Cerca:mod

Different Rooms is the sophomore album by Jeremiah Chiu & Marta Sofia Honer. The followup to their critically acclaimed Recordings from the Aland Islands, this collection extends the path of pastiche forged by their debut: quietly multi-rhythmic, modular-trance-meets-processed-and-unprocessed-chamber strings, bewitching and bewildering field recordings-all knitted tightly, an LA patchwork.

When the trio of Sontag Shogun gathered at Laura Naukkarinen's home on the Finnish island of Kimitoön in the summer of 2019, they had not the slightest inkling that the world was about to change irretrievably with the onset of a long-predicted pandemic the following year. By the time their collaborative album, Valo Siroutuu ("The Light Scatters"), was released nearly two years later, the intimate and reflective nature of the work they had created together had taken on new meaning, resonating powerfully (and quietly) with a world in which the proverbial cracks in the wall only seem to be widening. 



Päiväkahvit completes the story that began with Valo Siroutuu, featuring 9 songs from the original sessions as well as 4 interpretive reworks courtesy of Amulets, Fadi Tabbal, Post-Dukes, and Jeremy Young. Available digitally and in a one-time vinyl pressing of 300 copies, the album flows seamlessly from beginning to end, incorporating field recordings, tape, sublime vocal melodies, and a host of acoustic and electronic instruments. Richly textured and immersive, Päiväkahvit positively crackles with warmth and a sense of creative embrace.



"We invite the listener into the sauna, out to the garden and onto the trampoline, to sit by the water’s edge and to take a coffee in the waning afternoon light, and to stay as long as they like." – Jesse Perlstein

Lau Nau, aka Laura Naukkarinen, is a Finnish composer whose music is imbued with an idiosyncratic, finely honed sound world. Her palette consists of acoustic instruments, singing voice, modular synthesisers, reel-to-reel tape recorders and field recordings. To date Lau Nau has released ten albums on record labels in Europe, the USA and Japan and a large number of collaborative releases. Lau Nau is known for her music to films and multi channel sound installations. She was awarded the Finnish State Prize for the Performing Arts 2021 as a sound designer. She has toured abroad for over 20 years, playing in venues such as Super Deluxe in Tokyo, the Lab & Castro Theatre in San Francisco and Blank Forms & Issue Project Room in New York.

Sontag Shogun is a collaborative trio that makes use of analog sound treatments and nostalgic solo piano compositions in harmony to depict abstract places in our memory. Textures built from organic materials such as sand, slate, boiling water, brush and dried leaves, both produced live in performance and recorded to weathered 1/4" tape warm up the space between lush piano themes. All of which is abstracted coolly in the reflective digital space of treated vocals and a live-processed feed from the piano. Bringing us back, like a faded passing scent or any natural emotive trigger, but to where? The wordless journey there will inevitably be more revealing than the destination itself.


Stirring, snaking riffs, set closer to Josh Homme’s sun-bleached Joshua Tree compound, than the English Channel-lashed grin-and-bear-it character of Cleethorpes, sound the return of Lincolnshire teen-trio, Revivalry as they get set for 2025. Rushing and rattling into 2025, targeting fresh terrain as last year’s land grab of main stage festival and support slots becomes yesterday’s news, most recent single "Lost"'s three-and-a-half minutes of abandon pushes at the door of another sunny season of big shows and wild memories. School was out in 2024 as the teenagers took off from their hometown to first tackle the festival fields of Kendal Calling last summer, becoming the youngest ever band to play the Main Stage, having been hand-picked by bookers who spotted them mid-flow at one of their earliest shows. With trailblazing single, The Town, accompanying them on their way as thousands of new music-hungry gig goers caught the band on stages of increasing scale, their online listeners kept pace. Touring from sweaty venues to major outdoor support slots, their impressive run included a first, major Manchester headline, playing at Deaf Institute as the year met it’s festive close. Delving into record collections and distinct individual tastes, the three members of Revivalry refer with comfort to Rage Against The Machine and Bring Me The Horizon, as easily as fellow documentarians of youth, Arctic Monkeys or Supergrass, when discussing their beyond-years writing.

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.

Sally Anne Morgan is an artist and naturalist in the purest senses. Raised on old time and Appalachian folk traditions, Morgan"s artistry embodies the rich life of the communities and natural world she surrounds herself with. Based in Alexander, NC on the edge of Appalachia and the Pisgah National Forest, Sally"s blend of traditional technique and distinctly modern compositional approach are infused with the sounds of her garden, surrounding pastures, forests and mountains. Guest synthesis Sean Dunlap (Field Patterns) and hurdy-gurdy player Brian "Geologist" Weitz (Animal Collective) embellish pieces with droning thrums and sonic moss. Second Circle The Horizon is an album built on Morgan"s singular artistic voice as an improviser and composer intertwined with deft intuition. Morgan"s music highlights her bond with nature, and how its beauty and the beauty of artistic creation are interwoven. The album celebrates creation, revels in discovery, and marvels at the complex patterns, intersectional cycles and simple beauty of a creative life intertwined with the natural world.

Sally Anne Morgan is an artist and naturalist in the purest senses. Raised on old time and Appalachian folk traditions, Morgan"s artistry embodies the rich life of the communities and natural world she surrounds herself with. Based in Alexander, NC on the edge of Appalachia and the Pisgah National Forest, Sally"s blend of traditional technique and distinctly modern compositional approach are infused with the sounds of her garden, surrounding pastures, forests and mountains. Guest synthesis Sean Dunlap (Field Patterns) and hurdy-gurdy player Brian "Geologist" Weitz (Animal Collective) embellish pieces with droning thrums and sonic moss. Second Circle The Horizon is an album built on Morgan"s singular artistic voice as an improviser and composer intertwined with deft intuition. Morgan"s music highlights her bond with nature, and how its beauty and the beauty of artistic creation are interwoven. The album celebrates creation, revels in discovery, and marvels at the complex patterns, intersectional cycles and simple beauty of a creative life intertwined with the natural world.

