Search:war

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Die aus Las Vegas und Orange County stammende Hardcore-/Punk-Band M.I.A. spielte 1987 ihr letztes Konzertund löste sich auf. Mitte 1988 gründete Sänger Mike Conley die Band Naked Soul zusammen mit dem ehemaligen M.I.A.-Mitglied LarzPearson am Schlagzeug und seinem langjährigen Freund Jeff Sewell am Bass. Inspiriert von Bands wie The Replacements, den kanadischen The Doughboys oder The Nils, begann Mike, Songs zu schreiben, die den poppigen und doch kantigen Sound, der auf M.I.A.s ,After The Fact" seinen Anfang genommen hatte, mit vielschichtigen Arrangements und Gesangsharmonien weiterzuentwickelten. Diese erste Besetzung löste sich bald auf, doch Mike gab nicht auf und stellte eine neue Band zusammen mi tMike Brown am Schlagzeug und Carlos Soria von The Nils an der zweiten Gitarre. Die Band ging dann mit Richard Andrews (Big Drill Car, All, Jawbreaker usw.) ins Studio und nahm die drei sorgfältig ausgearbeiteten Popsongs auf, die hier zu hören sind, darunter der Naked Soul-Klassiker, ,Lonely Me, Lonely You", der ihnen schließlich einen Vertrag bei einem Major-Label einbrachte. Unterdessen begann der ehemalige M.I.A.-Gitarrist Nick Adams, mit dem Schlagzeuger Miles Gillettvon El Grupo Sexo am Schlagzeug und Bob Gnarly von Plain Warp am Bass zu spielen. Sie nannten das Projekt Flatbed und machten sich daran, einfach nur Spaß zu haben und rohen, harten und melodischen Rock'n'Roll zu spielen. Danny Wallis von Don't No übernahm bald den Bass und die Band ging ins Studio, um ein paar Eigenkompositionen und ein Tom-Waits-Cover aufzunehmen. Diese Veröffentlichung fängt einen Ausschnitt aus der Zeit Ende 1989 ein, als zwei Bands mit gemeinsamer musikalischer Vergangenheit unterschiedliche Wege einschlugen. Limitiert auf 300 Exemplare in handgestempeltem Cover und auf farbigem Vinyl.

USA Hardcore/Punk Geschichte! M.I.A. wurden 1980 in Las Vegas gegründet, zogen 1981 nach Orange County und begannen im berüchtigten Cuckoo's Nest zusammen mit Fear, Shattered Faith, T.S.OL. u.a. Shows zu spieln. Ende '81 gingen sie in ein lokales Tonstudio in Costa Mesa und nahmen an einem Nachmittag neun Songs auf, bis ihnen das Geld ausging - 300 Dollar gut angelegt! Eine Kassette wurde rasch kopiert und herumgereicht. Eine Kopie der Kassette wurde KevinSeconds bei einem Gig mit 7 Seconds in Reno gegeben. Kevin gab sie an Tim Yohannan von Maximum Rocknroll weiter. Schließlich gelangte sie in die Hände von Felix Alanis von Smoke Seven und Greg Shaw von Bomp. Mitte 1982 waren M.I.A. dann auf drei Vinyl-Veröffentlichungen vertreten: "Tell Me Why" auf der Compilation American Youth Report von Bomp, "New Left" auf Maximum Rocknroll Presents: Not So Quiet On the Western Front von Alternative Tentacles und acht der neun Tracks landeten auf der berüchtigten Split-LP mit Last Rites auf Smoke Seven. Alle 9 Tracks des ersten Tapes sind hier versammelt, zum ersten Mal richtig abgemischt. Der Begin von M.I.A. (US) und gleichzeitig das letzte Lapitel der Moder City Records-Reissue-Reihe zur Band. « ...In one corner is M.I.A., a band originally from Las Vegas, the champions of punk's positive side. They've managed to fuse a super tight thrash sound with enlightened attitudes_"I Hate Hippies" is obviously meant as a satire with a moral, and the results are absolutely stunning. » _Jeff Bale's 1982 review of the Last Rites for...-Split-LP in Maximum Rocknroll #2 2.Auflage, Cover Metallic Blue, Vinyl Dirty Turquoise, plus 24seitigem Booklet.

