Cerca:rösh

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

This 2xLP is available for the first time on vinyl and blends his signature jazz and R&B mastery into a meditative soundscape. Glasper himself describes the album as a sanctuary, stating, "It's just something that quiets the world and allows you to see what's within." The album features Meshell Ndegeocello, Chris Sholar, Kendrick Scott and Burniss Travis.

Half-Speed Remaster des 2012er Albums

Anlässlich des 40-jährigen Jubiläums des Albumklassikers "Thick As A Brick" erscheint am 30. März 2012 eine Fortsetzung zum Originalalbum mit dem Titel "Thick As A Brick 2".

1972 hatte Ian Anderson mit dem Jethro-Tull-Album "Thick As A Brick" einen Klassiker des Progressive Rock aufgenommen. Im Mittelpunkt der Songtexte stand die fiktive kindliche Hauptfigur Gerald Bostock. Das Album avancierte zum Spitzenreiter in den Billboard Charts und zu einem beachtlichen Erfolg in etlichen anderen Ländern.

Vierzig Jahre später: Was würde Gerald Bostock, der nun 50 Jahre alt wäre, heutzutage machen? Wie wäre es ihm in all der Zeit ergangen? Der "zweite" Teil des Albumklassikers zieht die unterschiedlichsten Möglichkeiten in Betracht, was aus dem frühreifen Schuljungen Gerald Bostock hätte werden können, welche Wege er hätte einschlagen können. In den diversen Songs nimmt die Hauptfigur verschiedene Alter Egos an, um die Vielzahl der möglichen Wendungen zu verdeutlichen, die Schicksal und Zufall in einem Leben bereit halten. So illustrieren die Songs nicht nur Geralds Leben, sondern auch die Entwicklungen unserer eigenen Biographien, die nicht selten durch zufällige Begegnungen und Eingriffe völlig neue Wendungen annehmen, auch wenn sie manchmal zunächst noch ganz nichtig und unbedeutend erscheinen.

Ian Anderson über sein neues Album: "Wenn unsere Generation auf ihr Leben zurückblickt, überkommt sie sicherlich gelegentlich dieser 'Was wäre wenn'-Moment. Wären wir, wie Gerald, statt dem, was wir sind, vielleicht Prediger, Soldat, Penner, Geschäftsinhaber oder Finanztycoon geworden? Und all jene, die der Generation des Internet und der sozialen Netzwerke angehören, mögen darüber sinnieren, was mit den unzähligen Möglichkeiten ist, die sich bei jeder Gelegenheit anzubieten scheinen."

Im Rahmen dieser Veröffentlichung wird Ian Anderson erstmals seit 1972 "Thick As A Brick" gemeinsam mit seinen Bandkollegen John O'Hara (Keyboards), David Goodier (Bass), Florian Opahle (Gitarre) und Scott Hammond (Schlagzeug) - sowie einigen musikalischen Gästen - in kompletter Länge live spielen. Zudem präsentieren Ian Anderson und seine Band im zweiten Teil der Show auch die Fortsetzung des Albumklassikers live.

“Yeah Yeah Yeah just arrived out of the blue. I just took a chance. I had some ideas for a new album I’d been working on, but we weren’t planning on recording until the year after. It all happened very fast. There was a window of opportunity- youth was free, the studio was free, and the band were free- and I thought, let providence prevail. No one had heard the songs apart from myself and Alan McGee, but we both thought that we had something. You could feel it, even though none of the songs were really finished, and so we decided to roll with it and go and record them. I think with Yeah Yeah Yeah it was more than just trying to capture a vibe- it was about trying to record something majestic, which is how youth describes the record. There are gospels and strings on tracks like Free Love and don’t look away, which have kind of turned into these massive anthems. It has P.P. Arnold as a featured vocalist on a couple of tracks- the first, the single poison vine, which has a groove and a blistering chorus. She’s also on another song that’s a psychedelic funk track: the way it’s gotta be (oh yeah). Songs like Teardrops or Birds Heading South- we’ve tried to capture that classic, slightly
Wistful theme- whereas the weight of the world just rocks out. There’s also a little acoustic track to break it all up called the devil and the deep, which is a favourite of mine. We recorded the album over in Spain at space mountain, Youth’s studio, way up in the mountains, just as the almond trees were in blossom- which I took as a good omen for the session”.

“Yeah Yeah Yeah just arrived out of the blue. I just took a chance. I had some ideas for a new album I’d been working on, but we weren’t planning on recording until the year after. It all happened very fast. There was a window of opportunity- youth was free, the studio was free, and the band were free- and I thought, let providence prevail. No one had heard the songs apart from myself and Alan McGee, but we both thought that we had something. You could feel it, even though none of the songs were really finished, and so we decided to roll with it and go and record them. I think with Yeah Yeah Yeah it was more than just trying to capture a vibe- it was about trying to record something majestic, which is how youth describes the record. There are gospels and strings on tracks like Free Love and don’t look away, which have kind of turned into these massive anthems. It has P.P. Arnold as a featured vocalist on a couple of tracks- the first, the single poison vine, which has a groove and a blistering chorus. She’s also on another song that’s a psychedelic funk track: the way it’s gotta be (oh yeah). Songs like Teardrops or Birds Heading South- we’ve tried to capture that classic, slightly
Wistful theme- whereas the weight of the world just rocks out. There’s also a little acoustic track to break it all up called the devil and the deep, which is a favourite of mine. We recorded the album over in Spain at space mountain, Youth’s studio, way up in the mountains, just as the almond trees were in blossom- which I took as a good omen for the session”.

Building logically on the natural development of their two previous collections, this time the fearless threesome can be heard roaming further than ever before into the uncharted hinterlands where the deep jazz tradition of the classic tenor trio format, laden with melody and swing, ventures into the untamed regions of free improvisation. At the heart of the band is the unmistakable beat of drummer Spike Wells, who this year celebrates his 80th birthday and the 65th year of his extraordinary career at the forefront of jazz in the UK, providing the driving force behind everyone from homegrown heroes Tubby Hayes to Bobby Wellins to visitors like Stan Getz and Roland Kirk and countless others. Riding at his side to represent the current Londonbased millennial cohort is saxophonist Riley Stone- Lonergan , whose intriguing compositions and boundless creative imagination as an improvisor continue to add to his burgeoning reputation.