Fun Fun was an Italian Euro disco band produced by Dario Raimondi Cominesi and Alvaro Ugolini. The group was fronted by models, while the vocals were recorded by

original singers Antonella Pepe, Angela Parisi, and Ivana Spagna. Spagna left after the release of their first album in 1983.

Their breakthrough came with the hit “Happy Station (Scratch Remix),” by Ben Liebrand which climbed the charts in several European countries, including the Netherlands, Germany, and Belgium.

The track became a staple in the hottest discos of the era. The Greatest Fun compilation album brings together their biggest hits, including “Happy Station (Scratch Remix),”

“Give Me Your Love,” “Baila Bolero,” and “Living in Japan.” Additionally, the album features the Fun Fun “Mega Hit Mix,” a special mix by

Dutch producer and DJ Martin Boer of 2 Brothers on the 4th Floor fame, along with many more Euro disco tracks.

-erste „echte“ CD-Veröffentlichung des Albums von 2008
-erstmals auf Vinyl
-US-Thrash und Speed Metal mit einem hohem Anteil traditionellem Metal
-Remaster 2025, CD enthält einen Live-Bonustrack Bloodrunner aus Illinois, USA, gründeten sich 2004, als Thrash Metal nicht gerade ein angesagtes Subgenre war. Besonders in den USA waren traditionelle Spielarten, ganz im Gegensatz zu heute, zum tiefsten Undergrounddasein verdammt. Nur die bereits etablierten Bands wie Anthrax ode Slayer, die allerdings auch mit modernen Einflüssen kokettiert haben, konnten für Aufmerksamkeit sorgen. Doch das war den frisch gebackenen Bloodrunner egal. Sie wollten ihre Lieblingsmusik spielen und wilde Parties feiern!

Nach einem Demo im Jahr 2007, erschien 2008 dann das bisher einzige Album „Total Annihilation“, welches an purer Spielfreude nicht zu überbieten ist. Die weniger perfekten Momente werden durch eine ungebändigte Energie wettgemacht, die im Heavy Metal mehr wert ist, als routiniertes Performen. Trotzdem haben die damals noch sehr jungen Musiker bereits ansehnlich Skills gehabt und verstehe ihr Handwerk. Das gilt auch für das Songwriting, welches nich nur auf durchgehendes Thrash-Geballer setzt, sondern auch auf Abwechslung. Somit ist das Album nicht nur für ThrashFanatiker geeignet. Die organisch klingende, aber dennoch fette Produktion, passt wie die Faust aufs Auge und zeigt, was bei aktuellen Alben in diesem Genre oft fehlt: Klangliche Authentizität! Es wurde damals nur als gebrannte CDR und digital veröffentlicht!

Die mit Sicherheit coolste Spaghetti-Western-Compilation aller Zeiten kommt vom legendären SoundtrackLabel CAM Sugar. Niemand geringeres als der Brite Jeymes Samuel, Regisseur des modernen NetflixWesterns „The Harder They Fall“ und anderer Erfolgsfilme, sowie Singer-Songwriter (The Bullits), kennt sich mit der Musik italienischer Kult-Western bestens aus. Aus den CAM-Sugar-Archiven hat er jetzt 20 mitreißende Tracks aus der Feder von Ennio Morricone, Piero Umiliani, Nico Fidenco und anderen Legenden zusammengestellt. Diese Themen voll wilder Rhythmen, donnernder Gitarren und entfesselter Orchester sorgen für Action auch auf dem Plattenteller.

Drei der von den Originalbändern remasterten Tracks sind bislang auf Vinyl unveröffentlicht. Multi-Talent Jeymes Samuel hat auch das Cover-Artwork von Hand gemalt, im beiliegenden Booklet interviewt er die beiden Stars seines Westerns “The Harder They Fall”, Regina King und David Oleyowo, außerdem sind Original-Notenblätter und Filmposter abgebildet.

Jetzt auch auf Vinyl: Musikalische Mitteilungen aus Oslo, New York, Basel und Lugano – aufgenommen zwischen 2018 und 2022 – werden auf dieser fesselnden Aufnahme, auf der der norwegische Schlagzeuger Thomas Strønen solo und in einer Reihe von Duetten zu hören ist, einander gegenübergestellt und neu kombiniert. Mit unterschiedlichsten Partnern wie Craig Taborn, Chris Potter, Sinikka Langeland und Jorge Rossy ist der musikalische Bezugsrahmen breit gefächert. Elemente von Langelands archaisch anmutendem Folk bis hin zu Potters Post-Coltrane-Saxophon und Taborns wirbelndem modernistischem Klavier finden alle ihren Platz in einem Projekt, das neue Verbindungen und kreative Beziehungen impliziert. Das Album wurde im Februar 2023 von Strønen und dem Produzenten Manfred Eicher in den Bavaria Musikstudios in München fertiggestellt und gemischt.

A masterful blend of neo-soul warmth & vintage JAY DEE-inspired vibes. Channeling the raw, soulful essence of SLUM VILLAGE, AKIM ONE crafts a rich tapestry of smooth rhythms and evocative melodies that resonate deep within the listener. Perfect for fans of timeless beats and modern soul.

