Cerca:eman

30th anniversary of a milestone Acid and Deep House.
Remastered from the original tapes, new original full cover, 180 gram vinyl, insert with the words of Emanuele Luzzi aka Onirico.
A classic: nothing more to say.

Dublin producer Lukey has his finger firmly on the pulse of the sounds emanating from Berlin and London’s newly awakening dancefloors, as proven by this stellar debut for Carpet & Snares’ LAB series. Contemporary club music is all about opening up the space between genres and filling it with something at once referential and new, and this EP is no exception.

Other Worlds Vol. 1 effortlessly blends house, techno, electro and breaks into a mature sound world that’s both tight and expansive, funky and tough, contemplative and right down to business. Get moving with Vol. 1, and watch out for Vol. 2 coming soon!

Continuing to make 2020 their own Tropical Disco are back with four tracks of joyous dancefloor fervour in the shape of Volume 19 of their well loved vinyl series.

The EP see’s a welcome return for the outrageously talented and regular contributor to the label Phased Groove. He is appearing alongside a debut for the equally revered Ziggy Phunk and a welcome return of Vagabundo Club Social on a release which is completed by a dynamite collaboration between Kikko Esse & Emanuele Del Carmine.

This is an EP punctuated by the jazzy flourishes that we have come to love from Tropical Disco which sit perfectly alongside a prodigious selection of disco edged funk.

Phazed Groove’s ‘In Motion’ is the perfect opener for this ever so stylish collection. Its dashing groove packs in everything from subtle guitar licks and disco flutes to gentle keys and an ever so sensual breathless female vocal which has likely beamed in directly from the 70’s. It’s a track which belies its laidback notions and is deceptively energetic. Expect this one to be played everywhere from Miami pool soirees to Mediterranean boat parties in the coming months.

Danish artist Ziggy Phunk has seen his star rise rapidly over the last couple of years on the back of a series of sublime releases. His track here ‘Vibes of Nola’ is as captivating as anything that he has produced to date. Built around some incredible keys its funk infused bassline gives it some genuine dancefloor guile.

Over on the flip Kikko Esse & Emanuele Del Carmine’s ‘Funky Tranky’ brings to mind some of Masters at Works jazzier moments as Nuyorikan Soul. Built round some wonderful live bass guitar playing its layers of sumptuous guitar and brass are a joy.

Closing the EP is an essential Latin-edged dance-floor gem in the shape of ‘Calabao’ from Colombia’s irrepressible Vagabundo Club Social. Acidic bass notes and filtered vocals add the grit here. It’s a track which you can expect to be ubiquitous on in the know dancefloors across the tail end of 2020.

Yet again Topical Disco raises the bar ever higher for contemporary disco.

Support across Mi Soul & House FM.

There must be something in the air just now over in Italy with a steady stream of brilliant disco and house releases emanating from the country. Of all artists doing the business recently DJ Rocca has definitely stood out as being behind more than his fair share of incredible music.

Rocca is a veteran of the scene producing since the 1990’s. Recently he has had stand out tracks working with some of the key artists of the scene including Dimitri From Paris and Daniele Baldelli. There have also been a huge number of solo projects and remixes for everyone from Blaze to Andrew Weatherall to Soul Clap. It’s a varied and expansive list which shows the depth of his production skills.

His latest release a three track EP ‘Journey to Kizimkazi’ comes courtesy of one of the stand-out labels of 2019 in Samosa Records. This one is heavy on the Afro Disco feels with Combo Rox, Ju Ju Jackie and Kuma Rox all coming from slightly different angles of the genre.

Lead track ‘Combo Rox’ is peak-time hands-in-the-air disco goodness. Huge brass hooks cruise next to a bounce of a bassline, ever so funky guitars, smooth keys and a monster vocal hook. This is a track with everything in needs to cause a serious dancefloor commotion.

On the flip ‘Ju Ju Jackie’ combines a much heavier percussive drum line with multiple percussive motifs, it’s a track which will take no prisoners. Yet more off the wall vocal hooks merge perfectly with the carnival atmosphere of the percussion and some crazy brass licks. A unique and exciting track.

Last up is Kuma Rox a deeper hypnotic groove of a track, warm tribal vocals, smooth keys, a sparse but hooky bassline and brilliant percussion give this one a real timeless class.

Another top of the class release from Samosa.

What if we took you back to your untroubled teenage days, when all seemed complicated and easy to reach at the same time That is exactly what Cassius managed to transpose in 15 Again: a carefree music, coloured by some deep songs; like an emancipated soul, but always tormented. The hit 'Toop Toop", sampled by Madonna or David Guetta, among others, and the intense 'La Notte' illustrate perfectly this state of mind of the youth. Pharrell Williams is present on the song 'Eye Water", a beautiful ode to our planet and its natural resources, and Cassius has got further exciting surprises for you. We're releasing their third album once again for this summer, a real shot of freshness to relieve you from the heat!

