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The pioneers of acid jazz strike back! Galliano, the first artist ever released on Acid Jazz Records and one of the true originators of the genre, return with
their first new album in just two years—following their remarkable comeback after a 27-year hiatus.

After returning to the scene with Halfway Somewhere, their first album in approximately 27 years, Galliano waste no time in delivering their latest statement,
Acid Jazz Revenge. The album expands upon the previously sold-out Bandcamp LP Unreliable Memories of Contested Conversations, adding three brand-new
tracks and returning in a completely refreshed edition.

The title says it all: Acid Jazz Revenge is a bold declaration from one of the genre's original innovators. Packed with the sophisticated grooves, soulful rhythms,
jazz-inflected arrangements, and unmistakable attitude that defined acid jazz in the first place, the album proves that Galliano remain firmly at the forefront of
the movement they helped create.

The album also features a newly recorded version of "Jus Reach" originally released as a 12-inch single on Talkin' Loud in the 1990s. Reimagined with a
contemporary sense of style and groove, the track perfectly demonstrates Galliano's ability to revisit their own history while keeping their sound fresh and relevant.

The Japanese edition includes three previously unreleased tracks exclusively, making it an especially attractive edition for collectors and longtime fans.

Elevating, uplifting and beautifully arranged. Jasmine Myra's sophomore album Rising builds on the success of her

breakthrough album Horizons to deliver a major statement from one of UK Jazz's rising stars. Produced by Matthew Halsall and mixed by Greg Freeman (Hania Rani, Matthew Halsall, Portico Quartet), Rising delivers a confident and vibrant follow up that joins the musical dots between Myra’s influences Kenny Wheeler, Bonobo and Shabaka Hutchings while delivering something unique, beautiful and profound.

Rising is also the sound of a composer and performer growing in stature and adding extra layers of confidence and poise to both her playing and composing. Aided and abetted by Matthew Halsall who once again lends his production skills, Rising is fuller, richer and deeper as Myra develops her uniquely uplifting sound.



Much like my first album, Rising is a reflection of a period of my life. It is a continuation from Horizons, which was all about my experience during lockdown, and entailed overcoming my struggles with mental health. Following on from that experience, I set out to continue building my self-confidence. This album has an uplifting and spiritual sound, drawing influence from artists such as Makaya McCraven, Bonobo and Shabaka Hutchings.



Rising features the same core of musicians as Myra’s debut album Horizons (Gondwana records GOND052): guitarist Ben Haskins, drummer George Hall pianist Jasper Green, harpist Alice Roberts (who both also perform with Matthew Halsall) and bassist Sam Quintana who collectively bring a deft understating of the subtle textures of Myra’s music and perform with a collective empathy and drive that really pushes the music on a radiant journey. And a string quartet add gently elevating textures to Still Waters, Knowingness, From Embers and How Tall The Mountains.

Die Compilation vereint ikonische Tracks aus Tarantinos gesamtem filmischen Werk: von Pulp Fiction über Kill Bill bis Once Upon a Time in Hollywood. Mit dabei sind musikalische Größen wie Dick Dale, Johnny Cash, Joe Tex, The Coasters, The 5.6.7.8"s, Dee Clark, Keith Mansfield und viele mehr. Tarantino Sounds entführt in eine Welt aus Surf-Rock, Soul, Rockabilly und Retro-Vibes - genau wie Tarantino sie liebt und inszeniert.

White Vinyl Repress

With his new EP Music Always Helps, DJ Jauche once again delivers the finest deep house with soul, a 3-track EP that sums up his unmistakable mix of soul, groove and depth. Three tracks full of groove, warmth and feeling - including an exclusive remix by Shaka that takes the sound to a new level. A must-have for lovers of timeless club music and true vinyl fans.

Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.

'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.

The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.

Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.

Lange vergriffen, jetzt in einer neuen Auflage mit Obi erhältlich, Transparentes Doppelvinyl in Orange und Blaugrün. ,A Certain Distance" (2009) gilt als das vielleicht beliebteste Album von Lusine, auf dem unter anderem die bahnbrechende Single ,Two Dots" zu finden ist. Seit seinen frühen Veröffentlichungen als Lusine bilden Jeff McIlwains elektronische Experimente eine der vielfältigsten Diskografien der letzten anderthalb Jahrzehnte. Mühelos verwischt er die Grenzen zwischen Techno, Electro-Pop und experimenteller Komposition - die Arrangements des in Seattle ansässigen Produzenten sind akribisch konstruiert, aber auch voller Emotionen und Seele. ,Aber noch nie war das Seltsame so unterhaltsam wie auf A Certain Distance. Die Mischung aus Ambient, experimenteller Electronica, üppigen Melodien und durchdachten Beats sorgt für fesselnden Hörgenuss _ das Album hat zudem eine filmische Qualität. Bilder strömen in deinen Kopf, während du zuhörst - ein Soundtrack zu tausend imaginären Szenen." - Clash Magazine