In 1966, Oscar Agudelo recorded this elusive and lesser-known collector's gem called "Pa' mi muñeca" for Discos Fuentes. It is a rarity where the artist took an unexpected musical turn and performed several porros, paseaitos, gaitas, and cumbias, evoking the swaying motion and rolling waves of Colombia's Caribbean sound. It resonates with the echoes of a romantic minstrel laced with an unexpected richness of nuance, a hallmark of the cumbia sound. It's exactly the kind of music that lights up a tambó or a fandango circle on carnival night. A dozen tracks, none of them new, but suffused with a consciousness that can be understood within the context of their time and with the personality of the artist bold enough to bring them to life. 'Madre cumbia' opens the album with a festive, nostalgic mood, infused with the simple beauty and the electrifying beat of the tropics that immediately makes you want to get up and dance. It's a fantastic example of how to perform a song with passion and make the listener fall instantly in love with an album. 'Pa' mi muñeca', the title track, is a fast-paced paseaito that explores new paths that took a shortcut to the dance halls. A showstopper on the dance floor. 'Está como mango' is a porro-cumbia that charms with a rich tapestry of compliments, the calling card of many old-school tropical songs. 'Cumbia de recuerdo', 'Cumbia suave', 'Cumbia de Santa Marta', are back-to-back cumbias. This is an album devoted to recreating the strength of a musical genre that's been the soundtrack of Colombian life for decades. It's a record dedicated to capturing good times, filled with simple dreams, steeped in joyful energy, and shining with the uninhibited flair, or better said, the quality of the sixties. This album represents a milestone on the route cumbia had taken, both for Discos Fuentes and maestro Agudelo. First time reissue. Includes liner notes by genre expert Don Alirio.

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.

Far above the skylark sings And beats the air with joyful wings Till all the sky with music rings At high noon of the day With 2022's critically acclaimed album Ghosts, enigmatic Shropshire group HARESS markedout their own place in a growing landscape of artists navigating the world of the traditional and the rural in new ways. Ghosts led to the normally reclusive Haress venturing out from their base in the Shropshire Hills for live performances with the likes of Godspeed You! Black Emperor, Shovel Dance Collective, Big Brave, Steve Von Till and appearances at Supersonic and Krankenhaus Festivals - not to mention making fans of everyone from Kevin Martin to James Holden in the process. Skylarks is perhaps the natural conclusion of these past few years for the group. Whereas previous Haress recordings have embraced something of the unknown in the process of their making, Skylarks sees a well-travelled group of musicians carefully craft long and expressive pieces of music in a powerful and instinctual way. The music here might be long, but it never sprawls out of control. The telepathy present in live performance has been harnessed and used to carefully compose and arrange these four pieces, narrating a journey through landscape and time that is as powerful as it is beautiful. Inspired by found folk songs, the power of nature and the power of community and Ben Myers' brutal tale of resistance The Gallows Pole, Haress have created a genuinely epic soundtrack to a world both past and future, real and imagined. The ambience and atmosphere of the recording (expertly captured by Phil Booth of JT Soar Studio on location in the group's hometown of Bishop's Castle) is entirely natural, the sound of an ensemble playing live in the room around you. The only vocal interjection this time comes from a choir of voices, replicating the communal singing that has been the centrepiece of Haress live performances. When the voices emerge, it feels truly euphoric and heavy. Not heavy as in metal, but heavy as in the Earth itself - a primal, joyful gut punch to the system. "This blissed-out psychedelia is not quite pastoral – there’s nothing twee about these unwinding grooves – yet evokes water and wood, light and shadow, a place of forgotten labour and the absent human form with a beguiling grace" - Luke Turner on Ghosts, The Quietus Albums Of The Year 2022 "That timelessness of the old sounds but with an added tripped out modernity and dissonance hooked into the past by the power of drone is magical and exhilarating stuff – they are truly spellbinding – ancient and modern like British ragas or a damp searching for the soul of England take on the desert blues of a Tinariwen" - Jon Robb reviews Krankenhaus Festival 2023, Louder Than War

[d] A4 Becky Doll; Recorded By [Vocals] – Wesley Graham (2); Vocals – Coco Hames

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

Here’s another gem from the Made Up Records catalog, crafted by none other than Laserdance legend Michiel van der Kuy. Once again, Vintage Pleasure Boutique delivers a beautifully remastered original, breathing new life into this classic cut. But that’s not all. Thanks to the access to the original studio stems, the release also features four brand-new remixes. A.P. Mono, Electro Potato, Bellatrix, and Chris van Buren all stayed true to the essence of the original production, but each one gave “Let Me Free” a fresh twist – tweaking, polishing, and reimagining it to build a smooth bridge between the old school vibe and modern dancefloor energy, all while giving a respectful nod to today’s DJs.

Hidden Sequence returns, this time to kick off a new label Magistrate, and hot on the heels of their quick-to-sell out 'Silent Roots' last year. This fresh EP seamlessly bridges classic 70s Jamaican dub with modern, bass-heavy and dubwise delights, starting with 'Isms & Schisms'. The horns are brilliantly inviting as are the low ends which have been well worked on a vast desk and come packed with echo and effects. 'Magistrates Dub' is an immediately infectious skank that shifts into a deep, dub-heavy exploration and unites past and present dub influences.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

Tom Esselle, staple of the South London music scene, hits his stride on Rhythm Section release Revolutions and Evolutions. Building on the success of his previous releases (Lou’s Groove on Rhythm Section’s Shouts 2021 compilation, Praise Bes EP on Wolf Music in 2022), his latest EP further showcases the breadth of his sound. Drawing on influences from across the house music spectrum and honing skills developed in the studio with Chaos In The CBD, Revolutions & Evolutions delivers a sound that looks boldly to the future while remaining firmly grounded in the classics.

