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On November 8th, 2Tone Records/Chrysalis Catalogue will release a 40th Anniversary Half-Speed Mastered Edition of The Special AKA 'In The Studio' album. This release has been liaised and approved by the band's founder and main songwriter Jerry Dammers. Formed in Coventry in the mid-1970s, The Specialswas the idea of musician Jerry Dammers, who brought together an eclectic array of individuals to fulfill his vision of a multi-racial band, fusing the energy of punk with the legendary but, at the time, often overlooked, sound of Jamaican ska. The band rose to prominence along with the 2Tone movement, which included two No. 1 singles, Too Much too Young and 1981's Ghost Town, which theme still resonates today before Terry Hall, Lynval Golding and Neville Staple left to form the Fun Boy Three and Roddy Byers left to tour with his band the Tearjerkers. The remaining members, Dammers, Bradbury and Panter, recruited guitarist John Shipley from The Swinging Cats, ex-Bodysnatcher Rhoda Dakar and lead vocalist Stan Campbell,reverting the original band name of The Special AKA and set to work on a new album. Released in 1984, 'In the Studio' was a brave mix of bold and challenging music, with a strong political, social and moral conscience. The album made it into the Top 40, and while it might not have been a huge commercial success, it was, and still is, an astonishingly unique work: a haunting, claustrophobic mix of lounge, soul, reggae, jazz and Arabic rhythms, with uncompromising subject matter. It featured two classic singles: the joyous, yet serious rallying anthem for the then imprisoned South African ANC leader, 'Free Nelson Mandela', and 'What I Like Most About You Is Your Girlfriend'. As time has gone by, the status of 'In The Studio'has grown, and today it is rightly viewed as a genuine lost classic. Like the previous two Specials 40th Anniversary vinyl editions, this has been newly remastered and cut at half-speed by Miles Showell at Abbey Road Studios, London. Format: Wide spine sleeve, 2LP 180gm Black Vinyl cut at 45rpm with insert inside and OBI.

"For me this is a testimonial. When I was growing up an important part of church service was people having the opportunity to stand up and give public testimony on their trials, tribulations, and triumphs. After the celebratory atmosphere that followed MICHAEL I was reminded that tribulations never cease, but God is always with me and this is a testimonial of my tumultuous times, my trials, and my continued triumph in spite of doubt, outright hate, and fear. I am here to speak to and with my fellow sinners and Saints.” - KILLER MIKE



MIchael & The Mighty Midnight Revival - Songs For Sinners And Saints", a ten song collection that provides a bookend to the 3 time GRAMMY winning MICHAEL era and puts the speculation about the aftermath of February 4 to bed. Killer Mike states "This is the epilogue to MICHAEL. This is what comes after Feb 4th. I had a year to live with MICHAEL and realized I had more I wanted to do with this sound before moving on."

Godless Savage Garden ist eine starke EP - ursprünglich 1998 veröffentlicht - die einiges zu bieten hat. Es gibt zwei brandneue Songs, einen Coversong von Accept, zwei Wiederveröffentlichungen und Remaster von Songs des Debüts und vier Live-Aufnahmen. Jetzt erhältlich als Ltd. Edition im gelb-orange-rot Splatter-Gatefold !

