Suche:nightmare

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.

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.

Space-surf-psych-rock quartet Japanese Television’s album ‘Automata Exotica’ has been remixed by invited friends and peers; including Goat Fool from GOAT, Factory Floor’s Gabe Gurnsey, and Edgar Breau from cult band Simply Saucer. Informed by UFO encounters, ritualism, robots, Northern Soul, and nuclear weapons, ‘Automata Exotica’ was released in March 2024 and was described as “Heavy but also joyful” by The Quietus, “A fuzzy blast of space-surf energy”in Shindig and “A remarkable and unique proposition” by Louder Than War.

Rather than having been transformed out of all recognition, “reimagined” is a more apt term to describe this new version of ‘Automata Exotica’. With the album’s eight tracks presented via considered, alternative mixes with pertinent sonic application, it hangs together incredibly coherently - albeit as a wild and feverish psychedelic experience.

JTV toured with GOAT while writing ‘Automata Exotica’, with the fat fuzz tones and extended middle percussion section of ‘Typhoon Reggae Police’ heavily influenced by their time watching and learning from side stage. Starting life as an uneasy mixture of scratchy 60s garage rock and 70s Afghan psych folk, Goat Fool from GOAT ripped the song apart and stitched it back together. Recognisable but weird and uncanny, it’s a stripped down, oppressive, shimmering voodoo nightmare.

“We used to go and see Gabe’s weird, excellent band Factory Floor playing dark little club nights in Shoreditch years ago and marvel at the racket” says JTV. “Gabe’s been a long time collaborator of ours, in fact he’s the only person to not only do more than one remix for us, but has featured on every remix release we’ve done. Our most ecstatic, cathartic song, ‘Tabadaboum’ was the perfect match for Gabe - the motorik krautrock bassline fits right in with the pneumatic grind of his vintage drum machine loops and synth flurries”.

It's hard to measure the impact cult 1970s Canadian space rock proto punk psych band Simply Saucer had on the formation of Japanese Television. The band reached out to Edgar Breau - the band’s founding member and guitarist - who guitarist Tim says was “really generous with his time, and really kind to an overly keen and slightly awkward Simply Saucer mega fan. It's a real honor to have him playing guitar on one of our records”. His cosmic reimagining of ‘Golden Birds’ layers on the delay, reverb and screaming guitars, launching the track into outer space.

‘Automata Exotica (Remixed)' is set for release on 6th June 2025 on limited edition LP and digital formats. Japanese Television tour in Europe through March and April. The album is released by cult underground label Tip Top Recordings (Jim Wallis, Mandrake Handshake, Pearl & The Oysters), run by Ben Rimmer and David Warn.

Rock’n’roll revivalists Split Dogs are not here to make 15 second viral videos, they’re not here to sell you a lifestyle, they’re here to destroy. Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full time, cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis). ‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16 track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”. While the final result is a step away from Split Dogs early punk sound, the attitude is still there in droves. “We wanted the album to have a raw bones feel,” Martinez tells us, “real 1970s rock’n’roll!”. Harry channels the spirit of Motörhead’s Lemmy Kilmister as they tear through hook after hook, singing about the Northern Soul clubs their mother once frequented (‘Lafayette’), the Orwellian nightmare we’re heading for (“Stay Tuned”) and a touching homage to British working class culture (“And What?”). As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.

I must admit to being a sucker for two-guitar bands. Ok, Hendrix pulled off a trio. But I don’t care what anybody says: The Yardbirds were a better band than anything that came out of them (Ok, maybe not Zep. But Cream?).

Maybe the reason I go back so far in my references is that, within the two-guitar band format, original new roles are difficult and rare. There’s the classic (socially problematic and often boring) “rhythm/lead” solution. There’s the JB’s or Nile Rodgers’ chicken pickin’ vs comping solution (which avoids chordal clashes by relegating one of the guitars to the role of single-note percussion instrument). There’s Ornette’s Prime Time division between Bern Nix’s rolled-off “jazz” tone and Charles Ellerbee’s trebly wah. Almost everything else is a variation on one of these.


