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"Hasabe" is a thoughtfully curated collection of Ethio-groove recordings from one of the overlooked pioneers of 1970s Addis Ababa's vibrant music scene-Ayalew Mesfin and his Black Lion Band. Expect trap drum kits, jazz big-band styled horn sections, funky guitars played through wah wah and fuzz pedals- all seasoned with a unique Ethiopian touch_ For many, the music created in 1970s Ethiopia will sound both familiar and alien: while the trappings of '70s Ethiopian music carry some aspects that those in the West will easily identify with-trap drum kits, jazz big-band styled horn sections, guitars played through wah wah and fuzz pedals-the Ethiopian style of singing, and the modes in which the musicians move, may confound. Perhaps some who have delved into the instrumental Ethio-Jazz of Mulatu Astatke-a well-known Ethiopian musical export, relatively unknown in his homeland-will have a context in which to engage this great compilation of '70s Ethiopian music by Ayalew Mesfin. The music Mesfin created with his Black Lion Band is amongst the funkiest to arise from Addis Ababa; his recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of the unconquerable East African nation. Ayalew was forced underground by the Derg regime that took control of the country in 1974. Until recently, only four of Ayalew Mesfin's tracks had been reissued, appearing in the well-known "Éthiopiques" series. "Hasabe", a carefully curated collection of his singles, marks the first comprehensive release of this powerful and long-overlooked body of work by an artist whose originality and resistance defined a genre: Ethio-groove. More than four decades later, this album offers the rare opportunity to rediscover a vital and beautiful chapter in global music history. We are now reissuing "Hasabe" once again thanks to a collaboration with Now Again. Pressed on 180g vinyl.

Punk pioneer/Eater main-man, Andy Blade's 7th solo album and follow up to 2024's critically acclaimed & heavily rotated, Sparks bros endorsed "Being Alive Is Fun". It is imbued with the usual left-of-centre Blade-ism's & themes: star maps, UFO's & a slightly twisted nod to tragic 70's heroine Karen Carpenter. You get what you deserve with Blade, and with Tiny Specks you are rewarded with a rich code to decipher at your leisure. Most of all, however, it is all about the quality of his songwriting. Opening track 'Karen Is The Drummer' (featuring Blade's regular singing collaborator - PseudoPomp's Katerina Sharkova) seems unsettlingly self-explanatory, but all does not seem well in the Carpenter M.O.R world - 'It's just her & her brother & her folks indifference to that girl'. Occasional Dinosaur Jr vocalist Tiffany Anders gives 'I'm Not Myself' a poppy but eerie nuance. PollyPikPocketz's Myura Amara pops up on the short but very sweet 'About That'. Matilda Scotland, Quick Romance's uber-cool punky-chanteuse - adds her Gen Z aura to the summery 'I Like It When You're Happy'. Former Generation X guitarist Bob 'Derwood' Andrews, with whom Blade has worked with consistently of late, once again features heavily on 'Tiny Specks'_ Like with Katerina Sharkova's voice, Derwood guitar lines interweave with Blade's honeyed vocal as though they made for each other. 'This Place' is another key track, capturing the claustrophobic-genocidal mood of what has been taking place in Gaza/Palestine for over two years now, and counting. 'This is not so much a protest song as it is the noise in my head'. If John Lydon is the Widow Twanky of Punk, and Billy Idol, its Elvis, then Andy Blade must surely be the Sinatra of Punk.

'HAPPY HOUSE' by St. Petersburg's very own DJ Stonik1917 became an instant underground hit, defining a specific raw and energetic sound within the Russian electronic and hip-hop scene, breaking genre borders and infecting crowds with its vibes and attitude, punchlines and baselines. With 'GoodDayFlopTray' and 'Kurtochka Stonik' having gone viral on social media, the sound of DJ Stonik1917 became a soundtrack for a whole generation of youth. The album's unique blend of hard-hitting beats, delayed vocals and unapologetic DIY ethos captured a moment in time, making it a sought-after title for physical media enthusiasts. The release will be a limited run, featuring the original tracklist spread across a 12-inch vinyl 180 gr. record, complete with original artwork. Poster included.

