Buscar:os

"I imagine that one of the first things I heard in the world was the
explosion of a Russian ammunitions factory on the outskirts of my
hometown. It blew up the night I was born a new GDR-citizen. I´m not
sure I heard a noise when the Wall came down, but it still echoes in my
body. The echo contains many frequencies. Some of them sound like Gabber
playing in my childhood room over the speakers my grandfather once stole
from a Leipzig radio station. Some of them sound like me and my friends
running through the streets. They sound like my mother laughing and
consoling women in the women´s shelter where she worked in 1992. They
sound like birds: my father swears after the Reunification the great
crested grebes on the town lakes lost all fear of humans. Some of them
sound like these recordings."

He, who once ruled the world of the living, was slain by his envious brother Seth. Now, he must now pass onto a new, eternal role in the cosmos.

We present to you four raw, undead performances, in veneration of the eternal lord of the underworld and father of Egyptian civilisation - Osiris.

ANCESTROS. A new record label run by Nulek & Brian Topham.

2025 Repress
Echospace Detroit’s cv313 aka Stephen Hitchell joins forces with Federsen for the second instalment on the latter’s newly minted Alt Dub label with the ‘Skyspace’ EP. Over the past decade and a half San Francisco based artist Federsen has been making his mark on the dub infused techno and house sound, delivering his vintage tape delay and analogue gear driven sound via the likes of Mixcult, Greyscale, Lempuyang and Ohm Series among others. In May this year Federsen inaugurated his own Alt Dub label with a split EP from himself and Hidden Sequence, and here the story continues following the split format with more original material from himself and cv313, accompanied by both artists remixing each other to run alongside their originals across the 12’’. cv313’s original mix of ‘Skycrossing’ opens the release and in typical Hitchellfashion treats us to eight and a half minutes of deep soundscapes, spiralling dub echoes, muted drums and a subtly unfurling feel throughout. Federsen’s ‘Dub’ remix of ‘Skycrossing’ then follows, offering a more refined and reduced feel with subby pulsations and crisp drums intertwined with dubby fragments of the original tracks. On the flip-side Federsen’s original ‘Skyway’ leads, employing a sturdy rhythm section with nuanced dub echoes and rumbling low-end swells. To conclude the release cv313 offers up his ‘Dub’ interpretation of ‘Skyway’, stamping his mark on things with phasing atmospherics, intricate oscillations and fluttering percussion

“Where is this? It looks like the grounds of a shrine. Like a deep, dark, forest. I'm wandering around. I can't get over the feeling that I've been to this place before. The temple and the tower look much bigger than usual, and I feel as if I were lost in a world of immensity. It's very dark with no sky up above, like being in the depths of the Earth. Anyway, it's a world I know.” - Leisure, the Sonorous Dream

For schuttle’s next unearthly contribution, we invite you to slip into the reassuring comforts of the simulated realm. Herein lies an open invitation to all of those tentative travellers willing to join us as we revel in four slices of post-biological optimism.

The world building begins with “Splan”. schuttle’s navigation vessel hovers steadily above a fractal landscape until a divine arp propels us skywards. We burst through the latent cloudsphere to marvel at the boundless synergy of the interlocking polygons. The sunburst gradient barely has time to load before an oscillating wriggle plunges us into a strangely familiar stomping ground. Hedonistic NPCs begin spawning at random, splurging joyful machine funk at each other before walking gleefully into walls. Finally, with a little help from a well known toad, schuttle unleashes the full might of his Mana on the nascent gathering.

We dock next in ‘Melonweed Musick’. Our vessel gently stirring the reeds as we descend into the marshland. The potent aroma of the swamp fills our nostrils, various apparitions seem to wriggle into view. What have we been inhaling? No time to consider, the loose murk of the breakbeat is starting to take effect and it’s all we can do to keep one foot squelching after the other. As we submit wholeheartedly to the sheer depth and clarity of the bassline, a kindly angel sweeps above the sphagnum, spraying a succession of cleansing chords over our slimy bodies. Refreshed with some useful navigation advice we continue.

In ‘Kitchen Sync’ our craft’s speedometer is tickled up to a cruising 120bpm. The world outside our window begins to swim with colour, prickly forms materialise then dissipate around us. The familiar shape of our old friend, the high priest 303 appears before us, steadying the ship. Its resonant flame warming our hearth, and our hearts too. Then begins a beautiful communion of the domestic and the otherworldly, through the interplay of acid under glimmering keys. Provoking within us an uncontrollable desire to open our curtains, to cast off our slippers and embrace the infinite morrow.

Our voyage concludes with ‘Inspo 2000’. Scintillating landing lights guide us toward our destination, our descent beckoned by woody and playful percussion. We tumble through the troposphere, our landing cushioned by the buoyancy of the gated chords, the kicks juicing what's left of our dwindling fuel supply. A luxurious breakdown brings the ground into focus. Perhaps this is home? The simulation is now so accurate that it seems pointless to question it, it is a world we have always known.

Der Soundtrack von 'KNEECAP', mit Musik von der Band sowie Bicep, Fontaines DC und Orbital, ist als Doppel-LP im Gatefold-Design auf farbigem Vinyl erhältlich. Er enthält auch Filmmusik von Michael ‘Mikey J’ Asante MBE und Ausschnitte aus den Dialogen des Films.

- Ltd. Col. 2LP: (LP1 Orange / LP2 Green Vinyl)

"Hachiku ""The Joys of Being Pure at Heart"" LP - Electric Blue Bio-Vinyl (140g)

Melbourne’s dream-pop outfit Hachiku return with their second album The Joys of Being Pure at Heart—a heartfelt exploration of vulnerability, resilience, and connection. Featuring contributions from members of the Melbourne Symphony Orchestra and collaborations with harpist Mary Lattimore, the record fuses shimmering indie-pop with orchestral touches, making it Hachiku’s most expansive and collaborative work yet.

