From the First note of "Roam the Room", Youth's massive, towering rock songs bleed emotion through until the tape runs out on album closer "Drawn Out". Ohio natives CITIZEN have captured the ghost of BRAND NEW's "The Devil and God Are Raging Inside of Me" and reinvented brooding, chrosu-driven alternative rock for a new generation. Beautifully harmonized half-shouted vocals along with fuzzy, reverbed-out leads lend weight to the album's mood while also making it impossibly catchy. Following their recent stint as support on MAN OVERBOARD's tour, CITIZEN will play all of the 2013 Van's Warped Tour, poising them to become one of the biggest alternative bands on the road today. For fans of BRAND NEW, TITLE FIGHT, BALANCE & COMPOSURE.
“One day, I’ll be a ghost, a spirit, that moves with you along the winds,” pines Twin Atlantic’s Sam McTrusty on the beautiful and cinematic ballad ‘Your, The End’, the fitting opener to the Scottish alt-rockers’ eighth album ‘Separation From The Animals’. “It’s about the responsibility I feel around being a parent,” he says, revealing that he cried while recording his vocal over bandmate Ross McNae’s tender Beatles-y piano part. If the album says anything, it’s ‘All You Need Is Love’, told with maturity and reckoning with the past to make sense of the present. ‘Separation From The Animals’ is an album born of two tales of triumph and perseverance – one of McTrusty grappling with his own ghosts, and the other of their finest album to date coming after a time when band morale was at an all time low. When their friends’ bands and peers were all calling it quits, words of wisdom from those close to the band were urging them to take time off. The album started out as a McTrusty solo effort, isolated in his new home. The day the band finished work on their last album, 2024’s ‘Meltdown’, was also the day McTrusty packed up his entire life and studio to start a new life in Toronto with wife and two kids, unaware of the rich seam of songwriting that it would inspire.
Living Weapon returns with Death In The Family, a full-length that confronts mortality, meaninglessness, and the aftermath of existence. The release broken down over 23 minutes toward an unresolved end — life examined at its start and its finish, with the universe indifferent to either. Recorded, produced, and engineered by Jeremy Martin over fall 2025 into spring 2026 — the band's first time tracking a full album internally. Mixing handled by Taylor Young of The Pit Recording Studio and Mastering by Nick Townsend. The album is introduced with "The Leaving Process” laying out the album's core idea: life as connection, not permanence — matter created and destroyed, briefly aware of itself in between.
The original intention of the Builders and the Butchers was to make funeral music, but on the way to the cemetery something changed. An album, like any piece of art, is an artifact of a time. In a world where the process of listening to and obtaining music has never been cheaper or easier, vinyl is a last hold out. You can tell when you\'re holding the weight of wax in your hand, that you\'re connected to what you are doing. The first Builders and Butchers record is also an artifact of a time. Recorded in the living room of a house on SE Division St. in Portland, Oregon in 2007. It was recorded with no expectation, just wanting to document the songs folks had been gathering to sing along to since our first shows in the fall of 2005. The songs having been played only on the street up to that time. At those shows anyone who showed up was handed an instrument and quickly made part of the band. During the recording we attempted to bring that organic singalong rowdiness of the live show into the recording. We brought in about 20 close friends for a Sunday morning booze soaked choir session. We made sure that every instrument of the recording was made of wood and powered by a musician, there are no electric instruments and hardly any effects on this record.
And Their Power Is Alive is a collaborative record between the Vashon Island based artist Faith Coloccia and Ashville based guitarist Tashi Dorji out September on Whited Sepulchre Records. Coloccia and Dorji’s longstanding collaborative relationship and friendship bolsters this massive conceptual weight –– the music is as stirring as it is gorgeous, as exploratory as it is surefooted. And Their Power Was Alive manifests and rises up as a profound iteration of the interrelatedness of the personal and the political, poetically. Coloccia’s plaintive voice, as always, is clear and stirring, intimate, close, and notably here recorded without reverb. She is steady and her lyrics echo dream phrases which visited her during major life shifts: a drive through the arid desert, explaining the concept of private property to the next generation, intergenerational knowledge and caregiving. All of this establishes a melancholia of reflections on land, history, scale. The first words sung on this record are: “Cosmic Horror! I am nothing, I am no-one” and even here, Coloccia is steady. Dorji’s glacial layers of distorted howling guitar create a rise and crest and fall –– symphonies of noise, roaring but distant like fire in the hills, interwoven with piano, organ, and tubular bells.
Following one of 2025’s standout EPs, the CEO of the National Centre for Mark Fell Studies fires from the hip in brilliant, club-troubling motion. In step with 30 years of prism-pushing work — and particularly the »Nite Closures« EP, which signalled a concerted return to the dancefloor — Fell pulls aspects of hypermodern dance and electronic music from Chicago, Tanzania, and Japan into his own peculiar agenda.
The hugely distinctive results pull the body into thrillingly unusual, typically ascetic arrangements, activating every pointillist drum hit with attack and decay in a soberly ludic play of rhythmelodic tension and release, executed to delirious ends; 40 minutes of computer music.
As an artist who witnessed first-hand the explosion of electronic music in early ’80s Sheffield, and its interplay with house and rave as it refracted into wild new styles during the ’90s, Mark Fell is uniquely positioned to pursue his passion for the dynamics of electronic dance music to the nth degree. »Servitude In Context« continues to develop ideas around music for movement in the mid-2020s, placing decades of keen observation — from the macro and historical to the niche and hypermodern — at the service of flexing bodies in new directions.
Long-held notions of multistability manifest in what feels like two machines playing chess on the dancefloor, attempting to adapt to each other’s playing styles and patterns in real time, anticipating and zigzagging around the next move. The result is a plethora of options for limber dancers and those who only bust a move inside their heads.
The slow-fast play of accelerating and decelerating strikes, alongside monotonic chatter in »Actuations #1 (Extended)«, acclimatises the body to a uniquely sensual physics. This develops into the rudely screwed, asymmetric angularity of »Time-Slur« and the shatterproof elasticity of »Taut Manifold«, which feels like an LLM trained on Autechre.
»Low Energy Mantra« offers the EP’s closest resemblance to melodic structure, like gamelan and footwork refracted through lab-grown diamonds. Then »Anode« flashes its teeth with a rudeness recalling the latter stages of Fell’s Pat Thomas jams, before »3 Lost Contours (Pts 1–5)« tilts into 12 minutes of proper quicksilver madness, balancing the sexiness of his Sensate Focus work with an updated, clean-hoofed step and parry.
New super-groovy one-off pressing purple double-vinyl very limited edition of Miami Sound 2 housed in gatefold sleeve, complete with two full-colour inner sleeves containing extensive text and exclusive photography from TK Records in-house photographer Larry Warmoth. Soul Jazz Records’ Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.
