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To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!

Rund sechs Jahre nach ihrem Debütalbum kehrt die aufstrebende Symphonic Metal-Band ELVELLON mit ihrem zweiten Werk und Napalm Records-Debüt zurück: Ascending in Synergy enthält zehn brandneue Tracks der deutschen Symphonic Metal-Hoffnung.
Ascending in Synergy ist der Nachfolger des hochgelobten Erstwerks Until Dawn (2018), das auf die 2015 erschienene EP Spellbound folgte. Das offizielle Musikvideo zum Track „Born From Hope" zählt bis dato über 1,3 Millionen Aufrufe, die EP-Version des Songs wurde weit über 2,5 Millionen Mal auf Spotify gestreamt und im Metal Hammer wurden ELVELLON bereits als „Helden von morgen“ gefeiert. ELVELLON teilten die Bühne bereits mit bedeutenden Szene-Bands wie Visions of Atlantis, außerdem konnten sie ihre einnehmende Live-Präsenz auf zahlreichen Festivalbühnen im Inund Ausland unter Beweis stellen, wie etwa dem RockHarz, M'era Luna oder dem Rock Fest Barcelona.
Das neue Album Ascending in Synergy beweist das herausragende Feingefühl der Formation um Sängerin Nele Messerschmidt, stilistisch gekonnt zwischen den frühen Anfängen des Symphonic Metal auf der einen, und einem modernen, zeitgemäßen Ansatz auf der anderen Seite zu balancieren. Dabei vereinen sie beide Welten zu ihrem ganz eigenen, Sound, der sowohl Genre-Liebhaber als auch neue Fans in den Bann ziehen wird.

7A Records are proud to present Davy Jones’ “Incredible!”. A deluxe reissue of Jones' “lost” ‘80s album, remastered and expanded with bonus tracks. The limited edition gatefold Vinyl release is limited to 1,000 copies. Pressed on 180g transparent blue vinyl, it features extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures by photographer Henry Diltz.

Fuelled by MTV’s re-runs of the original Monkees TV series, “Incredible!” was recorded at the height of mid-‘80s Monkees comeback-euphoria. Given the flurry of activity happening on multiple fronts for the Monkees throughout 1986, especially the grueling demands of their touring schedule, the fact that Davy Jones managed to record a full album amid the chaos is somewhat staggering. “Incredible!” features several songs that could well have reached the Billboard charts, had things played out differently. However, Jones decided to hang on to the album and it ended up being self-released on cassette on his own mail order label. The minimalistic promotion and treatment of the original release belie the considerable studio and artist firepower behind these recordings. This deluxe repackaging allows this chapter in Jones’ fascinating journey to finally more fulsomely shine.

• Remastered With 6 Bonus Tracks
• Rare & Previously Unseen Photos
• Extensive Liner Notes
• Limited to 1,000 copies

Ferocious Dog zählen neben The Levellers und New Model Army zu den führenden Folk/Punk-Bands im UK. "Kleptocracy", ihr zweites Album auf Graphite Records und Nachfolger von "The Hope" (2021, #1 der britischen Folk-Charts), vermittelt eine kraftvolle, dennoch provokante Botschaft, dass es einem kaum möglich ist, sich nicht inspiriert zu fühlen. Aus einer Anti-Establishment-Attitüde heraus werden Gegensätze wie Trauer und Hoffnung thematisiert und in Verbindung gebracht. Clear Vinyl LP mit 12 Tracks. CD-Deluxe-Edition mit 4 zusätzlichen Bonustracks.

"There's a celebratory barrel full of crowd singalongs from their impressive, furious and thoughtful Celtic folk-punk cannon." - Vive Le Rock

Fabulous Soundtracks, the fourth studio album by reclusive Los Angeles musician Jack Name, is an homage to the IRL world and its twisted and varied romance with the worlds of our minds, in a wild collection of "soundtracks'', each a sonic re-construction dedicated to a distinct scene. Both musically and lyrically, this is Name's most adventurous and genre-defying album. Elements of acid, dance, folk, micro-tonal weirdness, horror, sensuality, impressionism, and bursts of rock fuse with Name's most direct yet ethereal lyric writing to date.

Each song with artful intention confuses dream-like experiences and common everyday situations, and vice-versa, sometimes inflicting a frightening energy into the banal, or this in reverse. Offering a "fabulous soundtrack" as the title implies, to dreamlike cinematic scenography including but not limited to; walking alone through a park at night, a woman tiptoeing through a garden, a person wrestling with time and change, lust, grieving a pet, driving alone in the rain, laying in bed with a lover, a bare tree standing in a field, looking through pieces of glass, and inviting the devil into the home (as one does).

Remastered and expanded release of Toyah’s 1982 Top 20 album. Originally released as a live double album in October 1982, ‘Warrior Rock’ was recorded at Hammersmith Odeon, London across the final two nights of the tour.

The album presents 15 songs centred around material from the band’s Top Ten albums ‘Anthem’ and ‘The Changeling’. The album is named after ‘Warrior Rock’, the B-Side of Toyah’s 1982 single ‘Brave New World’. The band’s hit singles ‘It’s A Mystery’, ‘I Want To Be Free’ and ‘Thunder In The Mountains’ all feature on the album alongside fan
favourites ‘Ieya’, ‘Danced’ and ‘War Boys’. This expanded re-issue now documents ‘The Changeling Tour’, Toyah’s highly successful run of 25 UK concert dates in June/July 1982 in a more comprehensive fashion.

