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Big new release by Peter Van Hoesen! Continuing his exploration of intricate techno systems, their effect and direct perimeter of action, Peter van Hoesen turns in his newest four-track piece, ‘Prime Directive’: a fascinating dive into the artist’s shape-shifting headspace and inner creative chaos.

Fuelled on a furnace-hot mix of abstract-leaning immersion and hi-octane rhythmic thrust, ‘Prime Directive’ looks at contemporary techno from the angle of experimentation and intuitive abandon. The result comes in the form of four distinct movements, each carving out their own logic and associated behaviour out an endless pool of potentialities. Here comes chaology unfolding in all its unadulterated, visceral glory.

‘Definition by Absence’ breaks the trip in to the sound of a faux-random symphony: its train-like swing and fiery bass seesaw coalesce through an elliptic fluttering of sorts, iterative and not, patterns moving in and out of synchronicity as van Hoesen applies more or less pressure on both ends. All in gusty in-your-face-ness, ‘Variables Edit 1’ whirls and swirls like an ominous vengeance of nature; Its puncturing kicks and whistling menace set against stellar winds and rabid machinery on the prowl for its next victim.

An even more unsettling piece of disjointedly arrhythmic, anti-club music for the dance floor, ‘Prime Directive’ will have you zoning out like a bad dream, flush with metronome-faced monsters and molten clocks hanging from dead trees. ‘Morphology’ could be PVH’s attempt at giving his concepts a carnal carcass to hold onto. Here, rhythm becomes somewhat less erratic, offering his 360-degree vision more melodic surface and actual room for dispersion. One to keep the boundaries pushed and status-quo challenged, this is techno at its most entrancingly bold and fearless.

*This new four-track epic from Peter van Hoesen comes draped in a fine piece of artwork courtesy of Atact, and pressed according to our standards in 180g audiophile quality so you get to experience the Belgian master's chiselled sound design in all its glory.

Art Longo, multi-instrumentalist and composer, has just released your next favourite album. Dwelling in the self-selected confines of a humble home recording studio for years, cooking up psychotropical pop hits heavily influenced by the late eighties music culture and dub.

The album, Echowah Island, in its entirety manifests a soundscape drenched in orange sunsets and cool breezes. The production, smothered in spring reverbs, space echo delays and wah wah (Echo + Wah), always grounded by the satisfying chugging rhythms of various old drum machines.

It is a creative endeavour and prosperous collaboration alongside Claudia Jonas, whose airy mysterious voice brings to mind the classic french femme fatale singers of the sixties. Her lyrics, almost kaleidoscopic in nature paints a nostalgic, rose-tinted dreamworld but never fails to challenge the listeners imagination and sense of reality.

Carrying on their longstanding dedication to the seminal output of Merzbow, Urashima returns with what is unquestionably their most ambitious release to date: “Collection 001-010”, a deluxe, 10 LP vinyl box set limited to 299 copies, gathering together the entirety of the project’s first ten releases, originally released in 1981. Encountering the band in its early incarnation of the duo of Masami Akita and Kiyoshi Mizutani, raw, exposed and bristling with energy, foreshadowing numerous trajectories they would follow over the coming years, these astounding full lengths - the majority of which have never been released on vinyl - come housed in a beautifully produced, deluxe wooden box, with each LP in its own individual sleeve reproducing the original artwork, and a LP-sized 32-page book containing reproductions of artworls and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore, and Akita himself, amounting to what is unquestionably one of the most historically significant releases we’re likely to encounter in 2025.

Deluxe Edition of 299 copies, remastered from the original analog tapes by Masami Akita, each LP comes in its individual sleeve reproducing the original artwork, also includes a LP-sized 32-page book. ** Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise. Bringing forth beautiful limited edition releases, they’ve sculpted a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Among the many projects that they have supported over the decades, there has been an undeniable dedication to the output of the seminal Japanese noise outfit, Merzbow, making a significant amount of the project’s out of print back catalog available across a range of formats. Now they return with what is arguably their most stunning and ambitious release dedicated to the project to date: “Collection 001-010”, gathering the entirety of Merzbow’s first ten releases, largely privately released by the band on cassette across 1981, in a deluxe, 10 LP vinyl box set. Representing what is effectively ground zero in Japanese noise and collectively amounting to some of the most sought after releases ever produced within that movement, Urashima’s truly beautiful collection comes fully remastered by Masami Akita himself from the original tapes, presenting all but a small number in their first ever vinyl pressings, with each LP housed in its own individual sleeve reproducing the original artwork, alongside a LP-sized 32-page book containing reproductions of artworks and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore and Akita himself. Towering with energy and groundbreaking creative vision, within the realms of noise and experimental music, releases don’t get more monumental or historically important than this!

Merzbow came roaring onto the Tokyo scene in 1979, and remains, to this day, one of the most prolific and aggressively forward-thinking projects in experimental music. Eventually becoming the solo vehicle for the efforts of Masami Akita, in its earliest incarnation the project was the duo of Akita and Kiyoshi Mizutani, taking their name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow pushed toward new territories of the extreme, arriving at a space of pure, unadulterated sonic onslaught that has continued, for over 40 years, to set the pace for the entire genre of noise, and has remained one of the movement’s most important, definitive voices, continuously laying the groundwork for countless artists who have followed in its wake.

When dealing with historical gestures, there’s an invertible aura surrounding original line-ups and early statements, and rightfully so. It is often within a band’s debut that we catch the purest glimpse of the raw energy and creative ferment that made them what they are. This is certainly the case when regarding the coveted early releases of Merzbow, capturing the emergence of the project in its form as the duo of Masami Akita and Kiyoshi Mizutani as they helped set the blue print from the then emerging movement of Japanese noise. Over the course of its nearly five decades of activity, Merzbow has always been noted for how prolific and ambitious the project is. This was no less the case in the very beginning. While they were active for roughly two years prior, in 1981 alone they issued ten self-released cassettes numerically titled “Collection 001-010”, albums which have both individually and collectively become holy grails in the realms of noise, with only two - “Collection 007” and “Collection 009” - ever receiving vinyl reissues prior to now.

As Lasse Marhaug deftly articulates in the newly commissioned liner notes for “Collection 001-010”, despite having been recorded in different location across a span of time, the sum total of Merzbow’s first ten releases might be best regarded as a single release to be listened to in the same, durational sitting, with the material standing well apart from what most came to expect from Merzbow, while foreshadowing numerous trajectories the project would take over the coming years. Not only do these recordings feature a vast array of instrumentation - tapes, acoustic and electric guitar, violin, drums, voice, recorder, organ, found sounds, clarinet, homemade and prepared instruments, a vast arsenal of effects and electronics, and piano, to only begin to scratch the surface - the majority of which would disappear from the project’s active sources of sound generation over the subsequent years, but there is a slow pacing and raw sense of openness and exposure that reveals strong connections to the avant-garde improvisations of groups like AMM, Musica Elettronica Viva, and Gruppo di Improvvisazione Nuova Consonanza, the psychedelia of groups like Taj Mahal Travellers and Flower Traveling band (both of whom Akita mentions having seen in youth within his interview with Jim O’Rourke), and rock in general - albeit in fully abstracted forms - unspooling as brittle, pointillistic, textural, raw and abrasive forms, that occasionally flirts with unexpected tonal sensibilities. As Marhaug describes it in his excellent liner notes: «Sonically, “Collection” sounds more sparse and stripped. It’s dry sounding, up-front, no reverb, and there’s less heavy low-end grime and thin on the signature frequency sweeps. Viewed in a 1981 context, musically, it’s more akin to what the LAFMS (Los Angeles Free Music Society) pool of artists were doing at that time than what was happening in industrial music... There’s a strong playfulness throughout, like the sound objects are being explored for the first time, without neither restraint nor hurry. Events are allowed to be fully examined before the music moves on, or simply cuts off. To a large degree, the music on “Collection” feels acoustic in nature, although a Electro-Harmonix ring-modulator features prominently throughout.»