Throughout the 1970s founder Henry Stone’s TK Records rose up to be one of the most important forces in black music, successfully pioneering the evolution in musical fashions from the early gritty funk and soul at the start of the decade to the arrival of disco in the mid-70s. This album is a rollercoaster journey across soul, funk, disco and boogie, a party-rocking dancefloor-filling collection of monster tracks that includes million-selling hits such as Betty Wright’s classic ‘Clean Up Woman’, Timmy Thomas’s ‘Why Can’t We Live Together’, T-Connection’s ‘Do What You Wanna Do’, anthemic rare groove club hits including Gwen McCrae’s massive ‘All This Love I’m Giving’ and Milton Wright’s ‘Keep It Up’, plus a host of hard-to-find gems and rarities from the likes of Raw Soul Express, Chocolate Clay, Beginning of the End, Robert Moore, Clarence Reid, Little Beaver, Paulette Reeves and many more. TK Records functioned more like a close-knit family than a typical record company. Based in the industrial Hialeah district of Miami, music man Henry Stone surrounded himself with a host of creative artists, musicians, songwriters and producers who created an immediately identifiable TK sound as well as making musical stars out of many of its artists
POLYAMORE presents Magnetismo, a sun‑drenched blend of Mediterranean grooves, disco, funk and house from Budapest duo Pleasure Voyage. The EP includes the Original Mix, a deeper House Dub, a laid‑back Sunset Mix, and a dancefloor‑focused Disco Mix by Neapolitan producer Whodamanny, a key figure of the Neapolitan Periodica records and owner of the new imprint Biloba. Label founder Bruno Belissimo adds a groove‑driven remix infused with his signature Italo/space‑disco touch. The release closes with “Equator Funk”, a standalone cut that broadens the palette. A timeless, Mediterranean‑soaked record that moves effortlessly between dancefloor heat, sunset moods and late‑night flow.
SHDW presents 'Federation Of Rytm IV': a bumper 30-track collection spanning the past, present, and future of techno.
Offering powerful standalone club cuts and a cohesive deep-dive, the expansive VA lands on 24th October 2025.
The fourth edition of SHDW's flagship 'Federation Of Rytm' VA series has been carefully curated by the DJ/ producer and head honcho over more than a year, with close attention to detail given to sequencing. It is a balance of label regulars and debutants that represents the past, present, and future, both sonically and through the generational diversity of the artists involved. There are plenty of surprises along the way while always remaining true to the Mutual Rytm ethos and reflecting the journey of the night from start to finish, whether that's in intimate, sweaty clubs or on big festival stages.
Across 30 tracks in the digital collection and 24 on four sides of wax, the release explores the full breadth of the Mutual Rytm sound. Driving grooves and relentless percussion set the pace, gradually unfolding into hypnotic and atmospheric passages that invite deeper immersion. Pulsating low-end power alternates with eerie minimalism, while bursts of futuristic energy and cavernous kick drums keep the tension high. Elsewhere, dub textures and moments of introspection provide balance, creating a narrative arc that moves fluidly between intensity and release, atmosphere and tension, darkness and light.
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This VA release brings together four producers who share a common language: hypnosis, movement, and an obsessive attention to sound design. Across two sides of vinyl, the record moves through different shades of deep and mental techno, held together by a sense of restraint and clarity rather than force.
Na Nich opens the A-side with a mental yet groove-driven piece, where impeccable sound quality meets a clean, deliberate design. LFO-driven elements float underneath the surface, almost speaking, giving the track a voice of its own without ever breaking its hypnotic hold.
Forest On Stasys follows with a tribal and deep approach that still hits with weight. Shakers and layered percussion drive the movement forward, building a rhythmic body that feels both organic and controlled.
On the B-side, Translate stays true to a purely mental identity: repeating LFOs and speaking tones that fold in on themselves, always kept clean and precise, letting the repetition do the work.
Save Your Atoll & Gabriele Santucci close the record with a deep, tribal-leaning cut full of groove and motion. Bongos, shakers, and background percussion build a danceable hypnosis, where every element serves the movement.
Four tracks, four voices, one shared sense of direction — a record built for the floor, but never at the expense of detail.
‘Oud-player with The Handover, Eissa was mentored by two legendary figures in Egyptian music: composer and multi-instrumentalist Abdo Dagher, and oud master Hazem Shahin. The music here is heavily rooted in both Egyptian classical music and a number of different folk music traditions, but it goes its own way, through expansive and intricate original compositions.
‘The epic title track, with Eissa playing oud exclusively, takes up two thirds of the album. It seamlessly transitions into heart-stopping recitation of the thirteenth century poet Baha´ al-din Zuhayr… serious, loving, tender and insistent, all at once. Visionary and virtuosic, but at the same time warm and close.
‘A future classic.’
The long-awaited vinyl re-issue of ‘Hawk’ from Isobel Campbell and Mark Lanegan.
Isobel Campbell (ex-Belle & Sebastian) and Mark Lanegan (ex-Screaming Trees, Queens of the Stone Age) third album Hawk, will be reissued on November 6th on LP and CD.
Hawk builds on the critical acclaim of 2006’s Mercury Prize-nominated Ballad of the Broken Seas and 2008’s Sunday at Devil Dirt, solidifying the duo's signature dynamic—Campbell’s ethereal, whispery arrangements juxtaposed against Lanegan’s deep, gravelly baritone. Written, arranged, and produced entirely by Campbell, Hawk was recorded across studios in Scotland, England, and the United States. The 13-track record expands their sonic palette far beyond classic country-folk, venturing into dusty Southern soul, garage-rock stomps, and soaring gospel arrangements. "With this record, I wanted to stretch the canvas further," says Isobel Campbell. "Mark and I have built a true shorthand together over the years, which gave us the freedom to push into heavier grooves, raw blues, and sweeping orchestral textures while keeping the core intimacy intact. Album Highlights & Key Collaborations "You Won't Let Me Down Again" — The album’s lead single, driven by a hypnotic rhythm and featuring a searing guitar solo from former Smashing Pumpkins guitarist James Iha. "Come Undone" — A moody, slow-burning Southern soul ballad showcasing Lanegan at his most vulnerable. Townes Van Zandt Covers — Faithfully rendered versions of "Snake Song" and "No Place To Fall," the latter featuring guest vocals from American singer-songwriter Willy Mason. "Lately" — A cinematic album closer that swaps the pair's vocal interplay for a rousing, brass-tinged gospel choir.
