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Wounds is the band's long-awaited fifth album - their first in six years, their most eclectic and ambitious work to date. As heavy as it is haunting, the record masterfully blends doom, post-punk, and driving krautrock in a dynamic, hypnotic maelstrom - pushing London's most exciting cult band into intoxicating new territory. "Wounds is a series of songs about the different ways people live with and process 'the wounds' of their lives," explains vocalist Maya. "A strange celebration of that formative pain we have all experienced in some way. The loss and joy of survival - the celebration of finding others like us, the gift of knowing life comes after fire." Wounds was recorded by Mike Bew, on location at Foel Studio. The band could be found working deep into the witching hours, experimenting with new sounds and filling the valleys with cantankerous wails of sound, bursting from amps borrowed from My Bloody Valentine. "The Welsh countryside has a mystical quality to it," says guitarist Adam. "We recorded in a deep, dark valley; misty days and shooting stars at night. You could wander through nearby woods and stone circles during breaks. Foel Studios is woven into this setting with a transcendence of its own - its storied history includes sessions by Electric Wizard, Hawkwind and The Fall." Synths on the album are arranged by Berlin-based Bow Church, an influential figure in the dark electronic scene and a longtime collaborator of the band. His work weaves icy and atmospheric textures into the album's tracks. While meticulously crafted, Wounds captures the visceral energy of Cold in Berlin's renowned live shows. The album's arrangements and raucous sound remain true to the unrelenting intensity and atmosphere of their stage performances - every track retains the sweat, urgency, and immediacy of a band performing in the moment.

These gifted artists gathered, for what they knew was probably the last time, at their beloved clubhouse. That’s what these legendary southern musicians called Capricorn Studios in Macon, GA. These sought after performers had been here many times before as a part of their journey. This time they were here to record some of the best and last tunes of Tommy Talton’s life. There was sincere respect and love in that studio, for the individuals, for their talents and for their accomplishments. You can feel, hear and experience the emotions in each and every song. They gave it their finest effort for a life-long brother and it brought heartfelt joy to all that witnessed it.

Finding Ways is a new project from Sebastian Rochford (Polar Bear).

Sebastian Rochford is a singular force in British music, an extraordinary drummer, composer, and producer. His work with theiconic group Polar Bear helped redefine the boundaries of jazz and earned multiple Mercury Prize nominations. With a careerspanning collaborations with Patti Smith, Damon Albarn, Brian Eno, Adele and Grace Jones, and his 2023 ECM duo album A ShortDiary with Kit Downes, an album written for his father described as a “ quiet masterpiece” , Rochford has carved out a uniquespace in contemporary music.Finding Ways, his new major project, marks a bold new chapter for Seb Rochford. The first album focuses on the guitar, featuringamong others, the dynamic lineup of Tara Cunningham, David Preston, Adrian Utley (Portishead), and Simon Tong(The Verve,Gorillaz), exploring various combinations and layering up to three guitars at once. The result is a striking blend of jaggedexperimental grooves and raw emotional depth, with an unaffected, pedal-less sound that evokes a timeless, exploratory edge.Rochford’s music, as ever, defies categorisation—a sound that feels alive, fractured, and profoundly human, and all mixed by thesingular talent and master of sound, Tchad Blake.The title Finding Ways refers to a frame of mind he chose to adopt after multiple significant life events happening in a smallamount of time. "It’s about finding ways to keep ourselves moving forward and buoyant, transforming life’s challenges intosomething meaningful, also in a practical, everyday type of way.In Finding Ways, it’s direct, energetic music that refuses to be boxed in, a reflection of Seb Rochford's trailblazing spirit. For fansof his previous work and newcomers alike, this album is a testament to his ongoing quest to find emotional truth in sound.

Category 1 Music Sampler - Vol. 3 illustrates how the world’s most talented artists, producers and remixers come together to create great house music.

Beginning with 'I’m Alive (Touch the Sky)' featuring 2 of Chicago’s most iconic figures, Ron Carroll and Glenn Underground, it contains all of the elements that represent the ultimate Chicago soulful house production.

