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Curioso, Bear Rinehart's third solo release as Wilder Woods, unapologetically explores all the curious corners of Rinehart's sound, powered by his genrebending approach to anthemic American music It's a wide mix of texture, razor-sharp songwriting, held together not by some lyrical thread or overarching story, but simply by the enthusiasm of a longtime musician who's still eager to stretch his legs and cover new ground.

This is the third release by Trevor Dunn (Mr Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length LP "Last Days at Hot Slit"

Songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus "Devil Woman". The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism. Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack- like excursions, to jazz/ blues mutations to a demented "rock" sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis's raw, unconventional bass recordings. "I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything," Rutmanis shares. "What he sent back was something like delicious fresh cherries with ice and banana slices." The pair's combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin."

Dale Tallbert And The Dimensionals' rare but classic LP None But The Righteous hides in plain sight as one of those gospel-soul obscurities. Issued without fanfare, it contains only a handful of songs, but both 'None But The Righteous' and 'Blessed' stand out as deeply worked grooves, built with the same finesse as contemporaneous modern soul but anchored in devotional spirit. The record never broke into wider circulation, leaving collectors to hunt it down like thought-to-be-extinct game. Its blend of smooth arrangements and quietly insistent rhythm gives it a character distinct from flashier gospel crossovers of the era, making the Dimensionals' lone appearance on wax feel like a small but vital link in the chain between church-rooted harmony groups and the more polished soul recordings that followed.

Although humans possess language as a means of communication, We sometimes hurt each other simply by intending to. In war, bullets kill people. If we consider words to be like bullets, they can be violent and cause mental suffering. However, when communication causes problems, the only way to solve them is through more communication. I thought: wouldn't it be wonderful if those bullets could turn int flowers instead? In everyday life, when we talk, laugh and share moments with friends and family, Those moments can be transformed into flowers. Keeping this in mind, I created this album. (Hidetoshi Koizumi aka Hybrid Leisureland)

Nachpressung der 20th Anniversary Vinyl-Edition mit Bonustrack, 2025 ist die Vinylfarbe Gelb (Auflage weltweit 1500). CD (2005er-Auflage) auch wieder erhältlich. "The Illusion of Safety" ist das bahnbrechende Post-Hardcore-Album von Thrice, das eine furiose Mischung aus Punk und Metal mit außergewöhnlichen Texten und musikalischem Können verbindet. Die Band schrieb zwei Songs pro Monat, bevor sie im Juli 2001 mit dem Produzenten Brian McTernan (Converge, Cave In) in den Salad Days Studios aufnahm. Es ist ein unvergleichliches Album, das rohe Underground-Authentizität mit bahnbrechendem Ehrgeiz verbindet. Es wurde sofort zu einer tragenden Säule des Post-Hardcore des 21. Jahrhunderts und hat sich weit besser gehalten als seine vielen Nachahmer. Das Album fängt seine Zeit perfekt ein und bleibt dennoch zeitlos, sodass man bei jedem Hören neue Entdeckungen macht und nicht nur in Nostalgie schwelgt. Von Punk-/Hardcore-Clubs aller Altersgruppen in Orange County, Kalifornien, bis hin zum Headliner der größten Rockfestivals und Veranstaltungsorte der Welt - Das Album gilt als Katalysator für den großen Erfolg der Band. Auch 20 Jahre und zehn Alben später kann man bei jeder Thrice-Show unweigerlich die Aufforderung hören, »Deadbolt« zu spielen - ein Beweis für das Durchhaltevermögen eines Albums, das die Screamo / Post-Hardcore-Ära definiert hat. Auch mit der 2025er Pressung feiert die Band das Vermächtnis des Emo / Post-Hardcore-Klassikers, indem sie als Bonus die B-Seite »That Hideous Strength« wieder dem Vinyl hinzufügt.

This album marks the beginning of Chiemi Eri's popularity, which continues to transcend generations and borders.
Seven vinyl titles focusing on jazz are released simultaneously! This is her second collaboration album with Carl Jones.
The lineup also includes a stellar lineup, including Sadao Watanabe, Hideo Shiraki, and Sharps & Flats.

YES! We are a "BIG BAND"!!
A 20th anniversary original album featuring new members has been released on a two-disc vinyl set.

