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Conjuring a faithful following, quite rare in these days of ADHD, by sheer force of their celebratory and fiery live shows, Montijo's most celebrated outfit reflects these past couple years of camaraderie and life on the road on their debut album, after a self-released EP and a 4 way split on Zegema Beach Records. Sublimating all the inherent potential of post-hardcore at its most sweeping into a forceful and focused delivery, 'Acetate' captures all their urgency through 13 memorable and sharpened tracks. Recorded patiently and mastered by the gifted know how of Jack Shirley - Deafheaven, Joyce Manor or Gouge Away -, the songs on 'Acetate' open sprawling vistas upon the band's recognizable sound between chaos and order, cutting back on everything that might be redundant or overly technical. Alex Domingos' vocals reach new means of expressiveness through harrowing screams and hints of melody, João Pires' sinewy guitar pulling out riffs and skewed lines that echo for posterity and the rhythmic section of Simão Simões - bass - and João Portalegre - drums - driving all this turmoil with kinetic precision and flexibility. Never before did Hetta sound as relentless, chill and melodic, tracking down life at its own pulse.

Today Cork's acclaimed Cardinals announce their much-anticipated debut album 'Masquerade'. Set to land February 13th on tastemaker label So Young Records, the ten song album was recorded with producer Shrink at RAK Studios, London across the summer. It's a record that is at once grand and intimate, awash with romance and flickers of holy imagery, and most of all, it's an undeniable fulfilment of the innate promise the band have shown since their earliest beginnings. These are emotionally expansive songs, some simmering with an undercurrent of violence, cynicism or fervent discontent (Anhedonia, The Burning of Cork, Barbed Wire) and others gleaming with a bright-eyed vulnerability. A vivid first half contrasts a darker second and crafts a record with a clear A-side and B-side. A nod to the band’s collective love of vinyl, that tonal shift takes its cue from a variety of expected and unexpected influences - from the brittle honesty of folk to the theatrical melodrama of goth-rock. Formats and Quantities

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

A moonstone glow infuses Boy Golden’s Best of Our Possible Lives, an album that finds its flow state. A pensive, questioning collection, Best of Our Possible Lives is informed by the artist’s intuitive, observational worldview, beaming honesty and levity in its quest for emotional balance. Buoyant, smooth and disarming, the music of singer-songwriter/producer Boy Golden is charmingly undefinable, drawing lines from the Tulsa sound to North Carolina indie, New Jersey DIY to swampy New Orleans folk. From opening riff to swirling final notes, Best of Our Possible Lives ripples like sun on the lake, an invitation to seek each our own bliss. Produced by Robbie Lackritz (Feist, Bahamas, Weather Station), Best of Our Possible Lives brought Boy Golden to Lucy’s Meat Market in Los Angeles with Pino Palladino (D’Angelo), Gabe Noel (Father John Misty), Joseph Shabason (Destroyer) and Abe Rounds (Meshell Ndegeocello) alongside Church of Better Daze founding members FONTINE and Austin Parachoniak. RIYL - Mk.gee, Waxahatchee, MJ Lenderman, Plant & Krauss’ Raising Sand, Paul Simon