The 3CD set was compiled by Craig Astley and Joel Bogen and presents 41 remastered tracks from master tapes/archive sources
featuring 26 previously unreleased bonus tracks. A total of 19 different songs feature from 11 different gigs, recorded at nine different locations. For the first time ever, the “four sides” of the original live double album are included on CD - unabridged and uncut. Nick Watson/Fluid Mastering has remastered the package from the original master tapes and archive sources, overseen by Joel Bogen. A wealth of bonus tracks have been unearthed from the archives to provide both a glimpse backstage at concert preparations, and act as a definitive souvenir of the tour’s journey across the UK

COLD HART is set to release his sixth studio project, Pretty In The Dark. As one of the co-founders of the GOTHBOICLIQUE collective, alongside artists like Wicca Phase Springs Eternal, Lil Peep, Fish Narc, YAWNS, and Lil Tracy, COLD HART played a pivotal role in shaping a bold fusion of emo and hip hop. This unique blend infused a contemporary production sensibility into guitar riffs and samples, evoking a sense of instant nostalgia for those who grew up listening to bands like Linkin Park and Blink-182. In Pretty In The Dark, COLD HART showcases his versatility by exploring dreamy guitars, energetic grooves, and lively pop-punk riffs, transitioning towards an Alternative/Indie Rock sound. Through numerous releases, his musical evolution has led him to hone in on traditional songwriting, aligning more closely with the influences of his formative years-whether it"s the stylings of The Cure or Depeche Mode. These new tracks received a positive reception during COLD HART"s extensive US summer tour, where he captivated fans while sharing the stage with The Drums.

In a world of announcements of announcements, Gatecreeper are firing no warning shots before dropping their new release. “I think the social media environment has just fried our attention spans,” vocalist Chase Mason says. “Trying to hold someone’s attention for two or three months with a typical album roll-out doesn’t seem feasible with everything else currently going on in the world.” That’s not the only reason An Unexpected Reality comes with no pre-release hype whatsoever. “It’s meant to be listened to as a whole, so we didn’t wanna break it up or release a couple songs ahead of time as ‘singles’ or whatever,” Mason clarifies. “We also didn’t wanna treat it like it’s our next full-length. Because it’s not.” Written, recorded and now released during the Covid-19 pandemic, An Unexpected Reality is Gatecreeper like you’ve never heard them before. Exploring both ends of the tempo spectrum, the release offers two opposing sides of the band’s musical personality. Side one consists of seven short, sharp shocks that have a total running time of less than seven minutes. Inspired by grind, punk and hardcore, tracks like “Starved,” “Rusted Gold” and “Amputation” are some of the fastest offerings the Arizona death metal squad has ever recorded. Side two is the exact opposite.

BRUX are back with four tracks of their trademark sound. Four flanged out hard hitting anthems, mixing the sharpest possible post punk with the roughest street rock’n’roll vocals. They keep their boots firmly pressed between two styles which seem polar opposites, resulting in new sounds made up of old formulas. Originally released by the band’s label on a 100 run cassettes at the end of 2023 this recording was simply too good not to exist on vinyl

KRIEGSHÖG is back. Five years after their last single and 14 since their debut album, the Tokyo Hardcore band finally delivers a new release. Love and Revenge is a record of consummate savagery and monster riffs. Picking up where Paint It Black 7” left, and moving forward as a heavy toned hardcore record that finds the band in its own realm. While following the Japanese tradition of long running bands operating at their own pace and mastering their sound along the way

Theo Parrish has green-lit a couple of back catalogue reissues from his Sound Signature label this month and this one originally came back in 2010 and found him on production duties and Bilal Love on the vocals. The Melloghettomental EP is an archetype Parrish offering - dusty, lo-fi beatdown and house fusions with muted but meaningful chords and aching vocal hooks. You get all that on blissed-out opener 'Can't Keep Running Away', superbly soulful live bass work on 'U Bring Me Up' and heavier, more griding grooves but still sublime vocals on 'Why Wait'. The title cut is an off-grid mix of sci-fi melodies and diffuse chords, shimmering drums and low slub bass. Sublime.