Shawn Christopher, another Chicago mainstay, has teamed up with the UK’s Richard Earnshaw and Ron Carroll to deliver a rousing Gospel inspired gem, 'He’s Got It'. This track will get everybody moving, whether it’s onto the dancefloor or off the sofa!

Terry Dexter’s hit, 'You Saved Me' is given a hard driving Garage infusion by UK born Marc Cotterell. It’s a fresh approach that’s been universally acclaimed. Lastly, the world-renowned DJ, Eric Kupper is the force behind Ron Carroll’s production of Aires Adora 'Magic Carpet Ride'. Eric’s big room touch is unmistakable throughout this masterful remix

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

Sometimes there are discoveries that hit like thunderbolts! Matt Pascale & The Stomps are undoubtedly one of them-and a major one at that. Everything here is simply perfect. Musically, the backbone of this album remains blues, but rock, funk, soul, and even hip-hop are never far off. The compositions flow like a string of potential hits. It only takes listening to this album once or twice for certain melodies to lodge themselves firmly in your brain. As for the performance, it"s downright incredible. Matt Pascale has a raspy voice with a "more Italian you couldn"t get" vibe, his guitar playing is a sheer marvel of precision and feel, and The Stomps are a rhythmic and groovy powerhouse capable of waking the dead. Un-be-lie-va-ble!

Due to demand (and that we zero copies of their vinyl studio album left, and only a few of their live vinyl album), we've compiled all the tracks from both (and more - see below), we're reissuing them both on a 2xCD with a 24-page booklet. Before Suicide had really made it to the West Coast, Grey Factor were working in a similar realm - early post-punk, a little before punk (as such) and proto-industrial music. Here's what the band has to say: The future is tricky - and while we may have been left behind, this is our attempt to catch up with it. We offer a double CD capturing everything we've ever recorded. The Future Arrives Without You includes the previously released vinyl LPs - 1979-1980 A.D. Complete Studio Recordings and A Peak In The Signal: Live 1979-1980_plus a few surprises, including our first new studio tracks in 45 years. Both songs are covers, Wire's 12XU and Campag Velocet's Sauntry Sly Chic, and nine more lost studio tracks. 12XU was a jolt of pure adrenaline_two minutes of perfection from one of the era's best bands, a huge influence on us. Sauntry Sly Chic, from a group few remember but we never forgot, had one of the most infectious grooves we had ever heard. We also loved their lead singer's live getup: a cycling helmet and fencing gear. Perfection. These tracks inspired us to head back into the studio after four decades away. On A Peak In The Signal, we've added nine unreleased pieces we call the In-Betweens. Created out of necessity in 1979-1980, pre-recorded and played between our live performances, these sonic interludes filled the dead space while we reprogrammed our temperamental analogue synths between songs. Absurd, experimental, audience favourites.

Ltd 10th Anniversary Edition

Limitierte Auflage auf grünem Vinyl
• Nur 500 nummerierte Exemplare
• Gatefold-Hülle
• Mit exklusiven Fotos und einem Booklet mit Lyrics
• Enthält einen neuen Brief der Künstlerin

TRON: Ares (Original Motion Picture Soundtrack)
24 neue Tracks von Nine Inch Nails: das Duo aus Trent Reznor und Atticus Ross veröffentlicht am 19.
September 2025 sein Album zum Disney-Kultfilm „TRON: Ares“, inklusive der neuen Single „As Alive As
You Need Me To Be”. Damit setzt die Band eine erfolgreiche Soundtrack-Geschichte fort: ihre vorherigen
Untermalungen zu Filmen wie „The Social Network“ (2010), „Soul“ (2020) oder „Challengers“ (2024)
wurden unter anderem mit zwei Oscars, drei Golden Globes, einem Emmy und einem Grammy ausgezeichnet. Die düstere Industrial-Handschrift Trent Reznors fängt die Stimmung der Sci-Fi-Reihe „TRON“, für
deren letzten Film Daft Punk komponierten, perfekt ein. Reznors Einfluss auf die alternative Musikwelt ist
seit den späten 80ern ungebrochen: mit Hits wie „Closer“ und „Hurt“ sowie Alben wie „The Downward
Spiral“ kombinierte das Mastermind elektronische Sounds mit Rockmusik wie nie zuvor. „TRON: Ares“ ist
die erste NIN Veröffentlichung seit fünf Jahren und liefert gleich 70 Minuten neue Musik – erhältlich ab
dem 19.09. auf CD und Vinyl.