The A-side is primed for peak dance floor action: Baddies features a mid-2000s RnB vocal that did serious damage when Bradley Zero played it at Circoloco last summer, while Plaything, a big-room tech-house banger, echoes Moon Harbour's tougher catalogue, or a skunked-out Gavin Herlihy.

The B-side is a slice of sunshine with One Of These Days, an uplifting daytime house track featuring a deft keys solo from Dave Koor (Albert’s Favourites, The Expansions, Modified Man). Harmonise rounds off the EP: a smoky, dreamy groover to warm up the party or lock it in during the early hours.

Tom has been producing music since 2010, patiently refining his sound. His 2015 debut, the choppy drum workout Until She Spoke on Wholemeal Music, became a quiet underground success played by luminaries like Ruf Dug and Gilles Peterson, and remains a staple in many a record bag to this day. His productions have also found their way into the collections of DJs from Moxie to Mr Scruff and Osunlade to DJ Harvey

Hologram Teen is the solo project (and anagram) of former Stereolab keyboardist Morgane Lhote. Her colourful playful songs are heavily influenced by disco and 80s French pop.

Initially from Paris, Morgane relocated to Los Angeles where she concentrated on her solo material. Captain Fluo is a disco-fuelled love letter to 1980s Paris and its underground nightlife, record store discoveries and the exhilaration of growing up as a gay teenager in a world of self-discovery.

Produced and mixed by Andrew Claristidge (Acid Washed) at Duca Sonora Studios in Brittany Captain Fluo is a vibrant fusion of propulsive beats, bouncy synths and funky basslines. Morgane’s signature keyboards weave through a constellation of guest vocalists including Sandra Zettpunkt, Maxwell Farrington, Eric D Clark and Alex Aikiu. From the euphoric pulse of ‘Lust Pill’ to the radio crooner nostalgia of ‘Fréquence Gaie’ each track is a portal to the dance floors and late-night airwaves of a bygone era.

Drawing inspiration from French pop icons like France Gall, Michel Berger and Louis Chedid alongside the sleek productions of Italo disco pioneers Kasso and the genre-defining touch of David Bowie, Nile Rogers, Quincy Jones and Depeche Mode, Captain Fluo is a heartfelt ride through an era when music was liberation.

* Limited edition 12' vinyl pressed on transparent red wax, housed in a full colour sleeve inspired by classic Philly Blunt artwork.

* Fresh Blunts Vol. 1 brings that same energy to a new generation of DJs and selectors, with four dancefloor-focused cuts that pay tribute to the label's roots while pushing forward with modern production values.

* On the A-side, Bladerunner steps up with 'Chronic' and 'Straight Up' — his first solo release on the label in over a decade. With his deep ties to the scene (Dread, V, Souped Up, Kings of the Rollers), these tracks are a masterclass in classic jungle flavour with upfront punch.

* The flip introduces Chimpo & Sl8r to the Philly Blunt catalogue, blending grime, jungle, and Manchester's unmistakable underground sound. Having previously released on labels like Metalheadz, V Recordings, The North Quarter, and Hospital, their debut here shows just how wide the Philly Blunt family now reaches.

* Launching the brand-new Fresh Blunts vinyl series, Philly Blunt Records continues its legacy of heavyweight jungle and drum & bass. Originally founded in 1994 as a raw, party-focused sister label to V Recordings, Philly Blunt helped define the sound of mid-90s jungle with anthems like Leviticus' 'Burial', Dillinja's 'Sky', and Firefox's 'Buck Rogers'.

* Strictly limited run!