Die aus Las Vegas / Orange County stammende Hardcore-/Punk-Band M.I.A. ist zum ersten Mal seit 40 Jahren mit neuem Material zurück! Nachdem sich die Band 2008 zu einem Gedenkkonzert anlässlich desvorzeitigen Todes ihres Sängers Mike Conley wieder zusammengefunden hatte, spielte sie noch einige Jahre mit dem ursprünglichen Sänger Todd Sampson weiter. Leider verstarb Todd kurz darauf an einem Hitzschlag. Die verbleibenden drei Mitglieder beschlossen, weiterzumachen, wobei Gitarrist Nick Adams nun den Gesang übernahm. Im Jahr 2017 veröffentlichte Darla Records die letzten beiden Alben der Band, ,Notes From the Underground" (1985) und ,After the Fact" (1987), erneut auf CD. Ab 2023 begann Modern City damit, den gesamten Katalog der Band auf Vinyl neu aufzulegen, darunter das bahnbrechende Album ,Murder In a Foreign Place" von 1984 (in Zusammenarbeit mit Alternative Tentacles) und ihren Teil der LP ,Last Rites for Genocide and M.I.A." aus dem Jahr 1982. Die Titel dieser neuen Veröffentlichung wurden im Dezember 2025 aufgenommen und umfassen drei brandneue Songs sowie "'Tomic Bomb", einen sehr alten, unveröffentlichten Song, der 1980 von der allerersten Inkarnation von M.I.A. geschrieben wurde, die damals als The Swell bekannt war. Diese Veröffentlichung ist auf 300 Exemplare limitiert und erscheint mit einem handgedruckten Cover und auf farbigem Vinyl.

Formed in 2011, Beyond The Styx has established itself as a formidible presence within the European heavy music scene blending elements of hardcore and metal into a direct and aggressive sound The band has performed more than 300 shows across Europe including playing Hellfest as well as supporting Sepulture, Terror, Malevolence, and the Acacia Strain. Their consistent touring history and strong live reputation have positioned Beyond The Styx as a reliable and proven act within the extreme metal market. 2026 sees the release of their new album "DIVID" which follows their previous releases "Sentence" in 2022, StIIgma in 2018, and "Leviathanima" in 2015.

Reissue of South African pianist Abdullah Ibrahim's classic 1986 LP Water From An Ancient Well on magenta coloured vinyl It features the pianist/ composer with a very strong septet, including such superior musicians as tenor saxophonist Ricky Ford , altoist Carlos Ward , baritonist Charles Davis, and trombonist Dick Griffin who are heard at their most creative and emotional on these eight Ibrahim originals. Many of the songs (particularly "Mandela," "Song for Sathima," "Water From an Ancient Well," and the beautiful "The Wedding") are among Abdullah Ibrahim's finest compositions

PMF007 has landed

We are honoured to welcome veteran artist Dennis Walks to the Poor Man’s Friend label. Having cut his teeth with Duke Reid in the mid to late 1960s, Dennis Walks has been recording consistently for over 60 years.

Best known for his massive hits “Drifter,” “Heart Don’t Leap,” and “Margaret,” alongside the great The Mudies, Dennis brings a smooth yet powerful voice rooted in R&B and doo-wop influences. Combined with his intricate and thoughtful songwriting, he remains one of our favourite artists from the rocksteady and early reggae era.

“What A Pressure” is a vibrant, horn-led early roots reggae cut that captures the raw spirit and sonic identity of Jamaica’s foundational studio era. Driven by an upbeat tempo and undeniable energy, the track is elevated by rich, full-bodied backing vocals that perfectly frame Dennis Walks’s unmistakable voice. His delivery carries a weight of experience, bringing to life a set of beautifully constructed conscious lyrics that speak with both urgency and soul.

At its core, the production is propelled by a deep, rolling bassline that locks tightly with a heavily saturated rhythm section, creating a warm, analog feel reminiscent of classic recordings from Kingston’s golden age. The horns cut through with authority, adding brightness and drive, while the overall arrangement maintains a tight, authentic groove.

The Spoiled is an Italian post-punk project led by Giovanni Santolla, blending electronic beats, distorted synths, and reverb-soaked guitars into a dark, romantic, and nostalgic sound.

In 2024, the project self-released the debut EP Time distributed by Manic Depression, followed in 2025 by the full-length Living Ghosts via Swiss Dark Nights—an album that firmly established The Spoiled within the contemporary post-punk scene. Following the album’s release, Giovanni collaborated with international acts including This Eternal Decay, Darkways, Corlyx, Chaos International, and Hinfort, while maintaining a dense touring schedule across Europe and sharing the stage with artists such as Traitrs, Hinfort, Darkways, and Ductape.

The new album When It Rains, set for release on Avant! Records on April 17, 2026, expands The Spoiled’s artistic vision with a focus on intense, romantic soundscapes that delve deeply into human intimacy and interpersonal relationships. Embracing a warmer and more personal sonic direction, the record blends elements of indie rock and electrogaze music that enrich and revitalize the dark, melancholic palette that has defined the project’s earlier works.

Still playing homage to the forefathers of the genre such as Clan of Xymox, The Sound and Pink Turns Blue, When It Rains opens the path of The Spoiled to new soundscapes, exploring broader emotional territories while preserving the atmospheric depth and introspective tone that have become its signature.