Easily described as a rarely encountered revelation into the original and earlier documented studio sound of Merzbow, “Collection 001-010” collectively amounts to an engrossing sonic journey in its own right, while also allowing for important, often overlooked connections drawn from numerous other creative wellsprings, notably free jazz, underground rock, the output of European and Japanese avant-garde music, as well as Dada, Fluxus, and Mail Art, much of which, beyond the illumination made possible by the sounds, Jim O’Rourke’s fantastic interview with Akita, published in the booklet, further explores, offering great insights into the origins of Merzbow and the thinking behind the project, as well as aspects of the earliest days of Japanese noise.

To speak to Luca Daniel Schwarz aka LDS about his music is to be enthusiastically guided into a complex world of his own creation: clean and powerful techno which pulses with life from the textured patterns and drum sequences that have fills and accents that would make anyone who’s picked up a set of drumsticks envious. Yet this ecosystem of noise is deceptive; Schwarz’s process for making music is very different to how a live drummer would create the same subtlety of performance. Forever researching new technology, Luca got deeply interested in different programming languages, and created a series of probability-based music tools for manoeuvring sounds and sequencing.
Manipulating those probabilities takes a skilful alchemy, needing understanding of both musical structure and how the tools he devised work. To return to the drummer analogy, if the drummer is focussed and intentional in the moment of playing, then the method used in LDS tracks is almost diametrically opposed, with all of the intention coming in the assembly of the instruments, potential paths, and gateways; once play is pressed the music flows, following all the rules that were set in advance, not unlike a domino run or Rube Goldberg machine. And like a domino run, the results are fascinating and, ultimately, fun: staccato vocals pop in and out in ‘zipp prompt’; laser-like synths pulse; background noises sweep across the aural plane of the dub techno of ‘diff, blockmix’ and ‘pow’ adding texture that brings vitality all-too-easily missed out when complex mathematical
processes become entwined with music creation. The high sensitivity to texture and rhythmic detail in Stadion Progg is multiplied further on Jean Redondo's remix - whose track, Hypersonic, was the backbone of 2023’s ‘yet’ compilation on Tresor.
The balance between technology and a sense of fun might also come from the maker; it’s not easy to overstate Schwarz’s passion for what is now his favourite way to make music, “it never gets boring. There’s always a moment of anticipation to see what actually emerges.” And the true “power of 2” comes into play when the resulting music can be fed back through the system again and again, potentiating the music in exponential ways.

Edinburgh-based three-piece funk band High Fade are set to release their debut album 'Life’s Too Fast'.

Capturing the raw, on-stage energy that has been the driving force behind High Fade’s meteoric rise was never going to be easy, but that’s exactly what Harry, Oli and Calvin set out to do with a clear creative vision to record their album live at the iconic RAK Studios in London.

'We recorded in RAK Studios, with the desk built for the Rolling Stones in ‘76, with the same cigarette burns still on the faders. It instantly had a vibe of raw energy and liveliness to it that matched the way we wanted to record - live.' – Calvin

The result? 'Life’s Too Fast' – a blistering 10-track debut from one of the UK’s most exciting bands that manages to deliver the same tight, groove-laden funk rock that has put the group on the radars of Jack Black, Cypress Hill and Rage Against the Machine’s Brad Wilk, has seen them tour with The Cat Empire, and tick off iconic venues including Glastonbury, Jazz Cafe, and Boomtown Festival.

'We decided to record the album live rather than through the normal single track overdubbed method – we felt this would help to fully convey the band’s power, sound and energy across to the listener! More like we’re playing a gig and having it recorded – it was a tough process, but we went about it in the best way for both us and the audience, to ensure they’re getting the most authentic High Fade sound and experience possible.' – Oli

Having spent much of the last three years on the road seeing to a punishing tour schedule, 'Life’s Too Fast' is a chance for the band to stop and take stock, to reflect on their whirlwind success, and create an artistic milestone that demonstrates who High Fade are today. 'It’s the most accurate representation of what High Fade is, what we sound like, and who we are' explains Harry. Telling a clear story that matches their own experiences over the last few years, the album is a snapshot taken by a band who are accelerating towards real success and recognition.

'I’m glad we finally have a body of work that we’re proud of and feels like a collection of songs that nicely represents where we are right now. It’s organised chaos and shows that we like to play, but can also write a catchy tune.' – Calvin

Launching into proceedings with the effortlessly uplifting 'Take Me To The Floor', every track is a demonstration of the band’s technical prowess and broad sonic palette. A forward-facing selection of completely original material, the album also gave the band the opportunity to re-imagine fan-favourite 'Sharpen Up' as a stripped-back cut that reflects the band’s current lineup.

'Honestly, I kinda feel like I could explode with excitement about getting it out for everyone in the world to hear because it has been a long time in the making! A culmination of what all the singles have been working towards! I guess the album represents us and the direction we’re taking the music, it represents us as a trio and the gel that is High Fade.' – Oli

Doomed Utility is the debut album by Alex Wang, a bass-heavy, noisy, and abstract work that blends industrial and club music into an unsettling soundscape.

Sound existed before there were human ears to hear it—ancient and eternal, as silence itself. In the first few hundred thousand years after our cosmos was born, a deep hum traveled through a plasma of hot particles, eventually finding its way into our machines. Now, computers weave a web of sound around us, abstracting from meaning, pleasure, or melody, crafting disharmonies that dig into us raw.

In Doomed Utility, that primordial hum resurfaces—fractured, raw, and discordant—pulling us into rhythms of exhaustion, exhilaration, and annihilation.

This is a sound that doesn’t merely enter us; it claims us. It lingers, waits—hungry. It tears through cognition and rips through bodies. We may have no obvious use for it, but it has a use for us.

Computer sound perpetuates itself through our ears, our thoughts, and our human culture. It recalls all things, binds all things, moves all things. We are its resources, its vessels for messages not yet decoded, and for purposes yet unknown.

2025 Reissue

Exhibiting a solid background as a mastering engineer, Inner Lakes has spent quite some years locked in his studio (located between two of the biggest internal lakes in the north of Italy), to perfect his vast experimental sound. The use of modular synths, modified machines and sequencers is prevalent throughout his work. Defined in his own words as a "contemporary DJ tool" the forthcoming four tracker debut EP is set to be released via Vae Victis Records. The record is far from just a 'tool' with multilayered textures encompassed in dreamy soundscapes and a heavy driving energy throughout. His perfection in his work and passion for all things sound are a major catalyst for his sets. A mixture of unreleased material, futuristic sounds and hard hitting classics is what you can expect.

Dekmantel UFO Series continues its resurgent form with a new album of bruising, industrial wave and techno from Broken English Club. UK techno mainstay Oliver Ho debuted his dark and brooding alias more than 10 years ago with a release on Jealous God under the guidance of the late, great Juan Mendez (Silent Servant) — Songs Of Love And Decay is explicitly dedicated to Mendez, whose influence runs deep in this seductively sinister corner of underground, independent electronic music.