Hailing from the West side of St. Louis, Missouri, Mikahl Anthony’s sonic roots spread far across the global Alt-Soul / Hip-Hop scene. A highly soughtafter multidisciplinary artist (who has collaborated with the likes of Mick Jenkins, Chance The Rapper, Joey Purp, Smino and more), as well as being a founding member of Chicago’s THEMpeople collective, he now prepares to unveil his masterful full-length debut Muse via R&S Records.
Accompanied by several beautiful, self-directed film pieces, Muse is a record with storytelling at its core. Interspersed with commentary from a range of sources telling their stories to Mikhal, whilst collaboratively analysing their personal experiences, it speaks a candid and honest narrative, which reinforce the heartfelt lyrics within. With the project’s name anchored around a dual meaning acronym (1. Ms. Using sensual energy and 2. Making use of seclusion every day). The record is an audio version of docufilm, that creatively interprets the idea of self-therapy, an internal/interpersonal reflection of life experiences that serendipitously connect to Mikahl’s personal romantic relationships. Mikahl explains: ‘I wanted to use a unique style of songwriting, arrangement and filming with the intention of soundtracking my self-development/maturation process’.
On the project’s lasting impression on the listener, Mikahl elaborates ’The exploration of inner truth and vulnerability is key to the future of good music. I want this project to act as symbolism that highlights the mantra that honest approaches and authenticity still has the most value. I also want people to see how important the use of community is when you can connect them to your subject matter...I'd like my audience to observe and engage in their own self-reflections, approaches by way of listening or interacting with the story.’
Drifting to an elevated state of consciousness, Muse is a deeply intoxicating and engrossing listening experience from front to back. From the sliding, kaleidoscopic shadows of opening track ‘La Flare’, via the trepidation-laced atmosphere of ‘Polyamorous’ and the hazy, reverb drenched saxophone notes of LP closer ‘Eddie Kane’ - Mikahl channels moments of joy and pain, infused with spirit enriching instrumentation and gritty textures.
Visual stimuli play an integral role within Mikahl’s music. His songs represent transparency and openness dipped in funk. Layers of soft velvety vocals emerge from jazz harmonies, trap rhythms, and social commentary sourced from voiceovers/excerpts. His creations are the musical representation of documentary films. His art is imagery embodied.
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Label boss Alessio Collina is finally here with his first E.P on the limited series! “Shades of me E.P” is one of the most personal work he ever made until now because it touches different styles of House, rooted always from the same school. We start from the A side where we find “Bloom in the garage” as first track: Old-school groove, fat bassline, dirty drums and some Garage stabs with the hot swing by MPC1000. The second track is “Back to the real”: a sexy, mental Deep/Tribal tune which can be fit in a warm up set or during an intimate Afterhour. In the B side we have “Spring Equinox”, a Techy roller with an absolute killer bassline, some dreamy melodies and a dynamic stab: dancefloor weapon. We close the record with “The Party” on the B2, which sounds like an old dark Chicago House record but revisited in an alternative way.
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New full-length album from Posthuman, veering deeper into electro and leftfield territory than usual. The A side opens with the Drexciyan ‘What U Need’ then straight into the Rother-style machine funk of Test 14 and Reps, through to the downtempo dubby closer of Torus Dreams. The flipside starts more heavy duty with industrial rave in Break Bones before dropping back to chilled ambient house with Chronophobe. Facts Not Opinions and Detramental close off the album with more classic electronica sounds reminiscent of Posthuman’s early 2000s releases on Seed and Skam. Released on unique starburst/splatter/glitter coloured 12” vinyl. It may be computer music, but no humans were harmed in the making of this album; 100% guaranteed AI free material.
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Recorded spontaneously in Brooklyn and created entirely without written compositions, this album is an essential release for fans of ambient music, spiritual jazz, meditation, and deep listening. Features ISAIAH COLLIER on drums and tenor sax and produced by SONNY DAZE
Five years on from its first outing, Standards & Practices returns with a second volume of Out of Practice that assembles a roster of exclusive, unreleased material that moves between broken techno, electro, dub techno and bass-heavy experimentation. The strength lies in its range: in this third 12" instalment, Patrick Russell's opener brings meditative dub pressure, Ghost Warrior's 'Second Wave' is a sparse, suspensory underwater world, Pessimist layers deft percussion into fractured rhythm science and Blood Music's 'Figures For Laser' has a cascade of 8-bit melodies adding futurism to jazzy, off-grid drums in what is an eerie and engaging closer. A snapshot of a label finding new ways to bend electronic music's tried and tested boundaries.
Uncompromising Italian DJ/producer The Southern makes his vinyl debut on Mutual Rytm's sub-label, Spectra, with remixes from Alarico, Temudo and Sciahri. An EP marking an impressive label debut, Carmine Portarulo, aka The Southern, lands on Mutual Rytm’s sub- label Spectra with a powerful showcase of his much-loved sound. With the lead track featuring as one of label head SHDW's most requested IDs of the year so far, and packaged alongside outstanding remixes by close label associates Alarico, Temudo and Sciahri, the EP comes having established himself with a sound rooted in old school value and pure techno, favouring energy and authenticity over hype. The track’s backstory comes from the moment Carmine and his partner found out they were expecting a child and went for their first ultrasound appointment. Overwhelmed by the emotion of the moment and the beauty of what nature is capable of, he returned home and poured those feelings into the music. The result, ‘Ultrasound’, is an anthemic, punchy techno cut with euphoric energy rising up through the synths and its catchy lead melody. Joyful melodies sparkle amid vocal groans, adding a raw emotional pull as the warm, driving drums march on. Berlin-based artist Alarico is the first to remix on his return to the label, and his ‘Sad Mix’ has a more melancholic mood, with dark chords and tightly programmed drums that bring lo-key funk. Hayes Collective founder Temudo also returns and flips the vibe on his ‘Neuro Interpretation’ with a more psyched-out, twisted tune featuring trippy synths and booming drums for peak-time impact. Italo-Iranian Sublunar Records head Sciahri then drops his trance- inducing, hypotonic ‘Tunnel Vision Mix’, followed by two digital bonuses: ‘The Stripped Mix’, a bouncy workout with futuristic melodies, and Temudo’s ‘Neuro Interpretation 2’, which is raw, textured, and dark.
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Jason Dungan (aka Blue Lake) and Johan Carøe find beauty in the rhythms
and repetitions of domestic life for collaborative album, 'Routine' - out September 25
Copenhagen-based multi-instrumentalists Jason Dungan and Johan Carøe didn't set out to make an album. Instead, as the title 'Routine' suggests, they found their way there through a process of habitual making and listening, developing an intuitive musical language to reflect the dreamlike meanderings and creative play of life's quiet moments. 'Routine' blends pop orientated sounds, Avant-garde minimalism, folk and new age with the emotive depth of film-score.