FUMU christens the promising new label Return To Zero (RTZ) with »Funeral Rites on Planet Saturn«, the surrendering sophomore album from Nigerian artist, self-described »negro-producer«, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai.

LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via »Smooch Soundsystem Live at The White Hotel« for Second Born (Kop-Z, Porter Brook), and »DOGTOOTH. And Other Such Tales of the Macabre« on The White Hotel’s HEAD II outlet.

While earlier works engaged with the mania, joy, and paranoia of this impossible experience, »Funeral Rites on Planet Saturn« arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation.

»This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.«

The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: graphic depictions of the cycle of life from conception through death. As the sound of her Hardanger d’amore encountered the walls and these slowly emerging scenes, they obscured its point of origin in both time and space, augmenting its own life cycle. The experience sat in the back of her mind over the next several years as she developed her own patient style of composition and performance, one that comes into full bloom on her new album I grow accustomed to the dark.

When Warpeha was selected as an artist in residence at Brooklyn’s ISSUE Project Room in 2025, she saw it as an opportunity to more intentionally explore how her music might fill a room with ample natural reverb. I grow accustomed to the dark documents two single-take solo performances for Hardanger d’amore and voice at IPR, with both pieces composed in a unique tuning system developed to interact with the space itself. Listeners can trace resonance from the contact of the bow on gut strings into the body of the instrument, its five sympathetic strings offering another layer of refraction, before the sound is thrown about the cavity of the room. The echoes emerge like a photographic double exposure, or wisps of smoke that linger in the air, creating ghostly harmonic convergences that blur the line between what is there and not-there. Sound begins to act like light, a synesthetic alchemy that transforms drones into beams and ornamental trills into flickers.

Both side-long compositions, “filament” and “visual purple,” exemplify a duality that animates Warpeha’s music: an expressive, individualistic style that draws on extensive knowledge of her instrument’s history in folk traditions, and an austere, devotional quality maintained by focus and precision. Though very different in character and structure, both pieces evolve slowly through numerous repetitive phrases, passages of stillness, and bursts of intensity. “filament” opens with a cycle of delicate melodic fragments played and sung around a drone before blossoming into an outpouring of swooping arpeggios, harmonics flying from the strings like sparks off a bonfire. The disorienting pulsation of harmonic beating forms the core of “visual purple,” the close-tone dissonance building to a swarm of open strings ringing boldly throughout the space. After the knotty tones reach their climax, the piece collapses into studied quietude, hushed, but without any drop in intensity.

When Warpeha first visited the Vigeland Museum in 2019, she was in Oslo to deepen her relationship to the Hardanger fiddle through the study of Norwegian traditional music, which is primarily passed down aurally. The experience of learning songs by ear, not only internalizing the tune but also absorbing the techniques and tonalities by listening, was a crucial step in her development as a composer. The years since have seen her sharpen those skills as a prolific member of the New York avant-garde and improvised music communities. Warpeha’s music encourages listeners to join her in this journey, to listen closely with each repeated phrase and through each dramatic shift. Like the frescoes on Vigeland’s walls, with time and intention, the depth of I grow accustomed to the dark comes on like a revelation.

Yet another solid gold modern reimagining of the mighty Loleatta Holloway, this time her infamous 1977 smash 'Hit & Run' goes under the knife and is tweaked to devastating effect by 2 of Chicago's finest modern day editors - Jamie 326 & Cratebug. Anyone with even a passing interest in Disco or House will be more than familiar with these 2 guys names. Having edited and remixed numerous cuts in their own original ways, they take this all-time Salsoul classic and strip it right back to the essence, to the very basics, and in the process create a total dancefloor weapon. This edit originally came out a few years ago (2013) on a compilation that showcased the new wave of contemporary talent emanating from the Windy City and naturally it was one of the cuts that stood out, finding favour with a wide variety of DJ's across the board from Motor City Drum Ensemble, Todd Terry, Jeremy Underground Paris, Theo Parrish and more. Drawing comparisons with Paperclip People's anthemic 'Throw' from 1994 in the way it snatches a killer loop from 'Hit & Run's' bassline, 'Hit It & Quit It' is a monster, a record you'll literally play over and over and over again, a relentless Disco juggernaut that oozes power. It made perfect sense for this legit single-sided reissue 12" to come out on Salsoul Records, the home of Loleatta Holloway's finest material and all of her classics. This limited reissue has been made in conjunction with Jamie 3:26 & Cratebug and Salsoul Records, 100% sanctioned and lovingly re-presented for your dancing pleasure. This one is HOT. Sleep at your peril!