FFO: Twin Tribes, Clan of Xymox, She Past Away, Mareux, The Soft Moon, Pink Turns Blue.

Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut Ballistic Statues, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground.

This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material.

Pressed in a limited run of 300 copies on black vinyl, the release comes in a gatefold sleeve and includes a reproduction of the original lyrics insert along an exclusive poster and one postcard.

Ballistic Statues remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.

Mutant, in collaboration with Hollywood Records and 20th century Studios, is proud to present the premiere physical media release of Benjamin Wallfisch's score to the first of two 2025 Predator films, the animated anthology PREDATOR: KILLER OF KILLERS Benjamin Wallfisch had quite the task in scoring KILLER OF KILLERS.

Not only did he need to tackle one of the most iconic sci-fi titles in pop culture history, but he had to do so across multiple time periods, locations and genres. A Scandinavian arctic right of passage, a Japanese Feudal revenge plot, and a World War Two underdog dogfight - all bookended by an epic battle on the Yautja home planet where the far-reaching nature of the Predator finally reveals itself after 30 years of filmmaking.

All the while, Wallfisch nimbly navigates the spirit of each period, their cultural instrumentation, and the kineticism of each chapter, and the emotional stakes of each battle. It's a minor miracle of a score that we are honoured to celebrate.

Featuring original artwork by Oliver Barrett, featuring liner notes by the films director Dan Trachtenberg, and pressed on 140gm Red vinyl, this release is essential for fans of the series.

A physical media release of PREDATOR: BADLANDS featuring a score by Wallfisch and co-composer Sarah Schachner is forthcoming.

Killer Groove Records proudly presents the self-titled debut album by Italian cinematic funk trio Atabasca. A sonic journey where funk, psychedelia and desert groove merge into a timeless narrative suspended between rhythm and vision.


"Atabasca" marks the debut release from the cinematic funk trio, dropping March 27th on limited edition LP, CD digipack and digital formats, the latter featuring an exclusive bonus track. This is a project built on evocative imagery: each song unfolds as an open scene, an emotional landscape where listeners can step inside and write their own ending.

Lap steel, kalimba, percussion and guitars interweave with bass and drums, striking an original balance between tradition and experimentation that evokes unwritten soundtracks for worlds at once distant and familiar. The record navigates between melancholy and irony, tension and release, with a sharp focus on dynamics and sonic narrative.


Deserts, seas, imaginary villages, getaways, pursuits and collective rituals: "Atabasca" emerges as a collection of musical landscapes that unfolds through vivid, evocative imagery.

Jazz-funk, world music, afrobeat, psychedelia and the Italian Golden Age of movie soundtracks merge into a singular emotional geography: warm, analog and deeply human.

The musical journey opens with "Dune", a melancholic statement that leaves room for imagination, before igniting with "Kundela Mawedi" and its cascading lap steel over haunting vocal chants. "Paco" tips its hat to classic westerns, tracing a bandit's trajectory, while "Cameo" drifts back to childhood through minimal rumba and shimmering kalimba. The cinematic imagery continues in "Cacopoulos", a nod to Spaghetti westerns and Eli Wallach, built on raw drum patterns and distorted guitars. Intensity builds in "Khettara", where afrobeat rhythms and Middle Eastern textures intertwine, before "Hell Dorado" tears off in pursuit of the American dream's funk-fueled mirage. "Papambra" weaves hypnotic polyrhythms between kalimba and lap steel, while "Porpora" delivers a sensual, visceral tango of passion and tension. The digital edition closes with "Reprise", a sequel that stretches the album's central theme into an expansive, meditative interpretation.

The tracks were recorded in single takes, capturing the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the album at Velvet Room Mastering Studio in Brighton.

Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment. This is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals) and Valerio Pompei (drums, percussion, vocals).

Individually active for over twenty years on both the national and international scenes, the three Italian musicians came together in 2023 to create a project that merges experience, experimentation and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.

Atabasca's sound moves through jazz-funk, world and cinematic territories, weaving together afrobeat, desert and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


For fans of Khruangbin, Surprise Chef and instrumental psych-funk!

Tha God Fahim's timeless creative instincts have been evident from the moment his art began to circulate. Emerging unexpectedly from the epicenter of trap music, the Atlanta emcee quickly distinguished himself with sharp wordplay and atmospheric production that couldn't be further from the monotonous sounds echoing Around Him. With Just A Few Projects To His Name, Tha God Fahim Was Still A Hungry Young Talent On The Rise when he unleashed Tha Dark Shogunn Saga in late 2016. Among his most memorable early releases, the album kicked off an unprecedented creative explosion, as Fahim cemented his status with more than 50 projects released over the next two years. Followed by an equally compelling sequel released just a few
months later, the overall saga became an important moment in Tha God Fahim's rise, evoking shadowy street corners and smoke-filled hallways. Nearly a decade later, Fahim is expanding this series into a full trilogy with Tha Dark Shogunn Saga, Vol. 3. Reviving the unmistakable vibe of the original projects, the new collection finds our hero back in warrior mode, sharpening his lyrical blade over rich production from Cookin Soul, Nicholas Craven, Fortes, and Fahim himself.

