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Hard rock paired with a pinch of cowpunk and hearty Danish gruffness: This unique mix has earned D-A-D a passionate fan base whose loyalty and devotion extends far beyond Scandinavia. A bond just as deeply rooted, as that between Hamburg dark rock giants MONO INC. (whose current album Darkness once again conquered the top spot on the German charts) and their raven family. Back in 2008, MONO INC. paid tribute to D-A-D with a cover version of “Sleeping My Day Away” and today, what belongs together rocks together, as MONO INC. plays D-A-D! What's more, in MONO INC.'s version of Grow or Pay, their epic, melancholic dark rock meets the unmistakable raspy voice of D-A-D singer Jesper Binzer.

“We've adored D-A-D since we first saw them live in the early 1990s,” explains MONO INC. mastermind Martin Engler. “The fact that we were able to get Jesper Binzer on board for our version of ”Grow or Pay“ and that D-A-D will also be joining us as special guests on our 2026 tour in Bremen and Munich is almost too much of an honor.”

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Der mehrfach mit Platin ausgezeichnete Sänger und Songwriter Dermot Kennedy veröffentlicht am 3. April
sein drittes Studioalbum „The Weight Of The Woods“. Das Album entstand in enger Zusammenarbeit mit
dem renommierten Produzenten Gabe Simon, der bereits mit Künstlern wie Noah Kahan und Lana Del
Rey gearbeitet hat. Aufgenommen wurde das neue Werk sowohl in Dermot Kennedys Heimat Irland als
auch in Nashville und verbindet damit persönliche Wurzeln mit internationalem Sound.
Dermot Kennedys Karriere nahm 2017 mit der EP „Doves & Ravens“ ihren Anfang. Zwei Jahre später
folgte sein Debütalbum „Without Fear“, das in Irland zum erfolgreichsten Debüt eines irischen Künstlers
aller Zeiten avancierte. Auch international feierte das Album große Erfolge: Es erreichte die Top 20
der US-Charts, Platz 11 der deutschen Albumcharts und wurde in insgesamt zwölf Ländern mit Platin
ausgezeichnet.
Mit seinem zweiten Album „Sonder“ setzte Dermot Kennedy 2022 seinen Erfolgskurs fort und überzeugte
erneut sowohl Fans als auch Kritiker. Insgesamt wurden bislang vier seiner Singles in Deutschland mit Gold
ausgezeichnet.
Auch live sorgte Dermot Kennedy für Aufsehen, unter anderem 2019 beim Reeperbahn Festival sowie beim
Finale von „The Voice“. Darüber hinaus wurde er 2020 bei den Brit Awards als „International Solo Artist“
nominiert. Mit „The Weight Of The Woods“ knüpft Dermot Kennedy nun an seine beeindruckende Karriere
an und schlägt zugleich ein neues musikalisches Kapitel auf.

Psychedelic dub, Afro-Latin rhythms and cosmic grooves come together on La Chooma’s self-titled debut for Batov Records. Drawing on Moroccan Gnawa, Colombian cumbia, Afrobeat, Jamaica dub & roots, and cosmic jazz, the six-piece ensemble create deep, hypnotic music rooted in global traditions and shaped for contemporary dancefloors.

Having already captivated local audiences with their hypnotic, organic live performances, La Chooma – now a six-piece ensemble – have been steadily building an international following. Initial singles “Magic Plant” and “Huachuma” earned support from tastemakers including BBC Radio 6 Music’s Deb Grant and Tom Ravenscroft.

“Magic Plant” distills the band’s signature blend of hypnotic grooves, lush percussion and woozy synths, like Jimi Tenor lost in the Colombian Amazon. A dreamlike, dub-infused trip driven by organic rhythm and cosmic textures. “Huachuma” picks up the thread, fusing Afrobeat percussion, swirling basslines and psychedelic flourishes into a hallucinogenic jam made for a tropical dancefloor.