Their meeting was not entirely coincidental. Previously in bands such as Squares and Triangles, Jason Dungan has since recorded multiple albums under the moniker Blue Lake, including the lauded 'Sun Arcs', pursuing his passion for self-built percussion and multi-string instruments. Johan Carøe meanwhile is a composer whose film soundtrack work has seen him collaborate with Angelo Badalamenti, Arp, and Sofie Birch, at whose Andersabo residency (curated by Dungan) the pair first met, resulting in the highly praised album 'Repair Techniques' written by Birch and Carøe.
'Routine' emerged organically over many years against the backdrop of great personal change. As Carøe said goodbye to his father and welcomed his first child, the pair sent each other fragments of melodies and patterns, working up responses when time allowed to assemble a sonic palette that combined acoustic instrumentation of zither, clarinet, cello, saxophone (among others) with the textures of tape, drum machine and Yamaha DX7 synth. Inspired by the vulnerability and DIY ethos of Arthur Russell's home recordings, the vision of labels like Disques de Crepescule, and the art pop, experimentation inherent to late '70s and early '80s recordings from NYC and Japan alike, Dungan and Carøe conjured new forms for their folk, leftfield pop and avant garde influences from the low-lit living rooms of Copenhagen and rural Sweden. "I'm very interested in the ways in which music and art emerge from our wider experiences as people, workers, parents and in the daydreaming activity of making music," Dungan explains of a process which allowed the duo's individual styles to drift apart and merge together seamlessly. "I think the process was definitely capturing moments in time, but over a long time," Carøe adds. "It was a bit like improvisation, but with time stretched."
The music floats with grace and humility, remaining sophisticated yet acutely introverted.
Whether on 'Clouds', where soft layers of zither and clarinet are moved along by a featherlight bass riff and the hypnotic clip-clop of the primitive groovebox, or the gentle grandeur of cello rising and falling through 'Routine 1', the album reveals itself over 10 instrumental tracks, evoking the ineffable calm that descends when the light changes and the world turns inwards. The act of time passing became a key creative ingredient to the evolution of the album, enriched with the exciting challenge to transform their passing rounds of home recordings via a slow release musical dialogue. Jason found creative moments in the twilight hours to lay down zither, melodica, acoustic guitar to name but few, while Johan utilising "line-in and headphones" would manipulate, stretch and pitch Jason's melodic pathways during newly born naptimes.
Carøe rhythmically plucks and slides the stringed cello instrument, leaving palpable foundations on 'Hymn' and 'Chords', in a treated, stylistic approach akin to Mabe Fratti, while 'Silence' draws to a close with a gospel touch. Dungan's harp-motion zither flourishes reveal more classical connotations on 'Reunion' with inspiration of Bedroom Community's Nico Muhly as organs rise with Moogs, culminating with a climatic choral outro from friend, mezzo-soprano Anna Caroline Olesen.
'Routine' then is their first collaboration, an album of deep and sincere reflection with inviting overtones that gesture with unrushed authenticity. A document of a new-found friendship that opens a window into the most personal of spaces, where the daily practices of music and life exist side-by-side to wondrous effect.
The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)
The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)
Founded in Germany in 2019, CONSVMER. have spent the last few years carving out a space that’s entirely their own: progressive metal, beatdown, and metalcore delivered entirely in German, with an unflinching focus on subjects most people would rather look past. Their 2024 record Seelenfrieden turned heads inside and outside the German metal scene, with coverage from outlets including Nik Nocturnal and a collaboration with Paleface Swiss that confirmed the band were operating at a level far beyond their years. Live, they have earned their place on stages at Summer Breeze, Core Fest and Bembel X Core Festival. Now, with new vocalist Jacques Gronert and a vision sharpened to a point, CONSVMER. return with Abgrund.
Where Seelenfrieden refined the template, Abgrund dismantles it. Across eleven tracks the band push further into territory that feels genuinely unique and uncompromising: the title track opens the record on collective collapse and a society steering towards the edge with no intention of stopping, while songs like "Gier" tear into systemic greed and exploitation with brutal clarity, "Willenlos" descends into dissociation and the erasure of identity, and "Sucht" confronts addiction and self-destruction with a rawness that is hard to shake. Closer "Gottverlassen" leaves the listener exactly where the title suggests. The collaboration with brutal deathcore veterans Acranius on "Sucht" hits like a freight train, their English-language verses locking into CONSVMER.'s German delivery to devastating effect. Fellow German hardcore outfit DOGBITE also appear, adding another dimension to a record that never loses focus.
“Tough love is a sonic dark romantic experience. Each song represents a different form of “Tough love”. A dark romance in Hollywood. Growing up in LA at the age of 17, now being 23 I’ve experienced a lot and learned so much about my self and love itself. All of these songs are written either about my own experiences, lessons and who I am today or inspired by a fantasy I’ve created in my mind and heart. These love songs tell the truth of what I desire and crave deeply, a love that is exciting and passionate and impossible to find in Hollywood, writing these songs are the closest I’ll ever get to living it. Words are spells. Songs are spells. I love writing about love because though it’s fleeting in those moments while I’m creating the record, its true. I live in it, feel it on my skin, close my eyes, taste it and make it real. Whether it’s something I want, something I had, something I’m missing, it is mine all the same. Tough love is about the darkest and toughest parts of love, songs for those themselves who are tough to love, and songs for love that’s tough to find.
Sonically I was inspired by, Massive attack, Portishead, Fleetwood Mac, Eagles, Alice in chains, nostalgic music from the 70s through the 90s and add my own dark twists. ” - Nessa Barrett
The Lp is ble marble be released on the 25th September Part celebration, part reflection, THE TIME OF OUR LIVES arrives as both the final release of Lancey’s twenties and the closing chapter of a creative world he has spent the last decade constructing. The most expansive statement of his career to date, moving freely between trap, alternative R&B, dance music, Afro-influenced rhythms and more, Lancey explores triumphant highs and lows of stark vulnerability across the album, interrogating ideas of success, freedom, loneliness and what it truly means to have the time of your life. Lancey Foux stands at the forefront of UK rap’s evolution, blending elements of hip-hop, cloud rap, trap, Jersey club, drill, and more into a sound that’s uniquely his own.
Since emerging from Newham, East London in 2015 with a clutch of freestyles and SoundCloud singles, Lancey has occupied a lane entirely of his own making. As he closes out his twenties, Lancey looks ahead to the next decade full of more unpredictable artistry as he continues to break the rules and change the game.
