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Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. "Electròccid àccid alquimístic xoc" marks a shift in Pau Riba's sound-now electrified and fully embracing rock with nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid_" is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie-fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom-and vice versa. First vinyl reissue in over four decades!

Perth’s COLD MEAT are finally back and unleash a five track 7” EP full of their confrontational punk rock. The sound is brittle, primal and raw with the crisp guitar work leading each track. In parts it sounds like a more aggro BRATMOBILE and in others it has the innocent charm of the FATAL MICROBES. It’s in your face, direct and within seconds of hearing ‘Prick at the Pub’ you already know the lyrics are both tongue in cheek and observational. From provocation perverts relentlessly chewing your ear off at the bar to exploitative high-end art havens promoting sprawling wellness. Innovation through social elevation. Who wouldn’t want to go to a cake and arse party?

Prism Shores are Montreal janglers with one foot planted in ramshackle C86-indebted indie pop and the other in the shimmer of early English shoegaze. While their sound is reminiscent of perennial genre reference points (Sarah, Creation, Flying Nun), the band leaves their own idiosyncratic stamp. Out From Underneath, their new record due out January 17, 2025, on Meritorio Records, tackles young adult ennui and the adjustment of settling in an unfamiliar city, its lyrics dealing with the growing pains experienced during a time of upheaval. It is contemplative and chock-full of emotional depth; a nighttime album that channels self-reflexive melancholy into some form of catharsis.

Civilistjävel! x Mayssa Jallad’s ‘Marjaa: The Battle of the Hotels (Versions)’ is a radical response to Mayssa Jallad’s 2023 original LP, a lyrical account of epochal events in Beirut at the dawn of Lebanon's civil war. ‘…(Versions)’ sees Civilistjävel! (aka Swedish producer Tomas Bodén) apply a stripped, dub methodology to Mayssa's rich stems, refracting the Arabic source through the hazy prism of Northern European electronica. Retaining ‘Marjaa…’s deep spatial framing and vaporous, shifting nature, traces are lifted and set down in a new landscape: a ghost of a ghost. Informed by Tomas' singular strand of ambient, minimalist, dub techno, ‘… (Versions)’ recalls the reductive, shimmering pulse of pioneering Berlin-based practitioners Basic Channel/Chain Reaction, but with the parameters stretched into the ether. Where versions typically focus on a rhythm, here the anchor is the tone and texture of Mayssa’s voice, around which a new world has been constructed. Disembodied and liminal, it conjures an eerie panorama that feels like a postscript to the original, further emphasizing the geopolitical events that have had such devastating effect in Mayssa’s homeland of Lebanon since that record’s release. ‘Marjaa…’ (tr. ‘reference’) combined Mayssa Jallad’s two main vocations: music and urban research/architectural history. The album was co-written with Fadi Tabbal and based on Mayssa's Historic Preservation master's thesis (‘Beirut’s Civil War Hotel District: Preserving the World’s First High-Rise Urban Battlefield’). The thesis examined a 5-month conflict that took place within Beirut's skyscraper-laden luxury hotel district of Minet El Husn near the start of the Lebanese Civil War. Addressing a post-war generation who have never been taught this difficult history, ‘Marjaa…’ was an attempt to process trauma, and “a call to protest for the renewal, rather than the recycling of the political class that once destroyed the country and holds us, to this day, hostage of its violence.” Often perceived as a mysterious, shadowy presence, Civilistjävel! has come increasingly to the fore in recent years through a consistently dazzling stream of records, released both anonymously and via Fergus Jones’ FELT imprint, often appearing with scant information and tracks for the most part untitled. Having featured tracks from ‘Marjaa…’ on mixes, and included the album in his picks of 2023, in early 2024 Tomas asked Mayssa to provide vocals for a track on his album ‘Brödföda’. Mayssa remembers, “Tomas asked me to choose one of the tracks he was working on. I was in Boston at the time, so I took a walk and chose a track. I wrote the lyrics at the public park, wondering if I was the only one around that was losing sleep over the genocide in Palestine and the war in South Lebanon. I went back to the apartment and recorded the vocals on my phone, while listening to the track on headphones. Tomas reworked it with the voice and sent it back. I liked it immediately.” Despite the geographical distance from Beirut to Uppsala, Sweden, where Tomas resides, Mayssa’s contribution sounds very much at home in Civilistjävel!’s atmospheric, contemplative sound-world. Tomas’ request was reciprocated by Mayssa soon after, resulting in the spectral, glassy ambience of ‘Etel, Kharita (Version)’. This was followed by an invitation to work on more tracks, which Tomas immediately embraced, intensively jamming out versions live to two-track tape in downtime between travelling. If not entirely dissimilar to his regular working practice, the immediacy of it was unusual. Much was improvised live with just a keyboard (not tethered to a grid), and a restricted set-up that largely forbade later edits - only the rhythm tracks are programmed. A sharp conceptual thinker and composer, Tomas takes creative liberties with Mayssa’s songs in a way that is deeply felt and sympathetically aligned, whilst unashamedly outside of the original context of the record. The voice is leaned into as an instrument, without the clear, specific details of language, and this axis provides an uncertain, amorphous footing - structure is often suggested or hinted at, before disappearing or collapsing into fog, and folding back into the message within the song. A somewhat unprecedented source for an album of versions, even those familiar with ‘Marjaa: The Battle of the Hotels’ may at points struggle to hear the songs these versions are rebuilt from, despite the vocal narratives remaining virtually intact. The light has shifted; eroded buildings are foregrounded; fragments of memories appear in chiaroscuro. Signs and signifiers have been replaced. Shorn of the original's warm guitar, ‘Baynana (Version)’ feels like an ominous visitation, the sun no longer visible. ‘Holiday Inn (March 21 to 29) (Version)’ is a molten, clattering invocation. The beat-less tracks nod towards the cold, otherworldly sound-scaping of late '90s isolationism. More propulsive and embodied, ‘Holiday Inn (January to March) (Version)’ and ‘Kharita (Dub)’ are strobing, iridescent techno - lithe, shifting and mutating with almost implausible finesse. A stunning addition to Civilistjävel!’s growing catalogue, ‘…(Versions)’ is a luminous counterpoint to ‘Marjaa…’, and a welcome reminder of how incredible that record remains.