The work of GMM carries the echo of folk wedding melodies inspired by Oskar Kolberg's collections, interpreted in modern arrangements with electrifying sound.The trio, consisting of Michał Górczyński, Michał Marecki and Patryk "TikTak" Matela, explores the roots of the Mazovian tradition, translating them into the language of contemporary music. Oskar Kolberg's descriptions and a collection of melodies specific to the Polish region of Mazovia give the GMM band a foundation for creative existence in this old world and transferring it to the modern world.The freshly recorded album opens the traditional wedding gates in an unexpected way, where folk nostalgia meets contemporary avant-garde. The contrabass clarinet weaves deep, warm sounds into the compositions, adding them mystery, while the spinet boldly carries a note of baroque sophistication, creating a pleasantly contrasting texture. The modernity of synthesizers and dynamic beatbox balancing between stillness and dense, dirty tones, gives the whole mix a modern touch.In this characteristic journey full of rhythmic complexity and harmonic discoveries, you will find depth, a cynical smile and plenty of room for your own reflections.Michał Górczyński - specializes in playing the double bass clarinet, in 2004 he graduated from the clarinet class at the Fryderyk Chopin University of Music in Warsaw. Composer, soloist and chamber musician. Co-founder of Kwartludium - a band specializing in performing contemporary music. Member of the band Bastarda. Author of music for theatre performances.Michał Marecki - instrumentalist, producer, composer. Collector of electronic and electroacoustic instruments. Associated with the bands Warsaw Village Band & Bassałyki, Mamadou & Sama Yoon, T.Love, Sidney Polak, among others. He is interested in creativity in artistic processes. Master of social sciences.Patryk TikTak Matela - beatboxer and beatbox activist. For over 20 years he has been giving concerts and teaching the art of vocal percussion. He conducts workshops for preschoolers, students, young people from orphanages and community centers. Author of the first book in Poland about beatbox (Human Beatbox -Personal Instrument!), organizer of the Polish Beatbox Championships, promoter and musician in film and theater. Creator of advertising and reportage films, megafan of Lego Technic.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, huge poster. Mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Originally released in 2023 via a humble run of 100 cassette tapes, c-thruʼs debut album “The Otherworld” is now available on black vinyl with a full colour jacket designed by Vancouver based illustrator Tylor Macmillan.

C-thru - The Otherworld is a collection of introspective cosmic-leaning dance music that gives a healthy nod to the golden era of trance, ambient, and downtempo from Austin, Texas-based producer Jesse Edwards. Inactive for several years, these 10 tracks mark a new chapter for Jesse Edwards. Previous works include his well-received psychedelic project, Red Morning Chorus, that included Boards of Canada amongst its fans. Edwards began his musical journey in the late 90s playing shoegaze and experimental music with Jessica Bailiff (Kranky). The pair collaborated on several albums together, including works with Flying Saucer Attack, His Name is Alive, and Odd Nosdam (Anticon).

Essential listening for anyone enamoured with the golden era of futuristic audio.

Dark Evergreen VInyl. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. Despite Che's initial unfamiliarity with Dunn's musical output, their personalities bridged any and all gaps_both Che and Dunn share a flair for the comically absurd and musically adventurous, a mindset that shines throughout See You at the Solipsist Convention. Che has become legendary for his calculated polyrhythms and undeniable physicality, while Dunn is known for relentless experimentation and productivity akin to a freight train. Quickly, the unlikely pair transformed into destined collaborators. Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion_uncategorizable yet reverent to the altar of instrumental rock. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other - our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

Summer of 2023: Koralle wants to escape the heat of Bologna for a few weeks. He is heading south and rents a small hut by the sea near Ravenna. One night he meets Francesco Giampaoli, a seasoned jazz & world musician at a bar on Bassona beach. The two had worked on music before and Koralle visits Francesco the next day at his studio which is stuffed with analogue gear and instruments. He stops by every single day for the next weeks and the duo creates some incredible strange music.
As a special treat, they’ve invited a talented lineup of artists, including Twit One, The Offline, Slim, Mr.Käfer, Midan, Opek, and Darius Heid, to offer unique reinterpretations of their tracks.

High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, huge poster. Mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Genau zwei Jahre nach 'Ha Ha Heartbreak' kehrt Warhaus, das Soloprojekt von Maarten Devoldere, mit dem vierten Studioalbum zurück: 'Karaoke Moon'. Wer sich noch an den herzzerreißenden Vorgänger erinnert, wird vom Opener von 'Karaoke Moon', der ersten Single 'Where The Names Are Real', überrascht sein. Devoldere hatte nach zwei Jahren disziplinierter, mönchsgleicher Arbeit mehr als 50 Songs geschrieben. Doch was sagte Produzent Jasper Maekelberg, als er diese Demos einreichte? „Das kannst du besser.“ Die beiden musikalischen Seelenverwandten verbrachten darauf neun intensive Monate in einem Dachgeschossstudio in Brügge. Das Ergebnis ist das bisher aufregendste Warhaus Album.