Within the overarching aesthetic of the Broken English Club sound, Ho finds the freedom to deliver a full spectrum album as diverse as it is consistent. You can sense the shadow of his roots in 90s tribal techno punching through on 'Crawling' and 'Death Cult', while 'England Heretic' leans on thick swathes of analogue synthesis indebted to Giallo soundtracks and the ever-compelling lure of 80s synthwave. In its grinding layers of distortion and dubbed out vocals 'Vessel Of Skin' speaks more to the post-punk influences which have set Broken English Club apart since the outset. This isn't a purely retro-fetishist expedition, though — 'Pacific Island Kill' and 'Lost Gods' exude stark modernism in their sharply-angled sequences and dramatic sound design, moving beyond the functional demands of 4/4 dance music to reach to more cinematic zones.

These are but some of the approaches Ho burrows into as he shapes out the depth and breadth of his muse on Songs Of Love And Decay. It's marked by the undeniable impact of his production, perfected over a decades-deep career at the bleeding edge of machine music. At times the album celebrates the addictive thrust of the dancefloor, while elsewhere it relishes the tension of suspended animation. Throughout, the gritty veneer binds together this accomplished, uncompromising body of work as both a fierce artistic statement and a loving tribute to Mendez — an artist who equally embodied the darker side of the dance.

2025 Repress

Berlin-based Frenchman Alexkid lands on Rawax with ‘Wake Up’, a fantastic new album that explores acid from many different angles.
As an early protagonist in the 90s Parisian electronic music culture, Alexkid has been paving his own path for over two decades. Obsessed with drum-machines since his teens, he is a skilled producer and sound engineer who imbues his productions with real soul and warmth, even releasing his own lauded Ableton Live Plugins. He is a Rex club resident, released albums on Laurent Garnier's legendary F Communications and has also appeared on labels like FUSE London, Rekids, Ovum, Freerange, and
Underground Quality. With this new album he proves once again why he is so well respected by presenting eight acid laced beauties on the infamous Rawax, following appearances from iO (Mulen), Shonky, Enzo Siragusa, Julian Perez, and Diego Krause. 'Kick It' is a bristling, in your face and pricking acid banger with restless 303 lines spraying about above
punchy kicks, the mood switches up for the headier and dubbed out, but still acid laced, 'Le Manteau d'Argent', and 'Tribute' then takes you down a deeper, more shadowy and sparse late night path with a warm, bubbly acid bassline leading the way. Sublime atmospherics characterise the spacious, deeply cosmic 'Revolutions' which has contorted drums and bass making you move, followed by the physical force of acid head wrecker 'No Hiss'. The
excellent 'Idle' strips things back to a propulsive drum groove and a molten sub pattern, 'Yussuf Is In Control' is led by the sort of prying, freaky lead synth that is perfect for the afters, 'Your Love Is Fading' is a masterful track of suspensory synths and soulful vocal sounds all fused to a brightly airy house groove making this another fantastically accomplished album from one of the best in the game.



Support by:

Delano Smith, Seth Troxler, Radio Slave, Dan Curtin, Butane, Ian Pooley, Spacetravel, Satoshie Tomiie, Posthuman, Diego Krause, Samuel Deep, Sonja Moonear, Traumer, Akufen, Sakro, Italojohnson, Enzo Siragusa, Laurent Garnier, Dirian Paic, Ryan Crosson, Reiss, Roger Gerresen, Sebo K, Vinyl Speed Adjust, Franck Roger, Mihai Popoviciu, Fabe, Jamie Jones, Raresh

Across eight tracks, Tilliander and Kajfes masterfully balance slow, lumbering machine pulses, delicate synth textures, and impeccable trumpet lines. Tilliander's use of both analog and digital synths carve out the structure of these sonic sculptures, while Kajfes's elegant trumpet playing pushes against them, infusing the dreamy soundscapes with both acoustic tension and melodic detail. Individually, Andreas Tilliander and Goran Kajfes have long been recognized as leading names in Swedish electronic music and jazz, respectively. Both have consistently pushed and transcended the boundaries of their genres. Tilliander has explored everything from techno, drones, and dub to clicks'n'cuts under monikers like TM404 and Mokira. Kajfes has been a relentless innovator in jazz, playing a central role in bands such as Oddjob, Subtropic Arkestra, Tropiques, Nacka Forum, and Fire! Orchestra. Now, they join forces, forging a new path for both ambient and jazz music.

Roll up Roll up! We have a very tasty package for APPIAN019 and have reverted to a Various Artist format for this one. Here we share 4 sets of artists that have been on our radar for some time - some new joiners to Appian and some old friends : ) We think each track stands out from their past discographies and offers something special.

Timeless cuts to suit all intimate dance floors.

12" Release. Artwork By Philip Mitton.

Hope you enjoy : )

The latest drop on Art-E-Fax welcomes back deep cover braindance tinkerer Briain with a tape of warm and gritty electronica done the right way.

We last coaxed Barry O’Brien away from his day job as sound tech at beloved Berlin haunts Ohm and Tresor for a 12” back in 2019, and now he’s graced us with 11 slices of tweaked and freaked machine funk that should appeal to anyone who savours the maverick electro crossover between Rephlex and Drexciya.

The synth lines crunch and squirm and the beats stutter and rasp as Briain rolls out one wonkily perfect jam after another. In the intricate detail and movement that drives each track forwards you can sense the insular focus that comes with the best shut-in electronica. ‘Fist Fight Or Hug’ toys with sliced up breaks while ‘The Precipitous Descent Of Dignity’ deals in dystopian electro of the highest calibre. ‘Beal Bocht’; puts the drums to one side for a gloriously dislocated trip through FM synthesis and broken delay feedback and ‘Cognitive Dissonance’ revels in twitchy micro perc and delicate keys.

It’s a full-bodied album to sink your teeth into, and while it proudly carries the torch from certain legendary electronica forebears, it’s also delivered with all the charm and personality required to make for a future classic in the braindance canon.

2LP in printed inner sleeves + 12 page booklet with detailed info, secrets and unpublished pictures written by Walter Verdin himself. This collection dives deep into Verdin's prolific and experimental music from 1980 to the beginning of this millennium, capturing an era of a DIY punk spirit, improvisation, creative freedom and swimming against the tide.



We are thrilled to announce the upcoming release of 'Pingpong', a 2LP compilation showcasing previously unreleased works by Walter Verdin, the founding member behind Pas De Deux, the Belgian band which delivered 80's cult classics 'Rendez-Vous' & 'Cardiocleptomanie'. This collection dives deep into Verdin's prolific and experimental music from 1980 to the beginning of this millennium, capturing an era of a DIY punk spirit, improvisation, creative freedom and swimming against the tide.

This album is not just a compilation-it's a sonic journey into Verdin's unique approach to music-making, which he nurtured in the AV studio at KU Leuven's Audiovisual Department (AVD). Having begun his civil service there in 1980, Verdin was exposed to a rich array of audio and video tools that would shape his work for years to come. From the outset, Verdin's process was defined by an openness to experimentation, where he would explore sound and music organically rather than following pre-existing concepts.

The songs on Pingpong reflect his fascination with creating spontaneous, layered compositions. These recordings were made using limited tools, such as his duophonic Yamaha CS-40M synthesizer, borrowed drum machines, and tape loops, and were further enriched by techniques such as reverb and vintage sound manipulation. The results are raw, tactile, and full of personality-often more vibrant and personal than the polished, commercial recordings that would follow in professional studios.

Throughout the 1980s and 1990s, Verdin developed his craft, regularly drawing from his diverse interests in film history, soundtracks, video art, and avant-garde music. His innovative use of tape recorders, improvisational techniques, and later, MIDI and digital tools, makes for a fascinating and varied listening experience. This compilation includes everything from proto-techno and abstract new wave to avant-pop songs, sample-driven experiments, and the oddball TV-inspired tunes that have long been a staple of his work.