'HAPPY HOUSE' by St. Petersburg's very own DJ Stonik1917 became an instant underground hit, defining a specific raw and energetic sound within the Russian electronic and hip-hop scene, breaking genre borders and infecting crowds with its vibes and attitude, punchlines and baselines. With 'GoodDayFlopTray' and 'Kurtochka Stonik' having gone viral on social media, the sound of DJ Stonik1917 became a soundtrack for a whole generation of youth. The album's unique blend of hard-hitting beats, delayed vocals and unapologetic DIY ethos captured a moment in time, making it a sought-after title for physical media enthusiasts. The release will be a limited run, featuring the original tracklist spread across a 12-inch vinyl 180 gr. record, complete with original artwork. Poster included.

Auf seiner dritten Studio-LP präsentiert Werkha einen einzigartigen Blend aus jazziger, Breakbeat-angehauchter Elektronik und analoger Ästhetik. Mit Ríoghnach Connolly und Daudi Matsiko sind zwei renommierte Künstler mit Wurzeln in der Folkmusik dabei, die Werkhas enge Verbindung zur Natur unterstreichen. Werkha (aka Tom Leah) ist ein Multiinstrumentalist aus Manchester mit Releases auf First Word und Tru Thoughts. Seine bisherigen Kollabos umfassen Quantic, A Certain Ratio, Marcos Valle, Eska, Chunky, Andrew Ashong, Keisha Thompson und Bryony Jarman-Pinto. Er tourte zusammen mit Bonobo, Chet Faker, Mr Scruff, Crazy P, GoGo Penguin, Todd Terje, Lefto und MCDE. Zu seinen Supportern gehören Gilles Peterson, Nemone, Don Letts, Jamz Supernova, Mo Ayoub), Julie Adenuga, Scratcha DVA, Tom Ravenscroft und Afrodeutsche

Zum 20-jährigen Jubiläum von God of War präsentieren Sony Interactive Entertainment’s Santa Monica Studio und Laced Records erstmals die kraftvollen Soundtracks der griechischen Saga auf Vinyl. Der Score zum ursprünglichen God of War war ein musikalisches Manifest – episch, düster und von der Mythologie des antiken Griechenlands durchdrungen. Ein Komponistenkollektiv erschuf eine Klangwelt zwischen mediterraner Atmosphäre, tragischer Wucht und orchestraler Größe, in der antike Instrumente und monumentale Themen Kratos’ blutgetränktes Griechenland als Reich aus Magie, Göttern und Zorn zum Leben erwecken.

Zum 20-jährigen Jubiläum von God of War präsentieren Sony Interactive Entertainment’s Santa Monica Studio und Laced Records erstmals die kraftvollen Soundtracks der griechischen Saga auf Vinyl. Der Score zum ursprünglichen God of War war ein musikalisches Manifest – episch, düster und von der Mythologie des antiken Griechenlands durchdrungen. Ein Komponistenkollektiv erschuf eine Klangwelt zwischen mediterraner Atmosphäre, tragischer Wucht und orchestraler Größe, in der antike Instrumente und monumentale Themen Kratos’ blutgetränktes Griechenland als Reich aus Magie, Göttern und Zorn zum Leben erwecken.

Zum 20-jährigen Jubiläum von God of War präsentieren Sony Interactive Entertainment’s Santa Monica Studio und Laced Records erstmals die kraftvollen Soundtracks der griechischen Saga auf Vinyl. Der Score zum ursprünglichen God of War war ein musikalisches Manifest – episch, düster und von der Mythologie des antiken Griechenlands durchdrungen. Ein Komponistenkollektiv erschuf eine Klangwelt zwischen mediterraner Atmosphäre, tragischer Wucht und orchestraler Größe, in der antike Instrumente und monumentale Themen Kratos’ blutgetränktes Griechenland als Reich aus Magie, Göttern und Zorn zum Leben erwecken.

b A2 Don't Leave; Engineer, Mixed By – Dave Burnham; Lead Vocals Additional, Backing Vocals – Pauline Taylor

d B2 If Lovin' You Is Wrong; Backing Vocals, Other Adlibs – Pauline Taylor




i D2 Baseball Cap; Backing Vocals A Little Bit Of Backing – Jamie Catto


b A2 Don't Leave; Engineer, Mixed By – Dave Burnham; Lead Vocals Additional, Backing Vocals – Pauline Taylor

d B2 If Lovin' You Is Wrong; Backing Vocals, Other [Adlibs] – Pauline Taylor




[i] D2 Baseball Cap; Backing Vocals [A Little Bit Of Backing] – Jamie Catto

First time release on vinyl of the breathtaking songs Patty Waters recorded with engineer Steve Atkins in 1970 at the Coast Recordings studio, together with the unreleased single 'My One And Only Love' and a recorded live session at Lone Mountain College in 1974.

