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Session Victim need little by way of introduction having been releasing on Delusions consistently for the last 10 years and becoming the undisputed poster boys for the label in the process. Despite their regular appearance however, it’s always a real treat to announce a new record from the German duo and we have to say, the Screen Off EP may well find them in their finest form to date! Coming hot off their latest downtempo LP entitled Low Key, Low Pressure for Night Time Stories, you can tell Hauke and Matthias were ready to take things back to the dance-floor and have delivered an EP which looks set to become a future classic and no doubt big in the box of discerning DJ’s the world over.

Screen Off is really it’s own thing, living somewhere on the long and winding road between the Bar Kays and the Bad Brains, suffice to say that what it lacks in easily definable attributes it makes up for in sheer energy and raw attitude. Hauke and Matthias re-invite Jamaican poet and vocalist Ras Stimulant, who contemplates our screen addictions and urges us to disconnect and be present in the moment. Matthias’ rolling bassline provides the backbone, whilst hints of crunchy Moog and chopped guitar samples all bring a sense of urgency to the track.

Light The Way acts as an antidote, bringing a sense of calm melancholia in contrast to the title track’s low-end, funked-up fervour. A soft focus and almost distant drum groove draws us in whilst arpeggiating synths add a sense of optimism, reinforcing the tracks title.

Closing out the release we have Session Victim’s studio partner, good friend and all-round top producer Iron Curtis in for a remix of Light The Way. Johannes takes an interesting approach for his Illuminati interpretation, enhancing the breakbeat feel and mixing up chopped samples with classic 808 drums. A muscular bassline adds extra weight to his remix but without losing the subtle musicality and positive vibe of the original.

Being the vinyl purists they are, Session Victim and Iron Curtis top up the physical 12“ EP with the exclusive Screen Off Acapella and an additional Iron Curtis Remix Reprise.

Two Italians step into the Bordello. Both are armed. Their weapons of choice? The synthesizer sounds of italo, new beat and wave. LVCA and Otis have been raised on the sounds of their homeland, adopting its analogue sound while adapting it to their own style. The result is a brooding mix of addictive lines and vocoder fire.

“Ritmo Electronico” opens with a steel-edged snare driving smeared synths through the city dusk, robotic lyrics menace this sleazy neon-stained scene of cracked mirrorballs and flaring machines.

Listeners are pulled into the underbelly of A Promise In The Cold Night with the murky “Tanzen”. Alex Vincent’s words are shrouded in glitch, bright burbling bars and a clean clap offering a path of light to help the listener navigate their way. The true coldness of the night arrives with the stabbing keys of “Synthesised Emotion”. Through a haze of hi-hats, an electrical smoke of blacks and greys fizz with juddering volts as passions pour through cable and wire. That haze grows thick in the close. Through a mist of distortion, a “Sphere Of Light” penetrates. Pin-pricks of percussion are dowsed in aquatic tones before a syrup of static is poured across proceedings, lost vocals ghost in this fog of bending bodies and forms.

Above & Beyond release yoga and mindfulness-inspired ambient LP: “Flow State” Above & Beyond today announced ‘Flow State’, a49-minute panoramic journey of ambient compositions and warm, neo-classicalsoundscapes that offer moments of meditative calm in these busy and often overwhelming times. A break from the anthemic dance sound that swept Above &Beyond’s ‘Common Ground’ LP to #3 in the Billboard Album Charts in 2018, ‘Flow State’ is the culmination of a journey which began at Burning Man in 2014. A chance encounter on the Playa led to a spontaneous sunset yoga set on the infamous Robot Heart stage, guided by renowned yogi Elena Brower. A magical and spiritual experience for those present, it inspired Above & Beyond to begin opening their biggest global gigs with yoga sets, creating transformative experiences for 25,000 strong crowds at The Gorge Amphitheatre in Washington and Huntington Beach, California. The original Burning Man yoga set has subsequently gone on to amass over 2 million streams on Soundcloud. As the band began writing more original music for these yoga sessions, the seed for “Flow State” was sown. “Our music has always been about getting in touch with, and understanding and accepting our emotions. After those amazing yoga sets, we realised thatthere is a bigger place for this more reflective music within our little universe,” explains Above &Beyond’sPaavoSiljamaki. “With the Flow State project, we want to help bring people's attention and focus towards helping themselves find better mental fitness and overall happiness in life,” adds Siljamaki. “Through raised awareness, being more present, one can reach a state of flow: a creative and free state of mind where time, fear and stress dissipate.” To long-time fans of Above & Beyond, this new album will come as no surprise; quieter moments have always been essential components of their chart-topping electronic albums.

It's a pleasure for us to present one of the most awaited albums of the MM Saturns saga, a record on which we have been working for almost 3 years, and it finally sees the light.

Corben introduces us to "Peachland," an introspective retro-futuristic journey where early electro and downtempo go hand in hand in order to create a cybernetic vision of the '80s subculture. It's like an inner spaceship that immerses you in infinite space, allowing you to reach unknown universes.