This Raven With A Crown 02 is a new fledgling label materializes in the Violent Cases universe. Corvus Corone - also known as the carrion crow - is stylistically dedicated to true Tribal sounds.This is not chipmunk tribal with laughing gas voices, this is serious stuff as you can expect from Violent Cases because evil forces are invading lala land and we need to gather the tribes. The roadmap for the project covers territory cultivated by the likes of Isotope, LBE and DSP just to name a few reference points.
First in flight is a full release by As’teka Nahuatl who just featured on MSTR 13.
Corvus Corone is styled by TDSiGNZ, whose design skills consistently lend the Violent Cases sub-labels a fresh, disciplined minimalist touch. As he previously created for “Endless Night”... More is forthcoming - because the Violent Ravens nest has another spawn in the breed. Keep an eye out for their upcoming signs!
Mastering by Stefan ZMK.
A1 – Musicō'teka
20k rig in the catacombs of the pyramid of the sun. Join the war dance. 160 beasts
A2 - Tekno Drops (feat. Lil’ Nahuatl)
Serious old school dancefloor vibes under the wings of crows circling above. 170 beasts
B1 – Shaman Children
Inducing a long trancy journey heeding the shaman’s call. 170 beasts

Dread Spectre Council is Kenneth Amundsen"s solo-moniker compiling years of archival demos reimagined and re-recorded. First presented through the debut EP "Dystopia/Eons" (2024) feat. Dale Crover (Melvins/Nirvana/Redd Kross) on drums. Connected to bands like Mindy Misty, Le Corbeau and Izakaya Heartbeat, - He has sneaked around the Norwegian indie scene for the past two decades. On Thetans Kenneth plays all instruments, records and mixes himself in a solitary catharsis. Bringing emotive confessionals, barn-burners and sect nodding psychedelics together in a melancholy-stroked indie rock epos, "unshakably human" as described by Last Day Deaf . A gang of co-conspirators is lurking to join for future releases and tours.

Dread Spectre Council is Kenneth Amundsen"s solo-moniker compiling years of archival demos reimagined and re-recorded. First presented through the debut EP "Dystopia/Eons" (2024) feat. Dale Crover (Melvins/Nirvana/Redd Kross) on drums. Connected to bands like Mindy Misty, Le Corbeau and Izakaya Heartbeat, - He has sneaked around the Norwegian indie scene for the past two decades. On Thetans Kenneth plays all instruments, records and mixes himself in a solitary catharsis. Bringing emotive confessionals, barn-burners and sect nodding psychedelics together in a melancholy-stroked indie rock epos, "unshakably human" as described by Last Day Deaf . A gang of co-conspirators is lurking to join for future releases and tours.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

The Astonishing is the thirteenth studio album by Dream Theater. The Astonishing is set in a dystopian future United States and follows the Ravenskill Rebel Militia in their efforts to defy the Great Northern Empire

of the Americas using the magical power of music. It was inspired by contemporary fantasy and science fiction franchises such as Game of Thrones and Star Wars, as well as John Petrucci’s observations on the

ubiquity of technological automation in modern-day society. Limited edition 4LP release on clear vinyl.

DYING VICTIMS PRODUCTIONS is proud to present AGGRESSIVE PERFECTOR’s highly anticipated second album, Come Creeping Fiends, on CD and vinyl LP formats. Released in 2019 via DYING VICTIMS, AGGRESSIVE PERFECTOR’s Havoc at the Midnight Hour debut album introduced this British power-trio with no small amount of sleazy, Satanic fanfare. While their background may jointly lie in black metal, the three un-gentlemen of AGGRESSIVE PERFECTOR held high heavy metal done the ancient way: classic Tank, early Raven, Warfare, and of course the almighty Venom as well as modern torchbearers like Midnight, Whipstriker, and Power From Hell. Unsurprisingly, the album garnered international acclaim. Eclipsing that feat is the band’s second album, Come Creeping Fiends.

Truly titled once again, Come Creeping Fiends comprises nine tracks of heavy metal for the insane, forged in the Manchester morgue. Raging like a ravenous beast, summoning ancient ones, and agonizing with morbid doom, AGGRESSIVE PERFECTOR cover a lot of ground here, but like the rotting undead that inspired it, this second album somehow holds together. The same black magic that made Havoc at the Midnight Hour a highlight six(-six-six) years ago is here again, only this time with a higher kill count and hit rate. Cleaner and crisper in execution but somehow darker and dirtier in its content, Come Creeping Fiends offers highlights at every crooked turn; tunes like “Strange Companion,” “Fiend in You,” and lead track “Dead Undead” will have all the witches dancing. Needless to say, fans of maniacal, EVIL heavy metal music and horror movies will find a lot to love. The wait for AGGRESSIVE PERFECTOR’s second album might have been long, but Come Creeping Fiends will prove to be worth it…