Décima Víctima were a Spanish-(Swedish) band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This LP contains previously unreleased tracks recorded by Décima Víctima in November 1983, one month before their last concert. Seven of these songs feature different lyrics to the ones later recorded for the "Un hombre solo" album. This is the way they performed them that night on the Rock-Ola stage, so this record can be considered, to some extent, an approximation to their last show and to their powerful live sound. After many years a rehearsal session that DV had recorded on an old cassette tape has been resurfaced. It had originally been laid down on a four-track recorder but unfortunately the tape got lost.The story of these tracks goes back to the last weekend of October 1983, when DV went to record at friend Paco Trinidad's family home in the mountains north of Madrid. Paco recorded the latest songs on a four-track tape recorder at the house. It was done live, except for extra takes of clarinet and some guitar details. The garage sound, as the name suggests, was achieved in the garage and an adjoining room where the drums were played. The sleeve design is a photo montage of our performance for the Maqueta de Oro (Gold Demo) at the Diario Pop awards in March 1983, plus another photo of the band in the dressing room at Rock-Ola after playing our last gig. The directness and passion of the tape makes it an interesting item for collectors and fans and the fact that some of the lyrics were not the definitive ones is an added rarity that reveals the development process for the following LP "Un hombre solo".

The Nigerian princesses of afro-funk arrived on the international scene with 1976’s Danger and never looked back. Produced by multi-instrumentalist Adeniyi “Biddy” Wright, the six-song LP is a low-slung affair, awash in dreamy psychedelic guitar, crisp hi-hat shuffles, and telepathic harmony vocals from twins Taiwo and Kehinde. This 2025 remaster is housed in a deluxe tip-on jacket and includes lyrics in both Yorurban and English. Danger, danger, danger please come on back.

The collaboration between influential DJ/producer Eli Escobar and acclaimed vocalist/songwriter Nomi Ruiz has been a long time in the making. The two Puerto Rican New York native’s first collaboration, the electrifying track ‘Desire’ in 2011, set the stage for a series of projects, including their recent joint effort ‘Dance 4 Love ’99’. Now, they are set to release their debut LP, ‘Love Louder’.

‘Love Louder’ captures Eli and Nomi’s experiences of love and loss, reflecting their enduring connection to New York City and its vibrant, yet fading, nightlife culture. The album, while featuring dancefloor gems like ‘Heathens’ and ‘Full Fantasy’, takes an emotional turn, focusing on the themes of loss and presence in a rapidly changing world. The title track opens with lyrics invoking the late Donny Hathaway, reflecting a more profound introspection from the duo. They share their pain over loss, particularly the passing of mutual friend James Dewitt (DJ BluJemz), whose absence profoundly affected their creative process.

Escobar recently opened a club in Brooklyn named Gabriela, honoring a friend who passed away during the pandemic, emphasizing their commitment to preserving New York's cultural landscape. ‘Love Louder’ serves as a love letter to their hometown, intertwining celebration with mourning. In the poignant track ‘Go Be Gone’, Ruiz expresses the difficulty of embracing change and saying goodbye.