In 'Karaoke Moon' spielt Warhaus mit unseren modernen Ansichten über Männlichkeit. Mit subtilem Humor umgeht er Unbehagen und macht sich mit zweischneidigem Witz über sich selbst und seinesgleichen lustig. Oft scheint es, als würde Devoldere mit seinen eigenen Gedanken schattenboxen und mit den heimlichen Gedanken seines Unterbewusstseins jonglieren. Die Kontraste in 'Karaoke Moon' lassen dieses Album mit jedem Anhören wachsen und verführen dazu, Schicht für Schicht, Zeile für Zeile tiefer in Warhaus einzigartiges Universum einzutauchen.

Genau zwei Jahre nach 'Ha Ha Heartbreak' kehrt Warhaus, das Soloprojekt von Maarten Devoldere, mit dem vierten Studioalbum zurück: 'Karaoke Moon'. Wer sich noch an den herzzerreißenden Vorgänger erinnert, wird vom Opener von 'Karaoke Moon', der ersten Single 'Where The Names Are Real', überrascht sein. Devoldere hatte nach zwei Jahren disziplinierter, mönchsgleicher Arbeit mehr als 50 Songs geschrieben. Doch was sagte Produzent Jasper Maekelberg, als er diese Demos einreichte? „Das kannst du besser.“ Die beiden musikalischen Seelenverwandten verbrachten darauf neun intensive Monate in einem Dachgeschossstudio in Brügge. Das Ergebnis ist das bisher aufregendste Warhaus Album.

In 'Karaoke Moon' spielt Warhaus mit unseren modernen Ansichten über Männlichkeit. Mit subtilem Humor umgeht er Unbehagen und macht sich mit zweischneidigem Witz über sich selbst und seinesgleichen lustig. Oft scheint es, als würde Devoldere mit seinen eigenen Gedanken schattenboxen und mit den heimlichen Gedanken seines Unterbewusstseins jonglieren. Die Kontraste in 'Karaoke Moon' lassen dieses Album mit jedem Anhören wachsen und verführen dazu, Schicht für Schicht, Zeile für Zeile tiefer in Warhaus einzigartiges Universum einzutauchen.

LAVENDER, das Debütalbum der Alternative-R&B-Musikerin MULAY, ist ein zutiefst persönliches Projekt. In zwölf kunstvoll intimen Songs verarbeitet sie eine intensive, schmerzhafte Erfahrung mit toxischer Liebe. Aber LAVENDER ist viel mehr als ein klassisches Heartbreak-Album. Es ist ein Plädoyer dafür, an Verletzungen und Enttäuschungen zu wachsen. Ein Leuchtfeuer im Sturm dunkler Zeiten, das von Heilung, Selbstentdeckung und Empowerment erzählt. Stärke durch Verletzlichkeit – das ist das Mantra dieser Platte.

Mit LAVENDER setzt die in Berlin lebende Singer-Songwriterin, Produzentin und Künstlerin den Weg fort, den sie mit zwei EPs begonnen hat: ANTRACYTE (2021) und IVORY (2022) ergänzten sich konzeptionell zu einem interdisziplinären Gesamtkunstwerk aus Sound, Gesang, Visuals und Performance, bei dem ambivalente Gefühle, Licht und Dunkelheit, zusammengedacht werden. Entstanden sind die Songs zwischen Paris, London und Berlin – zusammen mit alten (Llucid, Novaa), aber vor allem mit neuen Kreativpartnern wie den französischen Produzenten/Multiinstrumentalisten Elie Zylberman und Jules Minck. Auf der Suche nach ihrer kompromisslosen Wahrheit bewegt MULAY sich fließend zwischen innovativem Songwriting und ambitionierten Produktionen, die weite, kaleidoskopartige Soundräume voll von souligem R&B, Hip Hop und Electronica aufmachen. MULAY verwandelt Schmerz und Wut in fiebrig aufgeladene, ansteckende Soundscapes, in denen Downtempo-Momente und schnellere, tanzbare Beats sirupartig zu einem emotionalen Rausch zusammenfließen.