Pure no-wave nostalgia filled with contagious vocoders and hypnotic synthesizers that shape a dreamlike and unsettling landscape, in which Corben shows us what could be the most sentimental and human side of an imaginary and futuristic artificial intelligence.

Days of Shaking continues M G's exploration into the kitchen sink dramas of modern suburbia but behind these songs of frustrated opportunities and the mundane realities of day to day modern living is a world of rumour and mystery, urban myths and the magical thinking we all use to bring shape to our lives, expectations and hopes Like a modern day book of wonders, the songs of Days of Shaking hint at UFO sightings, potential cave gods and visitations of the dead in dreams, all adding to the rich texture of people's wants and needs but ultimately our belief in hope. This balance is seen in the title track and album opener where the protagonist wonders whether he has witnessed a UFO but ends more prosaically with, "Where is the party tonight?/To stand by a tiki bar with Christmas lights/I want something I can't find/ we drive around dark tenements searching". Similarly the heroic fishing photos of 'City Map' poke at deeper yearnings: "is it true you can wake up somewhere new/ just shrug it off and transform?". Often referred to as the artist's artist M G has been a much sought after collaborator in the folk and Americana scenes, having significant tenures in the Simone Felice Group, The Duke and the King, Emily Portman's Coracle Band, Blue Rose Code, The Owl Service & Jon Boden's Remnant Kings.

Days of Shaking continues M G's exploration into the kitchen sink dramas of modern suburbia but behind these songs of frustrated opportunities and the mundane realities of day to day modern living is a world of rumour and mystery, urban myths and the magical thinking we all use to bring shape to our lives, expectations and hopes Like a modern day book of wonders, the songs of Days of Shaking hint at UFO sightings, potential cave gods and visitations of the dead in dreams, all adding to the rich texture of people's wants and needs but ultimately our belief in hope. This balance is seen in the title track and album opener where the protagonist wonders whether he has witnessed a UFO but ends more prosaically with, "Where is the party tonight?/To stand by a tiki bar with Christmas lights/I want something I can't find/ we drive around dark tenements searching". Similarly the heroic fishing photos of 'City Map' poke at deeper yearnings: "is it true you can wake up somewhere new/ just shrug it off and transform?". Often referred to as the artist's artist M G has been a much sought after collaborator in the folk and Americana scenes, having significant tenures in the Simone Felice Group, The Duke and the King, Emily Portman's Coracle Band, Blue Rose Code, The Owl Service & Jon Boden's Remnant Kings.

A Londoner with Iraqi and Belarusian heritage, Flo Perlin began learning the cello at the age of five, later falling in love with the guitar when her Colombian teacher Cesar Rodriguez- Duran (the same person who taught Michael Kiwanuka) introduced her to the world of Bossa Nova, which influenced her own finger picking style.

Combining this experience with a diverse range of influences from artists such as Zero 7, Laura Marling, Buena Vista Social Club, Suzanne Vega and Erykah Badu, enabled Flo to develop an accomplished talent, further enhanced by a unique vocal style and ability that is instantly recognisable - a rare gift in today's musical landscape. In addition to the soothing and hypnotic nature of her voice, Flo Perlin is able to create beautifully crafted, melodic and poetic songs that address common yet complex issues, intertwined with profound and personal perspectives. In light of this, BBC 6 Music have described her as "a true storyteller".

'Clay' itself is a metaphor for the human capacity to adapt and adjust to different experiences and challenges. Just like clay, we mould and change shapes

When it came time to write and record his fifth album, Salvation, the singersongwriter- guitarist was processing the sudden passing of his mother. The resulting 11-track album is his most personal. Salvation honors Quinn's musical roots while forging his path forward as an emotive and engaging singersongwriter. "My mom was my guiding light on this record," the New Bedford, Massachusetts-based artist says. "I'm not a religious person, but salvation, to me, means saving yourself from a traumatic experience. That's what this album did for me."

Das neue Album von Richard Hawley, "In This City They Call You Love", wird am 31. Mai 2024 veröffentlicht und zeigt, dass Richard Hawley die Verzerrer wegwirft und seine Stimme wieder in den Vordergrund stellt. Nach dem weltweiten Erfolg von "Standing At The Sky's Edge", dem preisgekrönten Musical, das auf seinen Songs basiert, kehrt Richard Hawley mit "In This City They Call You Love" zurück, seinem neunten Studioalbum und seinem ersten seit "Further" von 2019. 'In This City They Call You Love' enthält 12 herausragende Songs, von denen viele als 'vintage Hawley' bezeichnet werden können und zu den schönsten Balladen gehören, die er je geschrieben hat. Wunderschöne Melodien und Arrangements werden von seiner gefühlvollen und sonoren Stimme begleitet, die besser denn je klingt, und machen dieses Album zu einem krönenden Abschluss einer fast 25-jährigen, äußerst erfolgreichen Karriere.

