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Foals ‘Total Life Forever’ is now available on recycled blue vinyl.

Originally released in May 2015 each record is a unique blue colour. Final product delivered may differ in colour from the image shown here.

The Time Capsule label unites record collectors and DJs of Brilliant Corners and Beauty & The Beat communities in London. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.

For the first release, Brilliant Corners regular and Meda Fury signing Ryota OPP curates the reissue of Il Guardiano Del Faro’s 1978 album Oasis.

Born 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s.

Viewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s.

He produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but Oasis stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites ‘Disco Divina’ and ‘Oasis’ touches of space disco and even teases proto-house elements like the great Sun Palace.

“The passionate, sweet and dramatic sound of Il Guardiano Del Faro made me fantasise about so many romantic aspects of Italian culture. Oasis is sonically more interesting than his other albums and these exotic, eccentric rhythms sound quite familiar to the modern music fans.” – Ryota OPP

Demon Records Single Club are delighted to introduce a reissue of
Urban Cookie Collective’s 1994 mega hit The Key, The Secret and
Feels Like Heaven.
Urban Cookie Collective was founded by Rohan Heath in the late 80s.
The Key, The Secret was the groups first single from their debut album High On A Happy Vibe. The track was an instant hit landing at the top of the charts cross Europe and today the track is widely regarded as one of the biggest dance music anthems of the 90s.
Flip it over and on the B-side is Feels Like Heaven, the follow up to The Key, The Secret. Another mega chart smash in the UK and across
Europe. Now newly remastered and with fresh artwork – an adaptation of the original High On A Happy Vibe sleeve

Froid Dub continues to explore its synth-lined slowed down digi-dub cave flooded with waves of echoes and acid bleeps. From begging to end, bass lines and flanged delays sail over deep waters, seemingly barely disturbed by the minimal pump of the synth-wave track Not Loved.

Demdike Stare & Cherrystones unveil a long-in-the-making darkside fantasy weaving atmospheric and loose-limbed cuts recorded at labs in London and Manchester, brilliantly shaking a bush of ghostly trig points ranging from the Mars rehearsal tapes to Minimal Man, Randy Greif’s cut-ups, Conrad Schnitzler’s industrial prototypes and ‘70s ECM sides – with vocal contributions from Ssabae’s mesmerising Laura Lippie.

In dazed pursuit of styles heard on Cherrystones’ DDS tape ‘Peregrinations in SHQ (Super High Quality)’, the renowned London digger properly hexes sonic leylines with his label bosses on 10 wickedly grubby and hazed sound experiments. They tumble down the rabbit hole like some sixth sense-guided call-and-response, resulting in an exquisite unfolding of psychoacoustic spaces familiar to their mutually spirited sounds.

Honestly it's some of the dirtiest and most esoteric gear we've heard from Demdike; you can sense a lifetime of incessant digging drip through every loop and crack; grotty no-wave, industrial noise, DIY psych, proto-techno and gnarled concrète, further bolstered by Cherrystones’ perpendicular, equally insatiable and fathoms-deep areas of interest. With a focus on scrappy, feral cuts and hastily recorded edits, the trio roughly re-draw wordless chants and hyper-compressed knocks over a vortex of found sounds that curdle in rhythmic heat. Never staying sill for long, the trio get drowned by watery ambience, then shredded loops, Technoid shrapnel and electric bass prangs dancing into the aether.

The crankiest spirit perfuses the whole thing, evoking states of unravel and psychic distress as they pit a near-peerless collective knowledge into the void. Laura Lippie acts as human ligature to sanity, a fleeting constant found smudged into the hip hop chops of ‘Familiar Unfamiliarity’, spectral incantations of ‘Prophet in View’, or a channelling of Ozzy in ‘Thee Oath’, among more deranged tongues on ‘Observing the Crux’.

It’s the missing link between ECM, Earth and Dilloway we didn’t know we needed - up there with some of the most satisfyingly deep and frazzled gear this century.

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

Heaven & Hell ist das 2020 erschienene Debüt-Studioalbum von Ava Max, das die Hits "Sweet But Psycho", "Salt", "Kings & Queens" und "So Am I" enthält. Musikalisch ist Heaven & Hell eine Pop-, Dance-Pop- und Elektropop-Platte, die in zwei Seiten aufgeteilt ist; die erste enthält hymnische Klänge, während die zweite dunklere Melodien enthält. Limitierte LP-Auflage auf kristallklarem Vinyl.