Formed in 2005 at the invitation of pianist Makoto Ozone, whose work transcends genres and continues to thrive on a global scale, the 15-member big band
"No Name Horses" has grown into a one-of-a-kind big band, thanks to its sophisticated ensemble built on longstanding relationships of trust, the diverse
original compositions of Ozone and the other members, and its boundless creativity and playfulness. The band has performed both in Japan and overseas.

In 2024, the band changed its name from "Makoto Ozone featuring No Name Horse" to "Makoto Ozone No Name Horse," and began activities under a new
lineup with the addition of three new members: Hidetaro Matsui, Yu Riku, and Shinpei Ogawa. This is the first album since the new lineup was released in
November 2024.

Returning to the classic big band sound, this album was created with each member contributing a new song, based on the concept of a superb swing and resonance.

Makoto Ozone "No Name Horses"
Makoto Ozone (p, org) Eric Miyashiro (tp, flh, picc trp) Akira Okumura (tp, flh) Shutaro Matsui (tp, flh) Yoshiaki Okazaki (tp, flh) Eijiro Nakagawa (tb)
Marshall Gilkes (tb) Junko Yamashiro (b-tb) Masanori Okazaki (as, ss, cl) Atsushi Ikeda (as) Toshio Miki (ts) Yu Riku (ts, fl) Yoshihiro Iwamochi (bs, cl)
Shinpei Ogawa (b) Shinnosuke Takahashi (ds)

Goodbye Matters retraces Silly Boy Blue’s intimate journey through a year shaken by the loss of a loved one and the emotional transformation that follows. This EP explores the emptiness left by this sudden absence, and how, over time, that void slowly fills with acceptance.


Each track represents a stage of the grieving process, associated with a color and a season, reflecting the emotion that accompanies it.



Summer 1 opens the story with an apparent calmness of everyday life that hides an inner turmoil. Autumn dives deeper into the tangible pain of absence, as memories gradually fade away with the falling leaves of the season.



With Winter, the EP reaches a breaking point. The music is stripped down to its bare essence, conveying an emotional landscape emptied out, where the outer cold mirrors inner loneliness.



Then comes Spring, where sadness still lingers but gives way to a glimmer of hope, symbolizing the struggle between memory and renewal.



Finally, Summer 2 marks acceptance — a last imaginary conversation, a gentle farewell. The cycle closes, yet light returns, offering a peaceful conclusion to this journey through loss and reconstruction.

Riding in on an eviscerating vocal alarm call and originally released in 1988 as the final installment of her Masque of the Red Death trilogy, Diamanda Galás" You Must Be Certain of the Devil is as unflinching now as it was on release in 1988. It remains a swaggering, furious fuck-you to those who might cast aside the sick and dying in the name of faith and scripture. Often misunderstood as simply dark for its subject matter, You Must Be Certain of the Devil in fact shines a light of such total exposure it leaves nowhere to hide, forensically unmasking the fury and pain of real grief and the vast spectrum of emotions rendered by the AIDS epidemic. It is an album that looks you square in the eye, pins you against a wall and makes you look at and feel the horror the virus visited upon a person, the knowledge of certain death in a hostile environment, and the hypocrisy of those who claim to be Samaritans or protectors.

Since the late 1960s, jazz drummer Takeo Moriyama has been a dominant force in the free jazz scene, initially with the Yosuke Yamashita Trio, and more recently, collaborating with the KYOTO JAZZ SEXTET, earning respect from past to present. Recorded in 1980 with his quartet featuring Fumio Itabashi, this album is renowned for being the first to include the emotionally rich Japanese masterpiece "Watarase". Other highlights include the spirited "Exchange" and the beautifully poignant "Goodbye". Each track is a standout, offering a grand-scale performance where tranquility and movement organically intertwine, making it one of the top albums in the history of Japanese jazz.

