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Five tracks of future electro-funk from Spanish DJ and producer Lefrenk, who makes his Gated debut.

Across five expertly warped tracks, the EP pulls from 80s Balearic sunsets, fried breakbeats, warehouse-scented house music, and electro that’s been lightly basted in funk and grilled over a lovely DAW.


‘Brainstorm’ kicks off with pummelling beats then goes widescreen, like a sci-fi epic barging into your set uninvited but winning you over immediately. It’s bold, abstractly beautiful, and absolutely means business.

‘Clocks’ loops squelchy bass and a twinkling melody that develops masterfully, intent on living in your head proudly — like a tenant who pays rent on time and doesn’t play the saxophone.

‘Funk Awake’ could soundtrack a very stylish chase scene between two people in vintage tracksuits.

‘Ocaso’ slows it down a little — warm and woozy, but with snappy, electrified beats holding it up like a drunk at a bar vying for the bartender’s attention.

Rounding things off, ‘Relative Point’ floats somewhere between VHS nostalgia and late-night contemplation, where the insistent beat and bass hold steady and the synths do the wandering.

Come on down to Planet Weekend amusement park and lose yourself in a world of excitement, where every day feels like the weekend!

Why not forget your sad and relentless existence, find another life in the ‘Arcade Cave’ or grab a snack at the ‘Cheesey Bacon Buffet Beef Palace’, before exploring the plethora of brand new (and definitely safe!!!) attractions that are waiting for you?! C’mon already!

So cancel that plan, quit your job and come and live another life at Planet Weekend!

PARADE is an 8-piece group, predominantly from Brighton and now based in London. Its members - who are all involved in their own capacities in music, art, fashion, design and more - have been making music since they met at college in Brighton, flipping records and making beats in founding member Jago’s attic room. Since then the sound has evolved to incorporate live instrumentation alongside electronic elements. Though always collaborating in each other’s orbits, PARADE was fully formed when all members gravitated towards South-East London, scattering around in musically less mythologised areas across Nunhead, Forest Hill, Camberwell and Norwood.

Lightning Hit The Trees is the band's debut mixtape, and was entirely written, produced, engineered, and mixed in just two weeks. It was recorded in a shipping container in Forest Hill on basic, often broken, equipment with ideas often formed in the moment. As demonstrated by these two first singles, the mixtape pulls together a body of music that incorporates a wide range of ideas from a group of inventive, inspired new artists and comes together in a remarkably clear and unified vision. The mixtape is guided by uncanny valleys, cinematic tones, “hyper-real” mixing techniques, and by a light with no shadow. Influences include: Wim Wenders, Juergen Teller, Velvet Underground, Radio Dept., Scott Walker, Magliano, Soft Machine, This Heat, Pixies, John Cassavetes, Domenico Gnoli, Dadaists, Judy Garland, Cindy Lee, Arca, Bette Davis, Sun Ra.

"Isolation Boulevard" ist eine Sammlung von 12 Re-Recordings aus dem umfangreichen Fundus an Sweet-Klassikern. Die Aufnahmen entstanden 2020 während der Corona-Pandemie. Vor diesem Hintergrund ist die Gesamtleistung aller Beteiligten umso beeindruckender, vom treibenden Schlagzeug und Bass bis hin zu den „in your face“-Gitarren und dem stratosphärischen Gesang.

Dana Schechter: Lap Steel Guitar, Bass, Electronics. - Paul Wallfisch: Piano, Organ, SOMA Pipe, Guitaret. Music from the Vienna Volkstheater production of Wolfram Lotz's play "Die Politiker" directed by Kay Voges; performed live in the theatre, spring 2022. These 2 beautiful exiles travel limbic landscapes and underwater dreams with a map that disintegrates instantly when viewed. Their fractured sounds dissolve and reconfigure endlessly in our cochlea and infest our imaginations with spiked armies of ultra-vivid, sentient and carnivorous coral predators, atavistically intent on devouring the sweet meat hiding deep in the center of the amygdala. Michael Gira (SWANS). Wallfisch has played in bands like Firewater and Little Annie, while Schechter has logged time with American Music Club, Angels of Light and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York- Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing.

To celebrate its 20th anniversary, Chinese Man revisits We've Been Here Before with a special expanded and reimagined edition. On the menu: unreleased tracks, remixes, live versions, and original reinterpretations featuring special guests such as La Yegros, OBF, and Chill Bump. This rework offers a fresh perspective on the trio's universe, driven by remixes from Manudigital, G?EG, and Lorkestra, who bring a wave of modern energy to the group's iconic tracks. The album also revisits Chinese Man's classics, including a brand-new version of Get Up and a powerful live performance of the legendary I've Got That Tune, featuring General Elektriks. A touch of the past, a bold step into the future - this shape-shifting album is a heartfelt anniversary gift.

DJ support - Alix Perez, Fracture, Lenzman, Kyle Hall, Doc Scott.

Introducing a new remix EP series from Rosebay Music aiming to connect the dots between soulful D&B and more disparate styles, tempos and scenes - with remixes coming in from a carefully selected group of artists reinterpreting tunes from the catalogue in fresh and unexpected ways.