In Ches Smith’s record Clone Row, each piece is built around a different concept for guitar interaction. The delightful and gifted weirdness of Mary Halvorson’s playing is counterpointed, contrasted, unisoned with, played off, juxtaposed (that is to say, enters every relationship possible) with Liberty Ellman’s equally amazing sound palette, chops, and imagination. This definitely ain’t your father’s guitar band.
The overall vibe of the record—despite Halvorson’s occasional noise outbursts or Ellman’s distorted guitar lines (see Mixed Fridge) is neither punk/funk, nor Zorn-ish metal—and certainly not the looser parameters of Ornette’s improvised harmolodics. Smith’s vibraphone playing, Halvorson’s guitar tone (whammy pedal squiggles aside), the brilliant electronics, and (most of all) the compositions themselves are somehow strangely West Coast cool. It’s as if I’m hearing a Jim Hall concert in which one of us did a lot of mushrooms, or (dare I write this?) some post-punk post-Dave Brubeck post-trip-hop experiment with classical form.

This recording is, most of all, about Ches as composer. He’s picked up a lot on his long, strange trip of the last few decades. The Haitian funkiness of his work with We All Break is audible—but deeply buried, encoded in the polyrhythms (check out Heart Breakthrough). His long-running side musician collaborations with John Zorn and Tim Berne are also evident but sublimated here into something new.

Not that improvising is absent. Check out the compelling collective statements in Sustained Nightmare and Ready Beat. Check out the brilliant interplay and bass soloing on Abrade With Me (a Weather Report for the age of extreme weather?) Nick Dunston is my favorite bassist of the new generation, and he plays brilliantly throughout. And Ches’ drumming here has all the groove, energy, and incredible range that have kept him in demand from Saturday night Vodou services to jazz and new music recording sessions (…the thinking man’s rock barbarian?).
The sus chords in Abrade With Me do build, for a moment, towards a fusion type of climax...but just at the moment I was gritting my teeth in anticipated defense against some horrible synth solo, the drums drop out, and we’re transported to the ambient lounge at the rave, and we suddenly understand we’re in the hands of a composer with the power to transport us just about anywhere.
So, this is a composer’s record most of all; a composer’s record performed by musicians who happen to be great improvisers. Ches Smith builds here on his reputation as a gifted new voice with an important vision, while showcasing some of the most creative musicians of our time.

"Max Knouse’s voice feels like laughter that follows a well-loved joke. Only afterward, it dawns on you that you don’t fully understand the punchline. Or for that matter the set up. In fact, you’re not even sure what language the joke was told in. What to make of such a laugh—inexplicable, delightful, surprising, seemingly nonsensical? And what to make his voice, at once comforting, beguiling, and just beyond the bounds, like a blues moan or a Mingus lick or some ancient guttural holler? It’s the kind of haunt that lingers long after the record fades, echoing back in your imagination, laden with cryptic possibilities and occulted meanings.

Chipmunk’d Away is his third album. Known for his sessions and live shows with artists like Califone, Jolie Holland, Adan Jodorowsky, Psychic Temple, Simon Joyner, Alex Dupree, and others, Knouse has established himself as an essential factor in the West Coast indie pop underground, brandishing guitar chops that mirror the rawness of his voice; he treats his instrument like a divining rod of spiritual tension and joyful racket, pushing and pulling on it with affection and sometimes something darker.

From the swelling cosmic folk of “Mint and Tobacco,” which features Knouse intoning apocalyptically over engineer Michael Krassner’s washing guitars, “Your breathing ain’t so deep,” to the jazz standard swooner-meets-West Coast psych-pop title track, to the nightmare-scape blues of “Clumsy Hunter,” to the concluding audio collage sway of “Banana, Orange, and Something Else,” Chipmunk’d presents the range and scope of Knouse’s style: bold, adventurous, frightening, and then frequently, when you least expect it, heartbreakingly lovely, like a joke that clarifies your feelings before you could actually verbalize what those feelings even are. They had been hidden from you, chipmunk’d away, but now Max Knouse has revealed them."

Kurz nachdem True North ihr Debut Album “Out Loud” veröffentlichten, haben sich die Bandmitglieder schon wieder im Studio zusammengefunden und in den folgenden Monaten an gleich mehreren Songs gearbeitet. Mit ihrem ersten veröffentlichten Album, ihrem ersten Record Deal in der Tasche und ihrer ersten Tour im Rücken, war die junge Band voller Energie, Inspiration und neuer Erfahrungen, die True North’s Sound auf ein moderneres, perfektioniertes Level brachten.

