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California mail-order mystic Master Wilburn Burchette was first known from his ads, hidden in the back pages of Fate Magazine, Beyond Reality, and Gnostica News. On his 1972 sophomore album, Burchette channels dreamy early music, druid folk, electric fingerstyle, psychedelic balladry, and new age ontology to create a visionary guitar technique all his own. This faithful reproduction includes the original 12-page full color instruction book for the secret method of piercing the psychic heart.

This 15-track project cements BigXThaPlug's status as one of hip-hop's most authentic and compelling voices. Executively produced by Bandplay—the mastermind behind "The Largest"—alongside longtime collaborators Tony Coles, Charley Cooks and others, Take Care offers a raw and unfiltered reflection of BigXThaPlug's rise to stardom. The album showcases his electrifying energy while exploring new sonic territories, all while remaining true to his signature sound.

BigXThaPlug's artistic evolution is evident in his lyricism, a masterful blend of melodic instrumentation and commanding beats. Drawing inspiration from the sounds of '70s and '80s hip hop, Take Care features a powerful tracklist that includes viral sensations "Mmhmm,” and “Change Me,” along with fresh tracks like "Lost The Love," "2AM," and "The Story of X." Throughout the project, he crafts an innermost narrative that speaks to his journey, proving that success hasn't clouded his vision or altered his core values.

The album announcement arrives with a compelling trailer and the launch of pre-orders, igniting anticipation among BigXThaPlug's devoted fanbase. Masterfully directed by creative director TreySoulss, the intimate trailer features his grandmother's voice guiding viewers through precious family footage and pivotal moments, revealing the forces that shaped his meteoric rise. This project not only promises to further establish him as a leading voice in hip-hop's new generation but serves as testament that his success is no fleeting moment—it's the foundation of an enduring legacy.

Enko full EP ! A superb sound with a superb cut !
BIf is da Multiplan again !

Introducing ''Sleek Vibra,'' the debut vinyl EP from Alessandro Gramaccioni (AFM), a compelling young Italian artist whose unique sonic vision has been forged through his involvement with the Amen Rave collective and a previous digital EP on Lapsus Records' CEE imprint. This powerful six-track offering for Adepta Editions sees AFM expertly fuse and reimagine a spectrum of genres, weaving together IDM, rave-oriented sounds, bass music, techno, and Afro-Arab rhythms. The result is an immersive sonic tapestry, where memory and tangible form converge into a cohesive audio-tactile experience. ''Sleek Vibra'' invites listeners on a futuristic journey through shadowy sonic landscapes, where the mechanical relentlessly intertwines with the organic. This intense sonic declaration holds nothing back, painting a vivid and uncompromising picture of sonic annihilation in its wake.

»Imagination Creates Reality« returns in powerful form – reimagined, remixed, and ready for the floor, featuring four amazing artists – Italo Brutalo, Kafkactrl, The Black Chamber and Parand – each bringing their unique vision to the sound.

LP - First Pressing in White Color Vinyl - Limited to 150

Includes: Gatefold. stickers + poster (60cm x 60cm) + download code

5 Years, All Ears, All Heart. Fifteen years ago there wasn't a grand plan, no vision board or 10-year strategy. It wasn't about fame and acclaim, it has always been about feelings and encounters. Meeting people who made music, loved music, were music. Fast forward a bit and the family just kept expanding. It wasn't just producers and DJs anymore, designers, writers, random hype people, "vinyl faced" ones... Everyone brought something different to the table and somehow, through our filter, it took us here. House, Jazz, Techno, Experimental, it didn't matter. The only rule was that the music had to feel alive, with a Jazzy twist, where "Jazzy" means a propensity to improvisation, not just music. This is not a story about numbers or streams. It's about people and places. Every track has a face behind it: the producer who turned a three-note loop into gold, the designer who nailed an album cover in one chaotic night, the heads who spun the story for the release and the friends who supported and listened. That is the soul of Apparel Music and that's why the cover for this "B-Day15" isn't gleaming or shiny, it's real. It's a celebration of encounters. The messy, magical moments when people connect and make something bigger than themselves. It's a big THANK YOU to all the characters who hopped on this ride. This record, dropping in both vinyl and digital formats and featuring artists from all over the world, is the symbol of the Apparel Music essence. From the USA with Osunlade to Australia with Erin Buku & Inkswel; from Denmark with Ghosten (featuring Francesca Touré and IZZY NU) to Italy with 2KS and Kisk; Argentina and Brazil with Eduardo and HNQO (with Collateral Lab), Spain with Tuccillo, Germany and The Netherlands with Marcel Vogel & LYMA. It's about exploring genres, diving into far-off worlds, being curious about other places, other people and figuring out how to make them all feel comfy under the same roof, chilling in the same room. A room we've been furnishing for a while with our little treasures, some fancy furniture, some not-so-fancy, but always with passion. There's more music to make, more stories to discover, more people to meet. Apparel Music is not just a label anymore, it's a big, instinctive, unplanned love letter to everyone who's been and who'll be a part of it. 15 Years, All Ears, All Heart.

BPitch Berlin setzt die Erweiterung seiner Klangwelt fort und präsentiert die neunte Ausgabe von WE ARE NOT ALONE, einer 12-Track-Compilation, die eine Brücke zwischen verschiedenen Formen und Rahmen schlägt, die von einer echten Liebe für den Underground zusammengehalten werden.