Representing the diversity of tastes and interests and uncompromising creative stance typical of Gen X, big- toned bassist Eddie Myer rounds up the posse. The trio initially got together through their mutual love of Sonny Rollins' touring pianoless trios of the late 50s and early 60s, but soon found themselves expanding their repertoire to explore the rich and varied territory opened up by their unique combination of individual tastes. This album is their most coherent, wide-ranging and adventurous set of recordings yet. From Ayler to Strayhorn, from be-bop to calypso, from cowboy movie to free-jazz shootout, there's a surprise at every turn, but always delivered with total sincerity and conviction and a driving desire to bring the audience with them every step of the way. 'The Rule of Three' is a bold and confident statement of intent from a real long-term project that's as invested in the music's future as it is inspired by and reverent of its past.

Terror Squad is the second album by Danish thrash metal band Artillery. It was originally released in 1987 via Neat Records. It's the successor of Fear of Tomorrow (MOVLP3190) and was later followed by their most succesfull album By Inheritance (MOVLP3935).Terror Squad; the opening track "The Challenge" immediatly kicks your door down and from there on their thrash metal is aggressive, relentless, and executed with deadly precision. At the time it lacked commercial success, but it made up for it with sheer musical intensity. The album's combination of blistering riffs, thunderous drumming, and commanding vocals still leaves its mark decades later. When Artillery hits, it leaves a crater Fun fact: Metal Hammer included the album cover on their list of "50 most hilariously ugly rock and metal album covers ever" Terror Squad is now available as a limited numbered edition of 1000 copies on red translucent coloured vinyl and contains an insert.

On Stage is a live album by legendary American singer Elvis Presley. Recorded in Las Vegas in 1969-1970, the album was a follow-up to From Memphis to Vegas/From Vegas to Memphis. Unlike its predecessor, On Stage is focused on songs that weren’t associated with Elvis previously. The album features the worldwide number one single “The Wonder of You”, written by Baker Knight and originally recorded by Vince Edwards. Some other notable songs include “Sweet Caroline” (Neil Diamond), “Yesterday” (The Beatles) and “Proud Mary” (Creedence Clearwater Revival). “See See Rider” would eventually become Elvis’ frequent opening songs during concerts up until his last show. The album brings Elvis’ charismatic stage presence straight to your living room, and contains nothing but classic songs to sing along to. Pressed on transparent red vinyl, this record is available as a limited edition of 2500 individually numbered copies.

From the visionary minds of Snarky Puppy’s Robert “Sput” Searight and Nate Werth, Ghost-Note’s explosive debut "Fortified" finally arrives on vinyl. This percussive tour de force seamlessly fuses funk, hip-hop, jazz and world rhythms into a captivating journey of rhythm and groove.
Featuring an all-star lineup of iconic players—including Shaun Martin, Mark Lettieri, and the legendary MonoNeon—this album is packed with tight grooves, deep tribal pulses, searing horn lines, and fearless synth wizardry.
More than just an album, Ghost-Note’s debut "Fortified" bridges classic funk traditions with cutting-edge jazz innovation. It’s a celebration of rhythm, culture, and community. Whether you drop the needle to ignite the dance floor or to get lost in its rich, layered textures, this LP is destined to become a crate-digger’s gem and a cornerstone for fans of modern funk-jazz.

Blue Yolk Vinyl

Ihr 2025 erscheinendes Album »The Darkest Place I've Ever Been« verspricht schon im Voraus, ihr bisher ehrgeizigstes und persönlichstes Projekt zu werden. Es taucht tiefer in die Selbstbeobachtung ein und behält dabei die rohe Intensität bei, die die Fans lieben gelernt haben. Mit unermüdlichen Tourneen über Kontinente und Auftritten bei großen Festivals haben sich Landmvrks einen Ruf für ihre rasanten Live- Shows aufgebaut, die das Publikum atemlos zurücklassen. Während sie sich auf dieses nächste Kapitel vorbereiten, beweisen sie weiterhin, warum sie eine treibende Kraft im modernen Metalcore sind, und führen ihr Genre in mutiges und unerforschtes Terrain.

Whitelands' second album Sunlight Echoes builds on their elemental debut - that won them fans from Slowdive to David Jonsson - with a more expansive sound that takes them out of the shoegaze shadows to somewhere bigger, better and brighter. Produced by long-time collaborator Ian Flynn and mixed by double Grammy Award-winner Eduardo De La Paz (New Order, The Horrors, The Charlatans, The KVB, Drug Store Romeos), there are soaring string arrangements (by Iskra Strings) and Lush guest vocals from labelmate Emma Anderson. "We're coming back with a lot more maturity and realness," says singer and guitarist Etienne Quartey-Papafio of their step up. "It shows in how much more emotional our music has become." With maturity comes a newfound confidence, so not only are there stunning melodies everywhere, but Etienne's vocals are front and centre throughout. "It's been really cool to watch Etienne push through boundaries," adds bassist Vanessa Govinden. "I like the direction we've taken on this album. We're taking a risk. It's half and half." She's right - the first half of the album has an almost Britpop breeziness, that belies the serious subject matter that inspired the songs, while the second half gets heavier, in all senses, with added grit and gravitas."This album is one of enduring," says Etienne of the overarching theme. "We had family that were dying, I was broke, there was a shortage of my ADHD medication_ I was suffering, but not just me, everyone around me was too." "The last two years have been challenging," concludes Vanessa. "The universe really fucked with us. That's why there are themes of loss, disconnection, fragmentation and yearning, but on the other side there is also unity and hope." Sunlight Echoes is a poetic, melodic statement of intent from this formidable band. Whitelands have fought back and triumphed in the face of adversity.

Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).

"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.

At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.

In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.

The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.

"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."

The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.

Berlin-based Swiss vocalist Lucia Cadotsch returns with her celebrated Speak Low trio for their second album, released by We Jazz Records on 27 Nov. "Speak Low II" features Cadotsch on voice, Otis Sandsjö on tenor saxophone and Petter Eldh on double bass, and introduces guest artists Kit Downes on hammond organ and Lucy Railton on cello. "Speak Low II" picks up where their genre-bending and forward-looking debut album left off, introducing new shades into the band's sound and also diving even deeper into the songs they tackle. What makes Speak Low special is their approach to really get to the heart of each composition with seemingly minimal means, yet generating a sound which is both instantly recognisable and remarkably impactful.

"Speak Low II" comes almost five years after the band's lauded debut, and proves the depth of the band's approach right from the start. At the core of the trio's operation is an openness to their love of the music and to their surrounding scene(s). The album comes across as a unified collection of songs made truly theirs and found through listening to records and spending time with their musician friends, often on the road. The highly evolved band sound and the equality of the musicians shines through on the Speak Low sound, as the group uses their 100+ performances together as a vehicle for the development of their music.