Eduardo de la Calle and DJ Surgeles meet Fabio Giachino, David Strike, and Manu Melero Amaya in Telmaco Xavier Quintet, a project where jazz and electronics engage in a real-time exchange rather than a controlled experiment. Set for release on Apnea 115 in May 2025, Time Pawn is built on interaction--musicians and machines reacting to each other, shifting between structure and instinct. Eduardo and Surgeles don't frame jazz within an electronic grid, nor do they treat electronic textures as a decorative layer. Instead, they allow both elements to retain their full character, pushing and pulling in ways that never settle into easy resolutions. Fabio Giachino's piano moves freely, alternately threading through and cutting across the pulse. David Strike and Manu Melero Amaya bring movement that resists the obvious, allowing groove to exist without being locked in place. The result isn't about merging styles but letting them exist in the same space--sometimes in harmony, sometimes in friction, always in motion.

"The nineteenth entry in the Altered Circuits catalog comes courtesy of Alex Neri with a selection of 4 tracks that distill an equal amount of decades in the studio. They are undeniably straightforward yet difficult to pigeonhole. It is clear Neri is aware of current trends and, at times, might even throw them a little nod - but overall, his music escapes easy temporal classification. On the "Club Voyage EP", he aims at the brash and brazen yet keeps the pace lighthearted. When the results come buttressed with the type of technical prowess at hand, it is hard not to get sucked into the adventure. "Teller Mood", charged with a fierce bassline, boisterous drums and jittery arps, is a slab of electroshock production. The track comes complete with extra motivational vocals to drive the point home, and when it arrives at its most stripped parts, instead of toning down, an alarm-like lead emerges. "Schelter's Sounds" features an FM bass and gently modulated, slow-attack synth embellishments. It is a set-up that allows for catching a breath until a grandiosely introduced portamento-heavy patch cranks things up a notch again. On the other side, the delayed and flanged percussion of "Tenax Roots" forms the ideal conditions for ominous synth work and robotized vocals; a theme that could have been lifted from a giallo flick completes its suspenseful, hypnotic ambience. "Move Tokyo Inputs" starts with another salvo of invigorating percussion. Amidst subtly evolving formant basslines and several risers, the tune directs a tweaked deadpan vocal sample to take center stage, showcasing how, in the right hands, the sparsest source material can be turned into a showstopper."

Congratulations, Electro connoisseur! You are about to enter the Electrifying Dojo. A place where Sifu pdqb and Sensei Rolando teach a transcendental, one-of-a-kind neo-futuristic martial art that does not use hands but something far more delicate and powerful: MUSIC.

Blending martial discipline with the art of electronic music is something deeper, something that no words can properly describe. The skills you will be taught here are feeling music, embodying it. pdqb and Rolando believe that true harmony comes when the mind, body, and soul are united in the sounds that vibrate through the air.

The sounds of this first lesson are soft at first, almost imperceptible. But then they grow into a delicate, trembling melody that fills the room with an emotion that is difficult to place. It isn’t sadness, nor is it joy, but something in between. The more you listen, the more you will be aware of something strange: tears will fall gently, silently. They are not forced, nor are they out of sorrow - it is simply because the music feels so beautiful. Your deepest emotions will be triggered, every note will carry out an old truth, a secret truth, buried deep in your heart.

Another quality drop from Synaptic Cliffs. 4 dark and beautiful signature-style Electrocognition journeys from pdqb, playful with a modern twist while still remaining loyal to its roots. And on the flipside: two stunning, classic Rolando remixes, each with the potential to be the crowning moment in the club.

Modularz is proud to welcome back Venezuelan-born, Buenos Aires-based producer Michel Lauriola for his second full-length release on the respected American techno imprint. A rising figure in the global underground scene, Lauriola has consistently earned acclaim for his raw, immersive sound—an aesthetic rooted in precision, intensity, and emotional depth. With this new release, he further refines his unique sonic identity, presenting a gripping body of work that blends driving, hypnotic rhythms with a bold approach to sound design often described as sonic brutalism.

Each track on the 8-track release is a testament to Lauriola’s dedication to the craft, weaving together pounding drums, industrial textures, and layered atmospheres that build tension with surgical focus. His work evokes the stark energy of warehouse spaces, late-night dance floors, and the darker corners of techno culture, while still maintaining a sense of control and finesse. There is a narrative quality to the arrangement—one that guides listeners through a landscape of intensity, depth, and release.

Lauriola's return to Modularz marks a significant moment for both artist and label, as the project continues to push boundaries and elevate the label’s already rich catalog of forward-thinking techno. This release is not only a showcase of his technical skill and creative vision but also a powerful statement of where modern techno is headed: uncompromising, emotionally resonant, and undeniably physical. Whether heard in a club, warehouse, or on headphones, this is music that demands attention and rewards deep listening.