Anika Ostendorf - the creative force behind Hachiku - shaped her inclusive, community-minded ethos by her time working at the queer-run Melbourne label Milk! Records, which also released Hachiku’s self-titled EP (2017) and debut album I’ll Probably Be Asleep (2020). The Joys of Being Pure at Heart (2025) sees Ostendorf lean into a new mode of emotional openness and radical honesty: not only with others, but with herself. As the saying goes, to be loved is to be known – with these 10 songs, Ostendorf lets her guard down and reminds us to hold onto the little joys that make life worth living in spite of it all.

Pressed on Electric Blue, GreenPower Bio-Attributed Compound "

Soul Jazz Records' Studio One Showcase 45 features a roll call of classic Studio One
reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The
Wailers, Jackie Mittoo, The Heptones, The Skatalites and more – seminal reggae
artists who all launched their careers at the legendary Studio One label.
The album was previously only ever released as a long-deleted limited-edition
seven-inch box set for Record Store Day. This album has now been expanded into a
super double-vinyl album edition as well as first time on CD, with both featuring a
massive eight bonus tracks of wicked Studio One classics and rarities. The album
also comes with newly commissioned sleeve and track notes by Noel Hawks.
Featuring seminal cuts like Bob Marley and The Wailer's original version of 'One
Love', Freddie McGregor's take on the classic 'Beat Down Babylon', Judah Eskender
Tafari's re-version of 'Danger In Your Eyes' plus more from The Skatalites, Lone
Ranger, Johnny Osbourne and more!

2019 Repress of one of the most outstanding records in the history of german avantpop/punk. Originally released 1981 on the legendary ZickZack label, the debut LP by Freiwillige Selbstkontrolle soon reached cult status and became one of the most important NDW / german postpunk releases ever. Active since today (and right now working on their 13th longplayer) F.S.K. were one of John Peel's all time favourites and actually did more Peel Sessions than any other band - besides The Fall, of course. Comes with extensive liner notes by NDW-historiograph Frank Apunkt Schneider (in german).

『オシレーション・サーキット』で知られる巨匠=磯田健一郎が、Apollon レーベルに残した90'sの傑作群から珠玉の楽曲をチョイス、現代的手法で再録したジャパニーズ・アンビエント/ニューエイジ至高の逸品!

Kenichiro Isoda, known for his work on "Oscilation Circuit - Serie Reflexion 1", has selected some of his best tracks from the Apollon label's 90's masterpieces and re-recorded them with a modern approach to create a superb Japanese ambient/new age album!

In addition to his own performance, he added the performance of saxophone master Masashi Oshiro, as well as his own field recordings of natural sounds.

The result is a collection of four supreme compositions, each with a texture that melts gently into the ears of all who hear it.

Newly remastered for vinyl by Yoshiharu Takeda.

FOR FANS OF: Black Label Society, AC/DC, Ozzy Osbourne, Black Sabbath, Torus, Pearl Jam, Candlebox, Alice In Chains
Featuring Dario Larina von Black Label Society
Dario Larina ist vor allem durch seine Arbeit an der Seite des legendären Gitarristen Zakk Wylde bei Black Label Society bekannt. Neben den
Tausenden von Kilometern, die er mit der Band unterwegs war, schredderte Dario neben Zakk Wylde auf dem 2021 erschienenen Album Doom Crew
Inc. und begleitete den Black Label Society-Mastermind und die Sechssaiten-Legende auf das Cover von Guitar World. Bei letzterem brachte Wylde
den Grund, warum er den aufstrebenden Gitarristen an Bord holte, auf den Punkt: „Weil Dario großartig ist.“ Nebenbei brachte er auch zwei
Soloalben heraus, nämlich Dario Lorina und Death Grip Tribulations. Im Laufe des Jahres 2024 stellte er sorgfältig zusammen, was Spirit in the Glass
werden sollte. Er vervollständigte das Lineup mit Brody DeRozie, Mike Gunn und Luis Silva und schrieb und nahm in seinem Heimstudio in Las Vegas
auf, auch bekannt als „Dark Chapel“.

Released in 1955 on Prestige Records, The Musings of Miles is the first 12” LP from legendary trumpet player Miles Davis. With Davis as bandleader, other players include Red Garland (piano), Oscar Pettiford (bass) and Philly Joe Jones (drums). This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

“Eerie, wailing sounds over distorted feedback drones… Vibrato-heavy harmonies chirrup and throb in agonisingly slow motion.”
The Guardian, Album of the Month

“Cinematic...carefully orchestrated...delicately explores unfamiliar territory with uncanny finesse.”
The Wire

Acclaimed Icelandic theremin musician Hekla returns with Turnar, her third album of devastatingly heavy, spectral soundscape-songwriting, entering a sublime paranormal plane of haunting dread.

Now augmenting her virtuosic solo theremin work with cello, voice, and the sacred church organ of Icelandic master Kristján Hrannar, the evolution of Hekla’s unique magic summons new worlds with Turnar. The album was recorded partly in (and named after) a medieval castle tower in rural France, its ruinous black broken in spare beams of angelic stained-glass light. But, writes Hekla, “the sound of theremin kind of opens up a portal into a new realm that both looks into a dark old world and to the future.” The record is an alternately beautiful and crushing space voyage into a glacial underworld cascading with phosphorescence and cave drip, conjuring ancient choral ritual just as readily as redolent sci-fi gloam.