The album 'You Loved Me' is the missing link between her two groundbreaking pioneering and highly acclaimed ESP-Disk records from the end of the 60's and her post 90's releases. The missing link between the radical ingenue of the 1960s and her late 90's songs wherein she expressed the resolution of all of her life's moments through mature readings of traditional songs and jazz standards. This collection aims to provide that missing link and to finally complete the picture of her storied recording career.

In what would have been her third LP, the 'You Loved Me' album serves as the inverse of Patty's debut. While her debut "Sings" concerned itself with themes of heartbreak, loneliness and yearning, there's an abundance of love, joy and togetherness on "You Loved Me".

Or in Patty's own words:

"I was a young girl alone at age 19, I was longing for love and dreaming of how wonderful love could be"

On 'You Loved Me' Patty Waters velvet voice captures this longing for love, straight from her soul to your heart. Crossing the border of the avant garde jazz entering a strange zone, somewhere between spiritual jazz, early folk vibes on the songs on the A-sides while the 14 minute composition 'Touched By Rodin In A Paris Museum' on the B-side is (dixit David Stubbs for Uncut in 2004) a brilliant extended showcase for the uneasy Cageian minimalism of her piano playing.

'You Loved Me' proves also again why Albert Ayler introduced her to ESP-Disk president Bernard Stollman, impressed Miles Davis, Pharoah Sanders and Henry Grimes with her concerts and can count Patti Smith and Yoko Ono (to name a few) amongst her fans.

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

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

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

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

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

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

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

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

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

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

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

You hear a pulsating rhythm. What does it mean when the intensity rises? Is it the blood rushing from the sound of the drum that brings meaning or is it the anticipation of what's next? Kasra V's returns to his budding V-sion imprint with its third installation. This latest offering brings us to the totality of physicality, where grooves and melodies do not require a resolution. The tracks bring to mind the unbridled maverick spirit of early Techno and Tribal House where the rulebook was tossed into flames and only the unfettered psyche remained. Keeping the spirit of experimentation alive, Kasra's affinity for manipulating samples and sounds in obscure ways shines through with playful nods to both industrial and early Midwest dance music alike. Unchaining the shackles of where dance music has gone wrong, Kasra is trying to maintain the connection to a time when bodies moved to the beat religiously and held reverence only for the speaker stack. Drum hypnosis is beginning now. Please enter the room and have a seat.

Der Grammy-nominierte Hitmaker Benson Boone hat die Veröffentlichung seines neuen Albums „American Heart“ für den 20. Juni angekündigt. Erste Einblicke in „American Heart“ geben die Singles „Sorry I’m Here For Someone Else“ (aktuell #3 der deutschen Airplay Charts) und die neue Single 'Mystical Magical', die ebenfalls rasant in den Radiocharts aufsteigt. Nach seinem spektakulären Auftritt beim Coachella-Festival Mitte April 2025 freuen wir uns hierzulande auf die Performance beim Lollapalooza Berlin am 13. Juli.Sein größter Erfolg, „Beautiful Things“, war 2024 der weltweit meistgestreamte Song und brachte Boone den IFPI Global Single Award ein. Der Track erreichte über 2 Milliarden Streams auf Spotify, insgesamt fast 4 Milliarden & hielt sich in Deutschland fünf Wochen auf Platz 1 der Charts. Nachdem er im vergangenen Sommer im Vorprogramm von Taylor Swifts ERAS-Tour im Londoner Wembley-Stadion auftrat und mit Lana Del Rey beim Hangout Festival spielte, blickt Benson Boone auf ein weiteres ereignisreiches Jahr voraus. Mit dem bevorstehenden Album „American Heart“, neuen Tourdaten und Auftritten auf renommierten Festivals steuert er 2025 auf ein weiteres Rekordjahr zu und festigt seine Position als globale Pop-Sensation. Seine anstehende US Arena Tour war bionnen 9 Sekunden komplett ausverkauft und selbiges dürfte auch für die deutschen Tour-Daten bevorstehen.