Brooklyn duo The Still Brothers is a musical project of childhood friends Evan Heinze (The Shacks/Big Crown) and Andrew LeCoche (Ula Ruth). Heinze has toured with the likes of Khraungbin, Lee Fields and Cut Chemist, while LeCoche’s old band once opened for Paul Simon and Edie Brickell. A former student of Madlib’s uncle Jon Faddis, LeCoche has scored music for Netflix and Patagonia and sound design for Twitter, Patron, and Marvel. Signing to Lewis Recordings in 2020 the band’s first single ‘The Deep’ was instantly picked up by Steve Lamacq on BBC 6 Music who regularly plays it to this day. ‘Wake Up’ featuring the vocals of Marina B. spent six weeks on the BBC 6 Music playlist gaining support from Lauren Laverne, Gilles Peterson, Mary Anne Hobbs, Craig Charles, Huey Morgan, Cerys Matthews, Don Letts, Tom Ravenscroft and Guy Garvey. Lockdown didn’t slow down the band’s creativity with many tracks on their self-titled debut EP recorded remotely. Two such tracks were the collaborations with London based singer/songwriter Shauna Kelly aka Shoshy. ‘It’s Not Over’ and ‘Crazy’ were released on 7” and both received BBC radio support. Marina B stepped back on the mic with the upbeat hit ‘I Wanna Be With You’, a dancefloor filler mixed by St. Frances Hotel (producer for Michael Kiwanuka). The b-side ‘Sungalz’ is a hazy dream pop number that started life as an instrumental jam

FRQNCY LDN, the new project from Alex Lavery and James Ford (producer du jour and one half of Simian Mobile Disco), are releasing their debut album ‘The White Edition’ on 5 September via PRAH Recordings. Alongside the news of their debut album, the duo are sharing the first taste in ‘Matthias’ Wajd’, which they describe as “a rousing, instrumental piece from the middle of the set where the whole ensemble became balanced providing moments where Raven played violin with haunting yet uplifting melodies within the cavernous reverb of the church. Interestingly, at this moment, most of the audience who had been laying down rose to watch the performance like a gig, like an awakening.”

Initially conceived as a live project with earlier performances at churches in London and at Glastonbury, FRQNCY LDN’s music is a mix of strings, gongs, oscillators, FX, and spoken word, and the result is a musical experience unlike any other. Now that immersive magic has been captured on their debut release through Prah Recordings.

The music that FRQNCY LDN are releasing as their debut album is from an extraordinary live take from a performance at St Matthias Church in Stoke Newington last year, and thanks in no small part to the serendipitous bunch of musicians they assembled: composer and violinist Raven Bush, clarinettist Arun Ghosh, cellist Satin Beige Chousmer, and harpist Chloe Chousmer-Kerr. Alongside Lavery and Ford and assisted by engineer Animesh Ravel, they were able to capture the music to a world class level.

FRQNCY LDN has its roots in a supermoon that occurred three summers ago, after the hottest day of the year. Two of Lavery’s friends gave a sound bath that evening. “I’m not overly into astronomy or anything but the experience was nuts,” he says. “I had to find out what had just happened. What felt like forty minutes was actually two and a half hours. We were all out. It was so profound that I was hooked.”

He immediately signed up for a sound therapy course where he learned about what he calls a “brain hack” to meditation. “The thing about sound therapy is there’s a lot that’s meditation-based, and I find meditation really difficult. I’ve got a very busy brain. What was alluring about this process of sound immersion, a sound bath, whatever you want to call it, is it’s basically a hack to making your brain get into a meditative state.”

FRQNCY LDN’s early shows crystallised their ideas into a project, and Lavery brought poet Nikita Gill on board as a vocalist. “One of the first poems she gave to me, ‘Unwitches’ was in response to me explaining that I’d love this project to be perceived as something anyone could access. It’s not just for the sound meditation or the yoga, or the mushroom crowd. No one should be turned off by connotations from where the music comes from, I love music but I’d never be into that because it’s too woo-woo. Nikita said she’d had this poem for a long time but she’d never found the right home for it.”

And in an increasingly busy and fraught world, the need to tune out for an hour or so, and maybe tune in to something more profound, is only going to get bigger.