Opener “Inni” begins with swooning and shimmering lines of theremin that shiver with electrified energy before subfrequency bass elevates them into a glowing plasma, hovering above a crystallised surf. Key moment “Gráminn” wails with ghostly harmonics while distorted drones crash together in a stormy and blackened netherworld sea. It traces a neat progression from Hekla’s last album - the acclaimed Xiuxiuejar - while also welcoming an expanded timbral palette and flourishing compositional confidence. At the end of side A, “Var” delicately places sonic artefacts about a desolate negative space, creating a dense inverse gravity. As with the rest of the record, a claustrophobic gauze hangs over music that could otherwise be called subverted songwriting, aligning Hekla’s sonics with avant-garde, musique concréte and sound-art.

Mutant, in partnership with Hollywood Records and 20th Century Films, is proud to present the premiere physical edition of Mark Korven's terrifying score to THE FIRST OMEN. Combining the inventive and dynamic instrumentation he is best known for, Mark Korven (THE WITCH, THE LIGHTHOUSE) has created a truly unsettling and powerful score to this new chapter to the legendary series. Jerry Goldsmith's Academy Award® winning score for the original 1976 classic THE OMEN is a totemic work of horror cinema. The film is the only time a horror film has ever won an Oscar for its score. Korven clearly knows he has big shoes to fill, because he takes his scoring style to powerful new heights with this brilliant work. It helps that Mark Korven is one of our favorite working composers. His score to THE FIRST OMEN is an incredible achievement and a fitting inclusion in one of the most important legacies of Horror filmmaking. A lot has changed since 1976, but one thing that hasn't is that horror scores deserve to be played as loud as possible, on vinyl, from your home stereo. Pressed on two red vinyl 140gram discs, housed in printed inner sleeves, contained within a die-cut jacket.

Hitman tells the unbelievable true story of Gary Johnson (Powell), a strait-laced professor who discovers his hidden talent as a fake hit man. He meets his match in a client who steals his heart and ignites a powder keg of deception, delight, and mixed-up identities. Reynolds’ idiosyncratic cross-genre score combines disparate elements seamlessly to reflect the comic and emotional components of the story, with a nod to the NOLA location.

"The Original Soundtrack Recording of “Hair” (1974), is the music score from the film adaptation of this famous Broadway musical from the late 60’s, originally written and later adapted for film, by Galt MacDermot. The soundtrack includes the #1 hits ""Aquarius/Let the Sunshine In,"" ""Good Morning Starshine"", and the title song ""Hair"". “Hair” (OST) is available as a limited edition of 1500 individually numbered copies on magenta coloured vinyl."

"Thin Peaks" is the sixth album by the microtonal tuba trio Microtub, featuring Robin Hayward (UK/DE), Peder Simonsen (NO), and Martin Taxt (NO). Initially developed during an artist residency in Andersabo, Sweden, the two pieces "Thin Peaks" and "Andersabo” underwent several adaptations before being recorded in 2022. The pieces draw on the acoustic phenomena of half-valve combinations, creating distinctive timbres and harmonic spectra based on the unique half-valve signature of each tuba. Whilst "Thin Peaks" hockets between the pitches arising from a single half-valve combination, each of the four movements of "Andersabo""results from a different half-valve combination, sometimes resulting in surprisingly consonant harmonies.

Formed in 2010, Microtub have performed at prestigious festivals such as Sonic Acts in Amsterdam, MaerzMusik in Berlin, Wien Modern, FIMAV in Victoriaville, and Intonal in Malmö. Their music works particularly well in reverberant spaces. Some of the most memorable venues have been the Ex Teresa Cathedral in Mexico City, Brønshøy Water Tower in Copenhagen and Wasserspeicher in Berlin. Their latest performance in Sweden was at Lumen Projects in the Eric Ericson Hall in March 2024, where they also collaborated with Paris-based Egyptian singer Abdullah Miniawy. While Microtub primarily perform their own compositions, often in Just Intonation using the Hayward Tuning Vine software, they also frequently collaborate with composers such as Ellen Arkbro and Catherine Lamb. At the Ultima Festival in Oslo in September 2024, they will premiere seven new works by emerging composers from Norway, Poland, Iran, and the USA.

The band members are all very active in the experimental music scene worldwide. Hayward has collaborated with legends such as Eliane Radigue, Alvin Lucier and Christian Wolff, Taxt has performed with Verdensteateret, Tetuzi Akiyama and Toshimaru Nakumura, and Peder Simonsen has worked with Jo David Meyer Lysne and Bendik Giske.

X or Size deftly frays and soothes the ‘floor with a 3rd LP of craftily textured ambient house scuzz for Good Morning Tapes in a vein shared by Huerco S, NWAQ, Actress, Michael J.Blood and Madteo, but pushed farther into groggy and loosey-goose limbed abstraction.

Formerly known as part of ambient drone duo The Geese with Recital’s Sean McCann, and member of psychedelic mutators Regal Degal; Josiah Wolfson has, in recent years, come into his own as X Or Size, whilst retaining the trippy sense of play and experiment that coloured and defined earlier works. His 3rd outing as X Or Size continues a tradition of punning titles and subtly psyched-out, edge-of-the-‘floor dance music with six bits of submersed trippiness idealised for bobbing bodies with eyelids at halfmast, on a slow arc to other dimensions.

Blessed with the finest grasp of heady equilibrium, X Or Size pull strings like a gently psychoactive puppeteer on the 10-minute opener of dreamlike physics, and aching psych-soul downstroke of ‘Anonymous AD'. ’B O M H’ follows with thee gauziest breeze of filtered vox and harmonised textures rolled out in sun-dazed motion that makes us hanker for warmer times, and ‘Ceremonism’ sustains that flow with sloshing beatdown drums paced like an offcut of NWAQ’s ‘The Dead Bears’ marinaded with special ingredients by Madteo.

With minds/bodies well massaged and acclimated to his vibe, ‘oSSo’ screws off into even trippier zones with a nervy offbeat swing and parry spangled by wettest spring reverb, before bringing up for air in the 11 minute title piece of astral planing bliss, ready to roll another one or go head first into the pillow.