As they honor the past, they also aim for a brighter future through their music.

In celebration of Pride Month, Kinga struts to Dark Entries with “Sexy Boy,” a steamy Canadian pop gem. Inspired by gender-bending pop stars of the 1980s like Boy George and Janet Jackson, a young Tomas Fussey aka Kinga ditched his “schoolboy appearance” to adopt an edgier, androgynous style. Immersed in Calgary nightlife, he became acquainted with sexy synthpop and disco songs like Madonna’s “Everybody,” Divine’s “Native Love,” and the Flirts’ “Passion” - songs which still linger in his mind. He began writing music: “It was 80s. Everyone was making a record. So I made one too.” In 1988 he teamed up with keyboardist Dan Madison and veteran producer Bob Gallo to make “Elevator Operator” and “Sexy Boy.” Kinga was surprised when the B-side “Sexy Boy” garnered substantial radio play from CFNY in Toronto. But he notes: “They saw the obvious... My physical appearance supported the lyrics.” In 1989, Amok Records backed a new “Late Night Dance Mix” version of “Sexy Boy.” Almost every part was re-recorded or remade, including Kinga’s vocals. The new version surprised Kinga with its slick production and moody atmosphere. Sales were disappointing, and Kinga stated “It was not the sound of the moment.” But these deeper house-inflected grooves feel like the sound of our current moment. This release of Sexy Boy includes five different mixes, including the original 7” mix, three versions from the 12”, and the previously unreleased “TV Mix”. Sexy Boy comes sleeved in a reproduction of the original artwork and includes an insert with liner notes and lyrics, as well as an 8x10 glossy press photo of the sexy boy himself.

Zunächst nannte Gia Margaret ihr neues Album Romantic Piano, um ein wenig frech zu sein. Denn die sparsamen, sanften Klavierstücke haben mehr mit Erik Satie, Emahoy Tsegué-Maryam Guébrou und den "Marginalia"-Veröffentlichungen von Masakatsu Takagi gemeinsam als mit einem gemütlichen Date-Abend bei Kerzenschein. Doch in dieser Frechheit liegt eine verborgene Absicht: In dem wunderschönen Set wird "Romantik" in einem eher klassischen Sinne suggeriert, was die Deutschen als Waldeinsamkeit bezeichnen. Die Kompositionen beschwören die erhabenen Themen der romantischen Dichter herauf: Einsamkeit in der Natur, die Fähigkeit der Natur zu heilen und zu lehren, ein Gefühl von zufriedener Melancholie. "Ich wollte Musik machen, die nützlich ist", sagt Margaret und untertreibt damit gewaltig die Kraft der Platte. Romantic Piano ist neugierig, beruhigend, geduldig und unglaublich bewegend - aber es verweilt nicht länger als eine Sekunde. Margarets Debütalbum There's Always Glimmer war ein lyrisches Wunderwerk, aber als sie wegen einer Krankheit auf Tournee nicht mehr singen konnte, nahm sie ihr Ambient-Album "Mia Gargaret" (ein weiterer frecher Titel!) auf, das ein feines Gespür für Arrangement und Komposition zeigte, das bei den lyrischen Songs von There's Always Glimmer nicht voll zum Tragen kam. Auch Romantic Piano kommt fast ganz ohne Worte aus. "Das Schreiben von Instrumentalmusik ist im Allgemeinen ein viel freudigerer Prozess als das Schreiben von Lyrics und wirkt sich letztlich auf mein Songwriting aus.", sagt sie. Romantic Piano festigt sie als kompositorische Kraft. Ursprünglich hatte Margaret einen Abschluss in Komposition angestrebt, brach die Musikschule aber auf halbem Weg ab. "Ich wollte wirklich nicht in einem Orchester spielen", sagt sie über ihre Entscheidung, "ich wollte eigentlich nur Filmmusik schreiben. Dann begann ich, mich mehr und mehr darauf zu konzentrieren, eine Songschreiberin zu sein." Romantic Piano berührt in der Tat ein seltenes Gefühl in der Kunst, das oft nur dem Kino vorbehalten ist - die gleichzeitige Ehrfurcht vor dem Dasein mit der großen Linse und der intime innere Monolog nach der Sprache, wenn wir in unseren Schädeln festsitzen. Und das ist sehr romantisch!