KILN return with an opulent new display of hue and swing on Lemon Borealis , a sumptuous
gallery of dazzling motifs that display a finely hewn concoction of visual tones and vital pulse.

Across its 12 cuts, this collection utilizes a fresh process of condensing immersive sprawl into compact, punchy and colorful sound.
Using aspects of live performance, beatmaking and waveform sculpting, the troika of Kevin Hayes, Kirk Marrison and Clark Rehberg III create
evocative and invigorating dioramas, continuing to surprise and enchant listeners after over thirty years into their collaboration.

Deep in waves of Hi-meets-Lo Fi, KILN delivers a panchromatic daymark arranged to biochemically align and stimulate your personal syntax, forging
a tapestry of sonic reveries ranging from the aquarium-on-fire radiance of DrnkGrlfrnd, a garden groove of field-recorded percussion in
Maplefunk Diptych, to the sizzling guit-noise whiteout of Deacon Rayhand.

Their eighth album, and first for A Strangely Isolated Place, on Lemon Borealis, KILN expands upon the long-explored themes of mosaic
texture, subtle melancholy, eroded consonance, and vivid cadence to reveal yet another aperture to their unique magnetic universe.

Lemon Borealis will be available on 12” Transparent Ochre Smoke vinyl and digital on July
18th. Mastered and cut by Andreas Lupo Lubich, and featuring artwork by KILN.

2018 repress of this highly limited heavyweight classic. Clatterbox is no joke! Regular pressing black vinyl... don't sleep!

During the mid-nineties, David Kempston secured himself a considerable following while recording releases for the seminal UK labels Clear and Evolution/Universal Language. He went on to produce music under various guises including the solid house sounds of Cartel Productions and his darker electro alias Clatterbox.

Tuesday The Sky's origins could almost be considered accidental. Guitarist Jim Matheos, famed for his work with progressive metal giants Fates Warning alongside projects such as OSI and his collaboration with John Arch, Arch/Matheos, penned a few songs that did not fit in with any of his established outlets, and intrigued by this, decided to write more and see where this took him. The result was 2017's Drift, a record that drew influence from the likes of Brian Eno, Sigur Ros, Boards Of Canada and Explosions In The Sky, and now he returns with its successor, The Blurred Horizon.

Koichi Tsutaya's pseudonymous project "Kerenmi" has announced that the full album "Interchange", released on November 20, 2024, will be released on vinyl!

Tracks on the album include "Sekai feat. Moto from Chilli Beans. & Who-ya Extended" which was used as the commercial song for the Honda VEZEL "Adult feat.
Avu-chan from Queen Bee & Ryuhei from BE:FIRST" a collaboration long awaited by fans, in which Avu-chan himself appears in the music video, which has
become a hot topic "Namae wo Wasuretamama no Anohi no Kodou feat. Kazunobu Mineta" the theme song for the movie "Angry Squad: Civil Servants and the
Seven Swindlers" as well as "Interchange" "Join my band feat. Skaai" "Border line feat. Azsagawa" "Fuzoroi feat. Yuuki Tani & Hitomi from Atarayo" "Tokyo Kimi
Ga everything feat. Tatsuya Kitani & Kai Kubota" "Boy feat. asmi & imase" "Ketatama feat. Mori Calliope" "Oboro feat. Chiaki Sato" "RE:interchange feat. Kohd"
and "Otona feat. Mayuu Yaginu from Chevon" All 13 songs featuring such fabulous artists as have been released on vinyl!

Das 2014 erschienene Debüt-Studioalbum White Noise von PVRIS hat sich in den USA über 100.000 Mal
verkauft (und bis heute über 300.000 Exemplare) und hat Fans auf der ganzen Welt in seinen Bann gezogen. Mit fast 250 Millionen Streams in den USA markierte das Album den Einstieg der Band in die Welt.
Jetzt, nach über 200.000 verkauften Tonträgern (über 600.000 Äquivalente bis heute) kehren PVRIS nun
zu ihren Wurzeln zurück.
Die Jubiläumsausgabe von White Noise wurde im März 2025 in digitaler Form veröffentlicht und enthält
Spiritbox’s Courtney LaPlante auf der äußerst beliebten Single „My House“. Die Neuauflage des Albums
enthält außerdem
Die Neuauflage des Albums enthält außerdem zwei neu bearbeitete Versionen von Songs aus der Originalversion, „Fire“ und „Mirrors“, sowie eine Live Version des Hits „You and I“. Die Jubiläumsausgabe von
White Noise ist ein Muss für Szene-Veteranen und Sammler

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

For the fourth release on her celebrated record label Uppers and Downers, Dr.Rubinstein returns to the producer's seat with Take This Pill, a new 3-track EP that showcases the dynamic, ever-widening range of her signature acid sound. Lacing lively dancefloor cuts with a dose of personal storytelling and a playful yet honest take on mental health, Take This Pill delivers on Rubi's distinct ability to honor classic rave sensibilities while also always imparting her own unique twist.

