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Debüt-Soloalbum der Multiinstrumentalistin und Leadsängerin Nicole Miglis von Hundred Waters. Die Songs für ihr Solo-Debütalbum Myopia entstanden stückweise: in eine neue Stadt reisen, Feldaufnahmen sammeln, eine Idee entwickeln, verfeinern und in immer neuer Reihenfolge wiederholen. Viele der Songs entstanden innerhalb weniger Wochen, während sich die reichhaltige Instrumentierung geduldig entwickelte, als Miglis an den vielschichtigen Klanglandschaften herumtüftelte. Myopia ist ein Album, das die komplexen Überschneidungen von Sehnsucht, Melancholie und Identität erforscht und gleichzeitig ihre faszinierende Fähigkeit unter Beweis stellt, experimentelle Produktionen, Popmelodien und klassische Formen zu einer ganz eigenen musikalischen Sprache zu vereinen. Die Veröffentlichungen von Hundred Waters wurden von zahlreichen Medien gelobt, darunter Pitchfork, Rolling Stone, NPR, New York Times und viele mehr. Für ihr erstes Soloalbum Myopia war Miglis entschlossen, alle Songs selbst zu schreiben, zu produzieren und aufzuführen. Obwohl viele der Tracks noch in der Zeit mit HW entstanden, fand sie nach ihrer Welttournee als Leadsängerin des für einen Grammy nominierten Elektronikmusikers Bonobo in den Jahren 2022-23 neue kreative Kraft und finalizierte ihr Solowerk. In Myopia kristallisiert Miglis ineinander verwobene Zustände von Besessenheit, Liebe und Verlust neben einer gleichmäßig eklektischen Reihe von Klängen, sowohl organisch als auch digital. Das Album ist der Höhepunkt eines lebenslangen künstlerischen Schaffens, das Momente aus ihrer gesamten Karriere in ihrer bisher üppigsten und überzeugendsten Sammlung von Songs zusammenfasst. Es vermischt Texturen und Genres mit Instrumenten und Einflüssen - von Klavieren und Streichern bis hin zu akustischen Harfenklängen und ätherischen Loops - und überbrückt die Kluft zwischen Klassik und Moderne mit einem Album, das Fans von elektronischer, orchestraler und Pop-Musik gleichermaßen faszinieren wird.

Little Hag zeigt das breit gefächerte Songwriting von Avery Mandeville, deren bissige und nachvollziehbare Songs eine Welt beschreiben, die so kompliziert ist wie die, in der wir leben. Mit Hilfe von 8 Produzenten aufgenommen, in Wohnungen von Freunden bis zu den Headroom Studios in Philadelphia, liefert sie Punkrock-Knaller, tiefe Disco-Tauchgänge, Fackellieder, Folk-Balladen und vieles mehr. Die Bandmitglieder sind seit ihrer Teenagerzeit befreundet und haben sich gemeinsam zu einer wilden Rockband entwickelt.

sir Was aka Joel Wästberg the Gothenburg based musician, producer and singer just released his new album "We Can Go Anywhere From Here". Joel started his professional music journey when Jose Gonzalez asked him to join Junip. Encouraged by his friends Little Dragon he began to release his own music and has collaborated with Teleman, Gengahr, Falle Nioke, Caspar Clausen (Efterklang) and Seb Wildblood. After working with several highly respected indie labels including City Slang, Memphis Industries, PRAH and PEOPLE, Joel has decided it his time to create his own label to release this album

The wild greaser with an ever-broken heart, Cong Josie, is back! His eagerly anticipated sophomore album; Moto Zone, pulls up throbbing, revving, sweating and grinding hotter than bitumen on a summer day. It is a non-stop EBM’in’, synth-punkin’, rock ’n’ rollin’ and doo-woppin’ sizzler, in much the same vein as his 2021 debut Cong!. With this release however, Cong pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder, slow sleaze hip-grinding enters and the dream washes return to envelope all that hear them like a siren’s call. On Moto Zone, Cong conjures the age of rock ’n’ roll, a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair pomade, with an Aussie twist on greaser ‘cool’. Confessional lyrics tell tales of addiction and mental illness tracing the scars of a troubled past. Cong says the “Moto Zone” reflects his daily life and mindset. A life of ADHD, burning the midnight oil, living on black coffee, obsessively creating and revving through every day. Ultimately Cong is reaching for bliss, feeling connection and a new world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful? A lust for life? The record is all of the above.