Das neue Album von Richard Hawley, "In This City They Call You Love", wird am 31. Mai 2024 veröffentlicht und zeigt, dass Richard Hawley die Verzerrer wegwirft und seine Stimme wieder in den Vordergrund stellt. Nach dem weltweiten Erfolg von "Standing At The Sky's Edge", dem preisgekrönten Musical, das auf seinen Songs basiert, kehrt Richard Hawley mit "In This City They Call You Love" zurück, seinem neunten Studioalbum und seinem ersten seit "Further" von 2019. 'In This City They Call You Love' enthält 12 herausragende Songs, von denen viele als 'vintage Hawley' bezeichnet werden können und zu den schönsten Balladen gehören, die er je geschrieben hat. Wunderschöne Melodien und Arrangements werden von seiner gefühlvollen und sonoren Stimme begleitet, die besser denn je klingt, und machen dieses Album zu einem krönenden Abschluss einer fast 25-jährigen, äußerst erfolgreichen Karriere.

Das neue Album von Richard Hawley, "In This City They Call You Love", wird am 31. Mai 2024 veröffentlicht und zeigt, dass Richard Hawley die Verzerrer wegwirft und seine Stimme wieder in den Vordergrund stellt. Nach dem weltweiten Erfolg von "Standing At The Sky's Edge", dem preisgekrönten Musical, das auf seinen Songs basiert, kehrt Richard Hawley mit "In This City They Call You Love" zurück, seinem neunten Studioalbum und seinem ersten seit "Further" von 2019. 'In This City They Call You Love' enthält 12 herausragende Songs, von denen viele als 'vintage Hawley' bezeichnet werden können und zu den schönsten Balladen gehören, die er je geschrieben hat. Wunderschöne Melodien und Arrangements werden von seiner gefühlvollen und sonoren Stimme begleitet, die besser denn je klingt, und machen dieses Album zu einem krönenden Abschluss einer fast 25-jährigen, äußerst erfolgreichen Karriere.

Having been based in Sussex, Philip moved to an old mill in France and never stopped writing. In 2014 he released his organic and honest solo debut album "I'm Not The Man I Used To Be". This was followed up by the critically acclaimed Mental Home Recordings is upon us. And now Philip Parfitt is set to release Dark light via Chicago/London/Paris based label Tip Top Recordings.

A significant milestone in his long accomplished career, Dark Light features 10 beautifully crafted pieces, including deep cuts 'I know I shouldn't but voices' and 'Dark light' the title track, give ample evidence of Philip's prowess as a wordsmith and musician, but also arranger and producer. Think Nick Drake and Captain Beefheart accidentally bumping into each other at a private viewing of Bright Sta
in Heaven, you won't be too far out of the crease. Philip is accompanied by a merry band of friends and luminaries including Alex Creepy Mojo, Amelie Fish, Lucie Robet (who also wrote title track Dark Light with Philip), Gilda Scouarnec, Rog Mogale (who also mastered the album), and Mark Refoy.

Dark Light is released on digital, CD, limited edition vinyl LP with 200 copies in black and 200 copies in dark purple to match the darkly beautiful artwork by Fernando Ruibal. Sleeve notes come from Matthew Spector within the included booklet with art from Joane Charlotte Senechal, photography by Sarah Baba, and design by Anna Mort.

Echoplex Makes a Triumphant Return With His Latest Ep, "Light Strike," on Soleil Records. After Overcoming Adversity, He's Back With a Revitalized Sound That Blends Classic Techno With New Energy. the Ep Promises to Ignite Dancefloors With Its Haunting Pads, Pulsating Rhythms, and Bold Experimentation. Welcome Back, Echoplex - the Techno Underground Awaits Your Electrifying Beats!...

Floating World Pictures is a 'Loud Ambient' project led by Chestnutt, producer & member of Snapped Ankles, and graphic/sound artist & instrument builder Raimund Wong.

For this new release they have come together with producer Ocean Moon (AKA Jon Tye) to create a heady brew of deep, resonant sonic exploration, spanning two sides of a beautiful limited cassette release which will be available via Lo Recordings on 14th June 2024.

Mystical, new age, ambient soundscapes born of psychic improvisation and excursions into worlds lost in mist, intertwine seamlessly with fragments of found dialogue, melodies and environmental sounds, cassette tape loop manipulations, live dub/effects and analogue synthesis. The cassette album comprises two singular but wholly complementary sound projects:

‘Look Now For The World Is Shining Bright’ is a suite of 4 tracks, all of which contain elements of music featured on the band's debut album ‘The Twenty-three Views’ (Friendly Recordings 2022), performed by Chestnutt, Rai Wong, Alabaster Deplume, Akihide Monna, Charles Prest, Cathy Eastburn, Kamal Rasool, Danalogue and Clémentine March with additional keyboards, collage and composition by Ocean Moon.

‘Have You Met Your Maker?’ was recorded as a trio one day in August 2023, at Ocean Moon’s Cornwall studio The Centre Of Sound, Maker Heights. Amidst the wind, rain and occasional sunny outburst they create sensuous deep dives between light and shade, with soundscapes filled with tape hiss, sweeping reverberance, field recordings from around Maker and angelic mood music; delicately weaving a web of movement and brightness with sounds of eternity that dissipate all negative thought patterns.