This selection is a true reflection of Verdin's "keen amateur" approach: a method focused on discovery, happy accidents, and unexpected results. These compositions aren't about achieving technical perfection, but about capturing moments of sonic exploration and transformation. The 21 recordings have been meticulously curated, with some tracks freshly arranged while others remain true to their original, unedited forms.

'Pingpong' finally brings these forgotten gems into the light. The album includes not only unreleased music but also fragments from Verdin's video art and multimedia projects, offering a rare glimpse into his creative evolution over two decades. Stretching up the boundaries between medium and message, aligning his own musical univers.

Take a deep breath and dive into the works of an artist whose explorations pushed his boundaries of sound and technology.

A Belgian sonic cut up, ping ponging in between many worlds.

Scruscru has launched a new label called Tunes Delivery and it is back with another banger here in the former of LTF's Fine Tuning album. It comes hot on the heels of some sublime Soviet jazz-funk sample madness on previous works and is another production masterclass. These are deep-cut funk sounds with cooling organ chords, hints of Money Mark vibes and psyched-out synths, wah-wah guitars and plenty of rawness to keep things authentic and timeless. The jazzy flutes of 'Bokeh' make it one of our favourites here but there isn't a single bad jam, truth be told.

Every so often an album of such deceptive genius, of such aesthetic clarity, comes across our desk and transfixes us. Thought Leadership's III Of Pentacles is one such work of art. It's an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. The first time we heard III Of Pentacles, we nearly wept at the thought that something so beautiful, so bursting with real hope, could even exist in this brutal world. To quote the Quietus, "imagine if Stockport was situated somewhere along the Pacific Coast Highway rather than the M60, and you’ll have some idea of the coordinates to the post-industrial, sunburnt dream space opened up here."

So, who is Thought Leadership? What do we know about them? They reside in Stockport and are obsessed with ethereal guitar records. That’s about it. That and these X ideas shared with you, the listener.

Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column’s classic “LC” was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs.

Ushered in on 808 kicks, “I” opens the record as a beautiful Sketch for Stockport; a chiming maj7 chord dripping in chorus and delay sets us on our way. The Vini Reilly comparisons are unavoidable. “II” is all John McGeoch, with its trippy goth-psyche arpeggiated pattern cascading across the stereo image. Do those drums swing? But goths don’t swing?! They do here. We’re treated to a bit of crunch on the lead guitar part and some really lush reverb. We even step forth into shoegaze territory, albeit briefly, for the middle eight. “III”, a firm Be With favourite, continues the dreamy psyche leanings of the previous track, with an even bigger melody this time. We’re hearing The Teardrop Explodes on quaaludes here. A proto-dream pop cut soaked in melancholy. But watch out! The coda finds Johnny Marr has gotten into the ‘ludes and gatecrashed the final bars with some incredibly ignorant B minor pentatonic noodling.

“IV” ditches the drum machine for the first in a suite of three beatless electric guitar duets. The first of these semi-improvised rubato ideas is a striking departure from the earlier playful pieces, coming over emo and moody. Greyscale sulking for Stratocaster. Sign us up. “V” contains some really lyrical phrasing; a gorgeous conversation between two guitars. Real Stopfordian Primitive; meditative, crude, rain-soaked. We cycle through the same feels, then end on an alluring chord that breaks the pattern. Sometimes thoughts are like this. “VI” creeps in all plaintive, then a huge reverberating descending guitar line comes tumbling in like something off those classic Dif Juz 12”s. There’s some Maurice Deebank in there too, for sure, and the coda nods to early Meat Puppets.

“VII” rounds out the A Side, and succinctly presents a summary of all ideas explored thus far on our journey. The drum machine is back, this time with some wispy delay, before both guitars enter together playing interlocking lines. As we start, we end, with the delayed 808 guiding us out.

Opening Side B, “VIII” sees us embark on the other side of our journey as we slow down and space out. The drum machine is here, but the guitars are different now. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Side B is one for headphones for sure. “IX” is almost too exquisite for words. A New Age Mixolydian voyage through the cosmos. If you’re unmoved by the end you’ve probably got no pulse. We were left blunted ineffable by this one, such is the smudged elegance radiating from this idea. All hail the Thought Leader.

“X” is a full circle moment, and a fitting end. If you’ve not already elsewhere across the platter, you will be getting heavy Robin Guthrie vibes from this piece. Like the rest of Side B, this improvised jam sticks within a framework of related chords but the celestial energies channelled might invite us to wander “outside”, especially when the Tubescreamer is engaged.

RIYL Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike and adjacent guitar musicks – but, ultimately, this is just its own thing; such is the strength of ideas presented. "It’s good music to chill out to." (??)

Be With is honoured to present the first ever vinyl release of III Of Pentacles, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. They inform us that they shuffled their tarot deck to ask what the album should be called and the card you see on the cover popped out. The III Of Pentacles tarot card represents teamwork, shared vision and the ability to achieve goals through collaboration. We like to think Thought Leadership and Be With have nailed this one.

Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.

In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.

Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.

In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.

Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.

Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.

In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.

Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.

In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.

Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Diese Box enthält 83 Titel aus den ersten drei Halo-Alben, die speziell für Vinyl neu gemastert und auf acht heavyweight LPs gepresst wurden. Jeder Soundtrack befindet sich in einer breitrandige Außenhülle und einer bedruckten Innenhülle. Diese wiederum befinden sich in einer stabilen Sammlerbox aus Karton mit silbernem Laminatüberzug und geprägtem Halo-Logo.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork der Box wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

Für Halo 2 taten sich die Komponisten mit hochkarätigen Musikern zusammen und verpassten dem Halo-Thema mit dem neuen „Mjolnir Mix“ ein Heavy-Metal-Makeover. Es war der erste Videospiel-Soundtrack, der es in die Billboard 200 schaffte.

Halo 3 zeichnete sich durch Tribal-Drums und Prog-Rock-Refrains aus, während Klaviermelodien, begleitet von einem 60-köpfigen Orchester und einem 24-stimmigen Chor, dem Soundtrack emotionale Tiefe verliehen.

- 83 Tracks aus Halo: Combat Evolved, Halo 2 und Halo 3
- Speziell für Vinyl neu gemastert
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist, Bungie)

Long and intermittent running duo of Discrepant head honcho Gonçalo F Cardoso and Angela Valid's Alex Jones, with sometime collaborator Phil Laney aka Kenny Hosepipe joining in somewhere along the way, Hair & Treasure crossover from Sucata Tapes to Discrepant wax via 'Disc Rot'. Described by the duo, in their cryptic and scatological fashion, as "a fetid spread from the buttery catacombs of Hair & Treasure", one can only speculate on the mindset, if not for the scenario, for these file swap recording sessions. As if decaying throughout this back & forth process, the synthscapes, field recordings, voices from who knows where? and subliminal pulses assembled in these 11 pieces all coalesce into this out-there murk where invocations of "a" real are mangled into unhinged, squinting eyes moments of near- consciousness.

Compared to previous Hair & Treasure ventures like 'Two Fucking Tapes' or 'Forked Piss Blues', 'Disc Rot' forgoes side-long tapestries by focusing on shorter and clearer transmissions from the netherworld. Still, the feeling of pieces of discarded hardware and sound hubris lying around and turned music of the duo remains unscathed, filtered through a newfound precision. After the opening feverish threat of 'Warm Night', the suspended synth pads and working machinery of 'Byzantine Turd Skirt' actually comes as a relief, pulling away (a bit) of the dread to resurface with the Texas Chainsaw Massacre OST ambience of 'Amateur Depravity' and 2004-ish Midwest noise stylings of 'Busy Hubby's Flight to Gstaad' and 'Tit Ale'. 'Roads Gonad Today' and 'Just Jerkers' are not that far removed from a lower fidelity take on Black Dice circa 'Creature Comforts', while -'Professional Babies' goes back a couple of years to their collabs with Wolf Eyes, bust mostly, all of this sounds like nothing but Hair & Treasure themselves. If you know, you know.