Das neue Album von Sofi Tukker trägt den Titel BREAD - ein Akronym für „Be Really Energetic And
Dance“. In den Worten von Sophie und Tucker entzündet BREAD „unsere unerfüllten Wünsche und
Sehnsüchte. In dieser Welt werden wir daran erinnert, dass es sich fantastisch anfühlt, seine Hemmungen
zu verlieren, sich energiegeladen zu fühlen, zu tanzen und seine wildesten Fantasien auszuleben“.
Das Album ist als limitierte Vinyl und CD erhältlich!

From the furnaces of Stoke-On-Trent comes the super-limited debut EP from Formal Sppeedwear, a wonky new wave teacup ready to be sipped.

Taking creative cues from Brian Eno’s Oblique Strategies and Conny Plank’s experimental recording techniques to flesh out synthpop-oriented melodies, the EP stomps along with Scary Monsters-era Bowie guitar lines, early 80s Numan basslines and surreal lyrics - “Ready, set on my mark: Tesco Extra, Marks and Sparks” cries Clewlow on 6 Lofty Ash. There’s a versatility to the tracks; with the jolting staccato of The Line counter punched by EP closer and highlight Dismount’s soaring synth slow burn.

Defying the seas of young musicians moving to London and Manchester to find their path, Beck Clewlow (Bass, Vocals, Synthesisers) Charlie Ball (Guitar, synthesisers), and Connor Wells (Drums, Guitar, Synthesisers) stuck it out in Stoke, using the city as a blank canvas - devoting their spare time to writing and experimenting, building their own studio out of charity shop finds and cash-converter synths and recording equipment.

Out in the creative wilderness of Staffordshire there’s a healthy DIY scene brewing with bands waiting to make their mark; fly posting their own shows, making one-off merch for each gig, sharing lineups with one another. “There is no sense of geographical confinement here, there’s a wealth of talent who act indifferently to their surroundings. It’s particularly nice that some of our friends from here are starting to receive attention from elsewhere” say the band. As fellow locals University and Christian Music start to garner attention from the rest of the UK, it’s time for Formal Sppeedwear to follow suit.

Stoke-on-Trent might not be the first place you’d look to find your favourite new band - The Bootleg Beatles are one of its finest exports if you ask Google - but Formal Sppeedwear are here to show you the kilns are alright.

Darren Hayman New Starts are a spikey, fresh sounding band recalling the poppier ends of new wave and angular guitar rock. Their influences include The Cars, Breeders, Bay City Rollers, The Velvet Underground and ZZ Top. Lead singer Darren Hayman has his own long career running from the late 90s with John Peel faves Hefner to his more recent thematic and historical albums dealing with the English Civil War, William Morris and forgotten rural idylls. “I wanted a band again,” says Hayman, “and not a band that just backed me up and played my old songs. When we form our first bands in our teens we just find some friends and work through the musical differences. I usually look for players who play in a way I’m used to. This time I looked for variance and was led by people’s personality.” Guitarist Joely Smith of South London’s noise-pop adults and recently DIY-punks Fresh was recommended by a mutual friend who said, ‘She makes everything better’. Hayman and Smith shared a coffee and agreed on the correct number of guitar pedals and decided to proceed without an audition. “There is a tendency for me to make my chords too pretty. Joely cuts against that and plays in the opposite direction.” Hayman is a fan of rules and constraints and employed a new, oblique strategy on this record. “Even though I wrote all the songs, I wanted the songs to belong to everyone during arrangement. I decided that I would say ‘yes’ to every suggestion from the band, regardless of my instinct.” This made the songs warp and bend into new shapes and ensured that the record was the product of four individuals. Bassist Giles Barrett and drummer Will Connor come from funky afro beat influenced band Tigercats. “Pretty much the only rhythm I use, left to my own devices, is the ‘road runner’ rhythm. Will takes to care to find where the drum beat can be and we always end up somewhere I didn’t expect.” More Break Up Songs is a collection of 12 Break Up songs because Darren broke up with someone. Again. “I suck’, he says, “But it’s never anyone’s fault. It makes me very sad but I do have to work through these things in song and there’s always something to learn. I try to make songs about breakups that could be understood by both parties. I’m not interested in nasty songs.” Opening song ‘Little Stone in my Heart’ blisters along with Joely’s wildest guitars. The protagonist will do anything to make things right, but nothing ever is. ‘Under the Striplights’ has driving, choppy, incessant riffs, and is about the need to be anywhere but somewhere other than here. We could be under the moon or under the strip lights as long as we have each other. Another barely kept rule that Darren instigated on this album was that each song would be a tonal equivalent to one from The Velvet Underground’s third album. To that end ‘Don’t Need Persuading’ is this record’s ‘Pale Blue Eyes’ with the narrator being unable to break free of a vortex, knowing they will stay the night against all better judgment. ‘I’ve had a long standing distrust of the guitar,’ says Darren, ‘despite it being my primary instrument for twenty years. I thought it was time I made a record with two guitars and drums and bass. I wanted it to be bright, immediate and young sounding, despite the fact I’m old. We recorded it in four days and I think this might be the record a lot of my audience has wanted me to make for a long time.’ “bold and unique" The Sunday Times. // “Hayman has hit a creative purple patch… a treat” Mojo // “uniquely intimate and very satisfying”