"The first album was filled with pretty famous songs, but that was actually not at all intentional" explains Cadotsch. "Those were just my favourite songs of the previous 10 years and we started working on making them ours, musically. We were playing around with concepts for the second album, but soon realised that we just needed to find the right songs and adapt them organically, which comes through in how we interact with the songs and each other. This time around, we wanted to dig deeper and made finished arrangements of around 20 tracks, half of which we ditched in the process. The ones that made the cut have been through a lot and they just felt right for us."

In a way, the Speak Low approach could be described as archaeological. Three music lovers connecting with songs found at various sources, readily throwing away any ideas that don't seem natural to them, and hanging on tight to the ones that do.

Turns out there is a concept to "Speak Low II". It's the band itself, their shared musical development and their love of music.

"Speak Low II" will be available on We Jazz Records on vinyl (PURPLE and BLACK editions), CD and digitally. The vinyl versions come with a heavy duty tip-on sleeve and a printed inner sleeve. CD in digisleeve with no breaking plastic parts.

After two decades in the experimental music scenes of New York and Western Massachusetts, Wednesday Knudsen might be known equally as a sought-after improv collaborator and the vocalist and guitarist for the beloved long-running psych band Pigeons or, more recently, as a member of the New England psych-folk ensemble Stella Kola. Though her forthcoming release, Atrium, is Knudsen’s fifth solo album, it is both her first solo work to appear on vinyl and a double LP, marking her rich recording history with a stunning masterwork. Channeling the “atmosphere of presence” alongside the legions of Éliane Radigue, Hiroshi Yoshimura, and Joanna Brouk, on Atrium, Knudsen plays it all—alto saxophone, flute, guitar, synth, piano, autoharp, bass guitar, and vocals. The collected compositions are studies in the tones, timbres, and pacing particular to the woodland environment of the Taconic Mountains where she lives. Atrium’s tracks are sculptural rather than ambient, with a release into the gorgeous hold of gravity that insists we don’t escape or drift away. This is music for remembering time. This is music that reinforces the power of art as resistance. The songs on Atrium distill our attention in a language that Knudsen calls “the opening of the heart,” reminding us that subsistence and community results from our own actions and engagement with our exterior. Atrium is a refuge, vital in our current moment and imbued with resonant power for our future.

Clear Purple Marble Vinyl

Stone Machine Electric return with ‘FACES’, a deep and immersive exploration of their signature Doom Jazz sound, where slow burning grooves, atmospheric distortion and meditative heaviness merge into a single hypnotic flow.

The Texas trio expand the boundaries of doom, stoner and psychedelic rock with six expansive tracks shaped by textured guitars, fluid basslines and ritualistic drumming, creating a sense of weight and space that pulls the listener into a raw and introspective dimension.

‘FACES’ is an album built on tension and release, repetition and movement, crafted for those who seek heavy music that pushes beyond the traditional framework and into a more spiritual and experimental territory.

LP pressed onto Clear Purple Marble vinyl.

Essential for fans of Monolord, YOB, Shrinebuilder, Om and early Earth.

SPIRIT!, the third LP from HUNNY, is about embracing the weird-an album born from uncertainty and built on instinct. It"s a testament to breaking free, starting over, and tuning out the noise. Now the sole project of longtime frontman Jason Yarger, HUNNY has shed its past shape to become something more fully itself. SPIRIT! doesn"t reinvent the wheel so much as keep it spinning forward. Across 15 tracks, the album-co-produced by Yarger and former bassist Kevin Grimmett with drums by former drummer Joey Anderson-leans into the sounds that have always lit HUNNY"s fuse: hooky post-punk, gleaming synths, and shout-along choruses praised by Alternative Press, Kerrang!, and Rock Sound. But it also pushes further-into abstraction, playfulness, and freedom. It"s the latest turn for HUNNY, a band long celebrated for shapeshifting through genres and decades with style on fan-favorite releases like Yes. Yes. Yes. Yes. Yes. (2019) and new planet heaven (2023)-always evolving, yet unmistakably themselves. That dynamic energy carries into their high-voltage live show, sharpened on tours with Joywave, Mom Jeans, Waterparks, and State Champs.

,Warmer Than Gold", das neue Album von Ben Cooks Projekt GUV, ist ein Dokument eines Lebens in der Musik, ein kritischer und feierlicher Reisebericht, ein Versuch, die homogenen und statusbesessenen Zustände der heutigen Welt durch den Einsatz von großen Beats, großen Refrains und Verzerrung zu überwinden. Es ist ein Album, das unterwegs entstanden ist und überall Sinn ergibt. Vor allem aber leitet es mit seiner erweiterten Klangpalette und der Betonung von Breakbeats eine neue Ära eines Künstlers ein, der nie aufgehört hat, sich weiterzuentwickeln. Cook, der zwischen Toronto und England aufgewachsen ist, verfügt über eine angloamerikanische Authentizität, die ihn von der wachsenden Schar von Hardcore-Kids mit Windjacken und Pilzköpfen unterscheidet. Zwei der ersten Konzerte, die er im Alter von 12 Jahren besuchte, waren Oasis und Neil Young. Nach dem Konzert, erinnert er sich, dachte er: ,Ja, ich werde für immer Musik machen." Kurz nachdem er Hardcore und Punk für sich entdeckt hatte, ging es los, zuerst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up, die er 2006 gründete. Er war ein Teil der Underground-Szene, die sich in den 90er Jahren in Kanada Kurz darauf entdeckte er Hardcore und Punk, und schon ging es los, zunächst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up von 2007 bis 2021 - und währenddessen baute er sich ein umfangreiches und beeindruckendes Repertoire an Soloarbeiten auf, zunächst als Young Governor, dann als Young Guv und jetzt einfach als GUV (,Ich bin nicht mehr so jung, Drei-Buchstaben-Bandnamen sind cool, und ich bin es leid, mit einem Rapper verwechselt zu werden", bemerkt Cook). Warmer Than Gold ist die großformatige Krönung all dieser Stränge. Die Musik des Albums behält den eingängigen Geist von Cooks früheren Alben bei, wie den gefeierten Doppelalben GUVI & II und GUV III & IV, fügt jedoch ein ausgeprägtes rhythmisches Element hinzu, das von klassischem Madchester und Britpop geprägt ist. Es verschmiert und schwebt, es fühlt sich an, als würde man um Mitternacht die Autobahn M1 entlangrasen, angetrieben von einer Dringlichkeit, die in Cooks anderen Werken nicht zu finden ist. Was jedoch von diesen früheren Power-Pop-Veröffentlichungen beibehalten wurde, ist das ausgeprägte Gespür des Künstlers für eingängige Melodien. In Kombination mit einer neuen Produktionssensibilität, die von den Beastie Boys über The Field Mice bis hin zu Primal Scream inspiriert ist, gelingt es Cook, die zentralen lyrischen Themen des Projekts musikalisch zu untermalen: die globale Verflachung der Kultur, das Vergehen der Zeit in der materiellen Welt und die Rolle des Künstlers in all dem.