Don Leisure has cemented his name as one of the most forward-thinking and experimental beatmakers & producers within the current musical ecosystem. As well as being 50% of Darkhouse Family (alongside Earl Jeffers) he has collaborated with the likes of Angel Bat Dawid, Gruff Rhys, DJ Spinna and First Word label-mates Amanda Whiting & Tyler Daley (Children of Zeus). Garnering serious support from Lauren Laverne, Tom Ravenscroft, Huw Stephens, Gilles Peterson, Huey Morgan, The Vinyl Factory, Clash, Uncut and many more. Following the release of ‘Cynnau Tân (feat. Carywyn Ellis)’ (which gained support across BBC Radio from Tom Ravenscroft, Zakia & Huw Stephens) Welsh beatmaker Don Leisure announces the release of a new album ‘Tyrchu Sain’) as he returns with a new single ‘Tyrchu’ due for release on 22nd January 2025. ‘Tyrchu’ features the soft-spoken vocal stylings of Gruff Rhys over a gently rolling, tape saturated and expertly chopped instrumental, creating (in Gruff’s own words) ‘Shiny new beat-treasures with ghostly reflections of Welsh pop’s past - skillfully dug from Sain Records’ deepest veins’

A dedicated student of music, over the years, Don has amassed a vast encyclopaedic knowledge of music genres and subcultures, including a fascination with Welsh psychedelic folk music from the mid-20th century. This introduction was made by respected musician, producer & selector Andy Votel’s 2005 two-part compilation series ‘Welsh Rare Beat’ (in collaboration with Gruff Rhys and Don Thomas), comprising twenty-five tracks from Sain Records’ back catalogue. Now the oldest independent record label in Wales, Sain is a wildly influential bastion of home-grown Welsh talent, co-founded by Welsh-language folk singer Dafydd Iwan, whose music has seen a cultural resurgence in recent years with his 1983 song Yma o Hyd (We’re Still Here) becoming a huge anthem for Wales football fans. Set up in the Welsh capital, many of Sain’s early releases were recorded at Rockfield Studios in Monmouthshire, but in the early 1970s the record company moved to the Caernarfon area and opened their first recording studio in 1974 near Llandwrog. Announcing a huge digitisation project throughout 2024, Sain Records took on the mammoth task of painstakingly digitising their entire back catalogue spanning 55 years, working in partnership with the National Library of Wales the resulting archive then be submitted for to the National Library of Wales in Aberystwyth, preserving them for future generations to enjoy. Taking this period of rediscovery as an opportunity to reimagine their impressive inventory, Sain invited Don Leisure to dig into their musical treasure chest, creating a sprawling sonic tapestry from the dusty gems within. On this exhilarating excursion, Sain Records founder Dafydd Iwan explains: ‘Imagine someone gave you access to over 50 years of Welsh popular music – almost all of it unknown to you before. It would be a strange experience of discovery, an unknown territory which could baffle and excite. This happened to Jamal (Don Leisure) – and he was captivated by a world of music he barely knew existed, and when he was asked to distill the experience into one album, he immediately warmed to the idea. And this is the result – a kaleidoscope of sounds to encapsulate a half century of Welsh music. To call it unique would be superfluous: no-one could ever recreate this album. Listen, and enjoy.’.

The resulting product is ‘Tyrchu Sain' (translating to ‘Digging Sain’), a fearless and exploratory album, which sees Don put his signature unparalleled and unpredictable skills to work, weaving together moments of forgotten beauty into celestial and otherworldly compositions. The record features appearances by artists from Wales who have a similar obsession as Don Leisure in these classic Welsh rarities including Gruff Rhys, Carwyn Ellis, Earl Jeffers Amanda Whiting and Boy Azooga. A shimmering patchwork quilt of sound, ‘Tychru Sain’ traverses a shifting landscape of acid folk, eerie vocal melodies and interstellar soundscapes, propelled forth by crisp, head nod-inducing drums and grainy textures. Breathing new life into compositions lost to time, and paving a path for new listeners to discover the magic that lies within.