First Word Records proudly present the second single from Above The Clouds (aka kidkanevil & Magic Manfred), taking on another underground hip hop classic, 'Change'.

'Change' was originally performed by Shadez of Brooklyn, produced by Da Beatminerz and most notably appeared on DJ Premier's legendary 'New York Reality Check 101' mix compilation back in 1997.

This 7" vinyl release follows on from last Summer's MF DOOM cover 'Arrow Root', which received strong support from the likes of Japan's DJ Koco and Philadelphia's DJ Jazzy Jeff.

This new instrumental reinterpretation also features cuts by Leicester-based turntablist, Jon1st - a DMC World Online Champion, as well as being a producer & musician in his own right, collaborating on music with a number of hip hop, D&B and electronic artists.

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite DJ Premier beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains further "We started the project with a few covers, just as a way to get warmed up and in a certain creative headspace, of which 'Change' by Shadez Of Brooklyn was one. We both loved DJ Premier's 'New York Reality Check 101' mix when we were teenagers and this track was a favourite. The elements really lent themselves to live interpretation, and as an instrumental there was space to bring some nice movement with the bass and stuff. Hopefully we found the balance between paying tribute and finding our own pocket. For the final seasoning we hit up the homie and turntable wizard Jon1st to recreate the cuts, of which he did an immaculate job of course.

The b-side 'Urgh' is one of our favourite beats we've made so far; the title is just how it makes us feel! We actually recorded the piano with two iphones as left and right and it sounded kinda cool so we went with it..."

'Change / Urgh' is released on limited 7" vinyl & digital platforms, April 24th 2026.

Closed For The Festival is MIDI Janitor’s fourth full-length and is the follow-up to the Holy To Dogs LP, which was originally released on cassette in 2024 on legendary Vancouver tape label Hotham Sound and then in a vinyl edition by Toronto’s We Are Busy Bodies.

The Midi Janitor’s new album, Closed For The Festival, is a biography of Jonathan Orr’s shadow self.

Born from memories of his childhood spent wandering rural Ireland in Ballymore, Donegal on his grandmother’s Christian commune, Closed For The Festival masterfully straddles the line between warped joy and sinister naivety. As Orr states, “the songs are always trying to get to that moment of taking your hand and walking you into the woods on a pretty spring afternoon and then abandoning you there to figure out ‘how do I get out of here??’”

Closed For The Festival recalls the skewed electronica of Boards Of Canada, the dusted syncopations of Heathered Pearls, and the long-buried treasures uncovered by the Sublime Frequencies label, but is never willfully nostalgic in nature - each track is an incantation in honour of ‘thin places’, where the presence of an eternal moment seeps into the present moment - the uncanny feeling of which has followed The Midi Janitor throughout his life and creative work.
- Steve Ramsay: Young Galaxy, Stars

“Fools” is from a new Drop Nineteens album to come in 2026. The track sees the band in swooning shoegaze mode featuring layers of glide guitar beneath gentle vocals sung by Paula Kelley & Greg Ackell, who calls the track “a snake let in under the door.” Chris McLaughlin (Kendrick Lamar, Beyoncé, Bon Iver) delivers a searing mix that’s both metallic and oozing with warmth. This is an extremely limited edition of 75 7”s featuring hand-screened covers.

Drama On The Corner makes a powerful return with "ORIXA", its second EP, with a vinyl release on
Betino's Records.
Designed as both a collector’s record and a club-ready release, ORIXA draws deeply from Adrien de
Araujo’s brazilian roots, reimagining Brazilian funk, samba-funk and 70s rare groove through a bold,
modern and warm production.
With these six tracks, the duo delivers instant classics, blending candomblé rhythms, broken beat, soul
and forward-thinking house music

2026 Repress

SK_eleven celebrates a decade of sonic exploration with a 13-track compilation showcasing its signature tension, technical discipline, and stylistic spectrum. Reuniting a tight circle of artists whose contributions have helped shape the label, the release offers an unrelenting sequence of pressure, mental twists, and textural collisions; a multifaceted snapshot of techno's enduring capacity to evolve, disturb, and seduce.

