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The egyptian producer Saharty debuts with his first release on Impakto Records. Robotic vocoder vocals, 80's drums patterns, Italo/Valencia mix synths and basslines to create a complete EP that takes the best of the new and old school sound

Koinè is the new album by Pellegrino & Zodyaco, a record that explores the desire to escape by interpreting it as an act of emancipation, an aimless journey in search of creative freedom. The demonstration that escapism, when it is conscious, can bring us back to the heart of things. Inspired by Éloge de la fuite by Henri Laborit, the album embarks on a journey to discover a “common language” (Koinè), blending Neapolitan roots with a global and contemporary musical vision. It blends melodic traditions with disco, funk, jazz fusion, and world music, experimenting with vintage instruments, ethnic percussion, and Mediterranean atmospheres. Pellegrino, a pioneer of the “new school” Neapolitan sound, after 4 years since his last LP “Morphé” (2020) continues the path started with Zodyaco I (2018), painting an authentic portrait of modern Naples and celebrating musical contamination as a form of creative euphoria.

Big new release by Peter Van Hoesen! Continuing his exploration of intricate techno systems, their effect and direct perimeter of action, Peter van Hoesen turns in his newest four-track piece, ‘Prime Directive’: a fascinating dive into the artist’s shape-shifting headspace and inner creative chaos.

Fuelled on a furnace-hot mix of abstract-leaning immersion and hi-octane rhythmic thrust, ‘Prime Directive’ looks at contemporary techno from the angle of experimentation and intuitive abandon. The result comes in the form of four distinct movements, each carving out their own logic and associated behaviour out an endless pool of potentialities. Here comes chaology unfolding in all its unadulterated, visceral glory.

‘Definition by Absence’ breaks the trip in to the sound of a faux-random symphony: its train-like swing and fiery bass seesaw coalesce through an elliptic fluttering of sorts, iterative and not, patterns moving in and out of synchronicity as van Hoesen applies more or less pressure on both ends. All in gusty in-your-face-ness, ‘Variables Edit 1’ whirls and swirls like an ominous vengeance of nature; Its puncturing kicks and whistling menace set against stellar winds and rabid machinery on the prowl for its next victim.

An even more unsettling piece of disjointedly arrhythmic, anti-club music for the dance floor, ‘Prime Directive’ will have you zoning out like a bad dream, flush with metronome-faced monsters and molten clocks hanging from dead trees. ‘Morphology’ could be PVH’s attempt at giving his concepts a carnal carcass to hold onto. Here, rhythm becomes somewhat less erratic, offering his 360-degree vision more melodic surface and actual room for dispersion. One to keep the boundaries pushed and status-quo challenged, this is techno at its most entrancingly bold and fearless.

*This new four-track epic from Peter van Hoesen comes draped in a fine piece of artwork courtesy of Atact, and pressed according to our standards in 180g audiophile quality so you get to experience the Belgian master's chiselled sound design in all its glory.

Percussion mastermind Ploy arrives on Dekmantel with a double-pack of unbridled dancefloor heat that sees him reconnecting with his house roots.

Before he made a striking breakthrough as Ploy with wayward broken techno for Hessle Audio and Timedance, Samuel Smith's first releases as Samuel were leftfield house excursions. On this release for Dekmantel he wanted to reflect on a decade of releasing music and the many high-impact dancefloors he's shared with the label, from Selectors to De School, over the years.

The common denominator across these eight tracks is no-nonsense house, offering up grooves that will serve a DJ exactly what they want in the mix. At the same time, Ploy doesn't dilute the distinctive edge of his sound, from the abundance of perfectly balanced percussion to the nagging hooks of an off-key synth line dropped at just the right moment. Wry samples inject the mischievous humour he's always creeping into his craft. This is where dancefloor magic is nurtured, hitting the sweet spot between rock solid reliability and the wild card energy that brings a heads-down set to life.

From 'Admirer's big room peaks to 'It's Later Than You Think's cosmic incantations, this is the sound of Ploy showing exactly what it takes to make laser-focused club bombs without losing one iota of his inimitable style.

Art Longo, multi-instrumentalist and composer, has just released your next favourite album. Dwelling in the self-selected confines of a humble home recording studio for years, cooking up psychotropical pop hits heavily influenced by the late eighties music culture and dub.

The album, Echowah Island, in its entirety manifests a soundscape drenched in orange sunsets and cool breezes. The production, smothered in spring reverbs, space echo delays and wah wah (Echo + Wah), always grounded by the satisfying chugging rhythms of various old drum machines.

It is a creative endeavour and prosperous collaboration alongside Claudia Jonas, whose airy mysterious voice brings to mind the classic french femme fatale singers of the sixties. Her lyrics, almost kaleidoscopic in nature paints a nostalgic, rose-tinted dreamworld but never fails to challenge the listeners imagination and sense of reality.