The title track journeys from dark, acid-laced electro breaks into a shimmering wash of euphoric synths, energized along the way by drumrolls, hoovers, and a vocal refrain repeatedly voicing the Doctor's prescription: "Take this pill!" More than just a nod to classic XTC bangers, "Take This Pill" explores the emotional spectrum of neurodivergence and the pharmaceutical pathways many embark upon on a quest to "fit in," mirroring the lived experience of internal struggle giving way to external composure.

Things shift up a few gears on track two, the aptly-titled "No Brainer," a relentlessly energetic, no-nonsense stomper designed with the soul purpose of making you move. The track features sidewinding Goa-tinged acid lines swirling through a hard trance kick scape adorned by with soaring strings and shimmering cymbal rolls.

The EP concludes with a gorgeous, melodic rave-infused cut that shows a more tender, reflective side of Rubinstein's repertoire. Referencing one of Rubi's favorite tunes, The KLF's iconic "3 AM Eternal," diaphenous ambient vocals soar over a melancholic acid ballad that, never to be taken too seriously, is punctuated by humorous woops and cheeky rave whistles.
With Take This Pill, Dr. Rubinstein invites listeners into her world-one where vulnerability, humor, and acid rave euphoria collide. A perfect addition to her label's growing catalog, Take This Pill upholds the mission of Uppers and Downers: to collect and circulate timeless, tried-and-true tunes that celebrate the uplifting, affirmative power of rave music.

Wiederveröffentlichung des zweiten Milkshakes-Albums als schwarze Vinyl-Stereo-LP! ,Vom eröffnenden Raspeln von ,SEVEN DAYS" bis zu den ausklingenden Tönen von ,WO' NOW" geht der rasende Beat weiter. Sogar die ruhigeren Tracks sind mit dem unverwechselbaren MILKSHAKES-Branding versehen, was darauf hindeutet, dass THE MILKSHAKES die unbestreitbaren Anführer des World Beat sind!", heißt es hier. Nach dem imaginären internationalen Erfolg ihres Debütalbums ,Talking Bout...", und der 45er Single "It's You" c/w ,Please Don't Tell My Baby" beschlossen die Milkshakes, das wenige Geld, das sie noch hatten, für einen weiteren Longplayer zu verschwenden. Das Ergebnis war das clever betitelte, wenn auch etwas prahlerisch klingende ,Fourteen Rhythm & Beat Greats". In der Tat, wenn man die Augen schließt und den Plattenspieler ausschaltet, könnten alle 14 - zähle sie (wenn du das nächste Mal deine Augen öffnest) - fein gearbeiteten Stücke auf dieser LP fast als ,großartig" bezeichnet werden, je nachdem, wo du musikalisch stehst. Mit Live-Favoriten wie ,Black Sails In The Moonlight" und ,Red Monkey" war der allgemeine Konsens, dass dies das bisher beste Werk von THE MILKSHAKES sei (fragt sie selbst). Das muss zum Teil stimmen, denn das renommierte Londoner Label Big Beat Records fand das Album gut genug, um es auf seinem eigenen renommierten Label Big Beat wiederzuveröffentlichen - und das gleich zweimal. Aber das war vor über 40 Jahren, also versucht bitte, eure Begeisterung zu zügeln und bildet eine geordnete Schlange... obwohl, je schneller sie ausverkauft ist, desto eher kann sie - wieder einmal - nachgepresst werden. Bassist Russ Wilkins erinnert sich an die Aufnahme der LP: ,Die Aufnahmen fanden in Herne Bay in Oakwoods zweitem Studio statt. Ich glaube, ich war gerade mit den Prisoners dort gewesen und hatte "Taste of Pink" aufgenommen. Ich benutzte meinen Framus Star Bass und fing gerade an, einen Fender-Bassverstärker zu benutzen, der mich im Studio im Stich ließ, also musste ich einen AC30 Top verwenden, der ziemlich verzerrt und nicht das war, was ich wollte, aber wir mussten damit arbeiten. Man kann es bei "No-one Else" hören, das bei den Proben großartig klang. "Can You Tell Me" war der Beginn des Strippings, bei dem wir versuchten, so minimal wie möglich zu sein, und ich schaffte es später, es auf nur zwei Noten zu reduzieren. Es gab natürlich auch die Wall City Version der Platte, die von Hansi Steinmetz in Berlin herausgebracht wurde - mit einem andersfarbigen Logo auf der Vorderseite. Da sind auch viel mehr Backing Vocals drauf. Ich denke, dafür muss ich etwas Verantwortung übernehmen. Es wurde eher wie die vorherigen Pop Rivets-Alben aufgenommen, indem wir uns alle zusammen in einem Raum aufstellten und live spielten, mit sehr wenigen Overdubs, abgesehen von dem einen oder anderen Solo. Wir haben noch ein weiteres in dieser Art gemacht und dann die Richtung geändert, als wir die sieben Alben an einem Tag oder was auch immer veröffentlichten." RUSS WIILKINS, MAI 2025