Jede WE ARE NOT ALONE-Compilation ist ein Beweis für die stilistische und genreübergreifende Vielfalt, die BPitch ausmacht, und bietet einen Einblick in verschiedene Subkulturen und verbindet Künstler aus aller Welt mit einer gemeinsamen Vision. Von Acid bis Industrial, von EBM bis Trance - Genrebezeichnungen verpuffen und machen einem Gefühl Platz, das jedem Künstler die Möglichkeit gibt, seine eigene Interpretation einer Energie zu dokumentieren, die das Label und die Veranstaltungsreihe seit ihren Anfängen getragen hat. Verspielt wie immer, ohne dabei den funktionalen Kern von Techno aus den Augen zu verlieren, ist WE ARE NOT ALONE pt. 9 ein Versuch, ein Gefühl zu dokumentieren, und eine wichtige Momentaufnahme einiger der aufregendsten Stimmen der elektronischen Musik.

Markantonio returns to vinyl with Radici, a bold statement that dives deep into his origins, both in name and sonic identity. This four-track EP marks a pivotal moment in his artistic journey, bridging the raw energy of early techno with his signature funky groove-driven approach.

A vital force in shaping the Neapolitan techno identity since 2001, AnalyticTrail now takes a new step in its evolution with the release of Radici. Markantonio, the label's founder and one of Italy's most influential techno figures, makes a striking return to the forefront. This release doesn't just mark his comeback to vinyl, it reflects a renewed connection to his roots and a forward-thinking vision that continues to drive the underground movement.

Opening with Welcome to Disco, the A-side sets the tone with an infectious rhythm, pulsating basslines, and shimmering synths that light up the floor with hypnotic flair. Rising Dutch talent Isaiah delivers a bold reinterpretation with his Rework, injecting a darker, more driving edge layered with brooding atmospheres and relentless percussion. On the B-side, the title track Radici dives deeper into tribal-infused territory, blending hypnotic loops with raw percussive energy, while Groover rounds out the EP with a stripped-back, minimalist roller designed for late-night momentum.

A must-have for techno lovers, Radici captures the essence of where it all began and where it's headed next.

A lush, energizing contemporary pop record, built on heart-swelling minimal/maximal electronic production + deep feels. Reality"s breaking and rebirth is happening, one day at a time - essential asks deconstructed and refitted in new ways. Unconventional songwriting/performance duo Sharpie Smile ride inspired waves of futurist sound art, a dreamy, ethereal vision-quest through serpentine soul-terrain. RIYL: SOPHIE, 100 gecs, Ouklou

Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

Solid red vinyl, limited to 350 copies. Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

For three seasons, Jung’s (of Parasite and Mickey 17 fame) iconic music has been essential in creating the intense atmosphere and emotional impact of the series. For this vinyl release, Jung Jaeil has exclusively compiled the best moments from three seasons of Squid Game.

On this double LP, you’ll hear Jung’s mastery of blending classical, electronic and minimalist elements to create a soundscape that reflects the psychological tension and moral complexity
of the show. From eerie piano motifs to unsettling
ambient textures, the soundtrack heightens the suspense and emotional gravity of the survival drama. Squid Game’s soundtrack not only complements the show’s gripping visuals, but also stands
as a masterclass in modern TV scoring. Jung Jaeil’s work has received widespread acclaim, cementing his reputation as one of the most visionary contemporary composers.

The third offering from Marco Passarani's Studiomaster label heralds a significant return: M.Chrome. Absent since 1994 when it debuted on Alan Oldham's Generator, this alias is resurrected to explore new sonic frontiers. While its roots subtly echo a certain legendary Detroit imprint, "Flare Rider" stands as a testament to evolution. This isn't just an EP; it's a series of compelling sonic narratives, guiding listeners through techno and house territories. Expect subtle acid inflections, deep cosmic voyages, and a powerful, melancholic harmonic core that defines its distinct planetary landscapes. Best experienced as the sun begins to rise and the vision of distant planets starts to fade!

No Drama, the label helmed by Roy Rosenfeld, reflects his musical vision and personal philosophy, showcasing artists whom Roy respects not only as innovators of new sonic landscapes but also as individuals of character. The imprint proudly introduces its third release: a two-track offering by Khen.
Known for his groovy and melodic house sound, Khen has earned international recognition for his unique style.
The opening track, Back in the Days, introduces modulated deep vocals that stamp the composition with a signature sound. Intelligent, percussive, and hypnotically repetitive, the piece maintains a poised charm, deliberately breaking rhythmic expectations through carefully crafted and precisely timed shifts.
The second track, Usual Madness, stretches the emotional range, layering buoyant basslines with arpeggiated melodies and textured and evocative background elements that enrich the arrangement with thoughtful sonic choices. As the piece unfolds, sound effects and an evolving sense of joy coalesce into a meditative structure that seamlessly weaves musical elements with emotional nuance. After a brief moment of calm, the track builds into a commanding crescendo, delivering a final, cathartic release.
Together, these two works represent an essential addition to any discerning playlist.

Francis Bebey was a visionary who explored the intersection of African traditions and global music long before it became a global trend. Born in Cameroon, Bebey's sound was an eclectic blend of his rich cultural heritage and his deep exploration of modern music, spanning genres from traditional folk and jazz to funk and electronic experimentation. As an artist, Bebey was ahead of his time, using his unique voice and instruments to forge new paths for African music to be heard worldwide. His legacy is not just in the music he created but in the way he opened doors for the global recognition of African artists, influencing generations of musicians, producers, and fans alike.