Gitarrist Joel Ferber hat auch bei diesem Album die Produktion übernommen, und mit der Zeit hat sich eine Sammlung ihrer besten Arbeiten ganz natürlich zu ihrem zweiten Studioalbum gefügt. Der Titel “Either Way, The Sun’s Exploding” spiegelt eine gewisse, erzwungene Apathie der Bandmitglieder wider, so wie sie in ihren neuen Songs tiefer in ernstere Themen, musikalisch wie

textlich, eintauchen. Diese umfassen Herzschmerz, Angst, Demut, Selbstreflektion und die immer präsente Jagd nach Wachstum.

True North verbinden Elemente des Alt-Rock, Emo und Pop-Punk und kreieren einen einzigartigen Sound, der modern klingt und gleichzeitig nostalgisch werden lässt. Voll von eingängigen Melodien und emotionsgeladenen Texten.

With the album Resonant Behaviour, URI pushes his sound into new territory, blendingbouncy Hard Trance, rolling Psy, and driving Hard Techno. In this 11 track story the 303Acid sounds play a leading role. On this album he brings his own style together withsounds from multiple collaborations. The balance between euphoric synths, bouncybasslines and trancey arrangements will bring together different genres into one story.
More than just a collection of tracks, Resonant Behaviour is about connection-movingtogether, feeling together. You Are I.

At a time when post-ambient electronica and bedevilled folk music are co-habiting, and the public’s interest in Pagan rites and rituals has been sparked by a new generation of fans. The bizarre storyline of Whistle And I’ll Come To You seems even more pertinent… and strangely haunting.
The Jonathan Miller-adapted 1968 ghost story was originally part of BBC’s Omnibus series and featured Michael Horden as a fussy professor who discovers an ancient whistle which summons up the spirits. A black and white folkloric tale in the style of The Wicker Man, the original TV programme received rave reviews.

The esoteric live score was recorded at the Hypnos Theatre in Malmö. The 42-minute soundtrack utilises stuttering tape loops on ‘Intro’ before breathing new life into the primitive John Carpenter-like drum machine on ‘Supernatural Breakfast’, while ‘Walk On The Beach 2’ sounds like a hauntological rendition of a Broadcast classic. Indeed, that effect is amplified on ‘Nightmares’, with its swirling wind and other-worldly choral effect, before the feeling of some supernatural presence is suggested on the penultimate cut ‘Evidence Of Spiritualism’

2025 Repress.

Detroit a city of great contrasts. Feats of engineering that spurred the world forward. For a few decades wealth and prosperity. Hi-tech dreams seemed achieved. But with the dream also comes nightmares…..

Traffic Jams, Predatory Insurance Companies prey on municipalities with no mass transporation, freeways built specifically to ruin minority prosperity & to build walls between people. Beautiful countries all over the world wrecked at war over the thirst for oil, entire neighborhoods decimated when the corporate greed for profit forces engineers to build throw away cars that are quickly replaced by better built foreign competition.

Even Worse……Climate change. Detroit the city that knows the best NO CORPORATIONS SHOULD DICTATE CITY FUNCTION the people should……listen to the sound and learn from it……or deal with the Lo-tech reality that Corporate greed actually is so good at building. UR the future UR the change……

Technical Itch drop their long awaited album on Over/Shadow! Quickly following up from their 2024 album 'prelude' single - Fear & Fantasy, the album hits all the spots that you would expect from the master of darkness. From moody steppers to plain tear out amen nightmares, this is an essential purchase for any fan of Mark Caro’s work.

Rico Nasty returns with a new studio album, LETHAL due out May 16th on Fueled by Ramen (Atlantic Music Group).

Rico Nasty is known for her own particular brand of rage-rap and for her outrageous on-stage, online, volume-up persona. But as she grew up, she started to feel trapped by the character she created. LETHAL is a reckoning of who Rico is at 27 with the trap-pop teen persona she created more than a decade ago. Executive produced by GRAMMY nominated producer Imad Royal, the album still features all the hallmarks of a Rico Nasty record - female rage, heavy guitars, humor - but there are also notes of femininity,

introspection and a more complex framing of all the angles of Rico - the performer, the mother, the adult.