Takeo Moriyama (Drums)
Yoshio Kuniyasu (Tenor & Soprano Sax)
Fumio Itabashi (Piano)
Hideaki Mochizuki (Bass)
Koichi Matsukaze (Alto & Tenor Sax, Flute)

„Good things take time“; this saying fits perfect for the new and fifth studio album „High On Fire“ of the inernational Classic Hard Rock group SAINTED SINNERS, featuring vocalist Jack Meile (Tygers Of Pan Tang), founding member and guitar player Frank Pané (Bonfire), Ernesto Ghezzi (Gotthard) on Keyboards, Samy Saemann (ex-Fredom Call) on bass and Berci Hirleman on drums. With almost three years in the making, the band returns with their newest collection of songs under the bands own motto: The Essence of Rock’n’Roll. „High On Fire“ delivers a feeling of good time Rock’n’Roll vibes! Let‘s forget and escape from all the bad things in life and enjoy life to the fullest with freedom of expression and a overall positive attitude. With „High On Fire“ you should feel uplifted by music. The album features ten new tracks, including a surprise The Who cover-version, done in the SAINTED SINNERS style!

40 Jahre ”Welcome To The Pleasuredome”!
Diese Jubiläumsausgabe, die erstmals in Zusammenarbeit mit der Band selbst zusammengestellt wurde,
enthält 28 unveröffentlichte Titel und nimmt den Hörer mit auf eine Reise von den frühesten Demos und
BBC Radio One Sessions der Band über die Singles bis hin zum Album und darüber hinaus.
Jede CD enthält seltene und in den meisten Fällen unveröffentlichte Versionen von Songs, die den Goldstandard der Musik der 80er Jahre darstellen.
Der weltbekannte Künstler, Produzent und Remixer Steven Wilson hat einen Atmos-Mix sowie Stereound 5.1-Mixe für die Blu-Ray beigesteuert. Das Booklet wurde von Philip Marshall gestaltet und enthält
seltene Fotos und Erinnerungsstücke sowie eine Zeitleiste zum Aufstieg der Band zum Ruhm mit Beiträgen
aller Mitglieder von Frankie Goes to Hollywood.
Darüber hinaus erscheint ein Deluxe-2CD-Set, welches das neu gemasterte Album sowie Versionen aus der
Session und eine Auswahl von Outtakes enthält. Die beiden CDs werden in einem 8-seitigen Digipak mit
einem 20-seitigen Booklet präsentiert.
Außerdem wird es ebenfalls das Album mit Steven Wilson Mix als Remaster auf 2LP geben.
Ab dem 31. Oktober erhältlich!

Shortly after the breakup of Flower Travellin’ Band, guitarist Hideki Ishima released his first and only solo album in 1973—a hauntingly beautiful work that stands apart in the landscape of ’70s Japanese rock. Known for his later work as a sitar player, Ishima showcases a signature floating guitar sound throughout the album, blending psychedelic rock, acid folk, and introspective singer-songwriter elements into a deeply personal and atmospheric record.

Contributing to this richly textured sound are some of the most notable names from the era: fellow Flower Travellin’ Band member George Wada (drums), future Transam collaborators Chito Kawachi (drums) and Nobuhiko Shinohara (keyboards), and Katsuo Ohno (keyboards) of PYG.

Now reissued with a bold, powerful remaster by Makoto Kubota, this overlooked gem captures a vital moment in Japan’s underground rock evolution and demands a fresh listen from those exploring the outer edges of the genre.

Segawa Hiroshi (vocals, guitar) / Ishima Hideki (guitar) / Harada Hiroomi (drums) / Nomura Mitsuro (drums) / Kozuki Jun (drums) / Yamauchi Tetsu (bass) / Ohno Katsuo (keyboards)

Segawa Hiroshi's solo album, pursuing country rock and southern rock in Japanese
A treasure of Japanese rock, bringing together members of Flower Travellin' Band, Samurai, and PYG
After the GS boom subsided and New Rock was in full swing, Segawa Hiroshi was one of the few bands pursuing country rock and southern rock in Japanese, while most bands were aiming for British rock.
The album "Pierrot," one of the culminations of this endeavor, was produced with the help of a lineup of representative Japanese new rock artists, including Ishihama Hideki and Kozuki Jun from
Flower Travellin' Band, Yamauchi Tetsu and Harada Yushin from Samurai, and Ohno Katsuo from PYG.
The album has been reissued with the additional recording of the single "The White Room Where You Were," released the year after "Pierrot," and remastered by Kubota Makoto.