This release marks an exciting moment, as we introduce remixes of bebeys iconic productions by contemporary electronic producers, giving new life through creative re imaginings.

Tracks:

Le Grand Soleil De Dieu (Psychemagik Remix): The UK-based musical duo are known for their eclectic blend of electronic music, psychedelic rock and mystical global sounds. Formed by Danny McLewin and Tommy McLewin, the duo has carved out a unique niche within the global music scene though their intricate arrangements. Their Remixes and Collaborations have been with artists like Fleetwood Mac, Tame Impala, and Hercules & Love Affair. Their psychedelic dub remix has otherworldly qualities, with dreamy atmospheres and bouncing baselines throughout this brilliant opening track.

Guinee (Turbotito Edit): The Berlin-based DJ and producer known for his infectious blend of house, disco, and funk. With a knack for smooth, groovy beats and a deep love for melody, Turbotito's music brings a fresh, energetic vibe to the dance floor. On this track, he effortlessly re-imagines and elevates the world of Guinee to match his signature sound. A combination of a great pulsing base line, ethereal vocals and bird sound effects incorporated into the percussion makes this track an absolute stand out.

Agatha (Voilaaa Remix): Bruno "Patchworks" Hovart from Lyon is the brains behind the Voilaaa project. Fusing soulful grooves, funk, and disco with an unmistakable French touch, Voilaaa creates infectious, feel-good rhythms that blend classic and contemporary influences. In this track we find the first big hook of the album vocally, coupled with Bebey's lively humour in spoken French on top of joyous instrumentation. The smooth vocals, catchy melodies, and vibrant arrangements, bring a fresh energy to the original hit track - a brilliant homage.

Forest Nativity (Red Axes Edit): Red Axes are a dynamic electronic music duo from Tel Aviv, blending disco, house, and psychedelic influences into infectious, genre-defying tracks. Known for their unique sound, warm analog textures, and hypnotic rhythms, Niv Arzi and Dori Simao craft music that moves both the body and the mind. Forest Nativity arrives as a full circle closer, incorporating some of the most authentic African instruments such as a Balafon, an instrument similar to a xylophone and a Djembe, a hand drum central to many West African traditions. The 7 minute track is guaranteed to take you on a fascinating journey through Bebey's culture and livelihood.

Corbin (FKA Spooky Black) makes captivating, honest, and raw music that harkens back to the days when the singer-songwriter’s artistic vision prioritized vulnerability over image. The St. Paul, Minnesota native came to prominence during the rise of the SoundCloud gold rush, helping to influence the new generation of Gen Z songwriters. Songs such as the haunting portrait of addiction “Diazepam”, and his battle with insecurity and instability in relationships “ICE BOY”, showed off his ability to connect with the plight of modern adolescence. But it was the internet-breaking, classic ballad of yearning “Without You”, that inspired a generation of disaffected and abandoned adolescents, serving as a soundtrack to make the alienated feel a little less alone. He’s attracted some of the biggest names in music, featuring on songs with Chief Keef, Trippie Redd, and The Kid Laroi, among others. With his latest record, Crisis Kid, Corbin dials back the angst in favor of an intimate vocal style that sounds like he’s reading his diary from a candlelit cabin. A more polished and refined version of Corbin resurfaces as he contemplates collective suffering, generational trauma, and the quest to find hope during the bleakest timeline, offering a voice for the voiceless.

TAMTEN, the master storyteller behind the synthesizers, extends his invitation to every curious listener to ponder the same questions that haunt him throughout his peculiar career: what impacts the sound of an era? How are we shaped by what we hear and see? Do we channel our collective feelings of longing and desire for higher purpose in accord or in opposition to major historical and political forces?
On "Wschodnia Fala: The Reimagined Vision of Eastern-European Wave Music" TAMTEN takes us on a kaleidoscopic voyage through a parallel universe where the symbols and echoes of days gone by are so much more than just archived exhibits of nostalgia. Through an array of meticulous, cut & paste rearrangements, the Warsaw-based artist manages to animate yet another fantastic world of "what could be", following his more apocalyptical take on the previous LP.
There is boldness in every aspect of the release. The saga-like story unfolds evoking the excitement of seashore autobahn ride, thrills of long-forgotten discotheque nights, rush of obsessive romance and intriguing, noir-inspired drama of introspection. The analogies between Polish wave music (with nods to Aya RL, Republika, Klaus Mittfoch, Papa Dance or even Bajm) and global disco-era top chart phenomenons like Kraftwerk, Grace Jones, Giorgio Moroder and Duran Duran, could spark hour-long musicology debates. The melodies and harmonies heard on the album resemble compositions everybody knows but also sound completely new and exhilarating, just as western music clips experienced for the first time behind the Iron Curtain and then collected compulsively on VHS tapes. The feeling of the author's frenetic attempt to capture sensations, memories, artifacts and ideas never escapes the listener till the very last minute of the recording.
"Wschodnia Fala" could pass for an eerie, anonymous late 80s lost-and-found cassette mixtape unearthed on any of the Berlin Wall's sides, if it wasn't for its crystal-clear, contemporary production value and the fluent, educated use of samples ranging from bizarre and opaque to deliberately retro-pop-influenced. Those elaborate winks of the eye for those in the know are already TAMTEN's trademark and they reflect his long-standing fascination with the dancefloor anthropology rather than just the dancefloor itself. Even though never leaning towards formulaic, easy-to-mix, club-ready stompers, his ideas are still groovy enough to make anyone move.
The album strives for some sort of unattainable totality - it's a ticket to a seance, an experience, a rite. It is a chance to time travel and dance with your ancestors in a glass labyrinth on acid or to watch an 80s teenage adventure, coming-of-age, road cruising film in the cinema of your imagination with only a soundtrack provided. A "the best of" CD compilation of hits from a childhood we remember from a different timeline. A comic book sketch, a diary of an archivist, an elegy for the times that never were and a party you wish you could go to right now. The adventure is always different with another listen.
Step in. Close your eyes. Reimagine.
Embrace the wave

