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Purple Vinyl

House music, nightlife entertainment and DJ/Producer virtuoso Louie Vega has proven over and over again that he's a master chemist in the studio. His latest release is an uptempo and speaker-knocking remix of Funkadelic's 'Ain't That Funkin' Kind of Hard on You' (produced by George Clinton and & G Koop) from the album 'First Ya Gotta Shake the Gate'.
The original version is nothing short of a classic, but it's as if the song had never been invited to a Louie Vega post-midnight global extravaganza. Was the song not aware that spellbound dancing and high BPMs were the standard for House Music Normally, such a blaring disregard for nightlife decorum would relegate a song to the pits of sonic hell, but we're talking about George Clinton here!The original opens up with a G-funk groove that screams Westside and lowriders. The listener is then blessed with Clinton as he adds his sage, soulful and pimpadelic vocals, complemented by Funkadelic singers asking him about the pains of the funk. The semblance of a beat that could drive the dancefloor into the morning hours is there, but in no way has it blossomed into its full glory. Enter Louie Vega.
His remix immediately greets listeners with a decadent spread of instrumentation and chutzpah. The original song's DNA populates the first thirty seconds of the remix but then an explosion takes place and the song assumes a new identity. The transcendent experience is akin to taking the elevator to a rooftop party and once the doors open- boom! The remix begs you to dance, the G-funk groove is now in your face instead of being laidback and percussion takes a front seat to take you away. The song is alive, there's no other way to describe it.
Be sure to buy your vinyl at an outlet near you! the Louie Vega remix of Funkadelic's 'Ain't That Funkin' Kind of Hard on You' on Vega Records!

To celebrate the 15th anniversary of DJ Hell's groundbreaking album Teufelswerk, this limited anniversary edition brings back the legendary release in a deluxe 3xLP set, pressed on transparent Neon Yellow, Orange, and Red vinyl. Included is an exclusive poster featuring the original vinyl front cover, along with a special hype sticker for collectors. Originally released in 2009, Teufelswerk remains a milestone in electronic music, seamlessly blending techno, ambient, and experimental elements. The album features collaborations with the likes of Bryan Ferry, exploring the duality of Day and Night-contrasting euphoric club tracks with deep, cinematic soundscapes.

Incl. huge Barac remix. Welcome to an odyssey that only those with a unique understanding can embark on. We have gathered these artists to transport you to a world of fantasy, where anything is possible. Join us on this journey of sensations.

Argentine artist Nektar Agu unlocks this enigmatic path, where you may come face to face with your deepest fears. Are you ready? By grasping the essence of Leviosa, you will come to appreciate the magnificent masterpiece created by Barac. It is an honor for us to present this historic sound on our label—we still can’t quite believe it ourselves. The Romanian artist continues this journey with his signature sound, leaving us speechless as we follow him into the unknown. Closing the experience, Forty Eyes—a collaboration between our label owner, Lucas Moss, and Nektar Agu—immerses us in a pure atmosphere of grace, offering a breath of clarity after this bewildering passage through auditory flavors.

New York house music hero Joe Claussell reinvigorates the Far Out Monster Disco Orchestra’s legacy of timeless, no-holds-barred disco anthems, with an exclusive Record Store Day 12” release, reimagining the title track from the disco supergroups’ Black Sun album.

With his unique ability to harness the deep, spiritual power of dance music, Claussell transforms Black Sun into an emotionally charged, ecstatic odyssey, with the soaring vocals of Heidi Vogel guaranteed to further elevate dance floors into a state of pure, unbridled frenzy.

Since the orchestra’s acclaimed debut in 2014, The Far Out Monster Disco Orchestra—which hosts esteemed members including original members of Azymuth Jose Roberto Bertrami and Alex Malheiros—has enlisted an illustrious roster of remixers over the years, including John Morales, Theo Parrish, Al Kent and DJ Spinna. Claussell’s remixes continue this tradition, with a one-off, limited edition 12” release for Record Store Day 2025.

2025 Blue Vinyl Repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

Ferdinger, a producer and DJ from southern Germany now based in Paris, has established himself as a
key figure in contemporary techno. His sound, deeply inspired by the textures of the '90s, stands out for its modern and immersive approach, blending hypnotic rhythms with meticulously crafted grooves.
His new EP, Up at Night, set for release on RAW in both vinyl and digital formats, delves into the restless experience of sleepless nights, those hours spent trapped in relentless thought loops, unable to find peace. Through four hypnotic tracks and a digital bonus, Ferdinger translates this mental state into pulsating motifs, dissonant harmonies, and atmospheric dub-infused textures, capturing the unease and intensity of nocturnal overthinking.

Fully remastered Detroit classic incl. 3 extra tracks from the CD version that were never released on vinyl before. This album has a unique blend of raw, warm and futuristic Detroit sounding electro and techno. Originally released on 430 West back in 1999.. We cant recommend it enough, big tip!

Maazn Records unveils its inaugural release "Lost in Transit” by Guzman & Terraflow. Inspired by the breadth of London's current sounds, this record gives a taste of their vision for the future.

The A-side features label co-founder Terraflow infusing his signature style of old-school drums and intricate synth work. "Atomic" lays down a catchy bass riff that summons an ethereal feeling of the past, whilst "Totaled Larynx" takes a hypnotic turn, embellished with haunted melodies suited to the early hours of a certain pit in Norfolk.

Guzman takes the wheel on the B-side, starting with the punchy, sleazed-out rhythms of “Neo (Trance Mix)”, steering the EP further into the depths of the peak-time dance floor. Finally, “Time Deprivation” details clever vocal sampling atop of an arsenal of dangerous waveforms - a fitting verdict that is guaranteed to send the audience into a bass-laden frenzy.