Stix Records, a sub-label of Favorite Recordings, proudly presents the new and 3rd single by Mato & Ethel Lindsey. Following to their stunning cover of the famous “What You Won’t Do For Love” by Bobby Caldwell, and “Baby Come Back”, the underground AOR/Blue-Eyed-Soul classic from The Player, the duo this time takes over “Georgy Porgy” by Toto.

As usual Mato’s unique reggae production skills delivers a blazing version of the multi-platinum worldwide hit, and Ethel Lindsey’s vocals match perfectly with his strong AOR influence and style. To complete and provide the release with a special twist, they also decided to cover the more underrated French version of the song, originally released by Dwight Druick on his Tanger album.

Ethel Lindsey is currently preparing his 1st album to be released on Favorite Recordings, Ethel has a long music and singing experience, unless an almost blank discography. From his very young age, he’s developed a deep passion for AOR and Blue-Eyed-Soul artists.

Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classic French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. His 15 years collaboration with Stix Records and label honcho Pascal Rioux gave life to many masterpieces and the story seems far from the end…

Mirae Arts proudly presents The Way I Am and The Way You Yawn, the debut album from Katsunori Sawa under his KWARP alias. This six-track release explores the fleeting nature of youth and the weariness of aging, blending Sawa’s experimental roots with fresh, modular synthesizer-driven soundscapes.
From the forward-driving hi-hats and alien voices of "Frog FM" to the mechanical aggression of "Ultra," the album offers an imaginative auditory journey. Highlights include the playful chaos of "PlayStation" and the metallic rhythms of "Metal Gear."
About Katsunori Sawa: First emerging on the scene in 2008 as EOC with his debut on the UK-based Ai Records, Sawa has steadily built a reputation for innovation and collaboration within the underground music community. He co-founded the influential 10 Label and has paired his talents with an array of respected artists, including Yuji Kondo (as Steven Porter), Martsman (under the moniker Bokeh), and DJ Nobu (Nobusawa). These alliances have birthed releases on prestigious labels like Kynant Records, SNTS, and Token.
Creating his sound in a hidden studio set within a striking Tadao Ando-designed building, Sawa crafts a sonic landscape that fuses rhythmic noise with pulsating bottom-end rave abstractions. His work reached new heights with an album on Opal Tapes, making him the label’s first Japanese artist and firmly establishing his place in the global music conversation. His tracks have even been woven into the sets of electronic stalwarts such as Aphex Twin.
* Artwork by Jesse Osborne-Lanthier

Ukrainian jazz singer Mona returns with a fiery outernational funk 45. Following up on last year's' "Moya Vode" (Sweet Water) - a song that quickly became a favourite among the breaking community from Kyiv to California - "Vogon" (Fire) continues to spread a message of hope and healing through the universal power of funk. Linking ancient folk rituals and modern day cypher culture in a poetic way, "Vogon" is a call for unity and togetherness. Driving jazzy breakbeats, epic horns and relentless clavinet and guitar ostinati build a perfect platform for Mona's voice to shine while loose piano and sax adding a jam flavour. The vinyl version contains an exclusive instrumental version with a Moog taking over the lead.

Kid Katana Records teamed up with SNK, Dotemu and Leikir Studio to release Metal Slug Tactics OST, a return of this iconic franchise renewed in a dynamic tactical RPG.

This edition includes:
→ 2x 12-inch orange vinyls featuring the 37 tracks in the game
→ exclusive gatefold designed with game-related graphics and glossy 90s finish

This OST was fully composed by Tee Lopes, the talent behind the music of TMNT: Shredder’s Revenge, Sonic Mania and Streets of Rage 4: Mr X’s Nightmare. He crafted a solid piece of music perfectly fitting the colorful and intense gameplay.

The Complete Film Music Composed by Robert Aiki Aubrey Lowe - 2xLP 180 Gram Colored Vinyl - Old-Style Tip-On Gatefold Jackets with Satin Coating and a Built-In Booklet Page - Composer Liner Notes - 12 Page Art Gallery Exhibit Catalogue // In partnership with Universal Pictures, Metro Goldwyn Mayer (MGM) and Monkeypaw Productions, Waxwork Records is thrilled to present CANDYMAN Original Motion Picture Soundtrack by Robert Aiki Aubrey Lowe. Directed by Nia DaCosta (next year's The Marvels) from a screenplay by Oscarr winner Jordan Peele, Win Rosenfeld and DaCosta, Candyman, currently in theaters nationwide, is a fresh take on the blood-chilling urban legend and a contemporary incarnation of the 1992 cult horror classic. About Robert Aiki Aubrey Lowe: Robert Aiki Aubrey Lowe (b.1975) is an artist, curator and composer who works primarily with, but not limited to, voice and modular synthesizer for sound in the realm of spontaneous music. Along with analog video synthesis works, he has brought forth an A/V proposal that has been a focus of live performance and installation / exhibition. The marriage of synthesis and the voice has allowed for a heightened physicality in the way of ecstatic music, both in a live setting and recorded. The sensitivity of analogue modular synthesis echoes the organic nature of vocal expression, which in this case is meant to put forth a trancelike state. Lowe's works on paper tend towards human relations to the natural/magical world and the repetition of motifs. The deluxe 2xLP vinyl release features 180-gram colored vinyl, old-style tip-on gatefold jackets with satin coating and a built-in booklet page, liner notes by composer Robert Aiki Aubrey Lowe, a 12-page art gallery exhibition catalogue, artwork by Sherwin Ovid and Julian Williams and puppetry art by Manual Cinema.