Wigwam's previously unreleased rare live recording from 1976 out in February via Svart Records In the summer of 1976, Wigwam performed not only in Finland but also in Sweden, Denmark, the Netherlands, and Germany. However, the pace slowed down afterward. The early autumn tours planned for European countries were cancelled, and even the replacement shows in Finland had to be postponed due to bassist Måns “Måsse” Groundstroem's sick leave. In October 1976 an opening appeared in the schedule for a studio session, during which Jim Pembroke’s third solo album, Corporal Cauliflower’s Mental Function, was recorded. After that, Wigwam played five gigs in Denmark at the end of November, followed by an equal number in Sweden. No exact information has survived about the concert setlists, but the band was in a stable phase, and certain songs had become staples in their live repertoire. Albums from Wigwam's deep-pop era, which began in autumn 1974, as well as Pembroke’s first solo records had already been released, and rehearsals were underway for what would become the Dark Album, released in 1977. It can be said that this concert, recorded for Danish Radio, is a strong representation of the band’s era at the time. The recording took place in northern Denmark, in a district called Lundtofte in Lyngby. Before this, Wigwam had performed in Køge and Århus, and after Lundtofte, gigs in Ballerup and Copenhagen awaited. Lundtofte was home to the Danish Technical University (DTU), where a student venue called “Studenterhuset” (Building 101) hosted a one- to two-day music events known as Polyjoint during the 1970’s. The events typically featured Danish bands, but also visiting acts like Wigwam. Most importantly, Danish Radio was sometimes present at these events. Wigwam had performed a studio concert for Danish Radio the previous year, but this particular recording is considered the more energetic of the two. Details have faded with time — for example, the identity of the second act at the concert is unknown. In any case, both guitarist Pekka “Rekku” Rechardt and keyboardist Pedro Hietanen remember the band being in high spirits, in top form, and highly motivated.

Wigwam's previously unreleased rare live recording from 1976 out in February via Svart Records In the summer of 1976, Wigwam performed not only in Finland but also in Sweden, Denmark, the Netherlands, and Germany. However, the pace slowed down afterward. The early autumn tours planned for European countries were cancelled, and even the replacement shows in Finland had to be postponed due to bassist Måns “Måsse” Groundstroem's sick leave. In October 1976 an opening appeared in the schedule for a studio session, during which Jim Pembroke’s third solo album, Corporal Cauliflower’s Mental Function, was recorded. After that, Wigwam played five gigs in Denmark at the end of November, followed by an equal number in Sweden. No exact information has survived about the concert setlists, but the band was in a stable phase, and certain songs had become staples in their live repertoire. Albums from Wigwam's deep-pop era, which began in autumn 1974, as well as Pembroke’s first solo records had already been released, and rehearsals were underway for what would become the Dark Album, released in 1977. It can be said that this concert, recorded for Danish Radio, is a strong representation of the band’s era at the time. The recording took place in northern Denmark, in a district called Lundtofte in Lyngby. Before this, Wigwam had performed in Køge and Århus, and after Lundtofte, gigs in Ballerup and Copenhagen awaited. Lundtofte was home to the Danish Technical University (DTU), where a student venue called “Studenterhuset” (Building 101) hosted a one- to two-day music events known as Polyjoint during the 1970’s. The events typically featured Danish bands, but also visiting acts like Wigwam. Most importantly, Danish Radio was sometimes present at these events. Wigwam had performed a studio concert for Danish Radio the previous year, but this particular recording is considered the more energetic of the two. Details have faded with time — for example, the identity of the second act at the concert is unknown. In any case, both guitarist Pekka “Rekku” Rechardt and keyboardist Pedro Hietanen remember the band being in high spirits, in top form, and highly motivated.

The late pedal-steel guitarist Susan Alcorn leaves a final surprise hinting at new directions left underexplored on her collaboration with Nomad War Machine, the improvising metal duo of drummer Julius Masri and guitarist James Reichard. Their death-metal-influenced pummel adds new fire to her molten flow across a suite of improvised tracks that show off the vast range and simpatico of the trio. Julius Masri and James Reichard of Nomad War Machine: “An unexpected opportunity arose out of a catching-up conversation where Susan had revealed a recent fascination with death metal, confessing, ‘I’m 70 years old—I think about death!’ She had learned a couple of Arch Enemy songs on her pedal steel, particularly compelled by their frontwoman’s intensity and vigor as a performer. Voicing an appreciation for the hook-oriented sound of Swedish death metal made sense for a melodic thinker whose roots as veteran pedal steel player reached into the Texan Western swing circuit in the ’60s and ’70s. For her, ever the explorer, metal was a new, appealing point of departure into fresh musical territory. When she expressed an interest in playing with Nomad War Machine, it felt like there was a whole world of shared or complementary interests to explore.” Though known for her fluency in jazz, country, and free improvisation, Alcorn had also studied Arabic, the oud, and maqam, with all holding a deep curiosity for her. Pre-’70s country & western music had also been a lifelong presence for both members Nomad War Machine. Masri, a Lebanese free-jazz and metal drummer, and devoted fan of Texas swing legends like Speedy West, Jimmy Bryant, Leon Rhodes, and Joe Maphis, was also steeped in Arabic music traditions. James Reichard, before coming to “freely” improvised metal, xenharmonic music, and non-Western tuning systems, had grown up being subjected to countless singalongs to numerous pre-’70s country records, entranced by the pedal steel.