L.A. Witch haben schon immer eine Aura müheloser Coolness ausgestrahlt, sei es in Form des Americana Noir und des lakonischen Back-to-Basics-Rock'n'Roll ihres selbstbetitelten Debüts oder des glühend strengen Abenteurertums ihres zweiten Albums "Play With Fire". Die Band - bestehend aus Sade Sanchez (Gitarre/Gesang), Irita Pai (Bass) und Ellie English (Schlagzeug) - begann als informelle Angelegenheit, aber die schwülen und betörenden, von Hall umhüllten Songs, die sie schufen, fanden beim Publikum Anklang und brachten das Projekt über den isolierten Raum von Freunden und Gleichgesinnten in Südkalifornien hinaus in die weite Welt. Auf ihrem neuesten Album "DOGGOD" geht das Trio über die bisherigen kreativen und geografischen Grenzen hinaus - das Material wurde in Paris produziert und die Tracks im Motorbass Studio in der Rue de Martyrs aufgenommen. "DOGGOD" erkundet ein breiteres klangliches Terrain, setzt ein größeres Arsenal an Sounds ein und erforscht größere existenzielle und kosmische Themen, ohne dabei den für die Band typischen Sinn für das Verbotene, das Verlassene und die Vorahnung zu verlieren. "DOGGOD" ist ein Weg, das universelle Rätsel der spirituellen Natur von Liebe und Hingabe anzugehen. "Ich habe das Gefühl, eine Art Dienerin oder Sklavin der Liebe zu sein", sagt Sanchez. "Ich bin bereit, für die Liebe zu sterben, indem ich ihr diene, für sie leide oder nach ihr suche - so wie ein treuer, ergebener Diensthund es tun würde." Der Titel des Albums ist ein Palindrom, das DOG und GOD zusammenfasst - eine Verherrlichung des Unterwürfigen und eine Subversion des Göttlichen. Es ist eine Anspielung auf die Reinheit von Hunden und eine Anerkennung ihrer bedingungslosen Liebe und ihres beschützenden Wesens, die im Widerspruch zu den verschiedenen abwertenden Assoziationen stehen, die mit dieser Spezies verbunden werden. "Es gibt diese symbolische Verbindung zwischen Frauen und Hunden, die die untergeordnete Stellung der Frau in der Gesellschaft zum Ausdruck bringt", erklärt Sanchez. "Und alles, was solche göttlichen Eigenschaften verkörpert, hat es nicht verdient, als Schimpfwort benutzt zu werden." Diese widersprüchlichen Erkundungen von Liebe und Unterwerfung manifestieren sich in der sanften und rauchigen Garagerock-Alchemie der Band, mit einer neu entdeckten Nutzung der disziplinierten Zurückhaltung und eisigen Instrumentierung des Post-Punk. Der Album-Opener "Icicle" zeigt, wie L.A. Witch aus dem Proto-Punk, der Psychedelia und den düsteren Riffs der 70er Jahre in die von Refrains durchtränkten Gitarren und den verlorenen Minimalismus von Joy Division und den frühen The Cure reist. Es wird eine Parallele zwischen romantischem Selbstmord und Märtyrertum gezogen, die sich im zweiten Song, "Kiss Me Deep", fortsetzt. Hier beschreibt Sanchez eine Liebe, die so rein ist, dass sie die Zeit übersteigt und sich über mehrere Leben erstreckt. Es ist ein Lied über Leidenschaft, vorgetragen mit dem weltlichen und verletzten Stoizismus der frühen Goth-Pioniere. Von dort aus geht die Band zur Leadsingle "777" über, einem Song über Hingabe bis hin zum Tod. Ein treibender Beat, ein treibendes, verzerrtes Riff und Sanchez' ätherischer Gesang vereinen sich zu einem Song, der sowohl düster in seinem Fatalismus als auch sinnlich in seiner treuen Leidenschaft ist. Auf dem gesamten Album "DOGGOD" weichen L.A. Witch nie von ihrer Muse ab. In "I Hunt You Pray" legt Pai einen hypnotischen Basslauf hin, während English einen zyklischen Krautrock-Groove einsetzt und Sanchez das Bild eines verlassenen Hundes am Straßenrand malt, der allein in der Nacht ist und sowohl als Jäger als auch als Gejagter lebt. Auf "Eyes of Love" macht sich die Band die meditativen Mid-Tempo-Wiederholungen, dekonstruierten Akkorde und esoterischen Betrachtungen über Liebe, Tod und Spiritualität zunutze, die Lungfish zu einer so beliebten Band gemacht haben. Es unterstreicht die Parallele zwischen der unerschütterlichen Liebe in den Augen eines Hundes und der Selbstaufopferung eines Erlösers. Auf "The Lines" nimmt die Band den treibenden Puls des Post-Punk und fügt dem Mix eine Extraportion Chorus hinzu. "Chorus ist ein moderner Effekt, der auf der Idee beruht, die leichten Tonhöhenunterschiede eines Chors nachzubilden. Es gibt eine schimmernde Qualität, die uns zurück zu diesem spirituellen, göttlichen Gefühl bringt", erklärt Sanchez. Gepaart mit dem Einsatz von Orgel und einer grüblerischen Moll-Melodie, beschwört der Song gleichzeitig das Heilige und das Sakrileg. Der Titeltrack "DOGGOD" hat vielleicht die größte Ähnlichkeit mit dem Material des Vorgängeralbums "Play With Fire", in den schlanken und gemeinen Gitarren auf eine raue Rhythmusgruppe und verträumten Gesang treffen. Aber während ihr vorheriges Album ein Aufruf war, seinen eigenen Weg zu gehen, bleibt "DOGGOD" dem "Bis dass der Tod uns scheidet"-Thema des Albums treu und geht sogar so weit, ein Maß an Unterwerfung zu beschreiben, das in gefährliche und ungesunde Gefilde übergeht, wobei Sanchez singt "hang me on a leash / `til I wait for my release". Letztendlich ist "DOGGOD" eine perfekte Verkörperung des Ansatzes von L.A. Witch. Es ist gleichzeitig romantisch und bedrohlich, ehrfürchtig und profan, eine Feier und ein Klagelied. Es spannt den Bogen zwischen Vergangenheit und Gegenwart, indem es vertraute Klänge aufgreift und sie für die Jetztzeit aufbereitet. Aber es läutet auch eine neue Ära für die Band ein, die über die Kodachrome-Erinnerungen an das Amerika der Jahrhundertmitte hinausgeht und tiefer in den mittelalterlichen und gotischen Energien von Paris und darüber hinaus gräbt, während sie gleichzeitig ein besudeltes Herz erforscht.

Sneaker Social Club welcome a veritable supergroup of bass heavyweights in the form of Legion. Made up of Trends, Boylan, P Jam and D.O.K., this four strong collective first came to light with the We Are Many 12" on Artikal Music in 2021, and now they regroup for another four-strong payload of soundsystem pressure that embraces the darkness in devastating fashion.

The Sister Abigail EP leads with 'Rastaman', an ice-cold half-step drop that summons the spirit of early dubstep in its raw minimalism, eerie atmospherics and snarling low-end wobble. Without an ounce of fat, it's a lean workout of drums and bass that finds catharsis in simplicity without compromising on high definition detail. 'Souls' locks into a jerky groove to set the dance off at acute angles, nudging the textures up a notch without disturbing the spartan mood of the release. 'Sister Abigail' pushes the underlying malevolence of the Legion sound to the forefront with dissonant sheet-metal tones while packing the rhythm section into a tight, vicious formation of gnashing, chrome-plated teeth. 'Play That Vibe' seals the deal on the EP with a hard-thumping, propulsive groove that calls to mind the techy development of dubstep in the 2010s — a taut, tracky throwdown to keep the intensity on a rolling boil.