Detroit’s Kyle Hall has been 1 of the cities main ambassadors of soulful, gritty house & techno over the last 15 years. Here he’s joined by instrumentalist Ian Fink to deliver a classic slice of deep and raw Detroit house music in his remix of Submorphics - Blastoff. This unforeseen linkup between Kyle Hall and Submorphics represents a rare joining of forces between 2 Detroit-born artists who have both repped their hometown’s aesthetic quite heavily in their respective scenes.

Noodles142 is the new alias of D&B star Satl - making fresh bangers fusing UKG, techno, dubstep and bass music in a classic-yet-futuristic way. Here he flips Submorphics - Hey Baby into deep, dark and dubby 140 territory paying homage to middle-of-the-night Detroit grittyness.

Primitive Instinct has quickly become one of the hottest upcoming names in D&B, repping Bristol with ultra-modern production, swinging drums, gorgeous synth work and amazing vocal sample manipulation. His stellar EP on The North Quarter convinced Rosebay to get him to remix Submorphics - Cinerama; and the result is a truly infectious dancefloor weapon.

The final remix comes from one of the current stars of 1985 Music: Trail. Repping the Toulouse D&B scene over the last few years, Trail has a unique knack for melody, harmony and groove that sets him apart from other modern liquid artists. Here he flips Submorphics, Zar & aya dia’s modern classic “Another Level Of Love” into a trippy and experimental heater. A diverse and eclectic selection of remixes from some very intriguing artists each existing in their own lane. Enjoy the ride!

Grinderman entstand 2005, als Nick Cave Material für das Album „Abattoir Blues/The Lyre of Orpheus“
von Nick Cave & The Bad Seeds schrieb. Gemeinsam mit Martyn Casey am Bass, Warren Ellis an Violine
und Gitarre und Jim Sclavunos am Schlagzeug erarbeitete die Band gemeinsam Songs. 2006 ging sie in
ein Londoner Studio und begann eine Marathon-Session mit Songwriting und Demoaufnahmen. Mit dem
Ziel, den raueren, ursprünglicheren Sound von Caves gefeiertem Post-Punk-Projekt „The Birthday Party“ nachzubilden, wichen die Texte und die Musik von Grinderman deutlich von Nick Caves früheren Arbeiten
mit The Bad Seeds ab.
Im darauffolgenden April nahmen sie die besten dieser neuen Songs auf und nahmen mit Hilfe ihres langjährigen Freundes und Produzenten Nick Launay ein Album auf. Ihr am 5. März 2007 veröffentlichtes Debü-
talbum „Grinderman“ mit elf Songs wurde von der Kritik hoch gelobt und enthält die Singles „No Pussy
Blues“ und „Get It On“. Das Quartett kam 2009 wieder zusammen, um „Grinderman 2“ aufzunehmen, das
2010 erschien. Im Dezember 2011 gab Cave die Auflösung der Band auf einem Musikfestival in Australien
bekannt.
Das „unglaublich aufregende Debütalbum“ (Observer Music Monthly) ist auf schwarzem Öko-Vinyl und im
CD-Digisleeve-Format erhältlich

Das weltweit gefeierte Musikphänomen Africa Express ist zurück mit einem brandneuen Studioalbum mit
dem Titel „Africa Express presents... Bahidorá“, das in Mexiko aufgenommen wurde und Künstler und
Musiker aus vier Kontinenten zusammenbringt. Das bahnbrechende Musikkollektiv vereint seit über zwei
Jahrzehnten Künstler aus verschiedenen Ländern und Genres in radikal kreativen Kollaborationen, in denen
alles passieren kann und auch passiert.
Mit der Idee, Künstler aus verschiedenen Kulturen, Genres und Generationen zusammenzubringen, um
aufzutreten und Musik zu machen, wurde Africa Express 2006 mit einer Reise nach Mali gegründet, die die
lokalen Stars Toumani Diabaté, Bassekou Kouyaté und Amadou & Mariam mit Künstlern wie Mitbegründer
Damon Albarn, Martha Wainwright und Fatboy Slim zusammenbrachte.
Jeder Auftritt von Africa Express ist einzigartig, voller spontaner Momente der Magie, Zusammenarbeit
und Entdeckung. Im Jahr 2024 war Africa Express Headliner des Bahidorá-Festivals in Mexiko, einer Reise,
bei der eine außergewöhnliche Gruppe von Musikern, Sängern und DJs aus der ganzen Welt zusammenkam,
um an den Ufern der alten Quellen von Bahidorá zu proben, aufzutreten und neue Musik zu schreiben.
Das Ergebnis ist „Africa Express präsentiert ... Bahidorá“, eine völlig originelle, einmalige Sammlung von
21 Songs, die ein außergewöhnliches Line-up von Talenten aus Mexiko, Südamerika, Afrika, den USA und
Großbritannien präsentiert, darunter:Abou Diarra – Baba Sissoko – Bonobo u.a.