Linea Aspera is the London duo of Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). They began the project in November 2011, technically drawing inspiration from electronic music from the early 1980s. Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for the writing and performing of the electronics, as well as recording and mixing of the final recordings. For their debut album they utilized small, simple analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from early electronic body music, classic synth-pop and, in some instances, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera serve up an icebox of dark doom riding on Alison's powerful vocals with a soft but sharp touch.

"Girl Missing" ist das zweite Album von Albertine Sarges, der einzigartigen Berliner Künstlerin, die bereits mit Holly Herndon, Colin Self, Kat Frankie und B O D I E S zusammengearbeitet hat und Teil des italienischen Synthwave-Duos Ostia ist, und folgt auf Albertines gefeiertes Debüt von 2021, "The Sticky Fingers". "Girl Missing" lädt die Zuhörer zu einer intimen Erkundung der Schwesternschaft, der Widerstandsfähigkeit und der Überwindung von Trauer ein und geht dabei mit einer großen Portion Positivität und Ermutigung für das hervor, was vor uns liegt. Die Entstehung des Albums fand in einer Zeit persönlichen Verlusts statt. Als eine enge Freundin vermisst wurde, schrieb Albertine unveröffentlichte Skizzen, überarbeitete sie und baute langsam ein musikalisches Mosaik auf, das ihr Verständnis von Abwesenheit zum Ausdruck brachte. "Ich habe eine klingende Biografie der Liebe geschaffen", überlegt sie und verwebt dabei die Themen weiblicher Freundschaft. "Girl Missing" entstand zwischen ihrem Aufnahmestudio in Ostberlin und Margate und ist sowohl nachdenklich als auch verspielt, geprägt von Sarges' flinker Stimmakrobatik. Mit ihrem langjährigen Partner Lo Selbo beschäftigte sich Albertine mit komplizierten Klanglandschaften, arrangierte luftige Flötenstimmen und Chöre, "um Platz für Verletzlichkeit zu schaffen", und nahm dann Vintage-Orgeln und E-Pianos auf, um Wärme und Seelenfülle zu erzeugen, "um den Schmerz zu lindern". Albertines Arbeit wird von einem anhaltenden Gefühl der Sehnsucht angetrieben, einer Kraft, die ihrer Musik poetische Lebendigkeit und eine ansteckende Anziehungskraft verleiht. "Girl Missing" oszilliert zwischen dem Philosophischen und dem zutiefst Emotionalen und vermischt Launen mit Schatten. Das Album endet mit einer verspielten Note ("Wie nennt man einen Fisch ohne i? A fsh."), doch im Kern erzählt es eine lebendige, zutiefst menschliche Geschichte über monumentalen Verlust und die Hoffnung auf Erneuerung. Durch das Nebeneinander scheinbar widersprüchlicher Gefühle entsteht ein Hörerlebnis, das noch lange nachklingt, nachdem die Musik verklungen ist.

Große Neuigkeiten von Milow: Das 7. Album des Belgiers 'Nice To Meet You' wird am 20. Mai erscheinen. Milow dazu: "Ich habe in den letzten 2 Jahren an diesem Album gearbeitet und es in Brüssel, Berlin und Antwerpen mit einigen der besten Musiker und Produzenten aufgenommen, mit denen ich je zusammengearbeitet habe." Grande nouvelle de Milow : le 7e album du Belge 'Nice To Meet You' sortira le 20 mai. Milow déclare à ce sujet : "J'ai travaillé sur cet album au cours des deux dernières années et je l'ai enregistré à Bruxelles, Berlin et Anvers avec certains des meilleurs musiciens et producteurs avec lesquels j'ai jamais travaillé".

The Young Mothers return with their third album, Better If You Let It, blending a genre-defying mix of jazz, hip-hop, punk, experimental rock, and electronic music. Formed by Norwegian bassist Ingebrigt Håker Flaten in Austin, Texas, the band’s sound is shaped by the diverse musical backgrounds of its members, hailing from both the U.S. and Norway. With influences spanning from Texas’ vibrant hip-hop and punk scenes to Norway’s experimental jazz traditions, the band creates a powerful fusion that feels cinematic and unpredictable.

The lineup includes Jawwaad Taylor (trumpet, rhymes, electronics) and Jason Jackson (tenor and baritone sax) from Houston, Stefan Gonzalez (vibraphone, drums, percussion, voice) from Dallas, Frank Rosaly (drums, electronics) from Chicago and Amsterdam, and Håker Flaten (bass) from Norway.

This global roster brings together a dynamic, cross-cultural sound, with Better If You Let It showcasing their most cohesive and wide-ranging material yet. Recorded in Oslo and set for release on Sonic Transmission Records, the album is a bold statement, proving The Young Mothers’ ability to push musical boundaries across genres and geographies.

Hereditary is a 2018 American psychological horror film written and directed by Ari Aster in his feature directorial debut.

He later went on to direct Midsommar (2019) and Beau Is Afraid (2023). The movie stars Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, and Gabriel Byrne.

When Ellen, the matriarch of the Graham family, passes away, her daughter’s family begins to unravel cryptic and increasingly terrifying secrets about their ancestry.

The more they discover, the more they find themselves trying to outrun the sinister fate they seem to have inherited.

The soundtrack for the movie was written, arranged, and produced by Colin Stetson. Aster tried to keep it simple for Stetson regarding the music, but he wanted one thing to be apparent: the music had to “feel evil”.

This 2LP is housed in a gatefold sleeve that includes liner notes by the director, Ari Aster.