10 years after their debut, City Of All Times audio-visual enquirers John B McKenna and Richard Greenan re-appear as Devonanon, to share the findings of a decade-long sonic experiment. Like its predecessor, Richard & John is a living, breathing collection of field recordings and compositions, gathered gradually from remote corners of the pair's lives. Familiar waypoints - interwoven microtonal synths, regurgitated live performances, polite whispering, and the gurgling hum of vehicles (land and sea) - all fold into the perpetual stew.

Where City read like a crumpled postcard account of fraternal reportage, Richard & John is a tone poem on something more amorphous, and out of time - a garbled history of human closeness, upheaval and mark-making, that seems to buckle and creak like a tapestry with no beginning or end. No two spoonfuls are the same, as our story reels through kosmische library stylings ('Wilderness Engine'), to cortex-quieting free association ('Generate Countryside'), and baroque instrumentation ('Blood Laughing', which features beautiful turns from Masayoshi Fujita on vibraphone, and Rosa Juritz on bassoon).

Matt Gilmour's latest album, "Business As Usual," marks a bold evolution in his sound and lyrical depth. With a blend of introspective lyrics and catchy melodies, the album explores themes of resilience, personal growth, and the complexities of modern life.

The project opens with the infectious lead single, setting a dynamic tone that resonates throughout. Gilmour's signature blend of genres—from rock to pop and elements of electronic—creates a diverse soundscape that captures the listener's attention. Each track delves into various facets of daily life, reflecting both the mundane and the extraordinary.

Collaborating with a range of talented musicians and producers, Gilmour infuses fresh energy into his work, resulting in a polished yet authentic feel. Standout tracks showcase his ability to balance heartfelt ballads with upbeat anthems, all while maintaining a cohesive narrative.

"Business As Usual" is not just an album; it’s a journey through the everyday hustle, reminding us that even amidst routine, there’s beauty to be found. With this release, Matt Gilmour solidifies his place as a compelling voice in contemporary music, ready to resonate with fans old and new.

Am 22. November veröffentlicht section1 eine Sammlung von Soloklaviermusik - 'piano1' enthält Original-Solostücke von 12 Künstlern, darunter Kelly Moran, Hand Habits, Youth Lagoon und andere.

Die Songs auf 'piano1' betonen die Schönheit und heilende Kraft der Klaviermusik und bewegen sich zwischen zeitgenössischer Klassik, Experimentalmusik und Ambient.

Die Compilation stellt sowohl die beteiligten Künstler vor als auch das Klavier als Instrument und die Art und Weise, wie verschiedene Künstler ihre kreative Beziehung zu diesem Instrument gestalten. Das berühmte Zitat von Brian Eno („as ignorable as it is interesting“) diente als Leitfaden für die Auswahl der Beiträge.

Initially coming from the DIY hardcore scene, Coilguns have since then crafted their very own blend of punk and ecstatic noise-rock. The history of the band is deeply bound to the development of guitarist Jona Nido’s own label – Humus Records – that now gathers up to 150 releases from Swiss artists of all sonic horizons.

Though their last two albums were 100% self-produced, engineered and mixed by the band members, Coilguns drove in the summer of 2022 to end-of-the-world’s Oceansound Recordings in Norway with producer Scott Evans to track their 4th studio album which was then mixed by grammy nominated producer Tom Dalgety.

The band is known for its raw, uncompromising and euphoric live performances, proudly serving the dancing freaks and the crowd-surfing weirdos.