Gina X makes her way to Dark Entries for Greatest Fits, a compilation of gems and jams from the eccentric New Wave icon. Gina X Performance was formed in Cologne in 1978 when art history student and chanteuse Gina Kikoine teamed up with synth wizard Zeus B. Held. Inspired by Patti Smith and Lou Reed, Kikoine aimed to create "the absolute union of music, poetry and travesty," a lofty goal that she most certainly would achieve. 1979 saw the release of the classic first LP, Nice Mover, which put Held’s lush electronic production in dialogue with Gina X’s deadpan delivery. Songs explore androgyny, decadence, and avant-garde art in a fashion that is stylish, sexy, and more than a touch transgressive. Nice Mover quickly became a cult favorite thanks to tracks like the euphoric “Nice Mover” and the dancefloor bomb “No G.D.M.”, dedicated to queer icon Quentin Crisp. Three more LPs followed in the coming years: X-Traordinaire in 1980; Voyeur in 1981; and Yinglish in 1984. The duo continued their genre deviance throughout, exploring uptempo space disco on “Strip Tease,” punk-laced New Wave on “Babylon Generation,” and icy electro-pop on “French Lift.” Greatest Fits is the first-ever double LP compilation of Gina X material.

The 17 tracks on Greatest Fits were selected by Kikoine and Held, reflecting the duo’s most cherished moments from their wide-ranging catalog. The record comes housed in a gatefold sleeve designed by Eloise Shir-Juen Leigh featuring press clippings and photographs, and includes an insert with lyrics and memories about each song from Kikoine and Held.

[b] A2 Rich Girl, Arranged By – Christopher Bond, Daryl Hall, John Oates, Arranged By [Strings] – Christopher Bond, Written-By – Daryl Hall

"Bookends" bildet soetwas wie das Herzstück des am 20. Juni erscheinenden Albums. Die weitläufige Ballade zollt ihrem verstorbenen Freund Riley Gale Tribut, ehemals Sänger der Band Power Trip. Sie ist auch inspiriert von John Careys Buch "Eyewitness To History", einer Sammlung von über 300 historischen Augenzeugenberichten zu prägenden Ereignissen der menschlichen Geschichte. Zu Bookends erscheint ein Video von Caity Arthur. "Im Video geht es um Tod und Absolution, wie der Tod eines der wenigen sicheren Dinge im Leben ist, der große Gleichmacher, nolens volens", so Arthur. "Es untergräbt aber auch das traditionelle Narrativ vom Tod als verzweifelte Leere und porträtiert ihn mit seinem halluzinogenem Sixties-Ensemble stattdessen als euphorische Übergangserfahrung samt TV-Pop-Performance und Taschenspielertricks, während Megs Lyrics den Tod in all seinen Formen beschwören." Für "Scratch It" hat Meg Remy mit Gitarrist Dillon Watson eine Band zusammengestellt - ursprünglich für einen einmaligen Festivalaufrtitt, aufgrund der guten Chemie schließlich gleich für ein ganzes Album. Mit Watson an der Gitarre, Jack Lawrence (The Dead Weather, The Raconteurs, Loretta Lynn) am Bass, Domo Donoho am Schlagzeug und Jo Schornikow und Tina Norwood an den Keys entstand "Scratch It" innerhalb von zehn Tagen in Nashville. Zwischendurch schaute auch Mundharmonika-Legende Charlie McCoy vorbei, der bereits mit Elvis, Bob Dylan und Roy Orbinson gearbeitet hatte und seine Künste für einige Songs einbrachte. Die Authentizität der analog produzierten Songs ist unmittelbar, ein Zeugnis der Chemie zwischen allen Beteiligten, Remy klingt relaxt wie kaum je zuvor. Das Album verwebt Country, Gospel, Garage Rock, Soul, Disco und Folk, während sich Remy in den Lyrics mit Patti Smith auseinandersetzt, mit junger Liebe, Mutterschaft, Macht-Dynamiken, der Kraft von James Brown, verstorbenen Weggefährten, dem Goldrausch am Yukon - oder dem eigenen nach einer Tequila-getränkten Nacht. Dabei lässt sie wie immer auch ihren beißenden Humor spielen.

Marcus Index.

Wordsmith and musical wanderer.

Across a decade as the front man of Spookyland, and more recently Beth & Blue, Index received worldwide critical attention for the raw intensity of his vocals and poetic lyrics, garnering comparisons to artists like Jeff Mangum and Bob Dylan.

Salt N Pepper Vinyl. New pressing of Mom Jeans. 2018 album, Puppy Love. The Berkeley, CA quartet is lauded for stream-of-consciousness lyrics and energetic performances that prompt audiences to shred their worries and simply bounce along. By trading the sappy for heartfelt and the melodramic for truthful, Mom Jeans have created a brand of emo that's self-aware but not self-indulgent. 2018's Puppy Love follows up 2016's Best Buds and oers up more of that sweet noise that fans of bands like Modern Baseball and The Front Bottoms, will love. Recorded by Ryan Ellery. Mastered by James Trevascus.