Courant Zéro is the new moniker of Montréal multi-media installation artist and Kohlenstoff label co-founder Maxime Corbeil-Perron, signalling his return to purely recording-based electronic music production following several years focused on award-winning experimental film and audio-visual works. Solari channels his cinematic sensibility and decade-long exploration of sound art and electroacoustic counterpoint into deep cuts of maximalist ambient electronica. Drawing on his early background as a pianist and jazz drummer, Corbeil-Perron weaves a fabric of melodic and rhythmic vectors with his unique timbral palette, intersecting modern composition, IDM, ambient, glitch, and noise on a debut album brimming with sonic detail and emotive resonance. A fixture of Montréal’s sound art community as both creator and curator since the early 2010s, Corbeil-Perron’s work has ranged from “hypnotic A/V onslaught” (FACT Magazine) to the “richly nuanced acousmatic journey” of his 2018 EP Polychrome (Bandcamp Best Contemporary Classical Of The Month), with earlier electronic and techno-adjacent projects like Political Ritual, Dresden, and Le poisson d’argent garnering accolades from avant-music outlets A Closer Listen, Silence and Sound, and Musicworks, among others. Courant Zéro mobilizes this cumulative wealth of explorative sonic experience in the service of distinctive compositional architectures and electronic music pathways that fans of Floating Points, Jan Jelinek, Squarepusher, Tim Hecker, and Oneohtrix Point Never should find compelling.
Courant Zéro’s debut is a vibrant sonic rebus at the junction of electronic, electroacoustic, noise and ambient music that resists easy categorisation. Solari strikes a compelling balance of unsettled disorientation and hospitable warmth, teeming with real feeling throughout. The album’s cover art painting Cryptography I by Yen-Chao Lin represents this prevailing sensibility, its mazelike circuitry distinctly carved and crisply rendered, while filigreed with handmade detail and artisanal patina. Thanks for listening.
Courant Zéro is the new moniker of Montréal multi-media installation artist and Kohlenstoff label co-founder Maxime Corbeil-Perron, signalling his return to purely recording-based electronic music production following several years focused on award-winning experimental film and audio-visual works. Solari channels his cinematic sensibility and decade-long exploration of sound art and electroacoustic counterpoint into deep cuts of maximalist ambient electronica. Drawing on his early background as a pianist and jazz drummer, Corbeil-Perron weaves a fabric of melodic and rhythmic vectors with his unique timbral palette, intersecting modern composition, IDM, ambient, glitch, and noise on a debut album brimming with sonic detail and emotive resonance. A fixture of Montréal's sound art community as both creator and curator since the early 2010s, Corbeil-Perron's work has ranged from "hypnotic A/V onslaught" (FACT Magazine) to the "richly nuanced acousmatic journey" of his 2018 EP Polychrome (Bandcamp Best Contemporary Classical Of The Month), with earlier electronic and techno-adjacent projects like Political Ritual, Dresden, and Le poisson d'argent garnering accolades from avant-music outlets A Closer Listen, Silence and Sound, and Musicworks, among others. Courant Zéro mobilizes this cumulative wealth of explorative sonic experience in the service of distinctive compositional architectures and electronic music pathways that fans of Floating Points, Jan Jelinek, Squarepusher, Tim Hecker, and Oneohtrix Point Never should find compelling. Title track "Solari" opens the album with a cavernous ambient glitch-drone soundscape that envelops ever-shifting timbres of modular arpeggiation, serving as introduction to the clarion call of "En deçà du réel", an homage to video artist Manon Labrecque, where layers of interweaving melodic counterpoint played on Buchla and other synths slowly build to widescreen immersive intensities; "I have this vision of Labreque vibrating eternally between two frames of magnetic VHS tape_ the slow pace of the piece also inspired by Tarkovsky's approach to scenography" says Corbeil-Perron. "Strange Aorta" is ectoplasmic ambient with wistful melody lines transmuting along a central filament, awash in shifting waves of low-end and ricocheting tonal glitch, the title a reference to "the thumping rhythm beating around the main melody_and the heavy remnants of grief related to my father's passing and a brutal confrontation with my own mortality a few years back." Tracks like "La peau des dents" and "Eroding Us" are more firmly rooted in electroacoustic and aleatory systems music, where colliding loops are shaped into unstable flows of deconstructed slippage and reconvergence. Those two pieces bookend the album's pivotal center: the gorgeous piano digitalia of "Horizon n'arrête" and the skittering electronica of 9-minute opus "Unyeldd", its loping broken beat and cascading melodic glitter like a cluster of wind-up music boxes in a dappled forest _ and for Corbeil- Perron also partly inspired by now fellow Constellation labelmates Do Make Say Think: "I spent a lot of time rediscovering their records after seeing them last September 2024 which definitely influenced this piece." Courant Zéro's debut is a vibrant sonic rebus at the junction of electronic, electroacoustic, noise and ambient music that resists easy categorisation. Solari strikes a compelling balance of unsettled disorientation and hospitable warmth, teeming with real feeling throughout. The album's cover art painting Cryptography I by Yen-Chao Lin represents this prevailing sensibility, its mazelike circuitry distinctly carved and crisply rendered, while filigreed with handmade detail and artisanal patina. Thanks for listening.
The Montréal psych-ambient synth-droners return with Sequence Three, their first album in five years and the final instalment in the group's opening trilogy of records that began with Sequence One in 2019. The spectral supergroup co-founded by Stephen Ramsay (Young Galaxy) and Jace Lasek (The Besnard Lakes), usually joined in some capacity by Lasek's Besnard bandmate Olga Goreas, deliver another dose of its trademark longform slowburn jams, forged from restored vintage synths and analogue electronic gear. Lasek and Ramsay don their seasoned producer hats to apply rockist sound design to minimalist tracks, saturated with tube compression, drenched in pink and brown noise, all queasy modulation, sparse beats, and languorous melodic lines. Evoking a humid dawn on a gas giant, these alien drone anthems meld the numinous transcendentalism of Spiritualized and Cluster with the eroded grit of William Basinski and GAS. Light Conductor has been tagged "heavyweight analogue synth nirvana" by Uncut Magazine and praised for its "fabulous, epic, shimmeringly radiant kosmische" by Electronic Sound, among other accolades. Sequence Three consolidates these strengths, while leaning into the darker disquietude that has always been an undercurrent of Light Conductor's aesthetic. Opener "She Glitters The Dust" fades up slow with intertwining detuned synth loops, a languorous lullaby beat dropping at the 3-minute mark, accompanied by insectoid shimmers and a tease of melody that's eventually given free reign over the song's second half. Aptly titled, it's as if a transmission captured within a cosmic dust cloud has provided the raw material for the band to jam on, tease out, and terrestrialize. An echo of that beat sets the tranced pulse for "Omenize", the centerpiece of Side One and the fulfilment of Light Conductor's one-vocal-track-per-album directive. With layered harmonies by Goreas and Lasek, this is the group at its ethereally anthemic best, the devotional floating-in-space bliss attenuated by another gently warped denouement. "Ghost City Radio" closes out Side One with the band's most overtly anxious tune to date, deceptively stolid in its simple bass guitar riff and filter-swept hi-hat: groove stripped to its minimum as the foundation for an extended spokenword sample of a doomsaying prepper/preacher, a sort of homage to that early hallmark of their Godspeed compatriots, done up through the lens of Light Conductor's inimitably destabilized celestial ambience. (Lasek mixed the most recent two GY!BE albums.) Side Two offers up "High In The Orange Air", a beatless, squelching, bubbling ostinato drone and the album's most orthodox ambient kosmische track. This provides the set and setting for 15-minute closer "Supercontinent", which starts off in similar territory but gradually yields to a submerged and reversed techno pulse pumping through coruscated chordal drone, gaining in woozy mesmeric psych intensity over its inexorable hypnagogic trajectory. Sequence Three rounds out a satisfying trio of full-lengths that Light Conductor has released on Constellation, featuring vibrantly minimal geometric cover art designed by label co-founder Ian Ilavsky that integrates the trilogy as a visual series as well. In keeping with the previous two albums in the set, the Deluxe 180gLP includes a 12"x24" art poster. Thanks for listening.
