to become one of the most prolific, experimental, and visible indie R&B singer-songwriters of the last decade and a half, with seven solo albums under her belt. Zahn is an East Coast–raised multi-instrumentalist and composer working at the intersections of jazz, Americana, classical, and ambient pop. His growing solo discography includes People of the Dawn, Sunday Painter, Pale Horizon, and Statues I & II, as well as the duo’s first release, Pigments. “Pigments was one of the best projects I’ve ever made,” Richard says, “and the furthest I’ve ever been pushed as an artist.” The album was a critical hit, hailed as Best New Music by Pitchfork and receiving praise from Stereogum as Album of the Week, NPR Music, Bandcamp Daily, The Fader, Bitter Southerner, and Edition, among many other publications. The making of its follow-up, Quiet in a World Full of Noise, began in 2023 in upstate New York. Fresh from a break-up, Zahn sat at his piano and poured himself into writing and recording instrumental compositions. “I wrote all these stream-of-consciousness pieces on piano, and they were eerie, spacious piano tracks,” he said. He used a piano that had been unconventionally tuned to the room rather than to standard pitch. These oddly-tuned, eerie instrumental recordings were never intended to be an album. Six months later, he listened to the recordings again and sent them to Richard who immediately recognized their potential and said, “Oh, this is the next album.” Richard went into the studio the next day and wrote and recorded melodies and lyrics to Zahn’s piano recordings. Zahn brought in gifted musicians like Bryan Senti on strings (violin, viola, and violoncello da spalla) and CJ Camerieri on brass (French horn, flugelhorn, and trumpet). In some cases, like on the track “Life in Numbers,” Zahn used only the original first-take piano recording and scratch vocal, resulting in an intimate close-up of both Richard and Zahn.

CECILIA is a nomadic soul. Like in an existentialist epic that traverses different ages on a phantom thread of love, spirituality, desire and rage. She inhabits different bodies, inserts herself in a whole array of different characters. Some are fictional, some are as real as the artists that inspired her, and whose influence appears in CHOEUR under the guise of tiny fragments, direct quotes, dedications and spectral presences. Cecilia channels the poetry of different lives that might have been her own or might have only existed in dreams, and does so within a collection of songs that twist the path of traditional French and Italian songwriting into the inmost recesses of electronic mysticism. The composition of CHOEUR took place mostly around January 2023, a pretty precarious time in the artist life, and happened in a spontaneous and ritualistic manner that could appear as somewhat odd in the realm of electronic music production. Birthing out of ego-free solo jams in hyphened states of consciousness and audience-less performances, these moments of do-or-die energy intake served to funnel the wilderness of her emotions into extremely tight arrangements, ultimately allowing a dramaturgy of fierce and beautiful songs into existence. Striving for the sublime, CECILIA trained her whole body for a paradoxical procedure of disconnection and reconnection. A crucial pin in Melissa Gagné’s system of 7-year creative cycles, CHOEUR marks her debut on Haunter Record as much as the first step towards the possibility of a new artistic identity. A labour of love if there ever was one. CHOEUR is made of Awe, Chants and Ravishment, of Pain until Vision. CHOEUR prays Earth, Water, Stars, Sea. CHOEUR feels Spirits, Lightning, Thunder, Dawn, Dusk, Blood, Flowers. CHOEUR invokes a Return, to Grace. CHOEUR loves Mud and longs to Play. CHOEUR lives in a Dream created by a Dream. CHOEUR lives in a Body created by Love. CHOEUR is about a broken heart, open and ecstatic, about the beauty and the sadness that all is not what could be, about wandering and wondering why were the stars made so beautiful?

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

Limited edition 7" vinyl of "La Mujer Serpiente" on the A side and "Selam (Bass Mix)" on the B side.

La Mujer Serpiente/Cumbia Serpiente is the 1st single from Earthtones' upcoming LP on Wonderwheel. This collaboration with longtime friend & co-producer, Oliwa, features vocal delivery and heartbreakingly beautiful songwriting by Colombian Canadian artist/singer, Lido Pimienta. Behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of upliftment of womxn and femmes everywhere.