Amazing Space is a new indie all-star band from the west coast music capital of Norway. With a solid foundation rooted in Americana songwriting, the band also draws inspiration from shoegaze, synthwave and krautrock to make music that feels remarkably fresh, energetic and uplifting. Their debut album "Parallel Dreams" consists of eight brilliant tracks featuring rich vocal harmonies, airy guitar solos, dreamy analogue synths, and a touch of lush 80s/90s shoegaze. The lyrics are written by vocalist Emil Nordtveit, and the album has been mixed by Fredrik Vogsborg and mastered by Anders Bjelland. Charlie Hall (drums) from The War on Drugs and Thomas Nokling (saxophone) also contribute to the album.

For Wilkes-Barre's One Step Closer - the concept of home is complicated. "I've never felt so distant in my life," vocalist Ryan Savitski screams on the lead single "Pringle Street," a place in his hometown that binds the album's lyrics to both a precise location and feeling of displacement. On their first ever full-length album and debut for Run For Cover This Place You Know, the band offers a modern coming-of-age story about growing up and grasping both the known and the unknown. One Step Closer started in 2016 and in their short five years, Savitski, along with drummer Tommy Norton, bassist Brian Talipan and guitarists Ross Thompson & Grady Allen have come into their own as a modern hardcore mainstay. Their 2019 EP 'From Me To You' countered existing trends in exchange for a more melodic sound in the vein of bands like Turning Point and Title Fight. They went on to open for Have Heart at the band's now legendary reunion shows that summer, and joined bands like Knuckle Puck and Turnstile on tour before pausing to write their debut album. This Place You Know grapples with the weight of themes like isolation, depression, and loss - all amplified by driving bass lines, em-phatic guitar riffs and unwavering drumming performed by the band. From the first moments of album opener "I Feel So," the stakes are made clear by the anchoring lyric 'this place you know, sometimes it hides the truth and lets people go" - One Step Closer is attempting to resolve the unresolvable anguish of moving on from everything you once knew.

Horizontaler Gentransfer" beschreibt die Übertragung genetischer Informationen bei den Mikroorganismen jenseits normaler Paarungsbarrieren .Die Band "Horizontaler Gentransfer" (HGT) ist eine Experimental Art Pop, K-Punk- Kollektiv, das von sechs (!) Künstlerinnen (Mizi Lee, Seonha Park, Jerry Ahn, Yun Park, Lilian Gonzalez, Hanseo Oh) mit Migrationshintergrund im Mai 2022 in Stuttgart initiiert wurde. Dem Prinzip der horizontalen Übertragung folgend, übertragen sie dies auf u.a. Memes, Posts, Chats- oder K-Pop-Kulturen, die sich über Smartphones oder iPads verbreiten und suchen dabei nach einem experimentellen Weg, um mit Text, Musik und visuellen Elementen zu Mode, Infektion und Migration zu forschen. HGT hinterfragt nicht nur kulturelle Normen, sondern reagiert direkt auch auf Stereotypen oder rassistische Angriffe. Direkte Fragen werden gestellt, energetische Aussagen getroffen und Stimmungen eingeholt die mal aggressiv, mal entspannt oder mit einem Augenzwinkern dargeboten werden. HGT sind eine Wundertüte verschiedener Genres und Stile, von Punk bis Poetry aber auch Schlager und Elektro gibt es zu entdecken. 'Everything Possibbong' ist das zweite Album und HGT lassen sich weiterhin nicht eine Schublade stecken. Das Album verbindet traditionellen koreanischen Schlager mit elektronischem Punk und einer guten Prise urban contemporary Pop. Die erste Single 'From Kita' zeigt wie sich Vielseitigkeit in Sinuswellen ausdrückt ohne aus der Reihe zu tanzen. Ein minimalistisches 808 pattern, ein vorantreibendes Keyboard und eine Telefonhörer Stimme mäandern durchs Intro und wandeln sich schließlich mittels Break in einen dadaistischen Pop Song der am ehesten an OOIOO denken lässt, sonst aber keinerlei Vergleichsfläche bietet. Vinyl comes with many goodies as there are 2 Stickers, 2 random character cards, a lyrics booklet & download code.