LETHAL is Rico Nasty’s third studio album following her debut album, Nightmare Vacation and her 2022 follow-up to Las Ruinas.

— Hexenhaus wurde 1987 von Mike Wead (ex-Candlemass) in Stockholm gegründet
— 1191 folgte ihr drittes und letztes Album "Awakening", das sich schon kurz nach
VÖ schlichtweg als DER Klassiker des schwedischen Thrash Metal etablieren
konnte

TELEFAX PRODUCTIONS present a special, four-track wax release of one of 2024’s hottest club cuts - revivalist hip-house jam ‘Break This House Down’. Formed by two vastly experienced producers whose working partnership began way back in the late 1980s, TELEFAX PRODUCTIONS was born to provide a platform for established and unknown artists. One of 2024’s hottest club cuts supported by Honey Dijon, Luke Solomon and London’s Faith crew, ‘Break This House Down’ stars previously unheard mic man DeeVoeNay – a young rapper hailing from Buffalo, NY. Joining the original on this vinyl package is a live version with DeeVoeNay’s band HR Nightmare, alongside a bruk remix from London broken beat torchbearer EVM128, plus TELEFAX PRODUCTIONS’ vinyl-only Acid House Remix. ‘Break This House Down’ spotlights DeeVoeNay’s distinctive flow and party-starting lyrics front and centre, with the well-established, multi-faceted artist Jimmy Cauty responsible for the bold and highly stylised artwork - with Cauty also designing a special physical print included in this unmissable vinyl package.

DJ Balli, master of breakcore extravaganza and Sindaco, the tropical-electro creator present Mutant Goth Italo: a mutant fusion between shiny Spaghetti-dance freshness and gloomy Goth music shadows, sung strictly in Italian by the androgynous voice of Ossydiana.

Out in April for -Belligeranza the S.B. sublabel dedicated to easygoing midsummer nightmares.

2025 REPRESS!

* The debut album, 17 from the late musician, XXXTENTACION will be available for the first time ever on CD and LP formats.

* The album was a departure from the single that gained him noteriety, Look At Me!, and foreshadowing of what was to come. With a talent ahead of his time, and a life cut too short, XXXTENTACION's legacy will forever live on in physical form via these releases.

* The album, which is certified GOLD also features the 2x PLATINUM songs, Jocelyn Flores & Fuck Love, and also features deluxe packaging.

* Album features Trippie Redd

Hell 2 is not the first album from Austin’s Blank Hellscape, but it’s certainly the most fully-realized. OK, at least it’s the LONGEST. The three-piece nightmare band knocked around the claustrophobic end of the house show circuit for a longish spell but right around pre-‘dermic times, the trio of Ethan Billips, Max Deems and Andrew Nogay morphed into a multi-dimensional synapse-snapper with little regard for genre nor their own self-preservation. On that front, Hell 2 was echelons in the making; it would not be an exaggeration to say the writing / recording / editing process was arduous and lengthy enough it nearly took Blank Hellscape out of the game for good. But before you declare, “better luck next time”, strap yourself in to your favorite listening chair / apparatus and bask in this sprawling double album, to these ears, an uncanny musical & lyrical representation of the confusing, scary and thoroughly oppressive state we currently find ourselves in (not specifically Texas, but yes, Texas, too). I could not be more proud to dub this their long-awaited MAGNUM OPUS, and not simply because doing so will totally fuck shit up for whoever puts out their next album.

