Cerca:on the water

Future Islands' romantic synth sound scales new heights with On the Water, the Baltimore trio's most ambitious and fully realized statement yet. Built around a song cycle exploring love, loss, and memory, their latest album finds the band continuing to deliver pounding rhythms, swelling melodies, and undeniable hooks - but finding new ways to probe inner space and tug at hearts.

Repress.


Bicycle Ride takes you into lo-fi paradise. Enjoy the subliminal vibe of mellow melodies arising out of that true vintage piano sound. Sit back and experience the rhythms and pedal through your inner emotions. Shook's music will take you into a true admiration for melody, rhythm, music in a carefree treadmill of life. Listening to the latest productions of Shook is like watching a Ghibli movie with compositions by Joe Hisaishi. While balancing in the twilight zone between awareness and epiphany you can feel the influences by many artistic and obscure composers and musicians, Shook creates a personal form of electronic music. Creating its own melodies on vintage synths, acoustic pianos and recording drum shots to build his rhythm patterns.Shook creates an easy-listening experience with a deep appreciation for melody, synths and piano's, touching the current lo-fi revival connected with producers such as Nujabes. Influenced by the wonderful creations like the 'Chrono Trigger' video game soundtrack developed by music composer Yasunori Mitsuda. Inspired by synthesizer pioneer Isao Tomita to 70's and synth pop gurus Yellow Magic Orchestra. Become part of a surrealistic episode of yourself enabling you to safely meet your deepest memories.

A comprehensive overview of the Violent Femmes 30+ year career, features
17 of the band's biggest hits including 'Blister In The Sun', 'Add It Up',
'Nightmares' and 'American Music'.
The double LP is being pressed on Coke-botle clear vinyl and limited to 3,000
copies. Cumulatve worldwide sales of the Violent Femmes are in excess of 10
million copies.

AEVA conjures up images of our world laid to waste. Having picked up wide and varied support on his debut 12' Dramatic Sunset, AEVA returns with his Superstars EP, a trajectory marking the implosion of a star turning supernova as euphoria dovetails into paranoia. Summer draws to an end and the melancholy imprint of unfulfilled potential begins to rust as the smell of wet concrete fills the air. This is Massive Life.

Repress

The journey continues... Clone Records continue with the re-issue series of the early catalogue of one of the most groundbreaking and influential techno acts ever... Raw, uncompromising music made with soul and creativity that has always been the trademark of Drexciya. This is the 4th release in the series and contains arguably some of their rarest and most astonishing tracks such as Black Sea, Mantaray, Hydro Cubes and Depressurization.
Design and layout by Klen.
Mastered by Alden Tyrell.

Travelling extensively across Asia and Africa between 1974-1985 to study music, Roberto made many field recordings and collected many instruments on his travels which he would then combine with synthesizers and electronics back in Italy. BIG TIP!

In the early eighties Level 42 started out as a jazz-funk fusion band in the United Kingdom, formed by Mark King and the Gould brothers (Phil and Rowland). During the Brit Funk era, they met up with Mike Lindup and Wally Badarou (who would become a fifth member in all but name) and recorded their first single Love Meeting Love'. Their follow-up Love Games' cracked the UK Top 40 and had success in Europe. What followed was a string of minor hits with The Sun Goes Down (Living It Up), Hot Water' but the big breakthrough was with Something About You' in 1985. The single was Level 42's first American hit, and would do well on both sides of the Ocean. The band carried on delivering hits through their funky, jazzy songs with finger popping good grooves and infectious rhythms. During the following years up until today, Level
42 are recording records and continue to tour the world, although in a slightly different line-up.
The Collected double vinyl album contains a selection of their songs from the earlier years of Starchild' up until Tracie' and Take A Look'. These tracks, specially remastered for vinyl, are exciting, standing the test of time, delivered by a timeless band.