Peter Matson is a Brooklyn, NY based musician, producer, DJ, and founder and leader of the seminal NYC post-punk dance outfit Underground System.

Hotel PMis the debut LP from Matson and third release with Bastard Jazz having released two EPs Short Trips in 2019 and The Right Way in 2022.

Album features a who's who of artists collaborating with Matson including Toribio, Kendra Morris, Pahua, The Phenomenal Hand Clap Band, and core members of The Rapture, Ibibio Sound Machine, Poolside, and Sly5thAve.

Including Bastard Jazz, Matson has released music with Soul Clap, planet e, Razor N Tape, Heist Recordings, Heavenly Sweetness, and Hell Yeah.

Recording, production and mixing by Ross Orton (M.I.A., Arctic Monkeys) and Ewan Pearson (Depeche Mode, Confidence Man) between London, Sheffield, UK, Mexico City and Oaxaca, Mexico and Peter's home of New York City.

Press, Radio, and Sync support include Apple Music's WWDC22 Keynote Speech, Rolling Stone, DJ Mag, NTS, Worldwide FM, BBC Radio 6, KCRW, Ibiza Global Radio and more.

Marking the fourteenth chapter in the Swinging Flavors series, Beat Machine Records proudly unveils a gripping release by Helsinki-based producer DJ Sofa. Packed with deep, nostalgic energy, this installment delves into the darker side of drum and bass, with a sound inspired by the genre’s golden era of the late 90s and early 2000s.

DJ Sofa, known for their emotive and intricate productions, brings a raw, jungle-infused energy to the forefront. Drawing inspiration from jungle and breakbeat hardcore, their sound reflects a deep connection to the classic UK rave era while maintaining a forward-thinking edge. Known for captivating listeners with rich atmospheres and complex breakbeats, DJ Sofa’s music resonates strongly with audiences far beyond their Finnish roots, particularly within the UK underground scene.

“Drums For The Lost,” the lead track on Swinging Flavors #14, exemplifies this blend. A menacing roller, it marches forward with unwavering determination, offering a guiding light through shadowy soundscapes. With its haunting basslines, intricate percussion, and mysterious atmosphere, the track is a testament to DJ Sofa’s ability to create immersive and emotionally charged music.

The journey doesn’t stop there. Swinging Flavors #14 also features a remix of “Drums For The Lost” by Siu Mata. The Parisian producer reinterprets the track with their signature style, adding pulsating rhythms and hypnotic layers that elevate it to a peak-time dancefloor weapon. Siu Mata’s remix infuses the original with a modern edge, creating a vibrant and dynamic sound that bridges the gap between tradition and innovation.

Swinging Flavors #14 is available in both digital format and as a limited edition 7” vinyl, ensuring it finds its way into the hands of collectors and music lovers alike. DJ Sofa and Siu Mata’s contributions to the Swinging Flavors series underscore Beat Machine Records’ commitment to showcasing the best of underground electronic music. With its bold exploration of drum and bass and an eye on the future, this release is set to captivate audiences worldwide.

During their short but prolific career, A2L released two albums & numerous EPs on labels such as 1st Bass / Big One and Force Inc between 1988 and 1990. This is a collection of early and rare underground British psychedelic house gems from 1989, blending the trippy, mind-expanding sounds of machine funk, new beat, industrial/ebm, samplers and turntables techniques, with the birth of acid house wonderlandand and captures the raw energy of the UK rave scene.



During their short but prolific career, A2L released two albums, one of which strangely landed on a South African label. They also dropped numerous EPs on labels such as 1st Bass / Big One (home to acts like Deskee, Longsy D, and King Bee) and the German label Force Inc (which hosted artists like Alec Empire, Porter Ricks, and Mike Ink), between 1988 and 1990.

While Acid House is synonymous with the Roland 303, A2L is unlikely an acid house act. Instead, they stand as one of the finest examples of British psychedelic house music from the late 80s, falling between the likesof S-Express, Funtopia, Eon, and Acid Angels. With standout tracks like "Even Though It's Make Believe" and "Come On," A2L delivers infectious grooves over strobelight sample jams.

This here is a collection of early and rare underground British psychedelic house gems from 1989, blending the trippy, mind-expanding sounds of machine funk, new beat, industrial/ebm, samplers and turntables techniques, with the birth of acid house wonderlandand and captures the raw energy of the UK rave scene.


This is one testament to the creative freedom and experimental nature of that era.

For fans of the burgeoning British psychedelic and acid house scene.

After a 30-year interstellar silence, the enigmatic producer Alien Signal—pioneering alias of Italian electronic composer Alex Silvi—reemerges with Whispers from Distant Suns, a transcendent odyssey that bridges retro-futurism and modern electronica. Hailed as a magnum opus, this album transcends genre boundaries, captivating ambient purists, downtempo aficionados, and even experimental listeners with its hypnotic fusion of analog warmth and digital precision.

Cosmic Tapestry of Sound
Drawing comparisons to Vangelis’ Antarctica and Alpha—but reimagined through a 21stcentury lens—Whispers from Distant Suns marries nostalgic synth textures with cuttingedge production. Silvi’s mastery of melody shines through in tracks like “Stardust
Memories” and “Fragile Eden” where shimmering arpeggios and celestial pads drift over robotic, glitch-infused drum patterns and sparse, meditative percussion. The result is a paradox: a retro-futuristic soundscape that feels simultaneously ancient and alien, familiar yet unexplored.

Listener Testimonials
Fans and critics have flooded forums with praise:

“An auditory revelation! It’s like Vangelis met Jon Hopkins in a nebula—vintage soul with a futuristic heartbeat.”
“The textures are gorgeously cinematic. Closing your eyes, you’re adrift in a Tarkovsky film scored for the Andromeda galaxy.”

The Vinyl Experience
Pressed on heavyweight vinyl, the album’s physical release amplifies its immersive qualities. The gatefold sleeve, adorned with surrealist astrophotography and metallic
foiling, mirrors the music’s cosmic ethos. Side A leans into Balearic serenity, with sundappled grooves and aquatic synth ripples, while Side B delves into darker, more
experimental terrain—think Aphex Twin’s Selected Ambient Works colliding with the organic rhythms of Jon Hopkins.

Maturity in Motion
This album is a testament to Silvi’s evolution. Tracks like “Seeds Of Light” and “Message from Andromeda Galaxy” showcase his refined ear for dynamics, balancing silence and sound with surgical precision. Vintage drum machines spar with glitches, while field recordings of crashing waves and interstellar static blur the line between Earth and cosmos. The closing track, “The Star Charts We Shared” crescendos into a 6-minute ambient requiem, leaving listeners suspended in a state of weightless awe.

Final Transmission
Whispers from Distant Suns is more than an album—it’s a transcendent odyssey. Spanning time, space, and the artist’s own creative evolution, this immersive work invites listeners to lose themselves in its ebb and flow. Designed for moments both intimate and expansive, its balearic-tinged atmospheres resonate equally through dawnlit Mediterranean terraces or the solitary glow of headphones in darkness. These are compositions that pulse, morph, and haunt the air long after the final note fades. A living soundscape meant to accompany life’s quiet revelations and clandestine joys—a soundtrack to your most personal moments, crafted as what the artist calls ‘private dance music.’