Sibelius und Barber: Sternstunden des Repertoires

Auf seinem neuen Album vereint Renaud Capuçon zwei Meisterwerke des 20. Jahrhunderts, geliebt von allen Geigern für ihre klang- und effektvollen Möglichkeiten, das eigene Können zu zeigen, und gleichzeitig gefürchtet für ihre Herausforderungen: das Violinkonzert des Finnen Jean Sibelius und das 30 Jahre später entstandene Gegenstück aus der Feder des Amerikaners Samuel Barber. Nordische Schwermut trifft hier auf die schwelgende Unbesorgtheit eines jungen Genies, verbunden durch ein Höchstmaß an Virtuosität – und damit ideales Repertoire für einen Ausnahmemusiker wie Renaud Capuçon.

Dies ist die zweite Auflage von The Monsters "You're Class, I'm Trash", dem noch aktuellem Monsters-Album aus dem Jahre 2021 (erste Auflage war gelb und mit einer 7" Bonus-Single). Diese zweite Auflage hat ein neues pinkfarbendes Sleeve-Design, kommt als 180g Vinyl und mit einem zweiseitig bedrucktem Insert. HI-SPEED-BOOGIE-FUZZ-GARAGE-TRASH-ROCK-N-ROLL FROM LEGENDARY BERNESE GARAGE PUNKS PLAYED WITH A CHAINSAW-ON-STEEL 13 SPLATTER HITS INCLUDING SMALL HORROR OPERA BY SWISS FILM COMPOSER MARIO BATKOVIC The Monsters wurden 1986 in Bern der Schweiz gegründet, als Alternative zur damaligen populären Musik (z. B. Disco, Pop, Top 40 Rock). Sie nannten dies "Teenage Primitive Rock n' Roll Chainsaw Massacre Garage Trash Mix up Rockabilly mit Punkrock und Garage" und haben sich zu einer gefragten Garagen-Punkrockband gemausert, die auf Festivals, in Klubs und großen Hallen so weit gen Osten wie Japan, gen Süden wie Brasilien und gen Norden zu den Skandinavier resit und dort audspielt. Sogar im so Wilden Westen wie New York City in Amerika. Und dann öffnet 2020 die Türen, YAHOO!!! Die Welt wurde komplett abgeschottet und die Pläne aller änderten sich! Da es in naher Zukunft keine Tourneen gäbe, war es jetzt an der Zeit, ein neues Album zu machen. So widmete sich die Band zwei Wochen, um ihren Proberaum aufzuräumen und neue Musik zu schreiben, und 3 Tage im Berner Shirt Off Studio um diese aufzunehmen. Voila! Hier hast du Rosemary's Baby den Knüppel aus dem Sack: 13 raue, laute und spritzig klingende Tracks, die live ohne Overdubs (nur der Gesang/das Geschrei') aufgenommen wurden. Textlich ist das Album eine komplette Katastrophe mit nicht viel mehr als 120 Wörtern, welche aneinandergereiht meistenfalls keinen Sinn ergeben! Es ist eigentlich völliger Quatsch, aber THE MONSTERS lieben es! Das Cover stammt übrigens vom Berner Surrealisten Jerry Haenggli.

Am 22. Februar 1975 fand das allererste KARAT-Konzert statt. Nun, 50 Jahre später, sind KARAT immer
noch da. Sie blicken zurück auf etwa 5.000 Konzerte, fünfzehn Studio- und fünf Livealben sowie unzählige
Kopplungen. Fünf Dekaden voller Lieder, von denen die meisten geblieben sind. KARAT ist die einzige
Band aus dem Osten Deutschlands, die schon vor dem Mauerfall in der BRD ihre Platten vergoldete.
Jetzt zum großen Jubiläum hätten es sich Gitarrist Bernd Römer, Sänger Claudius Dreilich, Keyboarder
Martin Becker, Bassgitarrist Daniel Bätge und Schlagzeuger Heiko Jung in der Komfortzone gemütlich
machen und auf die großen Hits mit einer weiteren Best Of verweisen können. Viele hätten das vermutlich
auch gut gefunden, aber es wäre nicht KARAT gewesen. Denn die Band blickt nicht nur zurück, sondern
vor allem nach vorn. Auch wenn nach dem großen Jubiläumsjahr die musikalische Reise weitergeht, KARAT
werden auch in Zukunft nicht zur Oldieband mutieren. So veröffentlichen sie genau an dem Februartag,
als das erste Konzert stattfand, ein neues Album. „Hohe Himmel“ heißt es und vereint ausschließlich
neue Lieder. Dennoch haben KARAT damit alte Bandtraditionen im Blick: die Tracks wurden im Studio
live eingespielt, das Ergebnis gibt es nicht nur digital, sondern auf wunderbarem Vinyl. Und all dies in
einem großartigen Package bestehend aus: Vinyl, CD und einem wunderschönen 12-seitigem Booklet in
Vinylgröße. Hier bleiben keine Wünsche offen. Karat eben!

A special ‘Submerge” 12” EP featuring a bunch of reworks of this pivotal track from Apta's forthcoming ‘The Pool’ album on Castles in Space.

Kicking things off, Apta's own rework of the original sees the shadowy textures and droning wall-of-sound backdrop turned into a static-strewn dreamland of a piece, underpinned by a flickering guitar riff, cracked snare drums and fuzzed-out Odyssey strokes before launching into the euphoric half-time vocal refrain.

The follow-up sees Clay Pipe boss, illustrator and musician step into her Hardy Tree guise for a beautifully hypnotic waft of wistful folk-tinged electronics and shimmering ambient textures. It's warmly nostalgic, and packed full of all the feel of a lovely Clay Pipe release.

Following on from that, modular wizard Polypores takes pieces of the original and stretches them into an organic swell of texture and movement, warping the low basses and flickering modular plinks (and / or plonks) into a beautiful, undulating wall.

Flip over and It's none other than the brilliant Pye Corner Audio, providing an organically blooming suite of saturated percussion and woozy drifting oscillators, in peak PCA fashion. There are few artists that can do as much as with little as Martin Jenkins can, and hearing his audio sunshine underpinning the vocal line is breathtaking.