Repress!

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark.

Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground and after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega and many more. Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.

Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City. A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from DJ Sneak, Wamdue Project, Louie Vega (Sole Fusion), Essence and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020. Happy birthday Strictly Rhythm!

One Believer, the Elektra debut by the late bluesman John Campbell, was outside of virtually every trend on major labels and in pop at the time. Other than Chris Whitley's Living with the Law, it was the only roots record issued on a major label in 1991.

A deeply atmospheric record full of subtle shimmering organs and warm guitar textures that accent the dreamy spooky side of the blues more than the crunchy stomp and roll that Campbell was known for in the clubs and displayed on his follow-up Howlin' Mercy. Tracks like "Angel of Sorrow," "World of Trouble," and "Wild Streak" offer shimmering ambient textures from which the blues emanate from the ether. Campbell was living and working in New York and his music was certainly influenced by that late-night environment. These are beautiful songs, tempered in shadow and restraint while baring their teeth at all the right moments. On "Couldn't Do Nothin'," "Devil In My Closet," and "Person to Person the roadhouse magic comes out. The album's last two tracks "Take Me Down" and the title track are menacing in their conviction and creepy swampy in execution.

One Believer is available as a limited edition of 750 individually numbered copies on blue vinyl and contains an insert.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

»Rosacea« sounds as strange and demented as all the previous albums by this Norwegian one-man project (on Feeding Tube and Ultra Eczema). But it sounds right. Just like he claimed in a recent interview about his untraditional approach to writing songs: »I just make stuff until it sounds right«. It sounds absolutely right in fact.

As puzzling and lunatic as he may seem, yet a sense of order emanates from the idiosyncrasies featured on this album. Ghédalia Tazartès is a cursory reference. Especially on »Carmelade«. However, the spectrum of sound and compositions on »Rosacea« manage to actually transcend the late French eccentric composer and singer.

Goose Bumpsis Hutter's second solo release and was produced by Hi-Style Records's Jimmy Sutton (JD McPherson, Pokey LaFarge, The Bellfuries). Sutton assembled an all star cast of musicians, including Alex Hall (engineer, drums) and Joel Paterson (guitar). Almost all recording was done live at the analog Hi-Style studio in Chicago. Bonafide contemporary rock star JD McPherson wrote "Everybody's Valentine" for Hutter; it could easily find its way into the next Bond film. Emanuela's influences draw from disparate historical musical threads like doo- wop, German punk, and classic country. From the balladry of "Monday Morning" to the punk-surf rock of "The Voices," Hutter's original songwriting shines throughout. Goose Bumpsis a must listen for fans of modern rock with a classic twist

After 8 years, 2 albums on BureauB and different small releases RVDS comes back to his roots and releases these 3 Acid Bangers:“Too much Acid” which has 4 TB303 Basslines in one match, which can remind on some Emanuel Topp tracks, then there is the Acid Electro track “Schluckauf” (Hiccup) which expresses hiccups in sounds, the last track “Acid Busline 242” is very soulful and has recordings of the busline 242 in London.

The new 012 series opens with “Waveform Studies”, a project that brings together fresh talents on the platform, merging their visions of bleep and hypnotic techno through an interplay of deep and raw frequencies. To launch the EP, label head Claudio PRC sets the tone with “Pulse”, a deep and immersive techno journey, followed by the haunting and mesmerizing soundscapes of “Vacuum” by French DJ and producer Eman. Next, Italian artist Riccardo De Polo contributes “Aseptic”, a raw, hypnotic, and minimalistic techno banger, which seamlessly leads into the spacey and dreamy textures of “Voluta” by Venezuelan-born, Berlin-based DJ and producer Isabel Soto. Finally, emerging artist Leo Cologna closes the release with “Sinus”, a digital bonus that fully embodies the spirit of this compilation. The graphic design and visual aesthetics is curated by the Berlin artist Medas, adopting the light drawing technique, reflecting the rigor and abstraction of the sound and emphasizing the essence of the musical content.

All tracks are written and produced by the respective artists. Artwork by Medas. Mastered at Incidence Studio.

TWINS from Dresden, Leipzig, and Berlin present their second album in a particularly antiquated format: the LP in the truest sense of the word. Eight songs that are actually one. Without noticeable boundaries. Musically fragmentary, yet consistent and coherent. An album from which no song can be easily extracted; at least not without partially losing its actual effect in the process of separation. All components of the album need each other in a certain way, and it is precisely this peculiarity that gives rise to its musically emancipated strength. "it"s_complicated" is an album like a strange, brittle radio play amidst idiosyncratic post-hardcore, math rock, screamo, noise, and indie elements. A journey of musical possibilities.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

–

"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.

Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.

For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.

The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.

Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.

Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.

By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.

This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music."

Thurston Moore, London, 2025

"Visual artist, musician and composer Satch Hoyt will release a new 10” vinyl album, Un- Muting, on 3 October 2025 on newly minted record label traza, run by Andrea Zarza Canova and distributed by Honest Jon’s Records. This album is the first to document Hoyt’s ongoing, long-term project of un-muting historical African instruments held in Western museum collections and includes his composition: Un-Muting Beyond Misspelt Borders.
Originally commissioned by Nottingham Contemporary for the exhibition Your Ears Later Will Know to Listen, Hoyt’s composition invites listeners to engage with what he calls ‘sonic restitution’, a performative challenge to the silent confinement of instruments within Western conservation standards and ethnographic museums, awakening and celebrating the hybridity, resilience and creativity of the transnational African diaspora.
The composition began with a recording session in October 2023 at the British Museum in London, where Hoyt was granted access to a selection of African instruments held by the British Museum’s Department of Africa, Oceania and the Americas. In the presence of curators and conservation staff, he played the instruments without written scores, responding instead to their physical and sonic presence.
The recordings were then further developed in Hoyt’s studio, combined with additional performances on both African and Western instruments from his own collection."

For Hoyt, un-muting is both a creative and political act:
"To Un-Mute is to gain access into ethnographic museum collections where I play and simultaneously record the abandoned ancient African musical instruments. These restituted recorded motifs and rhythms accompany my live concerts and recordings. Un-Muting is also concerned with the chapters of patriarchal and racist supremacy which accompany the instruments’ abductions, vehemently opposing the current continuum of this supremacy, its ongoing colonial expansion and continued capital extractivism. It remains focused on the retention of spiritual belief and stalwart visions of liberation leading to eventual global emancipation and self-realisation."
- Satch Hoyt, June 2025

The 10” vinyl record includes a newly commissioned text by critic and scholar Tavia Nyong’o.
The album will be released on vinyl and digital formats on 3 October to coincide with the opening of Satch Hoyt’s solo exhibition Satch Hoyt: Afro-Sonic Mapping Chapter 4 at KARST Plymouth.

Ancient African instruments: Trumpets (Kuba), Sanzas (Chokwe, Lega, Kongo, Yao), Ilimba (Nyamwezi), Whistles (Chokwe, Luba, Pende, Bambara), Talking Drum (Yoruba), Slit Drum (Kuba, Yaka, Tetela, Songye), Bell (Tetela), Rattles (Yoruba, Luba, Bamileke, Pende) and Flutes (Kuba, Kongo, Mossi, Bambara)

Western instruments: Flute, Electric Flute, Roland Handsonic, Synthesizers, Glockenspiel, Wooden Xylophone and assorted hand percussion

Composed, arranged, produced and performed by Satch Hoyt
Engineered and co-produced by Dirk Leyers
Recordings of musical instruments held by the Department of Africa, Oceania and the Americas at the British Museum by Adam Laschinger
Studio recordings of African instruments from Satch Hoyt's collection by Dirk Leyers
Uncredited Female Chant on wax cylinder recording by Karl Edvard Laman (c. 1910), held by the Berlin Phonogramm-Archiv
Additional sound design and production by Call & Response Studios
Mixed by Hendrick Valera (Cali, Colombia)
Mastering and lacquer cut by Kassian Troyer at Dubplates & Mastering
Cover art: Satch Hoyt, Score #1, 2020
Design by Elisabeth Klement
Direction by Andrea Zarza Canova

Los Angeles-based duo LUCKYANDLOVE are back with their third album, evoking a new sense of art school originality, following their critically acclaimed “Transitions” album. The duo defines 'Humaura' as the atmosphere that emanates from the feelings of the human spirit void of technological control.

Blending raw analog synth sounds with driving punctuated percussion and punchy analogue bass, LUCKYANDLOVE’s music is shaped by the embers of Siouxsie and The Banshees and Bauhaus, resonant spectres carry over from synth-laden galaxies, where the needle hits the vinyl groove and Doc Martens marched to basement dance floors.

LUCKYANDLOVE is the raw sonic experiment of Loren Luck and April Love, whose music transcends genres. Their live analogue synth beats, Moog instrumentation and beautiful, harmonic vocals trigger an immediate download of fuzzy sunset synthgaze, blue-black neon darkwave, and tigerprint electro punk.

“‘Humaura’ is an action-packed, cinematic, entertaining and soulful electro-dance record full of fresh air and wide-open roads where there is more freedom to party, to be in nature, and to be our wild selves,” says April Love.