Der Bandname hat sich geändert, von easy zu hart, doch die Musik bleibt genauso mitreißend, beats-lastig,
ironisch und auf die Zwölf wie bereits in den vergangenen Jahren.
Nach einem Rechtsstreit mit dem Großkonzern easyJet (2023) musste die Band rund um Frontman Murray
Matravers ihren Namen von easy life zu hard life umändern.
Nun melden sich die britischen Durchstarter zurück und veröffentlichen am 18. Juli ihr neues Album
„onion“.
Besonders in Großbritanien feiert die Band bereits große Erfolge: Mit 2 Alben, die beide auf #2 der UKCharts landen, 3 NME-Nominierungen bis hin zu Auftritten auf dem Glastonbury-Festival, ausverkaufte
Headline-Shows im Londoner Alexandra Palace und Kollaborationen mit Arlo Parks, Kevin Abstract und
FINNEAS.
Als Nachfolger von „MAYBE IN ANOTHER LIFE…“ (2022) befasst sich das neue Album „onion“ mit
Themen wie Trennungen, persönlichem Wachstum, sowie dem Mut, sich wieder selbstzufinden.

… oder Beastie Boys…oder Robert DeNiro…oder Banksy…oder Sportfreunde Stiller – klein anfangen und
dann mal schauen, was draus wird. Es wurde – zwar nicht wie alle erwähnten Künstler, aber der Weg
ist ja eventuell noch nicht vorbei für die Sportfreunde, die bei ihrem ersten Studioalbum auf vier Jahre
Liedansammlung zurückgreifen konnten. In Spanien mit und bei Uwe Hoffmann (Die Ärzte…) turbulente
Wochen verbracht, um in die Wunderwelt der Produktion eingeweiht zu werden. Daraus entstand eine
vorwärtsdrängende Musikplatte, die das zukünftige Spektrum der Sportfreunde definieren sollte. Zwischen
„Hockey (Feld)“ und „Fast wie von selbst“ liegen Punksongs, Balladen, verspielter Dadaismus, Neugier auf
Energie und tiefe Emotion. Sie schwebten damals auf Wolke sieben und waren auf Ochsentouren, auf den
10-Meter-Brettern (Video „Wellenreiten“), auf dem Mond (Video „Fast wie von selbst“), in Fernsehstudios
(Mit ihnen wuchsen und an ihnen verzweifelten MTV und VIVA), in Kochstudios (Video „Heimatlied“),
bouncten mit der Meute und Hans Rosendahl bei „Spitze“ um die Wette und sie klauten dem FC Bayern
die Meisterschale im Video zu „Wunderbaren Jahren“, dem Lied, das ihre erste musikalische Errungenschaft war und nach fast 30-Jahren immer noch deren Bandmotto darstellt. Denn, was soll denn noch
kommen? Außer eventuell ein Duett mit Mike D. und Ad Rock von Beastie Boys, ein Kurzfilm mit Robert
DeNiro, ein Mauerkunstwerk in New York mit Banksy oder eine Übernahme des königlichen Fußballclubs
Real Madrid…die wunderbaren Jahre sind noch nicht vorbei.
Auf dieser LP sind erstmalig auch die Lieder ”Rocket Radio”, ”Wir müssen gewinnen” und ”Money Mark”
enthalten, die es bisher nur auf der CD gab.
Nun kommt das Ganze in weiß daher, damit Nachzügler die reine Shellac-Weste bestellen können. Let´s
surf it!
180gr + weißes Vinyl, bedrucktes Beiblatt mit jeder Menge exklusiven Fotos von damals!

For the seventh installment of his Hardspace series, Len Faki selects three standout tracks from his personal vault - polishing them up with signature flair for maximum impact.

The A-side features a powerhouse mix of Jimmy Edgar´s Strike. Len Faki brings extra drive and spatial depth to the mix: sizzling hi-hats pan sharply across a tight stereo field, vocal chops flicker in and out, and the groove is stripped, slick, and forceful. A subtle reverb treatment adds atmosphere without compromising punch.

On the B-side, Faki dives into Robert Armani's 1994 album Right to Silence, revisiting two Chicago-style jacking tracks that are nodding to the Dance Mania era.
Up rides on a fierce hi-hat shuffle and a pounding stomp, centered around a bold vocal loop that captures the rough, battle-cry attitude of classic Chicago jack tracks. Faki's edit sharpens the angles and tightens the structure, giving the track even more bite.
Road Tour originally leaned on a harsh, detuned lead synth. Len´s Hardspace version removes the abrasive top line and lets the looping arp take center stage, which subtly shifts in tone and pans across the stereo field. The groove doesn't push forward so much as it sways side to side, creating a warped sense of motion. A pitched-up vocal sample-half command, half tease-injects just the right dose of jack attitude.
HS007 channels the raw, functional energy of vintage Chicago trax through Faki's modern lens - respectful to its roots, but fully tuned for today's sound systems.

We’re proud to present the first-ever official reissue of Les Nkenda — a rare and genre-blending spiritual gem from 1982, originally released in the Republic of Congo by the Cercle Biblique Évangélique (C.B.E.) of Pointe-Noire and produced by Adam Julien Koubemba on the small Adamsol Record Edition label. Pressed in extremely limited quantities and virtually impossible to find for decades, Les Nkenda has become a “holy grail” among collectors of African music. Fully remastered from the original tapes, it returns on vinyl for the first time since its initial release. More than a reissue, this is a revelation — a powerful fusion of gospel, psychedelic groove, folk, soulful funk, and Afro-Latin rhythms. Recorded in Pointe-Noire, the album channels the raw spirit of 1980s Congo with vibrant multilingual vocals and rich, polyrhythmic textures. Both hypnotic and deeply emotional, Les Nkenda is music made without compromise — once lost, now revived for a new generation of collectors, diggers, and seekers of the extraordinary.