For their second album 'The Foel Tower', Quade holed up in an old stone barn in the cradle of a Welsh mountain valley.
The valley was a stark and windswept backdrop with little daylight, as the band would huddle around crackling fires each evening. “There was very much a feeling of being on the complete fringes of society,” the band says. “The last vestiges of settlement before the unrelenting barren moors that loomed over us.”
It was an environment that would shape the band – a Bristol four piece made up of Barney Matthews, Leo Fini, Matt Griffiths and Tom Connolly – and the record they have made. It’s an album that is as dreamy as it is melancholic, and as quiet and tender as it is forceful and potent – gliding across genres like winds blowing over those wide-spanning Welsh hills – to arrive at something the band half-jokingly, yet somewhat accurately, describe as “doomer sad boy, ambient-dub, folk, experimental post-rock.”

Quade is a band but it’s also a very close-knit group that have been friends since childhood who use this musical vehicle for interpersonal explorations and connections. “We’ve individually experienced a lot of difficulty over the last several years and Quade has represented a space to shelter from these,” the band says. “This means we often communicate extensively with each other about the issues affecting us individually and collectively. These conversations and concerns are central to The Foel Tower.”

In many ways, the making of this record – or any Quade record – goes way deeper than the simple writing, construction and recording of music. It is a profoundly deep and meaningful experience. “A key theme of the album relates to why we connect with specific places in the way that we do,” the group says. “We often remove ourselves to isolated valleys, sheltered from some of the painful personal struggles that we have experienced as a band. These become spaces in which we collectively purge ourselves of some of these difficulties hoping to make Quade a physical and emotional place of solace. This album celebrates these places that we’ve been able to retreat to and recuperate.”

It is a deep, dense record that is stuffed with musical, cinematic and literary influences – from Ursula La Guin and Cormac MacCarthy through to RS Thomas and Yeats – but despite the heavy, introspective and anxious nature of some of the material, it is also a record that is remarkably deft, agile and considered.

Made with producer Jack Ogborne and mixer Larry ‘Bruce’ McCarthy, there is a pleasing duality to the final sound of the record. One that feels fragile and intimate but also powerful and forceful, as introspective as it is expansive, and a record that is as detailed and textured as it is wide open and spacious.

The album title also pays homage to the place that shaped it so greatly. Within this remote Welsh valley stands the Foel Tower, a stone structure filled with valves and cylinders that can raise and lower the level of the reservoir to draw off water. Which it can then send as far as 70 miles to Birmingham. However, in the late 1800s this land was occupied by local farmers and families in the hundreds until the British Government acquired the land, cleared the valleys, and promptly displaced them in order to begin serving the vastly expanding industrial English city. The band dug into the history and politics of this and wove it into the themes they were already thinking about, using what the Foel Tower stands for as something of a contemporary metaphor. “This tension was something that we wanted to explore without the haughty judgement of our more metropolitan lifestyles,” they say. “And to explore how this specifically relates to ourselves: how can we envisage a genuinely ecological future for ourselves – one that is accessible, affordable and in harmony with endangered rural practices.”

What makes The Foel Tower such an incredible record is that it feels born of a time, place and situation that only existed in that very moment. It’s a snapshot of those 10 days spent in rural Wales and all the feelings and anxieties the band were experiencing at that specific time, magically caught on tape. “The album very much feels tied to this valley for us and the conversations and experiences we shared there,” they say. “It brings up a great deal of poignancy for us, an emblem of some fleeting respite from the strains we all have to experience. But there’s also deep sadness knowing how transient these moments are – in fact, there’s just a great deal of sadness in this album. But it’s also a record that while personal, resigned, and emotionally burdened, is ultimately hopeful.”

ANAN is a project born from the musical inspiration of DJs Roberto Agosta and Massimo Napoli (Galathea). The name ANAN comes simply from the repetition of the initials of their surnames. Room, their new album, refers to the space in Catania, Sicily, where the two artists create their music.
Room is a mature and intense album that draws inspiration from the two composers' favourite musical genres: jazz, 70s psychedelia, afrobeat, cumbia and soul. The ethereal sound of the album draws the listener into a melting pot of these musical styles that blend perfectly together, making the album versatile and innovative. Valuable arranger and performer Salvo Bruno ‘Dub’ masterfully colours and enriches the deep melodies of the recordings, as if it were a live session coordinated and directed by the two DJs on a super cinematic journey.

Âsan’s self-released Beychen EP is a raw odyssey through the chaos and catharsis of creation. Across four relentless tracks, the producer mirrors the turmoil of nearly losing their passion for music—only to rediscover it by dismantling old habits and surrendering to the unknown. What emerges is a vortex of psychedelic techno, where layered rhythms spiral into the deep-down and morphing soundscapes warp time itself.
The title track Beychen channels the claustrophobic unease of a creative block with its brainmelting progression, only to erupt in a complete loss of control and, therefore, relief. The other three tracks deliver visceral techno in similar fashion, each piece evolving like an own entity with hypnotic force. This is music for darkened rooms and muddy forest stages, where the dancefloor becomes a mirror for Âsan’s internal reckoning. Here, the anxiety of creation is not conquered, but alchemized.
Âsan, a New York-based producer and co-founder of the label Cellar Door, always chases a certain feeling in his work—an elusive sensation that guides his creative journey. For him, dancing begins in the head, as rhythms and soundscapes take shape in a space between thought and intuition. His music invites listeners to step into that headspace, where the body follows the mind’s spiraling patterns.