These are no warmup tracks, play out at your own risk

4XLP. Hardcover slipcase box. Liner notes from Soichi Terada, Colour: translucent red, clear, blue, and yellow vinyl

It has been 25 years since the release of Saru Get You (サルゲッチュ), known stateside and in the UK as Ape Escape. Ape Escape marked a significant milestone for the PlayStation, as it was the first game to require use of the PlayStation's DualShock (analog) controller. In Ape Escape, the use of the analogue sticks goes beyond camera rotation and acts as an extension of Kakeru's (Spike's) own character, controlling his many gadgets like the stun club, time net, and sky flyer. It's a unique form of control that, really, didn't become popularized until the release of the Nintendo Wii. It feels like a distinctly Japanese design, the sort of off-the-wall design that is either embraced or rejected on a global scale. In Ape Escape's case, the mechanic caught on.

Ape Escape is fast, frantic, and—at times—downright frustrating. Pipo monkeys dash, taunt, and swim away from your advances. They ride water monsters, fly UFOs, and even shoot uzis! Whether it's Kakeru, his friends, or the monkeys themselves, the characters are always running across the levels. This mad dash is enhanced by the game's soundtrack, composed by legendary composer Soichi Terada. As he recalls, the director of the production said, "Spike and his friends always have the image of running." In response, Terada happily produced fast songs with an average speed of over 170bpm. The resulting gameplay and audio is a match made in heaven.

Ape Escape is the first game soundtrack Mr. Terada ever created. The producers of the game heard one of his singles, "Sumo Jungle," and thought his frenetic drum-and-bass (Jungle) would be perfect for the game. The marriage of Ape Escape's charming overworld and Soichi's upbeat compositions is nothing short
of sublime. Especially now, it is difficult to separate the mischievous Pipos and fast-paced action from Soichi Terada's silky smooth synthesizer and heart-pounding bass. Earlier this year (2024), Soichi Terada's Ape Escape work was celebrated by the six-track EP Apes in the Net, which includes music from Ape Escape 1 and 3 (Terada did not compose the series' second installment). The label, Rush Hour Music, has prestigiously championed almost all of Soichi Terada's music, especially his (specifically non-VGM) house, jungle, and drum and bass releases (Sounds from the Far East, Asakusa Light, and more).
Before Apes in the Net, Terada's Ape Escape music was only available on CD, released in Japan around 2010. This release featured reconstructed tracks created by Mr. Terada himself, identical to the music arrangements featured in the game. The biggest difference, of course, was that they were of higher fidelity than was originally available on the PS1 disk format. Completing all of the aforementioned releases is this box set, released by Far East Recording in partnership with Cartridge Thunder and officially licensed by Sony Computer Entertainment. This box set release includes four LPs, housed individually by a hardcover slipcase. This box set includes every song from Ape Escape 1, except those available on Apes in the Net. This box set release also includes one bonus song, previously unreleased anywhere else (including the game itself!).

The music on this box set was meticulously mastered by Justin Perkins of Mystery Room Mastering. Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. Rounding out the audio is absolutely stunning artwork created by Gobo3D. CT worked with Gobo to recreate some of Ape Escape's most iconic characters, referencing the original Japanese guidebook and other promotional materials. The result is visually delicious 300dpi artwork that takes you straight back to 1999. As uber-fans of the original PlayStation game, Cartridge Thunder and Far East Recording are proud to celebrate Soichi Terada's music and pay our respects to such a legendary PlayStation franchise—on the original hardware's 30th anniversary no less! It's with a happy heart, then, that Far East Recording and CT present to you Soichi Terada's Ape Escape Originape Soundtracks in a Box.

Please note: due to licensing exclusivity, this release does not include tracks previously released on Apes in the Net

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

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

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

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

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

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

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

Four Seasons in Kyoto’ marks the final chapter of The Kyoto Connection’s Ambient Japanese trilogy, following Postcards (2018) and The Flower, The Bird and The Mountain(2022). Like its predecessors, this album pays homage to the pioneering ambient and environmental music movements of 1980s and 1990s Japan.

The album unfolds as the imagined soundtrack to life in a quiet rural village, where nature and tradition shape the rhythm of everyday existence. Across 14 evocative compositions, The Kyoto Connection captures the essence of Japan’s ever-changing seasons, weaving together delicate melodies and immersive soundscapes. With contributions from friends and fans in Japan, Four Seasons in Kyoto is both a tribute and a transportive listening experience from producer Facundo Arena, the composer and producer behind The Kyoto Connection.

With Four Seasons in Kyoto, Facundo Arena continues his deep exploration of Japanese ambient and environmental music, blending his long-standing admiration for Kyoto’s cultural heritage with a sound that feels both nostalgic and timeless. While Postcards was an instinctive homage and The Flower, The Bird and The Mountain drew from real Kyoto field recordings, this final chapter in the trilogy leans further into the imagined, an intimate portrait of an unseen yet deeply felt Japan.

Recorded using a mix of vintage synths, delicate acoustic instrumentation, and subtle electronic textures, Four Seasons in Kyoto refines The Kyoto Connection’s signature approach. Organic soundscapes and drifting melodies mirror the slow change of seasons, evoking the impermanence central to Japanese aesthetics. The result is a record that seamlessly bridges the natural and the synthetic, memory and imagination, a fitting conclusion to a journey that began with an algorithmic discovery and blossomed into a rich sonic world of its own.

2025 Repress
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„Beat moves feet. Feet do dance. Dance brings joy. Joy is life. Life is special.“
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Each Volume comes in a limited Vinyl Edition of 100. Collect them all!