Tailored for the Discerning Listener
Whispers from Distant Suns is designed with the true connoisseur in mind. This album is a must-have for:

Vinyl Collectors & Audiophiles: Those who value the warmth and tactile experience of heavyweight, limited edition pressings
Electronic Ambient and Downtempo Fans: Listeners who appreciate immersive soundscapes that merge retro analog charm with modern digital innovation.
Retro-Futurism Enthusiasts: Fans of pioneering artists like Vangelis, Boards of Canada, and early Warp Records who seek music that bridges nostalgic synth textures with futuristic experimentation.
Experimental Music Explorers: Individuals drawn to sonic narratives that invite deep, contemplative listening—perfect for both introspective moments and immersive listening sessions.
This release is not just an album; it’s a curated experience for those who desire music as a multidimensional art form, merging the vintage allure of analog sound with a contemporary, cosmic vision.

For fans of: Vangelis, Biosphere, Jon Hopkins, early Warp Records.

ANORAX sticks to its’ #eatsleepcollect mantra with this limited edition 7” by UK Techno pioneers NEXUS 21. Both tracks were stuck in the NETWORK vaults (well a metal box full of DATS) since being recorded in 1991 before greeting the World on the NEXUS 21 MIND MACHINES LP released last December.

Both stood out on that album so much that issuing them on a 300 press run 7” single for collectors seems the obvious thing to do.

SELF HYPNOSIS has long been a signature anthem for early UK Techno but the version here is radically different from the original,and fascinatingly gives a glimpse of the Rave machinations that Mark and Chris would champion as they transformed into ALTERN 8.
The studio recording of SILICON was not released on any format until the recent album.

It was left on the shelf as both label and artist focused on ALTERN 8 instead of NEXUS 21. Part bleep and part clonk it’s a classic snapshot of the North Of London UK soundscape in 199.1. And that makes the fact that this version was recorded live at London’s much loved Brain club in April of that year somewhat ironic. It’s incredibly clear for a live record and incredibly good.

Bugge Wesseltoft has long been a shaper of his own jazz idioms, through his diverse solo albums, his group projects such as New Conception of Jazz, OKWorld! and RYMDEN, and collaborations with artists such as Sidsel Endresen, Henning Kraggerud or Henrik Schwarz.

"Am Are" features special constellations of superb musicians that spans both generations and styles, and is an exploration of sonic textures, dynamic contrasts of mood and style, and ranges from sparse arrangements through to complex layers of dubs and loops and improvisational interplay.

The album begins with Bugge alone on "How?" with layers of undulating atmospheric synth, brought into focus by Bugge's piano at the forefront, creating a minimalist miniature that is both emotive and serene. For "Villrein" Bugge is joined by Elias Tafjord on drums, beginning with a santur-like synth figure, floating over ominous formant sci-fi bass synths bubbling and pulsing, and overlaid by phrenetic piano that only stops to lock into the santur figure before relaunching on its own journeys, all underpinned by Elias Tafjord's expressive drumming. "Is Anyone Listening?" demonstrate's Bugge's songcraft, layering muted percussive piano behind Rohey's distinctive and beautiful vocals punctuated by Martin Myhre Olsen's tenor saxophone, creating a soulful mood tinged with desperation.

"BAG" presents the first classic piano trio of the album - Bugge on piano and synths, Arild Andersen on bass, and Gard Nilssen on drums - announcing itself with an insistent riff, chattering drums, breaking into a progressive rock-style passage of bass and piano in unison. "Reel", the second track from this trio, is a mellow soundscape that evolves to become hazy urban downbeat jazz.

The second piano trio of Bugge (Rhodes and Korg MS20 synth), Sveinung Hovensjø (Electric Bass), and Jon Christensen (Drums and Bells) offers a completely different perspective. The first track "Render" features Bugge's Zawinul-esque Rhodes and monosynth leads, Sveinung's fuzz bass in something of a leading role, all carried with chattering gusto by Jon Christensen's dynamic drumming that brings texture and space as well as rhythm to the piece. "Vender" begins as an atmospheric piece, with reed organ-like synth washes, and octave-processed bass with a somewhat sitar-like tone, meandering until the track breaks down into drums and bass weaving around an insistent drum machine loop, dripping with synth pads and monosynth lead.

"JazzBasill" introduces the third piano trio - featuring Bugge (Piano), Jens Mikkel Madsen (Acoustic Bass) and Øyunn (Drums) - and offers a classic piano trio style with urban sophistication, that is lyrical, and interspersed with staccato cadences, giving a feeling of broken swing, slightly staggered yet driving forwards. The title track "AM ARE" is late night jazz, with baroque whispers, and distinctly melodic.

The final track, "Think Ahead" features the non-standard trio of Bugge (Piano/Organ), Oddrun Lilja (Guitar) and Sanskriti Shrestha (Tablas/Harp). Beginning with a minimalist piano figure, table, and sustained guitar, the track breaks down to a noise surge and ambient windscape, with guitar birds and abstract grinding, before returning to minimalist melodicism.

The shifting personnel across the album, as well as the three different studios in which it was recorded - Village Recording in Copenhagen, Rainbow Studios in Oslo, and his own Buggesroom Studio - creates a feeling of dynamic change and musical variety that is unified by Bugge's piano and keyboards. His playing moves between foreground, where he allows the music to elevate him, and background, where he move gently like a beneficent presence, tending to the demands of the spirit of the musical moments he has captured. It is an album powered by restless exploration and shaped by distinctive musical personalities; it is a journey through different moods, illuminated and brought into focus by Bugge's measured approach and guiding hand.

Folding the ambient techno tradition into neatly arranged packets of rhythm and space, Delsin proudly presents a striking new collaboration from Tobias. and Doltz. A project developed from a chance encounter, Versus combines classic synth and drum machine configurations with needlepoint sound design to create a quintessential electronica listening experience. Tobias. is the lead alias from Tobias Freund, the celebrated German techno pioneer who has been actively exploring new territories in electronic music production since the early 1980s. As Doltz, Shun Watanabe has quickly developed his own impressive artistic stamp in the field of leftfield techno and ambient since debuting in 2020. After seeing Doltz perform a live set at Eden Festival 2024 in Japan, Freund instantly invited him to collaborate. After the success of the first collaboration, they went on to develop five of the tracks on Versus together, while Jiawen Wang performed additional vocals on 'We Are Not Alone'. Versus is an album that balances variety and consistency across its finely sequenced run time, maintaining a focus on pointillist, exploratory rhythm from crisp drum machines and twitchy digitalia alike, all backed up by richly rendered atmospherics from gaseous pads to icy drones. It's a warm and inviting sound world, but also fearlessly futuristic, speaking to both Freund's decades of refinement and the startling clarity of Doltz's vision.

Because Sound Matters' meticulous One-Step process creates the definitive sounding audiophile version of k.d. lang Ingénue. This all-analog release comes from the original first-generation master tapes for the first time. Vinyl guru and editor Michael Fremer says, "This k.d. One-Step is insane – It's otherworldly great!"

This One-Step version is strictly limited to 3,000 copies. The album is housed inside a top-quality, foil-stamped, uniquely designed numbered slipcase. The enclosed gatefold jacket will feature an "old style" tip-on jacket with the original artwork.

Special care has been taken to faithfully preserve the original sound with exceptional clarity and depth, capturing the recording's nuances and subtleties at every step to create the best sounding record possible.