Fusing together pulsating molten kicks, abrasive fuzz-laden analog synths and sensual vocals, the anti-tech angst anthem ‘I Am Human’ is a call to take back our lives, underlining the need to reconnect with being Human before it’s too late. ‘Lonely at Night’ is a "last call" bar track about the desperate, frantic desire for human connection, building from a haunting sense of isolation to a fast-paced, climactic reunion with a crush. Elsewhere, this album features enchanting lyrics rooted in emotions from melancholy and sorrowful glom to a state of blissful trance.

This album was recorded, mixed and mastered for digital release by Grammy award-winning engineer Be Hussey (Modern English, Twin Tribes, Boy Harsher) at Balboa Studio and Catwater for the digital music, and mastered for vinyl and lathe-cut by Grammy-nominated engineer Nicholas Townsend (Weezer, Grimes) at Townsend Mastering.

Their 'Lucky + Love' and 'Transitions' albums having earning them a global fan following, US and UK tours, multiple tracks featured in the indie hit film 'Tiger Within' (Ed Asner's final performance), and wide acclaim, noting their “soulful, synthesized sound" (LA Weekly), “spectral synths and dazed-dreamy feeling” (Big Takeover Magazine), not to mention their "uncompromising and inventive sonic experiment” (The Spill Magazine) and sound that “oscillates between the asphalt synth streets & interstellar outer realms” (Impose Magazine).

LUCKYANDLOVE’s visceral, dark electro-pop appeal continues to stretch through time and space. Praise for the album’s lead track ‘I am Human’ have poured in from over a dozen countries. ‘Humaura’ promises to cement the duo’s reputation as one of America’s most vivacious electronic / synthwave acts, positioning them firmly within the lineage of artists like Phantogram, Ladytron, The Soft Moon, Twin Tribes and ACTORS.


‘Humaura’ Press:

“...In contrast to its synth-laden darkwave and electropunk sound, the song presents lyrical themes of championing the human spirit and emotions over the technological void" ~ Regen Magazine

“Moog textures and distorted synth tones weaving together like electric currents. An industrial edge that carries a dreamy undercurrent, nodding to darkwave, punk rock and post-punk influences without sounding dated" ~ Myth of Rock

"Every second and note is a meld of lava-esque incitement and beguiling melodic fixation and a breath to unpredictability and stirring fuzz hued uniqueness… a thrilling encounter" ~ The Ringmaster Review

"Layers fall into place and give rise to soaring vocals. The beautiful timbre of her voice sits over the landscapes of sound and reveal poignant lines that hit home." ~ Sound Read Six

Having worked together on his 2024 album Colours & Light, Project Gemini aka Paul Osborne joins forces once again with Wendy Martinez, French singer and composer, and also part of renowned psych-girl group Gloria on a new collaborative EP. Landing on Mr Bongo, ‘Time Stands Still / Le temps s'arrête’ is a sonic exploration that shows a shared love of the progressive music emanating out of France in the ‘60s and ‘70s and the celebrated film soundtrack composers of the time. A more melodic and romantic excursion than Paul’s previous recordings, this EP marries his richly textured, cinematic psych rock with Martinez’s captivating vocal presence.

A body of work born during the period Paul was finishing up his last LP Colours & Light, he penned an album’s worth of instrumental library-style music and had the idea of having Wendy add vocals and lyrics to a selection of them. The instrumental record got scrapped, but thankfully ‘Time Stands Still’ grew out of it.

Paul was a fan of Wendy’s work as both a solo artist and in the band Gloria, and her inclusion on the Project Gemini tracks ‘Entre chien et loup’ & ‘Extra Nuit’ showed a clear synergy to their musical approaches and sounds. For ‘Time Stands Still’ he sent over instrumental tracks one by one, with Wendy taking time to find melodies and French poetry she was happy with and returning her ideas from her home just outside of Lyon.

Drawing inspiration from French soundtrack composers such as François de Roubaix, Frances Lai and Michel Colombier, as well as French female artists including Léonie and Laurence Vanay, these productions are a contemporary love letter to this sound, not a homage. Mixing psych, folk, chanson, and French new wave, it’s music that pulls you in deeper, with groove, grit and passion at its core.

'Je n'ai plus peur' kicks things off with a sultry energy. It’s a psych-funk production drenched in attitude, swagger, and edge, which nods to the left-field side of Serge Gainsbourg’s music. Elsewhere, 'Âme contre âme' feels like the opener from a forgotten new-wave film, managing to be at both beautiful yet sinister and longing. 'The Crawler' could be incidental music from the same film, with Wendy using her voice as an instrument layering the backing track as Paul's bass takes centre stage. The ghostly spoken word of 'Ce qui est intact' echoes a funky version of what the Théâtre du Chêne Noir d'Avignon may have recorded.