Zepter sind eine neue, aufstrebende Heavy-Metal-Band aus Österreich, die 2024 gegründet wurde. Wenig später erschien, auf 100 Stück limitiert als Kassette, die erste EP »Inferno« über Ironbound (eine Vinyl-Ausgabe von Fucking Kill Records sowie eine CD-Edition durch Witches Brew folgten). Das Debütalbum von Zepter, welches über High Roller Records erscheint, bietet authentischen Heavy Metal der alten Schule mit catchy Hooks und geschmackvollen Twin-Harmony-Parts. Das Album klingt, wie ein erdiger Cocktail aus Thin Lizzy und UFO aus der Schenker-Ära mit Elementen aus frühem Speed Metal à la Acid und Slayer, wenn es sie schon 1978 gegeben hätte – mit Einflüssen von Saxon, Witchfinder General, Dark Star, Raven, Saracen, Angel Witch, Satan. Alle Songs bis auf die Coverversion “Lonely Night” von der Band Screem sind brandneu.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

Voivod wurde 1982 in Jonquière, Quebec, von Sänger Denis „Snake“ Belanger, Gitarrist Denis „Piggy“ D'Amour, Bassist Jean-Yves „Blacky“ Thériault und Schlagzeuger Michael „Away“ Langevin gegründet und nahm eine Reihe von Demos auf, bevor Brian Slagel auf die Band aufmerksam wurde und einen Vertrag mit Metal Blade Records unterzeichnete. Das Ergebnis war das furiose Debütalbum „War And Pain“, das im August 1984 veröffentlicht wurde. Zu dieser Zeit teilten sich alle vier Mitglieder eine Wohnung in Montreal und lebten von 150 Dollar Sozialhilfe pro Woche. Da sie die Schule bereits hinter sich hatten, konnten sie fast jeden Tag proben, was zur Entstehung ihres zweiten Albums „Rrröööaaarrr“ führte. Während der Aufnahme des Albums wurde fast die gesamte Ausrüstung aus dem Proberaum gestohlen. Um Geld aufzutreiben, organisierte die Band zusammen mit ihrem Manager Maurice Richard das legendäre „World War III“-Festival. Dort lernten sie Karl-Ulrich Walterbach kennen, der Voivod davon überzeugte, bei seinem Label Noise Records zu unterschreiben. Nach „Rrröööaaarrr“ von 1986 hieß Voivods zweites Album für Noise „Killing Technology“ und gilt weithin als der größte kreative und klangliche Sprung der Band. Es wurde in West-Berlin unter den wachsamen Augen von Harris Johns aufgenommen und kam 1987 auf den Markt. Weniger hektische Kompositionen wie „Tornado“, „Ravenous Medicine“ oder „Killing Technology“ hoben die Kanadier schnell von ihren Thrash-Zeitgenossen ab. „Rrröööaaarrr„ haben wir mit unserem Tontechniker in einer heruntergekommenen Schule ohne Geld selbst produziert“, erklärt Michael Langevin in dem Buch „Damn The Machine. The Story Of Noise Records“ des amerikanischen Autors David E. Gehlke. „Plötzlich hatten wir ein professionelles Umfeld, ein richtiges Studio mit einem richtigen Produzenten und ein Label, das die Finanzierung sicherstellte. Es ging Schritt für Schritt. Für „Killing Technology“ haben wir vielleicht ein bisschen langsamer gemacht. Wir konnten die Rollen spielen, und es hat viel Abwechslung. Es ist mein Lieblingsalbum und in meinen Ohren die perfekte Mischung aus Thrash, Prog und Hardcore. Es ist definitiv ein entscheidendes Album.“

Lord Elephant are back with their second studio album "Ultra Soul", a psyched blend of 70's, 90's and 00's extravaganzas mixed together with the distinctive heavy breath of the band. Blues, doom and sludge are fused again in the strange trademark of the trio, allergic to genre-labels and ready to expand the vision beyond cages! Recorded, mixed and mastered at Studio 73, Ravenna, by Riccardo Pasini (Nero Di Marte, Ephel Duath, Ottone Pesante..) Artwork and Layout by JJ Farfante ArtLab (Melvins, Mudhoney, Ufomammut)

Oxblood Red vinyl, limited to 400 copies. Lord Elephant are back with their second studio album "Ultra Soul", a psyched blend of 70's, 90's and 00's extravaganzas mixed together with the distinctive heavy breath of the band. Blues, doom and sludge are fused again in the strange trademark of the trio, allergic to genre-labels and ready to expand the vision beyond cages! Recorded, mixed and mastered at Studio 73, Ravenna, by Riccardo Pasini (Nero Di Marte, Ephel Duath, Ottone Pesante..) Artwork and Layout by JJ Farfante ArtLab (Melvins, Mudhoney, Ufomammut)