Drum machines and sampler on gardening leave, pliiant focuses on the synths, groove and flow whilst contemplating conciousness.and goosebumps.

Recorded on 2 Roland S1's, a Dave Smith Rev 2 and a Yamaha Reface CS.

“Trustworthy”. is the meaning of “danama”, this Bambara word from Mali. Believing in oneself, in others, in the word given, in desirable futures. Advocating optimism, momentum towards the future, collective strength and the wise magic of cultural blending… especially during these troubled times of endless wars, of nationalist withdrawals or the abundance of naturals disasters, all encouraged by a carnivorous capitalism?

So confidence, we need tons of it. Maintained by the flame, the phlegm and the stratagem of these afro-groove scientists, without ignoring their sorrows nor the scandals of History. This is the athletic art of Arat Kilo, who remain without question the best ethio-jazz orchestra in France, on the trail of this fifth album recorded in the Spring of 2024. Confidence was also needed to change the way things worked. For all the previous albums, the band came together in the studio to play each track together, all in the same room, in the romantic idea of a warm, lively, organic gesture, in the manner of the great Ethiopian masters of the 60s and 70s.

For Danama, the music was initially collected in tandem: guitar/bass, drums/percussion, saxophone/trumpet, and the two voices. A few new instruments were added along the way : dark synthesizers, a bass clarinet, a tiny guitalélé (similar to the ukulele) and a Malian n'goni (sometimes described as ‘the griot's lute’). Then, and above all, there was the question of experimenting with real sound production, using sound design, multi-track exploration and effects applied to the textures collected over eight days at the Gong studios in Montreuil and OneTwoPassIt in Bagnolet just outside Paris.

In this way the band, all growing up influenced by the hip French Radio Nova's ‘Grand Mix’, were completely free to express their natural taste for fusion between genres. Borrowing from the frantic rhythms of Newark's jersey club, English 2-step or New Orleans brass bands, grafted onto Arat Kilo's musical base: tezeta, the famous minor pentatonic scale typical of Ethiopian jazz, melancholic to perfection. The result is layers of sound, collages of emotions, like the album cover, created by artist Clément Laurentin from multicoloured fragments of posters torn up in the street.

So Arat Kilo are back: The same band, the same collective strength, the same fight for values, their new album “Danama” carries the demand for a better world even further, with words of hope from singer Mamani Keita and the social critique of American MC and poet Mike Ladd ! The result is this luminous voyage down the Danama canal. In all, eleven songs and an instrumental, mixed by Mathieu ‘Gib’ Gibert - one of French band La Fine Équipe's beatmakers - set to drive the crowds wild and remind us how to stick together again.

Olof Dreijer signals a return to the dancefloor with the 'Rosa Rugosa EP', presented via UK label Hessle Audio. Lead track 'Rosa Rugosa' combines dreamy vibes and rubbery sounds with Olof's signature ear-worm synthlines, sitting comfortably alongside the label's extensive catalogue with a bassline that tears and splinters on the verge of breaking apart. Picked by Pitchfork as their 'Best New Track', it's found its way into the tracklists of some of the most respected and adventurous DJs throughout the Summer.

Complementing the title track, 'Camelia' dials up the emotional intensity with gliding leads soaring throughout the breakdown while 'Cassia' completes the EP with painterly splashes of colourful pads and gentle hand claps keeping the pulse. From his club focused work as Oni Ayhun, to his membership of the Swedish electronic pop group The Knife, Olof's music has always found ways to expand our ideas of what's possible in both instrumental electronic and pop music production, with an approach that is as inclusive and colourful as it is experimental.

Smokie, die erfolgreiche englische Band! Gegründet im Jahr1970 - bis heute ein weltweiter Erfolg. Rock’n‘ Roll -Überlebende zu sein ist eine Leistung! Die Hitmaschine, die mit so vielen Silber-Gold und Platinauszeichnungen überschüttet wurde. Von „Living next door to Alice“- bis „Oh Carol“ -alle großen Hits finden sich auf dieser Doppel CD wieder. Der Spirit von Smokie ist bis heute geblieben und das Markenzeichen der Band begeistert noch immer.

Featuring the new Dolphin Dance Remix by Hugo Nicolson, known for his work on Primal Scream's landmark LP Screamadelica along with Julian Cope, Shack, Beck, Radiohead and more. Eric Bauer's garage-punk Mirrors Mix shows up on vinyl, known for his work with Ty Segall and Oh Sees. Falling Forever gets the Flying Mojito Bros stardust late night desert disco "refrito" as well as the island flavored High & Lonesome version from Daniel Ellsworth. Wild Swans is treated to a full on pop mix from Damien Page Lewis (Rhianna, Justin Timberlake) Clay Blair's UK Radio Mix (War On Drugs) Nick Holton's HOO Mix (Slowdive) it's not all sagebrush and sand...it's SPACE and JOYFUL SONICS… all songs come from the Chris Robinson produced & top ten college radio album ACROSS THE RIVER OF STARS