The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).French Popular Music, ndlt

Compiling extracts from concerts given between 1976 and 1978, L’Inter Communal demonstrate the “social function” which inhabited free jazz and popular music at the time calling upon Spanish singer Carlos Andreu along with Michel Marre, Jo Maka, Adolf Winkler and Jean Méreu. Andreu, claimed Tusques, was a griot “who created of new genre of popular song improvised with our music, based on events going on at the time”.

L’Inter Communal can start the festivities: on “Blues pour Miguel Enriquez”, it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: “L’heure est à la lutte” (the time to fight is here ndlt), is the new song offered by the l’Intercommunal Free Dance Music Orchestra... As if proof were needed that their music is still more than timely!

"2024 marks the 40th anniversary of Bruce Springsteen's 'Born In The U.S.A.' Although it would become his biggest selling album with seven top 10 singles on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars says ""any of those songs could be played with acoustic guitar alone and still be great."" Taking this idea as its premise, 'Dead Man's Town: A Tribute to Born in the U.S.A' strips the album's twelve indelible originals to the core, with contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced cover of ""Born I n The U.S.A,"" saying these artists are ""reimagining 'Born in the U.S.A. with a reduced approach more influenced by that of the acoustic, ""Nebraska.""

Isbell says of his cover, """"Born In The U.S.A."" is one of my favorites because so many people have seemingly misunderstood the lyrical content and the song's overall tone. When you listen to the demo, the dark, minor key arrangement makes it clear that this is not strictly a song of celebration. We wanted to stay true to that version."" Amanda Shires adds, ""I love that the song paints a picture of struggle in the face of the American dream, and the irony in the chorus is delivered with such force that it nearly transcends irony altogether."""

Horo proudly presents the long-awaited fourth studio album, Forces of Consciousness, by Ancestral Voices.

Following Liams first venture, 'Night of Visions,' a diary of a physical and life-changing journey to South America, he took a trip into seismic, dark, and heavy frequencies with his second LP, 'Divination,' which plunges into the notion of ritual. The third LP delved into the cosmic, devising custom tuning systems for the meditative 'Navagraha'.

Liam continues this conceptual approach that threads his work together with Forces of Consciousness - an exploratory dive into metaphysics, how consciousness creates reality, and how sound exists to bind and sustain our thoughtforms in harmony.

"I am fascinated by the intricate workings and unexplained phenomena beyond the physical. This has become a journey as I seek to understand the interconnectedness of all things. The threads that bind us to this experience.

Everything is consciousness; all things in existence are inherently conscious, including living and non-living entities. Consciousness is not merely a product of our brains and bodies but a fundamental universal aspect.

Consciousness creates reality; our consciousness shapes our perception of the world. Our thoughts and beliefs play a significant role in shaping the reality we experience.

While intangible thoughts cannot be measured physically, they shape our reality tremendously. Our thoughts significantly impact the world around us.

We are waveforms, and everything around us is sound. Sound plays a vital role in maintaining balance, whether the sound of a chirping bird, the whistles of dunes, or the resonance of the Earth.

As a collective, we make up chords that continuously merge and try to find a harmonious balance that sustains our consciousness. In essence, thought forms coexist to create harmonic structures, a lattice of electrical current that manifests as the lives we live every day."

The patterns change with the observer.
Matter is a limitation of consciousness.
That which was first was the immeasurable.
The harmonies remain.

Mit Gitarrist Steve Jansson (Daeva, Unrest), Sänger Brooks Wilson (Unrest), Schlagzeuger Enrique Sagarnaga (Daeva, The Silver), Gitarrist Frank Chin (Daeva), Bassist Matt Knox (Horrendous, The Silver) und Keyboarder Tanner Anderson (Obsequiae, Majesties) hat das in Philadelphia ansässige Sextett seine Zeit abseits des Rampenlichts genutzt, um ein noch größeres, mysteriöseres Crypt Sermon zu schaffen. The Stygian Rose ist eine Mischung aus Doom und Heavy Metal, welches allerdings beide Genres mühelos überwindet. Von der fulminanten Solosalve von "Glimmers in the Underworld" und dem beherrschenden Rhythmus von "Heavy is the Crown of Bone" bis hin zu den beschwörenden nahöstlichen Vibes von "Thunder (Perfect Mind)" und der komplizierten, meisterhaften Reise des 11-minütigen Titeltracks verkörpert The Stygian Rose die zunehmend wachsenden musikalischen und konzeptionellen Fähigkeiten der Band.