Sex Tags UFO presents the second instalment of the non stop ongoing HOUSE music collaboration between the Burger man and DJ Sommer! Music created as house music as a FEELING!

Another four track EP smashing out some fine underground house music, all with the mix of DJ Sommers studio skills and old-school hardware approach, and the Burger man's wonky touch! The almost weekly live session recorded in DJ Sommer's studio, then arranged and mixed at Casa de Fett bare some fruits, and here is their first record!

The first track on this EP, a deep and mellow house groover, with some trippy beats and percussion that keeps it moving. Deep pad, with a light and engaging melody on top. A real house groover to start the night.

The second cut, the energy shifts! A power infused feel good house track with spacey elements, timeless and simple 909 kick, a catchy bass line, swinging hi-hats for the groove, a strong classic snap. Added with some keyboard infused organ melody, and a 303 bass line. Sparkled with some synth EFX to give it a feeling of Galaxy!

One the flip side we go back to the depth. A deep tribalistic and dubbed out house track. Simple by all means. A moving and grooving beat added with a simple but catchy pad that brings everything together! Simple, pure and groovy!

The last tune on the EP, another uplifting energy driven house track! Classic US house style, with the driving, and swinging beats to make you move. With an uplifting organ pad, and some additional party oriented flute action! A real underground party smasher!

Just as previous time, versatile, simple, raw dance floor oriented HOUSE EP made in and for the underground!

Enjoy!

Thank You For Almost Everything is the sophomore album for Headache, a collaboration between writer and poet Francis Hornsby Clark and music-producer Joseph Thornalley aka Vegyn. This new album follows on the surprise underground success of their debut: The Head Hurts But The Heart Knows The Truth (released 31 May 2023) releasing on Vegyn's own PLZ Make It Ruins label. The debut record has streamed over 19.4 million times on Spotify alone and sold over 8,000 physical copies worldwide. The debut gained its popularity entirely organically with zero marketing or PR spend. Since its release, Headache has built a dedicated global fanbase, with several fans even going so far as to get lyrics or the project's logo tattooed on themselves. Thank You For Almost Everything continues the original's distinct style of Trip-Hop / Downtempo Electronica but combining with its own unique (and now imitated) AI-voiced spoken word. For this new album, Headache steps away from the hum-drum of Blighty and instead focuses his gaze to sunnier shores. Recalling personal histories of ruffled hair and school cafeterias, ancient unsolved Albionic riddles, Rome's changing seasons and its poignant graffiti, arguments with girlfriends at luxury hotel beachfront restaurants, and what it truly feels like to be alive in this inscrutable but beautiful world. The project features a further collaboration with artist Cali Thornhill DeWitt who returns to design the packaging and cover for this new album. This double 12" vinyl release, like the first, includes the instrumental versions exclusive to the vinyl version. The album, mixed and mastered by Margo Broom at RAK Studios, will use a similar surprise drop strategy as with the first album. "Follow up to the 2023 debut that gained its popularity entirely organically with zero marketing or PR spend. "Total Streams Since Release (31 May 2023): 19,413,173 (Spotify alone) "Previous vinyl album sold over 8,000 physical copies worldwide. "2nd Disc contains instrumental versions exclusive to vinyl format

funcionário delights in the freedom of creating freeform music for the first time in his career. On “horizonte”, he loosens the reins, his sound follows a wavy, organic structure rather than a rigid, formal one. If it feels freer and more colourful, that’s because it truly is.