CUL-DE-SAC (1966) WAS ROMAN POLANSKI'S FIRST ENGLISH-LANGUAGE FILM.
He called upon his friend Krzysztof (Christopher) Komeda to score the film which was done in one afternoon in London. Just like the film, Komeda's music is odd and sombre and then, at times witty and enchanting.
Originally only issued in the UK as an (now very rare) EP, this Harkit limited 7' vinyl edition reproduces the cover art and the original six tracks.

Running a record label offers adiversified and challenging field of activity. This is particularly true when speaking of tiny independent re-issue labels where one, two or three guys have to take care of everything. Tracking down musicians, collecting their stories, writing the liner notes, creating the cover artwork, mastering the songs, promoting the release, communicating with pressing plants and distributors, and so on. Most of the tasks mean fun with the exception of one thing which nobody here at Tramp is keen on doing: writing the sales notes.

Far be it from us to praise our release to the skies. Naturally, we are pretty much convinced of the sheer quality of each song, otherwise we would not have invested so much time and efforts into completing those compilation albums. One thing which surprises us is that despite thousands of Rare Groove compilations on the market neither of the songs to be found here has been compiled elsewhere yet. A fact that not only fills us with pride but also determines our claim for the future. As for now we have done our homework and it is time to let the music speak so that the Gunn High School Jazz Reunion, Keither Florence, Robert Cote, Plas Johnson, Charlie Chisholm Boss-tet, and all the others get the recognition they so richly deserve for their talent and work.

When Tramp opened its doors in the early 2000s it was just for the fun of it. A business plan did not exist and nobody involved with the label had studied anything music related. It was just a bunch of crazy record collectors and music lovers with a simple idea: to share their favourite music with the world. Nobody could have known that this would last for 15 years - and there is no end in sight.

Modern Apartments arrive on Dark Entries, with Light on Water, an LP featuring 8 cuts of instrumental cosmic-kosmische analog synth workouts. Modern Apartments is Ryan Ambridge, the musician and producer best known for his work with dark synth projects Linea Aspera and Lust Pattern. While both of those outlets lean towards the greyscale and robotic, Ambridge wanted to explore a more colorful palette with Modern Apartments, a livelier, looser sound. The medium of film plays a major role here; Ambridge works as a projectionist, screening archival prints of 35mm and 16mm films, and the textures and temporality of the medium fed directly into the Modern Apartments aesthetic. But it isn’t all blurry edges and fuzzy optimism on Light on Water. Says Ambridge, “Regular beats from old rhythm boxes and the sharp angles of post-punk found their way in. The contrasting imagery from those old film prints, of dense cities and open countryside, is reflected back in the dialog between looser sounds and rigid stylistic choices.” This tension shines through on tracks like album opener “Completely,” which pairs the icy minimalism of John Foxx with the meandering grooves of Cluster, or the eponymous “Light on Water” which leans even further into the sun-bleached vibes of Roedelius. Artwork for this record was designed by Eloise Shir-Juen Leigh. Light on Water is perfect late-summer listening, as the last gasps of seasonal radiance fade into autumnal splendor.

The unconscious element to the conscious process.

The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective.

I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal.

These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines.

After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox.

Dub:

The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards.

Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken.

Push the mixer into the red.

Amp that noise up from the tape delay cos it sounds sick.

Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely.

Spam the send knob into the delay units now, now and now.

Carelessness.

Noise:

Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them.

Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music.

This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart.

Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice.

The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator.

I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended.

-Miles

The first transmission from Pink Dolphin arrives on a double-sided 12” – two
sides of music following the warmth, movement and possibility of an endless
day.
Night Wind moves with the ease of a warm summer afternoon – light, fluid and
quietly uplifting. Rhythm and atmosphere flow together with an effortless sense
of motion, like a breeze arriving from somewhere just beyond the horizon.
There is a feeling of open space throughout: sunlight on water, windows open,
landscapes slowly passing by. Nothing feels hurried. The music simply finds its
own pace, suspended somewhere between movement and stillness.
As the music unfolds, familiar elements seem to drift in and out of focus,
leaving just enough unexplained. It feels less like a destination than a moment –
one of those stretches of summer when time loosens its grip and the day
seems capable of continuing indefinitely.
Night Wind is a small escape into that space.