Crypt Sermon haben The Stygian Rose mit dem renommierten Produzenten Arthur Rizk (Blood Incantation, Cirith Ungol) und dem Toningenieur Aidan Elias (Blood Incantation, Wayfarer) im Redwoods in Philadelphia aufgenommen. Obwohl Rizk für Out of the Garden (2015) und The Ruins of Fading Light (2019) verantwortlich zeichnete, hat das Team das genreübergreifende Werk der Band dieses Mal in einem neuen Licht eingefangen. Die Singles "Glimmers in the Underworld", "Heavy is the Crown of Bone" und "Thunder (Perfect Mind)" sind beängstigend effektiv in ihrer Neil Kernon-esken Produktion. Gleichzeitig werfen die tiefgründigen Albumtracks "Scrying Orb", "Down in the Hollow" und "The Stygian Rose" lange, mysteriöse Schatten. Rizk holte aus Crypt Sermon denselben Big-Stage-Sound, den die Produzenten Dave Jerden und Rick Rubin Alice In Chains bzw. Trouble entlockten.

Geschmückt mit einem fesselnden Artwork und einem bezaubernden (und doch düsteren) lyrischen Konzept von Wilson, ist dies Crypt Sermons Moment - tauch ein in The Stygian Rose und lass dich von seinem Reichtum verzaubern!

FFO: Candlemass, Khemmis, Visigoth, Eternal Champion, King Diamond, Solitude Aeternus

Mit Gitarrist Steve Jansson (Daeva, Unrest), Sänger Brooks Wilson (Unrest), Schlagzeuger Enrique Sagarnaga (Daeva, The Silver), Gitarrist Frank Chin (Daeva), Bassist Matt Knox (Horrendous, The Silver) und Keyboarder Tanner Anderson (Obsequiae, Majesties) hat das in Philadelphia ansässige Sextett seine Zeit abseits des Rampenlichts genutzt, um ein noch größeres, mysteriöseres Crypt Sermon zu schaffen. The Stygian Rose ist eine Mischung aus Doom und Heavy Metal, welches allerdings beide Genres mühelos überwindet. Von der fulminanten Solosalve von "Glimmers in the Underworld" und dem beherrschenden Rhythmus von "Heavy is the Crown of Bone" bis hin zu den beschwörenden nahöstlichen Vibes von "Thunder (Perfect Mind)" und der komplizierten, meisterhaften Reise des 11-minütigen Titeltracks verkörpert The Stygian Rose die zunehmend wachsenden musikalischen und konzeptionellen Fähigkeiten der Band.

Crypt Sermon haben The Stygian Rose mit dem renommierten Produzenten Arthur Rizk (Blood Incantation, Cirith Ungol) und dem Toningenieur Aidan Elias (Blood Incantation, Wayfarer) im Redwoods in Philadelphia aufgenommen. Obwohl Rizk für Out of the Garden (2015) und The Ruins of Fading Light (2019) verantwortlich zeichnete, hat das Team das genreübergreifende Werk der Band dieses Mal in einem neuen Licht eingefangen. Die Singles "Glimmers in the Underworld", "Heavy is the Crown of Bone" und "Thunder (Perfect Mind)" sind beängstigend effektiv in ihrer Neil Kernon-esken Produktion. Gleichzeitig werfen die tiefgründigen Albumtracks "Scrying Orb", "Down in the Hollow" und "The Stygian Rose" lange, mysteriöse Schatten. Rizk holte aus Crypt Sermon denselben Big-Stage-Sound, den die Produzenten Dave Jerden und Rick Rubin Alice In Chains bzw. Trouble entlockten.

Geschmückt mit einem fesselnden Artwork und einem bezaubernden (und doch düsteren) lyrischen Konzept von Wilson, ist dies Crypt Sermons Moment - tauch ein in The Stygian Rose und lass dich von seinem Reichtum verzaubern!

FFO: Candlemass, Khemmis, Visigoth, Eternal Champion, King Diamond, Solitude Aeternus

IMOGEN presents WIGS002 - a four track EP celebrating the women of Wigs, featuring Grace Dahl, NVST, Rebecca Alle Paine and IMOGEN.

WIGS002 kicks off with heavy breaks and kick drums bringing a rough hardcore vibe to IMOGEN’s latest single ‘SHOUTOUT 2 LDN’, premiered by radio legend Mary Anne Hobbs on her Radio 6 show.

IMOGEN samples a vocal from her favourite 90s MC Alex Pearce, adopting the same “zero f***s attitude” of the early 2000s techno scene. She combines this with squelching reese basses and slick programmed breaks to bring the same energy of early warehouse parties to the dancefloors of today.

Next up, Grace Dahl departs from her usual rolling techno style with electro banger ‘I Like Em Sexy’. A fast-paced distorted vocal slides its way through the drums into an epic breakdown before an unexpected 4/4 drop. IMOGEN and Dahl’s musical chemistry shone in their B2B on the Wigs NTS show, making this the perfect A-side combo of the EP.

Upcoming Italian DJ and producer Rebecca Alle Paine keeps up the EP’s high energy with the perfect DJ tool of rolling 909 drums. Hardgroove is having its resurgence right now and Rebecca is a leading light in the genre currently flooding the scene. Wigs isn’t the only label to pick up on Rebecca’s driving style - she recently released an album on hardgroove legend Ben Sims’ label as well as featuring on Freddy K’s KEY. It is clear Rebecca is one to watch for 2024.