GARDENIA is an existing land located at the Limpopo province of South Africa, right at the border with Botswana. The place's real name is Mmabolela and it's a private nature reserve covering 6500ha of subtropical savanna and part of Limpopo River.

In November 2019 I had a chance to visit the location and participate in an annual residency for composers and sound artists called 'Sonic Mmabolela', initiated and curated by Francisco López.

We lived in an isolated property in the middle of savanna having a unique opportunity to exist in undisturbed touch with the African wilderness.

For the past decade or so, Polish musician Michal Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe's long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation.

All the natural sounds later used to create Gardenia were captured there — during longtime recording sessions over the virgin interior of Mmabolela Reserve.


The album's field recording content was selected from several hours of birdsong, calls of frogs, insect noises, sounds of trees, bushes, grass as well as non-living natural elements like stones or shells.

These field recordings were later digitally processed and used as part of 9 musical arrangements.

However the recording sources and the location of Gardenia is defined, it was not my intention to document a South African natural soundscape nor create any other kind of strict concept album.

All I do in my work is an affirmation of beauty hidden in various aspects of the Creation. MJ

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

"Following the resonating success of their initial collaboration, the TLF Trio—comprising Danish cellist Cæcilie Trier (CTM), pianist Jakob Littauer, and guitarist Mads Kristian Frøslev—reunites on Latency with electronic music legend Moritz von Oswald for the follow-up to their debut album, 'Sweet Harmony.'

TLF Trio, along with Moritz von Oswald, once again delves into the realm of chamber music, this time with two new songs further exploring the intricate acoustic dynamics of their instruments with electronics. As the second instalment in this musical journey, 'New Songs & Variations' builds upon the minimalistic, sculptural, and narrative qualities of its predecessor, weaving a tapestry of expressive and plural voices.

Moritz von Oswald, a central figure in the electronic music scene since the early '90s, brings his wealth of experience to the project, reinterpreting two of TLF Trio's previous works. From his early days as a classical percussionist to groundbreaking collaborations in the techno sphere, von Oswald's influence has left an indelible mark. His role in co-founding Basic Channel/Rhythm & Sound and contributions to the Berlin-Detroit-Chicago axis have defined various strains of modern music.

'New Songs & Variations' not only captures the rich history and influence of Moritz von Oswald but also showcases his ongoing exploration into classical, experimental, and improvisational contexts. From recomposing Ravel and Mussorgsky’s music for Deutsche Grammophon to acclaimed collaborations with jazz trumpeter Nils Petter Molvær, composer Laurel Halo, or Afrobeat pioneer Tony Allen, von Oswald's versatility continues to evolve.

TLF Trio and Moritz von Oswald invite listeners to embark on a sonic journey that bridges the past and the present, mirroring the transformative essence of Louise Lawler's distorted image, which graces its cover—a testament to the delicate fluidity and shape-shifting nature of the music contained within.