The Sator Arepo, or Sator Square, is an ancient word puzzle comprising five palindromes that's etched on various historical sites throughout the Western world. Its origins are unknown, but the square has long been thought to hold magical properties, used as a charm against illness and evil, to cure insanity or to determine whether someone was guilty of witchcraft. Self-styled "punk ethnomusicologist", acoustician and musician Julien Hairon uses this mystical symbol as the starting point for his debut Judgitzu album in an attempt to reconnect with his Celtic heritage, exploring how its hallowed messages might harmonize with contemporary Tanzanian dance music.Hairon has been traveling across the world for over a decade, collecting field recordings from countries such as Indonesia, Australia, Cambodia, China and Bangladesh, and presenting them on his Les Cartes Postales Sonores label, re-issuing any curious cassettes and CDs he came across on the PetPets' TAPES imprint. It was during this time that he became fascinated by rituals that involved spirits, prompting him to examine his own ancestry when he returned to Brittany. "Many artifacts in the landscape remain," Hairon explains, "and the power of spirits is still palpable." He represents this Celtic mysticism on 'Sator Arepo' with murky drones and magickal synth tones, using xenharmonic scales (tuning outside of standard 12-tone equal temperament) that reach back to the ancient world. These sounds are augmented with fast-paced, sci-fi rhythms informed by his time in Tanzania; "Singeli has contaminated me," admits the producer.The most astonishing example of this is 'Miracle', a thrusting soundsystem experiment that layers serpentine, bagpipe-esque electronic wails over extravagant clusters of blocky percussion. Driven by the frenetic 175BPM pulse that echoes through the streets of Dar Es Salaam - popularized globally by forward-thinking producers like Sisso, Duke and Jay Mitta - Hairon opens up a rare conversation, seeking to draw parallels between today's most urgent dance forms and the archaic rituals of antiquity. On 'Vitalimetre', Hairon drives his sonic palette into the red, harmonizing with Dutch hardstyle and gabber, and splaying distorted drones over maddeningly blown-out kicks and ratcheting percussion. 'L'or Des Fous' takes a more meditative route, prioritizing Hairon's eccentric tonality with expressive sheets of pitch-warped sound that ghost walk across energized, rattling beats.If you heard Hairon's last Judgitzu release 'Umeme / Kelele', described by Boomkat as "one of 2019's deadliest dancefloor sessions," then you'll know how mindboggling this material can be. And with 'Sator Arepo', the French producer deepens his reach, grasping a world that we've almost forgotten and juxtaposing it with a landscape most of us barely comprehend.

Picnic return after a summer hiatus with a dance floor ready 4 tracker from UK artist HenryG. The debut EP from the Manchester based producer delicately transitions between house and electro, while touching on some progressive elements in between.



A1 comes in heavy with tastefully written synths and glitchy electro sounds drawing the listener into a dance floor trance. The A2 of the record, aptly named Serpent, slithers through progressive arpeggiators and a has a particularly distinctive, raw bassline, giving the immersive synths the power to carry the track.


On the flip side, B1 explores a deeper approach to HenryG’s studio output and resonates strongly with early dub techno cuts. The vocal really personifies the track and brings it to life. B2 does it exactly what it says on tin, it’s tough. Although the structure somewhat resembles a more electro tip, it finds the perfect balance in between the electro realm and underground house.

This is the merging hydra of these two dubby-eletronicky-cheeky experimentators.

Jonquera (half of Pilotwings, thrisd of Jeza-Bel and many more) jazzy-poppy-variété rythms crunches Officium dreamy-hazy-bass dubs in a gaze.

These 6 tunes have been recorded live during a jam session, mixed by the duo for a tape project.

But the Tioma Tchoulanov's mastering conviced us to press a small batch of 300 copies.

Paolo Viscogliosi painted some artowrks elements and they enjoyed the layout with Maya Bellemin.