Im Jahr 1988 erschien das bahnbrechende, aber zu seiner Zeit noch weitgehend unverständliche Album MYSTERY. Diese einzigartige Mischung aus Progressive-ThrashCrossover polarisierte bei seiner Veröffentlichung und wurde sowohl gefeiert als auch kritisiert. Während die deutsche Metal Hammer-Redaktion nur eine mittelmäßige Bewertung vergab, lobte das britische Kerrang! das Album als „den interessantesten Progressive-Thrash-Crossover, den ich seit Langem gehört habe“. Mit seinem futuristischen Cover und eigenwilligen, innovativen Songs stellte MYSTERY alles in Frage, was man damals von Metal erwartete. Die Kompositionen ließen vermuten, dass hier keine jungen Heavy Metal Fans am Werke waren, die auf den Pfaden ihrer Idole wanderten. Die Songs stecken voller Ideen, die die meisten Metalmusiker niemals in dieser Form gehabt hätten. Und auch die Umsetzung ließ schon immer den Verdacht aufkommen, dass hier Profimusiker aus einem anderen Genr beauftragt wurden, ein Heavy Metal Album zu schreiben und aufzunehmen – natürlich standesgemäß mit Künstlernamen wie The Lion oder Mike Battista. Ein Verdacht, der sich nach Jahren der Recherche nun bestätigt hat. Auch heute wird nich jeder Metalfan in die Welt von Mystery hineinfinden, doch we es schafft, hat ein Album fürs Leben gefunden und muss sich der Suchtgefahr hingeben. Gleichförmige Metalalben gab es i den letzten 40 Jahren schon genug…

Dieses exklusive LP-CD Paket enthält nicht nur die ursprüngliche LP, sondern auch die CD des Albums, sodass man das Meisterwerk in beiden Formaten genießen kann.

Nachdem es drei Demos und ein Split-Album mit vier gleichgesinnten Acts aufgenommen hatte, veröffentlichte das Quartett sein Debütalbum "Handed to Execution", auf das ein Jahr später die EP "Transylvanian Nightmare" folgte. Während beide von Kritikern und Fans gleichermaßen gut aufgenommen wurden, legen Phantom jetzt mit ihrem zweiten Album "Tyrants of Wrath" noch einen drauf. Die neue Platte ist eine Parforceritt durch die geschätzten Traditionen des Genres - man denke an Razor, Dark Angel, Merciless, Living Death und natürlich Slayer als Referenzen - und verleiht ihnen einen frischen Dreh, sei es in Form von ‚Nimbus', einer Hommage an Phantoms Einflüssen von Kultbands wie Manilla Road, Gotham City und Heavy Load, oder in Bezug auf die abenteuerliche Struktur von ‚Nazguhl', einem von vielen Ausflügen ins Unkonventionelle, die den extremen Metal der Mexiakner überraschenderweise nicht kompromittieren. "Tyrants of Wrath" wurde von der Band und Héctor Northen in den Nehtron Studios in Mexiko aufgenommen und abgemischt. Das Mastering übernahm Patrick Engel im Temple of Disharmony in Deutschland. Phantom touren im September/Oktober 2025 mit den Brasilianern Evilcult durch Europa.

Nachdem es drei Demos und ein Split-Album mit vier gleichgesinnten Acts aufgenommen hatte, veröffentlichte das Quartett sein Debütalbum "Handed to Execution", auf das ein Jahr später die EP "Transylvanian Nightmare" folgte. Während beide von Kritikern und Fans gleichermaßen gut aufgenommen wurden, legen Phantom jetzt mit ihrem zweiten Album "Tyrants of Wrath" noch einen drauf. Die neue Platte ist eine Parforceritt durch die geschätzten Traditionen des Genres - man denke an Razor, Dark Angel, Merciless, Living Death und natürlich Slayer als Referenzen - und verleiht ihnen einen frischen Dreh, sei es in Form von ‚Nimbus', einer Hommage an Phantoms Einflüssen von Kultbands wie Manilla Road, Gotham City und Heavy Load, oder in Bezug auf die abenteuerliche Struktur von ‚Nazguhl', einem von vielen Ausflügen ins Unkonventionelle, die den extremen Metal der Mexiakner überraschenderweise nicht kompromittieren. "Tyrants of Wrath" wurde von der Band und Héctor Northen in den Nehtron Studios in Mexiko aufgenommen und abgemischt. Das Mastering übernahm Patrick Engel im Temple of Disharmony in Deutschland. Phantom touren im September/Oktober 2025 mit den Brasilianern Evilcult durch Europa.

Red w/ black splatter LP. Superb live album recorded on Venom's 1986 tour of the USA. Includes the classics Countess Bathory, Black Metal, Buried Alive, Teacher's Pet and more!