Nachdem sich die Sache in den letzten Monaten bereits abgezeichnet hatte und Julien Baker & TORRES kürzlich auch ihre erste gemeinsame Single "Sugar in the Tank" veröffentlichten, kündigen die beiden nun ihr Debütalbum "Send a Prayer My Way" an. Es erscheint am 18. April bei Matador. Die Idee, zusammen ein Country-Album zu machen, kam bereits 2016 auf, als Baker & TORRES ihre erste gemeinsame Show spielten. So entstand ein Werk, das wie alle beständigen Country-Alben daran erinnert, dass niemand auf dieser Welt allein und Musik ein verlässlicher und steter Begleiter ist. "Send a Prayer My Way" enthält zwölf Song von radikaler Empathie, in denen zweite und auch dritte Chancen gewährt werden und es bei allem Ringen und Bedauern auch Humor und Widerstand gibt. Mit der Ankündigung des Albums erscheint die neue Single "Sylvia", eine Hommage an einen Wegbegleiter ganz besonderer Art. TORRES berichtet: "An dem Morgen, an dem ich loswollte, um Sylvia aus dem Tierheim zu holen, machte ich mir zu Hause noch einen Kaffee und schaltete das Radio ein. Dolly Partons "Cracker Jack" lief. Ich brach in Tränen aus - es fühlte sich an, als würde das Universum mir sagen, dass sie mir gehören würde - dabei war Sylvia nur als Pflegehund vorgesehen. Ich weiß noch, wie ich dachte, dass ich gerne einen Song wie diesen schreiben würde, einen Song, den die Menschen innerhalb von fünf Sekunden nach dem Einschalten im Innern spüren können. Denn jeder, der schon einmal die Ehre hatte, sein Zuhause mit einem heißgeliebten Haustier zu teilen, weiß, dass es zur Familie gehört." Den ersten Vorgeschmack auf ihr neues Album hatten Julien Baker & TORRES bereits vor einem Monat mit einem Auftritt bei Jimmy Fallon gegeben. Dort spielten sie ihre Debütsingle "Sugar in the Tank". Der Song berichtet von Erfahrungen beim Aufwachsen als queere Person in den Südstaaten. Er spiegelt nicht nur die Liebe der beiden zur dort tief verwurzelten Country-Musik wider, sondern transportiert auch die Traditionen und die Ikonographie des Genres ins Hier und Jetzt. "Send A Prayer My Way" ist ein Country-Album, geschrieben und gesungen in bester Outlaw-Tradition - trotzig, subversiv und entschlossen, trostspendend und aufrichtig. Es erscheint am 18. April 2025.

Nachdem sich die Sache in den letzten Monaten bereits abgezeichnet hatte und Julien Baker & TORRES kürzlich auch ihre erste gemeinsame Single "Sugar in the Tank" veröffentlichten, kündigen die beiden nun ihr Debütalbum "Send a Prayer My Way" an. Es erscheint am 18. April bei Matador. Die Idee, zusammen ein Country-Album zu machen, kam bereits 2016 auf, als Baker & TORRES ihre erste gemeinsame Show spielten. So entstand ein Werk, das wie alle beständigen Country-Alben daran erinnert, dass niemand auf dieser Welt allein und Musik ein verlässlicher und steter Begleiter ist. "Send a Prayer My Way" enthält zwölf Song von radikaler Empathie, in denen zweite und auch dritte Chancen gewährt werden und es bei allem Ringen und Bedauern auch Humor und Widerstand gibt. Mit der Ankündigung des Albums erscheint die neue Single "Sylvia", eine Hommage an einen Wegbegleiter ganz besonderer Art. TORRES berichtet: "An dem Morgen, an dem ich loswollte, um Sylvia aus dem Tierheim zu holen, machte ich mir zu Hause noch einen Kaffee und schaltete das Radio ein. Dolly Partons "Cracker Jack" lief. Ich brach in Tränen aus - es fühlte sich an, als würde das Universum mir sagen, dass sie mir gehören würde - dabei war Sylvia nur als Pflegehund vorgesehen. Ich weiß noch, wie ich dachte, dass ich gerne einen Song wie diesen schreiben würde, einen Song, den die Menschen innerhalb von fünf Sekunden nach dem Einschalten im Innern spüren können. Denn jeder, der schon einmal die Ehre hatte, sein Zuhause mit einem heißgeliebten Haustier zu teilen, weiß, dass es zur Familie gehört." Den ersten Vorgeschmack auf ihr neues Album hatten Julien Baker & TORRES bereits vor einem Monat mit einem Auftritt bei Jimmy Fallon gegeben. Dort spielten sie ihre Debütsingle "Sugar in the Tank". Der Song berichtet von Erfahrungen beim Aufwachsen als queere Person in den Südstaaten. Er spiegelt nicht nur die Liebe der beiden zur dort tief verwurzelten Country-Musik wider, sondern transportiert auch die Traditionen und die Ikonographie des Genres ins Hier und Jetzt. "Send A Prayer My Way" ist ein Country-Album, geschrieben und gesungen in bester Outlaw-Tradition - trotzig, subversiv und entschlossen, trostspendend und aufrichtig. Es erscheint am 18. April 2025.

Full page feature in Wire Magazine (March 2025, Issue 493) 'the freak audio series continues with the lysergic You Didn't Hear It From Me which combines dubbed out sampledelia and metallic beats with ghostly saxophone soaked in an acid bath'

Polonius AKA Egyptian-French artist Seif Gaber, whose works spans a decade of “science fiction archeomiragical time travel" explorations and is an important piece of the healthy electronic/far out mosaic in Milan.

With a considerable number of releases under his name, both self released and through such likeminded labels as Ikuisuus, Goaty Tapes or Sun Araw's Sun Ark, Polonius grand vision encompasses a myriad of languages culled from kosmische travelings, exotica's dreamlands, soundtrack psychedelia, spiritual jazz escape routes and transmuted beat science to convey them into a sonic fiction where all these trails intertwine in a cosmological soundscape filled with wonder and speculation.