Turning heads with their unique blend of garage, psych, punk rock Bad Bangs played across notable festivals and club shows throughout a 23 show run in 2024. Making waves at Left of The Dial (NL), Leffingeleuren (BE), Truenorayo (ES) and Gliding Barnacles Festival (PT) Bad Bangs make a charging return to the 2025 European Summer festival circuit. Their 2024 sophomore release Out Of Character was the first offering since their debut album Character Building. Somewhere between punk and country, folk and psych, Bad Bangs find themselves Out Of Character. The Melbourne based outfit's sophomore album bends across genres to form a unique soundscape of their own. Live tracking with the masterful Paul Maybury (Cash Savage & The Last Drinks, The Murlocs) captured the bands enigmatic live energy, whilst mastering by Jim Diamond (Ghetto Recorders, The White Stripes, The Dirtbombs, The Gore Gore Girls) secured the signature gritty sound of Bad Bangs. The album arrives with the punchy, punk-laced opening track Contest, which questions the fabric of an industry hell bent on image and conformity, and concludes with the psych infused Wild Mess which laments the shifting state of the natural world. Themes of social and environmental unrest swirl in the undercurrent of an album reflecting on immediate frustrations and personal reflection. With a staple cult following in their hometown of Melbourne, Bad Bangs have supported a high caliber of contemporaries over the years such as Shannon and The Clams, The Murlocs, Rolling Blackouts Coastal Fever and Chastity Belt. Bad Bangs Out Of Character is set for re-release through Beast records (FR) and locally released via Blossom Rot Records (AU&NZ) (Snowy Band, Cassie Ramone and more) Bad Bangs are part of Ya Ya Yeah's booking roster throughout EU. Bad Bangs members are Shelby De Fazio, Tim Ryles, Sophia Lubczenko and Gab Portocarrero.

Limitiertes weißes Vinyl Eine exklusive Compilation des legendären britischen Indie-Labels él, das in den 1980er Jahren mit stilvollem Pop, kunstvollem Design und internationalem Einfluss begeisterte. Mit Künstlern wie Momus, Louis Philippe und The King of Luxembourg bietet The Rubens Room eine elegante Reise durch Kammerpop, Chanson und Filmscores - fernab vom Mainstream. Begleitend zum Buch Bright Young Things erscheint dieses Sammlerstück auf weißem Vinyl - ein Muss für Liebhaber anspruchsvoller Popkultur.

Carrying on the long tradition of sentimental jangle pop songwriters, Lightheaded distil decades of lovelorn tunes into sounds for modern softies. They have the sunshine sparkle of The Left Banke and Margo Guryan, the C86 charm of Dolly Mixture and Would-Be-Goods, and the cinematic swell of Belle & Sebastian and Camera Obscura. Formed on the shore of New Jersey in 2017 by Cynthia Rittenbach and Stephen Stec, Lightheaded took time to hone their sound with a rotating crew of drummers, guitarists and backup vocalists. They found a community of like-minded bands in a vast but tight-knit international indie pop scene, which eventually led them to the iconic California label Slumberland Records. Their debut cassette EP Good Good Great!, a collection of five perfect pop songs, landed in 2023, followed by the full-length Combustible Gems in 2024. A European tour and gigs opening for bands like Heavenly, The Softies and The Ladybug Transistor rounded out their breakout year. Thinking, Dreaming, Scheming is their most collaborative and earnest release to date. A side of five brand new songs is combined with the five tracks from Good Good Great!, now available on vinyl for the first time. Recorded bi-coastally with Gary Olson (The Ladybug Transistor) and Alicia Vanden Heuvel (The Aislers Set, Poundsign) and drenched in lush reverb on tape by Fred Thomas (Saturday Looks Good to Me), the new songs are rendered in a dreamy soft focus that perfectly suits their starry-eyed themes. Adding to all the fun are the cameos and contributions from the new generation of New York indie pop goodness, featuring members of Starcleaner Reunion and Trinket, pushing the songs on this record to a high point in the young band's discography. There is something unusual about this band - something truly special.

Over the course of nearly a decade making music, Alicia Jeanine and Jed Smith have charted a distinctive course through the history of pop, evoking influences as varied as the 60s folk of early Fairport Convention and Vashti Bunyan, the sunshine pop of Margo Guryan and Laura Nyro, and indiepop touchstones like Dear Nora, Marine Girls and Dolly Mixture. The new album finds Jeanines grappling with themes of personal upheaval and self-excavation, adding weight to their finest set of songs yet. With Alicia's lyrics incisively interrogating connections, ruptures, and time and its reverberations, songs like "Coaxed a Storm," "What's Done Is Done," and "On and On" combine rich melody with co-composer Jed's crisp arrangements (along with contributions from longtime live show bassist Maggie Gaster) to stellar effect. Where How Long Can It Last really shines is, as always, in the songs. While the themes are sometimes heavy, the melodies and harmonies are simply heavenly, elevating these economical songs to give each the feeling of a lost classic. From the first notes of opener "To Fail" to jaunty closer "Wrong Direction," this album announces itself as the work of a band in full command of their art (and craft).