Magic Mountain is the fourth studio album by American rock band Black Stone Cherry.

The album debuted at No. 22 on the Billboard 200 chart, selling 13,000 copies in the U.S. in its first week of release. It debuted in the United Kingdom at No. 5.

Produced, engineered, and mixed by Joe Barresi (Melvins, Queens of the Stone Age), this 15-song set unabashedly reflects the band’s biggest influences -- Lynyrd Skynyrd, Led Zeppelin, Cream, and Whitesnake
-- but places them in a 21st century post-grunge, hard rock context.

Magic Mountain assembles all of BSC’s strengths cohesively.

From swaggering blues-metal of opener “Holding on... to Letting Go” to closing track “Revolutionize”. Magic Mountain comes close to the kind of excitement Black Stone Cherry generate live, and showcases their most refined songwriting skills.

Magic Mountain is available on vinyl for the first time ever as a limited edition of 1500 individually numbered copies on gold & purple marbled vinyl. It contains no less than 2 bonustracks & has revised artwork.

Bruch once again proves to be a grim and bighearted crooner and multi-layered genre-bender between repetitive pulsating electronic music and brilliant organ minimalism, between destructive rock'n'roll and world-embracing pop. Bruch is Philipp Hanich's alter ego as a music producer. Born and raised in Munich / Germany, he has been living and working in Vienna / Austria as a visual artist and musician for 20 years now. He is equipped with a long pedigree of DIY-counterculture, gathered since the early 2000s whilst touring with different bands, creating off-spaces and co-running the labels Totally Wired Records (2012-2016) and Cut Surface (since 2016). The Harbour of the Broken Hearted (THOTBH) can be a state of mind, ramshackle but transcendent. Oscillating between the repetitive pulses of electronic music and organ-orchestrated minimalism, Bruch throws out comforting loops of sound just like fishing nets, that suck you into his stories unwaveringly. His evocative and unadorned vocal style adds to Bruch's depth, soul and sincerity. Drifting and driven amidst uplifting gloom. At times, solemnly striding against foggy and dogmatic black-and-white-thinking, rearing up in opulent resistance, then again just hopelessly beautiful and achingly wistful. Occasionally, Bruch's laid-back observations can also end in a wild ride. By introducing The Crusher, Bruch enters the harbour with full sails of self-reflexion - and we realize, sometimes it's all just about having to endure yourself. Or_ is it all about love? In the end, each and every of THOTBH's songs turns out to have a cathartic quality. Bruch's THOTBH might not be a safe space, but it accepts us as we are. With our doubts, our own frailties and our shortcomings. No need for embarrassment within the fragile. No need for shame and fear in expression. No need to shy away from creating something beautiful. You better learn to spell ,Sehnsucht" - as it turns out to be the everlasting keyword!

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

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

3kelves and Dylan C. Greene unveil their debut EP, THEY'RE NOT GONNA KNOW, a four-track blast of high-energy, filter-heavy disco house released on their San Francisco-based label C3DO Recordings. Inspired by early-2000s sample house and modern club energy, the EP opens with ISSINME, a hard-hitting disco cut with soaring string melodies, followed by SOGOOD, a slow-burn synth tool built for extended sets with a twist in the back half. SLIDE brings blistering uptempo energy and big chorus vocals, while FORYOU closes the project on an emotional note, celebrating the duo's journey so far.

Blues-rock titan Joe Bonamassa is back with Breakthrough, his powerful new studio album dropping July 18th.