Die Deluxe-Vinyl-Edition des letzten Albums von TBF. Enthält die zwei LPs (Horrorful Heights) plus eine weitere LP (Horrorful Offal) in einem schönen Schuber mit Stanzung sowie eine Download-Karte. Diese besondere Deluxe-Ausgabe vereint "Horrorful Heights" mit dem begleitenden Bonus-Album "Horrorful Offal" (11-Song-Extra-Album mit Outtakes und Sessiontracks). Horrorful Heights markiert ein beeindruckendes neues Kapitel im umfangreichen Werk von The Bevis Frond und zeigt die anhaltende Kreativität des Songwriters, Gitarristen und Frontmanns Nick Saloman, der nun in ein weiteres Jahrzehnt als Musiker startet. Seit langem als eine der markantesten Stimmen des britischen Underground-Rock etabliert, verfeinert Saloman weiterhin die Qualitäten der Band aus melodischer Psychedelia, drahtigen Gitarrenepen und Songwriter-Kunst. Einer der zugänglichsten Einstiege in die Bevis Frond Welt, welcher alle Stärken zu einem zusammenhängenden, lebendigen Ganzen vereint. Das Album bewegt sich fließend zwischen klirrendem Psych-Pop, schweren Gitarrenriffs und pastoralen Träumereien. Die Bandbreite des Albums ist groß, aber klar definiert. "Draining The Bad Blood" erinnert an den klassischen Bevis-Frond-Stil melodisch inspirierten Gitarrenpops der 60er Jahre, "Space Age Eyes", eine prägnante neunminütige Odyssee, verweist auf die transzendentalen Erkundungen des elektrischen Miles Davis der 70er Jahre. Der mit Sitar untermalte Titeltrack driftet durch rauchige Psychedelia mit mehrstimmigem Gesang und geschichteten Tablas - ein liebevolles Echo der Headshop-Mystik, mit der Saloman während der gesamten Bandgeschichte gespielt hat. An anderer Stelle verbindet "Mossback's Dream" lysergische Leads mit der treibenden Energie des amerikanischen Hardcore der 80er Jahre und schafft so einen Hybrid, der sowohl zeitlos als auch völlig eigenständig wirkt. Weitere Höhepunkte sind das von den Byrds beeinflusste "Buffaloed", das wirbelnde "Silver Insects" und "That's Your Lot", ein rasantes Feuerwerk melancholischer Euphorie und einer der unmittelbarsten Songs des Albums. Obwohl eklektisch anmutend, ist es ein fokussiertes Porträt von The Bevis Frond im Jahr 2025 - vital, melodisch und frei von Nostalgie. Saloman beschreibt die Sammlung ganz einfach: die besten Songs, die er in den letzten Jahren geschrieben hat, entstanden ohne Zwang und ganz instinktiv. Das Ergebnis ist ein Höhepunkt aus der Spätphase einer der stillsten einflussreichen Underground-Bands Großbritanniens.

Der Titel des siebten Studioalbums der kalifornischen Punkrocker bezieht sich auf Mike Ness" doppelte musikalische Heimat. Der Songwriter und Sänger von Social Distortion huldigt auf "Hard Times And Nursery Rhymes" sowohl dem düsteren Amerika eines Hank Williams wie auch dem bluesigen Herumstolzieren der Rolling Stones etwa während der "Exile-On-Mainstreet"-Ära. Altbekannte Einflüsse, die hier jedoch in den Vordergrund treten: "Hard Times And Nursery Rhymes" ist das rockigste und gleichzeitig beseelteste Album der Gruppe, die weltweit über vier Millionen Alben verkaufte. Dennoch finden Fans den typischen Punkrock-Roar in jedem Stück wieder: vom Opener "California (Hustle and Flow)" bis zum düster-rockenden Hank-Williams-Cover "Alone and Forsaken". Aber auch Springsteen- und Tom-Petty-Fans dürften diesen Sound mögen. "Hard Times And Nursery Rhymes" ist das erste Album der Band nach "Sex, Love And Rock "n" Roll" aus dem Jahr 2004. Für Fans von Gaslight Anthem, Rancid, Bad Religion, Tom Petty, Bruce Springsteen und Tiger Army. Die 2LP hat zwei Bonus-Tracks.

Orange County"s Social Distortion returns with its first album in 15 years with Born to Kill. Armed with 11 urgent songs, Mike Ness continues to build on the mystique that Social Distortion is more than just a punk band. Throughout the collection, Ness revisits the sounds of the 1970s, his formative adolescent years. Born to Kill is a continuation of the bar of excellence that Social Distortion and, in turn, Ness has long been praised for. Born to Kill is a body of work that will live long in the Social Distortion catalog. Songs like the hard-charging title track that serves as the album"s mission statement, along with the riff-laden "Partners in Crime," the nostalgic "The Way Things Were," and rollicking "Tonight" are songs that fit in across any of Social Distortion"s various eras. Now nearly five decades into its career and with a remarkable catalog spanning nearly three generations, Social Distortion has no intention of slowing down any time soon.

En Direct presents “No More Spectacles”, the fourth release from one of the finest electro EBM projects worldwide. With this new work, En Direct leans further into a sharper and more emotionally charged EBM sound while making clear they do not renounce their roots as the driving force behind the influential electro imprint Clear Memory. The record is infused with strong post- punk overtones, somewhere between the cold intensity of classic body music and the melancholic tension of post-punk reimagined through EBM structures. No More Spectacles delivers a sound that feels both immediate and deeply atmospheric. Drill-like kicks hammer through the mix while distorted basslines split the tracks wide open, locking into martial and commanding vocal lines that push the energy forward with relentless precision. Mechanical yet deeply human, the record balances darkness, groove, and emotional weight with remarkable control. Built for strobe-lit floors and restless bodies, “No More Spectacles” confirms En Direct as masters of a sound where post- punk sensibility and EBM functionality collide at full force. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

MOTORSLICE is the original soundtrack to the viral hit indie video game of the same name, composed and produced by Pizza Hotline. Built around high-speed movement, razor-sharp parkour, and a blue haired girl slicing machines in half with a bad ass chain saw, the album pushes Pizza Hotline’s video game-inspired sound into a harder, faster, and more cinematic space.

Blending jungle, drum and bass, sci-fi ambient pads, and Y2K game soundtrack nostalgia, MOTORSLICE captures the feeling of launching yourself across gaps, slicing through enemies, and chasing perfect momentum over huge post apocalyptic vistas. The soundtrack draws inspiration from games like Mirror’s Edge, Prince of Persia, and Shadow of the Colossus while maintaining a glossy electronic character that defined that era.

To celebrate the release, MOTORSLICE is being pressed as a full length vinyl LP featuring the complete soundtrack on striking orange vinyl, chosen to match the main character’s iconic outfit. It turns the soundtrack into a proper physical artefact from the game's palpable world, tying the music directly to the visual identity of the game.

Where albums like Level Select and Dream Select explored imaginary game worlds, MOTORSLICE is the sound of a real one: a breakout indie game that has already made a huge impact online through viral gameplay clips and a growing community of players. The result is a soundtrack that feels both nostalgic and immediate, built for speed, precision, and impact while still carrying the melodic, emotional, and playful qualities that define Pizza Hotline’s music.