A Minecraft Movie (Songs from the Original Motion Picture Soundtrack) features the songs from the film, including Jack Black's "Steve's Lava Chicken' and the Mark Ronson/Andrew Wyatt/Jack Black-penned "Feel Alive". Alongside the film's other original songs and two score selections are bonus tracks "Welcome to Steve's!" and an extended versions of "Steve's Lava Chicken", "Birthday Rap", and "Ode To Dennis". The 'I. .. Am Steve" teal vinyl variant celebrates the iconic character's signature-colored sweater, instantly recognizable to any Minecraft fan.






[f] A6 | Just Can't Get Enough (From "a Minecraft Movie”) [instrumental Version] - Jamieson Shaw

Mit der exklusiven Doppelvinyl in zartem Pink erscheint eine Hommage an eine der größten Künstlerinnen Europas: Édith Piaf. Ihre Lieder sind nicht nur musikalische Meisterwerke, sondern auch emotionale Zeitdokumente, die Millionen Menschen berührt haben - in Frankreich, Deutschland und weit darüber hinaus. Geboren 1915 in Paris, wuchs Piaf unter schwierigen Umständen auf, sang auf den Straßen und wurde 1935 von einem Cabaret-Besitzer entdeckt. Ihr Spitzname "La Môme Piaf" - der kleine Spatz - wurde zum Symbol für ihre fragile Erscheinung und ihre kraftvolle Stimme. Ihre Musik war oft autobiografisch, geprägt von Liebe, Verlust und Hoffnung. Sie sang mit einer Intensität, die bis heute unter die Haut geht. Piaf wurde zur Nationalikone Frankreichs, besonders nach dem Zweiten Weltkrieg. Ihre Lieder wie "La Vie en Rose", "Non, Je Ne Regrette Rien" oder "Hymne à l"Amour" wurden zu Hymnen einer Generation. Auch in Deutschland und Europa wurde sie gefeiert - als Stimme der Versöhnung, der Leidenschaft und der Menschlichkeit. Diese Vinyl-Edition vereint ihre größten Werke in einem liebevoll gestalteten Sammlerstück - ein Muss für Musikliebhaber und Kulturinteressierte.

"Rags, Ballads & Harmonium Songs. Chanteys, Come-All-Ye's, Aborigine Song Sticks. Gospel, Improvisations, Renaissance Lyrics, Blake Hymns, Bluegrass, Hillbilly Riffs, Country & Western, 50's R&B, Dirty Dozens & New Wave"

Allen Ginsberg's recorded opus gets its first ever full vinyl reissue on a gatefold double vinyl LP replete with photography by Robert Frank. Containing studio-recorded performances that he wrote, performed and taped in sessions taking place between 1971 and 1981 - featuring Bob Dylan, Arthur Russell, Anne Waldman, David Mansfield, Perry Robinson, David Amram and many other friends and contemporaries.

A selection of what were arguably "demos" for this record were originally recorded by the legendary Harry Smith at his apartment in the Chelsea Hotel in the early 70s, and this would later appear on Folkways as First Blues: Rags, Ballads & Harmonium Songs.

Sit, you sit down
Breathe when you breathe
Lie down, you lie down
Walk where you walk

Talk when you talk
Cry when you cry
Lie down, you lie down
Die when you die credits

Issued under license from the Allen Ginsberg estate. With thanks for Peter Hale, Peter Wright & John Allen.



c 03: Jimmy Berman (Gay Lib Rag) feat. Bob Dylan, David Amram, Perry Robinson, Happy Traum, Jon Sholle, Surya, Moruga, Peter Orlovsky & Anne Waldman

EMPIRE, the nation’s leading independent record label, recently teamed up with the NBA 2K video game to provide the soundtrack for Season 2 of its series in October 2024. The soundtrack was a natural pairing of the two iconic Bay Area based companies to push culture forward through music, sports, and gaming. The 2 LP Box set, which includes music from the likes of Larry June, Key Glock, Money Man, LUCKI, Asake & Central Cee, and more is housed in a premium box with glossy, hardwood floor print on the outside, and a basketball textured inner box will also include a mini-satin championship banner, a custom basketball keychain, and virtual currency for in-game purchases.