It's good to get the ears nice and soothed too before the aural assault and hypnotic spirit-cleansing heft of the legendary Gnod. Dubby throbbing bass and cavernous reverb tear the original into shards and piece it together as a churning, industrial powerhouse before shooting the rest into the endless reaches of space.

Closing things out on a space theme is the ideal way to do things too, with Field Lines Cartographer's remix taking things waaay into the outer reaches. Grounding bass churns and stellar synth sweeps float below the modulated vocal line, resulting in a perfectly crafted drone, rich in melody but untethered to the earth.

Prolific Norwegian trumpeter and ECM veteran Arve Henriksen returns with Estonian guitarist/composer Robert Jürjendal in tow, matching his idiosyncratic shakuhachi-style melodic condensations with Jürjendal's glassy electro-acoustic soundscapes and sonorous percussion.

Henriksen releases a lot but is remarkably reliable; his playing is so versatile that hearing it dematerialise into different ensembles and individual methodologies is always a treat. Jürjendal is a veteran guitarist, but doesn't approach his instrument from a purely classical standpoint, taking a Fripp-inspired path towards texture, processing and looping his sounds until they're barely recognisable. The duo share a similar love for Hassell's Fourth World ambience, and here inject new life into that mood.

Jürjendal's percussion is impressive: he offsets cascades of oddly-tuned electronics on 'Tuonela' with booming, ritualistic tom hits that punctuate Henriksen's melancholy phrases; and on the brilliant 'Ancient Bells', plays a set of gongs and gamelan-style instruments, creating swirling hammered tonal clusters that quiver beneath Henriksen's echoed-out, spirited improvisations. It's not always that corporeal, either; on 'A Remarkable Flow', he loops guitar phrases, creating gentle vibrations that rumble in the background while he mirrors Henriksen's pitchy zig-zags with high-pitched oscillator vamps.

Even on the peaceable 'Miraculous Lake', discreet kalimba loops set a celestial tempo that anchors the duo's gaseous soundscapes. And although they veer towards end-credits loveliness on the Göttsching-influenced 'Reunion Hymn', it’s balanced by the album's darker passages, like 'Rebirth' and 'Another Me'. On the latter, Henriksen's trumpet is transformed into a voice-like warble, while Jürjendal replies with glacial E-bowed drones that resonate creepily alongside his lysergic FM pads.

Seit der Veröffentlichung ihres gefeierten Debüts "Versions of Modern Performance" 2022 (u. a. mit Höchstwertung um US-Rolling Stone) hat sich vieles für Nora Cheng, Penelope Lowenstein und Gigi Reece verändert. Im Herbst desselben Jahres zog die junge Band von Chicago in die Ostküstenmetropole, wo Penelope und Nora an der New York University ihr Studium begannen und das erste Mal überhaupt Musik außerhalb des elterlichen Zuhauses schrieben. Der Einfluss der neuen Umgebung macht sich unmittelbar im Sound bemerkbar. Zugleich wendet sich der Blick in Zeiten beispielloser Veränderungen nach innen. Im Januar 2024 kehrten Horsegirl nach Chicago zurück, um die neuen Songs aufzunehmen. Im "The Loft" Studio stellten sich dort ein Fokus und eine Intimität ein, wie sie wohl nur entstehen können, wenn es schlicht zu kalt ist, das Gebäude zu verlassen. Cate Le Bon führte die Band derweil in neue, helle und klare Sound-Gefilde, die Raum und Textur gegenüber den dichten Soundflächen des Debüts in den Vordergrund rücken und das charakteristische Songwriting von Horsegirl betonen. Dazu zählt auch der erstmalige Einsatz von Violinen, Synths und Gamelan. Die Leadsingle "2468" ist ein Beispiel für die offenkundige Experimentierlust auf "Phonetics On and On". Mit seinen Raincoats-artigen Streichern und energischen Drums verdreht einem der Song in seinem fortlaufenden Crescendo immer mehr den Kopf. Das dazugehörige Video stammt von der Schriftstellerin und Regisseurin Eliza Callahan und wurde von Alexa West choreographiert. Es ist schwer vorstellbar, dass Songs wie die auf "Phonetics On and On" augenblicklich von irgendwem anderes stammen könnten als von diesem Trio bester Freundinnen. Nora, Penelope und Gigi schreiben mit ungefilterter Aufrichtigkeit über Szenen ihrer Jugend als Momentaufnahmen des Lebens. Die Liebe zueinander ist dabei in jedem Augenblick spürbar und resoniert durch und durch im Zusammenspiel auf ihrem zweiten Album. Horsegirl gründeten sich 2019 in der umtriebigen DIY-Szene Chicagos. Die damals 17- und 18-jährigen Schülerinnen zählen Yo La Tengo und Pavement zu ihren erklärten Vorbildern. Ihr Debüt, auf dem Steve Shelley und Lee Ranaldo als Gäste zu hören sind, nahm die Band in Steve Albinis Studio mit John Agnello (Sonic Youth, Dinosaur Jr.) auf. Zuletzt tourten Horsegirl u. a. mit The Breeders.

Vinyl is 180g and contains downloadcode

Wrocław-Toruń noise rock band founded by Szymon Szwarc (swrcfx, Jesień) and Damian Kowalski (SKI). They are currently collaborating with Cezary Rosiński (Młyn) and Krzysztof Rogalski (Pchełki). The band has performed in clubs and at festivals in Poland, Germany, the Czech Republic, Slovakia, Austria, Lithuania, Latvia, and Estonia. So far, two full-length albums by RZWD have been released: POMPY (Fonoradar Records 2020) and GOLD (Fonoradar Records 2022).