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

A reflection on how we hold each other and how we let go, ‘Secular Music Vol 1’ is the first instalment in a triptych of albums by multi-limbed live dance music outfit Girls Of The Internet. Continuing their ongoing policy of “therapy through music”, the album touches all points on the shifting landscape of human connection: belief, doubt, loss, forgiveness. Emphasising human elements of songwriting, performance and production within the lineage of house, disco and electronic music; this first record furthers the band’s flair for manifesting the creative and communal spirit that birthed the scene. Joining the dots that have not been joined for a long time, the collective takes on people of all sexualities, gender expressions and body types. House music was created as an inclusive artform and Girls of the Internet are here to assert we are all invited. The group is completed with a rotating assembly of talented collaborators, including the live band with Nandi and Wynter on vocals and Tommy Peach on bass and trumpet. ‘Secular Music Vol 1’ also features guest appearances from Dani Siciliano, Sió, Pinty, i am an island, and James Alexander Bright - also a regular member of the live band. Girls Of The Internet’s 2024 album ‘When I Was Lost, I Found Myself’ was the follow-up to the acclaimed ‘Girls FM’, one of BBC 6 Music’s Albums of the Year in 2019. Firmly on the radar of key DJs Gilles Peterson, Tom Ravenscroft, Trevor Nelson, Pete Tong, and Lauren Laverne for some time, the band’s songs have more recently found fans in BBC Radio 1’s Sian Eleri and BBC 6 Music’s Nick Grimshaw as well as around the rest of the planet on tastemaker stations Byte FM, FIP, NTS, KALW, KCRW, KEXP and Soho Radio. Girls Of The Internet have performed on home turf at Glastonbury, The Warehouse Project’s Homobloc, Drumsheds, Printworks, Latitude, Lost Village festival, and a residency this summer at London’s Colour Factory. With Ibiza shows at Pikes and Glitterbox at #1 Club in the World Hï; this July saw Tom take on their first US dates with DJ sets in New York, LA and San Francisco. The live band are currently in the middle of an extended live tour that runs through to December. ‘Secular Music Vol 1’ is set for release on 14th November 2025 on Girls Of The Internet's own recently launched House Of the Internet label.

Vinyl release of the album from 2023. Black vinyl in a standard sleeve. “out of love in the face of a shadow” is the new album from Credit Electric. Exploring the human unconscious through impressionistic pop vignettes, the album represents a significant evolution of the band’s sound that originally stemmed from limitations put in place by the global pandemic, before blossoming into something altogether new and unexpected. What started to emerge was a body of work that drew upon lo-fi jazz, dub, post-rock, ambient music, 70’s studio experimentation, and 90’s indie rock as much as the rustic folk of their past releases. The resulting album “out of love in face of a shadow” calls to mind influences as disparate as Hiroshi Yoshimura, American Football, Scientist, and Magnolia Electric Co, all the while inhabiting a world completely of their own design. Highly anticipated sophomore album from Credit Electric. Press coverage on recent releases includes reviews and features in New Commute (Albums of the Year), Various Small Flames, Raven Sings the Blues, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “…the band crafts American hymns that peer through fogged glass, tracing the lines of lament in hazy relief…” - Raven Sings the Blues // Albums of the Year - New Commute

"Souvenirs opened the door for me in L.A. as far as not just being the kid anymore, but being one of the guys, so I remember that one as a real good time—probably way too good a time! It's a miracle we survived that record." – Dan Fogelberg

Impex Records, in collaboration with Epic Records and Iconic Artists Group, is proud to present the official limited-edition 50th Anniversary 180-gram LP of Souvenirs! Our audiophile vinyl LP has been newly remastered from original analog tapes and features original photographs, new notes, and remembrances from Dan Fogelberg and others who crafted this classic album!

Celebrate the 50th anniversary of Dan Fogelberg's breakout hit album, newly remastered and lavished with The Impex Treatment.