Drawing on the grounding principles of OG dubstep with a sharp line in crisp, modernist production and a ruthless economy of arrangement on display, Legion prove many cooks can still result in a potent, brutally focused broth.

After leading the cult performance art collective Lazarus Kane, Ben Hambro took a more introspective, lyrically driven approach with Vegas Water Taxi. Their debut album, Things Are Gonna Be Alright, was self-released in November 2023a beautiful yet jarring collection of songs capturing the chaos and contradictions of your twenties. Now, the album is getting reissued, along with its first-ever vinyl release via PNKSLM Recordings (ShitKid, Clutter, Chemtrails), featuring four exclusive bonus tracks recorded live at The Windmill. Hambro, who's also collaborated with artists such as Katy J Pearson, continues to craft music that resonates and surprises. RIYL: Stephen Malkmus, Townes Van Zandt, Courtney Barnett

PHASE SHIFTING INDEX is a time capsule record of Jeremy Shaw's vast original artwork that includes audio excerpts, voiceover passages and music composed by There in Spirit and Konrad Black. Shaw's seven-channel video, sound and light installation-that premiered at Centre Pompidou in 2020-uses science fiction, documentary, visual effects and synchronisation to induce an ecstatic experience in narrative temporality. Each video details the belief systems of one of seven fictional subcultural groups spread across time that aspire to induce parallel realities that could redirect the evolution of the human species through embodied forms of ritual, ideology and movement. The vinyl release serves as a gathering of the piece's key audio elements, focussing on their importance to the engineering of the artwork and their stand-alone listening qualities. Side A of the record follows the dramaturgy of the artwork in full-swing, including audio segments from four of its five distinct chapters. Written by long time collaborators Konrad Black and Jeremy Shaw together as There in Spirit, "Cross- Temporal Sync" soundtracks the strobing peak of the installation at the moment when all seven disparate videos fall into a unified choreography in which every person on every screen performs the same ecstatic series of slow-motion movements. The pulsing, hypnotic dirge aligns with the locked choreography in mood and action, caught somewhere between ecstatic trance and somatic takeover. A steady sub line, clipped stabs and a swooping choral gasp harmonise with the dancers movements onscreen while restrained filters open slowly to reveal a submerged melody that builds in intensity towards the chaotic rupture of Black's "Mosh". Here the score breaks into digital shards as heard through analog bodies colliding and pixelating into each other. The dancers eventual dissolution into "Particles" sounds like the field recording of a disembodied neural cosmos. The B-side of the record contains a narrative outline edit of the artwork comprised of music, excerpts and pieces of narration from each video. Listeners can follow along in an accompanying thirty-six page booklet of full-bleed film stills documenting each of the seven groups as they move through the five chapter dramaturgy. Composer Konrad Black's authentically backwards-glancing production and sound design is as disparate as the groups represented on screen. From the bespoke-16mm-tribal-techno of "The Cyclical Culture" and retro-cyber-funk of the "Zero-Ones," to the VHSdark- wave of "The Violet Lux" and skewed vocal/piano minimalism of the "Quantum Modern," each group exists in its own custom-made world out-of-time. The record ends where it began, with the full sequence of "Ramping" playing out as each subcultural world begins to lose control, galvanise, sync, rupture, atomise and scatter throughout the universe, only to loop back into another inevitable beginning. Phase Shifting Index premiered at Centre Pompidou, Paris, in 2020 and has since been exhibited in nine international venues including ARoS, Denmark, MONA, Tasmania, MAC, Montreal and Hamburger Bahnhof, Berlin

The recipient of the 2023 American Piano Awards and Steinway Artist, pianist/composer Isaiah J. Thompson has become the first call for the greats such as John Pizzarelli, Steve Turre, Wynton Marsalis, Christian McBride and more! For his Mack Avenue debut, The Book of Isaiah: Modern Jazz Ministry, Thompson enlists legendary pianist Cyrus Chestnut to produce his 8-song autobiographical musical statement exploring faith, musicianship, race and humanity.

Rando Arand is an Estonian electronic music producer from Tallinn. With a strong foundation in sound design, Arand released his debut record on Asphalt Soliloquies in 2017 and has since captivated audiences at clubs and festivals across the Baltics with his unpredictable and unique live sets. Drawing inspiration from a range of genres such as broken jazz, dubtechno, breakbeat and jungle, Arand incorporates modular synth patches into his performances. He has shared the stage with artists like Dorian Concept, Gerry Read and King Midas Sound. In 2019, Arand released the "Alles" EP on Ali Asker's LIITHELI imprint, which focuses on promoting local talent from Estonia's capital. Arand's latest EP, "Aru" (2022), showcases his exploration of a new "Linki" format. In addition to his musical pursuits, Arand was also a host at the underground venue Ulme in Tallinn.

About the album „Child of the Internet”

The new album by experimental sound designer and electronic music producer Rando Arand takes the artist on a completely different path compared to the previously known dance music influenced deep and contemplative instrumental tracks. Featuring several notable guest artists, the album is a sizzling hot record that makes feet tapping and bodies grooving. On the artist’s most listener-friendly work to date, an impressive lineup of Estonian vocalists makes an appearance: Hyrr IV, the lead singer of the indie band Ouu; Jon Mikiver from Elephants from Neptune; actress Mirtel Pohla; alternative pop artist Kitty Florentine; queer artist Helgi Saldo; comedian Maiduk; and hobby musicians Maihe and David.

The conceptual album "Child of the Internet" is dedicated to young kids for whom the internet has been a defining part of growing up. Genre-wise, the album is very flexible, weaving through various musical chapters and styles with the help of numerous musical sketches, touching on both the comedic and the darker oddities that circulate online.