Reckoning is a dense, carefully nuanced, profoundly complex text, though all nine songs are presented as directly as possible: Mary's voice, her guitar, bits of harmonica. Folk music, of a kind, but not a broadside. Nothing so easy as that. Topical songs with a long view, because she's seen and lived too much of it. Mary's most celebrated songs — “I Drink,” “Mercy Now,” “Drag Queens in Limousines” — are confessional stories, closely observed, clear-eyed and compassionate. She sings with the unmistakable languor of her native Louisiana, writes with the bluntness of Boston, where she was once a successful restauranteur, and rewrites with the fierce precision of Nashville, her home for many years. Her 2018 release, Rifles & Rosary Beads, co-written with wounded Iraq war veterans, received a Grammy nomination for Best Folk Album, and an Americana Music Association nomination for Album of the Year. During Covid she wrote and saw published (by MacMillan) Saved by a Song: The Art and Healing Power of Songwriting, part memoir, part reflection on songwriting, through the lens of her most impactful songs. “A reckoning,” Mary Gauthier writes on the outer sleeve to her newest album, “can be personal, political, or spiritual. These songs inhabit all three realms at once.”
The third album from Max McNown, Leave On A Light, reveals a rare artist whose breakout success has brought him even closer to his truest instincts. Amid an explosive ascent that solidified his status as one of his generation’s most compelling singer/songwriters, the Oregon native came to a deeper conviction in music’s power to honor what matters most, such as the people and values who anchor his life. Born from a year of extraordinary momentum—including completing his sold-out, continent-hopping headline tour—Leave On A Light ultimately finds McNown more grounded than ever in his artistic vision, arriving as the fullest expression yet of his singular songwriting voice.
Surfing on a sun-drenched wave of psychedelia comes Brighton's very own Merry Pranksters, Wax Machine. Primarily recorded and mixed in a closet room directly above a mortuary, their self-produced album Hermit's Groove is a heady trip through progressive psychedelia, kitsch Italian library music and Brazilian tropicalia.
‘The Art Of Loving’ is a tender, intentional deep dive into the many dimensions of love – romantic, platonic, self, and everything in between. The album features the singles, ‘Nice To Each Other’, 'Man I Need' and ' Baby Steps'
This year, Prohibition reissues their landmark 1996 album Towncrier on vinyl. A cult classic that once took them across Europe and onto the iconic French TV show Nulle Part Ailleurs, the record remains a defining moment in their career. To mark the occasion, the Paris-based quartet returns once again for a series of live performances at the end of 2026. "Prohibition is undoubtedly one of the most important rock bands France has ever produced." - MOWNO Formed in 1989, Prohibition emerged from the underground veins of the French post-punk scene-a time when the movement survived through a handful of fanzines, crumbling venues, and a sparse network of independent record stores. Their sound was raw, urban, and tightly wound, still reverberating with echoes of hardcore and skate culture. A jagged, abrasive form of rock, driven by atonal guitars, surgically precise bass lines, off-kilter rhythms, and biting vocals. What set Prohibition apart was its singular instrumentation: a saxophone unleashed and the hypnotic drone of a sitar cutting through the noise. Their reputation quickly spread across Europe and the United States, leading to relentless touring and shared stages with the likes of Blonde Redhead, Fugazi, David Grubbs, Condense, and Chokebore. The band came to a close in 1999, following the release of their fifth and final album, the enduring 14 Ups & Downs. In 2015, Prohibition reunited for a special tour marking the 20th anniversary of Prohibited Records, including a standout performance at the Teriaki Festival, later captured by Mowno. Celebrating 30 years in 2025, the band released a reimagined version of Cobweb-day, titled Cobweb-day (Revisited), and returned to the stage for a series of powerful, memorable shows. Now, in 2026, Prohibition reissues their landmark 1996 album Towncrier on vinyl. A cult classic that once took them across Europe and onto the iconic French TV show Nulle Part Ailleurs, the record remains a defining moment in their career. To mark the occasion, the Paris-based quartet returns once again for a series of live performances at the end of 2026. For fans of: The Ex, Fugazi, The Jesus Lizard
By 2004, dub had a history stretching back more than thirty years. This remarkable longevity can easily be explained by the evolving nature of this musical genre, which is constantly changing both artistically and technically, from Kingston to London, New York, and more recently Berlin, Paris, Lyon and Saint-Étienne. For example, it is worth noting that for some years now, in France and elsewhere, a good number of artists have been thinking in terms of dub from the outset, breaking free from the original Jamaican model, which involved drawing inspiration almost systematically from an existing vocal track. Thirty years on, with the release of their second album, Brain Damage aim to reconnect with this tradition. Recent collaborations with the two vocalists, Learoy Green and Black Sifichi, have indeed provided the ideal source material for the creation of five tracks, each rendered in their respective dub versions, thus forming an album with a symmetrical, even geometric character - from its very structure right down to its title: 'Ashes to ashes / Dub to dub'. At the heart of the project lies the astute choice of two guests, each operating in diametrically opposed spheres yet brought together for the occasion, thereby emphasising a certain 'unity of the circle': 'the unity of the circle'. Born of a genuine artistic vision, this geometric, symmetrical aesthetic-omnipresent in every detail of the album, both auditory and visual-complements Brain Damage's 'square' and robotic side, with its three-dimensional evocations. Always working in close collaboration with the very latest digital technologies. This brings to mind 'the balance of the cube'. Finally, the title itself, 'Ashes to ashes / Dub to dub', should be understood as a reference to the transience of all things in this world, against a backdrop of widespread, globalised, international, national and local crises_
Life Creates Itself is the new album by Bill Baird, releasing September 25th, 2026 on Royal Oakie Records. After years of restless wandering that took him from the Bay Area to India to Abbey Road and back again, Baird has returned home to San Antonio, Texas. Inspired by Lone Star legends Doug Sahm and Roky Erickson, the album inhabits a world where outsider country, avant-garde pop, and psychedelic folk dissolve into one.