'Music aged in time, resonating from the surface to the core through layers and sediments of stones - the strata. Four morning recording sessions with a separation between them of between three and ten months - a chronozone that will rest for a time and on which the next one will be added, thus forming the total of the six pieces of the album - becoming six strata.
'A slow-moving album that develops landscapes of subtle but continuous evolution, where we find layers of diverse nature created from different procedures, bathed in the calm waters of wabisabi, where melancholy, immensity, insignificance, the potential of the unemerged, coexistence and simplicity converge at the same time.'

Powerhouse vocalist Sandra St. Victor returns with Eleven, her eleventh studio
album and first solo release in over a decade. From her years with The Family
Stand to collaborations with Roy Ayers, Curtis Mayfield, Chaka Khan, Prince and
Lalah Hathaway, Sandra has built a remarkable career that has consistently
blurred the lines between soul, funk, jazz and gospel.
Executive produced by Sandra St. Victor and Patrick Gibin for Mother Tongue,
Eleven brings together Sandra's longtime collaborators alongside the Mother
Tongue family, bridging her rich musical legacy with a fresh, forward-looking
sound rooted in soul, jazz, boogie and soulful dance music.
The album combines brand new compositions with inspired reinterpretations,
from Kaidi Tatham's stunning reimagining of Captain Sky's Moonchild and his
masterful reinvention of the Leon Ware/Syreeta underground gem Tiki Tiki
Donga, to a beautifully understated new version of Sandra's own Dizzy,
originally released on Gemini: Both Sides in 2001 featuring Questlove, Roy
Ayers and Donald Byrd, here reimagined by Mark de Clive-Lowe. Along the way,
the lo-fi soul of Black Ice, the timeless duet No More Water featuring Lalah
Hathaway, and the straight-up funk of Makes Me Wanna Fall In Love Again and
What Would Miles Do showcase an artist continuing to evolve while remaining
true to her artistic voice.
Rooted in experience yet driven by curiosity, Eleven bridges Sandra's
remarkable musical legacy with the creative vision of Mother Tongue, resulting
in an album that feels both timeless and unmistakably

Blackwater Label’s Goldenboy sub-label third chapter is an ode to the immensity and vastness of the sea, a journey across deep waters, uncertain ports and endless horizons. "Never Give Up" is dedicated to the memory of Alessio Fantozzi, a pioneer of the waters whose spirit continues to resonate through those who choose to venture beyond the shore. This four-way collaboration is our tribute to him: four artists, four visions, one voyage into the unknown. Loris Ligonzo opens the journey with "Subalpine Nocturne", a Balearic-tinged deep house excursion that invites us to dive into the sonic ocean Blackwater has been navigating for more than a decade, warm, hypnotic and submerged. With "Apparently", T/Error brings us into an unsafe and gloomy harbour. Dark electro and suspended tension create the feeling of a vessel waiting to depart, caught between the certainty of the shore and the call of new waters. Stefano Rocchi contributes "Mushy", acting as the propulsion system of our pirate vessel, the Blackwater Ship. Acid-infused electro drives the journey deeper into the abyss, with no fear for those who trust the... more credits releases September 24, 2026 Written and Performed by V/A Mastered by Stefano Rocchi at Niumen Studio,Rome Produced by Blackwater Label, 2026 Distributed by Triple Vision, Rotterdam Nvmqvam Cede // Vsqve Ad Finem

Avatar: The Last Airbender is a Netflix series and live-action adaptation of the beloved 2005 Nickelodeon animated show. The series follows young Aang, the Avatar, as he learns to master the four elements and restore balance to a world threatened by the Fire Nation.
Following the successful and highly anticipated first season released in 2024, Season 2 continues Aang’s journey alongside Katara and Sokka as they travel across the Earth Kingdom in search of allies against Fire Lord Ozai. Along the way, Aang meets Toph, a gifted and fearless earthbending master who becomes his teacher as he begins to learn the element of earth.