Ron 'Bumblefoot' Thal is a celebrated guitarist, producer, composer, and educator with a career spanning over 30 years. Known for his groundbreaking techniques, Bumblefoothas performed with bands such as Guns N' Roses, Asia, Sons of Apollo, and Whom Gods Destroy. He is back with a brand-new instrumental album, 'Bumblefoot ...Returns!'. Thirty years after his debut solo instrumental album, BUMBLEFOOT revisits his roots with a 14-track masterpiece that spans genres from metal to orchestral to blues. 'Bumblefoot ...Returns!' features collaborations with iconic musicians, including Brian May, Steve Vai, Guthrie Govan, Derek Sherinian, and others, showcasing BUMBLEFOOT's innovative guitar techniques, such as his signature fretless guitar and "thimble technique." The limited edition double vinyl includes a UV-printed d-side, CD is a digi-sleeve with a single disc and a 4-panel square foldout poster, with double-sided art.

S4R49 focuses on the legendary Muscle Shoals Sound Studio and features four previously unreleased tracks: two by the wonderful Katie Love; a fabulous version of Phillip Mitchell’s "Hitch Hike to Heartbreak Road" by Curtis Wiggins; and an exquisite song from Sandra Wright’s lost session at the studio, written by George Jackson and recorded in January 1978—proof that the magic was still alive.

Raving french Hardcore, industrial and oldschool offering 200 to 255 BPM THICK FAT KICKS !

Subsoil loops and excerpts taken from a series of live improvisations in different groupings.

First appearance of this mysterious desert nomad.

Aspects 1 and 2 recorded at “Essen & Trinken im Museum” on August 30, 2024 (Gerry Franke, Jelena Lapitskaja, Max Graef).

Aspects 3 and 4 recorded at “Watt - Musikkneipe & Bar” on February 8, 2025 (Charlotte Kehl, Gerry Franke, Jelena Lapitskaja, Joschka Seibt, Juri Bader, Max Graef, Thomas Thieben).

Am 14. Juni 2023 ist DJ Patex nach langer Krankheit gegangen. Wohin, das wissen wir nicht genau. Darüber werden wir uns heute auch nicht einig. Der Autor dieses Textes will jedoch ahnen, dass sie dort – frisch angekommen – erstmal von ihren vorausgegangenen Lieblingshundis überrannt und abgeschleckt wurde. Der Autor mag dieses Bild. Auch weil Patex sich zeitlebens mit Hundis leichter getan hat als mit Menschen. Hunde durften bei ihr alles, was sie vom Menschen getrennt hat: Parolen kläffen, Eigentum heranzerren, egoistisch und unterkomplex sein. Nie hat sie auch nur einem Hund jemals etwas krumm genommen. Der Menschheit begegnete Patex eher mit pessimistischen Sätzen: „An Allem ist zu zweifeln“ ist so eine Feststellung. Oder: „Nur Weil Du Mir Deine Wunden Zeigst Bist Du Noch Lange Nicht Mein Heiland“.
Damit wären wir auch bei der A-Seite der vorliegenden Single. Sie berührt. Ihr Text zeigt in viele Richtungen. Die Coverversion von Mitpudeln enstammt ihrem finalen School-Of-Zuversicht-Album und dokumentiert eine Patex, die an ihrer schweren Krankheit gewachsen ist, statt zu brechen. Auch weil sie sich erlaubt hat, ihre typische Skepsis mit einer Art Camu’schen Akzeptanz zu tauschen. Denn Ablehnung hat in ihrer Situation nicht gegriffen, sie hätte alles viel schlimmer gemacht. Nicht das Nicht-leiden oder gar das Nicht-leiden-wollen besiegt das Leid, sondern dessen voll umfängliche Akzeptanz. Das hat sie einfach genial hingekriegt. Und damit vielleicht das Leben und den Tod gleichzeitig besiegt. Noch besser: Für diese Erkenntnis musste sie nicht einmal ihren Pessimismus über Bord werfen. Denn auf einer Ebene, viel weiter im Vordergrund, handelt das Lied natürlich vom Mitleid, oder besser Mitleiden. Mitleid gerät in Schieflage, wenn wir vergessen, worum es wirklich geht. Empathie verbindet uns mit der Welt, sie erfüllt uns. Sie eignet uns aber allzu schnell das Leid anderer an, ohne dass wir selbst wirklich leiden müssen. Und wenn wir nicht aufpassen, dann macht sie uns selbstgewiss.
An Allem ist zu zweifeln, merkt Euch das. Außer daran, dass uns Patex fehlt. Uns fehlt was sie umtreibt und die Fragen, die sie uns schenkt. Und dass die umwerfende B-Seite, die uns über Hans Nieswandt aus Südkorea erreichte, nur ekstatisch tanzend erklärt werden will — und daran, dass Ihr Euch jetzt diese Single kauft. Text: Sebastian Reier