,Warmer Than Gold", das neue Album von Ben Cooks Projekt GUV, ist ein Dokument eines Lebens in der Musik, ein kritischer und feierlicher Reisebericht, ein Versuch, die homogenen und statusbesessenen Zustände der heutigen Welt durch den Einsatz von großen Beats, großen Refrains und Verzerrung zu überwinden. Es ist ein Album, das unterwegs entstanden ist und überall Sinn ergibt. Vor allem aber leitet es mit seiner erweiterten Klangpalette und der Betonung von Breakbeats eine neue Ära eines Künstlers ein, der nie aufgehört hat, sich weiterzuentwickeln. Cook, der zwischen Toronto und England aufgewachsen ist, verfügt über eine angloamerikanische Authentizität, die ihn von der wachsenden Schar von Hardcore-Kids mit Windjacken und Pilzköpfen unterscheidet. Zwei der ersten Konzerte, die er im Alter von 12 Jahren besuchte, waren Oasis und Neil Young. Nach dem Konzert, erinnert er sich, dachte er: ,Ja, ich werde für immer Musik machen." Kurz nachdem er Hardcore und Punk für sich entdeckt hatte, ging es los, zuerst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up, die er 2006 gründete. Er war ein Teil der Underground-Szene, die sich in den 90er Jahren in Kanada Kurz darauf entdeckte er Hardcore und Punk, und schon ging es los, zunächst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up von 2007 bis 2021 - und währenddessen baute er sich ein umfangreiches und beeindruckendes Repertoire an Soloarbeiten auf, zunächst als Young Governor, dann als Young Guv und jetzt einfach als GUV (,Ich bin nicht mehr so jung, Drei-Buchstaben-Bandnamen sind cool, und ich bin es leid, mit einem Rapper verwechselt zu werden", bemerkt Cook). Warmer Than Gold ist die großformatige Krönung all dieser Stränge. Die Musik des Albums behält den eingängigen Geist von Cooks früheren Alben bei, wie den gefeierten Doppelalben GUVI & II und GUV III & IV, fügt jedoch ein ausgeprägtes rhythmisches Element hinzu, das von klassischem Madchester und Britpop geprägt ist. Es verschmiert und schwebt, es fühlt sich an, als würde man um Mitternacht die Autobahn M1 entlangrasen, angetrieben von einer Dringlichkeit, die in Cooks anderen Werken nicht zu finden ist. Was jedoch von diesen früheren Power-Pop-Veröffentlichungen beibehalten wurde, ist das ausgeprägte Gespür des Künstlers für eingängige Melodien. In Kombination mit einer neuen Produktionssensibilität, die von den Beastie Boys über The Field Mice bis hin zu Primal Scream inspiriert ist, gelingt es Cook, die zentralen lyrischen Themen des Projekts musikalisch zu untermalen: die globale Verflachung der Kultur, das Vergehen der Zeit in der materiellen Welt und die Rolle des Künstlers in all dem.

Here, Flavien departs from his usual creative process to embrace collaboration—because plouf! (Léviathan) is also the story of a dive, his first collective adventure with musicians he had always dreamed of working with: Michelle Blades (guitar), Kiala Ogawa (keys), Akemi Fujimori (bass), Cédric Laban (drums), and Thibaud Merle (winds).



Reworking these songs is a way of revisiting forgotten musical landscapes, shedding new light on them with a different perspective. It’s about transforming a solitary electronic record into a collective piece by exploring new textures and instrumental approaches.



With this album, Flavien Berger uses his early tracks as raw material—as if the 2015 Léviathan were now a kind of demo from which to extract the essence and create something entirely new. The project, like the music that drives it, is rooted in the idea of reinvention.



The result is a fresh sonic exploration where Léviathan’s tracks take on new forms—some staying true to their original versions, others completely reimagined, blending past and present.

Nacho Marco drops Colors in Dub Vol.1—deep house soaked in warm analog dub. From the hypnotic “Midnight Blue” and its Satoshi Tomiie remix to the raw pulse of “Bumblebee Yellow” and “Electric Green,” this wax rides late-night frequencies straight from Valencia to Paris.

DJ Feedbacks :


Francois Kevorkian (Wave) : Love the Satoshi mix
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Travis Kirschbaum (Warehouse Preservation Society) : Loving this. Especially Midnight Blue!
Sascha Dive : Midnight Blue for me!!
Brothers' Vibe (Luv4Wax) : Super ep, great works!!
Radio Slave (Rekids) : Another superb ep from Phonogramme and Satoshi's mix is great.
Giles Smith : "midnight blue" is nice
Alexkid (Rawax / FUSE / NG Trax) : Totally my vibe. <3
Aleqs Notal : Yes !!
Italojohnson (Italojohnson) : Track 1 for me!
Ben Sims : Now downloading... will check asap!
Okain (Talman / Infuse / Pleasure Zone) : Electric Green is dope!
Satoshi Tomiie (Abstract Architecture) : Receiving great feedback from the dance floor!
Steffi (Dolly) : lovely release!!
Laurent Garnier : Cool tracks
DJ Bone (FURTHER) : Electric Green and Satoshi Tomiie remix work for me.
Harri (Sub Club) : lovely stuff, will play and support
Rob Pearson (Evasive Records / Sine 102.6fm) : lovely - right up my street, cheers ;-)
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Solid E.P. current fave Electric Green
Jorkes (Freeride Millenium) : lovely, thanks so much. xo
Kassian (Phonica White / Heist Recordings) : wicked
Jaye Ward (Dalston Super Store / Netil Radio) : massive quality as ever!! super deep and pulsing gear, electric green is ace! thx
Tim Sweeney (Beats In Space) : Sounds great
Chloe Caillet (Smile Records) : love this!
Stevie Cox (Sub Club) : really lush, thank you !
Raresh (ar:pi:ar) : thanks
Ame (Innervisions) : thanks
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Saoirse (Body Movements) : Super nice dubby vibes
Amotik : Very nice :)
Kai Alce (Real Soon) : Satoshi remix is hot!
Domenic Cappello (Subclub) : nice dubby house
Cee ElAssaad (ENSOULED) : Just the way I like it! dubby and groovy.
Mike Shannon (Cynosure) : Excellent work here from Valencia's finest!