The compilation resists uniformity. Instead, it thrives on contrast: tension versus release, density against spaciousness, rhythm in all its permutations. From high-energy metallic openers and dub-inflected body rollers, to disorienting, delay-heavy experiments and stripped-back percussive tools, each contribution reveals a unique grip on groove and detail. Some tracks move like engineered machines: sharp, robotic, and syncopated to surgical precision. Others embrace sensuality and unpredictability, exploring spatial motion, layered harmonic friction, and states of controlled chaos. Each piece acts as a structural component in a larger sonic architecture, where tension is built, collapsed, and rebuilt. Friction becomes a form of choreography. Across the record, a shifting palette of emotional mechanisms takes form; granular and magnetic, haunting and quietly forceful, restrained, then disruptive.

More than a retrospective, SK_eleven's first compilation becomes a collective gesture toward techno's unresolved possibilities: its ability to hold contradiction, remain in flux, and mutate without conclusion.

Deep cuts for early and late hours. Caldo Verde opens warm and inviting, setting the tone with slow-burning depth. Bacalhau steps in with richness and weight, built for extended rotations. Medronho eases the pace, hazy and smooth, before Pastel De Nata delivers a soft, sweet release. Bica closes the circle, dark, sharp, and made to linger long after the last note.

Rooted in dubwise textures, subtle groove architecture, and warm analog sensibilities, this record unfolds with elegance, restraint, and a strong sense of atmosphere. With Echoform, the label once again underlines its refined aesthetic and deep understanding of timeless underground music.

There is a strong sense of craftsmanship throughout this release, hardware-driven, deeply textured, and full of character. MS14 brings together Myles Serge and Jamie Bissmire for a powerful journey into wonderfully raw, analog-rooted techno. And When the Sky Was Open captures the spirit of classic Detroit-infused machine music while pushing it forward with depth, soul, and precision. The record feels both timeless and immediate, balancing driving rhythm structures with a spacious, atmospheric edge that gives it a distinctive emotional weight. Rather than relying on sterile functionality, these cuts breathe with warmth, movement, and a human touch, making the record equally effective for deep listening and focused dancefloor moments. It is techno with substance: hypnotic, elegant, and uncompromising.

A truly outstanding dub release and another beautiful chapter in the sound of Etui Records.With Early Reflections Pt. 1, Insect O. delivers a remarkably deep and elegant statement that moves effortlessly between Dub Techno, Dub House and Deep House. Released on the ever-reliable Etui Records, this three-track EP is a masterclass in subtle tension, warm textures and hypnotic groove, understated, immersive and incredibly effective.

Die Traumstimme von Joshua Redmans Album „where are we“ mit ihrem Blue-Note-Solo-Debüt!
Als Saxofonist Joshua Redman 2023 sein Album „where are we“ veröffentlichte, ließ nicht nur er damit
aufhorchen, sondern auch die Sängerin auf allen Tracks: Gabrielle Cavassa. Das weltweite Echo war imposant, in Deutschland hieß es “Top-Sängerin“ (Stereoplay) und “bringen die Luft im Studio zum Flirren“
(Süddeutsche Zeitung). Bei der darauffolgenden Welttournee des Redman Quartet begeisterte die Sängerin
erneut das Publikum auch in Deutschland.
Mit ”Diavola“ gibt Gabrielle Cavassa jetzt ihren Einstand bei Blue Note. Dort kann sie erstmals auf
großer Bühne ihr Können als Sängerin und Songwriterin zeigen, sowie als Interpretin von Jazz-Standards
(z.B. “Prisoner of Love“) und klassischem Pop (“Could It Be Magic“) bis hin zu brasilianischen Songs (“To
Say Goodbye“ von Edu Lobo). Cavassas Stimme ist sinnlich und intensiv, obwohl sie mit den Melodien
und Tempi spielt, bleiben Seele und Aussage der Songs intakt.
“Diavola“ wurde koproduziert von Joshua Redman und Don Was und überzeugt auch durch brillante
Arrangements und exquisite Musiker: Jeff Parker an der Gitarre, Paul Cornish am Klavier, Larry Grenadier
am Bass, Brian Blade am Schlagzeug und Joshua Redman bei zwei Titeln am Tenorsaxofon.

Collecting Orders For 2026 Repress

Few labels do minimal as well as Trelik and in terms of artists, Edwards is also as good as they come right now. This perfect pairing opens up with the deeply alluring 'Time' with its woozy pads and smeared chords over warm and rubbery drums. It's a hypnagogic affair then 'Vacuum Tube' has a more menacing air thanks to the wispy and unsettling synth details and clunky hooks. 'Watch Out' brings a more spangled and rubbery rhythm that has colourful details peeling off the beats and last of all, 'Stream' ups the ante with some thudding deep house and widescreen ambient synth work.

Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

Fossils in Transit dropping their first EP with diverse club focused features. The label
wants to express their love for timeless pieces and extrapolating it to their own vision.
Brussel based duo Kappen & Latence showing their musical spectrum on the A-side. On
the B-side Ennio Tyson debutes his take on timelessness.
A1 is a warm and slowly building track guiding the listeners through a blissful state. This
percussion driven piece sets the perfect mood for sunrises/sunsets. In A2 the rebellious
nature is defined by punk vocals, an acid bassline and crunchy percussion. Produced for
dark clubs and peak-time slots. B1 ventures into a bass-heavy realm where scattered
perc-like vocals and stabby synths create an ominous atmosphere. Keeping the body in
check while the mind wanders. Closing the EP on B2 with an off-the-wall minimal tech
house roller. Balancing a steady energy level to keep a tight grip on the dancefloor.

While brothers Simon and Robin Lee have kept themselves busy, both with EPs as Faze Action and numerous offshoot and solo projects, it's been almost 12 years since we last heard a fresh, full-length excursion from the long-serving duo - at least under their most famous moniker. Predictably, Distant Dreams was worth the wait, with the Lee siblings continuing their richly organic approach - think live bass, guitars, strings, keys, flute and percussion alongside synth sounds and drum machine beats. Musically, it draws on their now well-known influences - warming disco, jazz-funk and Balearica with nods to other musical cultures - and delivers eight impeccable tracks that undoubtedly sit amongst their classiest work to date. It's good to have them back.

ABR002 brings Art Bleek Records back to the floor with Get Involved, a deep house cut built for late-night warmth and open-air uplift. Anchored by Phoenix’ beautiful, soulful vocal, the original version glides on a tight house groove, rich chords and that instantly memorable hook that keeps pulling you back in.
The package expands the story with a proper remix roster: David Duriez delivers both a driving club rework and an Acid Dub twist, while Jamie Anderson pushes the energy into a crisp, dancefloor-focused direction. Art Bleek rounds it off with his own remixes, from a punchy peak-time flip to a stripped instrumental for DJs who want the groove in pure form.
A versatile 12" for deep house heads, vocal heat, classic house attitude, and enough versions to fit any set.

SOULFUL03 brings another deep and beautifully understated chapter from Soulful Dubs straight out of Finland with a special collaboration between Tm Shuffle, Monoder, and Tapani Rinne. warm, organic, and timeless. The record carries a quiet emotional depth, balancing hypnotic groove structures with spacious textures and subtle melodic detail. There’s a strong sense of atmosphere throughout, but always with enough movement and rhythm to keep the floor engaged. The collaboration feels natural and refined: you can hear the musical sensitivity in every layer, from the gently rolling low-end to the airy, dubwise treatment and the beautifully restrained arrangement style.

MUSICA SOLIDA Vol. 3 finally touches down.

Flexi is wrapping up their 40th-anniversary celebration with a bang, and trust me, the wait was worth it. This VA 12” is a heavy-duty blend of family ties and international heat.

The Breakdown

* Gratts: The Adelaide-based crate-digger returns to Flexi with "Ghost Swell." It’s a deep, atmospheric builder that keeps the soul intact.

* Slowaxx & Ai Lati: Pure "rollin" energy. This Tuscan duo delivers a rhythmic, four-handed organic groove that’s been the secret sauce in the Italian underground.

* Melchior Sultana: The Maltese Deep House maestro brings the sub-heavy vibes. Total class, total depth.

* Robotalco: Fresh off his LP, he drops an Acid House banger. This 303-laced heater is strictly for the warehouse heads.

* DJ Soch: the "Italian Stallion" puts his classic old-school vein aside and reveals a darker, more minimal side: sharp drums, soulful vocal touches, and an essential, hypnotic groove shape a timeless track.

Forty years of curation distilled into one essential plate. It’s raw, it’s solid, and it’s built for the crates. Don’t sleep.

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.

The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.

Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.

With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.

Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.

Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.

The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.

Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.

The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”

Mastered by Miles

Art by Lucas Dupuy & Brendan Ratzlaff

In 1990, John Williams created the compilation album John Williams Conducts John Williams - The Star Wars Trilogy, which features 13 of his most memorable tracks from the original Star Wars Trilogy. All performed by the Skywalker Symphony Orchestra, it features the iconic “Main Theme” and “Throne Room / Finale” from Episode IV - A New Hope, “The Imperial March” from Episode V - The Empire Strikes Back, and “Luke And Leia”.