Gwen Dolyn releases her debut album "X-RATED feelings" on 22 November 2024, via Duchess Box Records. The album "X-RATED feelings", which contains the singles "ertrinken", "reiner wein" and "mies präpariert", was produced by Thomas Zehnle and Max Reiger. "X-RATED feelings" is about longing, mental health, feminism and relationships, love, loss and self-empowerment. The sound is a homage to the raw part of Neue Deutsche Welle and a combination of honest lyrics, grunge, pop sounds and extravagant outfits. Originally from the capital Berlin, Gwen Dolyn decided to leave the hustle and bustle of the city and now lives in Chemnitz. She is known as one half of the duo Tränen together with Steffen Israel from Kraftklub. Duchess Box Records, the Berlin record label that has discovered artists such as Gurr, Sofia Portanet, THALA and many more

Founded during 2015 in New York’s Hudson Valley, Shadow Witch is an enigmatic beast of a band, harnessing decades of varied influences with a decidedly ‘vintage rock’ sensibility. Beginning with their first release “Sun Killer” in 2016 and “Disciples Of The Crow” in 2017, the band has garnered excellent reviews from the international heavy music community. The band returned in 2020 with their brooding occult-rock ode to obsession with their third album “Under The Shadow Of A Witch”. Now with their new full length, ”Eschaton (The End Of All Things)”, Shadow Witch explore new boundaries, digging into folk, prog and hard rock best traditions; a monumental heavy metal album made of retro, classic and proto rock/metal sonorities, occult doom vibes and enigmatic psychedelic twists.

None of Scattersun’s principal collaborators could easily meet in person. When Fax Gang and Parannoul began work on the album in 2023, they encouraged themselves to throw all caution to the wind with regard to genre and sound palette, ultimately weaving together intense strains of blown-out electronica that pull on a whole manner of stylistic threads, from two-step beats, to flashes of breakcore, cloud rap passages, and pop serenity. Jarring turns that lead to booming, emotional climaxes form the animating logic behind Scattersun. Album opener “Quiet” lulls listeners into a false sense of security before the breakdown tells them do not pay any heed to your expectations as it dismantles itself before exploding into a climax the artists describe as a spirit bomb. Such crescendos and dime-turns are all over Scattersun, defining characteristics which, in their scattered unpredictability, always culminate in enrapturing, playful mimicry of human nature.

Flat Duo Jets: White Trees 2024 Remaster Fronted by the late Dex Romweber. The duo’s fourth album was the first album of all original material. Produced by Caleb Southern, White Trees is a Jets’ masterpiece that proved that Romweber could diversify his band’s material without losing his recklessness and urgency.

Dex passed away earlier this year on February 16th and this reissue is dedicated to his memory and legacy. Jack White from the White Stripes has called Dex and the Flat Duo Jets a major influence when starting out. White declared that seeing the Jets for the first time “opened up a whole new inspiration for me about the guitar.” And he was downright effusive in the 2006 cult-classic Romweber documentary ""Two Headed Cow"", calling Romweber “a huge influence on my music… one of the best-kept secrets of the rock & roll underground.” In 2009, White recorded a seven-inch with Romweber, and in 2011 he reissued the Jets’ long-out-of-print 1991 album Go Go Harlem Baby on his Third Man Records imprint.

“[White Trees] by North Carolina’s Jets is a tarnished neo-rockabilly gem. Dexter Romweber’s battered honk is the perfect voice to wrap around these twisted tales about Charlie Dick (Patsy Cline’s hubby), UFOs, and dining with Van Gogh. It’s as if the ”Eraserhead” soundtrack were recorded at Sun Studios and sent to Weekly World News for editing.”- Entertainment Weekly Arguably the busy Duo’s most accomplished set, ‘93s handily diversified White Trees jumbled stylistically antiquated originals in a cohesively dignified manner. -Beermelodies"

Just as his basslines never stay within the limits of the obvious, so Joe Sanders" life as a bassist, composer, band-leader and educator has never followed the single, most discernible pathway. A Midwest native, he"s studied and played jazz on the opposite coasts of California and New York: a master of the acoustic bass, he"s equally at home producing in the digital realm; embedded deep in the living tradition of American jazz; and living, teaching and creating in Europe. All these separate strands come together on his third headline release, "Parallels". The album presents a set of live recordings from a dream line-up that matches the leader"s full-bodied acoustic bass presence with Seamus Blake, Logan Richardson and Gregory Hutchinson in performances that capture all the daring and drive of the East coast scene. Alongside them is a set of studio self-productions with guests Jure Pukl and Taylor Eigisti that capture the laid-back dreamy adventurousness of the West Coast.