Compossed by Moritz von Oswald, Cæcilie Trier, Claus Haxholm (beat on Chrome), Jakob Littauer and Mads Kristian Frøslev.
Mastered by Kassian Troyer at Dubplates & Mastering.
Artwork by Louise Lawler. Formica (adjusted to fit, distorted for the times, slippery slope 2), 2011/2012/2015/2017. Courtesy the artist and Sprüth Magers. As adjusted for Latency.

Luminice Blue Transparent Vinyl. Can you hear the war drums beating? Prepare for battle! Lost In Cult Records, Black Screen Records, Gaziter and Deadpan Games are proud to present Wildfrost: the Original Game Soundtrack. For the first time on vinyl, enjoy the complete and unabridged orchestral score from composer Paul Zimmermann. Rich with folk roots and powerful crescendos, it's the perfect soundscape for your journey through the cold. No Pengoons were harmed in the making of this vinyl. Composer Paul Zimmermann on working on this soundtrack and vinyl: "Writing the music for Wildfrost was a blast. I loved mixing a ton of different instruments from all around the world to bring to life the colourful and unique setting of the game. The gameplay can get very challenging, so I wanted to make sure the music felt playful and uplifting, while also providing those big and heroic moments for our boss fights. I'm super pleased to partner with Lost in Cult and Black Screen Records to bring this soundtrack to vinyl. Seeing the positive response from players has been amazing and I hope this vinyl, with its unique artwork by Nuri Durr and the additional extras, provides fans of the game and its music another great way to connect with the world of the eternal winter!"

Diese leicht verrückten Italiener kannten keine Berührungsängste! Für Fans von gut gespieltem, originellem Thrash Metal ist „Neurodeliri“ von 1988
ein Muss. 1988 schien der richtige Zeitpunkt für die Welt gekommen zu sein, Bulldozer endlich so zu sehen, wie sie es verdienten, nämlich nicht mehr
als Venom-Tribute-Band, sondern als eine wirklich eigenwillige Band mit einer ganz eigenen Musikrichtung. Im Lichte dieser Überlegungen markierte
„IX“ definitiv eine 180-Grad-Wende von der Vergangenheit, mehr als in musikalischer Hinsicht. Es war endlich der Moment für die Mailänder Crew,
auf ihrer Popularitätswelle zu reiten, vielleicht erwarteten die Bandmitglieder, dass es das beste Jahr für die bisherige Karriere der Band werden
würde. Doch dann, im April, beging der Mitbegründer und ehemalige Bassist Dario Carria Selbstmord und machte alles kompliziert. AC Wild und vor
allem Andy Panigada waren wie die Fans fassungslos und zutiefst erschüttert. Dennoch gelang es ihnen, alle Emotionen dieser Tragödie in das
Songwriting für den Nachfolger ihres Durchbruchsalbums „IX“ zu kanalisieren, das übrigens ihr letztes Album nach ihrer Auflösung im Guten im Jahr
1990 sein sollte.

"It’s hard to believe it’s been 15 years, give or take a few, since we tried our hand out at writing, recording, and playing our songs. We had a wild ride and feel privileged, but mostly grateful, to pursue music in the way that we did. A lot of life happened during our tenure as a band and that didn’t stop since our last show or record.

The people and places the band introduced us to continue to serve as the most incredible memories and to add to that, Kingfisher is turning 10 years old. The nostalgia is real. We had been toying around with the idea of reuniting for quite some time, so there seemed no better time to do it than now.

Having Topshelf in our corner as we began preparing to do this was a no brainer. After talking to Kev and the TSR crew of our plans, it was like no time had passed as they’ve always been great friends and a support system to us. Topshelf repressing Kingfisher in its original intended format, as a double LP, feels like a very monumental way to commemorate a record that means so much to us.

We can’t wait to get back out there to commemorate 15 years of Prawn and Kingfisher’s 10th Birthday. We will be having original members (welcome back Vilchez) to help celebrate with a run of shows that we feel very fortunate to do. Cheers to the last 15 years and all of you reading this for being part of our journey. Let’s see what the next 15 hold in store!