Commentary: Ogawa Shinichi
Remastering: Kubota Makoto

Der bewegende Soundtrack zu 'I Love You, I Leave You', dem sehr persönlichen Dokumentarfilm von Regisseur Moris Freiburghaus, erscheint jetzt als Vinyl (inkl.CD). Der Film begleitet den Schweizer Musiker Dino Brandão auf seiner Reise nach Angola, der Heimat seines Vaters, wo er sich mit der Vergangenheit seiner Familie und seinem eigenen Identitätsgefühl auseinandersetzt.

Nach über zwanzig Jahren löst Dinos Rückkehr nach Angola eine tiefgreifende emotionale und psychologische Reise aus, die in einer manischen Episode gipfelt, die sowohl ihn als auch seine Nächsten herausfordert. Zurück in der Schweiz kämpfen seine Freunde und Familie darum, ihn bei der Bewältigung der Komplexität seiner psychischen Erkrankung zu unterstützen. Durch intimes Geschichtenerzählen und einfühlsame Beobachtung fängt Freiburghaus die außergewöhnlichen Bande der Freundschaft und die differenzierten Erfahrungen psychischer Gesundheit ein und schafft so einen Dokumentarfilm, der die Zuschauer tief berührt.

Der Soundtrack spiegelt diese emotionale Reise wider und verbindet die Rhythmen Angolas mit Dino Brandãos charakteristischem Musikstil. So bietet er den Zuhörern ein kraftvolles und eindringliches Erlebnis, das die Erzählung des Films ergänzt. Der Soundtrack zu "I Love You, I Leave You" lädt das Publikum ein, sich wieder mit Dinos Reise, der Musik seiner Herkunft und den universellen Themen Freundschaft, Identität und Widerstandsfähigkeit zu verbinden.

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.

Here is the release of the UHM007

Josi Miller aus Leipzig-Connewitz macht parallel zu ihrem Studium an der Bauhaus-Universität Weimar erste DJ-Erfahrungen in der ostdeutschen Subkultur. 2017 zieht sie - längst Protagonistin des Homegirls-Podcasts - nach Berlin. Sie begleitet Trettmann jahrelang als Tour-DJ und ist solo ständig auf Achse - von Kapstadt bis London, vom about:blank bis zum Institut für Zukunft, vom MELT bis zur Fusion. Mit KLAN-Musiker Stefan Heinrich gründet Josi das Elektropop-Duo Import Export, veranstaltet unzählige Workshops für Flinta* und beaufsichtigt Produktionen für befreundete Künstler*innen à la Jolle oder Zugezogen Maskulin. Seit etwa zwei Jahren hostet Josi das ARTE-Format "Chat with a DJ", in dem sie regelmäßig Künstler*innen wie Marlon Hoffstadt, Anja Schneider oder Acid Pauli empfängt. Im Herbst 2023 beschließt Josi während eines Kreativcamps in Frankreich ein Soloalbum in Angriff zu nehmen. Im Kreis vertrauter Musiker*innen wie Fatoni, Aywing, Lambert, Torky Tork und BEACHPEOPLE entstehen die ersten Fragmente. 2024 zieht Josi im Rahmen eines Förderprogramms für mehrere Wochen zu Post-Punk-Ikone Gudrun Gut in die Uckermark, wo sich ihr Vorhaben konkretisiert. Am Ende einer intensiven Auseinandersetzung mit der eigenen Psyche und unzähligen Stunden zwischen Synthesizern und Beat-Software steht "4 Stages Of Sleep" - ein Debütalbum, das Breakbeat, Pop und Electronica miteinander fusioniert.

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

Der international gefeierte Schlagzeuger und Produzent Makaya McCraven meldet sich mit einem besonderen Projekt zurück: Vier neue EPs - Techno Logic, The People"s Mixtape, Hidden Out! und PopUp Shop, die gebündelt als Doppel-LP und Doppel-CD unter dem Titel Off the Record (via XL Recordings) veröffentlicht wird. Es sind McCravens erste Studioarbeiten seit In These Times (2022), mit denen er zu seiner charakteristischen Mischung aus Live-Improvisation und Studio-Nachbearbeitung zurückkehrt. Schon jetzt geben die Singles "Imafan", "Away", "Technology" und "Choo Choo" einen Vorgeschmack auf das Projekt. Die vier EPs greifen auf verschiedene Live-Momente der letzten zehn Jahre zurück: Aufnahmen aus London, Berlin und New York (Techno Logic), ein Jubiläumskonzert in Brooklyn (The People"s Mixtape), eine Residenz im Chicagoer Hideout (Hidden Out!) sowie McCravens Los-Angeles-Debüt 2015 (PopUp Shop). "In einer Zeit, in der vieles virtuell und ungreifbar ist, bleibt es etwas Besonderes, wenn Menschen in einem Raum zusammenkommen und Musik teilen", sagt McCraven. "Diese Energie möchte ich festhalten - roh, menschlich, spontan." Mit Off the Record beweist der als "kultureller Synthesizer" und "Beat Scientist" bezeichnete Musiker erneut, warum er zu den prägenden Stimmen einer neuen Generation zählt, die den Jazz ins 21. Jahrhundert führt.