After the explosive Comme à la radio, infused with the free jazz energy of the Art Ensemble of Chicago, Brigitte Fontaine and Areski Belkacem released six albums together or separately between 1972 and 1977. Their music, often stripped down to voice, guitar, and percussion-or performed a cappella-stood in stark contrast to the orchestrated French pop of the time. This minimalist and spontaneous approach highlighted the poetic power of the lyrics and the intimacy of the melodies, earning them recognition in the counterculture and underground scenes. By the end of the 1970s, Fontaine sought to make her work more visible without losing its originality. The Baraka album marked this transitional moment, initially recorded in a home studio without external musicians. Its title (meaning "blessing" in Arabic) hinted at a desire for success. Mixing introspection, absurd humor, and bold stylistic choices, the album was technically ambitious, featuring stereo duets and layered vocals, and lyrically rich, tackling everything from metaphysical themes to playful nonsense. However, the project ultimately veered off course. After moving the recordings to the massive Studio Davout and bringing in producer and guitarist Martial "Mimi" Lorenzini, the album lost its original intimacy. Overproduced arrangements clashed with the simplicity of Fontaine and Belkacem's initial intent, resulting in an album-renamed Les églantines sont peut-être formidables-that the artists later disowned, refusing to allow its commercial release. Recently rediscovered demo tapes, stripped of their bombastic layers, reveal the raw, emotional core of the songs-showcasing the duo's voices with a rare authenticity. These recordings bridge a missing link in their discography, between their experimental lo-fi years and their later, more accessible work. Decades on, Fontaine and Belkacem remain defiant originals, never settling into a formula, always evolving, and continuing to shake the foundations of French chanson.

Formed on a rooftop in the East Village of New York City over a decade ago,
SKYFACTOR was born when the musical paths of longtime friends Bob
Ziegler and Jason Taylor (formerly of Michigan's Brother Rabbit) and brothers
Jon Rubin and Cliff Rubin (formerly of NYC's Sky Blues) finally crossed. Almost instantly the songs started flowing, and they knew they were on to something.
Their debut album Daydreams received much critical acclaim and notice, including that of MTV's hit show Teen Mom, who chose the track "OK" as their
season 2 finale theme, resulting in thousands of downloads and streams from around the world. The band then honed its musical chemistry and style for
Signal Strength, which further spotlighted personal, insightful lyrics backed by a big acoustic guitar and one very powerful rhythm section. The guys even
had a song from the album prominently (and humorously) featured on
Adult Swim's Eric Andre Show, resulting in even more buzz for the band.
Cut to 20 25 and just one listen to Master Plan proves these guys know how to craft memorable and powerful songs that grab you from the get-go-and
won't let go.

To fans of black metal, Dødheimsgard need no introduction, being one of the great purveyors of the Norwegian Black Metal creative evolution.

The band was formed in 1994 by Aldrahn (Thorns) and Vicotnik (Ved Buens Ende). The early incarnation was that of a raw and at often melodic black metal band, with their debut album also featuring Fenriz of Darkthrone on bass. In recent years, Dodheimsgard has become known for its eclectic musical ventures and poignant mood shifts, with a less chaotic, more considered approach compared to their earliest works. Following the 'Kronet til Konge' and 'Monumental Possession' opuses, there was a shift in direction as demonstrated on 1998's 'Satanic Art' EP and by Dødheimsgard's third album, 666 International, Vicotnik had taken over a lot of the writing duties, with DHG's style becoming more technical yet ferocious black metal, with strong experimental ideas and industrial elements.

Vicotnik's riffs were inspired by cult bands such as Thorns and perfectly entwined with Aldrahn's delightfully twisted lyrics and immense vocals to create something truly unique. In its 666 International incarnation, DHG (as they were later to be known) featured a line- up of well- respected Norwegian musicians including Czral (Aura Noir, Ved Buens Ends, Virus), Apollyon (Aura Noir, Immortal), plus Mr Magic Logic (Fleurety) on keyboards, as the album was constructed over a period of time. All in all, 666 International is rightly regarded as a highly influential masterpiece of avant-garde metal by many since its release in 1999.

University, the Crewe-based four-piece formed of Zak Bowker (vocals/ guitar), Ewan Barton (bass), drummerJoel Smith and Eddie (mascot), release their debut album, McCartney, It'll Be OK.

Recorded with producer Kwes Darko (Sampa The Great, Denzel Curry) at Damon Albarn's Studio 13 in London, McCartney, It'll Be OK furthers the extremely exciting beginnings of University's 2023 debut EP, Title Track, with the hooks now brighter and more melodic, the breakdowns heavier and the lyrics more refned. The band recorded McCartney, It'll Be Alrighttotally live, and it retains the delightfully unhinged energy that's defned their work so far, with everything thrillingly close to falling apart at any minute.