Featuring the new Dolphin Dance Remix by Hugo Nicolson, known for his work on Primal Scream's landmark LP Screamadelica along with Julian Cope, Shack, Beck, Radiohead and more. Eric Bauer's garage-punk Mirrors Mix shows up on vinyl, known for his work with Ty Segall and Oh Sees. Falling Forever gets the Flying Mojito Bros stardust late night desert disco "refrito" as well as the island flavored High & Lonesome version from Daniel Ellsworth. Wild Swans is treated to a full on pop mix from Damien Page Lewis (Rhianna, Justin Timberlake) Clay Blair's UK Radio Mix (War On Drugs) Nick Holton's HOO Mix (Slowdive) it's not all sagebrush and sand...it's SPACE and JOYFUL SONICS… all songs come from the Chris Robinson produced & top ten college radio album ACROSS THE RIVER OF STARS

"After more than 20 years, Band Of Brothers is still considered one of HBO's most important series. Produced by Steven Spielberg and Tom Hanks, the series has won major awards such as the Golden Globe for Best Miniseries and the Emmy Award for Outstanding Miniseries. Band Of Brothers is a war drama miniseries based on historian Stephen E. Ambrose's 1992 non-fiction same titled book. It follows the story of Easy Company of the U.S. Army 101st Airborne Division and their mission in World War II Europe, from Operation Overlord to V-J Day. The score, composed by the late Michael Kamen, is credited as one of the essential elements in creating the realistic atmosphere of the series. Kamen was best known for scoring movies such as Die Hard, Lethal Weapon and X-Men, and received an Academy Award nomination for both Don Juan DeMarco and Robin Hood: Prince Of Thieves. Revisit the Band Of Brothers score with this deluxe reissue on white coloured vinyl, available as a limited edition of 1500 individually numbered copies. The 2LP is housed in a sleeve finished with linen laminate and includes a 4-page booklet with a large cast picture on the inside."

Following the compulsively layered collage of their Kill Rock Stars debut, Giddy Skelter, the duo felt inclined to evoke simpler times by foregrounding the performances instead of the production. They dropped Ableton & turned to attentive study of Carole Kaye & Hal Blaine. They enlisted Tim’s old bandmate from Joan of Arc, Theo Katsaounis, as a multi-instrumentalist, & hit the road to workshop the songs live, playing dozens of shows across the US & UK over a period of four months. & That set that they played each night became the foundation of their new album, Open ing Night.

By the mid-1970s, trumpeter Dennis Mpale was a consummate musician with an auspicious resume that located him at all the key turning points in the evolution of modern South African jazz. In his mid-20s, he led the trumpet section of Chris McGregor’s Castle Lager Big Band and participated in the ensemble’s landmark 1963 album Jazz/The African Sound. 1968 saw him recording I Remember Nick with The Soul Giants, which joined a wave of notable late-1960s releases, including The Mankunku Quartet’s Yakhal' Inkomo and The Chris Schilder Quintet’s Spring, that ignited the ambitions of South African jazz artists and producers in the 1970s. In 1975, Mpale co-founded the “rock jazz” ensemble Roots, inaugurating the era of jazz fusion in South Africa and opening the door for Pacific Express and Spirits Rejoice.

By 1977, Mpale had earned the right to an album of his own and, having participated in the 1975 recording of Abdullah Ibrahim’s African Herbs, turned to producer Rashid Vally of the As-Shams/The Sun label for his solo debut. Vally financed the project and seized an opportunity to license it to the local subsidiary of a major international label. As such, Our Boys Are Doing It was issued in South Africa on the Mercury label in 1977. Featuring saxophone heavyweight Kippie Moketsi, the album was a response to the global direction taken by trumpeter Hugh Masekela on The Boy's Doin' It in 1975. In contrast, seeped in the bump jive style of popular urban township music, Our Boys Are Doing It was a manifesto for an authentic, exuberant, homegrown variety of South African jazz.

A collaboration between US label Astral Spirits and Sweden’s Thanatosis Produktion, It could / If I marks the debut album from Stockholm-based duo Johan Jutterström (saxophone) and Alex Zethson (piano). Together, they reinterpret jazz standards and explore an eclectic mix of compositions by Leonard Cohen, Pet Shop Boys, John Lurie, and 19th-century composer Alexander Fesca.

Jutterström and Zethson’s musical partnership dates back to their teenage years, when they bonded over a love for jazz and the struggle to find their own voice within it. Their duo work has always been about navigating that tension—trying to capture jazz, failing, and finding another way forward. This album continues that pursuit, emphasizing not just what is played, but how it is played.

The record’s title reflects their approach: a process of reaching for something just out of grasp. Songs are deconstructed, rearranged, and treated like palimpsests—scrubbed clean and rewritten while allowing traces of the original to shine through. The result is a dynamic and deeply personal exploration of sound, filled with both reverence and reinvention.

Both musicians have extensive backgrounds in jazz, improvisation, and experimental music. Zethson, a prolific pianist and composer, has worked with ensembles like Fire! Orchestra and Trondheim Jazz Orchestra, and plays keyboards in ensembles such as Vilhelm Bromander Unfolding Orchestra, Goran Kajfes Tropiques, Vathres, and Angles (current with the jazzopera The Death of Kalypso). Jutterström, a saxophonist with an artistic PhD, has performed internationally and runs the ensemble STHLM svaga, a band who have performed commissioned pieces by jazz legends such as Ron Carter, Archie Shepp and Roscoe Mitchell.