Custom outer box with high gloss print
Custom inner box with basketball texture and debossed print
1 Red Smoke Vinyl in jacket
1 Blue Smoke Vinyl in jacket
16.5” x 10.5” custom satin championship banner
Custom basketball keychain
35,000 Virtual Currency for in-game purchases
Featuring music from Larry June, Key Glock, Money Man, LUCKI, Asake & Central Cee, and more

A reissue of a cassette that was originally released on Uramado in 2020, this is the first time this live session appears on vinyl. The performance, featuring Kudo on piano and 3C123 on clarinet, was recorded on October 18, 2009, at the Uramado venue in Shinjuku. A beautiful and quixotic forty-minute set, that reconnects both Kudo and 3C123 with various musical histories, including those of classical composition and free improvisation.

The performance documented on Tori Kudo & 3C123 is a curious one. While they both appear to slip into improvised ruminations at times, for the most part, Kudo performs pieces by Erik Satie on the piano, over which 3C123 teases an excoriating stream of improvisation from the clarinet. His playing here is wild in its poetry: sometimes lushly nestly alongside Satie’s melodies, elsewhere loosing Ayler-esque squalls from the instrument, it’s a bravura performance that is matched, in an indirect manner, by the poise and pacing of Kudo’s generous, fluent recital.

When asked about the thinking behind the performance documented here, Kudo explains by describing the historical juxtaposition of Satie with Takehisa Kosugi’s improvised violin as “an essence of the Japanese art of collective improvisation.” The playing here, as within Japanese collective improvisation, is about sitting ‘alongside’ each other, not necessarily in direct (or even indirect) reference, but rather sharing the space; “just being there together,” Kudo says, and letting go of the need for performers to engage in interplay.

Tori Kudo & 3C123 is certainly part of that tradition, and this is where its curious poetry resides; in that ‘third space’ that sits in between, but not directly connecting, the two performers. Kudo makes an analogy with Fluxus, which is appropriate. But you can also hear their shared history here, somehow, as Kudo and 3C123 have known each other since the eighties, when they shared a house in Kunitachi City, Tokyo. Their musical paths have been multiple – Kudo, of course, best known perhaps for his Maher Shalal Hash Baz ensemble; 3C123 as a member of Vedda Music Workshop, and with other Japanese musicians like Koichiro Watanabe.

‘BEAST’ is the 4th installment in the series of Ameel Brecht's sleep-inspired compositions.

Where the earlier parts of this series focused primarily on ‘in between phases’ and manifestations of sleep, this penultimate volume shifts its attention to the absence of sleep. Without sleep, never resting, never dreaming, what would we experience? A monochrome fever-quality fog, a void of unrealities.

An’archives presents Kagome Kagome, the first collaboration between France’s Delphine Dora and Japan’s Ayami Suzuki. Curious listeners might know Dora from the string of lovely, idiosyncratic albums she’s released over the past two decades, most recently for labels like Modern Love, Morc and Recital; she’s also worked with the likes of Michel Henritzi and Sophie Cooper. Suzuki’s performances, predominantly for voice, place her within a tradition of Japanese improvised music – see the music she’s made with artists such as Takashi Masubuchi, TOMO and Leo Okagawa – but her approach also takes in folk song, ambience and claustrophobic drone.

On Kagome Kagome, Dora and Suzuki play to their many strengths: a gentle, free-willed folksiness; long, aerated drone constructs; ghostly, time-warping explorations for voice. They met on Dora’s May 2024 tour of Japan, though they’d been in touch beforehand, with Dora proposing the collaboration to Suzuki, developed around “concepts of ‘otherworldliness’ and ‘impermanence’,” the latter says, “and explored the relationship between ‘the invisible’ and sound in Japanese culture – a common interest we share.”

They recorded across several days that month, with the sessions for Kagome Kagome taking place in Kanumi, in Tochigi prefecture, at a space named Center. “I was particularly looking forward to seeing Delphine encounter the vintage 104-year-old harmonium from Nippon Gakki Seizo Co. that had just been repaired at Center,” Suzuki recalls. “It was as if the harmonium had been waiting for Delphine to draw sound from it. I felt it was a beautiful relationship where they could guide each other.”