Building on last year's more beat-centric excursions of his self-titled vinyl debut on Stoned to Death, Polonius' first entry into the Discrepant extended family via Souk finds him dwelling deeper into rhythmic mystic extrapolations through a series of hallucinatory tracks. Conveying jungle's kinetic energy, dubwise meditations on bass weight, collapsing beats, globetrotting percussion accents and synth-driven night drives, 'You Didn't Hear It From Me' finds Polonius with a strong sense of purpose and direction, reconvening bits and pieces from the netherworld into a more urban scenario, not quite any we can stand or dance on. Just dream of.

Mit SOMETHING ABOUT APRIL III (SAA III) treibt Adrian Younge das musikalische Franchise mit furchtloser Überzeugung voran und übertrifft seine Vorgänger SAA I und SAA II. Dieses mit Spannung erwartete Album ist der Inbegriff analoger Transzendenz, eine Klangwelt, die von einem 30-köpfigen Orchester, analogen Synthesizern, Breakbeats und brasilianischen Sängerinnen, die psychedelische Melodien auf Portugiesisch singen, angetrieben wird. Ein unverzichtbares Stück der heutigen Vinyl-Kultur.

"Vicious Rumors are an American power metal band, originally formed in 1979 in the San Francisco Bay Area. The band was conceived by founder and guitarist/vocalist Geoff Thorpe, and has been actively recording and touring worldwide since their full-length recording debut in 1985. Their first Atlantic release was the self-titled Vicious Rumors in 1990. One of the finest moments in their lengthy career. At times sounding like hybrid of Bruce Dickinson and Geoff Tate on vocals with Judas Priest as a backing band. The band subsequently began their first full US tour—which lasted for over three months and shot their first official video, ""Don't Wait for Me"", directed by Gore Verbinski. This tour was quickly placed in rotation on MTV's Headbangers Ball. Die-hard fans will celebrate this reissue, and those who missed the boat the first time will be well-served in taking this for a spin.

Vicious Rumors is available as limited numbered edition of 1500 copies on translucent blue coloured vinyl and comes with an insert."

If Hawalat sounds like a world tour that’s because it essentially is. “As much as Marzipan is a picture of Lebanon from the inside, Hawalat kind of picks up from where Marzipan finished but more looking to the outside, the diaspora, to the notion of exile.” Megarbane says he is interested in the connections between the global and the domestic, the mundane and the cosmic, and wanted to create space for non-linear progression.

Hawalat is based on the idea of hawala, informal money transfers that you can make to certain countries impacted by a lack of currency or unstable political and economic contexts. His use of the term on this album is not a financial one, Megarbane explains, but a nod to notions of creative exchange between “places, persons, generations.” It is the first time Megarbane called on other musicians in this way to inform his sound, including a collaboration with Sven Wunder on the song Helia featuring strings by the Stockholm Studio Orchestra.

The album opens with first single Hanadi, a punchy Somali-inspired track with warm non-lexical vocals and saxophone. It immediately pivots to the Dreams of an Insomniac, which balances soft, effortless vocals and keys with urgent violin intrusions. Al Dollarji feels like Megarbane’s bread and butter, that is Mediterranean sounds with intricate strings, while Al Bahriye takes this staple and introduces hip hop inflections. The result is a rich 17 track album that effortlessly blends genres and styles.

Including 8 page, 12" sized booklet with unseen photos and liner notes by Armani Syed.

As they celebrate a remarkable 20 years as a band in 2025, Mayday Parade are set to release perhaps their most aspirational sort yet: SWEET, SAD, SUGAR, a three-part album showcasing their prolific, emotionally resonant songwriting. The first entry, SWEET, arrives April 18, 2025. Across its eight songs, SWEET succinctly showcases just how far Mayday Parade has come in those years: The trademark sound that’s transformed them from genre newcomers to torchbearers for a new generation is still there, but fans will also nd the band continuing to nudge the edges of their sound outward, whether they’re stomping through reactive alt-rock, crafting wryly sardonic pop-punk, standing up shimmering arena rock, or melding muscular, grungy guitars with electro-pop sweetness. Recorded with longtime producers Zack Odom and Kenneth Mount, SWEET, SAD, SUGAR marks Mayday Parade’s first album since 2021’s What It Means To Fall Apart as well as the band’s first self-released collection.

Tornamented Walls is the first result of a collaboration that began in 2022. The album is a freeze-frame of emergence: personal preparations prior and minor aside, the album was live and improvised. Rosa Anschütz sings, speaks, plays harmonium, and utilizes a looper as an instrument in itself. Her symbolic prose is at the heart of the music, emotionally direct yet haunted by a translucent potential of meaning. In lockstep with the voice, Tennota dissolve the dense rhythmic complexity of their recent work into a creeping mantra, the material interrogated until the patina of the sound is the music itself.

Tornamented Walls floats on top of a wave of slow-motion techno influences, a deepened ambient and experimental perspective, and a feel of subtle and subdued lyricism not strictly limited to its vocal parts. It is a record of darkly ambient and abstracted techno pop, listening music to be played loud. More disenchanted than dark, it is confrontational through its fearless incorporation of a widely varying set of different states of mind.

Tennota are Tom Wheatley & Grundik Kasyansky. Since 2019, they have been reimagining the relationship between physical and digital worlds through music, using gut strings, sine waves, tree sap, and feedback, and flexing them over contemporary technologies into an elemental suspension. Not futuristic, but rather an alternative present.

Rosa Anschütz is an artist and musician whose sound-based practice is framed by sculpture, installation, and scenography. Her meditative and sometimes haunting compositions combine the dark ambiance of post-punk and cold wave with ethereal polyphony, synth-driven melodies, and spoken word.