Big D’A covers two classics in his indomitable style. First up his rendition of Roy Ayers summer Anthem. On the flipside Creative Source anthem later covered by EW & F gets the Nu Soul treatment to fine effect with layers of harmonies and punchy brass stabs .

Following the reissue of their acclaimed debut album in July - Rocket Girl Records is proud to announce the second transmission in the triptych of releases from Welsh sonic alchemists, White Noise Sound (WNS): an exultant, transmutational remix album celebrating the band’s admired self-titled inaugural LP featuring Pete Kember/Sonic Boom, Cian Ciaran (Super Furry Animals), Phil Kieran (techno producer/DJ), Sean Johnson (Hardway Bros) and Timothy J Fairplay (Andrew Weatherall’s Scrutton Street Circle).

WNS’s cult 2010 self-titled debut saw the band channelling their own chimeric wall-of-sound - an incantation in layers of feedback, kosmische rhythms and celestial distortion.  Now, that spell is rewritten.

Fold In Time - WNS1 Remixed sees an extraordinary line-up of artists from across the psychedelic and electronic spectrums dive deep into the band’s original recordings, dynamically reimagining the sonic architecture - unearthing new forms, hidden frequencies and arcane resonances.

Furthering the mythology of an album revered in underground circles - by peers and critics alike - these remixes push the band’s hypnotic, feedback-soaked sound into entirely new dimensions.  Expect deep psych, repetitive beats, acid purity, expansive dubbed-out landscapes and spectral ambient drones.  Tracks collapse and re-emerge, shimmering with new light.

“We wanted to honour the spirit of the original album while inviting some of our favourite artists to completely destroy it,” says White Noise Sound’s Adam Tovey.

Born in 1934, Freddie King was nicknamed “The Texas Cannonball,” and his powerful guitar playing could certainly knock you flat. In the late 1960s,
a fan and fellow musical king – King Curtis – brought Freddie into the Atlantic Records for a pair of fine albums.

With sax accompaniment from Curtis and piano work by James Booker complementing the axeman's explosive solos,
Freddie King is a Blues Master shows the Rock and Roll Hall of Famer at the top of his game.
Freddie King is a Blues Master is available as a numbered limited edition of 750 copies on translucent yellow coloured vinyl

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Battle Scars by American blues rock musician Walter Trout is a studio album originally released in 2015. The album is a deeply personal one, as it chronicles Trout's battle with a life-threatening liver disease and transplant. It serves as a reflection on his illness, hospitalization, and survival, including lyrics that document key moments during this period. Battle Scars was produced by Grammy-nominated producer Eric Corne and features the tracks "Almost Gone", "Playin' Hideaway", "Omaha" and "Gonna Live Again", amongst others._x000d__x000a_Battle Scars is available as a 10th anniversary edition of 1000 individually numbered copies on aquamarine coloured vinyl and is housed in a gatefold sleeve.

"In association with Back Lot Music, Waxwork Records is thrilled to release M3GAN 2.0 Original Motion Picture Soundtrack by Chris Bacon.The murderous doll who captivated pop culture in 2023 is back.

And this time she’s not alone. Two years after M3gan, a marvel of artificial intelligence, went rogue and embarked on a murderous (and impeccably choreographed) rampage and was subsequently destroyed, M3gan’s creator Gemma (Allison Williams) has become a high-profile author and advocate for government oversight of A.I. Meanwhile, Gemma’s niece Cady (Violet McGraw), now 14, has become a teenager, rebelling against Gemma’s overprotective rules.