2026 Repress

KiNK & Raredub inaugurate new sub-label Spectra on SHDW's Mutual Rytm, backed by remixes from icon Marcel Dettmann.

Spectra is a new sub-label from contemporary techno powerhouse Mutual Rytm, with the project set to showcase memorable singles alongside feature innovative remixers. The name Spectra reflects the wide range of vibes the label will deal with and the diversity of sounds that emerge through these creative reinterpretations.

Needing little introduction, Bulgaria's KiNK is a synth wizard and live specialist who gets more out of machines than anyone else on Earth. He has dropped endless standout tunes ranging from Running Back to Hypercolour and, more recently, Mutual Rytm with his 'Quantum Shake' EP earlier this year. For this latest outing, he works with fellow Bulgarian talent Raredub, known for his own high-octane, distinctive and dynamic sound that has gained supporters From FJAAK to Paul Woolford.

The original 'Time to Change' has already generated buzz and has been a favourite of DJs from across the electronic realm, bringing a forceful and slamming cut with plenty of machine funk. A buzzy lead synth roams through the mix to bring great menace, while garage-like percussive loops keep things moving over a monstrous bassline.

One of techno's most influential DJs and producers, long-time Berghain resident Marcel Dettmann joins the release to offer his unique touch as the first remixer on the project. His 'Reconstruction' brings subtle nuances as he slows the beats to a more dubbed-out house vibe and layers in bright synths and swirling vocal loops that will get hands in the air. His 'Universal Raw Mix' closes the package in style, delivering a stripped-back roller with freaky vocals and eerie synth details.

2026 Repress

Berlin’s Phil Berg, one of techno’s most distinctive rising names, debuts on Mutual Rytm with his ‘Dārin’ EP. First invited as the debut guest DJ for Mutual Rytm’s inaugural label night back in 2022, Berlin’s Phil Berg has maintained a close relationship with the imprint ever since. Known for his shadowy, immersive sound, Berg has carved out a singular position within the scene - equally respected for his high-impact DJ sets, his improvisational live performances, and a production style defined by clarity, tension, and a deeply recognisable sonic identity. While his live shows remain a vital part of his artistic DNA, often shaping the raw ideas that later evolve in the studio, his work extends far beyond the club floor, marking him out as a fully formed and increasingly essential voice in contemporary techno. That connection between stage and studio is fully realised on ‘Dārin’, where Berg delivers a darker, more driving statement for his Mutual Rytm debut, with the title track already becoming a standout in the sets of label founder SHDW. The title cut opens the EP with great urgency, as flaming drums and machine-gun synths are fired across the night sky, with sensuous whispers and sonar pulses adding the pull of the groove. Next, ‘Tempest’ brings big, banging hits, nailing down the kicks while rising tension appears through the backlit synths and distant bass rumbles. ‘Tanoo’ releases the pressure with a more luminous synth line that locks you in a trance as linear drums race on, while ‘Mephisto’ keeps you on edge with twitchy motifs and a burrowing bassline that drills down deep into a moody underworld. The EP closes with ‘Destiny Bond’, which rises with undulating, tactile lines, sleek synth smears, and a cosmic sense of travel. As digital bonus cuts, ‘Seiko’ and ‘Nyx’ bring anxiety and foreboding to the fore with two more muscular and physical deep techno hitters crafted for maximum impact.

Limited Repress


After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.


Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

A MUCH SOUGHT AFTER SOUNDTRACK, THIS NEW VERSION FROM SILVA SCREEN CONTAINS MUCH NEVER BEFORE RELEASED MATERIAL!!

After a decade of creating pioneering puppet series made for children, Gerry & Sylvia Anderson took their first steps into live-action, with the 1969 feature film Doppelgänger (re-titled outside Britain as Journey To The Far Side Of The Sun). This science-fiction film approached its outer space subject matter with a gritty realism, and would set the tone for what was to be their first live-action television series: UFO. This new series took as a starting point the pioneering work of Dr Christiaan N. Barnard, the surgeon who performed the world’s first heart transplant operation. In UFO a dying race of aliens travel across vast distances of space to harvest organs from human beings to help ensure their own survival. To combat this threat the United Nations created SHADO, a top-secret organisation utilising the latest technology available to defend the Earth.

To complement the series, the Andersons frequent musical collaborator Barry Gray created a multifaceted score that gave the programme its own musical identity. Elegantly crafted and a firm favourite with Barry Gray fans, the sound of UFO, particularly its ethereal “World Music” closing credits is, quite simply, a joy. Includes a bonus track, Trampoline performed by The Spencer Davis Group from the episode Ordeal.

In 1986, legendary vocalist Paul Di'Anno who was the unmistakable original voice behind Iron Maiden's formative years launched a bold new chapter with the release of Fighting Back, the explosive debut album from Battlezone. Following his departure from Iron Maiden, Di'Anno refused to look backward. Instead, he forged ahead, assembling Battlezone to deliver a fresh assault of raw British heavy metal power. Originally released through Raw Power Records in the UK, Fighting Back captured Di'Anno's unmistakable grit and intensity while showcasing a revitalized creative fire that reaffirmed his status as one of metal's most commanding frontmen. Featuring standout tracks including "Welcome to the Battlezone," "Warchild" "Running Blind," and the title anthem "(Forever) Fighting Back," the album fused aggressive riffs, streetwise energy, and melodic power into a statement of resilience and reinvention. Recorded in East London and produced by Ian Richardson alongside the band, the record introduced a formidable lineup featuring guitarists John Hurley and John Wiggins, bassist Pete West , and drummer Bob Falck. Four decades later, Fighting Back remains an essential document of 1980s heavy metal and to celebrate this 40th Anniversary Deko Entertainment has remastered and repackaged this landmark release from the former Iron Maiden frontman. It will be available on 180G vinyl and contains the Bonus Track "Rising Star". For fans of classic heavy metal, collectors of NWOBHM history, and those who continue to celebrate the enduring legacy of Paul Di'Anno, Fighting Back stands as a powerful reminder of an artist who never stopped fighting.