Elaine Brown has led a life of distinction. Appointed in August 1974 by Huey Newton from his exile in Cuba to be the one and only female leader of the Black Panther Party, Elaine has pursued a career of community service that continues to this day. But her debut 1969 album Seize the Time leaves one wondering what would have happened had she not put her musical career second. She was first discovered as a performer while singing Thomas Dorsey’s “Precious Lord” at the funeral service for Panther Bunchy Carter. Afterwards, Panther’s Chief of Staff David Hilliard had her audition for him accompanying herself on piano. That session led to her composition “The Meeting” (about an encounter with Eldridge Cleaver) being adopted as the Black Panther Party National Anthem, and an album was commissioned. Elaine enlisted Los Angeles jazz legend Horace Tapscott and his PanAfrikan Peoples Arkestra to arrange and back her, and Seize the Time was born—which the Black Panther Party’s newspaper called “the first songs of the American revolution.” Blending influences ranging from Bob Dylan to classical, and anchored by Elaine’s powerful delivery of her deeply-felt lyrics, this album will stir your blood whether you agree with its politics or not. Now, with the cooperation of Elaine Brown herself, Seize the Time sees its first-ever American LP reissue, complete with original “uni-pak” packaging featuring lyrics and liner notes, plus an insert with new liner notes by Pat Thomas, author of Listen Whitey! The Sounds of Black Power 1965-1975.Limited run of 950 copies in deep purple vinyl. SIDE ONE 1. Seize the Time 2. The Panther 3. And All Stood By 4. The End of Silence 5. The Meeting (The Black Panther Party National Anthem SIDE TWO 1. Very Black Man 2. Take It Away 3. One Time 4. Assassination 5. Poppa’s Come Home SELLING POINTS • Elaine Brown Is an Activist First and Musician Second • But Her 1969 Debut Seize the Time Shows Things Could Have Gone the Other Way • She Was Appointed in 1974 by Huey Newton from His Exile in Cuba to Be the One and Only Female Head of The Black Panther Party • She Has Pursued a Career in Community Service That Continues to This Day • First Discovered as a Performer When Singing Thomas Dorsey’s “Precious Lord” at the Funeral for Panther Bunchy Carter • Then Panther’s Chief of Staff David Hilliard Had Her Audition for Him Accompanying Herself on Piano • An Album Was Commissioned, and Brown’s “The Meeting” (About an Encounter with Eldridge Cleaver) Became the Black Panther Party National Anthem • Seize the Time Was Arranged by L.A. Jazz Legend Horace Tapscott, and Features His Pan-Afrikan Peoples Arkestra • A Unique Record Featuring Influences Ranging from Dylan to Classical, All Anchored by Brown’s Impassioned Singing and Deeply-Felt Lyrics • First-Ever American LP Reissue • Includes Original Uni-Pak Jacket with Notes and Lyrics • Also Contains Insert with Notes by Pat Thomas, Author of Listen Whitey! The Sounds of Black Power 1965-1975 • Deep Purple Vinyl Pressing • Limited to 950 Copes • This Release of Seize the Time Is Fully Authorized by Elaine Brown Herself STREET DATE: MAY 3, 2024 (Limited Deep Purple Vinyl Edition) iBarcoder Trial ELAINE BROWN BLACK PANTHER PARTY BLACK PANTHER PARTY ELAINE BROWN VAULT

Making a bold return, genre-defying, North Carolina-bred quartet and live sensations Rainbow Kitten Surprise will unveil their first full-length album in six years, LOVE HATE MUSIC BOX, on May 10, 2024 via Elektra Entertainment / Parlophone. Produced by Daniel Tashian (Kacey Musgraves) along with Konrad Snyder (Noah Kahan) and Melo, the much-anticipated album ponders life’s ups and downs, and traces the turbulent trajectory of relationships, painted out loud in hues of pop, electronic, rock, and hip-hop. As such, it finds the musicians at their most vulnerable, vibrant, and vital.

The band formed in Boone, North Carolina. (Robbinsville, North Carolina is the hometown of Ethan Goodpaster and Jess Haney.) Rainbow Kitten Surprise, ""RKS"" for short, is known for its harmonies, instrumentation, and lyrics. Their sound has been influenced by artists such as Modest Mouse, Kings of Leon, Frank Ocean, and Schoolboy Q.

Fire-splattered vinyl is opaque red vinyl with yellow & orange starburst. As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. Originally self-released in 2013, Minecraft Volume Beta was C418's longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set Rosenfeld's unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music.

Both Tymon Dogg and Richard Dudanski had musical roots playing in The 101'ers with future Clash singer/guitarist Joe Strummer. All three shared a deep love for southern Spain, due perhaps to the influence of the Romero sisters, Paloma (later "Palmolive" of The Slits) and the artist Esperanza, who were among the first Spanish punk refugees in London. Tymon's career began with beguiling interactions with Apple Records, The Moody Blues and future Led Zeppelin members John Paul Jones and Jimmy Page before he discovered his true musical self as a punk / folk experimentalist, opening shows for the likes of The Slits, Raincoats and Pop Group and becoming the longest-running musical foil in Strummer's career, continuing into The Clash and Mescaleros. Similarly, Richard played in Basement 5, Public Image Ltd, The Raincoats and others before following Esperanza back to Granada...which subsequently became second home to Tymon and Joe. Spain is not without its own punk heroes, and chief among them was Granada's Antonio Arias, another pal of Joe's and leader of Spain's musical heroes, Lagartija Nick, which also included Dacoits members Juan Codorniu and JJ Machuca. Antonio sings the albums two Spanish-language songs. while Tymon sings the other nine...and there's an instrumental, "Mongols", which the band considered too epic as a stand-alone instrumental to mess with! Tymon sings three songs from his past: "The Wheel Of Life And Death" has been heard before as a live bonus track on the expanded reissue of "Battle Of Wills", "Conscience Money" was heard in a very different version on the impossible-to-find "Made Of Light" album, and an embryonic take of "Something To Prove" turned up the even rarer 1989 solo album, "Relentless". If you imagine the playful elasticity of "Sandinista!" recast into a more straightforward record, with Tymon taking the lead on something more than that album's "Lose This Skin", you're halfway there. Guests include Killing Joke bassist / famed producer Youth and Dr Robert from The Blow Monkeys

OTTO is back with a Maximal Super Sound Maxi 12″ on Eine Welt. The label, run by Alexander Arpeggio concludes this 12″ series with an obscure banger by the Berlin-based Organ Band OTTO. On the A-side: Obscure uptempo Italo Madness, bassline-heavy, and featuring dirty vocoder Ansagen.