Esoteric Warfare is the fifth full-length studio album by Norwegian black metal band Mayhem. It was released by Season of Mist on 6 June 2014 in Europe and Asia, and on 10 June 2014 in North America. It is the band's first album with Teloch on guitar since Blasphemer's departure from the band in 2008. As with the previous album, the lyrics focus less on the classically Satanic themes of the band's early work, instead referring to occult and conspiracy theory concepts such as psychic powers, mind control and alien tampering with human evolution. (For instance, the song "Corpse of Care" appears to be a direct allusion to Bohemian Grove and the Cremation of Care ceremony performed there.)

The American Way is the second studio album by American thrash metal band Sacred Reich, released on May15, 1990 via Metal Blade Records. The video for "The American Way" was used in the 1992 film EncinoMan.The album debuted at No. 153 on September 1, 1990 on the Billboard 200 charts, lasting for nine weeks. Anenhanced remastered version released in 2009 contains pre-production demo recordings.

Haunted is the debut album by American death metal band Six Feet Under. It was released via Metal Blade Records in 1995, just before Chris Barnes'departure from Cannibal Corpse.

Originally released in 2006, "Ballad Of The Broken Seas" has remained a touchstone for fans of Folk and Americana, revered for its haunting melodies, rich storytelling, and the captivating interplay between Isobel Campbell"s ethereal vocals and Mark Lanegan"s gravelly baritone. The album was the first in a celebrated trilogy of albums that Isobel Campbell & Mark Lanegan recorded together, being followed by "Sunday at Devil Dirt" in 2008 and "Hawk" in 2010.

With "Ululo", pianist and composer Koki Nakano immerses us in the depths of his emotions, carried by the striking voices of Jordy, WAYNE SNOW and Yael Naim. For his fourth album, Japanese pianist and composer Koki Nakano moves beyond the conceptual to reveal an intimate and visceral musical expression, a reflection of his deep emotions. Each piece conveys the desire and passion of a cry. The title "Ululo" (which translates to "Howl" or "Cry" in Latin) echoes a childhood memory of being in his father"s arms, yearning to touch the moon. This unfulfilled desire, reminiscent of a famous haiku by famous poet Issa Kobayashi, symbolizes his early realization of his limitations in the face of the vastness of the world and the seemingly unattainable. Koki reinvents himself with a unique fusion of piano and modern vocal collaborations. He is joined by UK rap sensation Jordy and the captivating voices of WAYNE SNOW and Yael Naim. He offers an avant-garde music style distinguished by its emotional simplicity and sonic depth. Beyond virtuosity, Koki explores his classical sensibilities by blending subtle ambient textures with his poignant and sophisticated melodies. While "Ululo" is a cry of frustration with melancholic tones, it is also romantic, filled with beauty, humor, and light.

December 2001, Maida Vale: Bill Callahan"s "Smog" perform with demonstrative zeal for their British witness at the BBC, shimmering and hissing with a Lynchian vibe of U.S. darkness in the invariable shadows of the fallen towers. Callahan & band (Jessica Billey, Mike Saenz and Jim White) cover Stevie Nicks, Lou Reed and Smog with grey, ashen resolve and tour-torn flexibility, amassing a bruised, plaintive essence of humanity with their efforts.

MC5 (Motor City Five), the legendary Detroit band. Their first single (included here) was released in 1967. In 1968 they played the infamous Democratic Convention that turned into a police riot, and they went on to be the "Official White Panther Party Band". Their manager John Sinclair became a hippie martyr, after being jailed for 10 years for 2 joints, inspiring John Lennon"s "10 For 2" song. Thrown off their first label Electra, they signed to Atlantic for 2 more albums but only achieved underground success. Now greatly revered as one of the seminal rock"n"roll bands and a huge inspiration for punk. Thunder Express documents their last and first studio works: - six tracks recorded in France at Studio Castle Herouville for a TV show in 1972; plus four tracks from their debut singles from "67 & "68. The title track is not available elsewhere. In 2024 MC5"s guitarist Wayne Kramer, drummer Dennis Thompson and manager John Sinclair all passed away, marking the end of the MC5 era.