50th Anniversary Edition
180g Audiophile Vinyl LP
Contains the Top-40 Hit "Part of the Plan" & Fan Favorites "As the Raven Flies" & "Illinois"
Features Members of Eagles, Graham Nash, Gerry Beckley, Kenny Passarelli & Russ Kunkel
Mastered from a Flat 1:1 Transfer of the Original Analog Tapes by Chris Bellman at Bernie Grundman Mastering
Pressed at Fidelity Record Pressing
Exclusive Booklet Containing Original Photos & an Appreciation by Charles L. Granata Featuring Archival & New Interviews with Many of the Participants Who Helped Make This Classic Album
Limited to & Individually Numbered to Only 3,000 Copies

180g Black Vinyl Half-speed Remaster by Miles Showell at Abbey Road Studios, includes a sleevenote featuring quotes from Alan Parsons & Eric Woolfson. The Alan Parsons Project debut studio album was originally released in June 1976. The lyrical and musical themes of the album are retellings of horror stories and poetry by Edgar Allan Poe. Musicians featured on the album include vocalists Arthur Brown of The Crazy World of Arthur Brown on "The Tell Tale Heart", John Miles on "The Cask of Amontillado" and "(The System of) Dr. Tarr and Professor Fether", and Terry Sylvester of The Hollies on "To One in Paradise". The complete line-up of bands Ambrosia and Pilot play on the record, along with keyboardist Francis Monkman of Curved Air and Sky. The album was a worldwide hit selling almost a million copies and achieving platinum status in a number of countries including Germany and Canada.

Out Friday 14th June, the renowned jazz and funk trumpeter Sefi Zisling presents his third album ‘The Librarian’, blending classic elements with psychedelic funk, soul, and spiritual jazz. ‘The Librarian’ is dedicated to all things close to Sefi’s heart. The album pays homage to his musical inspirations, his wife, friends, and Eyad, a Palestinian whose story moved Sefi.

"This album was made as an ode to the people I love, and I would like to dedicate this album to them." - Sefi Zisling

Sefi Zisling first started playing the trumpet at the mere age of ten, soon after enrolling in the prestigious art school Thelma Yellin. Performing in an array of bands since his early teens, Sefi has performed and recorded sessions with almost every key player of the jazz world in Israel. His debut album ‘Beyond The Thing I Know’, released on Tel Aviv’s leading collective Raw Tapes, propelled the trumpeter onto the world stage. Sefi then found his home on Tru Thoughts for his sophomore record ‘Expanse’, an album that captured the essence of the classic jazz session and transformed his role from instrumentalist to composer.

The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene and are respected worldwide. Walid aimed to highlight the expropriation of Palestinian land by the Israeli state and centred his artistic career on safeguarding a disappearing landscape through his monochromatic etchings.

Selling Points
Sefi Zisling's sophomore album "Expanse" sold out on vinyl in the first few months
The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene
Praise from Jazz FM (Playlisting), FIP, Jamie Cullum (BBC Radio 2), Jazz Times, Jazziz, Tom Ravenscroft, Huey Morgan, Cerys Matthews (BBC 6Music), Musica Macondo, Music Is My Sanctuary, Bandcamp Weekly, Wax Poetics and much more.
Recorded intimately and live with a five-piece ensemble
The LP features a spellbinding version of Mall Waldron's jazz standard 'All Alone'
Mixed by renowned engineer George Atkins (80 Hertz Studios)

Ground-breaking percussive ambient recordings from Gabrielle Roth & The Mirrors, inducing altered states of consciousness through ecstatic dance. "Selected Works from 1985 to 2005" finally available on Time Capsule

Despite featuring an extraordinary cast of musicians (with credits including Pharoah Sanders, Miles Davis, Sun Ra, Santana and Milton
Nascimento) and selling hundreds of thousands of albums, the music of Gabrielle Roth & The Mirrors remains largely unheard beyond their sphere. Conceived as live, improvised soundtracks to Roth’s transcendental dance workshops, musical acclaim was never on the agenda.Instead, for a passionate dancer and spiritual polyglot like Gabrielle Roth, movement was a means through which to channel a wide spectrum of teaching, from experimental psychology to psychedelic counter-culture. It was from this heady mix that she devised a movement meditation known as 5Rhtyhms, which came to define her life’s work.

As “guide and catalyst”, Roth would dance to inspire the percussion-led instrumentals that would in turn fuel her 5Rhythms workshops, stimulating a secular form of ecstatic dance with roots in Native American shamanic traditions, Afro-Brazilian Candomblé and Yoruba drumming. Using anything from a Sioux pony drum to East African kihembe and Japanese Kabuki drums, Gabrielle’s lawyer-turned-drummer husband Robert Ansell set the foundational rhythms for The Mirrors’ recordings, each of which would then feature a rotating cast of friends and professional musicians.