Just a year after her critically-acclaimed album Still, Erika de Casier returns to surprise release her fourth album Lifetime.

A sonic moodboard fully written and produced by Erika herself, Lifetime is a testament to de Casier’s singular taste—her ability to pull from the past, to curate sonic and visual references with intention, and to transform them into something uniquely hers. Thoughtfully composed yet effortlessly cool, Lifetime is an album that resonates, proving that Erika’s vision isn’t just about what she creates, but how she makes us feel when we listen.

She began dropping breadcrumbs about the record last month, Erika mysteriously putting a limited set of nameless cassettes up for sale on Bandcamp. Even with no context of what was on it, the tapes quickly sold-out in under thirty minutes and fans began to speculate new music coming. As cassette deliveries began to pour in last week, their theories proved correct. Derrick Gee streamed the cassette live on his channel and fans online began freaking out as they put the pieces together (see here and here!). That so many rushed to embrace the music before even knowing what it was speaks volumes — Erika isn’t just admired, she’s trusted, and with Lifetime, she rewards that devotion in the most Erika way: subtly, stylishly, and on her own terms.

Lifetime follows last year’s aforementioned album Still, which was named one of the Best Albums of the Year by Pitchfork, Stereogum, NPR, Vogue, Vulture and more, and features Blood Orange, They Hate Change, and Shygirl. The album took her on a world tour including a US run that included both weekends of Coachella. She also released one of the best songs of the summer shortly after in the form of “Bikini,” a track with her frequent collaborator Nick León (“Ex-Girlfriend,” “Friendly” Remix) that was named the #1 song of the year by The FADER and Resident Advisor.

Glasgow-based Effective Dreaming—the solo project of Scottish artist and musician Iain Ross—unveils Dream Catalogue Vol. 1, arriving June 21st, 2025 (Summer Solstice) via Swedish experimental label Fluere Tapes.

Issued as a limited run of 50 cassettes, each adorned with hand-worked, corroded copper sheet inserts and labels, Dream Catalogue Vol. 1 feels less like a release and more like an unearthed artefact: weathered, humming, quietly alive. The materials echo the music’s exploration of fragile impermanence and erosion: oxidised metal, magnetic tape, hiss, hum. A tactile world where sound wears its decay like a patina.

Across its length, the album unfolds in a series of flickering vignettes—drifting, dissolving, reappearing. Shaped by synths, environmental recordings, tape loops, and soft drones, the pieces move like glints of light on water—never fixed, always in motion. Achingly beautiful melodies rise and vanish, tracing fragile pathways through a landscape of shifting sensations. Some moments glow with a gentle warmth, like sunlit glass or breath on a fogged mirror. Others slip into shadow: slow, submerged passages feel closer to memory than music. The album feels loose and weightless, yet dense with feeling—a presence more sensed than held.

There is no fixed narrative here—only fragments and artefacts, half-remembered places, echoes of dreams. Each track hovers just at the edge of clarity, evoking not specific stories, but moods, textures, and the quiet drift of time. It’s music that feels both intimate and remote, like overhearing a distant signal only you can understand.

The name Effective Dreaming is drawn from Ursula K. Le Guin’s The Lathe of Heaven, where a dreamer's visions alter the very fabric of reality—past and present reshaped, histories rewritten, unnoticed by all but the dreamer himself. In a similar spirit, Ross’s music inhabits a space where memory, perception, and matter blur—where each sound carries the residue of something once real, now transformed and dissolving as one drifts through the seams of the world.

Dream Catalogue Vol. 1 is a meditation on texture, transience, and the quiet resonance of what slips away.

For listeners of: Wave Temples, Dolphins Into the Future, Guenther Schlienz"

A meeting of minds and bodies on a heady percussive trip with no clear destination, captured live at Espacio Cultural El Tanque in Tenerife. With both imaginary and lived in tropical sceneries coalescing the two units, both Tenerife's Lagoss and Kampala's Abagwagwa (aka Nihiloxica) find a common thread to disentangle cartographies. As if it was bound to happen. As it did.

Taking Abagwagwa's relentless barrage of polyrhythms as a starting point to jammin' excursions that never falter into self indulgence, brimming with ideas and spirits pulled from East African traditions, Free Jazz cosmologies, Dub tactics, urban sonic warfare and different strains of psychedelia through a vast array of drums, percussion, flutes, skewed synths, ecstatic vocals and electronic processing.Blessed with the xamanic drumming of João Pais Filipe on two tracks and feeling equally indebted to both bands' vision all the while commiting to a newfound sense of wonder, 'Island Slang' is a celebration that's truly alluring in its search for some sort of 'Universal Consciousness' - to quote Alice Coltrane - for which we're now invited to tag along. You are all welcome.