If you are a celebrated progressive rock musician who has produced dozens of albums, how do you make an album that is different to what is usually expected? One answer is to work with musicians who also have decades of experience and worldwide recognition, plant a few seeds, then stand back and see what happens. For the Cosmic Cathedral project and their debut album ‘Deep Water’, this is exactly what Neal Morse did, joining up with Chester Thompson (Genesis), Phil Keaggy & Byron House. Much of the album was created from jam sessions where Morse’s long-time audio partner Jerry Guidroz put the best parts together, such as for the 38 minute epic, Deep Water Suite. Says Morse, “Time To Fly, also came directly from one of the jam sessions, where we took one of Phil’s ideas and all four of us elaborated on it.” What resulted from all this was a more groove-orientated feel, which Morse calls a “prog meets yacht rock meets The Beatles” kind of album, with an unmistakable jazz fusion influence: “These guys are real groovers: even if they're playing proggy stuff, it has more of a Steely Dan feel to it, but when Phil and I start singing it sounds like The Beatles!” Available as Limited CD Digipak, Gatefold 2LP & as Digital Album.

2025 Blue Vinyl Repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

Danny Ward’s 30-year career has been far from predictable. While best known for the musical eclecticism of his Dubble D project, the dance floor-focused nous of his work as Moodymanc and as a member of the groundbreaking 20:20 Soundsystem, Ward’s bulging CV also includes stints drumming for artists as diverse as Fila Brazillia, Rae & Christian, and The Pharcyde, to Jazz luminaries Mat Halsall and Nat Birchall, alongside countless collaborations (Flora Purim and Nightmares on Wax to name but a couple) and numerous evenings spent adding live percussion to DJ sets at iconic Leeds club night Back To Basics.

Now the long-serving Manchester musician and producer has a new project to share via NuNorthern Soul: Balaphonic. Inspired by a mixture of lockdown-era studio experiments, online collaborations, his long-held love for Afro-Cuban and Afro-Brazilian rhythms and a desire to do things differently, Resolution Revolutions is a gorgeously sonically detailed and immersive album that takes Ward’s musical output to a whole new level.

Like many musicians, Ward used the forced lockdowns of the global COVID-19 pandemic to retreat to his basement studio and make music. Focusing on utilising all of the acoustic and electronic tools at his disposal – not least his beloved percussion instruments – Ward took the opportunity not only to draw on a wide range of musical influences and ideas, but also rhythms, grooves and time signatures. As well as composing new tracks from scratch, he also revisited older compositions with fresh eyes and ears.

The results are simply stunning. Ward sets his stall out via the exotic, slow-burn Balearic warmth of ‘Sunflowers in Dub (Deep Summer Mix)’, where echoing whistles, harmonica motifs, sitar sounds, and cascading piano motifs rise above dub-wise bass and seductive, soft-focus beats. The heady, eyes closed vibe continues on the sunrise-ready awakening of ‘Disorganics (All Strings Mix)’, a samba-soaked summer shuffle rich in sparkling acoustic guitars and infectious Latin percussion, and the fretless bass-sporting Afro-Cuban yearning of ‘Six Fingers’.

As Resolution Revolutions progresses, Ward’s deep love of club-adjacent and dancefloor-focused rhythms subtly comes to the fore. There’s ‘Udders’, a hybrid – and hypnotising – fusion of chopped-up South American percussion, marimba-style melodic motifs, looped bass and spacey electronics, and Ocean Waves Brasil collaboration ‘Oxum’, a mid-tempo Afro-Brazilian deep house number wrapped in deliciously dreamy chords and gentle acid lines.

Similarly impressive and inspired is closing cut ‘Bloco Manco’, where Ward peppers a delay-laden Latin beat and a deep, weighty, dancehall style bassline in waves of echoing hand percussion and restless timbales patterns. Stripped-back, raw and seriously sub-heavy, it provides a jaw-dropping conclusion to one of Ward’s most perfectly formed albums yet.

a A1: Sunflowers In Dub Deep Summer Mix
[b] A2: Disorganics [All Strings Mix]

High Roller Records, white/ black galaxy effect vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card

Mekong Delta wurden Mitte der 1980er Jahre von Schlagzeuger Jörg Michael (später u.a. bei Running Wild und Stratovarius) und Tontechniker Ralf Hubert (der bis heute die Band leitet) gegründet, als ersterer dem zweiten Metallicas "Fight Fire With Fire" vorstellte. Mit seinem Hintergrund in klassischer Musik und progressivem Rock wollte Ralf die traditionelle Thrash-Schablone verbessern und schrieb vier Songs, die die Grundlage für Mekong Deltas selbstbetiteltes Debüt bildeten.