Produced by longtime collaborator Kevin Shirley (Iron Maiden, The Black Crowes, Journey) and co-written with Grammy-winner Tom Hambridge (Buddy Guy, ZZ Top, Lynyrd Skynyrd), Breakthrough captures Bonamassa at the height of his creative powers. Expanding his signature sound while staying true to the deep blues roots that launched his storied career, the album promises raw emotion, blistering guitar work, and fresh sonic twists.

With over 50 albums to his name and an unprecedented 28 #1 Billboard Blues Albums, Bonamassa proves yet again that he's not just keeping the blues alive--he's driving it into the future.

* In April the European tour starts.
* Joe Bonamassa has sold well over 4 million records worldwide and has had 20+ #1 Billboard Blues Albums
* Joe Bonamassa has been featured on the cover of virtually every guitar magazine multiple times. His name is notorious among guitarists not only for being a virtuoso, but also for his incredible collection of vintage guitars, gear and memorabilia.

Tracks: Breakthrough / Trigger Finger / I'll Take The Blame / Drive By The Exit Sign / Broken Record / Shake This Ground / Still Walking With Me / Life After Dark / You Don't Own Me / Pain's On Me

We all knew what was on the line before ever setting foot in the studio to record Gone For Good. “Grow or die” had become our mantra. We had endured a four year hiatus (2018 - 2022), reconciled our personal grievances, re-established the band to our original fanbase and beyond, and grew from a trio to a four-piece. It was clear to us that not only was change going to be a constant presence in our lives and careers, it was the fuel that kept the fire lit. To us, Gone For Good is a record from a band that finally arrived at who they wanted to become after 15 years of searching. In an ever evolving industry that seems to deliver countless new artists that are fully realized, perfectly sculpted, we cast a line of hope that there is still room for a band with a story of becoming.

The Last Revel's 5 previous studio albums give listeners a roadmap; hints and clues to who we are now. Gone For Good continues our story in the most powerful way. It's a challenging thing to do to be 15 years into a grassroots career of self-released music, self-promoted touring, and truly believe that we hadn’t written our best songs yet. That there was something deeper down in the well. Gone For Good is the manifestation of this belief and the songs reflect this with stories of sacrifice, courage, love, faith, and self-reflection. We called on Dave Simmonett of Trampled by Turtles to produce Gone For Good for two reasons: one being that Dave’s deeply personal and prolific songwriting career is a testament to the fact that a good song can move mountains.

Two being that we knew having someone involved that we admired so dearly would bring out the best in us. No one wanted to show up to the studio and show Dave a song they didn’t truly believe in. Working with Dave at Pachyderm Studios in Cannon Falls, Minnesota over the course of 4 days was a powerful experience. Dave encouraged us to record everything live, together, in one room. The result being a sound we were searching for throughout our entire careers. It's just us; no studio magic to hide who we are. As a band we are the most proud of this record because we earned it. The countless hours working on our craft, the years touring, the work it takes to go on, it all shows up on Gone For Good. Whatever happens next belongs to us.

"Crack" ist radikale Reduktion - Für das zweite Album hat die Berliner Band alle Differenzen und Summen weggestrichen und im Proberaum ein Punk-Album eingespielt, das keine weiteren Genrebezeichnungen braucht. DIY wird hier nicht als Gimmick, sondern als alternativlose Notwendigkeit verstanden - "Crack" entstand ohne Studio, ohne Produzent und ohne Ahnung. SEXBEAT interpretiert Punk geschichtsbewusst mit weitgefächerten Einflüssen, die von Oblivians über Suicide bis hin zu Hot Snakes reichen. Klanglich orientiert man sich am 90er-Jahre-Sound des Dischord-Katalogs: Bass und Drums drücken nach vorne, Gitarre und Gesang kotzen sich dazwischen aus. Die Songs klingen mal stark fragmentiert und mechanisch, mal detailliert ausgearbeitet, aber immer direkt und unverblümt. Textlich geht es um alles, was nervt: kaputte Politik, kaputte Gesellschaft und all die kleinen kaputten Dinge in einem selbst. Referenzen reichen von Gordon Solie Motherf**ers ("Give them a dirty floor for a stage. A five bucks show and I'm stoked for days") bis zu George Orwell ("Four legs good, two legs bad"*) - und am Ende muss sogar Grammy-Preisträger Beck herhalten, denn über allem steht: "You make me wanna try crack".

Marco Faraone is the latest artist on DCLTD imprint with his ‘Open Your Eyes’ four tracker. 'Open Your Eyes': the title track combines roiling fast techno beats, with pizzicato 'plucked string' insistent, subtly dominating monotone strand throughout, all peppered with a deep male vocal command - 'concentrate', until the big breakdown's drop is heralded by female voice 'open your eyes' and a fast ride to the satisfying end. Uncompromising and invasive in the best way. 'Enigma': the techno beats ride alongside a resonant synth melody with an 80s vibe, hypnotic and upbeat, counterpointed by a touch of melancholy in the intruding high synth notes in the breakdown. A deep, danceable techno track with emotion baked in.