"Incubus carved their own musical niche and earned a huge following by tireless touring and releasing ever-improving quality albums. A Crow Left Of The Murder came out in 2004, and hit the album charts at number two. The album was produced by Brendan O'Brien, who's known for his Pearl Jam production work. O'Brien shaped an album that Incubus needed in this stage of their development: crisp and clean, but still heavy enough to allow for an effective variation between heavy riffing and fine acoustics. A Crow Left Of The Murder is available as a limited edition of 2000 numbered copies on transparent red coloured vinyl. "

"The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve 1999, with an estimated audience of 500,000 people.

Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra. It was Oldfield's third album within one year, after Tubular Bells III in late 1998 and Guitars MOVLP1694 earlier in 1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion. The Millenium Bell is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert."

Mord sublabel: Kazerne

Incubus carved their own musical niche and earned a huge following by tireless touring and releasing ever-improving quality albums.
A Crow Left Of The Murder came out in 2004, and hit the album charts at number two. The album was produced by Brendan O’Brien, who’s known for his Pearl Jam production work. O’Brien shaped an album that Incubus needed in this stage of their development: crisp and clean, but still heavy enough to allow for an effective variation between heavy riffing and fine acoustics.

A Crow Left Of The Murder is available as a limited edition of 2000 numbered copies on transparent red coloured vinyl.

Zufällig habe ich am Ende des letzten Jahres für einen Film einige Klavierstücke eingespielt und hatte noch etwas Zeit. Und dann fand ich
ein paar Gäste, die Spaß daran hatten, mitzumachen: Joey Kelly, Doro Pesch, Stumpen von Knorkator, Tausend Tonnen Obst, Andrea HüberRhone, Micha von In Extremo, Jenny Rosemeyer, Käptn Peng, Icke & Er und Farin Urlaub. Den brauche ich jetzt auch, aber vielleicht kommen noch mehr Leute, dann machen wir einen zweiten Teil. Weihnachten kommt ja immer wieder, kann man nichts machen.
Danke und liebe Grüße Flake
— Weihnachtsalbum des RammsteinɞMusikers "Flake"
— Mit prominenten Gästen (Joey Kelly Doro Pesch Stumpen von Knorkator Tausend Tonnen Obst Andrea HüberɞRhone Micha von In Extremo Jenny Rosemeyer Käptn Peng Icke & Er und Farin Urlaub)

The third EP by the adventurous and unstoppable Stefan Schwander that you might already know from one of his other disguises such as Harmonious Thelonious, A Rocket In Dub or Antonelli Electr. - just to name a few. All tracks were virtuously and solely jammed out on Elektron's Monomachine once again.

Deep basslines, ravy bleeps, piano chords and synth melodies are awaiting us and let us reminisce of Jamaica, UK and Chicago while stepping and dancing into tomorrow.

The EP starts off gently with 'Title Track'. The first bleeps, chords, an incisive bassline and we're already grooving. Strings are building the framework while some house piano and a ravy melody let us hum along.

'Sublime' speeds things up with its shuffling, minimalistic beat but the dub bassline holds it down and functions as a resting pole to the vibrancies around. A pristine synthline comes in and supports the meandering chords. Dance off.

On the flipside 'Definition Of ...' sums it up what While My Sequencer Gently Bleeps is all about: a deep bass as bedrock, lively percussion, a little melody, tiptoeing chords. Everything sensitively used, telling a story. Listen on repeat.