High Roller Records, white/ black galaxy effect vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card

Mekong Delta wurden Mitte der 1980er Jahre von Schlagzeuger Jörg Michael (später u.a. bei Running Wild und Stratovarius) und Tontechniker Ralf Hubert (der bis heute die Band leitet) gegründet, als ersterer dem zweiten Metallicas "Fight Fire With Fire" vorstellte. Mit seinem Hintergrund in klassischer Musik und progressivem Rock wollte Ralf die traditionelle Thrash-Schablone verbessern und schrieb vier Songs, die die Grundlage für Mekong Deltas selbstbetiteltes Debüt bildeten.

Chronicles of the wasteland, an ode to those who remain in the shadows, a nod to the wild beauty of 40 rue Marceline. Solo looser project, Dimanche Midi goes fast (not always), and can be listened to in one go (as you like), at full throttle on your bike (or on the bus). Drum machine, electric bass, synth, guitar, cassette loops, samples and radio archives! This second release still speaks about our society in a light and relaxed way :) Peace

The second instalment in George Miller’s disturbing post-apocalyptic film series, The Road Warrior (1981), saw Mel Gibson return as
Mad Max Rockatansky to defend a community from a violent band of raiders. The film won a clutch of awards, was a box office hit and
has achieved cult status, helped by its stylised costumes and sets. The last Mad Max film (Mad Max: Fury Road) was released in 2015,
receiving ten Academy Award nominations.

Australian composer Brian May wrote the music to the first two films (Mad Max and Mad Max 2 : The Road Warrior) as well a host of feature
films including Patrick, Gallipoli, Freddy’s Dead : The Final Nightmare and Dr. Giggles. He won multiple awards during his lifetime and is feted as one of Australia’s most highly rated soundtrack composers.

This release was originally issued for Record Store Day 2019 on “Sand with Oil Splatter” coloured vinyl.

Hardcore time whatever... Bryan Fury loves Break and Hardcore, Dancefloor and Skillz... Exploring views to distort ways... Surprise you with a dark or cheezy dimension.

He did and will never let you down with his pityless drops...

A rare album from one of the soundmaster killing around !
And many collabs with people who can say : "waou.... too !"

Enjoy and play LOUD !

On April 4th, Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes will release her fifth full-length album ‘A Requiem’. It comes alongside news of her signing to London imprint, One Little Independent Records. ‘A Requiem’ collects ten haunting, ambient soundscapes - incantations of dreams and nightmares, of death and grief, as well as power and autonomy. Carnal, transcendent cello drones are used to exorcise historical and generational traumas in an evocative and macabre piece of gothic experimentalism.

Seeking solitude for what she knew would be an intense and cathartic writing experience, Trappes travelled to Scotland and isolated completely. Amidst meditative and psychedelic states, she channeled demons and accessed parts of herself she’d long desired to cleanse. During candle-lit recording sessions she found herself drawn to cello, an instrument she has no formal training in, she explains, “I always felt an affinity toward the cello, I embraced it, held it, and became one with it as a way to accompany my voice. The nerve-like strings of the cello became external chords of my vocal folds… I scratched on them, leaned into them, and conjured all of the textures I could muster”.

‘A Requiem’ is a musical service in honour of the dead, a sanctuary Trappes built for herself to explore familial chaos and history. “I was looking for an equilibrium between a ‘heaven' and a ‘hell’” she explains, “screaming out to the wisdom of our foremothers - surfacing and leading me into true strength and beauty. I listened to the sorrow closely. Death is a part of our reality. Inevitable. Omnipresent. But nightmares can be beautiful”.