John Williams Conducts John Williams – The Star Wars Trilogy is available as an exclusive “May The 4th Be With You” edition of 1000 individually numbered copies on green/white split vinyl. This 2LP package includes an insert with liner notes by the creator of the Star Wars franchise, George Lucas.

mclusky sind eine Band, die eine Band war, keine Band war und nun wieder eine Band ist. Sie wurde Ende der 90er Jahre gegründet und löste sich 2005 nach drei Alben zum ersten Mal auf. Meinungen zu diesen Alben finden sich im Internet. Der Weg zurück zur Band begann 2014, als die Band sporadische Konzerte spielte, um Geld für einen lokalen Veranstaltungsort zu sammeln, der von der Schließung bedroht war. Nach einigen Rückschlägen, die man als die schönsten Seiten des Lebens bezeichnen kann, veröffentlichten sie 2025 ihr erstes Album seit zwanzig Jahren. sporadische Konzerte gab, um Geld für einen lokalen Veranstaltungsort zu sammeln, der von der Schließung bedroht war. Nach einigen Missgeschicken, die man als Teil des Lebens in seiner schönsten Form bezeichnen kann, veröffentlichte die Band 2025 ihr erstes Album seit zwanzig Jahren. Nun, im Jahr 2026, setzt sie ihre musikalische Reise mit weiterer neuer Musik in Form dieses 6-Song-Mini-Albums fort. Der Zeitpunkt dieser Veröffentlichung fällt mit einer US-Tournee im Frühjahr 2026 zusammen, die nach ihrer Australien-Tournee im Januar und einer Reihe weiterer Tourneen aus dem vergangenen Jahr rund um den Globus stattfindet. Die Rückkehr der Band wurde mit Begeisterung aufgenommen, insbesondere von der Presse, wo Medien wie NPR schwärmten: ,Progressiver, ungewöhnlicher, frecher Post-Punk mit echtem Sinn für Humor und Grandiosität. Diese Musik ist einfach voller Kreativität", und Pitchfork sagte: ,Mclusky, bekannt für ihre explosiven Live-Auftritte, klingen auf ihrem Comeback-Album genauso laut... Viel Spaß dabei." Das Album enthält vier neue Songs, die im Herbst 2025 aufgenommen wurden, sowie einige Songs aus ihrer nur digital erhältlichen Comeback-EP aus dem Jahr 2023.

AMBOSS ist die neue Band von TOXPACK & BIERPATRIOTEN-Sänger Schulle zusammen mit weiteren Freunden plus Gästen, die in den letzten Jahrzehnten im deutschen Punk- und Oi-Sektor viele heiße Eisen im Feuer hatten. Jetzt haben sie zusammen gleich 20 alte Eisen neu geschmiedet. Ihr Debut-Album erscheint als Doppel-Album mit Liedern ihrer Jugend von Bands aus dem Osten und Westen Deutschlands, sowie als besonderen Bonus ein Cover eines US-Hardcore Klassikers. Die Herangehensweise für "Altes Eisen neu geschmiedet" war dabei von vornherein klar: diese alten, großartigen Klassiker benötigen keine aufpolierte Hochglanz-"Oi!"-Produktion! Roh, ehrlich und brutal war das Motto und das Ergebnis spricht letztendlich für sich. Nicht nur wer noch aus alten Tagen die liebevoll selbst zusammengestellten Tape-Compilations kennt, wird diese prägende Zeit gern erinnern und das Album dafür lieben! Seit Sommer 2025 haben AMBOSS zwanzig Songs ausgewählt, was schon eine Aufgabe für sich war, gefühlt hätten es hundert werden können, die nicht nur die Band prägten sondern auch "Punk-Historie" geschrieben haben: Klassiker, vergessene Schätze und oftmals auch Raritäten von Bands wie u.a. Toxoplasma, Broilers, Daily Terror, Verlorene Jungs, Troopers, Springtoifel, Zusammrottung und Lokalmatadore sowie Madball. Als Gäste sind auf diesem Album vertreten: Dennis (Dreiviertel Noin), Zoppel (Toxpack), Stolp (Maul Halten), Hacker (Shock Troops) und Hinkel (Volxsturm). "Altes Eisen neu geschmiedet" ist auf nur 500 Stück gesamt limitiert, entweder in schwarzem Doppel-Vinyl oder als weiße 2LP erhältlich.