The album features scorchingly hot, electrified synth-funk jams with a nostalgic touch reminiscent of Prince ("Slidin in Yo DM’s", "Refresh"). Kitty Florentine delivers a sensual neo-soul ballad ("Just Scrolling"), filled with soft tones, soulful warmth, and a smooth groove. For more demanding listeners, the record also explores elements of chillwave, glitch, lo-fi hip-hop, techno, house, and breakbeat. Longer tracks and shorter interludes come together like a bouquet of favorite memes or a collection of countless open web browser tabs that we all keep running. At the same time, the album hints at the immense impact the internet has on our everyday lives.

Rando Arand’s latest studio album is an intriguing listen — perfect for enjoying alone with good headphones or as an ideal background soundtrack for a larger gathering with friends.

Recorded August, 1965, Copenhagen, Denmark.

Original LP issue: OKTAV – OKLP 111



Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.



In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.



In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.



This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!



Personnel :

Sahib Shihab (Baritone saxophone, Flute, Cowbell)

Poul Hindberg (Alto saxophone, Clarinet)

Ib Renard (Baritone saxophone)

Bent Nielsen (Baritone saxophone, Flute, Clarinet)

Niels-Henning Ørsted Pedersen (NHOP) (Bass)

Alex Riel (Drums)

Allan Botschinsky (Trumpet)

Fritz von Bülow (Guitar)

Bent Axen (Piano)

Bent Jædig (Tenor saxophone, Flute)

Niels Husum (Tenor saxophone)

Svend Åge Nielsen (Trombone, Bass trombone)

Torolf Mølgaard (Trombone, Euphonium)

Palle Bolvig (Trumpet)

Palle Mikkelborg (Trumpet)

Poul Kjældgård (Tuba)

Louis Hjulmand (Vibraphone)

Set in the pressure cooker of fresh adulthood, Jahnah Camille's defiant new EP My sunny oath! is a guitar-based grab at self-acceptance. Romping through alt-rock, lo-fi grit, and sardonic grunge with unflinching momentum, the new six-song collection channels Jahnah's era-agnostic songwriting influences, from The Sundays and Liz Phair to Minnie Riperton and Japanese Breakfast. Largely written before a breakout year including tours opening for Luna Li, Tops, and Blondshell, My sunny oath! is set in stormy self-development. Dreamily layered vocals, modern shoegaze sheen, and keyboard lines accompany Jahnah's ear-worming guitar parts and coyly detached tone, as she pushes through the muck of outgrown relationships, misogyny, and hometown anxiety with the help of producer Alex Farrar (Wednesday, Indigo De Souza, MJ Lenderman). The clear-eyed sonic expansion of My sunny oath! marks a decisively bold, exploratory new direction for Camille's sound with fearless hooks and swirling production abound. It's a messy, vulnerable, and inviting picture of early adulthood.

Set in the pressure cooker of fresh adulthood, Jahnah Camille's defiant new EP My sunny oath! is a guitar-based grab at self-acceptance. Romping through alt-rock, lo-fi grit, and sardonic grunge with unflinching momentum, the new six-song collection channels Jahnah's era-agnostic songwriting influences, from The Sundays and Liz Phair to Minnie Riperton and Japanese Breakfast. Largely written before a breakout year including tours opening for Luna Li, Tops, and Blondshell, My sunny oath! is set in stormy self-development. Dreamily layered vocals, modern shoegaze sheen, and keyboard lines accompany Jahnah's ear-worming guitar parts and coyly detached tone, as she pushes through the muck of outgrown relationships, misogyny, and hometown anxiety with the help of producer Alex Farrar (Wednesday, Indigo De Souza, MJ Lenderman). The clear-eyed sonic expansion of My sunny oath! marks a decisively bold, exploratory new direction for Camille's sound with fearless hooks and swirling production abound. It's a messy, vulnerable, and inviting picture of early adulthood.

Die 1992 in London von Sänger und Songschreiber David Christian gegründete Band Comet Gain war ursprünglich inspiriert von den frühen Creation Records, Television Personalities und der Mod-Kultur. Comet Gain schöpften aus denselben Idealen wie Dexys, The Style Council oder Vic Godard und aus Traditionen wie der von The Velvet Underground, The Byrds und den 13th Floor Elevators. In den darauffolgenden Jahren veröffentlichte die Gruppe acht Alben auf so angesehenen Labels wie Wiiija, Kill Rock Stars, What"s Your Rupture und Fortuna POP!. In diesen Veröffentlichungen vermischten sich französischer New Wave mit englischem Arbeiterherz, Riot Grrrl mit Acid Punk und Twee Pop mit Post-Punk und Northern Soul. Comet Gain überdauerten ihre Zeitgenossen und inspirierten eine neue Generation von DIY-Bands. Auf dieser Platte, Comet Gains zweitem regulären Album bei Tapete Records, hören wir David Christian (Stimme, Gitarre), Ben Philipson (Gitarre), Rachel Evans (Gesang), Robin Christian (Schlagzeug), Anne Laure Guillain (Keyboards) und Clientele-Bassist James Hornsey, mit zusätzlichen Gesangs-, Bläser- und Keyboard-Beiträgen von Produzent Sean Read (Dexys, Edwyn Collins, Rockingbirds).