Composer Corneliu Cezar (1937-1997) was a distinctive personality within the Romanian post 1960 avantgarde: a visionary of music, a thinker and a prophet, a richly gifted artist also active with writing, poetry, painting and astrology. Cezar was an activist rediscovering the natural resonance of sound within a different historical context and he embraced the recovery of authenticity as a reaction against the artificialized culture of serial doctrines. When, after 1975 the spectral music trend became official in Paris, with much fuss and remarkable support from musicologists, nobody knew that this trend has already been practiced by a small group of Romanian composers lead by Corneliu Cezar for ten years. The four electro-acoustic pieces on this album (privately released on CD in Romania in 2000), recorded with little means between 1967 and 1975, display the incredibly strong ideas of a truly visionary artist. Everything Corneliu Cezar has done during his short earthly life bared the shade of authenticity.

Mit an der Spitze der Shoegaze-Revivalisten steht ohne Zweifel die Band TRAUMA RAY aus Fort Worth, Texas, die die Komplexität, Intensität und ausdrucksstarke Verwüstung des Shoegaze virtuos beherrscht. Seit sie 2018 mit einer selbstbetitelten EP erstmals Wellen schlugen, haben die fünf Texaner ihr Live-Set auf immer abenteuerlicheren Amerika-Touren verfeinert - sie stapeln Verstärker und verdrehen Köpfe bei jeder Show, was ihnen in kürzester Zeit eine riesige Anhängerschaft eingebracht hat. Die drei Gitarren der Band sind eine Wucht, abwechselnd wütend, wild und gespenstisch, durchtränkt von präziser Verzerrung. Das Kern-Songwriter-Duo Uriel Avila und Jonathan Perez hat die Vision und das Handwerk des Projekts erweitert und verfeinert, was nun in ihrem 12-Track-Debüt für das Label DAIS, "Chameleon", gipfelt. Abgerundet durch Bassist Darren Baun, Schlagzeuger Nicholas Bobotas und Gitarrist Coleman Pruitt, synthetisiert und transzendiert das Album seine Einflüsse, eine stürmische Verschmelzung von Downer-Hooks, apokalyptischer Schönheit und Bulldozer-Riffs. Der Name TRAUMA RAY wurde in klassischer Shoegaze-Manier von dem deutschen Wort für "Tagtraum" oder "Traumzustand" inspiriert. Avilas Hintergrund in einer frommen Pfingstgemeinde verleiht seinen Texten über Schuld, Fegefeuer und den Übergang auf die andere Seite eine emotionale Authentizität, die sich durch das majestätische Volumen der Musik zieht. "Chameleon" ist ein Meisterwerk des Handwerks, der Ausgewogenheit, der Melodie, der Lyrik und der Schwerkraft, das eine neue Vision von "Laut-Leise-Laut"-Architekturen und den schwindelerregenden Tiefen von gesprengten Harmonien bietet. Von SLOWDIVE über DEFTONES bis hin zu HUM und darüber hinaus absorbieren und erweitern TRAUMA RAY ihre Einflüsse zu einer seltenen und hingebungsvollen Alchemie. TRAUMA RAYs cineastischer Sturm ist ein sich aufbauender Orkan, der sich gerade erst zu bewegen beginnt.

High Roller Records, 180g schwarzes Vinyl, limitiert auf 500 Stück, Textblatt, 4-seitige Beilage, Poster, A5 Fotokarte, 425gsm schweres Kartoncover, gemastert für Vinyl von Patrick W. Engel bei Temple of Disharmony im März 2021. Geschnitten von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative Wiederveröffentlichung dieses ewigen Thrash Metal Klassikers!

Ein Mensch verbringt den ganzen Tag damit, eine Maschine zu bauen, nur damit sie ihn die ganze Nacht hindurch quält. Als ob das nicht schon verdreht genug wäre, gefällt es ihnen auch noch. Es gefällt ihnen sogar so gut, dass sie am Morgen verjüngt aufwachen und eifrig an der Maschine feilen, bis sie in ihrem Kopf perfekt läuft.
Dies ist die nächtliche Vision, die Cryptopsy zu ihrem neunten Album Nightmare inspiriert hat. "Hüte dich vor dem Scheinwerferlicht", warnt Sänger Matt McGachy, bevor "Dead Eyes Replete" mit einem schmerzerfüllten Breakdown vor deinen Augen aufblitzt. An Insatiable Violence spiegelt unsere toxische Beziehung zu den sozialen Medien wider, aber obwohl es unheimlich vorausschauend ist, ist das Album von den vielen Mutationen beeinflusst, die die Hall of Fame-Diskografie der Band geprägt haben. Inspiriert von einem Mukbang, der furchtbar schief gegangen ist, ist der gefräßige Opener "The Nimis Adoration" ein Sammelsurium an Blasts, Christian Donaldsons Fishhook-Riffs und einer kräftigen Portion Groove, der die Boxen zum Beben bringt.

Cryptopsy wissen, dass nicht jede brutale Technical-Death-Metal-Band lange genug durchhält, um nach 30 Jahren einen kanadischen Grammy zu gewinnen. Das Cover von "An Insatiable Violence" wurde von dem verstorbenen, großartigen Martin Lacroix gestaltet, der mit unheiligem Vergnügen über die frischen, fetthaltigen Tiefen von McGachys falschem Akkordschrei grölen würde. Ein anderer ehemaliger Sänger kehrt auf "Embrace the Nihility" zurück, um alle flüsternden Zweifel an seiner Vormachtstellung zu zerstören. Doch obwohl Cryptopsy bereits auf ihrem zweiten Studiowerk die Krone der abscheulichsten Death-Metal-Band für sich beansprucht haben, gehen sie immer noch an die Grenzen des Extremen.