With It could / If I, the duo crafts an intricate, ever-shifting dialogue—an ongoing attempt to "stick jazz music," as they put it, constantly approaching, never quite arriving, and finding beauty in the pursuit.

Tuneful, feedback- slathered surges like "Half Way Fine" and "Spright" feel as
comfortable as a beaten-up pair of Chuck Taylors, introducing dramatic dynamic
shifts and savvy melodic change- ups to keep you on your toes. You may not
always be able to make out Hartlett's lyrics amid the cyclonic fuzz, but the
despondence and disillusionment in his voice always cut through loud and clear.
And when he can't quite find the right words, he and fellow guitarist Morgan Luzzi
unleash that simmering angst through nonverbal means, like the roiling guitar
tsunami that brings the hazy-headed "Baby Alligator" to a cataclysmic close.
Stuart Berman, Pitchfork

Joanna Rives and Louis Morgan form J-Silk, a future soul band rooted in English culture and inspired by jazz, soul, and hip-hop classics. In their album §imone, the duo delicately and boldly explores intimate themes of sexuality, sensuality, and human connection. Friends and creative partners, the singer and producer craft their sound with the finesse of silk; spirituality, chance, precision, and introspection define the group’s originality within the genre. Bound to England by blood and heart, Louis and Joanna embrace a style that blends English 2-step, RnB, jazz, and hip-hop.

Valhalore wurde 2013 von Gitarrist Anthony Willis und Sänger Lachlan Neate gegründet und entwickelte sich schnell zu einer unaufhaltsamen Kraft in der australischen Metalszene, mit einer einzigartigen Mischung aus Melodic Death, Power und Symphonic Metal mit Folk-Einfl üssen. Nach dem VÖ ihres Debüts "Voyage Into Eternity", gefolgt von Tourneen und Shows im Vorprogramm von Blind Guardian, Hammerfall u.a., wird die Band nun im April 2025 mit ihrem zweiten Album "Beyond The Stars" die Welt erobern

Welcome to our porch

Through our many years of playing together on many stages across the globe, we have been able to share our Carolina roots with lots of people. But our tradition really doesn’t live on the stage; it lives on a back porch of Mebane, in a living room in Morganton and in countless other places wherever a musician might find themselves. We wanted to revisit the sounds, places, and textures at the beginning of our musical journey together and to share that experience with y’all. The rain, the cicadas, and thunder become part of the band, grounding us and the music firmly in the long narrative of the place we call home

Das DINTE-Sublabel 333 greift erneut in die Archive von Winston Jones' Flames-Label und präsentiert die gefühlvollen Soul-Vocals von Flora Adams von den Nairobi Sisters, aufgenommen Mitte der 70er Jahre in Brooklyn. Basierend auf Tina Charles' Disco-Hit "You Set My Heart On Fire", macht Flora den Track zu ihrem eigenen. Die Flipside enthält das solide, Rocksteady-beeinflusste Instrumental der Rough Riders, effektvoll ergänzt mit verzögerten Bläsereinlagen und Vocalparts.

Vinyl repress of the sought after second album by Azuzena, queen of Spanish Heavy Metal. A powerful return to her Metal roots originally released in 1989. Originally released in 1989, "Liberación" is the long out of print second album by Metal Queen and ex-Santa frontwoman Azuzena. After a disappointing first effort, "Liberación" meant a return to true Heavy Metal form by Azuzena, a powerful statement and the great, last album by this legendary woman. Includes two bonus tracks, remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies.












[j] SUPER STAR [VERSIóN JOMEINI]

For the first time on vinyl, a pressing of this legendary tape released in 1993 in Colombia, documenting Ultra Metal, the country's early extreme Metal scene. Volume 1 of 2 of the vinyl release of The Colombian Awakening tape, released in 1993 by Schizophrenia Records, a comprehensive collection of face melting, raw recordings from the early Colombian extreme Metal scene, known as Ultra Metal, with styles ranging from Death Metal to Thrash and Grindcore. A savage and powerful document of one of the most intense underground scenes of the era, kickstarted by the infamous Parabellum. A must for fans of underground Metal! Includes remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies.