NVST closes off the EP in a mind bending Aphex Twin-style crescendo. ‘A Face Has No Voice’ is an eight minute long saga boasting her skill as a multiverse producer. It follows a journey through dub, breaks and IDM. WIGS002 showcases the true diversity of the next generation of musicians, and that one piece of music can traverse many genres.

Wigs kicked off as a project aimed to offer a new approach to party series and workshops with an emphasis on community, bringing like minded ravers together to build a platform for the next generation of artists and party goers. As well as a residency at Tresor Berlin, Wigs has hosted sold out parties across Europe bringing names such as Daria Kolosova, Dr Rubinstein Salome and more. After the success of WIGS001, Wigs is proving itself to be a staple sound in dance music right now.

idal Perspectives is an album by Giovanni Di Domenico, Pak Yan Lau, and John Also Bennett. Recorded across a single afternoon in Brussels, Belgium, the album’s four parts are a rippling alchemy of processed Rhodes piano, sizzling ceramics, and liquified bass flute, a rare meeting of three unique voices from the contemporary music landscape that manages to flow with the effortless inevitability of the oceanic tides.

Giovanni Di Domenico, an accomplished composer and prolific collaborator who has released albums with Jim O’Rourke, Eiko Ishibashi and Akira Sakata, among many others, initiated the collaboration with Bennett after the two met at a record fair in Saint-Gilles, Belgium and bonded over a shared inquisitiveness for unconventional sonic combinations. Along with Pak Yan Lau, a Belgian-born sound artist and improviser who has developed her own rich and unique sonic footprint, the trio entered the studio with little, if any, discussion beforehand, jumping right into playing without preconceived structures. The resulting recordings had a depth of sound and emotional resonance surprising even them, with finished pieces emerging from single live takes and minor edits.

Bennett, known for his solo work as well as his collaborations with Christina Vantzou as CV & JAB, gives us here a taste of his bass flute in free flowing form. Unconstricted by concept, joyfully and lazily bouncing off the melodic shimmers of Di Domenico’s Rhodes, Bennett uses his flute’s pitch information to trigger long tones that emerge like rays of light piercing through low hanging clouds - moments of clarity among a clicking world of sonic stimuli. Meanwhile, Lau’s crackling and sometimes dissonant contributions on prepared piano, live hydrophone, and custom ceramic sound objects balance out the triangle, adding a sense of microcosmic intrigue that allows the music to seamlessly ebb and flow between moments of comfort and foggy uncertainty.

The album’s title track and climax, the eighteen minute “Tidal Perspectives”, drifts in with some kind of clarity, Lau’s glinting tonal waves edging in just beyond the horizon lines drawn by Di Domenico’s Rhodes and Bennett’s bass flute. But like the tidal flows of the Atlantic that inspired its title, just as you begin to perceive what’s happening, the currents have already taken you out to sea. Tidal Perspectives will be released on June 14th, 2024, in a limited edition of 300 LPs by Editions Basilic.

The Gloss is the second album from Cola. From their inception Cola have expanded on the d.i.y. ethic of the Dischord and SST eras, creating potent sounds from a minimal palette of drums/bass/guitar and lacing their songs with winsome one-liners and societal commentary. What’s another word for commentary? Gloss, apparently. Never basic, the lyrics reward repeated listening for deeper meanings. David Berman’s poetry-via-garage light pennings are an inspiration, as equally so are the lighter side of UK first-wave New Wave and the Dunedin sound. The results are in the pudding: at times sparse and poetic, at others a thrilling, hook-laden good time, as with the cheeky romantic sketch of a one-night stand that is so overflowing with innuendo-cum-journalism talk that it almost teeters over into self-parody. But the results are the right combination of lightheartedness and sincerity. Romanticism is never far from laughter, and equally never far from righteous anger in the music of Cola: “Pulling quotes now in the dark/Our outlook is restrained/Your tongue might weaken to be-fit your smile/Til nothing ill remains.” ‘nuff said. It's an album bursting with energy and wit and ideas–filled to the margins.

"Irish singer, songwriter, multi-instrumentalist, and producer, James Vincent McMorrow, returns to the fore with his seventh full-length album Wide open, horses, out June 14th, 2024.

Wide open, horses is a candid snapshot of everything that has brought James to this point. The album signifies a retaking of his own narrative, a freeing self-acceptance, and a rebuilding of both his sense of self and his connection to music. Singles “Stay Cool”, “Never Gone” and “Give up” offer a first taste of what fans can expect, leaning further into the introspective and sincere indie-folk sound of his earlier material, whilst incorporating elements of his more explorative later releases.

A unique and particularly special artist project, Wide open, horses was initially performed live having booked two nights at The National Concert Hall in Dublin, where he recorded a handful of lo-fi demos, practiced the material for a week, and then hit the stage prior to ever recording a single song. Phones weren’t allowed, but James recorded it to “see what worked and what didn’t work.”