Eight years ago, when we first encountered his work, he was composing soundtracks for imaginary video games and crafting sonic landscapes that felt like destinations for sci-fi anime characters. With “Cavalcante” (2022), he broke away from that past. It marked a turning point, he was ready to explore a “fourth world” in both sound and concept. The feedback was overwhelming.

Three years later, “horizonte” marks another evolution. He sends us music regularly, but this album stood out immediately. It felt right: more synth-driven, more open to improvisation. As he put it: “It’s like using oil pastels for the first time and discovering new possibilities. In a way, I’ve found new ways of creating using the same colours.”

Listening to horizonte is like waking up from a dream. Again and again. The opening track, “nascer”, suggests a new dawn, but it’s in “pássaros” that the vision fully takes flight: less processed, more raw, yet still detailed and expansive.

Finding new ways with the same colours has been his quiet mission all along. What’s new here aren't the tools, but the feeling. The movement. The invitation to travel with him. You can hear - and feel - his sense of wonder. Every sound radiates joy. Every moment sparks a new thought. The music moves quickly, but breathes slowly.

Tracks like “renascer” and “o caminho do regresso” echo the spirit of late-70s/early-80s Vangelis, in deep reverence. And just as you approach the end, “fantasma” arrives - a stunning closer, reminiscent of Eno’s “An Ending”. By then, it’s clear: the “fourth world” is behind him. funcionário has moved on. To where? We’re about to discover.

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

Dream Dancing have been on the hunt for something special and find it with the return of Blueless.

On the A side, two highly sought after tracks originally released on her own Capture Records in 2007.
'Groove Me' is a stunning emotive deep tech house moment which will raise the hairs on your neck on every listen.
'OK' enters more club territory, still keeping within the soulful spectrum. Restored and remastered from Blueless' own vault.

On the B side, 'Trueness' and 'Outsounding' are both fresh from the studio, offering organic rhythms, effortlessly gliding with classy musical atmospheres and warm rolling grooves.

Almost 20 years between the productions, Blueless remains true to her unique soulful style with these much welcomed heartfelt, timeless and deep sounds.

Something old, something new, all Blue!

For the third time, they had been sent to this forsaken land. It was neither east nor west, neither north nor south. They said it had once been a kingdom, somewhere in the heart of the old continent, something they had pieced together from the ruins scattered across jagged hills sprouting here and there from the ground. Everyone else went islands, dived to the seabed, drilled at the poles, and explored waste in the east, but these two were sent here again, as if someone were trying to get rid of them, just to keep them out of the way.

What were they really supposed to find here? They wandered the land, aimless and bored, like the last bird watching from the sky. Sometimes they landed, took samples for the lab, and then caught a nap by the river bend. They avoided the hot fumes of active volcanoes. Compared to those on other planets, these were more like small, whispered fumaroles, but even so, they had to be careful.

They felt as if they had stepped into a scene from a movie they had once glimpsed. A mad and exhausted conqueror screamed and wildly flailed his arms on a ridiculous wooden raft in the middle of a raging river. It was somewhere in the south of this planet, deep in the jungle. There were many movies made on this planet, but only fragments of the reels survived, and this one quickly became iconic.

When a trumpet sounded in the distance and flooded the land with a booming murmur, when all the fumaroles hissed together, and when wind rolled in, covering the land in heavy fog, both of them knew the third expedition would not be like the previous ones.

At that moment, Kult Masek and Petr Vrba were flying over the land that was once called České středohoří.

Barac and Alex Font deliver a mesmerizing 2x12" – four deep, transcendent tracks that blur the lines between rhythm and ritual. This is music carved from emotion and space, where minimalism meets soul, and every detail breathes intention. The sonic quality is exceptional – raw yet refined, warm yet weightless. A meditative pulse runs through it all, inviting the listener inward.
Each cut is a journey, crafted with precision and soul, rich in atmosphere and unmistakable in identity. This collaboration isn't just a meeting of minds – it’s a shared vision, etched into wax. A record that doesn’t shout, but resonates. Timeless and essential. Almost 30 min Playtime, 180g 2x12inch, Fullcover print.