Vinyl-Reissue des Sex-Organs Debut! Mit DLC und Insert! PURE & DIRTY SEX'N'ROLL + DIRTY GARAGE FROM OUTER SPACE GESPIELT VON ZWEI GENITALIEN! THIS IS NOT ONLY A RECORD - IT'S A WHOLE RADIO PLAY !!! THE SEX ORGANS durchquerten mutig und zielorientiert zigtausend Lichtjahre, um als intergalaktische Sex-Touristen auf unserem Planeten Erde zu landen und ihre Mission SEX & ROLL unter die Menschen zu bringen! Primitive anarchische Schlagzeug-Beats gepaart mit schreienden verzerrten Gitarren und schamlosen Texten! Dafür haben sie sich als erstes mit ihrem Raumschiff nach Italien ins OUTSIDE INSIDE Studio gebeamt und kurzerhand den famosen Produzenten Matt Bordin genötigt ein Meisterwerk aufzunehmen. Um die Weltherrschaft zu erlangen sind sie damit sogleich in die Schweiz ins VOODOO RHYTHM RECORDS Headquarter gepilgert, wo sie Beat- Man verführt und entführt haben, damit dieser mit seinen internationalen Vertriebszweigen den ganzen Globus mit diesem musikalischen Höhepunkt infiziert. Ein bekannter Journalist, der lieber nicht genannt werden wiil, hat dieses XXL-Genitalien-Duo auf einer ihrer orgastischen Welt-Tourneen begleitet und auf Tonband festgehalten, was die Welt zu dieser Sex-Invasion zu sagen hat... zu hören auf diesem Album! Futuristic Primitive Rock n' Roll Trash Garage Science Mono as Fuck !!!

Following the success of last year’s Walks - their first album of completely original compositions - Group Listening release a new 12” vinyl of Tell Everyone Everything via PRAH Recordings.

The title track and artwork are informed by decay, expiration and musical renewal.

“The title comes from a music festival that happened a few years back in Bristol. A really small DIY festival, called Tell Everyone Everything. I really liked the title - so I stole it. The name stuck in my mind as something very open and positive - a radical action. It could be taken as a proposal for progressive change, or a revolutionary art manifesto,” explains Paul Jones.

“The cover art is a photo that I took a long time ago somewhere on a beach in Sir Benfro (Pembrokeshire). The colours are all weird because it was taken on a very expired roll of Kodachrome. It’s sort of eerie. The bucket and spade had just been left there. It was one of the last ever rolls of Kodachrome to be processed, I snuck it into the developers on the last month they were still open, just before the very last processing plant was shut down forever.”

The release features remixes by both Ancient Plastix (who the duo toured with in 2024) and Loggsplitter. The band were delighted with the results: “I loved watching Ancient Plastix every night and was thrilled when he agreed to remix our song. It turned out great too”, says Stephen. Of the Loggsplitter remix Paul says: “It’s like a hot blast of compressed air travelling across the downs from a ravers airhorn. Lush”

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.

Mercury Studios veröffentlicht ein 3LP-Paket des South Park 25th Anniversary Concerts. Das Konzert
wurde an zwei Abenden am 9. und 10. August 2022 im berühmten Red Rocks Amphitheatre in Morrison,
Colorado, aufgezeichnet und enthält Auftritte der South Park-Schöpfer Trey Parker und Matt Stone sowie
von Primus und Ween. Außerdem ist eine besondere Performance von „Closer to The Heart“ mit Geddy
Lee und Alex Lifeson von der Band Rush enthalten.

”Walkin’”, 1957 veröffentlicht, vereint Davis’ Aufnahmen, die drei Jahre zuvor als Miles Davis All-Star
Sextet und Miles Davis Quintet eingespielt wurden. Wenig überraschend präsentiert es eine erstklassige
Besetzung, darunter Saxophonist Lucky Thompson, Schlagzeuger Kenny Clarke und Pianist Horace Silver.
Der Titelsong war aus gutem Grund bei Davis’ Live-Auftritten in ständiger Rotation: Es ist ein geschmeidiges, schimmerndes Beispiel für Hard Bop-Blues, der Davis’ Führung folgt. Der nächste Track des Albums,
”Blue ’N’ Boogie”, ist dagegen eine showmäßige, lebhafte Antwort auf die entspannte Leichtigkeit von
”Walkin’”. Und der herausragende letzte Track, ”Love Me or Leave Me”, ist in seiner Frenetik noch entrückter.
”Walkin’” ist besonders interessant, da es Davis’ allmähliche Abkehr von Bebop-Konventionen illustriert.
”Miles Davis’ Album ’Walkin” ist eines jener Alben, die in jeder Jazz-Sammlung zu finden sein sollten”,
bemerkte Jazzwise. ”Hier sind Davis’ Soli der Inbegriff von ’weniger ist mehr’.”
Auf allen Plattformen ab dem 18. April erhältlich!

Limited edition of 500 copies.

Hard Top assembles the previously unreleased 1975 recordings of legendary South African saxophonist Kippie Moketsi (also spelled Moeketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring artwork by Mafa Ngwenya and comes from As-Shams Archive on the heels of the Tete Mbambisa's previously unreleased African Day album in 2024.

By 1975, at the age of 50, saxophonist Kippie Moketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise to fame but also seen him help catalyse the ambitions of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his humble and challenging career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.

Owing to the efforts of record producer Rashid Vally, Kippie Moketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Maple's Our Boys are Doing It (1977), Moketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as a dedicated admirer and scholar of traditional American jazz.

While Moketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe. Officially joining Kippie Moketsi's catalogue 50 years after it was recorded, Hard Top provides an opportunity to celebrate the multiple dimensions of a South African jazz legend and reflect on the unwavering support of his fan, producer and friend Rashid Vally, who passed away in December 2024.