Whispering Signals unveils Schweres Wasser, a new sub-label guided by Thorsten Hoffmann and Markus Offermann, rooted in Aachen’s influential techno scene. Their devotion to dub-techno’s stripped, elemental aesthetics shapes the first release: three dub-drenched, slow, and deeply absorbing tracks recorded more than a decade ago yet still sounding remarkably current. Reworks by long-time friends .VRIL & Danieli underscore the material’s enduring precision and timeless sound.

Childish Gambino is (and isn't) Donald Glover, a recording artist, writer, actor, director, producer and comic who was gifted his alias by an online Wu Tang-Clan name-generator. Originally hailing from Stone Mountain, Georgia - his Mum was a daycare provider and his Dad a postal worker, where TV was banned in the house - Glover first entered the spotlight as a member of sketch-troupe Derrick Comedy, via a stint working on The Daily Show and the invitation to join the '30 Rock' writing staff by Tina Fey before he'd even graduated from NYU. A succession of mini-albums and mixtapes surrounded all of this, parallel to acting roles ranging from The Muppets to NBC's cult hit comedy 'Community'. It was 2011's debut album 'Camp' - his first since signing to Glassnote Records - which marked a breakthrough for Childish Gambino, whose music explores everything from identity, race, and technology to hip-hop culture, class, and family. Follow-up 'because the internet' went top 10 on the Billboard chart, was nominated for 2 Grammy Awards and further assimilated Gambino's multiple disciplines (it was accompanied, for instance, by two films and a standalone 72-page screenplay). Around this time - and between roles in HBO's 'Girls' and movies like 'The Martian' - Glover also announced that he was working on his own TV show: a comedy-drama which he would star in, write and direct, 'Atlanta' premiered on FX this autumn to significant critical acclaim (it's already been described as "Twin Peaks with rappers"). The show was launched alongside the third Childish Gambino, 'Awaken, My Love!', this summer at 'Pharos', a series of secretive, audio-visual live performances which took place in a custom-designed dome in the middle of the desert in Joshua Tree. A second series of 'Atlanta' has already been commissioned, whilst Glover has recently been cast in the forthcoming Spider Man movie and has also been confirmed to play the iconic role of Lando Calrissian in the next Star Wars film (a Han Solo spin-off). His most vital artistic statement to date, Childish Gambino is expected to unveil further music from 'Awaken, My Love!' in the coming weeks. 

Mathias Kaden returns to Rekids with the 'Circulate' EP, featuring a William Kiss Remix.

Mathias Kaden is back on Rekids after 2022’s ‘Blackbird’ EP, this time with the four-track ‘Circulate’ EP featuring a remix from the hotly tipped William Kiss. Kaden’s ‘Freedom’ kicks things off with stripped-back machine rhythm, tasteful stab melodies and a deeply satisfying low-end groove before an iconic gospel vocal joins in. Title track ‘Circulate’ is another infectious low-slung crawler with crunchy synth hits and a hypnotic and classy vibe that will get the dancefloor moving.

On the flip, William Kiss remixes Mathias Kaden’s ‘Freedom’ following his recent EP on Rekids' sibling label RSPX and the release of his collaborative project, Not Without Friends, with Luke Alessi and Jordan Brando on RÜFÜS DU SOL’s Rose Avenue. Kiss turns the track into a pumping peak-time cut with additional percussion and plenty of his signature Jackin’
flavour. Closing out the record, Kaden’s ‘Twisting Shadows’ introduces an acidic bassline and warped, dubbed-out vocals before dropping into an energetic trip.

Active since the mid-90s, Mathias Kaden appeared on Radio Slave’s Rekids for the first time in 2019 for ‘Liberate Drums’. He now returns to the label with the ‘Circulate’ EP, adding to his versatile discography on labels like Dyinamic and Vakant while also remixing work by Matthias Tanzmann, Onur Özer, Anja Schneider, and Trentemöller.

The second release from the Époque label is a major one, featuring Niels Van Gogh’s 1998 hit single "Pulverturm”, which earned gold certifications in Belgium and South Africa and climbed into the Top 10 in the charts of many European and worldwide countries. The esteemed Brazilian techno artist ANNA delivers a rework, adding her signature touch to this iconic track.

"In 2023, while preparing for my Tomorrowland set, I was exploring iconic tracks that resonated in Belgium and could be perfect for an edit. I chose 'Pulverturm' for its powerful vocals and strong melody”, says ANNA. “What started as a quick edit turned into a labour of love, and I was so happy with the outcome that I wanted to try to release it as an official rework. We were in conversation with Niels Van Gogh when I sent the track to Charlotte de Witte, who loved it. She introduced me to Époque, and we decided to release the rework together. It's been a year since I crafted this rework, and I've never had so many artists from various genres, Techno, House, Melodic Techno, Tech House, Hard Techno, requesting a track like they did with my rework of 'Pulverturm.' It's incredibly exciting to finally share it with the world!"

Charlotte de Witte adds: “I fell in love with ANNA's masterfully crafted touch on ‘Pulverturm’ the moment she sent it to me. Being a bit of a sucker for legendary tracks that have left a deep mark on the history of electronic music myself, this one just hits all the right spots. It's been a long and challenging road to make it happen but I'm incredibly proud and honoured to have Niels Van Gogh's timeless classic ‘Pulverturm’, seen through ANNA's eyes, for the second release of Époque. A label we founded earlier this year to honour nightlife, club culture and dancefloor legacies.”

The original “Pulverturm” is a twitchy and hypnotic cut with trance infused synths over the top of the rumbling drums. There is progressive energy in the melodies and plenty of emotion in the vocals. ANNA’s version is driving and emotive with sensual vocals and bright, trance infused chords over rolling drums that bring the power.