All our love,

Prawn"

This new collaboration started by Dutch/Swiss baritone saxophonist Jeroen Visser and Ethiopian dancer and cultural ambassador Melaku Belay features nine musicians and dancers. Their album "GOJO" pays tribute to the golden age of the Ethio-jazz in many refreshing ways. Where the old recordings were played with western instruments, this release leans on traditional instruments like the Ethiopian lyre the kirar (Robel Solomon/Sentayehu Tadesse), a one-string violin the masinqo (Habtamu Yeshambel), and the kebero as percussion (Mesay Abebay). The additional saxes (Jeroen Visser/Steve Buchanan) go well with the soulful and funky arrangements. Changes in rhythm, some experimental improvisations and wild outbursts, and the mesmerizing voice of Nardos Tesfaw are completing the overall hypnotic mood.

Nach Acht Jahren melden sich Empire Of The Sun mit einem neuen Album ’Ask That God’!

Ask That God ist ihr viertes Album nach dem Debüt der Band im Jahr 2008. Auf ihrer musikalischen Reise haben Empire Of The Sun einen unvergesslichen Eindruck in der globalen Musikszene hinterlassen
und können auf eine bemerkenswerte Karriere zurückblicken, in der sie weltweit über 5,5 Millionen Alben verkauft und 7,6 Milliarden Streams erreicht haben. Die letzten 3 Alben der Band haben einen generationsübergreifenden und weitreichenden globalen Erfolg für ikonische Hymnen wie ”Walking On A Dream”, ”We Are The People”, ”Alive” und ”High And Low” gebracht.

“Ask That God is an album we searched for and were thankfully blessed with. We are nothing more than conduits, gathering experience and finding what is meant for the Empire to find,” sagt Luke.

3 Feet Deep is back with a new record infused with personal significance - five UKG tracks cooked up by French artists. Folklore associates Bernardo & Stefan Dubs deliver two enthralling dark 2-step tunes respectively on A1 and B1 while Enrico Dragony, DJ W!LD, and Pépé Elle explore the rhythmic realms of 4x4 beats. The record is guided by the loose, instinctive style of each artist, evolving organically following their own interpretations of UKG.

Ein allumfassender akustischer Angriff, eine Kraft, die so unaufhaltsam und lebendig ist wie die Flut. Das Post-Rock-Kraftpaket AND SO I WATCH YOU FROM AFAR kehrt mit seinem 7. Studioalbum ,Megafauna" zurück. Studioalbum "Megafauna" zurück. Das neue Album ist eine eigenwillige Erkundung und eine von Herzen kommende Würdigung mit der ganzen Intuition, Intimität und dem Humor von vier festen Freunden, die sich ihrem 20-jährigen Bandbestehen nähern. Die Absicht hinter "Megafauna" ist von Anfang an klar. Zwei Gitarren, ein Bass und ein Schlagzeug, allesamt in einer Woche aufgenommen, erwachen in einem Endorphinrausch der Zusammenarbeit und des Miteinanders nach der physischen und psychischen Wildnis der Isolation zu überschäumendem Leben. Die Leadsingle "Do Mór" ist eine absurd verspielte Kollision aus unbeschwerten Gitarrenhooks, mühelosen Jazz-Synkopen und der triumphalen Rückkehr von ASIWYFAs unnachahmlicher Wall-of-Sound-Verzerrung, während der Eröffnungstrack "North Coast Megafauna" als Hymne für das gesamte Album und vielleicht auch für eine wiedererstarkte Band dient, die die freudig-schockierende Konfrontation ihres Sounds stolz auf ihren Ärmeln trägt. An anderer Stelle stehen Introspektion und düstere Sentimentalität im Mittelpunkt, wobei das Downtempo-Stück "Years Ago" eine bemerkenswerte dynamische Tiefe bietet. "Megafauna" ist das erste neue Werk der Band seitdem von der Kritik hochgelobten, aber nur sehr limitiert veröffentlichten "Jettison" aus dem Jahr 2022, ein ambitioniertes Multimedia-Ensemblewerk voller Experimente mit Gästen. Gitarrist Niall Keenedy bezeichnete "Jettison" scherzhaft als "das reife Album" der Band und umrahmte das Schreiben von "Megafauna" mit dem langjährigen Mantra der Band "DO THE SCARY THING", das sie ständig auf das Neue, den Fortschritt, die Evolution und das Unbekannte zusteuern lässt. Während die neue Platte ASIWYFA in einer vertrauteren, traditionellen Form zeigt, ist "Megafauna" in dieser Post-"Jettison"- und Post-Pandemie-Welt eine ohrenbetäubende und trotzige Absichtserklärung des treibenden Kerns der Band, die Zusammengehörigkeit statt Trennung zelebriert. Übrigens, das klasse "Jettison" jetzt auch wiederveröffentlicht!