In 1986, legendary vocalist Paul Di'Anno who was the unmistakable original voice behind Iron Maiden's formative years launched a bold new chapter with the release of Fighting Back, the explosive debut album from Battlezone. Following his departure from Iron Maiden, Di'Anno refused to look backward. Instead, he forged ahead, assembling Battlezone to deliver a fresh assault of raw British heavy metal power. Originally released through Raw Power Records in the UK, Fighting Back captured Di'Anno's unmistakable grit and intensity while showcasing a revitalized creative fire that reaffirmed his status as one of metal's most commanding frontmen. Featuring standout tracks including "Welcome to the Battlezone," "Warchild" "Running Blind," and the title anthem "(Forever) Fighting Back," the album fused aggressive riffs, streetwise energy, and melodic power into a statement of resilience and reinvention. Recorded in East London and produced by Ian Richardson alongside the band, the record introduced a formidable lineup featuring guitarists John Hurley and John Wiggins, bassist Pete West , and drummer Bob Falck. Four decades later, Fighting Back remains an essential document of 1980s heavy metal and to celebrate this 40th Anniversary Deko Entertainment has remastered and repackaged this landmark release from the former Iron Maiden frontman. It will be available on 180G vinyl and contains the Bonus Track "Rising Star". For fans of classic heavy metal, collectors of NWOBHM history, and those who continue to celebrate the enduring legacy of Paul Di'Anno, Fighting Back stands as a powerful reminder of an artist who never stopped fighting.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993, & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

With the ongoing early line-up of Mirai Kawashima, Shinichi Ishikawa, & Satoshi Fujinami, ‘Scenario IV: Dread Dreams’ was the band’s fourth studio album, originally surfacing in 1999. This was also notably the final title in partnership with Sigh’s then-label, Cacophonous Records. Delving evermore into the experimental side of music to conjure an interlinked gallery of twisted soundscapes; ‘Dread Dreams’ became more of a journey into the realm of psychedelia & rock over black metal, with this Zappa-inspired odyssey acting as somewhat of a direct pre-cursor to what was to follow with the celebrated ‘Imaginary Sonicscape’ opus.

‘Dread Dreams’ was once more recorded at Shinjuku On Air Studio with J. Yamada, with a selection of guests including Damian Montgomery of Ritual Carnage lending lyrics plus guest vocals, along with King Fowley (Deceased), & Killjoy (Necrophagia) supplying additional song lyrics. Cover art came courtesy of renowned artist Joe Petagno (Motörhead, Autopsy).

Continuing with Peaceville’s re-issues of Sigh’s classic works, this edition of ‘Dread Dreams’ contains a new master created by Patrick Engel at Temple of Disharmony.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts, influences & reflections on the album & its challenges.

5 x LP
60-page hardback book
Black vinyl
Printed labels
Printed inners
Slipcase
A2 poster
Slipmat

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

5LP Edition. All original audio remastered from Factory Records master tapes. Includes original album, Hallelujah + Madchester Rave On, Baby Big Head Bootleg Album (Live at Elland Road, 1991), classic and new remixes, 60-page hardback book with brand new essays from James Brown and Central Station designers, fold-out A2 tour poster and Madchester slipmat.

A long-overdue return to one of the most singular moments in Nurse With Wound's sprawling discography. Originally issued in 1994, Rock 'n' Roll Station marked a turning point - the album where Steven Stapleton's decades-long engagement with collage, musique concrète, and the outer limits of post-industrial sound first met the hypnotic, rhythm-driven studio sensibility of Colin Potter. What began as a request to rework some of the more percussive sections of 1992's Thunder Perfect Mind mutated, under Potter's hand, into something else entirely: an hour of swivelling grooves, warped exotica, and looping psychedelia, channelling the ghosts of Pérez Prado, Graham Bond, Joe Meek, and Jacques Berrocal into the most rhythm-conscious work the group had ever made. Three decades on, it remains one of the most beloved entries in the NWW catalogue. Issued by United Dirter as a limited LP, this new VIP edition reframes the album through four extended remixes and reworkings, each running close to or beyond ten minutes - a deep re-engagement with the source material by the extended Nurse With Wound family. Joining the usual suspects of Colin Potter, Matt Waldron, Andrew Liles, and Diarmuid MacDiarmada is an unexpected and historically significant presence: Jean-Jacques Birgé, the French composer, filmmaker, and co-founder of Un Drame Musical Instantané, whose GRRR imprint (founded 1975) famously appeared on the original Nurse With Wound List nearly half a century ago. A quiet circle, closing. The LP arrives as forerunner to a more ambitious project still to come: The Iron Lung Gives Way To The Surgical Stocking, a 5CD set due later in 2026, of which these reworks offer a first glimpse. Housed in striking new full-colour artwork by Babs Santini - Stapleton's longstanding visual alter ego. 500 ww copies in black & orange vinyl. Genre/Style: Electronic / Dark Ambient / Experimental / Drone

On Squirrel Flower's new album, Say a Prayer to the Gods of Getting Going, songwriter and multi-instrumentalist, Ella Williams, delivers her most transcendent and instantly classic record to date. It's an album full of hope and beauty, with themes of staying in constant motion, electric love, and knowing when to leave, but also when to stick around. After touring in support of 2023's Tomorrow's Fire, Williams remained on the road, following instinct over itinerary_passing through Gary, Indiana; Los Angeles; Putney, Vermont; Silver City, New Mexico; and Hudson, New York. Each stop became a site of creative renewal. She ended up recording the album at two locations: a makeshift studio in rural Wisconsin, and at Drop of Sun in Asheville, NC, featuring friends and collaborators such as Dimitri Giannpolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks, Hazel City), and many others along the way. Standouts like "Reelin" and "Highway Woman" showcase the push and pull of life as a musician; the constant need for embarking on a hero's journey in search of reflection and freedom. Others like "Not Me" and "Cleveland" are classic Squirrel Flower, but with a sharper and more concentrated writing style paired with some of Williams' strongest vocal delivery of her career. Mixed and co-produced by Alex Farrar (MJ Lenderman, Wednesday), Say a Prayer to the Gods of Getting Going is the sound of cosmic rebirth, looking behind to illuminate what's ahead. "Pack your life and your guitar," Williams sings on "Highway Woman." "You can change it as you go. You do not plan on dying." In addition to her seemingly nonstop DISABLED touring across North America and Europe, Squirrel Flower has been featured in outlets such as Pitchfork, Rolling Stone, The NY Times, Paste, and many others, as well as performances at NPR's Tiny Desk & KEXP. Williams' music has been streamed millions of times around the globe, proving her to be an undeniable force as a songwriter. FOR FANS OF Indigo De Souza, Soccer Mommy, Katy Kirby, Julia Jacklin, Tomberlin, Hand Habits, Phoebe Bridgers, Waxahatchee, PJ Harvey, Grouper, Chelsea Wolfe, Moses Sumney, Cat Power, Liz Phair, Alex G, Mazzy Star, Julie Byrne, Big Thief.