About Époque:

Époque is a Belgian label and nightlife archive created by KNTXT and run by KNTXT and Charlotte de Witte. In collaboration with clubs and labels, past and present, Époque captures the spirit and lifestyle of our bygone discotheque culture. The Époque label reworks iconic tracks, brings back dance classics and uses club memories and aesthetics to translate these legendary compositions into unique new releases produced by today’s leading electronic music talent. Époque also designs high quality merch and party gear as an homage to the global club scene.

2026 Repress

We are happy to welcome LA re-edit crew Boogie Down Edits first up is their De La Soul's reworks, re-inventing some of their best-loved hip-hop cuts as party-starting house jams. Wisely, they've chosen to retain many of the key musical ingredients of their source material, subtly shifting the grooves to aid slick mixing and peak-time joy.

We kick off with the loose-limbed hip-house punchiness of 'Saturday’ then move into a more jackin’ bumpy groove on the classic ‘'Me Myself and I'

On the Flip we have a bass heavy Hip House style rework of ‘Buddy’ rounding off the package with a housed up groovy vocoder laden version of ‘ Say No Go’.

A great start from the BDE crew watch out for more..
Limited Vinyl pressing.

Beijinho do Brasil announce their second release with the highly anticipated follow-up from LA-based producer and multi-instrumentalist James Matthew Seven, featuring guest vocals on the A-side by Rio de Janeiro's Fabio Santanna.

Recorded in a small studio on the beach in Oaxaca, Mexico, "Feels Good, Do It" brings to mind a lost recording from Marcos Valle's time with Leon Ware. Funky and soulful with warm Fender Rhodes and a horn section reminiscent of Banda Black Rio, the tune is a breezy, mid-tempo ode to embracing life's pleasures. Originally with vocals in English, the track was translated and re-recorded in Rio de Janeiro by Fabio Santanna. Fabio has a long-established reputation in Brazil as a torchbearer of modern funk and boogie, continuing in the lineage of artists like Robson Jorge and Lincoln Olivetti. But with his releases on labels like Onda Boa and Dippin' Records (which sold out nearly instantly), his international reputation is steadily growing. He has a new 7" due out on Dippin' Records on October 10th, pushing his name to the forefront once again, right on time to generate more buzz for our next 45!

About the flip side, "Ilha Racional" (a nod to Tim Maia's Racional era):
I had this dream where I was in a dive bar discotheque somewhere in the Caribbean. A thick cloud of smoke hung in the air as the selector dropped this bass-heavy bop that had the whole crowd vibing. Then, out of nowhere, in walked Tim Maia with a bag of mushrooms. He proceeded to grab the mic and preach about this alien world of rational energy. Shit was bugged out. When I woke up, James Matthew Seven had sent me this track to check out.

Where maturity evolves into a signature sound, the personal and musical journey becomes one. Chromadelia by Italian producer and live artist Ness refines two decades of precision and craft. It is techno reduced to its core logic - direct, functional, and self-aware. Ness' process moves from spontaneous jams to detailed sculpting, a continuous sequence where improvisation gradually becomes structure. Randomness plays a role, but only as the foundation for his architecture. The result is music that feels both deliberate and fluid, shaped by intuition and refined through years of practice. Minimalism here isn't merely an aesthetic choice, but an organic conclusion -- drawn from experience and the trust that less can truly reveal more. The four tracks on Chromadelia extend this clarity onto the dance floor: sharp, beepy, metallic, rhythmically charged, yet open enough to let each element breathe. Introspection and club-functionality coexist seamlessly, each amplifying the other. In Chromadelia, Ness demonstrates that every tone, every pulse serves a purpose, offering a clear reflection of an artist who has learned to let precision speak louder than complexity.

Delve into the quirky and psych-tinged world of Brazilian pianist, composer and multi-instrumentalist Mauricio Fleury.

With more than a hint to Brazilian jazz greats like Azymuth, Deodato and CTI Records in their prime, Revoada is a groove based jazz-framed record, primed with other transitory musical vignettes which touches on Turkish psych and soul-jazz born out of the 70's film soundtrack genre.

Revoada is a 6 track album and storyboard of Mauricio's migration and travels through Brazil's geographical oddities , its rural and urban enclaves. Recorded in Brazil, it's the result of numerous treks through funky flea markets, soaking up old vinyls and vintage cultural artefacts combined with a new life led in Berlin since 2022.

Mauricio, as well as a founding member of Bixiga 70 (google Brazilian Afrobeat pioneers), a band he fronted for over 12 years, is also an in-demand collaborator and musician who as a pianist, guitarist and even percussionist has shared stages and studios with the likes of Brazilian greats including Gal Costa, Emicida, Lucas Santtana, João Donato and Liniker.

In 2007 he had a life-changing experience meeting Tony Allen, at the Red Bull Music Academy. After hanging out, chatting music and life, Tony insisted to Mauricio to participate with Tony in a jam with blacktronica and soulful house music pioneers Ron Trent, Theo Parrish and Steve Spacek. Mauricio sums it up, "From that moment on, I was never afraid to collaborate musically with anyone, no matter who's playing. It also brought me to researching the connection between Brazilian music and Afrobeat which is something that still means the world to me".

Another unforgettable session Mauricio undertook happened alongside João Donato and Marcos Valle, playing Donato's classic album Quem É Quem, live, a record seen as a blueprint for second generation bossa nova. Mauricio has worked with Gal Costa on two albums, Estratosférica Ao Vivo and her last studio album A Pele do Futuro. Fabio Sá and Vitor Cabral (bassist and drummer on Revoada) were playing with Gal at her last concerts, including in Berlin in 2022 before she passed.

In contemporary music, Mauricio was part of Toy Selectah and Mexican Institute of Sound's Compass project. He's worked with Colombia's Los Pirañas and has even recorded a mysterious and unreleased album with Quantic.

Revoada shows signature traces of Thelonious Monk, Ramsey Lewis' swinging soul sound, Deodato's drama, and styles from further afield, spreading into Turkish psych and Ethiopian jazz, when the time is right. Each track, led always by Mauricio playing multiple instruments with a choice selection of guests and core members on bass and drums, highlights Fleury's meticulous approach to finding the right timbre, utilising his arsenal of organs and effects pedals to set the mood, taking the listener to a specific place or memory that has shaped him.

A vinyl DJ for over 25 years and someone who is immersed in digger and collector's culture, Mauricio places a lot of emphasis on the importance of the complimentary relationship between two artforms (DJ and composer/producer) in the sense of having a broad repertoire of musical knowledge, references and perhaps predictably, being a Brazilian, understanding the connection between rhythms. This is an impressive debut album that struts itself right into the runout groove.