There is a new artist from Japan followed by the name Kakeru who is giving his Shaw Cuts debut with ãRaw CourageÒ, telling the story of an emperor besieged by an army who then entrusts his child to the Black Dragon Clan heading off to a dangerous journey.
An attempt to usurp the Ming Emperor's throne by the sinister martial artist simply known as ãold monster" and his armies results in most of the palace being massacred. ãQuagmireÒ and its vibrant percussive pattern carried by a heavy broken kick and a driving bassline help the emperorÕs infant son to escape and put in care of the Black Dragon Clan.
En route they are attacked by government forces but rescued by two knights. They prove to be a valuable addition to the party in subsequent encounters with their pursuers. ãMirror ForestÒ and its laid-back atmosphere, mysterious vocal snatches and shining pads carried by an expressive drum pattern help the travellers parrying every sneaky attack on their journey.
Trying to head to the White Dragon Clan in order to seek for help, the squad has to masquerade and take several battles, always protecting the baby in tow. The razor-sharp percussions, corrosive bass and thrashing kick of ãSwayingÒ tremendously supports the warriors in each fight.
Finally they make it to the temple of the White Dragons where they show their Black Dragon seal as a sign of solidarity. But all of a sudden the mood changes. ãBroken BubblesÒ and its menacing atmosphere built up by a monstrous sub bass, reduced but impactful drums and subtle synth elements underline the potential threat. Did they walk into a trap? Is there enough energy left for one big fight? Raw courage is vital now.

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

200 copies available worldwide.

DIIV teams with In Sheep's Clothing to release their previously digital-only 'Frog in Boiling Water' Remix EP on a limited edition white label 12". Featuring remixes from Minor Science, Mount Kimbie, Daniel Avery and upsammy.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Die erfolgreiche englische Alternative Band Florence + The Machine veröffentlicht ihr mit Spannung erwartetes 6. Studioalbum ”Everybody Scream”.
Die Band rund um Frontfrau Florence Welsh ist aus der globalen Musikszene nicht mehr weg zu denken!
Mit 7 Grammy Nominierungen, mehrfachen Platin - und Gold Auszeichnungen, fünf Top 10 Platzierungen
in den Deutschen Album-Charts sowie mehr als 1,5 Millionen verkauften Tonträgern in Deutschland zählt
Florence + The Machine zu einer der einflussreichsten Bands der letzten Jahrzehnte. In der Vergangenheit
arbeitete die Band mit Musikgrößen wie Taylor Swift (”FLORIDA!!!”), Lady Gaga (” Hey Girl”) & Calvin
Harris (”Sweet Nothing”) zusammen. Bekannt wurde die Gruppe durch den kraftvollen Gesang von Florence Welsh und dem theatralischen und oft mystischen Sound, welcher Elemente von Art-Pop, Indie Rock
und Barock-Pop filigran vereint. In ihrer Musik erkundet Florence + The Machine Themen wie Liebe, Tod,
Schmerz und zieht Inspiration aus der Kunst und Literatur der Renaissance.

Deep black, with ghostly glimmers of an old car melting into the tarmac: the cover of Never En-ding Rodeo sets the tone. This isn't just a late-night drive, but a controlled skid across the borders of Post-Rock, Noise and Psych. The engine roars, the ground shakes, the white lines blur. Six years after the release of Ain't That Mayhem, the Lyon-based band returns with a dense, smoke-veiled record. Never Ending Rodeo: a deceptively playful, almost cartoonish title for such an intense album. As if, after circling endlessly around dust, bucking, and stampedes, Zëro had carved out its own orbit. Unstable, inevitably. But magnetic. Éric Aldéa (guitar, vocals), Franck Laurino (drums), Ivan Chiossone (Persephone, synths), and now Varou Jan (guitar, bass) - (Le Peuple de l'Herbe, Condense) - have lost none of their bite. Better still: this new album marks a turning point in production quality, thanks in particular to the mixing work of Niko Matagrin. The sound is broader, more inhabited. Every snare crack, every synth layer sits precisely in a meticulously sculpted space. "As if Tom Waits had collided with Nine Inch Nails. Before a frightening modernity hurled this so-nic convoy into a headlong rush." ~ Indiepoprock "You don't simply pass through Never Ending Rodeo: you step inside, you lock yourself in, drawn irresistibly by its magnetism." ~ Solénopole