On Squirrel Flower's new album, Say a Prayer to the Gods of Getting Going, songwriter and multi-instrumentalist, Ella Williams, delivers her most transcendent and instantly classic record to date. It's an album full of hope and beauty, with themes of staying in constant motion, electric love, and knowing when to leave, but also when to stick around. After touring in support of 2023's Tomorrow's Fire, Williams remained on the road, following instinct over itinerary_passing through Gary, Indiana; Los Angeles; Putney, Vermont; Silver City, New Mexico; and Hudson, New York. Each stop became a site of creative renewal. She ended up recording the album at two locations: a makeshift studio in rural Wisconsin, and at Drop of Sun in Asheville, NC, featuring friends and collaborators such as Dimitri Giannpolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks, Hazel City), and many others along the way. Standouts like "Reelin" and "Highway Woman" showcase the push and pull of life as a musician; the constant need for embarking on a hero's journey in search of reflection and freedom. Others like "Not Me" and "Cleveland" are classic Squirrel Flower, but with a sharper and more concentrated writing style paired with some of Williams' strongest vocal delivery of her career. Mixed and co-produced by Alex Farrar (MJ Lenderman, Wednesday), Say a Prayer to the Gods of Getting Going is the sound of cosmic rebirth, looking behind to illuminate what's ahead. "Pack your life and your guitar," Williams sings on "Highway Woman." "You can change it as you go. You do not plan on dying." In addition to her seemingly nonstop DISABLED touring across North America and Europe, Squirrel Flower has been featured in outlets such as Pitchfork, Rolling Stone, The NY Times, Paste, and many others, as well as performances at NPR's Tiny Desk & KEXP. Williams' music has been streamed millions of times around the globe, proving her to be an undeniable force as a songwriter. FOR FANS OF Indigo De Souza, Soccer Mommy, Katy Kirby, Julia Jacklin, Tomberlin, Hand Habits, Phoebe Bridgers, Waxahatchee, PJ Harvey, Grouper, Chelsea Wolfe, Moses Sumney, Cat Power, Liz Phair, Alex G, Mazzy Star, Julie Byrne, Big Thief.

Hot off the heels of a stack of fine singles, they found love with the likes of Nels Hylton, Amy Lame, John Kennedy, Visions, NTS, Bring The Noise, Upset, arts culture, Distorted Sound, The Punk Site and many more - building a buzzing community, touring with Don Broco and Weakened Friends, finding favour with scribes at the likes of Kerrang, Rock Sound and Clash and popping up on the BBC Radio 1, Radio X and BBC 6 Music airwaves with alarming regularity... Signed to Alcopop! (UK/ ROW) and Grand Hotel van Cleef (GAS) they drop fiery choruses, grungy riffs and catchy hollering britpop sensibilities. With these future anthems all wrapped around vocalist jim heffy's lyrics of angst, depression and medication, break- ups, drinking and problematic housemates, it's prescient to remember the most important message that resides in the beating heart of these songs - 'be kind and be free to express yourself, no matter who you are'.

Robag Wruhme is the solo alias of Gabor Schablitzki, a quietly singular voice in minimal and house music since the early 2000s. His sound is built on precision without ever feeling rigid. Instead of chasing big moments, he lets tracks unfold through subtle movement and carefully balanced tension, always evolving but never rushing.

That same approach runs through this EP. It's about letting momentum emerge naturally, allowing each element to settle into place while the energy continues to build.

Across four tracks, Robag creates a world where rhythm and atmosphere constantly shape one another. The arrangements are rich with detail, yet nothing competes for attention. Even in the densest passages, every sound feels deliberate.

OLAHNI opens patiently, with ghostly textures and hypnotic vocal fragments setting the tone before the bassline slowly comes into focus. The arrangement keeps evolving, with subtle details drifting in and out as the groove steadily deepens.
IFTHAH takes things into darker territory, driven by a heavy rolling bassline and a looping motif that never quite loosens its grip, adding weight without disrupting the flow.

On FUMAXOHN, the groove remains tight while the mood shifts. A warm harmonic layer gradually emerges as the vocals dissolve into texture, drawing the track towards something more melancholic.
PENTHO closes the EP in its most direct form. Stripped back and driving, it lands with quiet confidence, bringing the journey to a close while holding onto the hypnotic tension that defines the record.

It's been a pleasure bringing this EP together, and we're excited to finally share it with you. We hope these four tracks draw you into Robag's world as much as they have us.