Featuring an epic original score by Takeshi Furukawa, the music of Season 2 expands upon the themes introduced in the first season, accompanying the heroes through new adventures, breathtaking landscapes, and the mysteries of Ba Sing Se. This release presents the soundtrack from the second season, bringing Takeshi Furukawa’s score to life in a stunning physical format.

Netflix and Music On Vinyl celebrate the release of the series with an exclusive 2LP pressing in a special and unique pop-up gatefold sleeve.

The score of Avatar: The Last Airbender Season 2 is available as a limited POP-UP gatefold edition of 1500 individually numbered copies on green marbled vinyl. The gatefold sleeve is finished with a premium leather-laminate exterior, and also includes a 4-page booklet.

“Echoes From The 90s” is a high-energy house and tech-house cut from Dutch producers Desmond & Summum. Built around a familiar sample from “Waterfall” by iconic ’90s dance act Atlantic Ocean, the track combines an unmistakable sense of nostalgia with driving grooves, powerful basslines and a polished, contemporary club sound. Already supported by Stussy, Ida Engberg and Danny Howard, “Echoes From The 90s” lands on Franky Rizardo’s LTF Records imprint.

This limited 12-inch release features two extended versions, both available exclusively on vinyl.

Pablo Sánchez´s new solo album “Archipiélago” is out now. The new long player, a follow-up to his “Nocturnal” album as Basic Need will be released on Sisternoise Records and is a 42 minute voyage sailing through uncharted waters.

Every archipelago is a constellation of islands, distinct yet bound by invisible tides. Archipiélago, the latest work from Pablo Sánchez, follows this same geography of sound and memory. Its islands are not of sand and rock, but of places which inspired the artist throughout his life; Buenos Aires, Caracas, Puerto Rico, New York, Madrid, Berlin, and Barcelona. Each city has left a trace, a shoreline carved into Sánchez’s musical journey and left a distinctive musical mark.

The ten songs gathered here are like sovereign entities, each with its own character, its own rhythm, its own language. Together they form a single territory, a map drawn by musical experience, longing, and imagination. They are ports of call, but also fragments of a larger voyage, where tradition and experimentation, nostalgia and discovery, coexist to create a common territory. Along the way guest magicians Animal Feelings and Salomeya add their vocal sparks to the voyage.

Archipiélago is not a destination but a map of crossings, a territory of sound where the journey itself becomes home.

"The Whole Of The Moon" is a classic. It's a song about awe and hope and love for the people who show us the best of this often broken world, the blessed few who show the way and introduce us to things and thoughts. Keith McIvor aka JD Twitch of Optimo was one of those people, and this version of the track - electronic, euphoric, open-hearted - was made by some members of the broader Optimo community after his terminal brain cancer diagnosis in 2025. The task of making a version that could've been heard on the dance floor at Planet Peach, Mas, or the Sub Club on a Sunday night or Monday morning brought them together across oceans, an act of joy amidst so much loss. It was never intended to be released, but as it made its way to friends and others, it also felt wrong not to. Its sentiment is universal and applies to so many incredible people in music and beyond that are sadly missed. So here is the Watergirls' first and last track, presented as a limited white label with some particularly lethal mixes from Sean Johnston of Hardway Bros and A Love From Outer Space. We're giving all the profits to charity. It's meant to be played out. It's meant to make two friends hug and sing into each other's faces. It's for Keith and for everyone like him.

Building on the promise of nearly 10 years testing limits within club music, Batu presents his debut album Opal. Experimentation is a well-established facet of Omar McCutcheon's identity within the leftfield techno zeitgeist, but more than ever on Opal he seizes the opportunity to incorporate ideas beyond dancefloor impetus into his animated, forward-leaning sound.