Inspired by Thomas Hardy"s poem Transformations, ETERNAL BIRTH is Eliza Marshall"s debut solo album and a powerful statement on connection, ancestry and renewal. The album traces the cycles of life from conception to death, revering the natural world as a living archive of our ancestors and exploring the unseen bonds that connect past, present and future generations. Across the record, Marshall creates a rich, cinematic soundscape blending classical, folk and world traditions with flutes, whistles, bansuri, spoken word, percussion and electronics. Produced by Ivor Novello Award recipient Graeme Pleeth, the album features an international line-up of world-class musicians including Ady Thioune and Ansumana Suso (Senegal / The Gambia), Drew Morgan and Donal Rogers (USA / UK), Johnny Kalsi (UK) and Lena Jonsson (Sweden). Influences range from Steve Reich to Paul Simon, while remaining rooted in Marshall"s distinctive compositional voice.

Of the 200+ collaborations Hifiklub has created since its debut album in 2007, the one with Alain Johannes remains the most significant and recurring in the Toulon-based band's rich discography. Founding member of Eleven, Alain Johannes is known for his solo career and his work with Queens of the Stone Age, Them Crooked Vultures, Mark Lanegan, and PJ Harvey. This 25th Hifiklub album, with its more ambient aesthetic, celebrates nearly 20 years of a fruitful musical friendship.

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

Interdimensional exotica in the form of eccentric space jazz, sonic experimentation, Afro-centric rhythms, and ostinato electronic freakouts! Includes three platters worth of tunes pressed on orange vinyl, all curated by Irwin Chusid - who also co-wrote the liners with Brother Cleve - for all those with cocktail in hand and ready for a slice of Ra’s jetpack jetset recorded legacy!

Kanyon (John) is a NYC based producer/dj who has cut his teeth in the underground US techno scene through raw live sets, and dynamic djing. Keeping the quality high with his signature no-bs style of production and performing, he has played live supporting legends like Steve Poindexter, DJ Hyperactive, and Francois K. His productions have garnered support from Ben Sims, Akua, Ron Like Hell, Kush Jones and many others.

The Duplex EP is a split record featuring John's house alias DJ John Brooklyn on the A side (A1, A2, locked groove) & techno alias Kanyon on the B side (B1, B2). Exploring NY house and trippy, dubby minimal techno respectively, Duplex EP is a heady start to 2026.

ince its opening in spring 2021, JUBG, a still young Cologne gallery for contemporary art, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. For example, JUBG has already hosted exhibitions by Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias and Aksel "Superpitcher" Schaufler, Sven-Åke Johansson, and Emil Schult. Albert Oehlen, who is a kind of mentor and supporter of the gallery, was also a guest at Albertusstraße this summer, where he presented the exhibition D-I-E ORPHEUSMASCHINE together with Michael Wertmüller, Thomas Stammer and the poet Rainald Goetz.

It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest.

As catalog number 1, JUBG is now releasing the official soundtrack to "The Painter" from 2021. The film, German title "Der Maler", is a mixture of feature film and documentary and a collaboration between German director Oliver Hirschbiegel, best known for his Oscar-nominated film "Downfall", and Albert Oehlen, with whom Hirschbiegel has a long friendship, as they both once studied together at the Hochschule der Bildenden Künste in Hamburg.