James has beckoned listeners to open their minds and hearts since his emergence in 2010. Along the way, he gathered over 1 billion streams across an expansive catalog. Among many standouts, “Higher Love” went BPI Gold in the UK and ARIA platinum in Australia. His cover of Chris Isaak’s “Wicked Game” soundtracked the trailer for Season Six of HBO’s Game of Thrones and generated over 130 million Spotify streams on its Live At Killkenny Arts Festival version. Toppling charts, 2016’s “We Move” notably debuted at #1 in Ireland. At the same time, he lent his voice to “Hype” from Drake’s multiplatinum blockbuster Views, “I’m In Love” from Kygo’s Cloud Nine, and “Run Away” from dvsn’s Morning After, among others. Meanwhile, he’s sold-out tours on multiple continents, even packing the world-famous Sydney Opera House twice."

Los Angeles April 18, 2024The origin of this record is a weird one. In 2019, we had just returned from two long European tours when we decided to take a “little break” from the road. You all know what happened next. That “little break” turned into a couple of years and during that time Dane, our drummer, decided to quit the band and music in general (no hard feelings).. Sean and I had a discussion and thought about ending the band as a whole, but I knew I had to go out on my own terms. I had an ace in the hole, though. Jeff Murray, drummer from LA rippers The Shrine. I had been friends with Jeff and The Shrine’s founder, Josh Landau since our “Scavenger” 7” came out, around 2012. We had run into them in Berlin a few months back and I knew they weren't playing anymore. I called Josh first, ‘cause asking a dude if you can take his drummer, is like asking your girlfriend's Dad if you can marry her. And Josh said “go for it”. And Jeff was in. Honestly if he had said no, that would have been the end. I had written a ton of stuff since our last album but I had shelved most of it. I was trying too hard - basically. Eventually Sean, Jeff and I said, ‘Fuck it, let’s make a “Fake Live” record’ - like Kiss or Slayer did. John Dwyer from Osees was opening his new studio, Discount Mirrors and it seemed like the perfect place to record it. We settled on re-recording a bunch of old stuff while simultaneously demoing our new material, as the three of us were now starting to really get in the groove. The result is Strange Masters Vol. 1. These are not new songs. These are Zig Zags classics re-recorded with a ripping-ass band that’s old and angry and just wants to get on with it. We are already on to recording the next album of new songs. That one is coming soon, but in the meantime, enjoy this one…while you still can!-Jed Maheu-Guitars-Vocals-Zig Zags

CRUDE’s second record release features one of the most promising artists from the underground music world - DJ RAT.

Hailing from the American Pacific Northwest, DJ RAT’s signature sound is characterised by an eccentric, distinguishing and uncompromising approach - seamlessly blending intense, arcane and mystical elements in order to create a captivating experience.
Side A kicks in with Nocturne, the EP’s leading track that guides the listener into a veil of mystery with its enigmatic melody and its pulsating basslines that gradually build intensity while maintaining an underlying sense of tranquillity.

Hexosphere’s rhythm is edgy and straightforward with a trippy nature.
There’s an ever-evolving dynamic throughout the four tracks, alternating between driving rhythms and moments of serene psychedelia - exploring the duality of light and dark and evoking a feeling of introspection.

The B-side takes off with Corridor, an oscillating tension-builder.
Corridor’s distorted synths and glitchy effects cascade over pounding drums, creating a chaotic yet mesmerising soundscape.
Telepathic Climax weaves in and out with shimmering and alluring shifts that add depth and dimension to the track.

Atmospheric and trippy textures create a sense of space and immersion throughout the journey of the EP - with illuminating elements piercing through the darkness.

"In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities." - Zoe Efstathiou.

Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory.

Enjoy The Ride Records in conjunction with Lionsgate proudly present Cube Original Motion Picture Soundtrack. Composed by Mark Korven (The Witch, The Lighthouse), this is the first time Cube Original Motion Picture Soundtrack has been available on vinyl. Cube is a late 90s Sci-Fi Horror film that follows a group of people through cube-shaped rooms, and has become a cult classic since its release.

Cube Original Motion Picture Soundtrack has been pressed at 45 RPM and has a custom Cube Door B Side Label. This release also includes unreleased bonus tracks and comes housed in black poly-lined inner sleeves. The jacket features the iconic poster art on the cover, with back cover art designed by Steven Wild.

Nach ihren 30+-Jubiläums-EPs und zugehöriger Reissue-Serie sind FU MANCHU endlich mit brandheißem neuem Material zurück!



The Return Of Tomorrow ist das erste neue Album von Fu Manchu seit sechs Jahren, und sie haben sichergestellt, dass sich das Warten gelohnt hat. Ihr 14. Album ist ihre erste Doppel-LP mit neuem Material und wurde als Vinyl-Hörerlebnis konzipiert. Die erste LP enthält sieben Songs in ihrem ikonischen Heavy-Fuzz-Sound, darunter die erste Single "Hands Of The Zodiac" und das unerbittlich eingängige "Loch Ness Wrecking Machine". Auf der zweiten LP wird die Band mit sechs langsameren Stücken, darunter das Synthie-beeinflusste "Solar Baptized" und der Titeltrack, etwas ruhiger. Beide LPs haben 45 Umdrehungen pro Minute für den bestmöglichen Sound. CD-Hörer brauchen sich keine Sorgen zu machen, da diese Version des Albums speziell für dieses Format gemastert wurde.Wie das letzte Album der Band, Clone Of The Universe, und die dreiteilige Fu30 EP-Serie wurde The Return Of Tomorrow im Racket Room in Santa Ana, Kalifornien, von Jim Monroe (Adolescents, Ignite) aufgenommen und gemeinsam mit Fu Manchu produziert.