Cindy Lee is the brainchild of singer/guitarist Patrick Flegel. While some may know Flegel from his time spent in Canadian experimental indie band Women, Cindy Lee has spent the past four years crafting songs that push and pull in opposing directions - from tales of tragedy laced with haywire distortion to moments of breathtaking beauty. On Malenkost, Flegel combines everything that makes Cindy Lee so essential: heart-wrenching romantic pleas, rough shards of noise and twilit ballads. Featuring the lo-fi pop single "A Message From The Aching Sky," Malenkost sounds like Deerhunter playing The Supremes or vice versa.

Domino Records haben mit Upchuck eine rohe Punk-Wucht aus Atlanta unter Vertrag genommen. Die fünfköpfige Band um Sängerin KT entstand 2018 aus der lokalen Skater:innen-Szene – laut, wild und kompromisslos.

Mit „Plastic“ legen sie nun ihre erste Single beim neuen Label vor: ein wütender, knapp zweiminütiger Ritt durch schrammelnde Gitarren und aufgeladene Vocals. Produziert wurde der Track von Ty Segall, gemastert von Heba Kadry und visuell in Szene gesetzt von Ian Cone. Inhaltlich dreht sich alles um den verzweifelten Versuch, in einer künstlichen Welt echte Verbindungen zu finden.
Der Rolling Stone brachte ihren Sound nach einem SXSW-Gig auf den Punkt: „Everything explodes.“

The Dead 60s seminal self-titled album gets a timely Deluxe edition reissue on Vinyl for its 20th Anniversary, on Deltasonic Records



“Back in the day, punk and dub weren’t just sharing space—they were smashing into each other headfirst. Late '70s Britain was a pressure cooker, and for kids like me, growing up between Brixton’s bass bins and the chaos of King’s Road, that collision was everything. Jamaican sound system culture met punk’s raw spirit in a haze of smoke, sweat, and feedback. It wasn’t about genre—it was about energy. Identity. Defiance. so when The Dead 60s came along, post-Britpop and post-bullshit, it felt like someone had dusted off the blueprint and run it through a battered old tape echo. These weren’t just lads with good taste—they understood the assignment. They took the DNA of two rebel cultures and mutated it into something that could stand tall in the 21st century. Dub-soaked, punk-fuelled, dripping with that Liverpool attitude. I remember first hearing them and thinking—yeah, here we go again. Not in a retro way, but in a real way. Guitars that cut like sirens in the night. Basslines fat and warm, straight out the Channel One playbook. Lyrics that painted the grey corners of Britain like CCTV poetry. It was the sound of youth under pressure. The sound of not fitting in—and not wanting to.

Their debut album dropped in 2005, and it hit like a flare in the dark. “Riot Radio” was a pirate broadcast from the concrete frontlines. “Control This” swaggered with menace and reverb. It was like someone opened a time capsule from the punky-reggae party and rewired it for a new generation.

Now, with this 20th anniversary vinyl reissue—complete with the full dub companion produced by Central Nervous System—we get to hear the bones and blood of it all. The dub versions pull the tracks apart and let the ghosts speak. Reverb, delay, space—it’s not just production, it’s meditation. Revolution slowed down to a heartbeat. It’s music that makes you move and think. What they’ve done here is more than remix a record—they’ve revealed its soul. That’s what dub does when it’s done right. And The Dead 60s, they got that. They weren’t tourists in the culture—they were students of it, shaped by it, and ultimately, contributors to the legacy. Liverpool’s long had a love affair with Jamaican music—you can hear it in the streets if you’re really listening. The Dead 60s tapped into that lineage, but they brought their own thing to the table. Punk's fire. Dub’s depth. Ska’s bounce. All filtered through a Northern lens and blasted out like protest graffiti. This 20th anniversary reissue ain’t about nostalgia. It’s a reminder. A celebration. A call to arms. Music like this doesn’t belong in a museum—it belongs on a system, shaking walls and waking minds. Crate diggers, completists, young punks, old heads—this one's for all of you.