On the other A-side: a driving and full of surprises midtempo groover with mysterious german voodoo ritual chants. Get a copy of this limited 12″ and get your fun fair ceremony started. Limited 300 Copies only – special cover finish with metallic look.

Disperú is the first independent record label in Peru and South America that was founded and run by a woman. In the space of five years Rebeca Llave turned not only Disperú into a successful company but also transformed it into an amplifier and showcase for unique Peruvian popular music projects including the raw, wild and visceral sound of Los Saicos, 60s punk pioneers. This compilation comprises 14 amazing tracks, ranging from cumbia or boogaloo to beat and garage, to celebrate the music legacy of this unique pioneer woman. Disperú was founded at a key moment for Peruvian popular music. In 1965 young Peruvians were gaining prominence in society and the entertainment industry. The hangover of the 'new wave', with its balladeers, persisted on the radio and television, but rock bands were also emerging, inspired by what was happening musically in Liverpool and on the beaches of California. Guided by her ability to spot talent and target what she perceived as commercial prospects, Rebeca signed up an impressive lineup of artists. Several of which would move on to bigger labels, after 'the girl with the charming smile' had set them on the recording road to fame. Besides gathering young rockers (Los Saicos, Jean Paul El Troglodita_) and new wave bands (Los 4 Brillantes, Golden Boys_) under its umbrella, Disperú also ventured into coastal and Andean music from Peru and tropical music (Chano Scotty y su Combo Latino, Toño y sus Sicodélicos_).

The only proved efficient time traveling method to date is through listening to music, particularly evident when indulging in Jona Jefferies' latest EP released by Spanish house specialists Apersonal Music. It's a refreshing nod to the golden era of 90s electronic music. Across its three tracks, Jefferies masterfully blends elements of ambient, downtempo, and electronica, evoking a sense of nostalgia as if plucked from a bygone era. In contrast to today's TikTok-dominated landscape of short, immediate singles, this EP harkens back to a time when music was crafted with depth and complexity. Drawing inspiration from legendary acts like Boards of Canada and Underworld, it seamlessly transports listeners to the Gen-X decade, when acts like Daft Punk, Orbital and The Chemical Brothers reign supreme and exploited the electronic scene during the MTV era.

On the A side, "Es Camp" embodies the seamless influence of British electronic music on the Balearic scene of the 90s, and viceversa. Feels like Moby’s “Porcelain” if the film "The Beach" had been set in Ibiza. Max Essa's "Romantic Breaks Mix" elevates the track to pure Balearic bliss, setting the perfect mood for any sunset terrace around the globe.

Side B, tailored for the dance floor, runs through “Lost in Paradise”, a track that channels euphoria reminiscent of the underground rave culture during the final years of the 20th century. Apersonal's trusted remixer, Eddie C, delivers an extended rendition of the track that continually evolves, echoing Jim Morrison’s words: 'the music was new, black polished chrome, and came over the summer like liquid night.'

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Runar Magnusson is an Icelandic/Danish sound artist and musician, currently based in Austria. With a masters degree in Electronic Music Composition from The Royal Academy of Music, Aarhus, Denmark, he is inspired by the sounds of nature, noise, and meditation. Magnusson specialises in atmospheric disturbances through minimalist compositions. A sly humour cuts through the dark hues of his works.

Magnusson writes: "The two works which make up "Inside Out of Chaos" are somewhat related. They were made at the same time and share the same source materials somewhat – a pool of sounds I had been experimenting with for a couple of years. Two separate projects created the opportunities for me to realise them in these finished forms.

At the beginning of 2020 I was invited to participate in an acousmatic concert series at the Traktorfabrikken in Vienna. Curated by Austrian composer Christian Tschinkel and performed on his Akusmonautikum sound system this particular event, titled Kill & Kaoss, was the last in the series. I named my piece after the event and dedicated it to Tschinkel´s Akusmonautikum system. Without my knowing, I had witnessed this system in action half a year earlier at a concert at the Hermann Nitsch Museum in Mistelbach, with Hermann Nitch playing the organ and Tschinkel operating the sound system – a profoundly enjoyable performance. I was very happy when I connected the dots soon after the invitation to participate. I intended my work for Kill & Kaoss to be a way to greet the new lunar year of the rat – a year which held many surprises… The event took place on 22nd of February 2020 at Traktorfabrikken, Vienna.

"Inside Out (for Trattner)" was composed for Austrian artist Josef Trattner. It was the soundtrack for a film that was a part of his exhibition "Inside Out" at the Kiesler Foundation in Vienna, 2020. I assisted with the installation of the exhibition, itself a filmed action that evolved into the movie of which this is the score. The installation was a very hard physical process that left me bloody and blistered. It was also a fascinating, trance-inducing experience. Mining with ones bare hands, digging out this huge structure and creating a womblike cave, a tunnel system, a playground, a hideaway while experiencing ever-increasing pain in the fingers and hands. The exhibition ran from 27 February 2020 until 23 December 2020.