Rhiannon Giddens reunites with her former Carolina Chocolate Drops bandmate Justin Robinson on What Did the Blackbird Say to the Crow, an album of North Carolina fiddle and banjo music. Produced by Giddens and Joseph "joebass" DeJarnette, the album features Giddens on banjo and Robinson on fiddle, with the duo playing eighteen of their favourite North Carolina tunes: a mix of instrumentals and tunes with words.

Many were learned from their late mentor, the legendary North Carolina Piedmont musician Joe Thompson; one is from another musical hero, the late Etta Baker, from whom they also learned by listening to recordings of her playing. Giddens and Robinson recorded the album outdoors and on location at Thompson’s and Baker’s North Carolina homes, as well as the former plantation Mill Prong House. They were accompanied by the sounds of nature, including two different broods of cicadas, which had not emerged simultaneously since 1803, creating a true once-in-a-lifetime soundscape. The duo, along with four other string musicians including the multi-instrumentalist Dirk Powell, will embark on the Rhiannon Giddens & The Old-Time Revue North America tour in April.

“With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way,” Giddens says. “With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes.

“What is the role of music in our society?” she wonders. “How do we de-couple it from unfettered capitalism, where music is a product and musicians are incidental? How do we use the tools and system that we have been bequeathed in a way that reminds us of other ways of being?” Robinson adds, "Recording this album felt like being back in the saddle. Just this time Joe is not here, and his fiddle is under my chin. The album is about home, the cicadas, the storms, the music, and the people who make it feel like home."

Thompson was one of the last musicians of his era and his community to carry on the southern Black string band tradition. He played a crucial role in the lives of Giddens and Robinson, who, along with their Carolina Chocolate Drops bandmate Dom Flemons, spent their formative years learning from Thompson in traditional apprentice/mentor relationships. His influence has guided all of their artistic journeys as well as their mission to keep the legacy of the Black string band tradition alive.

In further tribute to Giddens’ North Carolina roots, What Did the Blackbird Say to the Crow will arrive just a week before Biscuits & Banjos, the inaugural edition of her first festival, which highlights the deep roots and enduring legacy of Black music, art, and culture while fostering community and storytelling. The sold-out festival will feature a much-anticipated Carolina Chocolate Drops reunion, their first performance together in more than a decade.

Carrying on their longstanding dedication to the seminal output of Merzbow, Urashima returns with what is unquestionably their most ambitious release to date: “Collection 001-010”, a deluxe, 10 LP vinyl box set limited to 299 copies, gathering together the entirety of the project’s first ten releases, originally released in 1981. Encountering the band in its early incarnation of the duo of Masami Akita and Kiyoshi Mizutani, raw, exposed and bristling with energy, foreshadowing numerous trajectories they would follow over the coming years, these astounding full lengths - the majority of which have never been released on vinyl - come housed in a beautifully produced, deluxe wooden box, with each LP in its own individual sleeve reproducing the original artwork, and a LP-sized 32-page book containing reproductions of artworls and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore, and Akita himself, amounting to what is unquestionably one of the most historically significant releases we’re likely to encounter in 2025.

Deluxe Edition of 299 copies, remastered from the original analog tapes by Masami Akita, each LP comes in its individual sleeve reproducing the original artwork, also includes a LP-sized 32-page book. ** Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise. Bringing forth beautiful limited edition releases, they’ve sculpted a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Among the many projects that they have supported over the decades, there has been an undeniable dedication to the output of the seminal Japanese noise outfit, Merzbow, making a significant amount of the project’s out of print back catalog available across a range of formats. Now they return with what is arguably their most stunning and ambitious release dedicated to the project to date: “Collection 001-010”, gathering the entirety of Merzbow’s first ten releases, largely privately released by the band on cassette across 1981, in a deluxe, 10 LP vinyl box set. Representing what is effectively ground zero in Japanese noise and collectively amounting to some of the most sought after releases ever produced within that movement, Urashima’s truly beautiful collection comes fully remastered by Masami Akita himself from the original tapes, presenting all but a small number in their first ever vinyl pressings, with each LP housed in its own individual sleeve reproducing the original artwork, alongside a LP-sized 32-page book containing reproductions of artworks and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore and Akita himself. Towering with energy and groundbreaking creative vision, within the realms of noise and experimental music, releases don’t get more monumental or historically important than this!

Merzbow came roaring onto the Tokyo scene in 1979, and remains, to this day, one of the most prolific and aggressively forward-thinking projects in experimental music. Eventually becoming the solo vehicle for the efforts of Masami Akita, in its earliest incarnation the project was the duo of Akita and Kiyoshi Mizutani, taking their name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow pushed toward new territories of the extreme, arriving at a space of pure, unadulterated sonic onslaught that has continued, for over 40 years, to set the pace for the entire genre of noise, and has remained one of the movement’s most important, definitive voices, continuously laying the groundwork for countless artists who have followed in its wake.