Unbeknownst to them, the underlying tech for M3gan has been stolen and misused by a powerful defense contractor to create a military-grade weapon known as Amelia (Ivanna Sakhno; Ahsoka, Pacific Rim: Uprising), the ultimate killer infiltration spy. But as Amelia’s self-awareness increases, she becomes decidedly less interested in taking orders from humans. Or in keeping them around.

Barcelona born and based young composer Olivia Font's debut album, Invictam explores resilience and adaptation through a unique blend of strings, analog synthesizers, electronics, and experimental percussion. The album's narrative, guided by a transformative female voice, unfolds through long, repetitive melodic patterns that meditate on time, transience, and the passage of seasons.

This unique vision is further enriched by collaborations with British cellist Oliver Coates and actress-singer Ana San Martín, alongside a track from producer Pedro Vian himself. Preorder Invictam today and be part of this remarkable journey. Cover by Adrià Cañameras.

Proud to present you our third RETROFUTUR compilation, including 6 tracks by our most regular artists.

Endrik Schroeder opens the ball with the pure warehouse banger “Automated” ! The track’s sonic intensity never falters, driven by a relentless rhythmic structure and saturated synthetic textures. The modulated layers and the syncopated break recreate the visceral urgency worthy of the underground raves of the 90s.



With “Happy End,” Brandski distils a contagious euphoria, designed to set the dancefloor ablaze with collective joy. A leading figure of the Italian-French new wave, he creates a track as jubilant as it is unstoppable, where rhythmic mastery flirts with festive instinct. An invitation to luminous abandon: arms raised, shared smiles, communion guaranteed.

With “Eldorado” John Lord Fonda reaffirms his status as a key ambassador of French techno on the international scene. The track unfolds a relentless, extremely tense groove, where darkness becomes driving tension. A rigorous, almost martial sound signature, serving an uncompromising vision.

“White Light” by Panthera is a polished track that transports us on a euphoric journey. The heavy, incisive kick blends with atmospheric layers and heady arpeggios, creating a constant tension that culminates in thunderous drops. The whole thing is supported by a deep, vibrant bassline, typical of the 90s rave scene.

Once again, Berlin’s My Secret Playground stands out as the architect of a muscular German nu-disco, flirting with the boundaries of techno. “Don’t Panic” combines percussive pulses and dark tension, while distilling subtle reminiscences of the disco aesthetic. A masterful sonic hybrid, between retro hedonism and contemporary intensity.

Club Mayz delivers a masterful closing performance with “Tonight I Have To Hide”, an electro track fueled by the raw heritage of Detroit techno and the dark textures of EBM. The track combines dramatic tension and synthetic precision in a nocturnal and introspective aesthetic.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

Obwohl die Feelies im Laufe der Jahre sechs Alben mit eigenen Songs veröffentlicht haben, sind sie vor allem dafür bekannt, dass sie in ihren langen Zugabensets gerne Cover-Songs spielen. Rewind ist eine Zusammenstellung einiger ihrer Lieblingssongs von den Beatles, Neil Young, Bob Dylan, The Doors und anderen.

Tin Fingers takes on a darker, melancholic direction on their second full album. Felix Machtelinckx' weeping vocals, preaching, searching, and trying to understand God, form the leitmotif. With rich melodies, haunting piano sounds, improvisations, first takes and no overdubs, Tin Fingers is searching for pureness and keeping things human and simple. The band is playing together intuitively, without a computer, without ego, just for the sake of music

The creation of the album was very fluent and spontaneous. Singer Felix wrote the backbones of the songs and the lyrics on acoustic guitar and piano. He wanted to have songs ready in order to be able to record and write arrangements fast. With an eye for details but without overthinking, keeping the ideas fresh. 'I wanted to stay in love with the music.' he explains. 'It needed to go fast, very fast, in just two weeks the entire album was recorded and ready to be mixed.'

In the studio, the band especially focused on picking the right mood rather than playing the right notes.

They were fed up with working on a computer for many hours, overthinking production choices, and adding instruments on top of each other as if they were Lego blocks. This time they decided to work in a more traditional way, going for first takes, jams, and essentially working with analog gear. No computers, no screens, no distractions. Only four humans in a studio trying to make a sound together by keeping things spontaneous and raw. They said goodbye to perfection and worked towards an unfinished product, a snapshot.