I consider this release as the final part of a trilogy I refer to as "the three sisters of sorrow". These three releases are an insight into my state of mind at the time – a mental collapse, somewhat triggered by a move to a new country, the death of my friend Jóhann Jóhannsson and the loss of my father a year later. Between 2018 and 2021 I had the trilogy almost ready but had not been able to finish them. I sought professional help to lift me up from the deep and was diagnosed with ADHD, which explained many things in my life. Only after the darkness had lifted could I see that these three releases were connected. They depicted both the mental state I had been in – an incapacitating downward spiral, a crushing chaos – and also my search for the light, a way out of the maze and my path up to the surface."

Runar Magnusson, Vienna, 13 November 2023

The title of the Lau Nau's 10th album, Aphrilis, derives from the Latin word aperire, meaning "to open." A fitting verb for the month of the year it is closely associated with — April. And while the images of plants and blossoms coming back to colorful life after a long, cold winter feels appropriate when listening to the rich and lustrous bloom of music on Aphrilis, another definition of open feels even more apt. For under the abundance lies the memory of times of austerity, the friction of hard choices, the acceptance that nothing is fixed and the future is unknown. This literal and metaphorical exploration of complexity and contradiction makes Aphrilis a multi-dimensional antidote for our troubled times, one that emphasizes the quiet and communal over noise and spectacle. Laura Naukkarinen, the Finnish artist behind this project, has long kept her mind and spirit open to whatever sounds and creative ideas felt appropriate for the moment. For the past six years that has meant primarily working with modular synthesis — learning how to build modules and releasing acclaimed work centered on its sounds like 5x4 (2023) or Puutarhassa (2022). Running parallel to this work, however, has been a continued exploration of acoustic instruments and group performances with her trio Lau Nau ja Seitsemäs Taivas. Aphrilis arrives then like fresh growth in a creative season cycle. A companion to her brilliant 2017 release Poseidon, the album, says Naukkarinen, "felt like a needed moment to embrace songs with lyrics again." And through the creation of this work, she remained open not only to her own creative muse, but also the input of her chosen collaborators. Each player on Aphrilis — Matti Bye on celesta and synths, Pekko Käppi on jouhikko, Hermanni Yli-Tepsa on violin and contrabass, Topias Tiheäsalo on electric guitar, Samuli Kosminen (Múm) on various instruments — was given free reign to arrange their own parts to accompany Naukkarinen's compositions. Kosminen’s lush fingerprint can also be heard in the mixing and production of the album, as with Poseidon six years ago. The moniker of this project may be taken from Naukkarinen’s own name, but Lau Nau feels more like a band than ever before. The delicacy and softness of the music is reflected in Naukkarinen’s lyrics. Each song is rife with imagery and creatures from the natural world. The spiders in the forest. The animals that keep a young woman company in her refuge in the woods. Wet grass. The feeling of the music is almost tactile, as if listening to the album will leave a bit of dew or sap on your fingers. The theme of this material, says Naukkarinen, runs even deeper. “The songs tell about cracks and changes of direction in different histories: personal, societal, planetary,” she says. “About moments when a yes can become a no and vice versa. The album wants to propose that at the moment of a crisis there is a possibility to influence the histories by our choices.” That may feel like a lot for such a fragile sounding collection of songs to bear. But Aphrilis is an album of surprising strength and resilience

Be Strong Be Free debuts a new series here, Mellow Magic Worldwide, which will offer up a series of DJ weapons that have been produced by "worldwide studio buds." The first one opens with some superb tackle from Gold Suite whose brilliant 'Crush' is a slow-burning 80s jam and emotive rollercoaster that has made a real impact during road testing experiments. On the flipside is the mysterious Mancunian Visions Of Eden who debuts on vinyl with a lush deep house jam 'When It Has Past that has a subtle Balearic charm. Lastly comes Murrin who heads up the Puca Sounds label and co-runs Berlin party Fandango. His 'Maybe Tonight' is a late-night cosmic delight.

Yaya Beys neues Album ‘Ten Fold' knüpft an den kraftvollen Doppelschlag ihres 2022er-Albums, „Remember Your North Star“, und der Folge-EP, „Exodus The North Star“, aus dem Jahr 2023 an und ist ein frei gesprochenes und fließendes Selbstporträt, das von unmittelbaren Reflexionen über die Vergangenheit, Gegenwart und Zukunft geprägt ist. „Ten Fold“ ist vollgepackt mit den Nuancen von Yaya Beys Identität und den verschiedenen Facetten ihrer kreativen Bemühungen. Es richtet den Fokus nach innen und meditiert über ihr inneres Wesen, während es gleichzeitig Raum für den Humor und den bissigen sozialen Kommentar schafft, der ein bestimmendes Merkmal ihrer Arbeit ist.
Die als Hadaiyah Bey geborene Yaya Bey begann bereits im Alter von neun Jahren mit dem Schreiben von Songs und trat mit ihrem 2020 erschienenen Album, „Madison Tapes“, als neue Stimme in der Avantgarde der R&B-Storyteller:innen in Erscheinung. Ihre 2022 erschienene LP, „Remember Your North Star“ und die darauf folgende EP, „Exodus The North Star“, wurden vom Spiegel, Stern, Zeit Online, Rolling Stone Deutschland, Jazzthetik, Missy Magazine, Plattentests u.v.m. und im Radio von u.a. Deutschlandfunk Kultur, BR 2, Cosmo, ByteFM, RBB Radioeins und FluxFM sehr positiv aufgenommen, sowie international u.a. von der New York Times, Pitchfork, Rolling Stone, The Guardian, NPR, GQ, Crack Magazine, The Times, Clash ebenfalls hochgelobt.
Kürzlich spielte sie an der Seite von Immanuel Wilkins die Hauptrolle in einer Werbekampagne für die aktuelle Zusammenarbeit von Converse mit der New Yorker Marke AwakeNY. Bevor die in Brooklyn geborene Künstlerin offiziell das Jahr 2023 abschloss, spielte sie eine ausverkaufte Show im New Yorker SOBs für Spotify Stages und krönte damit eine Reihe von Live-Auftritten auf Festivalbühnen rund um den Globus in diesem Jahr, darunter Glastonbury, Pitchfork Festival in Chicago, Roskilde Festival in Dänemark und viele mehr.