Indeed, there’s something channelled about the music that Dora and Suzuki made together in the session that constitutes Kagome Kagome. Dora’s harmonium might be the spine of the album, but Suzuki’s free- floating voice, and gaseous, muddied banks of electronics, wrap around the wheezing, ancient tonality of the harmonium beautifully – they, too, sound as though they were just waiting to be willed out of the daytime air. Their voices nestle together beautifully – “when we sang together in a tunnel,” Suzuki says, “there were times when we sang the exact same melody without planning. It happened so naturally that the boundaries between us became blurred.”

And that title? It’s drawn from a Japanese children’s song, and the song titles themselves constitute the song’s lyrics, in alternating Japanese (Romanized) and French language. Urban legend connects the song “Kagome Kagome” to the Nikko Toshogu Shrine, nearby Center, that Suzuki and Dora visited while they were in Kanumi. “The mysterious lyrics of ‘Kagome Kagome’ and its puzzle-like connection to Nikko Toshogu were a perfect fit for this mysterious album,” Suzuki reflects, “which I think has its own kind of puzzle-like elements.”

A deep album of prayer and magic, of divination and ritual, Kagome Kagome’s sense of serious play, its rich beauty, feels somehow dislocated from our time. If you’ve ever enjoyed the music of Nico, Kendra Smith, Charalambides, or other channelers of ghostly mystery, its eerie otherness will, somehow, feel oddly familiar.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left. So everybody, don't sleep, be critical.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left. So everybody, don't sleep, be critical.

GERMAN salestext
„Louder Than Hell“ ist das achte Album der True und Heavy Metal Legenden MANOWAR aus dem Jahr
1996. Es ist das erste Album mit Karl Logan als Gitarrist der Band , steht zugleich für die Rückkehr von
Drummer Scott Columbus und umfasst die Hits Brothers of Metal”, “The Gods Made Heavy Metal“ sowie
das ikonische “Return of the Warlord”.
Der lang erwartete Release fällt auf das 30 Jahre-Jubiläum des Albums. Zum ersten Mal erscheint das Album als limitierte Gatefold Doppel-Vinyl - mit rot-schwarz strukturiertem 140 gr Vinyl, das jedes Exemplar
zu einem Einzelstück macht.
Der Vinyl Release wird auf den offziellen MANOWAR Social Media-Kanälen und Heavy Metal Influencern
weltweit angekündigt werden.
ENGLISCH sales text
Louder Than Hell is the 8th album by the True and Heavy Metal legends MANOWAR. Released in 1996 it
is the first album with guitarist Karl Logan and marks the return of drummer Scott Columbus. It features
the celebrated hits ”Brothers of Metal pt 1”, “The Gods Made Heavy Metal“ and the iconic “Return of
the Warlord”.
The highly awaited release of the vinyl celebrates the 30th anniversary of the album, which will be released for the first time in a limited double gatefold edition with a broken black and red look in 140 gr
vinyl - making each LP a unique piece.
The release of the vinyl will be promoted through the offcial MANOWAR social media channels as well as
by big heavy metal influencers all over the world.

Soulwax 's first new album in 8 years, entitled "All Systems Are Lying" and set for October 17th release. Available on CD & various 2LP fromats . The campaign will kick off July 9th with a double single “All Systems Are Lying / Run Free”, album announcement + pre-order launch. Since 1995, David and Stephen Dewaele have consistently pushed the boundaries of music into new and innovative territory by diversifying into many different guises. They are a band (Soulwax), djs (2manydjs), a record label (DEEWEE) and a sound system (Despacio, created along with James Murphy from LCD Soundsystem).

They are also widely renowned as one of the most innovative remix and producer teams around. They have released 7 studio albums to date, including the critically acclaimed ‘Any Minute Now’ and ‘Nite Versions’. Some of their already cult remix credits include the Grammy nominated “Work It” by Marie Davidson, as well as Peggy Gou, Fontaines DC, Roisin Murphy, Robyn, Arcade Fire, The Rolling Stones, Tame Impala, Metronomy, Daft Punk, The Gossip, Hot Chip, MGMT and Warpaint, among many others.

Stephen and David Dewaele are familiar to millions as 2manydjs, a project which undoubtedly moved the needle for modern DJing. Alongside like-minded allies such as Erol Alkan, Tiga and Jacques lu Cont, 2manydjs swept international dancefloors into delirium, gifting a rock ‘n roll attitude to club culture.