Die Instrumentalgruppe von Guiding Light hatte bereits ihre ersten Songs fertig, als sie Elise Cook als Sängerin ansprachen - und die hatte wie durch ein Wunder schon fertige Texte parat. Dieser Moment des Schicksals führte zu ihrer ersten EP, elf Minuten und fünfzig Sekunden voller Raserei, die ihren Post-Punk-Sound für kulturell Neugierige definierten. Heute entstehen Cooks Melodien im selben Raum wie das präzise Klimpern von John Morales' Gitarre, der bissige Bass von Rachel Kirk und die hämmernde Intensität von Charles Powell am Schlagzeug. Das Ergebnis ist ,Fear On My Own Time", ein neues Album einer Band, die weiß, was sie kann, und immer besser wird. Man merkt kaum, dass die Aufnahmen in zwei Sessions im Abstand von sechs Monaten entstanden sind, denn man spürt die Dringlichkeit in der Arbeit. So wie Wut zum Handeln antreibt, wird Energie zur Reaktion. Die Erzählung von ,Fear On My Own Time" gewinnt an Umfang, während Reflexionen über eine Trennung zu Erkenntnissen über zwischenmenschliche Verbindungen führen. Selbstkritik speist sich aus Ego, Verwirrung und unverblümter Ehrlichkeit, doch die Wurzel dieser Probleme liegt in einem viel größeren Thema. Die letzten beiden Songs gipfeln in einem Aufruf gegen den Faschismus und zeigen, wie uns - nachdem wir niedergeschlagen wurden - unsere Unfähigkeit, verletzlich zu sein, auseinander treibt. Man muss nicht die für Guiding Light übliche deutsche Sprache sprechen, um das zu verstehen - tatsächlich enthält das Album ihre ersten ins Englische übersetzten Songtexte: ,In the cage - only together we find the key." Wenn wir alle zu Guiding Light tanzen würden, wäre die Welt ein besserer Ort. - Sydney Salk

Completes the vinyl collection of Los Mockers, alongside the reissue of their original 1966 LP, this two handful of tracks, previously unreleased or out of print, traces the journey of five teenagers who, clinging to rock & roll, became legends. Blending the raw energy of 1960s rock & roll with rhythm & blues roots and later-day musical maturity, Los Mockers left a lasting mark on the Río de la Plata scene f rom their explosive beginnings to their 21st-century comeback. REWIND brings together rare recordings spanning nearly sixty years: from mid-1960s demos and singles to reunion sessions recorded between 2006 and 2012, i ncluding deleted material and an unreleased live track. Side A captures the band's early fire, opening with a 1965 demo of "I Just Want to Make Love to You," recorded under their original name, Los Encadenados, at Radio Ariel in Montevideo. It also includes their first original singles, "I Wanna Go" and "My Baby," plus the unreleased "Girl You Won't Succeed" and a fast, distinctly Uruguayan take on "Paint It Black." Side B focuses on the reunion era recordings made in Valencia, Spain, where the band revisited their legacy with renewed strength and craftsmanship. Tracks like " Need Some Time," "40 Years Ago," and "The Chain" show a seasoned group still driven by authentic rock & roll spirit, while "25 Watts" pays tribute to filmmaker Juan Pablo Rebella. The album closes with a powerful 2012 live version of "Tell Me Something New."

“Windborne” originally released in 2018 was the debut album from young Norwegian power-trio Kanaan. With components
from jazz, fusion and post-rock they have created six extended pieces of blazing freeform psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and The Eleventh House in the 1970s, there's a distinctive modern flavour to Kanaan's sonic endeavors. Their Scandinavian genealogy is apparent as well - their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir and Jaga Jazzist. And no doubt the young band has the chops to carry on the pedigree! Opening track ”A. Hausenbecken” feels like a sudden blast of refreshing nordic air, with it's rolling guitar leads and growling Fender Rhodes. But Kanaan aren't afraid to get deep and heavy – the B-side dives into straight-up Sabbath territory, with ”Act Upon The Mundane World” and ”The Groke”, before ending the album with the abstract, free-flowing title track ”Windborne”. From the first note to the last the band keeps high levels of energy and creativity, and although freeform, they never sacrifice focus or direction. Ask Vatn Strøm - guitars
Ingvald André Vassbø – drums Eskild Myrvoll – bass Rhodes on "A. Hausenbecken" by Vegard Lien Bjerkan.

Back in 1990 the New Bomb Turks got together as four Ohio State University students who just wanted to rock. 10 years later they are already on their 7th studio album: Nightmare Scenario.

New Bomb Turks return to their snaggle-toothed first mistress — hard-driving, no-holds-barred American punk rock. With the guitar jive of Chuck Berry, the blinding ferocity of Motörhead and the snot of The Dead Boys, singer Eric Davidson and his backing trio fire off a dozen grenades of authentic old-school three-chord riff-rock in little over a half-hour, with nary a pause for breath between tracks. You can’t quibble with the four-on-the-floor intensity of tunes like opening salvo Point To A Point Blank. It was recorded over four days and nights, the only break being a jaunt over to a bar to see a reunited Real Kids, their first show in years, which floored the band and only added more mezcal to the fire.

Nightmare Scenario is available as a limited edition of 500 individually numbered copies on transparent vinyl, and includes an insert.