'Convert The Energy': Fast and dark, with a whomping beat, metallic percussion, and a repeating monotone phrase stealthily gripping the hearer, while urgent, deep male layered vocal riff - 'convert' - becomes a layered, processed vocal delivery of 'machine designed to convert energy', emphasis suitably on the last word. 'Haze': a stotting fast drum beat and hissy hi-hats underlie a repeating melodic synth phrase with a noughties trance feel, crescendoing into a plangent, almost-piano sound, punctuated by single notes like trumpet calls, clattery or jangling intrusions, mysterious and intriguing.

Since his first self-released album in 2017, Anders Buaas from Larvik has really made a name for himself in the prog-rock scene. He has previously played in several renowned Norwegian bands, worked as a producer, and was a touring guitarist for Paul DiAnno (Iron Maiden) and Tim Ripper Owens (Judas Priest). The new Anders Buaas album "Trollringen" is loosely based on and inspired by the novel of the same name by Norwegian author Sigurd Hoel - a historical saga, murder mystery and domestic tragedy inspired by a childhood discovery of an executioner's block used in the beheading of a murderer in 1833. On "Trollringen", Buaas has included songs with with lyrics and vocals for the first time. "All the songs were written between 2019 and 2025 without a concept in mind but fit the narrative of the story well. It is up to the listener to connect the dots. As I mainly focus on instrumental music, my main love and musical venture, I had some songs with vocals and lyrics that were unused. This was the time to fit them into an album. A live string section is also new to this release, as well as the use of soprano saxophone on the title track." He has brought in several internationally renowned vocalists to interpret some of the compositions on the album, including Tanya Wells, Tim Condor and Miriam Kjolen.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time shnatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single "Wakare no Kotoba"-its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to "parting words" in English, the self-described "anti-love song" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Ravi, Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time shnatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single "Wakare no Kotoba"-its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to "parting words" in English, the self-described "anti-love song" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Ravi, Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

Betty Harris (born 1939, in Orlando, Florida) is an American Soul Singer with a reputation that far exceeds her commercial success of the 1960s. Her recordings for the Sansu record label are highly sought after by fans of both Northern and Deep Soul.
In 1964, Betty Harris switched record labels from Jubilee to Sansu, a New Orleans label, where she was introduced to and produced by the legendary New Orleans producer Allen Toussaint. Her recordings with Sansu produced 20 singles. Of those, only "Nearer to You" charted (Billboard Hot 100 # 85), an atmospheric, dramatic soul ballad, now considered one of the milestones of deep soul. However, practically all of her recordings for Sansu featuring Allen Toussaint's raw yet sophisticated Southern Soul arrangements are considered prime specimens of the classic soul era. Notable recordings include "I'm Evil Tonight"; “Show It”; "I Don't Want To Hear It" and "Twelve Red Roses", favored among Northern Soul fans, plus "Can't Last Much Longer" and "What'd I Do Wrong".
In 1969 her Sansu recordings were compiled into a U.K. album—Soul Perfection—now highly prized around the world and reissued here in its original form for the first time.

Ursprünglich für den RSD in UK exklusiv, Restmenge jetzt überall erhältlich.

Auf weltweit 1.000 Boxen limitiert, remastert sowie mit bearbeitetem Artwork ausgestattet - diese Boxset-Edition beinhaltet 5 farbige 180g-Doppel-Vinyle (inklusive D-Seiten Etching)!

Masterpeace (1999): Dieses Album markiert die triumphale Rückkehr von David Wayne am Gesang und verbindet den kultigen Metal Church-Sound mit einer modernen Produktion. Tracks wie "Sleeps With Thunder" und "Into Dust" strahlen rohe Kraft aus und machen dieses Album zu einem Meilenstein für Fans des traditionellen Heavy Metal.

The Weight Of The World (2004): Nach einer langen Pause meldete sich Metal Church mit Ronny Munroe am Ruder zurück. Songs wie "Leave Them Behind" und "Madman's Overture" unterstreichen die Unverwüstlichkeit der Band und zeigen eine neu belebte Energie, die ihren Platz im Pantheon des Metal bestätigt.