Die Leadsingle des Albums rumpelt und knirscht zu Olivier Pinards schaurigen Bassschlägen - und doch erhebt "Until There's Nothing Left" im Kern den Anspruch, Cryptopsys größter Ohrwurm zu sein. Selbst Flo Mounier - der buchstäblich das Buch des extremen Metal-Drummings geschrieben hat - hat neue Techniken verfeinert, um die Blasphemie von An Insatiable Violence frisch zu halten. Zum Abschluss kommt "Malicious Needs" im Schneckentempo daher, bevor es wie eine Fledermaus in eine schwarze Rauchwolke aufsteigt.

Verbeugt euch vor der neuen Abscheulichkeit der Könige des extremen Metal.

FFO: Suffocation, Dying Fetus, Nile

'BMB x OBI' marks a new venture for the long-time instrumental powerhouse Black Market Brass. Teaming up with Obi Original, the young and visionary Minneapolis talent with a mission to share the heart of African music with the world, Black Market Brass delivers both proverbial and prophetic messages for the year to come - 'You've got to be Battle Ready!'. Inspired by the raw energy and messages of Fela Kuti and indebted to Orchestre Poly-Rythmo de Cotonou for their heavy fusion of voodoo-infused Afro-beat, Black Market Brass points in both directions towards the resurgent history of West African funk and the future of where a younger generation can lead us. These tracks are bursting at the seams with energy and force the listener to wise up and march along as soon as the drums thunder and the horns blare their first notes. The A-side, 'Battle Ready,' is what it claims: a band armed and ready to take on whatever may come. Strapped to the hilt with three drummers, this infectiously rhythmic track simmers, if not boils, under Obi's demands to mount up. The energy is high, edgy, and proves that getting nine musicians in the same room to track live captures a passion that bulldozes through anything placed in its way. The B-side, 'What You Make It,' encapsulates a musical quality that Black Market Brass has refined over its many years together, with polyrhythmic ideas you don't have to understand to know it feels good. Infused with elements of ethno-funk and classic highlife, this Ebo Taylor & Pat Thomas inspired work approaches the listener with a simple message amongst a danceable cacophony of sounds - 'Life is what you make it.' Move in 4, dance in 3, or sway in 6. Whichever you choose, choose it deliberately; the music will be there to support you.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

With this, their fourth album Black Helium find themselves widening the parameters of their take on heavy psychedelic rock, with probably their most baked and hook-laden material to date.

From the no-safety-net freak out of ‘Return the Curse’, to the sawtooth groove of ‘Up on a Hill’, ‘The Animals Are Coming’ LP is Black Helium at their most exploratory and focused.

Recorded one sun-drenched week in late June 2024, this time at Axe and Trap Studios with Ben Turner (Hey Colossus, Part Chimp). ‘The Animals Are Coming’ is the band sweating it out in a room, fueled by “party foods “and vintage amps. Digging deeper towards the source, no matter how transcendent, no matter how dark.

Black Helium are a psychedelic power trio, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia.

The band consistently gig across the UK (including a two week tour with Japanese label mates Hibushibire late 2024), and have recently started ventures into mainland Europe. And plan to continue throughout 2025.

Third installment on Raw Elegance is here. MBM delivers a new chapter for the label including 4 track crafted to shake the dancefloors in different moments of the night.
A1 “Dancebreaker” gives the name to the record: deep and focused with some tribal touches and a mesmerizing vocal.
A2 “Smash and Prey” criticizes the behavior of those who do harm and then clear their conscience, as well as the contradiction in accepting violence if it is conveyed by religion.
B1. “Empty Minds” features a vocal guest, with a mental and repetitive yet focus approach that gets the listener lost in the concept of time.
B2. “Vocaltool” closes the release, providing an energetic and muscular vibe with minimalistic and tribal vision.

An’archives present the debut album by Tokyo avant-pop duo Jyuriaano, Dreaming Glass. Consisting of Morimoto Ariomi and Cobalt, the two members of Jyuriaano have long histories in Japanese underground music. Morimoto’s history traces back to the late nineties; his nascent interests in noise collage and solo acoustic performance slowly transmuted to group endeavours, and more recently he’s performed with the likes of Akiko Toshimitsu (Usurabi), Maki Miura (Shizuka) and Doronco (Los Doroncos).

Cobalt has released a string of excellent singer-songwriter albums, many on his Poet Portraits label, which has also released material by the likes of Kazumi Nikaido, Place Called Space, Cuthberts, and moools, the latter of which he also performs with on occasion. While Morimoto and Cobalt have known each other for decades, they decided to form Jyuriaano in 2016, and since then have performed at live houses and small bars in Japan, all while slowly working together on their gentle, spirited songs.

The group’s formation story is typically playful – “It all started when we brought an acoustic guitar into the car on a rainy afternoon and started writing songs while eating Japanese sweets,” Cobalt recalls. That sense of play is important to the songs on Dreaming Glass, which vary wildly, from bright, infectious pop songs with a sixties lilt (“Dreaming Baby”, “How Close”), through slinky jazz-pop numbers (“Drawing A Nude”) to melancholy folk laments (“Erica”, “Night Window”). There’s something in Jyuriaano’s collaborative dynamic that gifts Morimoto and Cobalt a particularly open field, when it comes to their creative endeavours.