Теnnota & Rosa Anschütz will be touring in April, stopping over in Eupen on April 18th for a concert night at the Galerie vorn und oben. Further on the bill that night will be Tristwch Y Fenywod.

Ingrid Schmoliner und Alex Kranabetter sind seit über einem Jahrzehnt tragende Säulen der improvisierten und experimentellen Musikszene in Österreich. Obwohl erstere vor allem als Pianistin und Sängerin und letzterer als Trompeter bekannt ist, verfügen beide über ein äußerst umfangreiches Klangspektrum. Schmolinger arbeitet konsequent mit der Klangregie, um lebendige psychoakustische und räumliche Effekte zu erzeugen, während Kranabetter regelmäßig Elektronik einsetzt, um seine Klangwelten in Solo- und Gemeinschaftskonstellationen radikal zu transformieren und zu erweitern. Vielleicht fängt kein anderes Projekt die ganze Pracht ihrer ästhetischen Tendenzen so ein wie ihr Duo ,drank", das im April 2025 sein herausragendes Debütalbum ,Breath in Definition" bei Trost veröffentlichen wird. Für drank scheint es keine Grenzen für Klanggebilde zu geben. Als Gäste mit dabei sind der bemerkenswerte Schlagzeuger Lukas König und die Sängerin Anja Franziska Plaschg (aka Soap&Skin). Ingrid Schmoliner: prepared piano Alexander Kranabetter: trumpet, electronics guest on GITTA - Lukas Koenig: marimba guest on BREATH IN DEFINITION - Anja Plaschg (Soap&Skin): voice

“Egypt’s “official” popular music throughout much of the 20th Century was a complex form of art song steeped in tradition, well-loved by the middle and upper classes, and even accommodating to certain non-Arabic influences. It was highly structured by professional musicians working an established industry centered in the capitol, Cairo. However, far from the bustling cosmopolitan center of Cairo, north and northwest, in towns like Tanta and Alexandria and extending across the Saharan Desert to the Libyan border, dozens of fully marginalized artists were developing a raw, hybrid shaabi/al-musiqa al-shabiya style of music, supported by smaller upstart, independent labels, including the short-lived but deeply resonant Bourini Records. Launched in the late 1960s in Benghazi, Libya, Astuanat al-Bourini اسطوانات البوريني (Bourini Records) published some 40 to 50 titles from 1968 to 1975. Bourini released 7-inch 45 RPM singles by 15 artists, all but one of them Egyptian, igniting brief careers for Alexandrian singer Sheikh Amin Abdel Qader and the blind Bedouin legend Abu Bakr Abdel Aziz (aka Abu Abab). The tracks compiled here comprise a full range of styles covered by the label, while highlighting some of its most gobsmacking moments, from Basis Rahouma’s beastly transformation into a growling and barking man-lion by the end of “Yana Alla Nafsa Masouda,” to Reem Kamal’s hopeful-if-bitter handclapping party pivot “Baed Al Yas Yjini,” which descends into an almost Velvet Underground outro-groove of nihilistic dissonance. All the tracks on this compilation were laid down in stark divergence from the mainstream Egyptian popular music topography of heightened emotions buoyed by lush arrangements. The contrast is most evident in Mahmoud al-Sandidi’s “Ana Mish Hafwatak,” wherein his voice weaves heavily but deftly through a constant accordion drone, and Abu Abab’s “Al Bint al Libya,” a sparse, slow-burning lament with minimal percussion, violin, and Abab’s nephew Hamed Abdel Muna'im Mursi on lyre. Whereas the Egyptian mainstream was aspirational, attempting to reflect Egyptian culture at its most refined, the performances captured by Bourini were manifestations of everyday life lived by the mostly otherwise ignored masses. More than half century old, this music has lost none of its urgency, presence, or relevance. We hear these artists as if they’d just joined us in our living room, and not on a stage decades ago surrounded by tens of thousands of long-forgotten acolytes.

Philoxenia Records boss man Luigi Di Venere continues to blur the boundaries between traditional genres with a new EP that takes its inspirational cues from the multidimensional nature of sound waves. The title reflects the depth and motion captured in the EP's stunning artwork by CGI duo muzzin+samiri while the opener is a tribute to early 90s Frankfurt EBM. 'By Means Of Music' is a more funky vibe with New Beat undertones and real warmth. 'Got Momentum' brings a French house edge and on the flip, Cromby transforms' Got Momentum' into a euphoric UK peak-time anthem, and Cycle_2 reimagine 'By Means Of Music' as a psychedelic techno trip.

Renowned DJ and selector MURO is a Jedi-level compiler and this new collection of his delves into Victor's extensive archives to spotlight a world of Japanese jazz, fusion and AOR. It take sin plenty of internationally known names like Yasuko Agawa on the sunset sounds of 'L.A. Night', Sadistics who offers the more psyched out guitar leans of 'On the Seashore', Yuji Ohno's neo-Balaeric bliss-out 'The Dawn of Seychells' and Hiroshi Fukumura's soul soothing Ry Ayres-style melodies on 'White Clouds.' These are luxurious sounds and timeless tracks with MURO's signature funky perspective making this a brillaint choice for brighter, warmer days.