Produced by longtime collaborator Jasper Leach (Tony Molina, Color Green) and mastered by indie-rock legend KRAMER (Galaxie 500, Daniel Johnston, Will Oldham), Life Creates Itself was recorded at Sear Sound in New York City in a single remarkable day — fitting for an album as indebted to Arthur Russell and Captain Beefheart as it is to Sir Douglas Quintet and Townes Van Zandt. The sessions brought together a constellation of collaborators around Baird and Leach, including Pedrum Siadatian (Allah-Las, PAINT), Phil Carluzzo, Austin Day, Oliver O'Haver, Jordan Johns, Michael Vattuone, Clara Kennedy, and Carluzzo’s dog Ernie.
Lead single "Yanaguana" — the original Payaya name for San Antonio, meaning either "land of many waters" or simply "where I am right now" — serves as a thesis statement for the album, a restless soul reckoning with what it means to finally come home. Meanwhile, "Karma Loan" is a fuzzy, sprawling psych track that spilled out of Baird during a deep immersion in Bach that features cello by Clara Kennedy and closes with a sound collage of spiritual gurus hawking easy paths to enlightenment. Then there's "Horse Moon" — built around pedal steel that shimmers like rays of moonlight, drifting through vignettes from a late night walk across New York City, with Pedrum Siadatian's lead guitar lending the whole thing an unhurried, dreaming quality. The night they tracked it, Baird climbed to the roof of Sear Sound and watched a full moon wash the city in a warm glow.
Baird has never sounded more at home, and Life Creates Itself may be his most cohesive record yet – a songwriter record through and through that stands apart from the rest of his discography. Royal Oakie Records is proud to release Life Creates Itself on September 25th, 2026, available on vinyl LP, CD, and digital download/streaming worldwide.
After a brief disappearance into solo records and restless touring, Wolter siblings Jack and Lily resurface with 3: a record drenched in salt and sun, with the tide pulling at its edges 3 is a record of firsts for the Brighton-based band. The first as a true three-piece, with close friend Joe Taylor (Anna B Savage, Iona Zajac) joining on drums, and the first they've ever recorded live. Jack and Lily trade shimmering guitars and sunlit harmonies like shared secrets, while Joe Taylor anchors it all: falsetto drifting wistfully above, drums crashing below.
Violeta García & Hora Lunga return with 4ever, their second album and the follow-up to I’ll Wait For You In The Car Park. Released in 2025 on -ous, their debut received airplay on BBC and NTS and was selected for Bandcamp’s Best Experimental Music year-end list. 4ever picks up where that record left off: in ordinary moments, small scenes and the strange emotional weight of being somewhere between places. But here, these moments are stretched across a much larger, darker screen. A night flight, a terminal, a bad connection. When too many feelings are carried from one place to another, everyday situations begin to feel epic, empty, or apocalyptic.
Built from García’s cello and Hora Lunga’s synths, samples and field recordings, the album pushes further into emotion, letting fragile melodies, orchestral cello gestures, heavy low-end and compressed noise melt into something both dystopian and strangely familiar. Its warmth is not meant to be an escape from this world, but something that appears within it. Acoustically, the album lives through the closeness of the materials, the way sounds stay with each other, and in the feeling that even the most unstable moments are being carried together. The album presents itself in scenes that fade into each other: quiet melodic fragments that are interrupted and restarted, unpredictable changes of direction, held together by an inevitable melody, a bright synth harmony unfolding into an almost orchestral cello arrangement. Later, a broken organ-like sample turning in circles, cello melodies appearing as if they were trying to remember a song that never belonged to one voice alone. An endless loop that is placed under changing lights, briefly opening into emotional chords, then slipping back into emptiness.
It is this instability that Violeta García and Hora Lunga place at the center of their collaboration. They do not decorate the cello with production, or place electronics around an acoustic centre. They explain: “On 4ever, we become part of the same unstable surface. What holds the record together is not resolution, but the trust in staying together as things distort, overload, disappear and return.”
Violeta García, an Argentinian cellist known for her solo work and for her role in the punk band Blanco Teta, brings the instrument close to the body, as melody, pressure, texture, noise and sudden emotional weight. García has brought her distinct musical voice to KEXP, Rewire, Le Guess Who?, Bad Bonn Kilbi, Silent Green, TransMusicales, Roskilde and more.
Hora Lunga, a Zurich-based producer and composer working across unstable song forms, treats electronics less as a frame than as a weather system: something that can hold a scene together, distort it or make it disappear. In recent years, his compositions have ranged from experimental song forms, sound performances, ensemble compositions and film music. His ensemble WIRREN consists of up to fifteen performers.
Release description Chesster lands on Rutilance Recordings with a four-track EP rooted in classic deep house. Blending old-school influences with a modern touch, the project captures the essence of his sound: groove-led, warm, and true to its foundations. Originally from Italy and now based in Los Angeles, Chesster has been building strong momentum across the global house scene, with a run of standout releases and defining moments over the past year. This EP marks an important step in that journey - not only as his first on the label, but also as a more personal statement. After a run of highenergy, peak-time records, the project sees him step into a deeper, more refined lane. The EP also features a special contribution from Rutilance boss DJ Steaw, adding an extra layer of character and tying it closely to the label’s identity.