‘Idealism’ is an album about navigating life in the 2020s as millennial adults, and all the difficulties and uncertainties that come with that - knowing you’ll probably never be able to afford to buy a house, and that a simple grocery shop costs way more than ever before. But it’s also about all the joys and positives of modern life too - being kind to yourself, being kind to other people, and overcoming difficulties.
The band tries to capture that dichotomy on this album, hence the title ‘Idealism’, which the dictionary says is “the unrealistic belief in or pursuit of perfection”.
The album has been a long time in the making, diligently demoed before tracking across studios in London & Essex. Taking a more pop production approach, layering parts and additional keyboards, synthesisers and percussion to add a richer and fuller sound to their traditional indie rock set up.
Nostalgia has always been a running theme for Don’t Worry, as displayed on 2022’s ‘Remorseless Swing’ and 2018 debut album ‘Who Cares Anyway?’. There’s a decent dose of it on this new album still, including on the cover, with a photograph taken in their home of Harlow New Town in 2001 by Jim Brown. And in their musical influences, Pavement, Pixies, Smashing Pumpkins, The Streets, Fleetwood Mac, UK Grime and The GTA Vice City Soundtrack (alongside contemporary influences such as Fontaines D.C., MJ Lenderman, Andy Shauf).
But perhaps for the first time on this album, they push through the comfort of the past, embrace the present and look forward to the future with hope.

The lengthening days and the long beautiful evenings: it must be time to treat yourself to this wonderful (and highly limited) 10” single from Julian Cope’s Dope feat. Fuck Authority. Consisting of two 20 minute tracks, main track ‘666’ is a Deutsche sing-a-long from beyond the grave, replete with martial side drums and cacophonous orchestral strings. With raised steins, our gruff-voiced male choir recounts their bolshie nursery rhyme – a beguiling tale of a mysterious tree that predicts the future. Simultaneously traditional and avant-garde, ‘666’ will remain in people’s heads long after the vinyl has been ejected. Meanwhile, awaiting listeners on the other side of this epic release is Dope’s most overtly psychedelic offering thus far. Off-kilter and raging, this non-LP B-side is entitled ‘1381’, after the year of Wat Tyler’s Peasant’s Revolt. Unbalanced? U-Betcha! As Fat Paul’s cataclysmic FX and Holy McGrail’s Space Echo obscure and overwhelm Fuck Authority’s vast stereo bass guitar, one can only praise the poor technicians who captured it all on vinyl. Yes, with its fabulous packaging and earworm chorus, this unlikely 10” release must be a candidate for Single of the Year surely?

Italian Death Doom Metallers Larvae recently released their latest EP of putrid music. Now Me Saco Un Ojo is giving this cult cut of morbidity the vinyl treatment.
Filling the air with that cult atmosphere of Italian horror with a short introduction, fans of the macabre will be bewitched. This soon gives way to fetidly grisly riffs that spew forth slowly with a grotesque soundscape atop primitive drums and with vomitous vocals adding further disgust to the mix. Undeniably some of the most grotesque Death Metal you will hear, crawling like maggots under rotten flesh. Aside from mastering a repulsive atmosphere, Larvae will be noticed for having a unique take on the genre, while keeping it old school, sounding like no other band you’ve heard before. These short bursts of decay-spraying terror will surely entice the sickest freaks among you while the rest will be haunted by some estranged nightmares…
Make sure you do not miss this demo’s vinyl reissue so it can rot your collection from the inside out!

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!

You find yourself two thousand meters below the earth’s surface surrounded by overwhelming darkness. Cold and wet, the path has collapsed behind you. You have nowhere to go, but still you scream. You scream, and scream, echoing into the darkness, dissolving your throat like acid. It’s no use. There’s no way out. You die here. OSSUARY have made this cave for you.
“Abhorrent Worship” is a relentless, pummeling assault: 6 tracks in 37 minutes of cacophonous, suffocating evil punctuated with distorted, droning atmospheres. Hissing and dripping wet with bile, vocals incant beneath monstrous searing, chugging guitars and thunderous, pounding drums & bass at a primordial pace executed with precision and finesse.
Ossuary take their time between releases, which shows, and once again “Abhorrent Worship” is worth the wait. Once you press play there’s no going back, accept your fate happily or not. You die here. (KD)

Quebecois Death Metallers Sedimentum formed back in 2018, giving us a magnificent debut album and several equally formidable shorter releases alongside it. Now they return with an even more doomy, eldritch mini-album for your listening displeasures…
Following some otherworldly ambience, those charnel guitars bring in a truly crushing spectacle of doomed extremity. Grotesque vocals and strong drums permeate the thick, tarry stringed arrangements. Their sinister and inhuman music has sunken even further into the pits of putrefying grave matter to conjure spectral apparitions of the dead. Those of you who already know this superb band will definitely recognise their unique sound while appreciating that the more low-register, slower tempo rumble of this cacophonous rot is even more intense than ever. Never afraid to blast out viscerally gripping savagery, the old school way, there is plenty of those more traditional moments tied into the abhorrent affair. However you like it, Sedimentum master Death Metal…
At a mere three songs, one could foolishly assume this record is lacking. But listen for yourself to discover three majestic pieces of masterful musical torment. In little over twenty minutes, Sedimentum grasp your soul with their ghoulish atmospherics and sepulchral hammering force. Exhuming the ancient spirits, this mini-LP is a must-listen for all true die-hards of the Death Metal underground who value both atmosphere and brutality in equal measure. There is no denying this band has a perfect grapple of both as these new constructions of contorting morbidity prove beyond doubt. Enter the ossuaries of Quebec with one of the finest bands of the underground as its lumbering corpse staggers toward you with only malicious intentions…