The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path. Pressed on violet vinyl!

Das Wesen, das als Adversarial bekannt ist, hat erneut das Portal zu einem zeitlosen Reich des Erstickens und der Qualen geöffnet. Während sich der Leviathan auf sich selbst zurückzieht, steigt an der Kreuzungsstelle Sulfer auf, ein Strauß aus fauligem Dotter. Diese faulige Chemikalie wird Nigredo aufrechterhalten, während das Metall, schwarz wie die Mitternacht, unter der Macht der Atombombe gehärtet wird.

--Erste neue Veröffentlichung seit neun Jahren! Der atemberaubende Nachfolger von "D.E.N.A.T.B.K.O.N." von 2015.
--Beste Produktionsarbeit bis heute! Aufgenommen und gemischt von Vadim Balanyuk. Gemastert von Damian Herring in den Watchtower Watchtower Studios
-Schlängelnder, düsterer Death Metal, der sicherlich die Ohren von Immolation, Antediluvian, Archgoat und Tetragrammacide zufriedenstellen wird

Das Wesen, das als Adversarial bekannt ist, hat erneut das Portal zu einem zeitlosen Reich des Erstickens und der Qualen geöffnet. Während sich der Leviathan auf sich selbst zurückzieht, steigt an der Kreuzungsstelle Sulfer auf, ein Strauß aus fauligem Dotter. Diese faulige Chemikalie wird Nigredo aufrechterhalten, während das Metall, schwarz wie die Mitternacht, unter der Macht der Atombombe gehärtet wird.

Tunnel Blanket delivers the epic-in-scope soundscapes that followers of its makers' previous recordings are accustomed to, but presents them in new lights - where once the sun shone down bright upon immediate tropes and traits, now their work is better suited to distant starlight, casting changeable shadows across vistas of inspired, ambitious amplification. This is not an album to pick through in search of bold hooks and instant melodies. It is an ever-shifting, always moving work, which seems to evolve before the listener - spidery guitar lines feeling their way forth like vines scrambling up trunks in time-lapse photography.

Supernatural meditation, with a drum machine, from California's mysterious mail order mystic. 1975's Music Of The Godhead is the ambient alchemy that established Burchette as the white wizard of tremolo theurgy. Warning: Inner peace lik ely!

Supernatural meditation, with a drum machine, from California's mysterious mail order mystic. 1975's Music Of The Godhead is the ambient alchemy that established Burchette as the white wizard of tremolo theurgy. Warning: Inner peace lik ely!

Repress!

Pop Psychedelique vereint frühe Superstars des französischen Pop (Serge Gainsbourg, Brigitte Bardot) mit 60er Lieblingen (Frances Gall, Gillian Hills, Jacqueline Taieb), neuen Psych-Sounds (L'Epee, The Liminanas), 60er Pariser Coolness (Anna Karina), Freak-Beat-Psych-Rock (Les 5 Gentlemen), Dancefloor-Freuden (Charlotte Leslie), Exzentrik (Nino Ferrer) und schierer Moog-Pop-Brillanz (Jean Jacques-Perrey). Den Abschluss bilden Stereolabs French Pop, die einflussreichen Air mit Synthie-Psych-Pop und Pierre Henrys epischer Big Beat im Fatboy Slim Mix. Pop Psychedelique bedeutet pure Freude!

Through a mixture of her work fronting Made Out of Babies, her collaborations with Cult of Luna and her 2010 solo album The Bad Wife, Julie Christmas has become a visionary adored by alternative music's fan-base. And now, after 14 years, she's finally releasing her second record under her own name.

Mit den grossartigen Produktionsfähigkeiten des ehemaligen Bandkollegen und jetzigen Produzenten, Ingenieurs und Mixers Fotis Benardo (Rotting Christ, Sakis Tolis, Nightfall, On Thorns Ilay, Suicidal Angels) in seinem Athener Devasoundz Studio wurde "Remains Of A Dead World" zu einer Mischung aus all dem, was Nightrage zu einem integralen Biest gemacht hat. Die Band erweist sich als einer der letzten wahren Meister des Melodic-Death-Metal-Genres, mit völlig unaufhaltsamem Riffing, grandiosen Hooks mit überlebensgrossen Gitarrenmelodien und brutalem Gesang, die Ehrlichkeit und pure musikalische Darbietung direkt aus dem Herzen bieten. Das Mastering übernahm der befreundete George Nerantzis (Abbath, Dark Funeral, Pain Of Salvation, Sakis Tolis), dessen Fähigkeiten dem neuen Album einen immensen Sound voller Klarheit, Kraft und analogem Flair ermöglichten.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.