Über die neun Songs des Albums hinweg erschafft Elanor Moss mit feinsinnigem Psych Folk ein eindringliches Wechselspiel aus Freude und Schmerz. Ihre düster-verträumten Momentaufnahmen bieten dabei weniger Katharsis als vielmehr ein Verständnis für die Komplexität des Wegs dorthin - Heilung nicht als Zustand, sondern als Prozess. Der Weg hin zu ihrem Debütalbum "The Knife, The Needle" war für Elanor Mos selbst eine komplexe Reise. Zeitweise fühlte sie sich von ihrer eigenen Musik entfremdet und suchte nach einem neuen Sound, anstatt den Raum zu besetzen, den sie sich bereits geschaffen hatte. "Nichts fühlte sich richtig an", erinnert sie sich, "also nahm ich den Druck heraus und versuchte, meine Beziehung zum Songwriting und zur Musik neu zu kalibrieren." Die drei Jahre, in denen die Songs für "The Knife, The Needle" entstanden, führten sie letztendlich zurück zu ihren Wurzeln und ihrer Liebe zu, wie sie es ausdrückt, "der Musik, die mich wirklich etwas fühlen ließ; der Musik, die ich schreiben wollte." "Das waren Folk- und zeitgenössische Folk-Songwriter", fährt sie fort. "Ich habe viel Zeit damit verbracht, Gitarre zu spielen", fährt sie fort. "Ich habe mir ein Vierspur Tape Gerät geliehen und darauf Demos aufgenommen. Ich habe mich intensiv mit Kurzgeschichten beschäftigt. Die schlichte, direkte Wahrhaftigkeit von Autor*innen wie Raymond Carver hat mich sehr angesprochen und inspiriert, während ich darauf wartete, dass meine Lust am Schreiben zurückkehrt. Ich habe außerdem wieder eine Therapie begonnen, in der ich anfing zu verstehen, woher ich komme, wie sich meine Familiengeschichte in meinem Handeln widerspiegelt und wie ich liebe und Liebe annehme. Aus der Langsamkeit und Stille dieser Rhythmen sind diese Songs entstanden." ,Sarah Waiting in the Car" gibt den Ton an, mit Moss' zartem, nachdenklichem Gitarrenspiel und den Pinselstrichen von Matthew Herds Ensemble - Marcus Hamblett (Horn), Jool Owen (Horn), Andrew Stuart-Buttle (Violine), Reid Jenkins (Violine), Linus Fenton (Kontrabass) und Herd (Saxophon) - die ihre Texte mit herzzerreißender Ernsthaftigkeit untermalen, während sich die Erzählung, die aus Moss herausfließt, von einem Treffen in der Bar zu den Nachwirkungen einer missbräuchlichen Beziehung wandelt, wobei Sanftheit in Gewalt umschlägt. In ,Fixer" ringt Moss mit der Tatsache, dass Liebe jemanden ebenso verletzen kann, wie sie ihn heilen kann. Ihr Album ,The Knife, The Needle" beschäftigt sich damit, wie Beziehungen durch die Liebe verändert, verkompliziert und erschüttert werden. Es ist ein erschütterndes Werk, zugleich geduldig und verletzlich, opulent umgesetzt und tief empfunden. Beide Objekte, die im Albumtitel genannt werden, können Blut vergießen, doch durch ihre Stimme und Gitarre erhellt, ist das, was aus den Wunden fließt, die sie hier teilt, nichts Geringeres als Poesie.

Geometrik Records is delighted to once again play a part in the exclusive recovery of Marcelo Expósito's previously unpublished work, which had been lost since its original creation in the 1980s. Marcelo Expósito is one of Spain's most internationally renowned contemporary artists, whose work is regularly exhibited across Europe and Latin America. He began his career at a very young age during the era of sound experimentation that flourished in the wake of so-called industrial culture, which found particularly fertile ground in Spain. As co-editor of legendary publications such as the fanzine Experiencias (1983) and, above all, the cassette-fanzine publisher Necronomicón (1983-1987), which operated on an international scale, Marcelo Expósito has, in recent years, been reconstructing those of his sound experiments that had been lost for decades. The album we are now presenting brings together material previously released on cassettes as EGK023 in a very limited edition. These tracks have now been remastered and expanded to complete this record, which noise musician Mattin has described as "secret recordings that constitute a gem from the rich Spanish underground of the 1980s". In the words of Luis Alvarado, editor of the Peruvian label Buh Records, this album allows us to appreciate how "Expósito developed a style of his own that understood sound as a malleable material open to chance. The recordings gathered on The Lost Tapes reveal an artist who moves as much through territories of unsettling textures and atmospheres as through zones of abstraction and radical noise". Influenced by the early work of figures such as Maurizio Bianchi, Nurse With Wound, and La Otra Cara de un Jardín, the release of this album provides a key piece in reconstructing the genealogical puzzle of Spanish experimental music. This carefully curated edition-in Spanish and English-includes a lengthy essay by Marcelo Expósito on the creative processes behind his work and the historical context of the industrial culture of the 1970s and 1980s, as well as extensive liner notes contributed by Vittore Baroni, editor of the legendary Italian label Trax; Francisco Felipe, co-founder of the Ars Sonora programme on Radio Clásica (Radio Nacional de España) and one of the most active names on the Spanish experimental scene of the 1980s; Mattin and Susana López (Susan Drone), key figures in the sound experimentation of the generation that emerged in the 2000s; as well as the aforementioned Luis Alvarado.

Sing Forever (Singing Is Free): Songs from 2021-2023 meets us as a foreword to A Profound Non-Event, Daily Toll's debut album from 2025. Offering an earlier chapter in the ever-growing songbook of the Sydney/Gadigal-based group, Sing Forever... is a collection in demo-form that maps their initial formative period as a duo, largely marked by Covid-era isolation, diabolical housemates, sonic experiments and copious amounts of wine sourced from Kata's job at the time. As bowerbirds of song, Kata and Jasper are making sounds from their own pocket - their world! - singing from nowhere to no-one from (in) a context of global upheaval, loss and mass confusion. Here we find the urge to sing forever, to share a morsel of spirit, and with it a mode of grounding one's humanity. The songs are loose, off-beat and textural, a period of "first thought, best thought" in boundless practice that finds inspiration from all over: a bracelet and a solo afternoon in Budapest; lyrics formed via a black-out poem scrawled across the page of a Neil Young biography; the scratch of paper daisies, toy drums, typewriters, and pots and pans all welcome melodies repeating and fumbling unto themselves until ultimately falling apart and into something else. These songs were never initially intended to find a physical release or to even be distributed further than the Bandcamp void, and yet here we arrive at a kind of essence of Daily Toll, or at least one iteration thereof, before the studio, before the additional band members, and before being known (perhaps, even loved) by more beyond. Sing Forever (Singing Is Free): Songs from 2021-2023 was initially released as a seven song cassette that came with early copies of A Profound Non-Event. Now with the addition of an extra song and a remastering by Mikey Young, it is now released as a limited 12" LP via Tough Love in a ww ltd edition of 275 copies.