CAY unveils his personal side on Another Life, a debut album rich in melancholic euphoria

The expressive, multi-faceted 10 tracker comes on Mind Against's HABITAT label in January 2026

Cologne-born producer CAY explores beyond the dancefloor with Another Life, a debut album that trades peak-time pressure for an ambitious and artful exploration of self. Far from being rooted in one genre, the record weaves his own honest vocals with a wide range of powerful rhythms that pull from progressive, broken beat, techno and trance.

For CAY, making music has always offered refuge and a place to calm his mind, process life’s chaos and channel personal experiences into sound. His journey started in the clubs of Cologne, in illegal forest raves and with trips to Berlin to soak up big room techno. His search for more purpose, away from mental demons and the darker side of the party lifestyle, led him to production. DJing followed after a push from his brother turned Manager, and while those experiences around Europe shaped his understanding of dance floor dynamics, he was never in a rush to release his early experiments.

Instead, CAY took private time to evolve into an accomplished artist with his own musical voice. Label heads Mind Against were so impressed when they heard what he sent to their demo inbox, they both reached out to collaborate, and he has since released on their label HABITAT.

With Another Life, he is making music that is multilayered and rich in narrative, rather than defined purely by big moments. It is drawn from years of writing, with more than 60 tracks whittled down to one concise, impactful statement. "There wasn't one big concept,” says CAY “but there was direction. It's a big risk for me, but I wanted to introduce people who like club music to something deeper. I want the music to say something real.”

Because of that, Another Life introduces CAY the vocalist. For the first time, he sings on several tracks. The subjects are real, whether that's an important friend, a moment with his girlfriend or, on 'Runaway', the thought of giving up and escaping everything. The lyrics are honest but often slightly oblique, so they invite your own readings rather than spelling everything out.

Sonically, the album moves between optimistic grandeur and introspective reality. It's cinematic but personal and bridges the gap between dancefloor drive and vulnerable storytelling. There is a grand scale to many of the tracks, with arching synths reaching and heavyhearted drums anchoring a groove: you'll dance, you'll cry, maybe both at the same time.

Another Life is the sound of a producer granting himself permission to sing, turn inwards and risk audience expectations. It’s intimate without being insular, club-capable without being confined, and a compelling first chapter for an artist who has spent years building toward this moment of truth.

In 2016, a year after the 50th entry in the long-running series, none other but the iconic Detroit artist, DJ and producer Moodymann stepped up to helm the next landmark edition of DJ-Kicks, his first ever multi-artist DJ mix compilation. Following !K7's 40 th anniversary, this classic DJ-Kicks mix is now being repressed on coke bottle clear vinyl.
Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.

Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard- to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house.

In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, his DJ-Kicks showcases the taste, skill, and soul of a dance music original.

It’s been over 20 years since Kenny Dixon Jr., better known as Moodymann, released Black Mahogani—an album rich in atmosphere and emotion, offering a quintessential journey through deep house, soul, and jazz. Timeless yet modern, it’s an immersive and emotionally resonant experience that reflects the singular character of Detroit’s deep musical heritage.

Originally released in 2004, Black Mahogani is arguably one of Moodymann’s most revered and sought-after works. It completes the puzzle laid out by his rare and elusive KDJ 12” releases from the mid to late '90s. With the help of Detroit legends like the late Amp Fiddler, Roberta Sweed, and Norma Jean Bell, Dixon infused his analog soundscapes and samples with a new organic warmth—expanding the deep house genre while simultaneously paying homage to 1970s soul and cinematic soundtracks.

Dixon’s masterful control of tension—knowing exactly when to hold back and when to let go—makes Black Mahogani an enduring masterpiece. It's not just a landmark in electronic music, but a definitive statement in 21st-century Black American music.

Repress!

Undoubtedly one of the most addictive records of 2017, CamelPhat & Elderbrook's 'Cola' has been a defining musical moment of the year. Growing exponentially since its release, the track has captivated tastemakers, DJs and clubbers alike, topping charts and blowing up worldwide to become a true modern anthem. Leading on from the success of the original and some heavyweight remixes, three of which hit the Beatport top ten - for the first time on vinyl, comes a remix package set to continue 'Cola's' dance floor domination.
Rising superstar Franky Rizardo's suitably heavyweight remix comes correct with a club-friendly update that elevates the unmissable vocal hook and bottoms out the breakdown. Dario D'Attis' vinyl exclusive mix continues the club feel with rolling grooves, teasing breakdowns and shuffling hi-hats in a remix which packs a punch, guaranteed to get people moving from the get-go. Mousse T. flips the track completely, bringing those Glitterbox vibes to Defected, taking 'Cola' to the next level and going straight to Traxsource #1 in the process.

High-definition audiophile pressing - 180g premium vinyl - the complete album plus bonus track from the same session, but not included on the original LP

This special edition presents the complete Grant Green LP 'Gooden's Corner' (1961) with an additional track recorded at the same session with saxophonist Ike Quebec joining the quartet on the seldom heard standard, Count Every Star by Bruno Coquatrix and Sammy Gallop. Grant Green - guitar Sonny Clark - piano Sam Jones - bass Louis Hayes - drums Ike Quebec - tenor sax (on 'Count Every Star' only) Rudy Van Gelder Studios, Englewood Cliffs, New Jersey, December 23, 1961. Original sessions recorded by Rudy Van Gelder & produced by Alfred Lion. "This is an album of real beauty and synergy between Green and pianist Sonny Clark, who along with Sam Jones on bass and Louis Hayes on drums rounds out the quartet. Green, an expert with standards, offers 'Moon River', 'What Is This Thing Called Love?', and 'On Green Dolphin Street'." - ****1/2 Michael Erlewine, All Music

A vinyl soundtrack for GQuuuuuuX (Geku Axe) is now available!

"Mobile Suit Gundam GQuuuuuuX" is a new Gundam series, a collaboration between Studio Khara, the creators of the "Evangelion" series,
and Sunrise, the creators of the Gundam series. The pre-release theatrical version was released in January of this year, becoming a huge hit,
grossing approximately 3.4 billion yen and attracting over 2.06 million viewers.
The TV broadcast began in April, and it became one of the most talked-about anime titles of the spring.
A vinyl record featuring a selection of the soundtrack from "Mobile Suit Gundam GQuuuuuuX," including the music used in the pre-release theatrical
version, is now available. The music was co-produced by Junsei Terui, known as a member of the bands "Haisui no Nasa" and "siraph" and
Masayuki Hasuo, also a member of "siraph," and composer of the anime "Jujutsu Kaisen" series and the live-action film "Showtime Seven"
The music, which includes pop, electronica, and minimal music that fits the worldview of the work, will allow you to experience a new "Gundam"
sound. The LP label side is colored vinyl (splatter disc) and it is a set of two discs!