The docu-fiction shows Oehlen struggling with a painting and pondering the meaning of his work. Oehlen is played by German actor and musician Ben Becker, accompanied by the off-screen voice of Charlotte Rampling. In the film, Becker makes a painting that Oehlen himself creates step by step behind the camera, while the actor improvises the process in front of the camera.

The wonderful music for this film comes from no less than two outstanding personalities whose individual biographies and musical signatures could hardly be better suited to this project. On the A-side it is Gudrun Gut, icon not only of the German electronic music scene since at least the 90's, singer, composer, DJ, label owner (Monika Enterprise) and of course founding member of the legendary 80's New Wave band Malaria. On the B-side it’s the world famous and award winning US avant-garde trumpeter and improvisational musician Nathan "Nate" Wooley, who has played with Fred Frith and John Zorn among others.

Gudrun Gut's tracks bear such beautiful titles as "Bewegung", "Küste" or "Weinen" and she once again pulls out all the stops of her great skills and decades of experience as a producer of the most diverse electronic music genres. These are unusual and much more experimental musical paintings that she creates here than on her recent solo works. Edgy, angular, raw and unpolished, yet always elegant and clever, she subverts the male artist madness depicted extensively in the film in her own unique way.

Nathan Wooley answers with the instrument he has been familiar with since childhood, the trumpet, with which he is able to create a ravishingly virtuosic noise. His pieces are more like sketches, often only 90 seconds or a few minutes long, but in all their abstractness underpin the narrative of the film almost perfectly.

A limited edition of 20 copies in total, painted and signed by Ben Becker, can be purchased directly through JUBG.

JUBG, eine noch junge Kölner Galerie für zeitgenössische Kunst, hat sich seit ihrer Eröffnung im Frühjahr 2021 auf das weite Feld von Künstler:innen und Kollaborationen spezialisiert, die entlang künstlerischer Schnittstellen tätig sind, insbesondere an denen zwischen bildender Kunst und experimenteller und/oder elektronischer Musik. So hat JUBG bereits Ausstellungen von Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias und Aksel "Superpitcher" Schaufler, Sven-Åke Johansson und Emil Schult gezeigt. Auch Albert Oehlen, der eine Art Mentor und stiller Unterstützer der Galerie ist, war im Sommer dieses Jahres zu Gast in der Albertusstraße, wo er zusammen mit Michael Wertmüller, Thomas Stammer und dem Dichter Rainald Goetz die Ausstellung D•I•E ORPHEUSMASCHINE präsentierte.

Es ist nur logisch und folgerichtig, dass die Galerie ihren Wirkungskreis nun um ein eigenes Label erweitert, auf dem Musik erscheint, die aus ähnlichen Zusammenhängen und Sphären stammt, wie es die oben aufgezählten Künstler:innen bereits vermuten lassen.

Als Katalog-Nummer 1 veröffentlicht JUBG nun den offiziellen Soundtrack zu "The Painter" aus dem Jahr 2021. Der Film, deutscher Titel “Der Maler”, ist eine Mischung aus Spiel- und Dokumentarfilm und eine Zusammenarbeit zwischen dem deutschen Regisseur Oliver Hirschbiegel, vor allem bekannt für seinen Oscar-nominierten Film "Der Untergang", und Albert Oehlen, mit dem Hirschbiegel eine lange Freundschaft verbindet, studierten sie doch beide zusammen einst an der Hochschule der Bildenden Künste in Hamburg.

Die Doku-Fiktion zeigt Oehlen, wie er mit einem Gemälde kämpft und über die Bedeutung seines Werks nachdenkt. Oehlen wird vom deutschen Schauspieler und Musiker Ben Becker gespielt und von der Stimme von Charlotte Rampling aus dem Off begleitet. Im Film erstellt Becker ein Gemälde, das Oehlen selbst hinter der Kamera Schritt für Schritt anfertigt, während der Schauspieler den Prozess wiederum vor der Kamera improvisiert.