Boxset w/ 12" + 7" + Tape + Magazine, Posters

Embryo Issue 5 - Interviews and Mix series Exome
Quiet Husband
Jim KirkwoodSvartvit
Trenchfoot
Necropolis Festival White Centipede Noise Cryptworm Hyperdonitia
Crawl of Time
Night Terror Records Disengagement
Snet
Ineffable Slime
Marie Queau
Personal Hell

Natural Sciences Recs started in 2015 before mutating into the Embryo magazine series. Flesh Renewed marks ten years of the label with the fifth issue of Embryo. A light into the gutter of the fringe underground, through new tracks from the labels catalogue, 100 pages of interviews by labels and artists kicking against the grain and ties forged from the 80’s tape network. We invite you to witness the next stage of the evolution.





e A1. Osiris - Starlight Scorpio 1989 - 7"
f B1. SEEMEN - Floating Gently 1989 - 7"

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- SCORE BY JOHN DEBNEY
- CONTAINS A 8-PAGE BOOKLET
- LIMITED 15TH ANNIVERSARY EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Passion Of The Christ (2004), composed by John Debney, is the original score for Mel Gibson's controversial film The Passion Of The Christ. The soundtrack received an Academy Award nomination for Best Original Score and it was on the first place in both Top Christian Albums and Top Soundtracks in 2004. In 2005, the album won a Dove Award for Instrumental album of the year at the 36th GMA Dove Awards.

The soundtrack succeeds as a coherent, moving, well-executed musical statement whether or not has seen the film. The album is a combination of folk instruments, Eastern-tinged harmonics, solo, and choral voices. Debney has used the Indian master violinist and vocalist L. Shankar, and singer/double-violinist Gingger Shankar.

Debney's soundtrack is an interesting and highly recommended work. It will offer those who choose to encounter it a far-reaching and deeply affective listening experience that is as aesthetically beautiful and unsetting as it is evocatively familiar.

Available as a limited 15th anniversary edition of 500 individually numbered copies on transparent red vinyl.

Techno tastemaker Enrico Sangiuliano returns to his influential NINETOZERO label with his bold new Transcendence EP featuring two very different but equally powerful sounds; one track is to dance to, the other one to listen to.

This new release caps off an impressive year for the Italian underground icon. Coming just a couple of months after his Interconnection EP and a packed season of headline shows, it marks yet another subtle evolution of his always hard-to-classify sound. The EP is a collaboration with psychedelic trance pioneers GMS, who have been making their mark since the 90s. The award-winning pair have had their music used in a trio of Tony Scott movies and have dropped several vital albums and EPs.

“GMS and I met many years ago in their studio in Ibiza and spontaneously cemented our relationship through our passion for sound”, says Enrico Sangiuliano. “They are a pillar of psytrance, and collaborating with them to interpret the concept of Transcendence was the perfect way for us to finally merge our creative visions. With this release, we transcend our individual musical paths to create something entirely new. We explore the theme of elevation, challenging ourselves to move beyond the tangible. Here, music becomes a portal, expanding consciousness and providing an escape from material reality. Together, we shaped our sounds to build an immersive experience, with a guiding voice to lead you through it. Transcendence is an invitation to let go, release mental constructs, and flow with the sound. It's a journey into a timeless realm where what you feel and who you are become one. To transcend is to connect with your deepest self—and beyond.”

Superb opener 'Transcendence' is a sleek and futuristic soundscape with dynamic drums that take you up amongst the stars. The smeared pads bring a cosmic atmosphere, the lush arps layer in plenty of trance-tinged emotion, and smart spoken words add a cinematic feel to this most escapist track. 'The Inner World' is then a suspenseful two-minute synthscape with wise spoken words that muse on inner strength. It is a rousing piece of emotional electronic grandeur.

The Transcendence EP is another strong statement from the forward-looking creative mind of Enrico Sangiuliano.

The legendary NYC label Nu Groove commits another pair of releases to wax, this time featuring recent tracks from Swiss producer Deetron and underground house staple Bruise. Inspired by the soulful techno and house birthed in Detroit, Deetron relaunched Nu Groove alongside NYC house legend Jovonn in 2021 before returning with a two-track release in 2023.

The lead, ‘Runnin’’, offers sharp house built from the creative use of loops and noise manipulation, while ‘AM_909’ is noted for its more dreamlike quality. Two tracks from Bruise’s Nu Groove debut ‘Transit EP’ follow, as the Birmingham born producer Christian Campbell delivers ‘Sway’, aptly named for its low-slung beats and ethereal builds, while ‘Getup’ is more reminiscent of gems from the original Nu Groove catalogue.

No less deep, in fact debatably deeper still, Ghost Dubs aka Michael Fiedler returns after the runaway success of his highly acclaimed 'Damaged' 2LP (1500 units sold and 'Dub/Reggae album of the year' for 2024 in The Wire Magazine), with 'Extended Damaged Versions'. Six dubbed out reworks of tracks from last year's album, deconstructed by the man himself, again for The Bug's PRESSURE label. Kicking off with the irresistible seismic grind of 'Dub Regulator', a dancefloor driven beast that miraculously eclipses the original mix, the opening cut increases in weight and intensity seductively, upping the fx drenched madness with its incessant droid hypnotics. The album's mutant dub techno relentlessly probes, stretches and disfigures all of the previous originals, version by version, on this fascinating follow up release to 'Damaged'.

As Fiedler surgically splices and dices his own original source material into successively more warped variants, gleefully atomizing the originals into molten space echo fragments. 'Thin Dub' is a masterclass in simultaneous saturation and evaporation, wilfully liquified in the heart of the echo chamber. Anyone already smitten by 'Damaged' (ie Pole, JK Flesh, Echospace, Valentina Magaletti etc have all graciously, recently acknowledged its greatness), will definitely find further reverb drenched nourishment on 'Chemical Version', which releases a whirlpool of heavily sedated delay trails, and ends up sounding like a wall of sound mirage, vaguely resembling prime Porter Ricks at their sub aquatic peak. Finally, the ambient pulsations of 'Lobotomy Version' sets the album adrift in deepest space, as this superbly crafted collection reflects Michael Fiedler doing what he does best, getting lost in his own mixing desk sorcery, whilst reflecting the captivating morphology of his live shows, where he magically revamps his heavyweight tracks into pure voodoo, casting spells effortlessly....Not an attempt to just milk 'Damaged', 'EDV' is itself a standalone triumph, an invaluable transformation of the original album's material into an epic, fresh, dub odyssey.