Tulsa, Oklahoma's Unwed Sailor have been on a tear over the past few years. Following a quiet phase through much of the 2010s, they reëmerged with the aptly titled Heavy Age (2019), and two more full-lengths, Truth Or Consequences (2021) and Mute The Charm (2023), that chart a remarkable evolution of their bass-led, pop-leaning post rock. On Underwater Over There - their ninth LP overall - a current of 80s goth and jangle-pop runs beneath a litany of memorable hooks and compositional left turns, creating a propulsive and intricate world of sound. The band worked collectively on all elements of mixing and production to craft a meticulously layered environment, while maintaining an air of spontaneity and experimentation across the set. Early standout, "Final Feather", drifts through varying landscapes of airiness and haze on a high-neck bass hook, while the hum of voices adds a contrast of angelic comfort. Bearing influence from New Order and The Cure in particular, its balance of gravitas and shimmer is the result of founding member Johnathon Ford's intuitive writing method: the lead bass line comes first, followed by supporting melodies, drums, guitars, keys, and final detailing. "Dusty" is a prime example of this process, as Ford's powerful, low-end groove anchors a full-spectrum array of guitars, bells, and arpeggiations along with Matt Putman's energetic drum section. Its fluid pacing provides a perfect establishing shot, with shifting moods that gather into a coda guided by David Swatzell's harmonized, glittering guitar riffs - a sunrise after a moonless night. In quick succession, "Blue Tangier" widens the aperture with a pounding percussive refrain, vibrant bass tone and an unforgettable, fuzzed-out melodic motif. Sprawling centerpiece, "Junko", is a loose callback to 2003's The Marionette and The Music Box, its deliberate stride and interwoven melodies evoking the hands of a mechanical clock, and the anticipation of something long-awaited but nebulous. It drifts effortlessly from innocence to intrigue, expands into a mesmerizing howl, and vanishes abruptly into mist. While honoring their forebears in winks and nods, Unwed Sailor remain totally inimitable in their approach and style, twenty-five years into an acclaimed career. The band's clear vision for Underwater Over There has yielded some of their most indelible work, and their inventive, passionate approach gives a strong sense of plenty more beyond the horizon.

Ein Albumtitel, der gleich in doppelter Hinsicht perfekt passt: ‚Silver Romance‘ heißt die neue Scheibe der süddeutschen Melodic-Powermetaller Freedom Call. Der Name symbolisiert nicht nur das 25-jährige Bestehen der Band – von Sänger/Gitarrist und Bandgründer Chris Bay augenzwinkernd als „unsere Silberhochzeit“ bezeichnet –, sondern trifft auch inhaltlich zu: „Dem Edelmetall Silber werden Eigenschaften wie Klarheit, Freiheit und Leichtigkeit zugeschrieben“, erklärt Bay und fügt hinzu: „Außerdem soll Silber das Selbstbewusstsein und die Fantasie stärken können. Allesamt
Attribute, die auch zu Freedom Call passen und die wir sowohl musikalisch als auch textlich in unseren neuen Songs haben einfließen lassen.“

Veröffentlicht wird ‚Silver Romance‘ als CD, Doppel-LP, Box-Set und digitaler Download am 10. Mai 2024 über Steamhammer/SPV, bereits wenige Tage später starten Bay und Co. ihre 2024er Konzertaktivitäten. Um den Fans die Wartezeit bis dahin zu versüßen, werden vorab gleich vier Singles ausgekoppelt: Am 21. Februar startet die Reihe mit dem Titeltrack ‚Silver Romance‘ inklusive eines Making-Of-Videos, am 20. März und 10. April folgen ‚In Quest Of Love‘ bzw. ‚High Above’ jeweils mit Lyric-Clips. Zwei Tage vor dem Album-Release, genauer gesagt am 8. Mai 2024, rundet dann der Song ‚Supernova‘ mit einem sehenswerten Video das Single-Quartett ab

Live albums are often a ‘hit or miss’ affair but ‘Live Oblivion’ 1 & 2 buck that trend, Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls “we were all absolutely performing at our height. So I decided that I really needed to record the band live at that point”. Utilising the Wally Heider Mobile Truck, the scene was set for one of the greatest jazz-fusion live recordings to be made. The show opens with a hyper fast version of Beginning Again due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!” Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many - Bumpin’ On Sunset, Freedom Jazz Dance, and Inner City Blues are all stunning, but especially the epic version of Maiden Voyage which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