[c] A3 Factory Girls; Engineer [Lucinda Williams Vocals] – Derrick O'Brien*; Featuring, Vocals – Lucinda Williams









[m] B5 The Spoken Wheel; Vocals [Guest] – Noel O'Donovan

[o] B7 Don't Let Me Die Still Wondering; Engineer [Horns] – Jake Posner; Horns – Lee Thornburg

p C6 Best Batch Yet (Track) [Version 1]
















[p] C6 Best Batch Yet (Track) [Version 1]

[a] A1 夢よ、夢よ、我が魂の日々よ = Dreams Of The Past, Memories Of My Soul; Arranged By – Mariam Abounnasr; Lead Vocals – Aisling McGlynn; Lyrics By [Original Lyrics] – Masato Kato; Music By, Arranged By – Yasunori Mitsuda; Translated By [Gaelic Translation Of Lyrics] – Michael McGlynn, Éabha McMahon


[d] A4 風と夢の誓い = A Vow Of Wind And Dreams; Arranged By – Mariam Abounnasr; Chorus – Lucy Champion; Lead Vocals – Aislyng McGlynn; Lyrics By [Original Lyrics] – Masato Kato; Music By, Arranged By – Yasunori Mitsuda; Translated By [Gaelic Translation Of Lyrics] – Michael McGlynn, Éabha McMahon
[e] B1 航海 アナザー・ワールド = Sailing (Another World); Arranged By – Nikolaj Busk [Dreamers' Circus]*; Music By – Yasunori Mitsuda
[f] B2 テルミナ アナザー = Termina (Another World); Arranged By – Ale Carr [Dreamers' Circus]*; Music By – Yasunori Mitsuda
[g] B3 運命に囚われし者たち = Bound By Fate; Arranged By – Rune Tonsgaard Sørensen [Dreamers' Circus]*; Music By – Yasunori Mitsuda
[h] B4 溺れ谷 = Fossil Valley; Arranged By – Nikolaj Busk [Dreamers' Circus]*; Music By – Yasunori Mitsuda

[w] B10 Minmi– Who's Theme; Lyrics By, Music By [Melody], Producer – Minmi; Recorded By – Yoshitaka Ishigaki; Vibraphone – Katori, Yoshihiko*

"6-track house finesse from Amsterdam mainstay Beraber, topped off with a killer remix by Brazilian artist Zopelar. Expect six melodic tracks for the body & mind. Beraber returns to United Identities with Gentle Actions, setting the tone for long summer evenings and sun-soaked days. The Amsterdam based producer and DJ organically blends Chicago's classically-schooled keys and machine backdrops with subtle, atmospheric textures. This long-awaited record by Beraber (Baris Akardere) is a deeply personal collection of music, encapsulating a period of creative and personal growth. Rather than a concept record, it serves as a document of the past years, bundling some of most cherished productions into a cohesive and heartfelt gift to the audience. This EP marks the first time the producer has used his own vocals in his productions, next to vocal contributions from Barcelona-based artist Ivy Barkakati, whose lyrics perfectly resonate with the journey of the EP. Gentle Actions opens with Between Us, a calm builder, gracefully layered with meandering pads. Distant Language picks us up with its dubbed-out groove, guiding our feet on a journey through melodic landscapes. It flows into Responsibility, an introspective track with a powerful message about turning dreams into reality, before continuing with Lost in Loops, a loose and soulful house cut featuring his own vocals. The journey ends with the more upbeat, instrumental Good Company, topped off with a deep, nocturnal remix by Zopelar. Written and produced entirely in his Amsterdam studio -- housed in the same building that once held De School -- Beraber continues to rely on a deeply analog and outboard gear-heavy approach. The result is a record that stays true to his soulful and introspective signature, mirroring the sonic identity of his acclaimed radio show, Gentle Actions on Amsterdam's online radio station RRFM."

The analog version of the masterpiece EP "I'll", released in 2018 as a work that expresses the continuation of the world view of the debut album "Grace",
has been repressed on turquoise blue vinyl!

Haruka Nakamura herself is in charge of the lyrics, composition, and all the instrumental parts. Janis Crunch, who was in charge of vocals on "Grace",
is featured again. The dreamy number "I'll" evokes the beginning of spring and hope, which synchronizes with the fantastic world depicted by photographer
Shiori Iwakura, who collaborated with Haruka Nakamura on the jacket and music video, "Arne", a reconstructed version of the famous song "arne" from the
debut album "Grace", and "Lilium", a song that was used in the climax scene of the movie "Every Day", for which Haruka Nakamura was in charge of the
music, are newly recorded and included.

The B-side includes "Anne", which can be called a different version of "Arne", which was included in Schole's compilation "Joy" in 2013, and is exclusive to the LP.
It connects the worlds of "Grace" and "I'll". It also contains warm songs that bring to mind childhood scenes, such as the nostalgic "Abandoned School Organ" and
"Your Canon", which combine church organ, muted piano, and field recordings.