A transportive journey ‘Time Stands Still’ is nostalgic yet new in the same smoke-filled breath. Fuzzed-up guitars and driving basslines meld with folk-leaning organs and mellotron vibrations to give that eerie, otherworldly edge. All of which are seasoned by the sensuous, layered vocal tones of Wendy Martinez, alongside crisp drums from Tony Coote and considered percussive touches by Paul Elliot.

Der norwegische Saxophonist Bendik Giske steht an der Schwelle zu seinem dritten Soloalbum und kennt sich selbst gut. Mit seinem neuen, selbstbetitelten Album befindet er sich in seiner Blütezeit als Künstler: selbstbewusst in Bezug auf seine Stimme und seine Fähigkeiten, beflügelt von Kritikerlob aus allen Ecken - einschließlich zweier norwegischer Grammy-Nominierungen - und einer Welle von Zuhörern überall. Mit der Wahl von Beatrice Dillon als Produzentin des Albums - die britische Elektronikmusikerin ist eindeutig eine Weggefährtin in der Praxis des originellen ästhetischen Ausdrucks - ist ihr Einfluss unmittelbar und deutlich spürbar. Gemeinsam entfernen sie eine Schicht des Melodismus und konzentrieren sich auf Muster und Rhythmus, um eine andere Dimension seines faszinierenden Sounds hervorzuheben. Da er wieder mit Einzelaufnahmen arbeitet, ohne Overdubs, nur mit Saxophon und seinem Körper, sind der hallige Raum und der liebliche Glamour verschwunden. Für Giske kommt das Ergebnis einer musikalischen Nacktheit von ganz vorne gleich - jedes Detail, jedes Röcheln und Schnaufen ist hörbar, nichts wird verdeckt, nichts ästhetisiert. Die Leute schauen vielleicht weg, wenn es nicht so schön ist, aber was übrig bleibt, fühlt sich präsenter und stärker an. Es ist konfrontativ, verlangt mehr Aufmerksamkeit, aber durch seine Körperlichkeit - man kann seinen Körper in der Musik hören und fühlen - versetzt es einen in einen Flow-Zustand, irgendwo zwischen Ekstase, Hochgefühl und spirituellem Erwachen. Es ist sehr menschlich, aber es gibt auch eine starke Spannung - die es immer geben wird, wenn man um Existenz und Gültigkeit kämpft - elegant illustriert durch Florian Hetz' eindrucksvolle Fotografien des Künstlers zu der Veröffentlichung. Zum Teil ist Giske von Judith Halberstams The Queer Art of Failure inspiriert. So sehr er auch von seiner Ausbildung und Teilnahme am Umfeld des Jazz-Konservatoriums profitiert hat, führte ihn sein Weg doch weit über dessen Grenzen hinaus. Die Arbeit an diesen neuen Erkundungen mit seinem Instrument war ein zehnjähriger Prozess, in dem er das, von dem er wusste, dass es letztlich nicht passte, abstreifte und das klangliche Territorium seiner gelebten Erfahrung fand. Daraus entstanden Systeme, die Studien von Tempo und Proportionen ermöglichten, ein Ausgangspunkt für einen immersiven improvisatorischen Ansatz, der jahrelange musikalische Erkundungen abbildet. Es ist der Klang von sozialer Emanzipation durch den meditativen Puls und die Geschwindigkeit der Zirkularatmung und den Tanz des Körpers, insbesondere der Finger, der Zunge und der Lippen. Giske weiß, dass Musik ein mächtiges Werkzeug sein kann, um Menschen zusammenzubringen und Ideen zu finden, und die Langlebigkeit seines Projekts ist vor allem ein Aufruf zu Fürsorge, Zusammengehörigkeit, Geschichtenerzählen und der Fähigkeit, sich für eine gemeinsame Sache zu versammeln. In aller Ernsthaftigkeit ist BendikGiske ein Vorschlag für Wahrhaftigkeit und Existenz, ein Raum für jemanden, der sein tiefstes Selbst ausdrücken kann.

Michael Mayer became obsessed with Erik Luebs, an American producer based in Osaka, after stumbling upon his independently released music on Bandcamp.
Luebs’ talent for creating high-energy, minimalist acid techno with impeccable, futuristic sound design swiftly earned him a regular place in Mayer’s sets. It was only a matter of time before Luebs made his debut on Kompakt’s Speicher series with this highly versatile EP.
‘Riding the Blade’ opens the four-track EP, showcasing Luebs’ signature punchy psychedelia. ‘Scarlet Viscera’ features a sleek, minimal groove that is reminiscent of the genre’s heyday in the 2000s. ‘Transform Into Glass’ emanates blissful Detroit vibes, and the EP closes with a real bang: ‘Sucked Through Tube’ creates a frenzy on the dance floor without the need for a single kick drum.
If you like your techno sexy and forward-thinking, there’s no way around the man from Osaka. Play it loud!