Die wunderbare Musik zu diesem Film kommt von gleich zwei herausragenden Persönlichkeiten, die mit ihren individuellen Biographien und musikalischen Handschriften kaum besser zu diesem Projekt passen könnten. Auf der A-Seite ist dies Gudrun Gut, Ikone nicht nur der deutschen elektronischen Musikszene seit mindestens den 90er Jahren, Sängerin, Komponistin, DJ, Label-Betreiberin (Monika Enterprise) und natürlich Gründungsmitglied der legendären 80er Jahre New Wave-Band Malaria, auf der B-Seite der weltberühmte und Preisgekrönte US-amerikanische Avantgarde-Trompeter und Improvisationsmusiker Nathan “Nate” Wooley, der u.a. mit Fred Frith und John Zorn zusammengespielt hat.

Gudrun Gut’s Tracks tragen so schöne Titeln wie “Bewegung”, “Küste” oder “Weinen” und sie zieht hier einmal alle Register ihres großen Könnens und ihrer jahrzehntelangen Erfahrung als Produzentin der verschiedensten elektronischen Musikspielarten. Es sind ungewöhnliche und sehr viel experimentellere musikalische Gemälde, die sie hier entwirft als auf ihren jüngsten Solo-Werken. Kantig, eckig, roh und ungeschliffen und dabei immer elegant und schlau, unterläuft sie den im Film ausgiebig dargestellten männlichen Künstlerwahnsinn auf ihre ganz eigene Art und Weise.

Nathan Wooley antwortet mit dem ihm seit Kindesbeinen vertrauten Instrument, der Trompete, mit der er in der Lage ist, einen hinreißend virtuosen Lärm zu erzeugen. Seine Stücke sind eher Skizzen, oft nur 90 Sekunden oder ein paar wenige Minuten lang, die in all ihrer Abstraktheit das Narrativ des Films nahezu perfekt untermalen.

Eine auf insgesamt 20 Exemplare limitierte Edition, bemalt und signiert von Ben Becker, ist direkt über die JUBG zu erwerben.

Im Gegensatz zu den früheren Alben der Lost Boys, die innerhalb eines bestimmten Zeitraums produziert wurden, entstand „Pale Bloom“ langsam und versuchte, einen Schöpfungsmythos in seinem Bernstein einzufrieren – eine Ursprungsgeschichte, die uralt und komplex ist, voller Geheimnisse und Metaphern, die weder einer Klärung noch eines Endes bedarf. Jede Veröffentlichung der Lost Boys wagt sich in neues musikalisches und lyrisches Terrain vor. Von allen greift „Pale Bloom“ am weitesten zurück in die Kindheit und findet unbewusst die Rhythmen und Erzählstile, die in den Zwängen einer religiösen Erziehung verwurzelt sind. Beim Durchforsten der vergessenen Akkorde, Refrains und Melodien aus alten Kinderreimen und Volksliedern entdeckten sie den Wunsch, diese überlieferten Klänge in Richtung persönlicherer Wahrheiten zu verändern. Dieser Impuls ist auf dem gesamten Album präsent und in Krugers ebenso klangvoller wie euphorischer Stimme zu hören, wenn sie die verschiedenen lyrischen Formen um ihre eigene Sehnsucht, Trauer und Begierde herumlegt und sie darauf vorbereitet, in der üppigen und großzügigen Subversion der erinnerten Rhythmen der Band zu landen. Im Gegensatz zu ihrem Auftritt auf „Heaving“ und „A Human Home“ sind die Streicher hier weniger affektiert und haben einen eher düsteren und ernsten Charakter angenommen. Sie streben nach einer komplexen Art von Himmel, der durch das Gewicht und die Bodenständigkeit der Grooves ermöglicht wird, die sowohl stoisch als auch ausdrucksstark sind. Die Gitarren bewegen sich frei zwischen weitläufigen, voluminösen Räumen und sind ebenso knirschend wie sanft. Kruger nahm das Album mit ihren Bandkollegen und ihrem engen Mitarbeiter André Leo über einen Zeitraum von sechs Monaten in verschiedenen Studios in Berlin auf. Das Album wurde von Simon Ratcliffe gemischt.