Limited Edition to 200 copies incl. Remixes by DALO, Benedikt Frey and Nathan Dawidowicz

R.i.O. welcomes Brainwave Research Center, a NYC-based duo consisting of house/techno producer Chase Smith and documentary filmmaker Christa Majoras. In early 2023 they freed their debut album "figure 1" via their own label BRC. Two more albums followed. All documenting their love for experimental yet charming music of all kinds.

Their influences span a vast spectrum, from Steve Reich, Laurie Spiegel, and Edgar Froese to Martin Rev, John Carpenter, early Kraftwerk, or the ambient techno of Pete Namlook's Fax +49-69/45046 label. Yet, Brainwave Research Center forges a sound distinctly their own, seamlessly blending analog synthesis with electro-acoustic experimentation.

On "Psychic Antenna", the duo takes a gentle rawer approach. The tracks range from the manic verbal Die-Tödliche-Doris-like loops of "I Find Myself" to the meditative cosmic trance of "Open Your Mouth." "Orange Drop" and "Transmitter Park" toy with the dancefloor, channeling slow-motion acid trance and krautrock echoes.
The release is rounded out by three remixes: R.i.O.'s own Benedikt Frey delivers a deep, trippy groover full of inner musicality, while close companion DALO crafts a dark, echo-drenched pop rework, and Berlin's Nathan Dawidowicz injects psyched nu-disco rhythms, expanding "Psychic Antenna" into seven notions of intense neural oscillations.

ML

Cold Specks kehrt mit ihrem vierten Album 'Light for the Midnight' zurück.

Nach den Erfolgen ihrer ersten drei Alben 'I Predict a Graceful Expulsion' (2012), 'Neuroplasticity' (2014) und 'Fool's Paradise' (2017) hat Cold Specks (Al Spx) ihren Ruf als einzigartige Stimme der modernen Musik gefestigt. Von ihrer fesselnden Acapella-Performance bei Later... with Jools Holland bis hin zu Kollaborationen mit Moby, Massive Attack und Michael Gira von Swans hat Cold Specks immer wieder Kunstwerke geschaffen, die nachhallen.

Mit 'Light for the Midnight' begibt sie sich auf ihre bisher persönlichste Reise. In seinem Kern ist das Album eine rohe und zutiefst emotionale Reflexion über Ausdauer, Überleben und Transformation. Es ist eine Sammlung von inbrünstigen Balladen und atmosphärischen Popsongs, die Spx' gefühlvolle Stimme in weitläufige Klangwelten kanalisiert.

Das Album entstand in einer herausfordernden Phase in Spx' Leben. Die Arbeit begann 2019 inmitten von Kämpfen mit der psychischen Gesundheit, Erfahrungen, die tief in die Musik eingebettet sind. Doch trotz seiner persönlichen Ursprünge betont Spx seine Universalität: „Ich wollte auf jeden Fall über die letzten Jahre reflektieren, weil sie mich so sehr beeinflusst haben, aber ich wollte auch, dass das Publikum mit diesem Album weggeht. Die Songs gehören ihnen, sobald ich sie veröffentlicht habe.“

Das Album wurde in Toronto und Bristol aufgenommen, wobei Spx zusammen mit Adrian Utley von Portishead und Ali Chant (bekannt für seine Arbeit mit Perfume Genius, Dry Cleaning und Aldous Harding) als Co-Produzent fungierte. Es enthält Streicherarrangements von Owen Pallett (Taylor Swift, Lana Del Rey, Sampha) und zusätzliche Beiträge von Graham Walsh von Holy Fuck. Spx arbeitete auch mit einer Reihe von hervorragenden Kollaborateuren zusammen, darunter Chantal Kreviazuk (Drake, Kendrick Lamar), Malcolm Middleton von Arab Strap, Ben Christophers, Ed Harcourt und Jonathan Quarmby.

'Light for the Midnight' zeigt Cold Specks von ihrer verletzlichsten und kraftvollsten Seite, indem sie die Geschichten ihres Kampfes in atemberaubende Kompositionen verwebt, die einen tiefen Eindruck hinterlassen. Es ist ein Album der Hoffnung und der Transformation.

Mit 'Ekko' legt die in Berlin lebende irisch-norwegische Künstlerin Tara Nome Doyle ihr drittes Album vor - eine Reise ins Unbekannte und in die Tiefen des eigenen Ichs. Auf dem Weg dorthin geht es um Schmerz, Abschied, Neuanfang und schließlich um Akzeptanz.

In nur 30 Minuten strahlt das Album eine bemerkenswerte Klarheit aus - nicht nur in seiner Kürze, sondern auch in seiner emotionalen Tiefe.

Tara hat 'Ekko' größtenteils selbst produziert und die musikalische Palette bewusst einfach gehalten. Sie arbeitete mit dem Grammy-prämierten Produzenten und Toningenieur Simon Goff (The Joker, Chernobyl) zusammen, um eine präzise, zurückgenommene Klanglandschaft aus Stimme, Klavier, Gitarre, Streichern, Mellotron und gelegentlichen analogen Synthesizern zu schaffen.