Some of this might also be down to their listening habits. When asked about their interest in Japanese folk precursors, legendary groups like Folk Crusaders and Itsutsu-no-Akai-Fusen, Cobalt agrees that they have a place in the duo’s listening pantheon, but that’s not where the story ends. “We’ve also listened to commercial folk music outside of those core genres,” he reflects, “We don’t just listen to one genre, but also rock and roll, noise industrial, punk, new wave, jazz, chanson, and more.”

You might also hear touches of groups like the forementioned Usurabi, or Maher Shalal Hash Baz, or songwriters like Kazumi Nikaido and Shintaro Sakamoto. But Jyuriaano’s songs, somehow, feel quite sui generis in the way they magic up alternative visions for pop’s possibilities. Dreaming Glass is, quite simply, a lovely, unpretentious joy of an album.

Madrid-based ensemble Sinouj fuses the deep-rooted traditions of the Mediterranean with the driving force of contemporary jazz, funk, rock and West African grooves. Their open-door vision draws in musicians from across the spectrum – from flamenco and Iranian classical music to soul and cutting-edge jazz – creating a dynamic, ever-evolving sound that is both global and unmistakably their own.

Their latest release shines a spotlight on 'Hak Dellali', a traditional North African tune that first rose to fame in the 1980s thanks to Tunisian star Hedi Habbouba and later Emirati singer Hussain Al Jassmi. In Sinouj's hands, this classic song becomes a transformative ritual, pulsing with the festive sway of Moroccan chaabi rhythm, Tuareg rock grit and the spontaneous spark of jazz. Over the years, it has consistently ignited the band's concerts into ecstatic celebration.

Backed with a psych-tinged and club-oriented remix by Berlin's Voodoocuts, with 'Hak Dellali' Sinouj continue to blur lines between genres and geographies, offering a fresh take on tradition.

Erik Rico returns to Cosmocities with The Rare Groove Project, a limited-edition EP featuring funk-heavy, soulful covers of groove gems from Matt Soulie’s vinyl vault, alongside standout remixes from Gerd, DJ Nature, and Aroop Roy.

The EP opens with a brassy, high-energy take on P.J. City’s Straight Forward, followed by Gerd’s Chicago house-inspired remix and a funkier alternate version full of disco-era charm. Rico then revamps Franklyn’s Future Love into an electrified P-funk boogie blast, while NYC’s DJ Nature turns out a synth-laced, bass-driven after-hours groove.

Rico also reworks Star Lighters’ Disco Funk into a high-impact, slap-bass purple tinged stomper, with UK house and jazz funk expert Aroop Roy rounding things out with a dancefloor house flavoured summer anthem.

Limited pressing—act fast.

The always excellent Minimal Wave presents a rare EP from Greek electronic pioneers In Trance 95 here. Alex Machairas and Nik Veliotis formed the duo in 1988 and very much helped define Greece's early electronic scene with their minimal synth and EBM-inspired sound, all of it usually marked by analogue warmth, hypnotic melodies and a futuristic sensibility. This release captures their innovative spirit and cult legacy across six unreleased tracks recorded between the late 80s and early 90s in Athens. It sounds magnificent and is a long-overdue glimpse into their visionary archive for new fans, or a fine reminder of their roots for those who have always been tuned in.

Recorded in the summer of 1978 in Manhattan's C. I. Recording Studio this rare encounter of jazz's supreme instrumentalists and individualists Walt Dickerson (1928 - 2008) and Sun Ra (1914 - 1993) became an instant cult album among the followers of Avant Garde jazz of the '70s.

The author of the newly added liner notes Neil Tesser remarks, "Nearly a half-century after the fact, Visions now stands as a milestone of free improvisation". Almost half a century ago Trevor Tolley of Canadian jazz publication Coda enthused, "This is a tremendous record...outstanding collaborations throughout this beautiful record, as well as some gloriously sustained solo passages...it is the work of two masters in the full certainty of their powers."

Sun Ra: piano
Walt Dickerson: vibraphone
Recorded July 11, 1978

Yû enters high school hoping to finally discover love. But nothing happens, even when a boy makes a declaration...

She then meets Tôko, the perfect girl of the high school, in charge of the Students' Office and who seems to be like her because she rejects all her suitors.

Michiru OSHIMA is a prolific composer, arranger, conductor and lyricist, she started her career in background music for NHK (Japanese television) and movies. Her career is punctuated with participations and arrangements for major video games such as Ico (Playstation) or The Legend of Zelda: Twilight Princess (Nintendo). But it is in animation that she writes her most emblematic compositions. She is at the origin of the music of the famous series Full Metal Alchemist, of 2 parts of Star Wars: Visions (The Elder, The Twins) among others.