Selam is a vision of peace. This collaboration between producer/DJ Earthtones and Ethiopian musician/vocalist Etsegenet Mekonnen features haunting vocals sung in Amharic.

Analog & semi-modular synths combine with 909 drums and afrobeats percussion by Earthtones, to weave grooves for Etsegenet's depth in songwriting, voice and soul. The main version has a dancehall bassline that calls one to movement, while the dub versions evoke mystery amidst long modulated leads + filtered pads.

Selam enezra ahunim (let us sow peace).

fabric Records proudly announces the latest edition in its esteemed mix series, *fabric presents Rødhåd*, a masterful journey through the dark, hypnotic depths of techno. Renowned for his innovative and atmospheric sound, Rødhåd crafts an experience that resonates deeply with both seasoned techno enthusiasts and new listeners alike.

The compilation begins its rollout with two powerful singles that set the tone for what’s to come. The first single, "Nightlife Experiences" featuring the visionary Theo Nasa, is set for release on August 28th. This track is an exploration of nocturnal energy, perfectly capturing the essence of late-night dance floors. Following this, on September 11th, Rødhåd will release "Inception Report," a track that delves into the cerebral side of techno, with layers of sound that intertwine to create an immersive auditory experience.

Featuring twenty-eight unheard tracks from established and upcoming artists in the techno sphere, the full compilation will be available on September 27th. The mix will showcase Rødhåd's unparalleled ability to blend raw sounds with evocative melodies, crafting a sonic landscape that is both intense and mesmerizing.

UK-born, Lisbon-based DJ, Producer, Songwriter, and activist Megatronic joins the RNT roster with her ‘Do I Belong To You?’ EP, a bold statement of her soulful and visionary sound. Side A opens with the deeply emotive ’The World’ featuring soulful and melancholic vocals by Stavros, then moves to the pulsating and freewheeling groove of Nuffin’ But Love (co-produced by Jitwam) and finishes with the jazzy vibes of Organic, with Meg’s sultry spoken poetry floating over live instrumentation. On the flip side two superlative remixes by heavyweights Jimpster and Kiko Navarro take Meg’s music straight to the dance floor, with Jimpster bringing is his signature lush deep textures to ‘Been Thinking’ (the original of which is available as part of the digi EP only) and Kiko delivering an acid afro-house banger of a mix on ‘The World.’ A gorgeous listen from beginning to end, this EP captures a sound that feels both classic and futuristic all at once.

2024 Repress

In the frontline of new generation techno, Kenji Hina aka Alarico sets the precedent of density and rhythmic essence with his Tokyo Rythms Trilogy and leads the way ahead of the curve. Each district gives an insight in his imaginary vision of what the depths of Tokyo is about techno wise. An example of the past and the future with clearly a framework in which no rules exist, he's pushing fundamental elements to new extremes.

'SOPHIE', das selbstbetitelte zweite Album der visionären Künstlerin, Produzentin und Pop-Pionierin, wird am 27. September 2024 über Transgressive und Future Classic veröffentlicht.

Dieses Album wurde von SOPHIE und einigen ihrer liebsten Kollaborateure geschaffen. Es stand kurz vor der Fertigstellung, als sie auf tragische Weise starb, und wurde von denjenigen, die ihr am nächsten standen, liebevoll fertiggestellt. Als SOPHIEs Studiomanager und vertrauenswürdiger Gesprächspartner für über ein Jahrzehnt war Benny Long maßgeblich an der Veröffentlichung von 'Oil Of Every Pearl's Un-insides' beteiligt und zeichnete für Mastering, Produktion und Mixing verantwortlich. Die beiden arbeiteten dann über mehrere Jahre zusammen, um das Konzept und die Produktion dieses Nachfolgealbums zu entwickeln, das Benny liebevoll vollendet hat, um SOPHIEs Vision zu ehren.