Chrissie Hynde & Pals kündigen neues Studioalbum an Duets Special Veröffentlichung am 17. Oktober über Parlophone Mit Beiträgen von k.d. lang, Mark Lanegan, Lucinda Williams, Dave Gahan, Cat Power, Rufus Wainwright, Carleen Anderson, Brandon Flowers, Julian Lennon, Debbie Harry, Alan Sparhawk, Shirley Manson und Dan Auerbach. Die gefeierte Musikikone Chrissie Hynde hat ein neues Album unter dem Namen „Chrissie Hynde & Pals” angekündigt, das den Titel „Duets Special” trägt und am 17. Oktober über Parlophone veröffentlicht wird. Das Album besteht aus 13 außergewöhnlichen Duetten mit einer Reihe von Weltklasse-Künstlern, darunter k.d. lang, der verstorbene Mark Lanegan, Dave Gahan, Cat Power, Brandon Flowers, Debbie Harry, Shirley Manson, Alan Sparhawk und viele mehr. Die erste Single „Always On My Mind” wurde zusammen mit Rufus Wainwright aufgenommen. „Duets Special“ ist nicht nur Chrissie Hyndes viertes Studioalbum unter ihrem eigenen Namen. Die neue Platte präsentiert eine aufregende und unerwartete Wendung inmitten eines der kreativsten Kapitel von Chrissie Hyndes Karriere. Duets Special folgt dicht auf das letzte Studioalbum von The Pretenders, Relentless, das von The Guardian als „melodisch am besten“ beschrieben wurde. Die anschließende Welttournee führte auch zu einem neuen Live-Album, Kick 'em Where It Hurts. Als Chrissie letztes Jahr beim Mark Lanegan 60 Celebration Concert im Roundhouse auftrat, meinte The Times, Chrissies Stimme „sollte mittlerweile zum UNESCO-Weltkulturerbe gehören“.

Mit Spot The Difference begibt man sich auf eine Reise im chiaroscuro, die das Projekt Balcony`s Paradise in einem neuen Licht erscheinen lässt. Psychedelik setzt eine Veränderung der Wahrnehmung voraus. Vom ersten Stück an machen wir uns auf den Weg in einen zeitlosen Klangraum aus Echos und Resonanzen. O`tool (Chuckamuck/Die Verlierer) ging dieses zweite Album ursprünglich an, indem er zu den Ursprüngen des ersten Albums zurückkehrte, in die Tiefen des australischen Outbacks. Von dort kehrte er mit Songs wieder, die mehr strukturiert, weniger improvisiert, aber genauso eingängig sind. Man findet diesen wilden Charme, eine Garage, die wie aus dem Ärmel geschüttelt scheint. Auf dem Album finden sich auch mehrere Coverversionen, von u.a.Television Personalities, M.O.T.O. sowie Jeff Clarke, Mitglied der Black Lips - Bands, die O'tool musikalisch schon lange beeinflusst haben.

The legendary Purple Tapes - the first ever Pixies recordings from 1987, officially reissued with new artwork and liner notes detailing the early history of the band. Includes the original recordings of "Here Comes Your Man", "Broken Face", "Down To The Well" & "Rock A My Soul". Formed in 1986 in Boston, Massachusetts, Pixies are one of the key acts associated with the late 1980"s American alternative rock scene and were also considered a big influence on acts such as Nirvana, Smashing Pumpkins and Radiohead.

Das neue Album von Militarie Gun, „God Save The Gun“, beginnt mit einem Geständnis. „Ich habe
Fehler gemacht“, brüllt Frontmann Ian Shelton im Eröffnungstrack „B A D I D E A“. Es ist echte Verletzlichkeit, eingebettet zwischen verzerrtem Bass und dröhnenden Drums, und der perfekte Einstieg in
eines der spannendsten Alben des Jahres. Dies ist nicht nur ein klanglich gewagtes, massives Rockalbum,
sondern auch ein sehr menschliches Dokument darüber, wenn man sich am schlechtesten fühlt, obwohl man
eigentlich ganz oben sein sollte – ein absurder Leitfaden für die Schnittstelle zwischen Selbstzerstörung und
Selbstvertrauen.