Live albums are often a ‘hit or miss’ affair but ‘Live Oblivion’ 1 & 2 buck that trend, Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls “we were all absolutely performing at our height. So I decided that I really needed to record the band live at that point”. Utilising the Wally Heider Mobile Truck, the scene was set for one of the greatest jazz-fusion live recordings to be made. The show opens with a hyper fast version of Beginning Again due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!” Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many - Bumpin’ On Sunset, Freedom Jazz Dance, and Inner City Blues are all stunning, but especially the epic version of Maiden Voyage which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

Inspired by being legally able to sell weed on the West Coast, Harlem's kush god Smoke DZA teams up with LA producer Real Bad Man on their joint album "MOOD$WINGS" to kick off their 2022. THC infused bars perfectly delivered over RBM signature beats alongside guest appearances by Flee Lord, NymLo, Knowledge The Pirate, Remy Banks and OT The Real.

Mary Lattimore and Walt McClements are two of contemporary music"s most renowned innovators. Each has managed to expand the perception of their instrument"s capabilities. Lattimore inventive harp processing and looping has brought the instrument to a new audience. Her prolific run of celestial solo albums and evocative film scores have redefined the instrument in the modern consciousness. Her genre-agnostic collaborations include work with Kurt Vile, Steve Gunn, Jeff Zeigler, Meg Baird, and Thurston Moore. McClements, who tours as a member of Weyes Blood, is an acclaimed composer in his own right, sculpting glacial atmospherics from the accordion. The Los Angeles based duo became quick friends on overlapping tours, sharing both a drive to push the sonic possibilities of their instruments and roots in North Carolina. Mary Lattimore and Walt McClements debut collaboration Rain on the Road blossomed out of that time spent on the road together, capturing the liminal existence of touring life in deeply cinematic compositions. Recorded in the cozy setting of McClements" apartment during a rainy December in LA, Rain on the Road unfurls as a series of sonic vignettes, rolling landscapes hewn from longform improvisations for harp and accordion. Embellished with additional instrumentation such as the shimmering constellations of hand bells on "Stolen Bells" that glisten like lights on wet pavement, or the stately piano figures on "The Top of Thomas Street"; their pastoral pieces manage to paint vivid images.

the debut release of naples based house music producer fabrizio fattore.

he released first single on world peace(run by joe clausell&gigi testa),it’s nice cosmic
jazzy fusion deep house.

since then we have been paying attention to his music.

our release is revival of classic detroit techno and house.

a1 “deep blue” is simply killer detroit techno which reminds us early 90’s stuff.

b1 “passengers to mars” is his trademark cosmic deep house.

b2 “moon temple” is jazzy new age down tempo.if you like some slow stuff of kuniyuki,
you will love it.

music sounds classic but we’re feeling classic is new.

hope you like!

Red Rot ist die Extrem-Metal-Band von Luciano Lorusso George und Davide Tiso, ehemals Ephel Duath, und ihr Folgealbum "Borders of Mania" ist ein
unerbittliches Werk von technischer Schönheit und knüppelnder Anmut. Red Rot ist eine physische Band, die einen direkt in den Bauch trifft, sobald
man auf Play drückt. Als Luciano und Davide beschlossen, die Band zu gründen, hatten sie diesen großen, rauen Sound im Kopf: Die Essenz von Red
Rot war schon lebendig, bevor die Songs geschrieben waren. Dröhnende Gitarren, die den Zuhörer wie ein Sack Ziegelsteine attackieren, natürlich
klingende Extrem-Metal-Schlagzeuger, ein schwerer, runder Bass, der Gitarren und Schlagzeug miteinander verbindet, und eine Stimme, die wie eine
verrückte Predigt wirkt, die in deinem Kopf in einer Schleife läuft. Red Rot hat auch einen gebrochenen, maskulinen Sinn für Untergang. Es ist die Art
von Dunkelheit, die greifbar und direkt in deinem Gesicht ist. Die fünfzehn Songs auf "Borders of Mania" sind musikalisch intensiv, roh und
leidenschaftlich, aber mit einer facettenreichen Eleganz, die Red Rot für Fans von radikaler und harter Musik quer durch das Spektrum interessant
macht.

Ever wonder what triumph over adversity sounds like? The answer lies in 'Trickery', the new album from gothic post-punk legends Then Comes Silence. A reflection of the band's experiences touring and meeting people all over the world, Trickery celebrates friendship, unity, and the feeling of belonging to a group, a tribe, all wrapped in Then Comes Silence's patented post-punk-wall-of-sound.

Trickery by Then Comes Silence, released 10 May 2024.

This version of Trickery comes as a 1xLP.

Our 20th celebration year continues with a very special comeback! It’s exactly ten years now since the last Ben La Desh release on our label, his sublime “Stellar Talk EP” hit big waves and together with the “Midnight Rendez-Vous EP” from 2012 he cemented himself in the lo-fi deep space house scene as an artist to look out for, no one produced deep house like he did back then. After a longer break from releasing music he is back and we think stronger as ever, with analogue gear and well curated sampling and live field recording we present you his “Fine Rise EP”.

The opener “Heel Goed” is an amazing track with that distinctive 909 beat and DX bass driven “La Desh” flavour and a truly wonderful vocal sample from a 90s TV commercial, hilariously funny and brilliant at the same time! We can’t wait to see the faces of people, especially on the Dutch dancefloors, when they try to figure out and discover what the ladies are talking about! Second A side track is the super funky “Lift Adrift” that flanges itself to outer space, etherical with chopped break beats and various percussive and rhythmic Pearl Syncussion layers running through effect pedals, Lift Adrift!