Ocean Grove is an electrifying force in the world of heavy music, blending elements of nu-metal, hardcore and alternative rock to craft a sound that is uniquely their own i.e. Oddworld Music. An eclectic trio of misfits spawning from Melbourne, Australia, OG has rapidly risen to prominence with their dynamic and genre-defying approach to music. Comprised of vocalist Dale Tanner, bassist/vocalist Twiggy Hunter, and drummer/producer Sam Bassal, OG have a ‘collective’ mentality in their approach to creativity, drawing upon their unique talents with a shared passion for inventive thinking that goes against uninspired standards and challenges musical norms. Since their inception, OG has captivated audiences with their high-energy performances and infectious melodies, earning them a devoted following around the globe. Their debut album, "The Rhapsody Tapes," released in 2017, garnered widespread acclaim for its ground-breaking sound and fearless experimentation. With influences ranging from Korn, N.E.R.D and Faith No More, OG create a sonic experience that is both visceral and thought-provoking. Their music transcends traditional genre labels, appealing to fans of metal, rock, and alternative alike. In addition to their musical prowess, OG is known for their visually striking aesthetics and imaginative artistic direction, further cementing their status as one of the most exciting bands to emerge in recent years. As they continue to push the boundaries of their craft, OG remains at the forefront of the alternative music scene, inspiring audiences with their fearless creativity and unwavering commitment to artistic integrity. With each new release, they defy expectations and solidify their position as one of the most innovative and compelling bands of their generation.

Ohne es zu ahnen, gelang Keimzeit 1990 gleich mit dem Titelsong ihres ersten Albums "Irrenhaus" ein Wendehit. Die Textzeile "...Irre ins Irrenhaus, die Schlauen ins Parlament. Selber schuld daran, wer die Zeichen der Zeit nicht erkennt..." sprach vielen jungen Menschen damals aus dem Herzen. Norbert Leisegang erinnert sich noch gut an die Aufnahmen: "Wir hatten den Luxus aus 30 Songs 12 der besten Titel auswählen zu können. Da hat uns auch keiner reingeredet, das haben wir allein entscheiden können. Dann haben wir diese Songs quasi live eingespielt. Wir wussten erst gar nicht, dass wir zu dem Zeitpunkt schon im Radio gespielt wurden. Doch dadurch, dass das eine Rundfunk-Produktion war, haben sich die Redakteure von 'DT64"gleich nach Fertigstellung schon Songs wie 'Flugzeuge ohne Räder" und 'Mama" rausgepickt." Die Hörer waren begeistert und die Resonanz durchweg positiv. Der Startschuss für das erste Keimzeit Album war gefallen. Die Songs auf "Irrenhaus" haben auch heute nichts von ihrer Aktualität verloren. Der Hofnarr zeigt uns mehr denn je, die lange Nase. Solange neue und alte Strömungen wieder zum Angriff auf humanistische Werte blasen und die eigene Kultur in Haft nehmen wollen, sind Songs wie "Irrenhaus", "Hofnarr", "Flugzeuge ohne Räder" und "Mama" mehr als klingende Zeitbilder, Mahner dafür, dass man die Freiheit nicht geschenkt bekommt. Keimzeit gab zu Beginn der Neunziger Jahre mehr als 100 Konzerte jährlich. So verwundert es nicht, dass das zweite Album "Kapitel Elf" nicht lange auf sich warten ließ. Die damaligen Manager der Westberliner Plattenfirma Hansa baten die Band nach Veröffentlichung des 1990-er Albums recht zügig wieder ins Studio. "Kapitel Elf" auf Grundlage von Titeln, die die Band damals auch schon auf der Tour spielte. So darf man "Irrenhaus" und "Kapitel Elf" durchaus als sehr verwandt betrachten. Musikalisch ist "Kapitel Elf" breiter als das Vorgänger Album aufgestellt. So werden die beiden Alben nun erstmals als ein auf 1.000 Exemplare limitiertes Doppel-Vinyl veröffentlicht. Ob auf einem Segelschiff nach "Singapur", in einem Zug mit dem "Eisenbahner" oder für einen Städte-Trip nach "Amsterdam", mehr Keimzeit aus den frühen 90-er Jahren geht nicht.