The artwork, like the 8cm CD, depicts beautiful natural scenery, and the jacket and insert feature a series of photos by the immensely popular photographer
Shiori Iwakura, creating a package that beautifully blends the sound world of "I'll" with the scenery. As with the analog version of "Grace", the mastering was
done by Gen Tanabe, a close friend of Haruka Nakamura's who works on the sound of his works. It is a deep sound production that will give new discoveries
to listeners who were captivated by the release of the 8cm CD.

I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense

A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.

The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.

Oslo's own Leoparden returns with the new album Disko Inferno, which draws inspiration from everything from 80's disco and pop to Nigerian boogie and laid-back 90's West Coast beats...

Leoparden's lyrics - witty and relaxed - capture everyday moments from life in Oslo, while the music pulses with infectious energy and a playful spirit, crafted for a proper boogie on the dance floor.

Ltd Edition single LP in shrink-wrapped, Gatefold sleeve.

Born from a virtual encounter in lockdown between two Parisian neighbors, the DJ/producer Prosper and saxophonist Le Marabout, this new playful and joyous project is pulling freely from the Afro, Funk, Disco, Hip-Hop, Oriental and Electro influences of the two artists.
The iconoclastic DJ Romain “Prosper” Coolen, fervent purveyor of no holds barred euphoria on the dance floor, and the versatile saxophonist, composer and jack-of-all-trades Johann “Le Marabout” Guihard offer us a lavish, eclectic, uninhibited, coherent and furiously groovy listening experience.

First single “C’est Vrai“, from their forthcoming album ‘Le Moustache Conspiracy’ (released October 2022) is a banging Electro Afro Funk joint featuring Fou Malade and Niagass, two luminaries of the Senegalese Hip-Hop scene.

Over the bouncing beat and snarling horns, these two juggle lyrics back and forth in Wolof (Senegal’s most widely spoken language), calling out those fake friends who smile in your face before stabbing you in the back.

‘You are behind the damn wheel every day and you don’t even know it’ , weightily remarks Powerplant’s band leader Theo Zhykharyev on the reading of his latest single. London-based project signals the return to signature formula of marching drum machines and wailing synthesisers, matured by life experiencing of prolonged touring. ’Car is life, brother. Sometimes you drive it, other times - the car drives you. And, statistically, we’ll all see the airbags go off sooner than later as consequence of choices made by us or onto us, consciously or not.’
Crashing Cars breaks out the gates to the heavy low end driven dance floor. ‘I was listening to a lot of Bladee when I wrote it and needed a similar thick kick to get you moving’, says Theo. Its an emotionally loaded cannon of a track that will keep you in its grip until it has run its course and told its story. Yearning from connection unfulfilled, rings out through the heartbroken and weeping synth and choir lines. The ever-morphing and dynamic bass works in tandem with razor sharp guitars. The instrumentation, through combined ‘no looking back’ forward charge and immediacy, conjure a manic and emotional forward momentum, which rings out in the song’s lyrics. The vocal performance ranges from the trademark Powerplant goblin squeaks, to more mature, tour-hardened singing. On a sonic aesthetic level, Crashing Cars vibrates in a familiar fashion to Powerplant’s biggest hit Dungen. However, this time far less playful and harder hitting. Described as the fallout of “avoiding, chasing and running away”, lyrically it paints a dead end in human relationships concluding it car-crash heading for the scrapyard. The song concludes with a loaded four line spoken word poetry segment, that hangs over the fleeting outro.
The B side of the single, Never Smile, rolls the speed back, but throws in jangly guitar hooks and bouncy bass lines. Zhykharyev’s vocals sit in a lower register, hence are more stoic and melancholic. If this track had to be a day of the week, it would be a calm, introspective Sunday. With lyrics about looking into evil omens, the sky and reading people as ‘not something different’, it paints an ambiguous, but heavy conclusion about the world and its people. It tells a story about circumstantially settling into an identity and playing the assigned part for the convenience of the external world. It’s easier to fit than to stand apart. It's a perfect balance of mid-tempo radio-rock that builds and changes, before exploding into a shaggy guitar solo, only to go into an unexpected ethereal outro and this 7”s crescendo.
‘Both of these songs are kinda old now, sitting at around 4 years old. And although I haven’t changed the lyrics since then, I somehow find new meaning in them as time goes on. Being Ukrainian and going into the fourth year of the full scale Russian invasion back home, the chorus “my death to you - a better price to pay” makes a lot of sense looking at how the world powers are trying to spin the devastation of my people for a quick profit and an easier life for themselves. This single coming out now at this very point in my life feels both profound and very ironic. Life never ends’, summarises Zhykharyev.