Through the course of 11 tracks, rhythmic forms are mutated and manipulated, sonic matter bends across the frequency range and narrative structures coalesce and dissolve according to Batu's own internal logic. Unpredictability lies at the heart of all this music, bound together by a consistent modernist glint. It's a sound intrinsically connected to the superlative string of club 12"s, EPs and collaborations Batu has spun behind him thus far, even as it moves into unfamiliar terrain, guided by abstract inspiration from coastal landscapes and the mineral matter all life on Earth is built on.

Debut album from Batu on his own Timedance imprint following releases for Livity Sound, Hessle Audio or XL Recordings.
UK & Worldwide press campaign led by Dawn Creative. International press cover TBA and strong media (RA, Mixmag, DJ Mag, XLR8R) and radio coverage around the release (Jamz Supernova, KEXP, Dublab, Rinse France)
Extensive touring schedule for 2022 includes US, Mexico, UK, Europe, and features headline slots in multiple high profile festivals (Sonar, Dekmantel, Outlook, Dimensions, Waterworks and more)

Argentinian artist Juan Hansen presents his debut album 'Ultrasonido'; twelve tracks spanning indie dance, tech house, and soft melodic house, released on his own newly founded label Ultrasonido, with the second single 'Inside My Mind' coming out via belonging by Innellea.

After his breakthrough Boiler Room appearance in 2019, Juan has been on a relentless quest to push the boundaries, playing major stages around the globe, becoming one of the figureheads of the Argentinian electronic music world. As an exceptional live artist, multi-instrumentalist and vocalist, Juan brings a real sense of groove to the stage, merging two worlds effortlessly: deeply emotional songwriting and direct, dancefloor-focused club tracks. 'Ultrasonido' brings both sides together. The album is a clear evolution of Juan Hansen, presenting a wider range of his sound, which he also presents in his live performances. A journey through the musical world of Juan Hansen.

Across twelve tracks, with contributions from Clér Letiv, Santi Portillo, Franco BA, Rocio Giorgi, Miko Franconi, Brigado Crew and Marley Waters, Juan shifts between club-focused tracks and more intimate, song-driven moments, moving naturally between Spanish and English. It’s a debut album that captures both his roots and the direction he’s evolving toward.

Juan Hansen's story doesn't start on the dancefloor, it starts with acoustic instruments. He built his foundation in the indie and rock scenes of Argentina before crossing into electronic music, a journey that's still audible in every track he makes. After years of building his profile with live performances, mesmerizing audiences from Cosquín Rock and Ultra in Argentina to Watergate in Berlin, Burning Man in the Nevada desert, and Grand Factory in Beirut.

His search is real and visceral; a search for the different, mixing genres without prejudice, with a seriously playful attitude. Positioned within a new generation of artists dedicated to improvising on stage, Juan fuses electronic sounds with analog instruments and organic soundscapes. There's no genre cage. 'Ultrasonido' is his debut album and the launch of his own label, also named Ultrasonido. A long-form statement after years of singles, EPs, and shows around the globe.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

While composing the music for The Juniper Tree, Hirano drew on her own memories of touring Iceland, which included a stop at a waterfall featured in the film and rendered in sound on “Mother’s Path.” Folktales, like the origins of The Juniper Tree, are often attempts to contend with humans’ place in the natural world, with all its mysteries and intricacies, and both the film and Hirano’s soundtrack draw their sense of breathless wonder in part from the sensation of being engulfed by one’s environment. Margit, played by Björk, possesses a sublime sensitivity to her environment that allows her to receive messages from her mother, who was murdered for their shared inheritance of witchcraft. Hirano captures the relationship between the transcendental awe that is felt as supernatural and the private feelings of being immersed in that experience, creating a musical dialogue between the self and what lies beyond.