Tin Fingers also didn't want to sound like any other artist on this record. They decided not to listen to music during the sessions, and to never express ideas by referencing other bands. Just before the studio session, however, bass player Simen Wouters broke the rules and shared Bonnie 'Prince' Billy's, I See Darkness. Its dark and searching sound ended up inspiring the band unmistakably.

Once the recording was finished, the band decided to keep the volatile rhythm going and asked reputable NYC-based mixer and producer D. James Goodwin to finish the job. Goodwin, known for his analog folk productions with a real American punchy sound but a tender touch, proved the right man for the job. He opened up the songs and kept things poetic, minimal but impressive.

The 23rd flight from the Pilot label run by Burnski is a future-facing blend of tech, disco and house with a real intergalactic aesthetic. 'It's Your Duty' opens with a grinding bassline and snappy drums that soon get you marching, then 'Save Our Planet' (dub) spins out with some silky celestial melodies and twitchy drum funk. 'Nothing To Hide' glistens with some sci-fi charm as the tight drums and bulbous bassline move things onwards, and 'Strolling The River' shuts down with another disco-tech sound that is lit up with sugar melodies and boogie motifs.

Die Psych-Rocker aus Cincinnati kehren mit ihrem vierten Album zurück und drehen die texturierten Synthesizer und spacigen Melodien voll auf, um ihr bisher shoegaze-lastigstes Album zu schaffen. Das zentrale Nervensystem von In The Pines befindet sich in The Lodge - einem alten Freimaurertempel, der als Mehrzweckraum gegenüber von Cincinnati in Dayton, Kentucky, umfunktioniert wurde. Die Band bewohnt eine Ecke des Kellers in diesem weitläufigen Labyrinth, wo sie Foleytronics betreibt - einen kleinen Laden für Vintage-Profi-Audio-Reparaturen und einer der wenigen Läden weltweit, der Vintage-Digitaleffekte reparieren kann. Ein natürliches Nebenprodukt dieses Ladens ist das Studio in Bandmitglied Peter Foleys Keller, ein Raum voller verschiedener Vintage-Effekte, Bandmaschinen und Synthesizer, in dem sie Sunbeam Dream vollständig aufgenommen und produziert haben. Alle Aufnahmegeräte, die für ,Sunbeam Dream" verwendet wurden, wurden vor dem sicheren Tod gerettet, repariert und von der Band selbst wieder funktionsfähig gemacht, die sich der Grenzen dieser Geräte bewusst war (und diese gerne ausnutzen wollte). Ähnlich wie beim Konzept von Oulipo in der Poesie und Mathematik entstehen Kreativität und Problemlösungsfähigkeiten aus einem klaren Verständnis und ständiger Überprüfung der Grenzen. Der Aufnahmeprozess ermöglichte es In the Pines zum ersten Mal, sich mit den kleinsten Details zu beschäftigen - ganze Tage wurden damit verbracht, den richtigen Akustikgitarrensound zu finden, nur um schließlich auf ein Stück Klebeband zu kommen, das über die Saiten geklebt wurde; Stunden, die in anderen Studios als Luxus gelten würden, wurden damit verbracht, verschiedene Beckenkombinationen für einen Refrain oder eine Bridge auszuprobieren. Genau wie bei ihrer Reparaturwerkstatt schuf die Band einen Aufnahmeraum, in dem Hyperfokus und Liebe zum Detail nicht nur erlaubt, sondern ausdrücklich erwünscht sind. Das Ergebnis dieser obsessiven Kontrolle ist das bislang ausgereifteste Werk von In The Pines. Sunbeam Dream hebt den Shoegaze-beeinflussten Psych-Rock der Band auf ein neues Niveau. Mit einer stärkeren Betonung der Synthesizer, die sich von einem strukturellen Element zu einem Hauptcharakter im Sound der Band entwickeln (dank eines wiederbelebten Mellotrons von 1971), reiht sich die Band in die Tradition großartiger und kraftvoller Alben wie ,A Northern Soul" von The Verve oder dem selbstbetitelten Album von The Charlatans (UK), bei denen die Produktion der beiden Bands ihrer kreativen Vision zu entsprechen schien. Mit ,Sunbeam Dream" fühlt sich alles heller und klarer an, während es gleichzeitig auf wunderbare Weise in einem Zwielichtschleier schwebt, der jedes Element umgibt.