2025 is a special Britpop anniversary year, and Swansea Sound are keen to celebrate this summer’s coming together of every single music-lover in the UK with the release of their new single Oasis v Blur.
The song probably sounds more like The Fall getting into bed with The Sweet, but that’s just the way it turned out.
The B side, Pacio’r Fan, is about a journey back to a remembered teenage time, when idealism still burned and the world was full of potential. It is a wistful song, but it’s hopeful too: the idealistic flame is still there if you seek it out.
The release date of Oasis v Blur coincides with Swansea Sound’s live performance at the reasonably-priced Skep Wax Weekender, alongside label-mates including Sassyhiya, The Gentle Spring, Jeanines and Heavenly.
Swansea Sound have released two albums, several singles and have recorded live radio sessions for BBC6Music and WFMU (New York). They are Hue Williams and Amelia Fletcher (who both sang in The Pooh Sticks), Rob Pursey (in Heavenly with Amelia), Bob Collins (of The Dentists), Ian Button (The Night Mail, Papernut Cambridge, Death In Vegas ) and artist Catrin James (The Loves).

Frontman and bassist Steve Kilbey of the Australian rock group The Church and Frank Kearns, guitarist of the Irish band Cactus World News, had already come together at the end of the 1990s to get some musical pieces off the ground together. However, this material was not captured on any record at the time. Originally released on Red Coral Records & then re-issued by Easy Action in 2023 on vinyl & CD (EARS195 & EARS195LP)

Voodoo 5 brings Exotica to Alternative Tentacles with “Moon Over Marin”! In a genre where most bands are content to imitate old records, Voodoo 5 are making new ones—brave, bold, and unlike any exotica record you’ve ever heard. Led by composer/guitarist Skip Heller—producer to/protege of Robert Drasnin, orchestrator for Elisabeth Waldo, bandleader for Yma Sumac—and vocalist Lena Marie Cardinale, an operatic Sumac acolyte and former El Vez Elvette, Voodoo 5 has established themselves as a blistering live act not only at exotica festivals like Tiki Oasis and Tiki Caliente, but also such jazz venues as the Century Room (Tucson), Carousel (Palm Springs), and at various clubs in Los Angeles, their home base. Cardinale and Heller are rounded out by an all-star ensemble (Jay Work, flute, Mark Riddle, vibraphone, Connor Gallaher, steel guitar, Paul Eckman, upright bass, and Cesar Ventura, congas) who groove harder than do most exotica groups, all the while spotlessly executing some of the most interesting arrangements the genre has to offer.

Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious ‘If I Knew What I Know Now’ and ‘The World Is Wrong’ are examples of Vice Squad’s ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, ‘Battle of Britain’, showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent ‘If I Knew What I Know Now’, followed by the sparkling old-school tongue-twister ‘Out of Reach’. Next up is the visceral ‘Get A Life’, an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic ‘Resurrection’. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of ‘Allergy’ underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime ‘Sniffing Glue’, a near-perfect punk love song that would be a huge hit if not for its subject matter. ‘Ordinary Girl’ is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. ‘The World Is Wrong’ is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It’s always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, ‘Citizen’, and continue with another teenage opus, the quite brutal ‘Scarred For Life’. ‘Voice of the People’ is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, ‘Freedom of speech is against the law; now we’re all criminals,’ snarls its derision at red-handed red tape. ‘Punk Police’ sneers over a catchy-as-COVID guitar riff, and the lyrics, ‘Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,’ call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, ‘Humane’, and I’m struck by how relevant the older songs are. Chocks away, and the awesome ’Spitfire’ takes flight like Motörhead on extra amphetamines. Merlin engines fade into ‘Born In A War’, the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the ‘Last Rockers’, the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.' The four bonus CD tracks kick off with ‘Coward’, another teen Bateman/Bond composition. ‘No You Don’t’ is just over two minutes of vocal acrobatics over a Dexedrine-driven Devo-esque chord sequence, and the frantically brilliant ‘I Dare To Breathe’ from ‘Battle of Britain’ continues the aural assault. Then the final sombre entreaty of ‘You Can’t Buy Back The Dead’ warns us that ‘Enough’s never enough; absolute power will corrupt; the war machine still rumbles on’ before fading into the future.