She continues, “This album is my personal requiem for my parents, my ties to the land where I was born, along with all of my epigenetically connected ancestors before them. The songs helped me summon up the strength to move through my own awareness of mortality, death, and impending loss. This album is a living funeral. It’s a ceremonial collection of music. It’s an externalising of the power and strength to fight the generations of abuse and darkness that my parents self-admittedly played out in their parenting and to keep it away from my own social patterns and my psyche. It’s not an uncommon thing in the world and this lamented warcry goes out to everyone to help exorcise patriarchal, political, and religious systems of abuses of power”.

Experience the long-awaited reissue of „The Guardian Of Forever“ the cult album from spacesynth pioneers Laserdance!

Originally released in 1995, this masterpiece proves once again why Laserdance remains one of the most influential acts in the genre. These tracks transport listeners to another dimension – with epic synth melodies and that unmistakable, spacey touch that made Laserdance legendary.

Let the iconic sounds of Laserdance take you on a journey through the endless cosmos!

Der Nachfolger von City of Evil, Avenged Sevenfold's viertes Studioalbum, das selbstbetitelte Album im schlichten Weiß mit Logo, debütierte auf Platz 4 der US Billboard 200 Chart und Platz 24 in UK. Mit dem Fan-Favoriten "Afterlife", "A Little Piece of Heaven" & "DearGod", wurde das Album mit dem Kerrang!-Awards als Album des Jahres ausgezeichnet. Das Album ist auch auf Kerrangs "666 Alben You Must Hear Before You Die" aufgenommen. Für Fans von Metallica, Slipknot & Bullet For My Valentine. Avenged Sevenfold (abgekürzt A7X) ist die amerikanische Heavy-Metalcore-Band aus Huntington Beach, Kalifornien, die 1999 gegründet wurde. Das aktuelle Lineup der Band besteht aus dem Sänger M. Shadows, dem Rhythmusgitarristen Zacky Vengeance, dem Leadgitarristen Synyster Gates, dem Bassisten Johnny Christ und dem Schlagzeuger Brooks Wackerman. Avenged Sevenfold sind bekannt für ihren abwechslungsreichen Rocksound und teilweise für ihre dramatischen Bilder auf Albumcovern und Merchandise-Artikeln. Die Band trat mit einem Metalcore-Sound auf ihrem Debütalbum Sounding the Seventh Trumpet in Erscheinung und setzte diesen Sound bis zu ihrem zweiten Album Waking the Fallen weitgehend fort. Der Stil der Band hatte sich bis zu ihrem dritten Album und ihrer ersten Veröffentlichung bei einem Major-Label, City of Evil, zu einem traditionelleren Heavy-Metal-Stil entwickelt. Mit dem selbstbetitelten vierten Album erkundete die Band neue Klänge und feierte einen anhaltenden Mainstream-Erfolg, bevor ihr Gründungsschlagzeuger Jimmy ,The Rev" Sullivan 2009 starb. Trotz seines Todes machten Avenged Sevenfold mit Hilfe des Dream Theater-Mitglieds Mike Portnoy weiter und veröffentlichten 2010 ihr fünftes Album Nightmare, das an der Spitze der Billboard 200 debütierte und ihr erstes #1-Album war. Doppel-LP, 2025er Pressung in rot-rotem Vinyl!

Amine Laje is the latest project from French producer and electronic music innovator Traumer (aka Romain Poncet).

The 'Datsha' LP is a curated collection of 11 tracks, handpicked from hundreds crafted during a creative surge in 2020 to bring life to the unique ambiance of Datsha Underground, a beloved Parisian hideaway. The result is a deeply atmospheric, jazz-tinged trip-hop journey that recalls the vibes of artists like Gramatik and Nightmares on Wax, as well as Mark Farina's iconic Mushroom Jazz series.
Releasing just in time for the cozy winter season, Datsha promises to be the perfect soundtrack for unwinding — whether you're hosting a gathering or simply relaxing at home.

International metal giants Misery Index have returned! The brand new full-length Discordia brings the bands punishing and articulate assault to a deadly new level. Commanding vocals roar incisive lyrics and spearhead a vicious swarm of forward-thinking metal. A crossroads where blasting metal, stark passion, and raw fury collide, Discordia is a compelling statement of intent from a band shaping the face of extremity-to-come. As seen on tour with Mastodon, Nile, Suffocation, The Red Chord, Dying Fetus and more!