Seit 1989 liefert Desaster ihren eigenen unheiligen Mix aus extremem Metal ab - 2025 kehren sie mit Kill All Idols zurück. "Churches Without Saints war ein typisches Desaster-Black-Death-Thrash-Album, Kill All Idols etwas vielfältiger", erklärt Gitarrist und Gründungsmitglied Infernal. "Natürlich steht es für unseren klassischen Black/Thrash-Stil, aber diesmal hört man auch unsere Punk-Wurzeln deutlicher."Kill All Idols ist das zweite Album mit derselben Besetzung - live und im Studio zeigt sich, wie gut die Chemie stimmt. "Unser Drummer Hont ist live ein Wahnsinniger, privat ein ruhiger Typ. Technisch ist er uns fast überlegen - wir haben überlegt, ihm die Finger zu brechen, damit er sich anpasst!", witzelt Sänger Sataniac. Zum Albumtitel sagt Sataniac: "Alle 'Vorbilder' - ob politisch, religiös oder wirtschaftlich - verfolgen nur ihre eigenen Machtinteressen. Der Titel ist eine Einladung, selbst zu denken. Aufgenommen wurde wieder im eigenen Proberaum mit ihrem Live-Mischer Janosch Gensheimer. Gemischt und gemastert hat Greg Wilkinson (Autopsy) in Kalifornien. Infernal: "Wir wollten testen, wer unseren Sound 2025 am besten umsetzt. Greg hat uns einen neuen Klang gegeben, der zwar etwas untypisch ist, aber perfekt passt. Mit dem Ergebnis sind wir selten so zufrieden gewesen.

On the first full-length album under the FERN moniker, drummer Paul Seidel serves his dark poetry with deceptively catchy tunes and chunky grooves you can step to. Balancing between the emotional experimental pop music of Björk and the punishing industrial rock of Nine Inch Nails, FERN explores the fast-changing nature of reality in our digital society through a filter of moody synths, painfully precise drumming, and a fearless vocal delivery.

Ghetto Cycle is the soundtrack of Charlie P’s life, set to music by O.B.F.

Meeting up with Charlie P and Rico from O.B.F in a studio is like diving into a particle accelerator operating at full speed. Lively, hyperactive, hardworking, Southend’s MC and the greatest warrior of French sound systems just can’t stay put.

Their creativity works continuously: riddims, melodies, lyrics, clip concepts and other fantasies spurt out at top speed. These common traits allow them to produce explosive collaborations, both on stage and in the studio.

After the success of the singles “Dub Controler” and “Sixteen Tons of Pressure”, the launch of an album became self-evident. Coming from a modest background in a remote London suburb, Charlie P has been through a lot before understanding that his passion for music could be a vehicle for emancipation. It is this life trajectory, punctuated by difficulties, pitfalls, hard work, encounters and challenges that he tells through the tracks of “Ghetto Cycle”.

Conceived as a concentrate of joint influences, this album gathers tracks in the purest digital dub vein, but also reggae, dance or downright grime. A new stage in the development of their collaboration.

I envision this music as emanating from a moon inhabited by otherworldly life forms and ecosystems; these sounds as evoking the moon’s topographies, beings, lunar rivers, and strands of light — as if this moon’s essence were itself sonic, vibrational matter.

Musically and acoustically, Strands Of Lunar Light departs from a set of tones corresponding to a confined harmonic series segment of a very low fundamental frequency: 5.15 hertz. Through twelve continuous sections, each employing various methods of activating openly tuned guitar strings, the music is sculpted from the twenty-four pitches corresponding to harmonics 24 through 47 of this fundamental frequency.

At times, the natural second (octave) harmonics of the open strings are activated and introduce a secondary, octave transposed version of the original harmonic series segment, doubling the fundamental frequency to 10.30 hertz, and thereby revealing a brighter vibrational realm.

As a consequence of the rational pitch relationships integral to harmonic series of tones, these two sub-audio fundamental frequencies (pitch wise existing two and three octaves below the E-string of a double bass, respectively) can be heard in the music as the frequencies of the interference patterns produced by the simultaneous sounding of any pair of adjacent tones in the respective sets of tones.

These interference patterns, of 5.15 or 10.30 hertz (depending on the octave of the tones produced), are perceived as even pulsations occurring with varying degrees of clarity over the course of the piece.

I imagine these fundamental frequencies and their related harmonic tones as the elemental components of a moon, and this music as offering a glimpse into its vast lunar-sonic existence.