Man @ Work Volume 2 is the sequel to his 2002 best seller, Man @ Work, and offers
fans an impeccable set of favorites from across Hay's rich catalog, including Men at
Work classics, solo album highlights, and new material. The album opens with "Into
My Life," featuring Gregg Bissonette (Ringo Starr and His All Starr Band) and Cecilia
Noel. The song originally appeared on Hay's 1990 debut solo album, Wayfaring Sons,
and exploded in Brazil in the 90s as the theme song of a popular soap opera, growing
to rival the anthemic "Down Under" as Hay's most popular song in South America. Hay
reaches back to Men At Work's 1983 release, Cargo, for a new recording of the reggae
infected "Blue for You," which segues into a stripped-down version of the infectious
"Come Tumblin' Down" from his 2017 release Fierce Mercy. Other standout tracks on
the album include "We the People" featuring rapper Derrick "Solpowa" Rice, which Hay
was inspired to write in the midst of the polarizing US presidential election in 2024,
and with a haunting performance of "Next Year People" from the 2015 album of the
same name. This version of the song features Hay on acoustic guitar and vocals,
augmented by a string quartet.

Final Error is a death- thrash metal band from Lippstadt, North Rhine- Westphalia
(Germany), founded in 2014. The original lineup included Jens "Hammer"
Schillhammer (bass), Chris Krause (guitar), Achim Kietz (vocals), and Michael "Mieke"
Joachimsmeier (drums).
In 2016, they released their frst EP, "Sick of Your Lies". After several lineup changes -
Krause and Kietz both left - the band evolved further toward a pure metal sound,
moving away from their early hardcore punk infuences. New members like Fabian
Sendfeld, Juan Manuel Fuentes, Nico Paiva, and Andreas Kramer shaped this new
direction.
Their debut album "The Blind Lead the Blind" was released in 2019 via Dedication
Records, followed by the EP "Dead Man Walking" (2021) on KKR Records, both
accompanied by professional music videos directed by Matthias Kollek. In 2022, they
released their second full- length album, "Necromantic Rituals". After Kramer's
departure in 2023, the band welcomed seasoned drummer Burkhard "Borgy" Fabian

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

The album, celebrating its 40th anniversary in 2025, features legendary singles like
"Blind in Texas" & "Wild Child", as well as fan favourites like "Ballcrusher", "Jack
Action" & "Widowmaker." Known for their over-the-top theatrics & electrifying stage
presence, W.A.S.P. & their anarchic frontman Blackie Lawless took the world by
storm--but it was their music that won them a legion of devoted fans.
This new black vinyl edition of 'The Last Command' features audio that has been
remastered at half-speed for a superior & impeccable listening experience, breathing
new life into an album that helped defne 1980's heavy metal.
"One thing is for certain, in the annals of metal there are very few bands like W.A.S.P."
Metal Hammer
In 2024, W.A.S.P. celebrated the 40th anniversary of their explosive, eponymous debut
'W.A.S.P.' With a relentless schedule of shows planned throughout 2025 as well as
appearances at numerous festivals, the band remain as ferce & vital as ever &
continue to dominate stages worldwide.
Madfsh previously issued 'The Last Command' on black-&-yellow vinyl as an exclusive
for UK RSD. This new edition, featuring the same remastered audio, is now presented
on classic black vinyl & made widely available, ensuring that fans everywhere can
experience this landmark album in its fnest form.

THE FIRST LADY OF SONG With her extraordinary voice, Ella Fitzgerald be- came a legend during her lifetime. She is considered one of the best singers of all time. Yet Ella actually wanted to become a dancer. However, she was too nervous to dance at a dance competition and sang instead. She won the first prize. The rest is history. With her Christmas album „Ella Wishes You A Swinging Christmas,“ Fitzgerald pioneered and paved the way for modern Christmas music. Everything that came af- ter would have been unthinkable without her. Rolling Stone lists the album first on its „40 Essential Christ- mas Albums“ list. This version also includes two bonus tracks: „Christmas Island“ and a medley.

CHRISTMAS & NEW ORLEANS Louis Armstrong set standards in jazz with both the trumpet and his extraordinary voice, influencing all generations to come. Armstrong loved the Christmas season, the festive spirit and Santa Claus. This joy is reflected in his Christmas recordings. With his dazzling trumpet solos and distinctive, raspy and unique voice, Armstrong‘s Christmas songs continue to enrich music selections for the holiday to this day. Complemented by outstanding Christmas songs by his companions Ella Fitzgerald, Nat King Cole, Frank Sinatra, Dinah Washington, Les Brown, Dean Martin, Louis Jordan, Peggy Lee and The Dukes of Dixieland, Christmas becomes COOL YULE!

HO, HO, HOWDY! Cowboys also celebrate Christmas! The biggest country stars present the most beautiful Christmas songs in country style, of course. A treat for all country fans, as well as for lovers of cozy Christmas atmosphere in the style of American Nashville romance. With punch and turkey, banjo and harmonica, fiddle and mandolin, Santa Claus can set off in a good mood. If you‘ve always wan- ted to spend the most wonderful time of the year with Johnny Cash, Marty Robbins, Chet Atkins and many other country greats, The Country Christmas Album will fulfill your Christmas wish

Frank Sinatra - The Voice, Bing Crosby - Mr. Christmas, and Elvis Presley - The King: These legendary ar- tists have each left a lasting mark on the holiday season with their smooth classics, iconic hits, and rock ‘n’ roll cheer, bringing warmth and joy to Christmas celebrations worldwide.