In the final sentences of her liner notes describing the film’s philosophical and feminist throughlines, Anna Bogutskaya says, “what we call Margit’s witchcraft is maybe just her willingness to listen.” This is the magic of music, and Hirano composes with an alchemist’s pen. Just as Keene seems to break down barriers between binary poles, Hirano uses both electronic and acoustic means to communicate the film’s emotive cues, uniting approaches she has explored under her own name and the alias MimiCof. There is an understanding that stillness can be understood as peaceful or foreboding, that dissonance and consonance are contextual, that efforts to protect one’s own kin can lead to tragic ends. At the film’s end we see Margit enthralled with birdsong, understanding it as something deeper, a connection to those she has lost. Through sound, we understand what lies beyond sight, beyond convention, and with this new soundtrack we hear the story anew.

[GER Seit ihrer Gründung im Jahr 2014 haben sich These Wicked Rivers zu einer der fesselndsten Bands der aktuellen Rock-Revivals in Großbritannien entwickelt. Die aus Derby stammende Gruppe schöpft aus dem reichen Erbe von Rocklegenden und Blues-Größen und hat sich mit ihrem unverwechselbaren, vom Blues geprägten modernen Rock einen Namen gemacht. Dank ihrer Live-Auftritte, die oft eine fast spirituelle Tiefe erreichen, und ihres zeitlosen Songwritings hat die Band in den letzten Jahren enorm an Fahrt aufgenommen. Ausverkaufte Konzerte in Großbritannien, den Niederlanden, Frankreich und Deutschland sowie der große Kritikererfolg ihres zweiten Studioalbums "Force of Nature" (Platz 3 der UK-Rockcharts) haben ihren Ruf als Live-Act, den man unbedingt gesehen haben muss, gefestigt. Das Jahr 2026 verspricht ein Meilenstein für das Quintett zu werden: Im Herbst erscheint ihr mit Spannung erwartetes drittes Album "Fire and Folklore". Aufgenommen wurde das Werk in der Heimatstadt der Band, Belper in Derbyshire, im Heimstudio von Andy Sneap. Unter der Regie des Grammy-Preisträgers Sneap (Judas Priest, Saxon, Megadeth) und Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) ist das bisher ausgereifteste Album der Band entstanden. "Fire and Folklore" geht über den typischen ,Wizard-Blues-Rock"-Sound hinaus und erschließt neue klangliche Territorien; dabei werden Country-Einflüsse und Southern-Rock-Flair integriert, ohne den für die Band charakteristischen Groove und Soul zu verlieren. Zudem ist die aus Derby stammende Country-Hoffnung Kezia Gill als Gastmusikerin auf dem Album vertreten. Geliebt von einer rasant wachsenden Schaar von Fans und ausgestattet mit einem Album, das den Sprung auf die großen internationalen Bühnen anvisiert, stehen These Wicked Rivers bereit, neue Höhen zu erklimmen. Seid dabei, klingt klasse. CD mit zwei Bonustracks, LP als Purple oder Black Vinyl! Established in 2014, These Wicked Rivers have emerged as one of the UK's most compelling forces in the recent rock resurgence. Hailing from Derby and drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances and timeless songcraft the band have built unstoppable momentum in recent years. Sold-out shows across the UK, the Netherlands, France and Germany have cemented their reputation as a must-see act, bolstered by the critical acclaim of their second studio album 'Force of Nature' (#3 UK Rock Chart). 2026 is set to mark a landmark chapter for the quintet, with their hotly-anticipated third album 'Fire and Folklore' set for release in autumn 2026. The record was recorded in the band's hometown of Belper in Derbyshire, at Andy Sneap's home studio. With the Grammy-winning Sneap (Judas Priest, Saxon, Megadeth) and Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) at the helm, it's the band 's most accomplished record to date. Expanding beyond their signature wizard-blues rock sound, Fire and Folklore pushes into new sonic territory, blending in shades of country and Southern spirit while retaining the groove and soul that defines the band. The record also features a special guest appearance from fellow Derby artist, country starlet Kezia Gill. Loved dearly by a rapidly growing "Family" of fans, and armed with a homegrown record with its sights set firmly on the global stage, These Wicked Rivers are poised to reach new heights. Jump on in and enjoy! CD contains two bonustracks, LP comes in Purple or Black Vinyl!