On the other side we start out with the deep title track “Fine Rise”. Here Ben treats us again to his trademark spaced out effects driven sound and on top a killer bass line and synth lead melody, reminiscent of the golden age of (good) trance music. Followed by the break beat gem that is “Asanti”, cautiously cut up breaks and layered machine drums with bubbly Syncussion sounds, rain drops falling down on different surfaces recorded in a garden in the French Drôme and processed African Kalimba. Did we already say Etherical? It is!
Closing out this great new record is the ambient piece “Expanding Signal”, an analogue tune that consists of field recordings and deep dubby chords, a building Juno pulse, swooshes and again a profound DX bassline, think of “Sun Electric” or “The Orb”.

Enjoy this one and play it loud on the dance floors or silently in your bedroom, it works everywhere as far as we are concerned!

All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Mary Lattimore and Walt McClements are two of contemporary music"s most renowned innovators. Each has managed to expand the perception of their instrument"s capabilities. Lattimore inventive harp processing and looping has brought the instrument to a new audience. Her prolific run of celestial solo albums and evocative film scores have redefined the instrument in the modern consciousness. Her genre-agnostic collaborations include work with Kurt Vile, Steve Gunn, Jeff Zeigler, Meg Baird, and Thurston Moore. McClements, who tours as a member of Weyes Blood, is an acclaimed composer in his own right, sculpting glacial atmospherics from the accordion. The Los Angeles based duo became quick friends on overlapping tours, sharing both a drive to push the sonic possibilities of their instruments and roots in North Carolina. Mary Lattimore and Walt McClements debut collaboration Rain on the Road blossomed out of that time spent on the road together, capturing the liminal existence of touring life in deeply cinematic compositions. Recorded in the cozy setting of McClements" apartment during a rainy December in LA, Rain on the Road unfurls as a series of sonic vignettes, rolling landscapes hewn from longform improvisations for harp and accordion. Embellished with additional instrumentation such as the shimmering constellations of hand bells on "Stolen Bells" that glisten like lights on wet pavement, or the stately piano figures on "The Top of Thomas Street"; their pastoral pieces manage to paint vivid images.

With words as weapons and public infrastructure as his blank slate, John Fekner's City Squad are always questing for the ineffable, even as they yearn for concrete change - Make no mistake, Idioblast is a serious party where everyone is welcome.

Released in 1984, Idioblast is a lost classic, a future shock narrative ahead of its time, and yet completely of its era, like few artifacts before or since. The cover tips you off from the jump--a crude but effective collage featuring classic Fekner slogans like Toxic Junkie, Growth Decay and Soft Brains Watch The Screen And Buy The Jeans. In an uncanny and tragic coincidence, the very first lyric on the album--"The place to be is on the space shuttle/if you're brave enough to get on it"--seems to anticipate the Challenger disaster just two years later.

But for the most part, the tracks on Idioblast directly reference the concepts that inspired Fekner's visual art. Musically, "Rapicasso" utilizes pneumatic pounding with an industrial edge as Fekner equates the great and controversial painter with risk-taking graffiti kids bombing trains and billboards across the city. Art is in a constant state of exploding--forms, paradigms, outdated ideas.

Splitting the difference between hip-hop and new wave, the Santaniello-sung "The Beat" is like Thomas Dolby meets Run-DMC and should've been a radio staple for at least one sticky summer. It could soundtrack either a couples roller skate or a drug-fueled evening out. Channeling Fekner's slogan-stencil aesthetic, "Travelogue The 80's" is a tour de force reminiscent of Negativland's experiments in audio culture jamming. As Fekner details, "I grabbed all of the sounds via a shortwave radio picking up transmissions from LaGuardia airport and the TV. I recorded and edited on a Sony Pro Walkman and an Aiwa dual cassette deck."

Warning, Green Day's 6th studio album, was released in 2000 and continued the remarkable run of successful releases for the band following Dookie, Insomniac and Nimrod.

The album blends the band's usual punk rock sound with pop, folk and acoustic elements. Hit singles from Warning include "Minority" and "Macy's Day Parade". This limited-edition version of the album is pressed on fluorescent green vinyl for all retail.

Alternative indie pop artist Rachel Chinouriri announces her long-awaited debut album What A Devastating Turn Of Events, out Friday 3rd May 2024 via Parlophone. What A Devastating Turn Of Events is a culmination of the experiences, challenges and joys of Chinouriri’s life so far, explored through the prism of musical stylings honed through years of experimentation and creation.

Ever-eclectic and brutally honest, the album traverses life’s light and shade, the writing and sharing a healing process for Rachel, and she hopes, her listeners. The album is now available to pre-order and pre-save. In addition to the digital release, the physical formats include the Standard LP & CD, exclusive red vinyl for HMV and select indie stores.

There is also a Deluxe LP and 7 inch (including 2 bonus tracks), cassette and CD + Zine that are all available exclusively via Rachel’s official store. Rachel will play her biggest sold out headline show to date at London’s KOKO on 6th March 2024. In celebration of the announcement of her debut album, Rachel also announced two US headline dates in New York and LA in March, plus a run of intimate in-store shows across the UK in February.