The One-Step process is highly regarded among audiophiles and collectors for its unparalleled sound fidelity and represents the pinnacle of vinyl manufacturing craftsmanship.

Ingénue was originally released March 17, 1992 and is k.d. lang's second solo album.

Upon release, the album charted at #18 in the US, #13 in Canada, #3 in the UK and Australia and #1 in New Zealand. Nominated for six Grammy® Awards with the breakout single "Constant Craving" winning a Grammy® Award for Best Female Pop Vocal Performance. "Miss Chatelaine" and "The Mind of Love" were follow-up singles.

k.d. received universal critical acclaim for the album from publications like Mojo, Pitchfork, Rolling Stone, Uncut and dozens more! Today, Ingénue is a true classic album and considered one of the great audiophile recordings of the modern era. This One-Step version certainly proves that!

Notes for This Release:

Ingénue was originally recorded and mixed on analogue tape and produced by Greg Penny, Ben Mink and k.d. lang. The original analogue master tapes were directly used as the audio source for this One-Step pressing! This is the first time the analogue tapes have been used as a vinyl source for this brilliant recording. The results are stunning.

Because Sound Matters used the Neotech VR900-D2 180g High-Performance vinyl compound, which is the same as what is known as Super Vinyl – the best in the world.

Chris Bellman at Bernie Grundman Mastering cut the lacquers with meticulous care! He also did the original mastering of the CD release in 1992.

Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of Ingénue ever.

Record Technology, Inc did the pressing – using the exact pressing machine used for so many other One-Step releases. The QC team is constantly monitoring each copy as it comes off the press.

Because Sound Matters' slipcases and gatefold "old style" tip on original art jackets were printed by world-renowned Stoughton Printing Company.

This new all-analogue edition will draw you into the music as never before—at least it did me. The sonic picture is rich, well-textured, harmonically saturated, spatially deep and all the rest of the audiophile buzzwords that no doubt the producers (who include lang) intended to give listeners but until now couldn't fully deliver. The musical flow will have you swooning in your seat. Before the opener 'Save Me' concludes you may already feel overwhelmed and in need of lifting the stylus to catch your emotional breath...What a treat!
-Michael Fremer, Tracking Angle, Music 11/10, Sound 11/10

Limited Edition 12"

Left Ear are delivering two previous unreleased Australian ‘experimental’ electronic tracks from the 80’s and honoring them with a split 12” release.

Side A: Features an unreleased full-length version of Tim Gruchy’s Jungles, a solo electro-percussive piece recorded in Tim’s Lab D’Avoid studio in Brisbane. The track is emblematic of his style during an era when he worked extensively in music, both as a percussionist and primarily with electronics, including early analog synths.

A shorter version was originally released on the Meanjin (Brisbane) art collective ZIP’s Eye Ear EP book package in 1986 and, more recently, on Left Ear’s Antipodean Anomalies 2 compilation.

This original version of Jungles was initially part of the soundtrack for the ZIP Performing Group’s infamous Ironing Board Dances. Footage of the performance was treated through a Fairlight synthesizer, mixed with hand-painted slides, and transferred to VHS for various film festivals.

Side B: Michael Krillich’s Arnhem Land began its journey in 1982 in a shared house in North Bondi. Inspired by Brian Eno and David Byrne’s My Life in the Bush of Ghosts, he experimented with tape loops, cut-ups, and samples, incorporating synthesizers, effects pedals, a drum machine, and an unknown sample from an Australian Aboriginal record. This creation became part of his cassette release, Thematic Variations.

In 2010, Krillich uploaded an unreleased extended version of Arnhem Land from Thematic Variations to YouTube, which was shared by record dealer Matt Bowden with Left Ear Records, who pursued to release it on vinyl. Their search to uncover the sample’s origins led them to Arnhem Land Vol. 1 (1957), recorded by Peter Elkin in the Daly River region.

After years of research and through the guidance of Professor Allan Marrett and local custodians, the sample was verified as a “Wangga” ceremonial song sung by George Morkai, an Emmiyangarl man. Rights to the song had passed through generations to Tobias Worumbu, who granted us permission for its use, bringing Arnhem Land full circle.

"Daft Punk brought me here, he brought me Daft Punk"

Just knowing that this slice of hyper-rare disco dynamite was crafted by Thomas Bangalter's dad should be enough for you to buy this on sight, if only to understand a little bit more about Thomas and Daft Punk's background. But this is so much more than a Daft Punk family curio.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who we have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-fulled firecracker - using his Who’s Who moniker - is for disco-funk, library music and cosmic beat lovers.

The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. "I’d been to a nightclub in New York, a big ring where people were roller skating with a whistle. The atmosphere was great. The music was all disco. I made this song when I came back. A vocoder transformed my voice. Back then, it wasn’t used much." The track rides a killer groove and is deceptively complex, with layers of fantastic percussion and ace synth work going on all over it. Listed to on repeat, it's brilliance is simply undeniable.

The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, *the* deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. So deep, so disco, so instrumental. An unreal track and, as the title hints at, totally hypnotic. The side closes with the somewhat throwaway "Popeden" - it's a jaunty number that you're probably best skipping, in all honesty. Have we ever steered you wrong?

The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. CHECK! This remarkable LP rounds out with the huge "Dancin' Machine". It's got sleek drums that emit an absolutely ace swagger and elements of Italo synth funk feels. A relaxed, slow rhythm throughout ensures you can't help but get your funk on when this crashes soundsystems. We'll leave the final word on this to Daniel: "It amuses me to think that my son Thomas was influenced by "Dancin’ Machine" for "Around The World", he says. Both songs being based on an hypnotic repetitive refrain. Both songs being, of course, timeless pieces of Euro genius.

Who's Who really is a fantastic late-70s-early 80s roller disco-funk essential. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland.

When it came to the sleeve for this we were presented with an unusual problem: we usually have to rely on an original sleeve as the starting point for the restoration, but instead we were able to scan the original 35mm transparency of the front cover photo. The problem is that with a modern scanner the results were far sharper than when they made the original sleeve. We’ve played around with the exposure and the colour grading but we’re sorry to say that our version of the front cover still ended up looking too good! Don’t hate us.

Fresh from the triumphant return of a successful domestic and international tour, Smif-N-Wessun's new album is a cumulative reflection of their life experiences. Executive produced by college professor and world-renowned producer 9th Wonder and the Soul Council, 9th explains the thought process with the album. “I wanted to make sure that it didn't sound dated. It sounds like them (Smif-N-Wessun), but it's also new. They are our generation's version of Thelonious Monk, Charlie Parker, Donald Byrd.”

Illustrious MCs featured on the album include Buckshot, Pharoahe Monch, Conway the Machine, legendary artists Sean Price and Prodigy, multi-platinum RnB legend Ralph Tresvant, along with rising stars Sweta and Jalisa. Scheduled for release January 10th, 2025, Infinity cements Smif-N-Wessun's status as creators of nothing but classics. This is their eighth album and the second collaboration with 9th Wonder and the Soul Council. Showcasing buttery beats from Council members, 9th Wonder himself, Khrysis, SND*TRK, Kash, Mu'aath, and Nottz, the album delivers a sonic smash that will satisfy everyone from the rap purist to new school connoisseurs.