- Ltd. Col. LP: (Klares, transparentes Vinyl, bedruckte Innenhülle mit Songtexten)

Elori Saxl's soundtrack for the VR film Texada is an exploration of the smallness of human existence within the grand scope of geologic time, mirroring the film's exploration of Texada Island's limestone-rich landscape. Saxl, inspired by her own experiences of island life on Madeline Island, assembled a soundscape that captures both the vastness of Earth's ancient processes and the intimate moments of human existence. Using analog synthesizers, baritone saxophone (performed by Henry Solomon), and processed field recordings of water and rocks, she created ambient layers that evoke cycles, waves, and the transformative forces of nature. The score begins with an exploration of Earth's origins and the emptiness of a rocky planet before life emerged. This foundation grows into pieces like "The Quarry," where the central geological feature, limestone, takes on a dynamic presence. As loops and rumbling textures evoke the rise and movement of stone over millennia, as abstracted creatures spiral upwards, full of life. The album concludes with "The Most Special Place," which serves as a final bridge between the cosmic and the intimate, leaving a lasting impression of how deeply human lives are intertwined with the ancient geology beneath our feet. Saxl's compositional process itself mirrors the themes of transformation and cycles. Working with limited time and resources, she recorded Solomon's saxophone parts early in the project, later repurposing fragments through re-pitching, stretching, and digital effects. As she explains, "I experimented with bringing out the human character of the saxophone by highlighting breath and imperfections while also pushing it into an alien/unrecognizable/bigger world through digital processing and effects." The result is a soundtrack that feels both organic and otherworldly, capturing the grand scope of Earth's timeline while remaining grounded in human emotion and connection.

SCI+TEC celebrates a pivotal moment in its history with the release of I Feel Speed (2025 Remixes), a special project revisiting one of Dubfire’s earliest solo works and one of the label’s foundational releases. Originally released in 2007, Dubfire’s cover of Love and Rockets’ “I Feel Speed” marked a bold venture into uncharted territory, with the Grammy-winning artist taking on vocal duties himself to reimagine the iconic ballad.

In Dubfire’s own words, “Throughout my career, I’ve made no secret of my love—bordering on worship—for Love and Rockets (and, of course, Bauhaus). Tackling their soft ballad ‘I Feel Speed’ in 2007 was a daunting but transformative experience. Over the years, fans and colleagues have kept their love for that cover alive, which makes this new remix package even more meaningful.”

This release brings together a stellar list of artists, each offering a distinctive interpretation of the classic. Stephan Bodzin adds his signature emotive touch, while Yulia Niko dives deep into hypnotic textures. SNYL, whose admiration for the original track sparked the project, delivers a rework that strikes a balance between reverence and reinvention. Rafael Cerato and Laherte craft a dynamic reinterpretation, and indie dance pioneer Erol Alkan offers a genre-blurring remix full of energy and innovation.

I Feel Speed (2025 Remixes) is a testament to Dubfire’s enduring legacy, the timeless influence of Love and Rockets, and SCI+TEC’s continued role as a beacon of innovation in electronic music.

Cousines like Shit heben ihren Avant Trash-Sound auf ihrem zweiten Album 'Permanent Earthquake' auf ein neues Niveau!

Zwischen markant und catchy, den cleveren, oft doppelbödigen Texten und ihrem charakteristischen zweistimmigen Gesang bleiben die Cousines like Shit ihrem hauseigenen Avant Trash auch auf ihrem zweiten Album treu. In ihrer Energie jedoch heben die Cousines ihre Songs auf ein neues Niveau. Boring is the worst word that I know, singen sie auf dem dritten Song Boring und machen damit auch klar, was man sich von den 8 Songs in flotten etwa 26 Minuten Laufzeit erwarten, beziehungsweise nicht erwarten darf.

Across eight tracks, Tilliander and Kajfes masterfully balance slow, lumbering machine pulses, delicate synth textures, and impeccable trumpet lines. Tilliander's use of both analog and digital synths carve out the structure of these sonic sculptures, while Kajfes's elegant trumpet playing pushes against them, infusing the dreamy soundscapes with both acoustic tension and melodic detail. Individually, Andreas Tilliander and Goran Kajfes have long been recognized as leading names in Swedish electronic music and jazz, respectively. Both have consistently pushed and transcended the boundaries of their genres. Tilliander has explored everything from techno, drones, and dub to clicks'n'cuts under monikers like TM404 and Mokira. Kajfes has been a relentless innovator in jazz, playing a central role in bands such as Oddjob, Subtropic Arkestra, Tropiques, Nacka Forum, and Fire! Orchestra. Now, they join forces, forging a new path for both ambient and jazz music.

Eine tiefgründige Reflexion über den Sinn des Lebens und das Erbe, das die Menschheit im Laufe der Geschichte geschmiedet hat: Benthos' InsideOutMusic-Debüt "From Nothing" ist geprägt von einer überzeugenden Synthese aus Progressive Metal, Mathcore, Jazzrock und elektronischer Musik. Gemischt von Federico Ascari und gemastert von Tony Lindgren, erforscht das Album die positiven und negativen Spuren der Menschheit und ihren Einfluss auf künstlerische, kulturelle und soziale Bereiche. Der Titel "From Nothing" beschreibt die plötzliche Verwirklichung einer Idee und ihr Potenzial, die Welt zu formen, die sich in Liebe und Hass, Entdeckung und Rückschritt manifestiert. In 12 Tracks webt "From Nothing" einen Teppich aus aggressiven, ätherischen, chaotischen und jazzigen Elementen und erforscht ein zentrales Thema aus verschiedenen musikalischen Perspek-tiven."From Nothing" von Benthos ist als Limited Edition CD Digipak, als limitierte transparent-schwarz-marmorierte LP sowie als digi-tales Album erhältlich.

High Roller Records, 180g black vinyl, ltd 700, 425gsm heavy cardboard cover, insert, 2-sided poster, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels.The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, 180g black vinyl, ltd 700, 425gsm heavy cardboard cover, insert, 2-sided poster, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels.The ultimate audiophile edition of this eternal NWOBHM classic!