'SOPHIE', das selbstbetitelte zweite Album der visionären Künstlerin, Produzentin und Pop-Pionierin, wird am 27. September 2024 über Transgressive und Future Classic veröffentlicht.

Dieses Album wurde von SOPHIE und einigen ihrer liebsten Kollaborateure geschaffen. Es stand kurz vor der Fertigstellung, als sie auf tragische Weise starb, und wurde von denjenigen, die ihr am nächsten standen, liebevoll fertiggestellt. Als SOPHIEs Studiomanager und vertrauenswürdiger Gesprächspartner für über ein Jahrzehnt war Benny Long maßgeblich an der Veröffentlichung von 'Oil Of Every Pearl's Un-insides' beteiligt und zeichnete für Mastering, Produktion und Mixing verantwortlich. Die beiden arbeiteten dann über mehrere Jahre zusammen, um das Konzept und die Produktion dieses Nachfolgealbums zu entwickeln, das Benny liebevoll vollendet hat, um SOPHIEs Vision zu ehren.

- Ltd. Col. 2LP: (Crystal Clear Vinyl)

Sacred Skin is back! Their sophomore album Born in Fire hits turntables everywhere September 2024. Pre-order now to reserve your copy! This latest effort builds off the band’s full-length debut (2022’s The Decline of Pleasure) and takes their sound to a completely new level. Painting a blackened, dystopian vision of life in modern-day Los Angeles, Born in Fire is a movie soundtrack inspired by a forgotten era. Anthemic pop music steeped in romanticism and melancholy and drenched in layers upon layers of new wave nostalgia. For fans of ’80s soundtracks, Tangerine Dream, INXS, Depeche Mode, and New Order.

Midnight Mannequin Records is proud to present this deluxe pressing of Born in Fire on 2xLP colored vinyl and housed in a gatefold jacket, complete with OBI strip.

EP on 12" vinyl with insert. Pianist Orson Claeys is a refreshing new presence on the Belgian jazz scene.The music takes cues from the rich sounds of the Middle East, influenced by artists like Dhafer Youssef and Anouar Brahem, and also from the fresh, creative styles of contemporary jazz musicians.



Pianist Orson Claeys is a refreshing new presence on the Belgian jazz scene. After being featured on the third instalment of the 'Lefto presents Jazz Cats' compilations with his track 'Conversations', Orson Claeys is set to release his 5-track debut EP 'Odyssey to Self' on Sdban Ultra.



Spellbound by the allure of the piano at a young age, Claeys joined art school, where his more profound exploration really began. However, it wasn't until a later age, when he discovered the melodies of Herbie Hancock, that he was drawn to jazz and changed his musical course. Under the guidance of renowned artists, Claeys had the opportunity to immerse himself in this new sound atthe Royal Conservatory of Music in Brussels. He developed his own style, learning to weave different cultural influences and musical genres. These days, Claeys is constantly searching for his own unique sound in today's modern jazz, fusing different musical traditions into one harmonious expression.

"Odyssey to Self" isn't just an EP; it's a story about life-the ups, downs, and the personal journey we all experience. "From the start, I wanted this project to go beyond my own artistry and connect with more people. That's why I decided to create a visual counterpart to the music, a way to see the journey that you hear in the record."

This is Orson Claeys' first EP, released under Ghent's well-known Sdban Records. It's a deep dive into Claeys' own life, honestly sharing his path through major changes. "Odyssey to Self" captures his personal journey, giving listeners a look at the universal human experience of dealing with life's challenges and embracing change.

The music takes cues from the rich sounds of the Middle East, influenced by artists like Dhafer Youssef and Anouar Brahem, and also from the fresh, creative styles of contemporary jazz musicians such as Aaron Parks, Brad Mehldau, and Ambrose Akinmusire. Claeys aimed to blend these diverse musical influences into one cohesive sound. "Odyssey to Self" invites listeners to experience Claeys' emotions, experiences, and artistic vision, weaving stories that touch on themes we all understand.