Ein allumfassender akustischer Angriff, eine Kraft, die so unaufhaltsam und lebendig ist wie die Flut. Das Post-Rock-Kraftpaket AND SO I WATCH YOU FROM AFAR kehrt mit seinem 7. Studioalbum ,Megafauna" zurück. Studioalbum "Megafauna" zurück. Das neue Album ist eine eigenwillige Erkundung und eine von Herzen kommende Würdigung mit der ganzen Intuition, Intimität und dem Humor von vier festen Freunden, die sich ihrem 20-jährigen Bandbestehen nähern. Die Absicht hinter "Megafauna" ist von Anfang an klar. Zwei Gitarren, ein Bass und ein Schlagzeug, allesamt in einer Woche aufgenommen, erwachen in einem Endorphinrausch der Zusammenarbeit und des Miteinanders nach der physischen und psychischen Wildnis der Isolation zu überschäumendem Leben. Die Leadsingle "Do Mór" ist eine absurd verspielte Kollision aus unbeschwerten Gitarrenhooks, mühelosen Jazz-Synkopen und der triumphalen Rückkehr von ASIWYFAs unnachahmlicher Wall-of-Sound-Verzerrung, während der Eröffnungstrack "North Coast Megafauna" als Hymne für das gesamte Album und vielleicht auch für eine wiedererstarkte Band dient, die die freudig-schockierende Konfrontation ihres Sounds stolz auf ihren Ärmeln trägt. An anderer Stelle stehen Introspektion und düstere Sentimentalität im Mittelpunkt, wobei das Downtempo-Stück "Years Ago" eine bemerkenswerte dynamische Tiefe bietet. "Megafauna" ist das erste neue Werk der Band seitdem von der Kritik hochgelobten, aber nur sehr limitiert veröffentlichten "Jettison" aus dem Jahr 2022, ein ambitioniertes Multimedia-Ensemblewerk voller Experimente mit Gästen. Gitarrist Niall Keenedy bezeichnete "Jettison" scherzhaft als "das reife Album" der Band und umrahmte das Schreiben von "Megafauna" mit dem langjährigen Mantra der Band "DO THE SCARY THING", das sie ständig auf das Neue, den Fortschritt, die Evolution und das Unbekannte zusteuern lässt. Während die neue Platte ASIWYFA in einer vertrauteren, traditionellen Form zeigt, ist "Megafauna" in dieser Post-"Jettison"- und Post-Pandemie-Welt eine ohrenbetäubende und trotzige Absichtserklärung des treibenden Kerns der Band, die Zusammengehörigkeit statt Trennung zelebriert. Übrigens, das klasse "Jettison" jetzt auch wiederveröffentlicht!

Die britischen Hardrocker Doomsday Outlaw präsentieren ihre beiden Alben "Suffer More" (2016, Frontiers) und "Hard Times" (2018, Frontiers) in neu abgemischten, remasterten REDUX-Versionen, betreut von Dave Draper (The Wildhearts, Terrorvision). Zwei Alben vollgepackt mit ihrem typischen Sabbath-meets-Clutch-Riffing, gepaart mit gefühlvollen Vocals, die Geschichten von Herzschmerz und Erlösung erzählen. "Suffer More" erscheint erstmals auf Vinyl, "Hard Times" enthält einen vorher Japan-exklusiven Bonustrack. Mit neuem Artwork und ausführlichen Linernotes von Mike Hayes (Cheap Trick). Remixed. Remastered. Reborn. Redux.