Fredrik Rasten, August 2024

Wegen der großen Nachfrage: die DAG-Tradition der Picture Discs wird auch mit dem neuen Album fortgeführt! 39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlicht eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? PSYCHOTIC MUTILATION! Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. Hellbilly ist zurück! Dies hier ist die limitierte Picture Disc-Vinylversion, in ausgestanztem Sleeve und ohne Poster.

Bulbous Monocle focuses its lens further into the legacy and archives of the Thinking Fellers Union Local 282. These Things Remain Unassigned—a phrase coined by Brian Hageman, one of the band’s musical snake appendages emanating from its Medusa crown—is presented as a double LP (gatefold jacket with a twelve page libretto). It gathers together the band’s singles, compilation tracks, outtakes and never before released gems encompassing the arc of TFUL’s musical corpus. Every track has been surgically remastered by Mark Gergis (Porest / Sublime Frequencies / Mono Pause) with his signature craftsman approach. This collection is an auditory and visual feast. The extensive booklet included features band ephemera, concert flyers, photographs, and commentary about each track from Mark Davies. Beyond the rare singles and unreleased tracks from the TFUL archives, are cover versions from such disparate artists and composers as Ennio Morricone, Krzysztof Komeda, The Residents, The Shaggs, Caroliner Rainbow and Pérez Prado. “…In addition to these compilation one-offs, there were also a few studio recordings that were never quite completed or released. Throw in an alternate mix or two and the handful of singles that came out on various labels over the years, and you end up with what I feel works well as its own body of work, a bunch of adopted oddballs that somehow fit together as a family. I hope youʼll agree with me that these things are now no longer unassigned, but part of a somewhat cohesive whole, stitched together into something mysterious and glistening.” —Mark Davies (2023)

Syz launches his new label Vitalizm with VTLZM001, a 4 track sure-shot from its founder of wily club rhythms mutated anew through adventurous construction and intuitive dancefloor nous.

Club rhythms for the soul; a nourishing manifesto for the rave, and for Syz a vital spark through which energy and groove emanate. A prolific producer with a beloved back catalogue, he is no stranger to the sounds that embody the propulsive nature of UK club rhythms. Vitzalizm though is a new venture, his inaugural label founded on the promise of showcasing new and varied developments along the Syz sonic journey. It’s a wide-ranging ethos informed via a complex web of influences that continue to make afresh of club music, while also paying homage to the culture of yesteryears with small vinyl runs and limited lathe-cut dubplate specials.

On VTLZM001, the label’s inaugural release, its founder gets right to it. Down & Twist steps first with an all-round sexy affair, a 2 step mover that swivels deftly on its latin inclinations while updating the early 00’s garage template with fwd> attitude. Next, Bakayadaskunka writhes as a complex beast, busy through the broken beat while its tactile low end purrs and throbs within. Fidget goes faster, a tribal wonderland that pumps giddy yet nimble across its myriad of basslines. The Lizm sees us off, a supple percussive playground which swings playful and loose amongst a livewire of subs, weightless pads and a faint dub echo.

A succinct dancefloor statement of intent from Syz, and an exhilarating beginning for Vitalizm.

Debut album from French producer Sweetzak, half of the duo Rue des Garderies (whose album was acclaimed by some of the specialist media in 2024: Album of the Year by Inverted Audio ; Juno ; World of Echo ; Soundohm ...). An ambient epic of complex textures, sculpted with emotion and intuition.



Zach writes his dreams, his grand inner music emanating directly from his soul and offering it to the world, guided by his intuition.

Nine abstract, ambient, and celestial tracks, evolving with his sensitivity, conducted like an intimate orchestra, revealing his landscapes and skies.

Sweetzak takes us on a journey within himself and questions our emotions in this first album with complex textures, like a glimpse into what moves him.

Macht euch bereit für das lang erwartete, brandneue Album "Psychotic Mutilation" von DEMENTED ARE GO! 39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlicht eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. LP als 180g Vinyl, Glanz-Cover & A2 Poster, CD als Digipack. Diese Version hier ist klassisch schwarzes Vinyl!

Macht euch bereit für das lang erwartete, brandneue Album "Psychotic Mutilation" von DEMENTED ARE GO! 39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlicht eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. LP als 180g Vinyl, Glanz-Cover & A2 Poster, CD als Digipack. Diese Version hier ist klassisch schwarzes Vinyl!

Macht euch bereit für das lang erwartete, brandneue Album "Psychotic Mutilation" von DEMENTED ARE GO! 39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlicht eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. LP als 180g Vinyl, Glanz-Cover & A2 Poster, CD als Digipack. Diese Version hier ist klassisch schwarzes Vinyl!