Album GAPS Recorded in November 2023, is the result of two years of work that merges classic POST-PUNK GUIDE with a rich electronic influence. On GAPS, RZWD aims to craft DANCE NOISE CLUB MUSIC on their own terms, pushing the limits of what a LIVE BAND can be in achieving this.
Most of the tracks evolved during RZWD's concerts in countries like Lithuania, the Czech Republic, Germany, and Estonia. These experiences and ideas were shaped into the album between November 2023 and May 2024. Live recordings in Szczecin were done by Adam Sołtysiak, while additional recordings and production were handled in Toruń under the supervision of swrcfx.
The core idea behind GAPS was to use developed themes as a starting point for further variations and exploration within DANCE NOISE CLUB MUSIC. This time, the instrumentation includes bass and an ever-expanding, mutating layer of modulation. Therefore, the album features four brand new compositions alongside four remixes of tracks from previous albums.
The album also features guest appearances by: DANIELIUS PANCEROVAS from the Lithuanian band KANALIZACJIA, adding a saxophone touch to the track DIESEL, and KRZYSZTOF FREEZE OSTROWSKI - a renowned Polish electronic musician and producer, bringing a new sonic perspective to EURO TRACK from the DMO EP.
Among the multidimensional concepts blending environments, genres, styles, and techniques found on GAPS, the pursuit of synthesizing acoustic and electronic sounds stands out. RZWD creates a space where the boundaries between these domains blur and lose their significance.
The result is a groove-driven and noisy mix of dance music styles such as RAVE, TECHNO, HOUSE, and FOOTWORK, played beyond rigid tempo measurements and DAW limitations, relying on natural skills and intuition. It's a soundtrack that works best as a backdrop to movement, whether coordinated or not.
RZWD:
SKI - DRUMS, ELECTRONICS
KRZYSZTOF ROGALSKI - BASS GUITAR
CEZARY ROSIŃSKI - DUBS, SYNTH, MOD. ELECTRONICS
swrcfx - DUBS, SYNTH, GUITAR
ALBUM GUESTS:
DANIELIUS PANCEROVAS - SAXOPHONE in DIESEL V3
KRZYSZTOF FREEZE OSTROWSKI - ELECTRONICS in EURO TRACK V2

A polymathic affair spanning the broadest musical bandwidth, French outlet Lowlife Cartel resurface with ‘Vuota Beatitudine’ – a fresh 8-track VA extrapolating their eclectic approach to contagious effect.

ŽUR (‘Zhure’, party) is absolute cult and one of the most rare Yugoslavian disco funk albums, originally recorded in 1981, reissued on Everland Music for the first time since the original vinyl came out more than 40 years ago. The album was carefully and brilliantly remastered by grammy nominated sound engineer Jessica Thomson.

Boban Petrović is a legend of Belgrade's sophisticated disco funk scene from the late 70s and early 80s.
Back in the second half of the 70s Boban started one of the first disco clubs in Belgrade and he was one of the biggest organizers of private house parties.

The finest balance between Boban Petrović's big-hearted party-maker-turned-philanthropist personality and his hustler one was achieved on Žur.
On Žur, he is at home, in his safe place, since the parties, the music and the people are the first out of many things he had completely figured out in his life. He is at the top of his game, occasionally bothered by a casual heartbreak, but always feeling himself, coming out playful and fundamentally peaceful, satisfied and ready to transcend himself in order to put the rest of the world in the limelight. In fact, Žur isn’t about the party, music, lyrics or its, hands down, beautifully balanced sonics. It’s about Boban and the funk he lived thoroughly. The funk before, but the funk he lived after this album even more so. All the ups and downs that he faced since the moment the first needle dropped on a Žur record to this very day are on this album as the unwritten destiny of that lighthearted character he played.

In short, ŽUR represents the essence of underground club life in Belgrade from the late 70s, when the album was recorded.
The quality of this trust is confirmed by the fact that Boban Petrovic's music is still actively listened to today, not just anywhere, but at the finest club events.
High end production and extremely authentic arrangements outside the mold of classic disco music, and lyrics that literally convey the vibe of his already jet-set lifestyle in Belgrade at the time.

Shortly after his musical career, Boban Petrovic became a businessman of the conscious class. He was living in Spain on his own luxury yacht for years, he had a private airplane, a car park. But all this time living on highest class level he never lost his identity. In all his offices, yacht, airplane and everywhere was playing loud funk music and he was dressed like a musician who just finished or need to start a gig.
Along the way Boban also wrote two books: Rokanje 1 & 2 describing the time when the album ŽUR was created.

The ŽUR album is one of the the holy grails of disco funk music releases on a global level.

It’s a tough call which is the bigger cult classic, the Tank Girl movie or its accompanying soundtrack, but on balance, we’d have to go for the soundtrack. Yeah, the film had a cast composed of some of the most colorful characters (Iggy Pop, Ann Magnuson) and character actors (Malcolm McDowell, Ice-T, and of course the almighty Lori Petty!) in show biz.

And, its dystopic, resource-starved desert setting, intense action sequences, and lead female character mark it as a feminist (albeit funnier) precursor to Mad Max: Fury Road. But check out the soundtrack’s bona-fides: assembled by Courtney Love herself, it features a Who’s Who of ‘90s female rock including Hole, Björk, L7, Veruca Salt, and Belly among others. Plus, it even has tracks that were exclusive to its release, like a unique version of Devo’s “Girl U Want,” “Mockingbird Girl” by The Magnificent Bastards (a side project of the late Scott Weiland of Stone Temple Pilots), and a duet of “Let’s Do It, Let’s Fall in Love” between Joan Jett and The Replacements’ Paul Westerberg. In short, if there ever was a score that needs to be on wax, this would be it. We’ve done it right, too, with a gatefold jacket featuring the trademark comic book art and stills from the film, and neon coral vinyl pressing for its 30th anniversary!