Mit Secret Love legt die Londoner Band Dry Cleaning ihr bislang reifstes Werk vor. Das dritte Studioalbum, produziert von Cate Le Bon, ist eine konzentrierte Momentaufnahme der besonderen Chemie zwischen Florence Shaw, Tom Dowse, Nick Buxton und Lewis Maynard. Aus intensiven Sessions in Peckham, Chicago, Dublin und schließlich im Black Box Studio in Frankreich entstand ein Werk, das Vertrauen und Verletzlichkeit ins Zentrum stellt - die Bande zwischen den vier Musiker*innen ebenso wie das fragile Verhältnis zwischen Nähe und Manipulation in der Gesellschaft. Musikalisch schlägt Secret Love eine Brücke zwischen den paranoiden Untertönen des frühen US-Punks, dem coolen Strut der Stones, Stoner-Rock, No-Wave-Experimenten und zarten, fast pastoralen Gitarrenfiguren. Die Stücke atmen gleichermaßen Schärfe und Verspieltheit, immer getragen von Shaws unverwechselbarem Sprechgesang, der präzise auf die dynamischen Soundlandschaften ihrer Band reagiert. Damit knüpft sie an eine Tradition von Spoken-Word-Künstlerinnen wie Laurie Anderson an, erweitert sie aber um eine ganz eigene Mischung aus Absurdität, Empfindsamkeit und lakonischem Humor. Die erste Single "Hit My Head All Day" zeigt exemplarisch, wie Secret Love gesellschaftliche Themen - etwa Desinformation und Einflussnahme - mit persönlicher Unsicherheit und existenzieller Fragilität verknüpft. Doch trotz aller Schwere bleibt das Album von einer spielerischen Offenheit geprägt: Ideen wurden ausprobiert, verworfen, neu zusammengesetzt - bis ein Sound entstand, der gleichzeitig roh, elegant und unerwartet warm klingt. Secret Love ist ein Album über das Vertrauen - in Freundschaften, in Musik, in sich selbst - und über die Risiken, die damit verbunden sind. Es markiert für Dry Cleaning den Schritt zu einer Band, die ihre avantgardistische Energie zu einem unverwechselbaren Ausdruck verdichtet hat.

Yesterday it started to rain…

The smell of damp tarmac rising up through open windows, a smell which is uniquely evocative for us all depending on our individual histories: a suburban pavement, a school playground, a basketball court.
The rain cut through a band of low pressure that had been lying over the city for days, pinging rhythmically off metal, causing rolling tyres to hiss and spit.

The music that soundtracked this meteorological shift was the debut full length from Rain Text (Giuseppe Ielasi & Giovanni Civitenga), simply titled III. Scattered throughout the nameless eight tracks there are moments of low-end pressure relieved by the fizz and clatter of metallic rhythms; there is static, there is discord, there is release.

The individuals comprising Rain Text have a long history of manipulating sounds for evocative ends, Giuseppe Ielasi has been making music as one half of Bellows for many years, each album stretching and destroying their sound in beautiful increments. He has also released reliably inspirational music either solo or in collaboration for the likes of Editions Mego, Shelter Press and Faitiche. His sensitive ears are also in high demand as a mastering engineer. It is worth perusing the 800+ releases he has technical credits for on Discogs: from classics of the avant-garde to the freshest faces of the Swedish underground, the chances are some of your favourite albums are included.

Giovanni Civitenga helms the SKYAPNEA long-running NTS show. Joining him, you can enjoy the fruits of a lifetime of deep listening through shows that flit between the industrial and the devotional, a space that is fully explored on III.

The album was recorded quickly over three fertile days in Ielasi’s studio in Monza, but of course results like this can only be achieved at such a pace by spending a lifetime obsessing over the mechanics and possibilities of sound.

Those who are enamoured by the rain—who are returned by it to the surfaces, smells and sounds of a lost and idealised youth; who feel themselves restored—are known as ‘pluviophiles’. Their response to rain may well have a biological explanation: when rain hits tarmac negative ions are released into the air, which are thought to result in feelings of wellbeing and positivity. All the more reason, then, to return to the vivid ecosystem that Rain Text has so carefully cultivated for III."

Words by The Dengie Hundred – August 2024

For its 25th anniversary, Cocoon Recordings returns to its roots with an elaborate vinyl LP box set, marking the first part of a two-volume anniversary project. 25 Years Cocoon Recordings – Volume
One brings together exclusive contributions from international artists who have defined the sound and diversity of the label over the past two decades, complemented by fresh talents who are helping to shape its future.
Over the span of 25 years, Cocoon Recordings has created a catalog that now comprises hundreds of releases, 12-inches, albums, mix CDs, and iconic compilation box sets, always bridging past, present, and future. While firmly rooted in techno and house, the label has also provided space for electronica,
ambient, and other evolving genres.
25 Years Cocoon Recordings – Volume One is more than just a compilation. It is both a homage to the label’s history and a glimpse into what lies ahead. With exclusive tracks that embody the Cocoon sound in all its depth and complexity, this release marks a milestone in the legacy of one of electronic
music’s most influential labels, arguably the strongest compilation in Cocoon’s history. To mark this special occasion, Sven Väth’s label presents the first of two carefully curated volumes, uniting 15 exclusive tracks from international artists in celebration of nearly three decades of Cocoon
Recordings. The luxurious 5x12" box set features a spectral-reflective foil finish and includes contributions from renowned names such as Butch, Robag Wruhme, Josh Wink, Guy J, and Dino Lenny, alongside longtime companions of the label including Extrawelt, Harvey McKay, Johannes
Volk, and Raxon. New discoveries of recent years, Jonathan Kaspar and Riccardo De Polo, enrich the release in their own distinctive ways. The compilation is completed by the unmistakable talents of Damiano von Erckert, Fedele, and ja:ck, who provide the perfect conclusion to the first of two parts.
This release sets the stage for what's next: a daring diptych where musical voices emerge, shining with originality and passion, carrying the spirit forward. The story is just beginning. Something special is on the horizon. One can only wonder which artists will shine on the second chapter.