So put it on and turn it up. Let the punk edge sharpen your thoughts, and the dub shake your bones ‘cos this isn’t just a reissue - it’s resistance on wax.....”

Enter the world of Stereocolor, the long-awaited new album from Dutch singer-songwriter Mercy John. On October 31, 2025,
Mercy John invites you to escape the grayness of everyday life and immerse yourself in a spectrum of vibrant emotions,
melodies, and colors. Songs about love, loss, and self-discovery—all wrapped in a captivating musical package that is both
intimate and grand. Expect an unmistakable blend of warm vocals, catchy choruses, and a sound that exudes authenticity. This
is music that will make you see colors—sometimes soft and whispering, sometimes powerful and starkly contrasting.

Friend Of A Phantom is the third studio album by the Danish progressive metal band Vola, released under Mascot Label Group. This highly anticipated album showcases Vola's signature blend of intricate rhythms, soaring melodies, and thought-provoking lyrics.

With tracks like "Straight Lines" and "These Black Claws," Friend Of A Phantom takes listeners on a musical journey that seamlessly combines heavy riffs with electronic elements, creating a dynamic sound that is both captivating and innovative.

Vola's musicianship shines through in every song, from the complex drum patterns to the mesmerizing guitar solos. The band's ability to craft intricate arrangements while maintaining a strong sense of melody sets them apart in the progressive metal scene.

The production quality of Friend Of A Phantom is top-notch, allowing each instrument to shine through while still blending together to create a cohesive and immersive listening experience. The album's rich textures and layers reveal new details with each listen, making it a rewarding choice for fans of progressive music.

Overall, Friend Of A Phantom is a must-have for any music lover looking for an album that pushes boundaries and challenges traditional genre conventions. Vola's unique sound and innovative approach make this album a standout release in their discography.

‘Icon’ is an overused word when it comes to describing singers and musicians, but when it comes to Nina Simone there are few artists that the word describes more accurately. The ‘High Priestess Of Soul’ is surely one of the most iconic singers of the 20th century, and one whose fame and acclaim stretches far beyond conventional black American music circles. 

Nina Simone has featured on Ace and Kent CDs before but this is the first time she’s had one all to herself. “Let It All Out” is the first and only Nina Simone collection to draw repertoire from every label she recorded for between the late 1950s to the late 1970s. 

Not a traditional ‘Best Of’ or ‘Greatest Hits’ package (although the performances included here ARE among her very best, and do include most of her Greatest Hits!) it is a singles collection that presents Nina Simone’s soul and R&B-slanted 45s in chronological order. Invariably they are the definitive versions of the songs, whether she recorded the original versions or not. 

As well as almost all of her American pop and R&B chart hits from 1960 onwards, “Let It All Out” also contains all of Simone’s UK chart hits from the same period – several of which were more successful here than they were back home, including both versions of her biggest British hit ‘Ain’t Got No; I Got Life’, a UK #2 that did not chart at all in the US as was the case with the belated UK Top 5 hit ‘My Baby Just Cares For Me’ which also made no chart impression on its home turf…

Carefully curated and concisely annotated, “Let It All Out” lets the listener in to two dozen of Nina Simone’s most celebrated singles. There have been many compilations of her works since she passed away 20+ years ago, but none that gets to the heart – and soul – of her catalogue in quite so direct a manner as this one does. 

Two years before the legendary trumpeter mysteriously fell from the window of a Dutch hotel, he delivered this high-level live performance on a stage in Bologna, Italy, in 1985.