"Die Band RIPPED TO SHREDS aus San Jose ist ein aufstrebender Star in der Metalwelt, dank ihrer wilden, elektrischen Interpretation des Death Metal,
die größtenteils von ihren Erfahrungen als asiatisch-amerikanische Musiker inspiriert ist." - Stereogum
RIPPED TO SHREDS melden sich mit ihrem mit Spannung erwarteten neuen Album "Sanshi" zurück. Die Band explodiert aus dem Untergrund mit all
den blutgetränkten Merkmalen des höllischen RIPPED TO SHREDS-Sounds - ein Ansturm von frenetischen Duell-Soli, krachenden Drums und van
Drunen-eskem Gesang, der den Dreck und Schmutz von Death Metal und Grind der alten Schule mit dem Hier und Jetzt verschmilzt. Unter der Leitung
von Gitarrist und Frontmann Andrew Lee sind RIPPED TO SHREDS so kämpferisch und konzentriert wie eh und je.
Auf Sanshi beschäftigt sich die Band mit einer morbiden Fixierung auf den Tod und das Leben nach dem Tod im Kontext der traditionellen
chinesischen Folklore.
Das Cover von Sanshi stammt von Lees langjährigem Mitarbeiter, dem Künstler Guang Yang, und zeigt eine Szene mit Yan Luo Wang, dem Gott der
Hölle, und den Toten, die sich seinem Urteil in seinem dämonischen Gericht stellen müssen

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.

Second chapter for Raw Elegance and this time in larger 12" amount. Morningstar EP collects 4 cuts made for the dancefloor, straight from label founder MBM.
This new piece showcases deeper the artist's vision and enlightens the label path with its own very distinguish sound. Supported by some of the most established artists on the scene, this record firmly confirms to be a must-have.

Call for Winter II: Resonance is the new album from Daniel Herskedal and the second album, as part of his solo project Call forWinter. A musician and composer who is meticulously crafting a sound of his own blending Tuba, bass trumpet with classical,world and improvised music, Call for Winter II :Resonance is a profound statement, aptly titled, depicting his expansive vision,ambition as much as the influence of the stark, breathtaking expanse of the Norwegian valley and landscape—an ever-presentmuse in Herskedal's work. Following the thematic and sonic footsteps of his first "Call for Winter" album, which expanded upon"The Mistral Noir" from his 2015 album "Slow Eastbound Train," Herskedal dives deeper in "Resonance." Here, he layers hissignature instruments with even greater emotional gravity and artistic conviction, crafting a soundscape that is both expansiveand introspective.

Mit "Dark Superstition" schlagen Gatecreeper ein neues Kapitel in ihrer Bandhistorie auf: Das kommende Studioalbum ist gleichzeitig die erste Veröffentlichung der Death-Metaller bei Nuclear Blast.

Dafür hat sich die US-Band unter anderem Unterstützung von Fred Etsby (Dismember) und Converge-Gitarrist Kurt Ballou geholt. Zum Hintergrund des Albums, auf das es mit "Caught In The Treads" bereits einen ersten Ausblick gegeben hatte, erklärt Frontmann Chase Mason: "Viele der Songs handeln von übernatürliche Ideen, gepaart meinen eigenen Erfahrungen. Allerdings ist der Titel selbst eine Referenz an die Superstition Mountains in unserem Heimatstaat Arizona. Es ist eine wunderschöne Bergkette, umgeben von Tragödien und Legenden über verborgenes Glück." An das Thema des Übernatürlichen schließen sie auch mit der neuesten Singleveröffentlichung "The Black Curtain" sowie dem dazugehörigen Musikvideo an.

Darin ist die Band von einer Friedhofskulisse umgeben, der sie mit ihrer Mischung aus straightem Rock, peitschenden Death Metal und ausufernden Shoutings Kontur und standesgemäße Düsternis verleihen. Dazu führt Mason weiter aus: "Es geht darum, zwischen Leben und Sterben gefangen zu sein. Eine Seele, die im Fegefeuer gefangen ist und darum bettelt, von einer übernatürlichen Kraft zurückgebracht zu werden."