With "Bloom into you", she signs a dreamlike ode that beautifully accompanies the two students in their quest for themselves

The Bug Club sind wieder da, für ihren jährlichen Termin auf dem Markt der Garagen-Rock-Macher, wo sie eine weitere reinrassige Platte anpreisen. LP-Nummer vier, "Very Human Features", erscheint kurz nach der ersten Sub Pop-Veröffentlichung der Band, "On the Intricate Inner Workings of the System" von 2024. Mit dieser Platte setzte die Band ihre Liebesbeziehung zu BBC Radio 6 fort, begann dank einer Session mit KEXP eine neue und tauchte auf den Seiten des NME auf. Gibt es noch etwas auf der Liste? Oh ja, Festivalauftritte, unter anderem im heimischen Green Man's Walled Garden, das bis auf den letzten Platz gefüllt ist. Dann Auftritte in den USA an den Orten, von denen die Briten immer nur hören. Dieses Album - eine neue Ladung typisch verspielter, riffgeladener, intelligenter Bug Club-Songs - gibt der Band einen Vorwand, ihre nicht enden wollende Tournee fortzusetzen und ihre schreienden Fans zu füttern, die dank der unermüdlichen Veröffentlichungswelle dieser Band überschwänglich und erwartungsvoll sind. Auf "Very Human Features" haben The Bug Club ihre Gewohnheit fortgesetzt, sich als ein kollektiver Geist zu präsentieren. Zwei in Einem. Selten findet man eine Band mit zwei kreativen Kräften, die eine so einzigartige, gemeinsame Perspektive, Sinn für Humor und ein Händchen für Popmelodien haben. In "Beep Boop Computers" wechseln Sänger Sam (auch an der Gitarre) und Tilly (am Bass) zwischen I's, my's und we's hin und her, als ob es da keinen Unterschied gäbe, während sie zwischenmenschliche Beziehungen und Erfahrungen in einer glorreichen Glam-Rock-Demontage der menschlichen Aspekte, auf die der Titel des Albums verweist, auf die Schippe nehmen. Um beim Thema zu bleiben: "How to Be a Confidante" macht das, was The-Bug-Club wirklich können, indem sie, wieder als zwei Stimmen aus demselben Kopf, allgemeine Aspekte unseres Lebens herausgreifen und sie lächerlich klingen lassen. Das Surreale liegt im Vertrauten, nicht im Ignorieren des Vertrauten - The Bug Club wissen das, und dieses Verständnis bildet zusammen mit einer unerbittlichen Basslinie das Rückgrat dieses Garagenrock-angehauchten Gassenhauers. Nachdem The Bug Club in den USA dank der kräftigen Garagen-Punk-Scheibe "On the Intricate Inner Workings of the System" und der anschließenden US-Tournee eine entsprechend große Fangemeinde gewonnen haben, wird die fruchtbare Partnerschaft mit Sup Pop mit "Very Human Features" noch schmackhafter. Die neue Platte ist ein sicherer und unendlich witziger Wirbelwind aus literarischem, selbstreferenziellem und gut gelauntem Rock'n'Roll. Die Band reitet auf der immer weiter anschwellenden Welle ihrer Popularität, als ob sie auf Rollschuhen schnell über den Aldi-Parkplatz in Caldicot flitzen würde. Möge es lange so weitergehen.

Das Dream-Pop-Duo Sorry Girls aus Montreal kehrt mit seinem dritten Album "Dreamwalker" zurück, das über Arbutus Records erscheint. Ihre exzentrische Mischung aus nostalgischen 70er-Jahre-Powerballaden und 80er-Jahre-Kitsch durchbricht neue Schwellen, zerlegt vergebliche Illusionen, um der Kälte zu trotzen und zu fragen, was vor uns liegt. Seit ihrer Gründung im Jahr 2015 haben Heather Foster Kirkpatrick und Dylan Konrad Obront ihre eigene Marke von üppigem, vergnügungssüchtigem Synth-Pop geschaffen. Dank ihrem Talent, persönliche Texte mit einem schrägen Sound zu verbinden, ist ihre durch David Lynch geprägte Welt frei und unheimlich. Alles scheint vertraut, eine Melodie plätschert durch eine alte Traumlandschaft, und doch ist etwas nicht in Ordnung. Die Band debütierte 2019 mit dem selbstproduzierten "Deborah", das von Pitchfork und Gorilla vs Bear gelobt wurde. Ihr temperamentvolles zweites Album "Bravo!" aus dem Jahr 2023 präsentierte einen mehr auf die erweiterte Live-Band ausgerichteten Sound. Inspiriert von Fleetwood Macs Tusk-Ära schlugen Sorry Girls ihr Lager für mehrere Monate im Two Sisters Recording Studio in Montreal auf, um "Dreamwalker" aufzunehmen. Da die Zeit knapp bemessen war, wollten sie mehr mit den Livemusikern zusammenarbeiten und schnelle und entschiedene künstlerische Entscheidungen treffen, um der Musik so treu wie möglich zu bleiben. Das Ergebnis ist ein Sound, der ernsthaft, emotional und klar ist. Verwaschene Produktionstechniken und druckvolle Basslinien paaren sich mit sanfteren, skurrilen Klaviertrillern und entspannten Drums, die das thematische Hin und Her zwischen zwei Welten wiedergeben. Die Texte spielen mit idyllischen Visionen von Liebesobjekten, Fantasien von zukünftigen Utopien und der obsessiven Sehnsucht nach einer Leichtigkeit und Neuheit, die sich durchsetzt. "Dreamwalker" ist selbstbewusst und ironisch selbstbescheiden, gefangen in der Spiegelung eines Fensters. Das Album fordert dazu auf, mutig zu sein - die Griffe aufzuschieben und ins Unbekannte zu treten. Musik für Fans von Haim, Men I Trust, Fleetwood Mac, TOPS