Accompanied by Philippe Catherine on guitar and Jean-Louis Rassinfosse on double bass, Baker drew on his natural charm, that utterly disarming magnetism which made him deeply moving, even when decline was looming. Baker carried within him that inner fracture, that haunting depth that rendered every note fragile. Released for the first time as a double 180 gram vinyl LP with HD vinyl mastering

Holy Sons is the largely solo project of Emil Amos (Grails, Om, Lilacs & Champagne). Puritan Themes is his 17th album and his 4th for Thrill Jockey Records and a tentpole album in his wide-ranging output, including myriad private press LPs, collections of oddities, and conceptual series". Puritan Themes" relaxed vibes are influenced by the laid-back west coast rock sound of mid-period Fleetwood Mac, blended with a dose of psych distortion and imbued with the breeziness and ease of yacht rock. Puritan Themes is a record that knowingly, barely fits into the modern world. When mixing the record in Chicago, everyday Amos skated through Douglass Park listening to podcasts about the inner workings of The Band, listened to 70"s AM radio while washing dishes and went to sleep at night to early Bee Gees interviews. The earliest concept of the record was based around the track "Chain Gang" which was an imaginary take on if Cat Stevens had smoked a ton of salvia and taken a much darker route within that world of dense, story-telling/message-based songwriting. The track "Raw & Disfigured" borrows its name from the last Thrill Jockey Holy Sons record, in a referential move that"s stolen from the way Led Zeppelin separated the track "Houses of the Holy" from the record of the same name (once again harkening back to 70"s lore).

25 has always been a mystical number in the world of Kiosk ID, woven into our story since the earliest days of Bar 25, Holzmarkt 25, and every chapter since. When midnight struck on December 31st of last year and 2025 arrived, the magic of the number was undeniable,echoing through Kater Blau, Holzmarkt, and Kiosk ID—and calling for a celebration like no other. As our lasers lit the night, two core Kiosk ID artists—Britta Arnold and Sascha Cawa—took to the decks, weaving a spellbinding journey crafted specifically for this moment. Months in the making, they unfolded a beautifully hypnotic tribute to the magic of 25, premiering five tailormade tracks in the process. That moment lives on as Kiosk ID no. 40—a special double LP capturing the magic of that night. Side A features the live New Year’s recording: an unfiltered document of Britta and Sascha’s hypnotic, otherworldly, and deeply danceable set, as it unfolded in real time—strobing into the first moments of the new year. Sides B, C, and D feature five exclusive studio originals, written and produced specifically for this night. On ‘Counting’, Britta and Sasha unfold their brand of stripped darkness and rolling groove work, while ‘Reformer’ teeters on taut coils of suspended synths. With ‘NGVMT’, the energy bursts open—a radiant block-party roller with throbbing staccato swagger and clanking metallic arpeggios. ‘Beam’ lifts off into pure cosmic wonder, its fluttering, airy themes spiralling skyward. ‘Good Life’ rolls the credits with a beautifully introspective soliloquy, tender and reflective beneath gentle waves of aspirating piano chords. Together, these recordings offer both an auditory keepsake and an invitation to relive that unforgettable night or discover it anew. Across five hypnotic compositions and a half hour of dance floor bliss, ‘Good Life 25’ encapsulates the ever-evolving sound

f *Goodbye, Asshole* was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then *Boone* is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable.

Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies.

There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging.

The party’s dead. Long live the reckoning.

Fuckwolf have been around the SF scene for a while, and it took Ethan Miller (Silver Current / Comets On Fire / etc) ages to get them to record the debut album, they then toured Japan and released a limited split mini with Green Milk From The Planet Orange. They reconvened late 2024 and recorded Boone..

This new album "Boone", polishes and extrapolates the fizzing psychedelia of their first album, and turns Fuckwolf into the heirs to the crown of mass-consumptive Sike-rock. This album is in the same vein as Mercury Rev's "Yerself Is Steam", Butthole Surfers' "Rembrandt Pussyhorse" and Flaming Lips "Telepathic Surgery", there's sheer pop in amongst the mind's eye rattling dollops of psychedelic wallop... the Koolaid was drunk and the songs were made.. plug it in, turn on...drop out.

Master by the one and only Mikey Young!!