“The secret of everything we’ve done is that we never told anybody what to play,” Robert shares. “Instead of our albums being a musical vision of one person like me or Gabrielle, they were the musical vision of a whole bunch of people.”At times the recordings have a Middle Eastern flair, at others, West African and spiritual jazz modes come to the fore. Hints of kosmische musik, proto-house and electronic ambience are laced like LSD through the organic rhythmic structures. This was kaleidoscopic ambient music to stir the body and free the mind.

In practice, the task of synthesising these different elements fell to Scott Ansell, Robert’s son and a recording engineer whose credits now include Nile Rogers, Duran Duran, Grace Jones. With meticulous attention to detail he captured and translated the dynamic energy of each drum onto record. Their sessions became legendary, and with access to the best studios in the NYC, The Mirrors sparkled.

Despite being initially overlooked by the burgeoning ‘80s New Age market, which preferred pipes and gongs to The Mirrors’ heavy-grooving drums, Robert Ansell set up Raven Recording to self-release the music, creating a vast sonic archive of sixteen albums over almost forty years. The breadth of Raven’s catalogue is such that curator Pol Valls had to cut an initial selection of sixty-six tracks down to the eleven featured here. What crystallises is a stunning, mind-altering collection which spans, in Pol’s words, “a variety of genres, styles, and vibes within their catalogue, whether it is emotional, esoteric, spiritual, melancholic, hypnotic, dark, or at times a combination of these elements together.”Music for immersive and intimate environments, Gabrielle Roth & The Mirrors were born from the dance. In the hands of the right DJ, at the right time, in the right place, they might just return there.

The story of Suffering began in the UK's West Midlands in 2012 and since those nascent days they have released a nefarious collection of occult black metal offerings, beginning with their debut album, 11, in 2018 and most recently the Symphonies: Diabolis EP in 2024. They have also built a reputation for intense, diabolical live performances, appearing alongside the likes of Esoteric, Ghost Bath, and Mol. The band recently signed with infamous label, Apocalyptic Witchcraft, with label founder Conor Droney describing Suffering's music as "dark, unflinching, and deeply atmospheric, exactly what we stand for." And now the first fruits of that new alliance are about to be unveiled, in the shadowed form of Things Seen But Always Hidden. Things Seen But Always Hidden is an enveloping nightmarish journey through temptation and spiritual destruction, an immersion in contrasting states of terror and ecstasy - it bewilders, consumes and possesses the power to change and scar. Each song seeps into the next, binding them into a grimoire of dehumanising ritual, yet they exist as powerful individual entities. There is 'Enthralled', constructed from classic black metal riffs and raw vocal exhortations_and something more, something imperceptible but profoundly affecting; 'What Once Was Shall Be Again And What Is Shall Be No More', a glimpse beyond the veil, a fall down the endless paths of inherited memory that binds you to this album, this place constructed from arcane sound; the fear filled and imperious 'Hell On Earth New Eden', driven by a ravenous, unholy hunger_each chapter in this tome of unmaking and desecration will burn itself into your mind. A fusion of blackest metal, ritualistic doom and unsettling, distressing atmosphere Things Seen But Always Hidden will never leave you, no matter where you run. The way to Things Seen But Always Hidden will be revealed by Apocalyptic Witchcraft on November 28th. But remember, once you have set foot on this path there is no way back_

Siècle, the fourth album by Superpoze (Gabriel Legeleux, born in 1992), stands as the culmination of what the composer of Opening, For We the Living, and Nova Cardinale, also a producer and performer, has been meticulously crafting for the past ten years, with both precision and sensitivity.



A striking and melancholic electronic music, where instruments and machines collide, blending synthetic textures, strings, and spectral voices.



The result is an album of eight expansive and sharp-edged tracks, where life pulses, burns, and soothes.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

Since its formation in 1969, Soul Media had been advocating a fusion of jazz and rock. The next step along that line was this album, “In the Groove,” recorded in 1973.

The sharpness of jazz is brought to the forefront, with rock melting in to give it an edge, and funk injected to imbue it with power and resilience. The result was a strong, sophisticated, and simply “cool music” that could not be categorized within existing genres such as jazz rock, jazz funk, or fusion.

This work is also described as a response to The Crusaders, a group that Jiro Inagaki was paying attention to at the time. His aim was right on target. With this album, Soul Media acquired a “sophisticated black feeling” and headed for their final destination, “Funky Stuff.”

Words by Yusuke Ogawa (Universounds).

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