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

The single is the latest collaboration from the pioneering electronic artist and follows “Intertwine,” which featured TT, aka Theresa Wayman of Warpaint. Other collaborations on A Body Of Voices include “Turns,” featuring the ethereal vocals of Nicole Miglis (Hundred Waters), and “True Love, Don’t Be Afraid” featuring Stephen McBean (Black Mountain & Pink Mountaintops), “Fight or Flight” ft. Aisha Badru, “Falling” ft. Maiah Manser and multi-instrumentalist Aaron Shaw, “Floating” ft. multi-instrumentalist and composer Spencer Zahn, and the unreleased track, “Take Me” ft. Raphaelle Standell-Preston (Braids, Blue Hawaii). A Body of Voices delivers the most collective and melodically driven project of his acclaimed quarter-century. Having spent decades mastering his natural instincts for space, tempo, and timing, LaValle set a deliberate goal to break beyond his usual parameters by inviting an expansive community of vocalists and marquee indie players into his realm. The resulting record pushes his sonic map entirely, seamlessly blending his signature, textural synthesis with a vibrant tapestry of voices spanning dream-pop, alternative, and R&B. Nearly thirty years into the project, A Body of Voices proves that while The Album Leaf remains unmistakably his, it is a pioneering musical universe he is never afraid to redefine.

This songwriting-focused approach on A Body of Voices marks a natural evolution for an artist who has been steadily making his mark as a soft-spoken innovator since 1999. Now based in Los Angeles, LaValle started out in the San Diego music scene, creating vivid, rhythmic, soaring instrumentals centered around the Rhodes piano. Over more than two decades of acclaimed releases on seminal labels like Sub Pop, City Slang, and others, he has become a definitive touchstone for meditative electro-organic music. While earlier milestones like 2023’s Future Falling and 2024's Blast EP found him increasingly renewed by outside perspectives, A Body of Voices brings that collaborative spirit to its full, unbridled potential.

2026 Repress

Prologue: Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs. I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching. 'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.' --

LA native The Koreatown Oddity returns for his fourth album on Stones Throw. Purdy is the proving ground for an avant-garde rapper tackling being a father and partner with the boundless confidence of a child’s imagination.
Purdy sees Koreatown soundtrack a knight’s first battle, document the cultivation of a beautiful lawn and contemplate if anyone really means it when they say "have a great weekend" – all while realising that he's now part of something bigger.
Purdy paints the complete portrait of the man Dominique Purdy and artist The Koreatown Oddity together: musician, father, and peddler of the absurd.

For two decades, Pokey LaFarge has walked his own effortlessly cool road as an exceptionally iconoclastic troubadour - forthright, genuine, and markedly keen to put it all out there. Rent Money now sees him pushing forward yet again in what can be safely declared his finest collection to date, both as an heartfelt expression of personal experience and as no-nonsense social commentary.With its twanging guitars, plucky rhythms, and undeniably captivating melodies, the album soars and swings, its joyous refrains belying the inescapable undercurrent of constant worry and angst that permeates these troubled times. As always, the Illinois native deftly traverses the genre boundaries, seamlessly integrating the myriad strains of 20th-century American music with a freewheeling command of earnest songcraft, inspired performance, and subversive creativity. Rent Money stands tall as an indisputable high-water mark for Pokey LaFarge - a defining collection from a one-of-a-kind artist of rare ingenuity and uncommon candor, now as ever, determinedly crafting a sure-footed brand of deeply human music all his own. Tracklisting:SIDE AThe ThingMy Baby Loves MeHamboneRent MoneyStick TogetherSIDE BWorkStrangerCan't Take it With YouTold You NoBig Boss ManOn and On