AMBOSS ist die neue Band von TOXPACK & BIERPATRIOTEN-Sänger Schulle zusammen mit weiteren Freunden plus Gästen, die in den letzten Jahrzehnten im deutschen Punk- und Oi-Sektor viele heiße Eisen im Feuer hatten. Jetzt haben sie zusammen gleich 20 alte Eisen neu geschmiedet. Ihr Debut-Album erscheint als Doppel-Album mit Liedern ihrer Jugend von Bands aus dem Osten und Westen Deutschlands, sowie als besonderen Bonus ein Cover eines US-Hardcore Klassikers. Die Herangehensweise für "Altes Eisen neu geschmiedet" war dabei von vornherein klar: diese alten, großartigen Klassiker benötigen keine aufpolierte Hochglanz-"Oi!"-Produktion! Roh, ehrlich und brutal war das Motto und das Ergebnis spricht letztendlich für sich. Nicht nur wer noch aus alten Tagen die liebevoll selbst zusammengestellten Tape-Compilations kennt, wird diese prägende Zeit gern erinnern und das Album dafür lieben! Seit Sommer 2025 haben AMBOSS zwanzig Songs ausgewählt, was schon eine Aufgabe für sich war, gefühlt hätten es hundert werden können, die nicht nur die Band prägten sondern auch "Punk-Historie" geschrieben haben: Klassiker, vergessene Schätze und oftmals auch Raritäten von Bands wie u.a. Toxoplasma, Broilers, Daily Terror, Verlorene Jungs, Troopers, Springtoifel, Zusammrottung und Lokalmatadore sowie Madball. Als Gäste sind auf diesem Album vertreten: Dennis (Dreiviertel Noin), Zoppel (Toxpack), Stolp (Maul Halten), Hacker (Shock Troops) und Hinkel (Volxsturm). "Altes Eisen neu geschmiedet" ist auf nur 500 Stück gesamt limitiert, entweder in schwarzem Doppel-Vinyl oder als weiße 2LP erhältlich.

Jede Band, die was drauf hat, hat ein Mitglied, das mal in einem Plattenladen gearbeitet hat. Bei METZ, dem mutigen Noise-Rock-Trio, das zwischen 2012 und 2024 fünf Alben bei Sub Pop rausgebracht hat, war das Sänger und Gitarrist Alex Edkins. Während seines Studiums verkaufte Edkins in seinem Heimatort Indie-Rock- und Hardcore-Platten und wurde zu einem begeisterten Schüler des Rock ,n` Roll, von den psychedelischen 1960er Jahren bis zu den DIY-1990er Jahren und darüber hinaus. Hoopla, das eingängige, melodische zweite Album aus Edkins' Soloprojekt Weird Nightmare, mischt und kombiniert diese Einflüsse auf unterhaltsame und mitreißende Weise und zeigt seine ausgefeilte musikalische Intelligenz. ,Hoopla" sprüht vor Hooks und Ohrwürmern und ist genau die Kassette, die nie aus dem Autoradio genommen wird, sondern immer wieder gespielt wird und den Sommer begleitet. ,Hoopla" ist neu und nostalgisch zugleich und wird deine Ohren erfreuen. Das selbst produzierte und ausgesprochen lo-fi Debütalbum von Weird Nightmare wurde während der Pandemie zu Hause aufgenommen und 2022 von Sub Pop veröffentlicht. Weird Nightmare zeigte Edkins' Indie-Rock-Sensibilität mit einer Vorliebe für unverkennbare Hooks und mitreißende Refrains zum Mitsingen. Auf dem neuen Studioalbum Hoopla, das gemeinsam mit Jim Eno von Spoon produziert und in Seth Manchesters Machines with Magnets aufgenommen wurde, erweitert Edkins die Dimensionen von Weird Nightmare noch weiter. Neue musikalische Texturen wie Klavier, Glocken und Kastagnetten verschmelzen mit Edkins' geradlinigem Songwriting und verleihen diesen Stücken einen glänzenden Schimmer. Es ist, als würde ein beliebter Indie-Regisseur mit seinem ersten Studiofilm einen Schritt nach vorne machen. Wenn das Debütalbum Weird Nightmare ein Underground-Publikumsliebling war, ähnlich wie Richard Linklaters Slacker, dann ist Hoopla Edkins' Dazed and Confused. ,Hoopla" glänzt mit sonnigem Gitarrenpop und wurde mit genau der richtigen Menge an Fuzz und Crunch produziert. Die unmittelbare, schnörkellose Aufnahme versetzt dich direkt ins Studio mit Edkins und seiner Rhythmusgruppe: Loel Campbell am Schlagzeug und Bassist Roddy Kuester. Das ist Power-Pop der Extraklasse; diese scharfen Adrenalinstöße könnten sich nahtlos in einen Radio-Rock-Block zwischen The Replacements und Elvis Costello & the Attractions einfügen. Oder passen genauso gut zu Sharp Pins, Ratboys und Alvvays. Im Kern ist dieses Album ein optimistischer, leuchtender Lichtblick in unserer seltsamen Zeit. Mit Weird Nightmare möchte Edkins euch wissen lassen, dass er die Welt immer noch liebt, und er lädt die Hörer von Hoopla ein, dasselbe zu empfinden. Nutzt diese Chance, um einen Funken der Magie des Pop in unserer verbrauchten alten Welt zu ergreifen. Ihr habt es verdient.

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”