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Space Afrika, das in Manchester und Berlin ansässige Duo aus Joshua Tarelle Reid und Joshua Inyang, schafft rohe, detailreiche und eindringliche Musik mit Anklängen an Ambient, Trip-Hop, Techno und moderne Klassik, wobei es aus den Konturen seiner Stadt weitläufige urbane Dub-Landschaften entwirft. ,Quiet Storm" erweitert ihren Klang und ihre Bandbreite zu einer weitläufigen, kollaborativen Vision, die mit tiefer Geduld und Absicht geformt wurde und ihre eigene Coming-of-Age-Geschichte in eine bewegende Suite kathartischer Abstraktion einbettet. Die Songs spielen auf Spiritualität und die conditio humana an, auf die Spannung zwischen Kühnheit und Sanftheit, Ehrgeiz und hartnäckigen inneren Dämonen. ,Quiet Storm" ist eine Antwort auf den Werdegang des Duos seit der Veröffentlichung von ,Honest Labour" im Jahr 2021. ,Wir haben uns selbst und unsere eigenen Vorstellungen von Identität herausgefordert, insbesondere in Bezug auf Klasse und Diaspora, und wie dies in verschiedenen Musikgenres dargestellt wird. Wir wollten die Charakteristika unseres Projekts durch die Menschen zeigen, mit denen wir zusammenarbeiten wollten", sagt Reid. Inyang merkt an: ,Bei der Entstehung dieses Albums haben wir keine Kompromisse gemacht. Die Idee begann als eine Hommage an die Kunst der Schwarzen. Unsere Kooperationen waren sehr bewusst gewählt, als wir die Grundpfeiler der Geschichte entdeckten." Von der multidisziplinären Natur des Projekts zeugt die Beteiligung des gefeierten Künstlers Glenn Ligon, dessen Werk sich mit schwarzer Identität und Queerness befasst. Ligon, der zu Beginn der Aufnahmen eine zentrale Inspirationsquelle darstellte, stellte sein Werk ,Figure #30" (2009) für das Cover-Artwork zur Verfügung und erklärte sich nach Abschluss der Aufnahmen bereit, dem Projekt seinen Namen zu geben - eine beispiellose Geste dieses wegweisenden Künstlers. Beim Anhören der endgültigen Fassung dachte Ligon an ,Quiet Storm", das Radioformat der 1970er Jahre, das für seine sanfte Late-Night-Programmgestaltung mit Themen rund um Leben und Liebe bekannt war. ,Quiet Storm" führt den Hörer durch verschiedene Szenen, Zwischenspiele und Handlungsbögen, geprägt von dem Gefühl, dass seine Bewegung fließend und seine Figuren flüchtig sind. Monologe vor dem Spiegel setzen sich mit dem Existentiellen und dem Unmittelbaren auseinander: Überleben, Autonomie, Sinn. Das Album beginnt mit dem explosiven, von Streichern begleiteten ,Vanity", bei dem die Grammy-Preisträgerin Axelle Fanyo zu hören ist. Zunächst auf die Spalten eines stillen Raumes fixiert, entfaltet sich ,Vanity" unter Fanyos ausdrucksstarkem Sopran und durchläuft ein breites emotionales Spektrum von erhabener Kontemplation bis hin zu ergreifendem, herzzerreißendem Schmerz. Auf dem gesamten Album werden gesprochene und gesungene Worte sparsam eingesetzt, um eine kraftvolle Wirkung zu erzielen. Die Schönheit und Katharsis von ,MLN" ist ein kollektiver, langsamer Marsch, bei dem der britisch-nigerianische Künstler Tony Njoku mitwirkt, begleitet von Gabriel Evans an Gitarre und Lead-Bass, PIKE aus London am Schlagzeug und GB aus Kopenhagen an Keyboards und Streichern. Der letzte Satz verleiht ,Quiet Storm" seinen krönenden Höhepunkt. ,If This Is Hell" ist in einem einzigen Take als Bewusstseinsstrom des New Yorkers Deuén aufgenommen, dessen nachvollziehbare Spirale geistiger Aktivität von jazzigen, frenetischen Percussion-Klängen begleitet wird. Das Druckventil öffnet sich, als die phasenverschobenen Drums und die scharf beobachtenden, dialogartigen Phrasen abrupt nach der Zeile ,I wonder if that's what heaven's like?" abbrechen. Wir bleiben in der Behaglichkeit des Album-Closers ,Regards" zurück. Regentropfen treffen auf Orgel, Drone, Streicher und Keyboards, während das Nachladen von Waffen dem ruhigen Summen gegenübergestellt wird. Schwer und doch hoffnungsvoll erinnern Joshua Tarelle Reid und Joshua Inyang an ihre bisherige Reise. Als passend geheimnisvolles und mitreißendes Outro für ihr offenes Opus ist ,Quiet Storm" ein Meilenstein: selbst produziert, selbst finanziert und aus purer Tatkraft und Überzeugung entstanden. Durch verzerrte Zeit und schummrigen Dunst ist Space Afrika zweifellos angekommen
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Tsuyushi Hamada, a.k.a. Dayzero, has been producing and DJing for well over a decade, dropping deep heaters on labels including Livity Sound, ZamZam, and many more. We’re very happy to welcome him to the Tectonic family with this epic six-tracker, which sees Dayzero explore the deeper outer reaches of dubstep, techno - and the spaces he gravitates to in between.
‘Ego’ opens the EP at 134 BPM with a primal calling, conjuring spirits from the fire around a delicate but deliberate pitter-patter of interlocking drums and finely tuned delays. Moving up to 140 BPM for the rest of the EP, we’re skirting through the city lights with the techno-compatible energy of ‘Midnight Train’ and taking in old-school grime echoes with ‘Furious Dogs’.
Flip the vinyl here (if you have one!), and ‘Blur’ generates a light disorientation with its polyrhythmic melody. ‘Kingdom’ soundtracks a brooding sense of dread on a late-night drive, before we close with the title track, ‘Soaring’—a conga workout with a thousand-mile stare on it!
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Last delivered 22 days ago available to reorder, subject to availability
Gi Gi describes his process as “dubwise sampledelia.” It begins with fragments and ends somewhere else entirely, destabilizing its source material until it stops pointing backward. A borrowed sound, looped and bent, eventually forgets where it came from; it stops referencing anything but itself.
This liquid sensibility shaped his earlier work, music that hovered between drift and propulsion, suggesting the dance floor without fully stepping onto it. Presence was implied, edges stayed soft. The center was always there, but diffused like mist on a screen.
With In Lieu, that center comes into focus. Half written in Texas, half in Australia, the shift isn’t simply geographic, but internal. The record moves with a coiled, anticipatory energy; the drums arrive with more force and the bass organizes the room instead of melting into it. It's dense with the feeling of more bodies in the frame. Textures still smear and refract, but they move around a clearer axis.
Where past records circled their core, these inhabit it, pulling closer to the body. “Some Of” and “Arque” lean into low-end pressure without abandoning his instinct for drift. "Pink Dirt" circles around mechanical drums and dizzying vocal chops, head-down and visceral. Elsewhere, voices gain newfound contour, materializing in “Downswept” with intimate musings and nearly forming a lead vocal on the title track before dissolving again.
In Lieu moves with a newfound confidence, compressing inward, sounding closer to the source of its own pulse.
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Last delivered 17 days ago available to reorder, subject to availability