Coming in hazy and heady, an end-of-summer cosmic jammer from Nick Mitchell Maiato, full of big choruses, blazing guitars, country honk, and deep grooves—replete with funky horn section. It’s been four years since Poolside, the last release by One Eleven Heavy (Mitchell Maiato’s sometimes-band with James “Wooden Wand” Toth), and that time has clearly been used for some serious woodshedding on the auteur’s part. On Náquera, named after the Spanish pueblo in which he resides, Mitchell Maiato’s songwriting, vocals, and guitar playing all come into sharp focus as he mans the wheel on an ocean drive of interwoven electric guitar dueling, funky multi-movement jams, bittersweet odes to uncomplicatedness, and rolling rockers. Featuring an effortlessly graceful preface by Macon, GA piano prodigy Gavin Rushing, “Riki Rachtman” is a cosmic americana ballad examining the state of heavy metal in contemporary pop culture from the perspective of a disgruntled first-person narrator. “Critical Mass” is a soaring, two-chord ode to dropping out, with an opening organ salvo by Grateful Dead midi-tech Bob Bralove, a monster, key-changing guitar duel at its core, and a fat, snaking bass groove by Otto Wilberg (Mitchell Maiato’s former colleague in Desmadrados Soldados De Ventura).“Flamebait” is one of the record’s big surprises with its almost Lennon-esque rock-and soul slab of technocracy bashing, its woozy, three-part horn section, and its improvised, sun-scorched guitar solo slap-dab in the middle.And, on “The Angle,” we get an homage to rock-and-roll pool hustler narratives framed within an expansive country-funk jam that nods to Mitchell-Maiato’s love of Parliament and Grateful Dead in equal measure.

Manchester-born poet, writer, and producer Antony Szmierek has announced the release of his second album, Decoding Birdsong. Just eighteen months after his critically acclaimed debut, Szmierek returns with a new body of work that signals a clear evolution in both sound and scope. Rooted in his personal touchstones within electronic music, the album pairs expansive, immersive production with his trademark razor-sharp lyricism.

Where his debut had been a solo endeavour, Decoding Birdsong brims with collaboration, including Australia’s Pretty Girl, London band Los Bitchos, and Bristol producer 1-800 GIRLS, as well as Imogen and the Knife and indie pop star Ellur.

Auf der Carnival EP versammeln Trauma Ray einige ihrer stärksten, intensivsten und experimentellsten Werke. Seit ihrem Durchbruch mit Chameleon, ihrem Debütalbum von 2024 bei Dais Records, hat die Band in der aktuellen Welle der Shoegaze-Revivalisten sich weiter etabliert, ist dabei aber immer agiler geworden und sind 2025 mit Kollegen wie Deafheaven, Loathe, und Toucheì Amoreì auf Tour gewesen. Mit einer Mischung aus blitzschnellen Riffs und karger Schönheit entwickelt sich ihr Sound weiter und knüpft an die Laut-Leise-Laut-Größen aus Metal, Grunge und Shoegaze von Slowdive bis Smashing Pumpkins an. Die Carnival EP taucht in stimmungsvolleres, intellektuelleres Material ein, als würde man ihre früheren Ausflüge vor einem Zerrspiegel betrachten. Diese Songs vermitteln ein deutliches Gefühl der Unruhe, entstanden in einer flüchtigen Zeitspanne, was beweist, dass die Band unter Druck und wenn sie aus den dunkelsten Ecken ihres Unterbewusstseins schöpft, am besten funktioniert. Das wortlose ,Carousel" leitet die beunruhigende Atmosphäre der EP mit Störgeräuschen und melancholischen Gitarrenklängen ein, die in ,Hannibal" übergehen, einem hymnischen Track voller kraftvoller Riffs und roher Emotionen. Die Band hat diese Art von purer Kraft schon mal gezeigt, von ,Solstice" aus dem Jahr 2018 bis zu "Chameleon", während ,Hannibal" mit einem Hauch von beispielloser Boshaftigkeit, Schlängeligkeit, ,Stone Temple-y, Alice in Chains-y", wie Avila witzelt, verzerrt ist. Textlich greift er die Angst der Teenager auf, das Gefühl, zerlegt und abgelehnt zu werden. ,Méliès", benannt nach dem französischen Illusionisten und Filmemacher, wechselt zwischen schweren, schlammigen Akkorden und einem himmlischen Refrain, ,von etwas Beängstigendem zu etwas wie einem Traumzustand", sagt Avila, der die surreale Abstraktion seines Namensvetters kanalisiert. ,Funhouse" taucht in den Doom Metal ein, mit spärlicher Gitarrenarbeit und dem wahrscheinlich langsamsten BPM der Band. Im Gegensatz dazu rüttelt, blitzt und hämmert der letzte Track ,Clown", als hätte der Hörer das andere Ende eines Horrorhauses erreicht und wäre nun vollständig in die grelle, verwirrende Beleuchtung des Jahrmarkts eingetaucht. Personifiziert durch eine knorrige, synthetische Leadgitarre erinnert ,Clown" an Robin Williams, einen Archetyp tragischer Fröhlichkeit, der zeigt, dass diejenigen, die am meisten versuchen, andere zum Lachen zu bringen, insgeheim vielleicht die Traurigsten sind. Klanglich verweist die Band schnell auf den Einfluss von ,Undone" und ,Stuck on You" von der Kultband Failure aus den 90ern, neben dem allgegenwärtigen Loveless, was die Größe von Trauma Ray ausmacht: fünf Musiker, die das, was sie lieben, aufnehmen, synthetisieren und erweitern. Die Carnival EP bietet einen kurzen und sehr loopbaren Abstecher in die Dunkelheit einer Band, die von Minute zu Minute beeindruckender wird.

Since their debut, Rising Insane have evolved from a fierce independent quintet into a global heavy-hitter, amassing millions of streams across their previous catalog. Their journey to the top has been defined by elite company, having shared stages with genre icons like Papa Roach, Of Mice & Men, and Stray From the Path, transforming them into an unstoppable live force. This momentum is now reaching a fever pitch with their upcoming album, Deathrace. The record includes the standout track "Good Enough" (feat. Matt Flood of Caskets), which proved the band's immense reach by surpassing one million streams right at its release, alongside the dark and mature "Error" (feat. Steven Jones of Bleed From Within). Fans can also look forward to explosive new collaborations on the album with ACCVSED and David Schneider (The Butcher Sisters). Deathrace marks the band’s most radical chapter yet, stripping away polished refinement in favor of raw power and primal riffs. It is a limit-breaking statement that finally pushes their sound to the absolute limit - Rising Insane have never stood still, but now they are finally flooring it.

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), The Pleasure Is Yours feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

Pressed on 180g vinyl, the album comes in an embossed sleeve and is avaible in red and black splatter.