A Light In The Dark (2006): Dieses Album ist eine Hommage an die Vergangenheit und ein Schritt in die Zukunft. Es enthält Hymnen wie "Mirror Of Lies" und eine gefühlvolle Neuaufnahme von "Watch The Children Pray" Es fängt die Essenz von Metal Churchs Fähigkeit ein, ihre Wurzeln zu ehren und gleichzeitig neues klangliches Terrain zu erkunden.

This Present Wasteland (2008): Ein sehr nachdenkliches und intensives Album mit Tracks wie "Deeds Of A Dead Soul" und "Breathe Again", das persönliche und gesellschaftliche Themen mit eindringlichen Melodien und treibenden Rhythmen verbindet. Es ist ein herausragendes Kapitel in ihrer Karriere.

Generation Nothing (2013): Dieses Album ist eine Rückkehr zu den Heavy-Metal-Ursprüngen der Band und liefert modernisierte epische Hymnen. Songs wie "Scream" und der kraftvolle Titeltrack "Generation Nothing" spiegeln eine Band wider, die tief mit ihrer Vergangenheit verbunden ist, sich aber gleichzeitig entschlossen nach vorne bewegt.

Masterpeace (1999): Dieses Album markiert die triumphale Rückkehr von David Wayne am Gesang und verbindet den kultigen Metal Church-Sound mit einer modernen Produktion. Tracks wie "Sleeps With Thunder" und "Into Dust" strahlen rohe Kraft aus und machen dieses Album zu einem Meilenstein für Fans des traditionellen Heavy Metal.

The Weight Of The World (2004): Nach einer langen Pause meldete sich Metal Church mit Ronny Munroe am Ruder zurück. Songs wie "Leave Them Behind" und "Madman's Overture" unterstreichen die Unverwüstlichkeit der Band und zeigen eine neu belebte Energie, die ihren Platz im Pantheon des Metal bestätigt.

A Light In The Dark (2006): Dieses Album ist eine Hommage an die Vergangenheit und ein Schritt in die Zukunft. Es enthält Hymnen wie "Mirror Of Lies" und eine gefühlvolle Neuaufnahme von "Watch The Children Pray" Es fängt die Essenz von Metal Churchs Fähigkeit ein, ihre Wurzeln zu ehren und gleichzeitig neues klangliches Terrain zu erkunden.

This Present Wasteland (2008): Ein sehr nachdenkliches und intensives Album mit Tracks wie "Deeds Of A Dead Soul" und "Breathe Again", das persönliche und gesellschaftliche Themen mit eindringlichen Melodien und treibenden Rhythmen verbindet. Es ist ein herausragendes Kapitel in ihrer Karriere.

Generation Nothing (2013): Dieses Album ist eine Rückkehr zu den Heavy-Metal-Ursprüngen der Band und liefert modernisierte epische Hymnen. Songs wie "Scream" und der kraftvolle Titeltrack "Generation Nothing" spiegeln eine Band wider, die tief mit ihrer Vergangenheit verbunden ist, sich aber gleichzeitig entschlossen nach vorne bewegt.

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

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

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

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

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

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

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

For two decades, Trad Vibe Records has been exploring and celebrating the many facets of hip-hop, funk and soul music, always driven by a passion for authentic, organic sounds. Founded in 2005, this independent French label has made its mark on the underground scene with cult releases, transatlantic collaborations and a loyalty to vinyl culture. In 20 years, Trad Vibe has brought together beatmakers, MCs and DJs around a musical vision that is both timeless and audacious. To celebrate this anniversary, the label unveils a limited vinyl edition of 300 copies, a veritable digest of its musical universe.

Side A kicks off with "Boom Bap Introduction", a track mixing jazz and boom bap in a characteristic old-school instrumentation by DJ Vince.
This is followed by the West Coast energy of DJ King Flow & Lex Lakaiser on "Money".
The soulful groove of Moar, Raashan Ahmad and Kohndo explodes on "Stand Up (Soul
Train Mix)".
Juliano concludes the side with his blues-inspired "Nothing or All".
The B-side kicks off with the classic “Rock It Feel The Groove”, a funky bomb orchestrated and scratched by Dee Nasty, a historic figure in French hip-hop.
Moar and Raashan Ahmad return with "Sky High", a track reminiscent of the golden age of 80's Disco Rap.
Followed by LS Brigandes with the sensual "You Make Me Feel", bathed in New York, Hip-Hop, Soul and Jazzy influences.
To round off the album in style, DJ Clyde concludes with a positive message on Boom Bap sounds and Lofi with “More Love”.
This anniversary compilation is available on vinyl only, in an ultra-limited edition of 300 copies. A must-have collector's item for fans of polished beats and authentic vibes.

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