TWICE A MAN pflanzten die Saat für "The Coloured Breeze Is a New Dimension" mit dem Song 'Dahlia', einem "neuen" Stück, das sie zur Ergänzung der Albumkompilation "Songs of Future Memories" geschrieben hatten. Drei Jahre lang düngte und hegte das schwedische Dark-Electronic-Trio den Keim, bis er feste Wurzeln in ihrem musikalischen Erbe fand und damit begann, neugierige Ableger in neue fruchtbare Böden jenseits der zuvor errichteten Klanggartenmauern zu senden. "The Coloured Breeze Is a New Dimension" ist ein organisches Gebilde, das etwas Neues schafft, indem es seine musikalische DNA auf verschiedene Weise rekombiniert. Als Ergebnis erblühen die frischen Songs in vielen elektronischen Farbnuancen. TWICE A MAN waren schon immer Vorreiter. In ihrem Heimatland Schweden waren sie die anerkannten Pioniere der elektronischen Musik. Und schon lange bevor es in Mode kam, positionierten sich die Schweden als selbstbewusste Umweltschützer. Musikalisch wurden sie liebevoll mit Bezeichnungen versehen wie: "Ultravox auf Gras - wenn auch melancholisch und ohne zuckriges Pathos" oder "wie ein trauriger Gary Numan, aber mit einem warmen, organischen Touch". In ihrem Sound finden sich auch sanfte Anklänge an TANGERINE DREAM, KLAUS SCHULZE und THE HUMAN LEAGUE neben vielen anderen möglichen Referenzen. Als sich Sänger, Gitarrist und Keyboarder Dan Söderqvist im Jahr 1977 mit dem Synthesizer-Spieler Karl Gasleben zusammenkam, gründete das Duo zunächst COSMIC OVERDOSE, die erste elektronische Band Skandinaviens, aus der dann TWICE A MAN hervorging. Während ihrer bemerkenswerten Karriere veröffentlichten die Schweden zahlreiche Alben, inklusive spezieller Projekte, und zwei Kompilationen. Sie spielten zahllose Konzerte und schufen den Soundtrack für sieben abendfüllende Theateraufführungen im Königlichen Dramatischen Theater in Stockholm, Musik für Filme, Ausstellungen, Tanzaufführungen und sogar Computerspiele. Die Natur spielt auch in den Texten und im Sound von "The Coloured Breeze Is a New Dimension" wieder eine große Rolle. TWICE A MAN haben ein musikalisches Äquivalent dazu geschaffen, Trost in der Natur, Kunst und der Freude an Büchern zu finden, um zumindest für eine Weile den Übeln der modernen Welt zu entkommen.

Der britische Synth-Zauberer James Holden und der polnische Klarinetten-Guru Waclaw Zimpel (Saagara, Shackleton) setzen ihre fruchtbare Zusammenarbeit mit dem glückseligen Eskapismus ihres grossartigen Albumdebüts fort: "The Universe Will Take Care Of You" ist ein zutiefst emotionales, warmes und flauschiges Vergnügen. Reiche Texturen und eine betörende Klangpalette bewegen sich frei zwischen idyllischen Pastoralen, eindringlichen Arpeggios und schimmernder Euphorie. Die spielerisch-experimentelle Herangehensweise von Krautrock-Vorfahren wie Harmonia, Cluster oder Eno & Fripp wird aufgegriffen, um ihren tiefsten Improvisationsdrang zu erforschen. Das Ergebnis ist die freudige Konvergenz zweier gleichgesinnter Meister ihres Fachs, die Violine, Schlagzeug, Lap-Steel-Gitarre und die indische Doppelrohr-Algoza-Flöte mit gewohnt-modularem Synthesizer und Klarinette verbinden.
180g White Vinyl LP.

Der Disco-Klassiker I Will Survive erstrahlt in neuem Glanz! Diese exklusive 12“ Maxi Single auf farbigem Vinyl bringt frischen Schwung auf den Plattenteller — mit brandneuen, clubtauglichen elektronischen Remixen.

Renommierte Produzenten wie Block & Crown, Robbie Rivera, Makin Bakin und Bekim! verpassen dem legendären Song ein modernes Sound-Upgrade, perfekt für den Dancefloor. Die Remixe verbinden den ikonischen Spirit des Originals mit zeitgemäßem House- und Clubsound — ein Must-have für DJs, Vinyl-Liebhaber und alle, die den Klassiker neu erleben wollen.

Satya is excited to welcome Sweden’s very own Chris Llopis, a veteran of electronic music, with his highly anticipated EP Echo Ridge, to its vinyl only catalog.

Chris has been a prominent figure in electronic music since the late ‘90s, releasing on respected labels like Fabric Records, Tooloop, and Micronica. Inspired by a trip to Spain at age 13, Chris began DJing on Technics SL1210 turntables and later immersed himself in Copenhagen’s vibrant techno scene. His first vinyl release on Tatsu in 1998 brought him global recognition. Today, Chris’s sound blends timeless influences with modern techniques.

Echo Ridge is inspired by Chris’s love for funk-driven bass lines and the energy of underground raves. “I wanted to create tracks with strong rhythms and a playful edge,” he says. “The bass line is the soul of a track, and this EP captures the vibe of late-night moments when everything clicks.” The EP combines the groove-heavy minimal style of the late ‘90s with a fresh, contemporary edge, delivering tracks that energize the dance floor.

Chris’s creative process thrives during early morning studio sessions. “It’s the perfect time for clarity and creativity,” he shares. For Echo Ridge, Chris used iconic gear like the Juno 106, Elektron Analog Four, Eventide H3000, and Roland Space Echo RE-201, alongside Ableton 12 and Max for Live, to craft its warm, textured sound.

Out on the shelves June 13, 2025, the EP is a celebration of Llopis’s evolution as an artist and his deep connection to the dance floor. With its groove-driven energy and meticulous attention to detail, the release is a must-have for fans of minimal house and vinyl enthusiasts alike.