15 Years Of Dame-Music Vol.1 is an ode to the unmistakable sound of the TB-303, a core element of Bloody Mary’s widely respected sound and label. Above all, it celebrates fifteen years of quality dance music, set to continue across its three excellently curated volumes in 2025.
The first volume, releasing 28th March 2025, features a track from Bloody Mary and welcomes back Thomas P. Heckmann, E-Bony, and Hardfloor to the imprint.
15 Years Of Dame-Music Vol. 1 with label regular Thomas P. Heckmann’s ‘Days Of Buzz’ electrifying the dancefloor with waves of mind-melting acid over a resolute beat.
Label head Bloody Mary then drops ‘Fractal Waves’, playful, 303-licked, and comfortably switching between straight 4/4 and raw, crunched-up breaks; this is a raveready cut showing Mary at her best.
On the flip, artist E-Bony returns to Dame-Music after closing the label’s 2024 schedule with the ‘Machine Code’ EP. His ‘303 Elements’ builds from a low-slung groove to an intense climax as acid drips, oozes and rains over crisp drums while hoover sounds create an otherworldly atmosphere at its peak. Closing out the first volume is 90s Acid Techno duo Hardfloor with ‘I’ll Never Own A Helicopter’, providing a hands-in-the-air club track to work the dancefloor into a frenzy.
Mastered by Thomas P. Heckmann
Artwork by Philip Mercieca
(c) Dame-Music 2025, all right reserved

Umwelt unveils his latest EP, featuring six tracks that highlight his distinct analog style. Fusing techno, electro, and machine-driven rhythms, crafting his signature sonic landscapes that define the unique Umwelt sound. Essential!

"“We can still hold the line of beauty, form, and beat. No small accomplishment in a world as challenging as this one... hard times require furious dancing. Each of us is proof” Alice Walker, Hard Times Require Furious Dancing

Snapped Ankles have given up trying to make sense of it all. The forest only offers so much protection. Feeding on a diet of fractured narratives, meme culture, viral moments and the very worst of human impulses weighs heavy. The woodwose hold up a mirror to the absurdity of modern life once again. The only sane response is to dance. Make your way to the clearing, gather around the megalith of speakers, drum machines, amps and synthesisers and dance like there’s no tomorrow.

Hard Times Furious Dancing is an invitation to all those lost in the unrelenting noise of the present, to leave it all behind and come together in the forest. Driven by the primitive thrust of their single-oscillator ‘log’ synths, high and low culture collide in a surreal, free flowing narrative - but the rhythm is universal. This is easily the closest Snapped Ankles have come to capturing their rapturous live energy in the studio.

The sound of Hard Times Furious Dancing evolved at Snapped Ankles’ South London ‘Forest Rayve’ club nights in 2024 in response to that age-old primal urge to bring people together and make them move. It’s the first time the woodwose have road tested new material to this extent before committing it to tape since debut album Come Play The Trees, and in doing so have harnessed that feral energy once again. This surreal human/woodwose connection is the very best release from an algorithm that knows you better than you know yourself. Dance it all loose."

QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.

The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.

"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.

Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.

"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.

"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.

Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.

QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.

Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.

Released in 2015, Violent Rains is Minuit Machine's standout album, cementing the project as a key reference in the darkwave scene both in France and internationally.

Driven by the single Honey, their most-streamed track, the album blends dark electronic soundscapes with haunting melodies. Violent Rains remains a defining work, earning Minuit Machine a loyal global audience and lasting recognition in the genre.

BLACK/RED VINYL

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

Cross Record's new album, Crush Me, is steeped in the pressures and wonders of existence—a profound statement, especially coming from artist and death doula Emily Cross. A two-and-a-half-year gestation period offered challenges, disappointments, and joys reflected in the cramped space of the album, which explores how we handle the weights we carry. Emily Cross had held hundreds of Living Funerals and was as many episodes deep into her podcast, What I’m Looking At. She was five years into serving clients as a death doula and fresh off a tour with Loma, her band with Jonathan Meiburg (Shearwater) and Dan Duszynski, when she began work on her fourth album. After moving from Austin, TX to Dorset, UK, she established the Steady Waves Center for Contemplation (named after a track from her second record, Wabi-Sabi ), where she hosted Living Funerals, met clients, scheduled mindful tea sessions, and showcased experimental music nights. All the while, she was scribbling down song ideas. Cross’s Tascam four-track demos finally reached readiness, and she sent them to an interested major independent label. She was encouraged to push her imagination to the limits of what a record could be. So, unlike her usual process of recording as inexpensively as possible, she prepared a two-week recording session in Germany with a group of skilled musicians from around the world. True to her previous work, Cross left plenty of room in her demos for experimentation, collaboration, chance, improvisation, and complete obliteration, then resurrection when necessary. Comfort and traditional structure were eschewed in favor of unaccountable magic, prayers whispered into The Void. Cross is comfortable with the chaotic and unpredictable, a perspective demanded by her work and writing style. The Berlin Airbnb was packed with people, instruments and luggage. During a ride down in a tiny elevator to the studio, Cross realized how central the sense of being crushed was to the album. “I thought of it later and it dawned on me that ‘Crush Me’ perfectly embodied the record,” says Cross. Yes, the weight of a body laying limply atop yours, or the tight squeeze of a hug, can be pleasant. Go too far, and you’re in the hands of a cruel, adolescent god. Upon leaving Germany, the record was unfinished, and without a roadmap. As passages were recorded as isolated parts, Cross and musician Marcin Sulewski collaborated, facing a haphazard brick pile, waiting to be assembled. Work dipped in and out of view like a buoy bobbing in a violent sea over many months. During that time, the aforementioned interested label went radio silent, suddenly not seeming so sure of a thing. Collaborators disappeared, continuing the themes of abandonment, surrender, and disarray that followed the project. Cross physically felt her entire body go numb: In a twist of fate, the record was rescued by long-time friend and supporter Ben Goldberg at Ba Da Bing Records who was eager to help realize the project. Cross worked for months on the album, all the while nursing a pregnancy and continuing her full-time funeral work. The last minute participation of Seth Manchester of Machines with Magnets, who mixed and mastered, was an essential liferaft. He gave true final form to the abstracted songs. Crush Me has the effect of a spell being cast, with songs balancing heaviness and levity. Vocals, guitars, and keyboards float above, as drums and upright bass (often bowed) lurch beneath. On “Rolling Backwards” percussion wanders about while feedback squeals and persists in the distance. “Dorset Area Of Natural Beauty” starts with a thick, unhinged church organ progression punctuated by the disquieting sounds of laughter reaching the point of hysteria. “God Fax” is a slow-moving panic attack, with shallow breaths in and out framing a guttural cacophony like a wooden freighter encountering increasingly turbulent waters and vocals struck emotionless by autotune. The album ends with “Twisted Up Fence,” a reflection on life from outside the wall--wistful, warm, and comforting. Cross, likely with a smile on her face, sings: “You say it’s an endless abyss” “And I say the abyss is the best”

Als die New Yorker IMPERIAL TRIUMPHANT 2018 "Vile Luxury" veröffentlichten, setzten sie einen neuen Standard für die Möglichkeiten extremer Musik. Seitdem hat die dreiköpfige Band ihren unverkennbaren Sound, der gleichermaßen im eklektischen Black Metal, den klaustrophobischsten Vorstellungen von Free Jazz und dem Konzept von urbanen Stadtlandschaften als Schluchten des Grauens verwurzelt ist, weiterentwickelt und ihren Status mit Touren an der Seite von Bands wie Behemoth, Zeal & Ardor und Voivod zementiert. Jetzt kehren IMPERIAL TRIUMPHANT mit einem neuen Blick auf "Vile Luxury" zurück, das von ihrem langjährigen Begleiter Colin Marston (Krallice, Gorguts) neu abgemischt und gemastert wurde, wodurch neue Dimensionen dieses Werks - das oft als IMPERIAL TRIUMPHANTs zugänglichstes Werk gilt - mit seinen monolithischen Absichten zum Vorschein kommen.