When dealing with historical gestures, there’s an invertible aura surrounding original line-ups and early statements, and rightfully so. It is often within a band’s debut that we catch the purest glimpse of the raw energy and creative ferment that made them what they are. This is certainly the case when regarding the coveted early releases of Merzbow, capturing the emergence of the project in its form as the duo of Masami Akita and Kiyoshi Mizutani as they helped set the blue print from the then emerging movement of Japanese noise. Over the course of its nearly five decades of activity, Merzbow has always been noted for how prolific and ambitious the project is. This was no less the case in the very beginning. While they were active for roughly two years prior, in 1981 alone they issued ten self-released cassettes numerically titled “Collection 001-010”, albums which have both individually and collectively become holy grails in the realms of noise, with only two - “Collection 007” and “Collection 009” - ever receiving vinyl reissues prior to now.

As Lasse Marhaug deftly articulates in the newly commissioned liner notes for “Collection 001-010”, despite having been recorded in different location across a span of time, the sum total of Merzbow’s first ten releases might be best regarded as a single release to be listened to in the same, durational sitting, with the material standing well apart from what most came to expect from Merzbow, while foreshadowing numerous trajectories the project would take over the coming years. Not only do these recordings feature a vast array of instrumentation - tapes, acoustic and electric guitar, violin, drums, voice, recorder, organ, found sounds, clarinet, homemade and prepared instruments, a vast arsenal of effects and electronics, and piano, to only begin to scratch the surface - the majority of which would disappear from the project’s active sources of sound generation over the subsequent years, but there is a slow pacing and raw sense of openness and exposure that reveals strong connections to the avant-garde improvisations of groups like AMM, Musica Elettronica Viva, and Gruppo di Improvvisazione Nuova Consonanza, the psychedelia of groups like Taj Mahal Travellers and Flower Traveling band (both of whom Akita mentions having seen in youth within his interview with Jim O’Rourke), and rock in general - albeit in fully abstracted forms - unspooling as brittle, pointillistic, textural, raw and abrasive forms, that occasionally flirts with unexpected tonal sensibilities. As Marhaug describes it in his excellent liner notes: «Sonically, “Collection” sounds more sparse and stripped. It’s dry sounding, up-front, no reverb, and there’s less heavy low-end grime and thin on the signature frequency sweeps. Viewed in a 1981 context, musically, it’s more akin to what the LAFMS (Los Angeles Free Music Society) pool of artists were doing at that time than what was happening in industrial music... There’s a strong playfulness throughout, like the sound objects are being explored for the first time, without neither restraint nor hurry. Events are allowed to be fully examined before the music moves on, or simply cuts off. To a large degree, the music on “Collection” feels acoustic in nature, although a Electro-Harmonix ring-modulator features prominently throughout.»

Easily described as a rarely encountered revelation into the original and earlier documented studio sound of Merzbow, “Collection 001-010” collectively amounts to an engrossing sonic journey in its own right, while also allowing for important, often overlooked connections drawn from numerous other creative wellsprings, notably free jazz, underground rock, the output of European and Japanese avant-garde music, as well as Dada, Fluxus, and Mail Art, much of which, beyond the illumination made possible by the sounds, Jim O’Rourke’s fantastic interview with Akita, published in the booklet, further explores, offering great insights into the origins of Merzbow and the thinking behind the project, as well as aspects of the earliest days of Japanese noise.

Ally Venable, die das letzte Jahrzehnt damit verbracht hat, sich ihren eigenen, einzigartigen Platz in der von Männern dominierten Welt des Blues-Rock zu schaffen, fordert auf ihrem kämpferischen sechsten Album "Money & Power" mehr von beidem - für sich selbst, für Frauen auf der ganzen Welt und für alle anderen, die denken, sie seien es nicht wert, einen Platz am Tisch zu bekommen. " 'Money & Power' ist ein starkes Statement, vor allem für Frauen", sagt die preisgekrönte texanische Revolverheldin über ihr neues Album

Der Musikstil von Karg ist eine furiose, hysterische Mischung aus atmosphärischem Black Metal und einer großen Portion Post Rock, mit Einfl üssen aus Grunge, Shoegaze und Post Punk. Die Einfl üsse aus anderen Genres als dem Black Metal haben sich in den letzten Jahren mehr und mehr entwickelt, waren aber in verkürzter Form von Anfang an vorhanden. Textlich ging es bei Karg immer um die melancholischen Seiten des Lebens, wie z.B. zerbrochene Beziehungen, verlorene Liebe, Entfremdung, Drogenmissbrauch, Verlust oder Selbstmordgedanken und Depressionen.

Das 2012er Studioalbum "New York Connection" von Sweet wird neu veröffentlicht. Das Album wird zum ersten Mal auf farbigem Vinyl gepresst und als Sonderedition auf CD mit Bonustracks, die nicht auf der Originalveröffentlichung enthalten sind. "New York Connection" ist eine Auswahl von Stücken, die ursprünglich von anderen Künstlern geschrieben wurden, denen die Band aber unverkennbar ihren eigenen Sound verpasst hat.

Das vierte Album der schwedischen Blues Rock Freaks featɍ Christian Carlsson (The Quill)
Produziert vom Gitarristen Franco Santunione (Electric BoysɎ Glory Bells Band)
Erhältlich als Digipak und schwarzes Vinyl