2026 Repress

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the second of the sample EPs of rare, cherished and formerly unreleased gems.

Kicking off with Dubtribe (Sound System) - Sunshine’s Theme which goes for big money on discogs if you can find a copy, next up Max Berlin – Elle Et Moi Really simple, minimal disco à la Giorgio Moroder or Cerrone, actually Max Berlin (Jean-Pierre Cerrone) IS Cerrone’s brother!

On the Flip we have The Woodleigh Research Facility – Borderland (Andrew Weatherall Mix) Borderland is a beautiful collaboration between Woodleigh Research Facility’s Nina Walsh and viola virtuoso, Sarah Sarhandi. Andrew Weatherall set Sarah’s strings to an energetic electro glam stomp. A cracking kosmische, motorik “Pomp & Circumstance” march, with something of the Depeche Modes / New Orders about it. Finishing off the EP with some 90s UK deep house bliss from Acupressure – We Are the Future (Instrumental Mix) again this goes for big money on the Cogs.

Rebirth deliver another fantastic selection.
Limited Press, act fast.

US sax player Stanley J. Zappa and Finnish drummer Simo Laihonen come together on the new album "Muster Point" on We Jazz Records, August 7. The two students of Milford Graves add bassist Ville Rauhala on a couple of tracks to make a bold and adventurous album captured both live and in the studio while Zappa was touring in Finland with the Black Motor musicians. This is a set full of fire and thunder, but also features some more meditative spiritual jazz. RIYL: Milford Graves, ESP-Disk', spiritual jazz

"Muster Point" consists of short trio bursts ("Muster Point I-IV"), deep duo cuts such as "Pleasant Avenue" and the inspired material linking the stylistic bookends. The music herein comes from the long standing tradition of independent improvised jazz music, and moves forward in the now, relying in the natural communication and the chemistry between the musicians. At its core, the album is a testament to the importance personal connections between like-minded creative musicians in creating something new.

Stanley J. Zappa, originally from New Jersey, now based in Oliver, BC (Canada) is a highly expressive musician whose career has so far progressed largely under the radar. Part of the lineage of a musical family (his uncle Frank should need no introduction), Zappa's story is that of a true craftsman, now coming into fruition with a like-minded collaborator, Simo Laihonen. Laihonen is best known from his long-standing trio formation Black Motor, also featuring bassist Ville Rauhala featured on the trio tracks on this recording.

All Nice Records returns with NICE005, the second release from label co-founder Bobby Dreams--a five-track excursion through deep, functional, and emotionally rich house music. Opening with The Signal, a peak-time piano workout laced with congas and classic Chicago house energy, the record sets an infectious tone right away. Let It Be Real follows with smooth, warm textures perfect for early or late hours. On the A3, Stranger Than Fiction delivers a pure 303 exercise--acid lines twisting and mutating over a tight, hypnotic groove. Flip the record for New Horizon, a hopeful, driving cut built for forward momentum, and Enter The Simulation, a deep, late-night closer with a touch of mystery and tension. Crafted for selectors, designed for the floor--NICE005 is house music for any hour of the night. All nice, all night!

Für Mandy, Indiana, ist die Wahrheit der einzige Weg. Auf "URGH", ihrem ersten Album bei Sacred Bones präsentiert, sich das Quartett - bestehend aus Sängerin Valentine Caulfield, Gitarrist und Produzent Scott Fair, Synthesizer-Spieler Simon Catling und Schlagzeuger Alex Macdougall - als eine Kraft von unheimlicher Natur, die ein Album geschaffen hat, das ebenso sehr ein Aufruf zum Handeln ist wie eine Reise in die Vergessenheit und Transzendenz. In den zehn Tracks verwebt die Band ihre eigene unkonventionelle Sprache zu einem Mantra für Selbstbestimmung und Widerstandsfähigkeit und schafft so eine Vorlage für eine bessere Zukunft, bevor alles in Dunkelheit versinkt. Ein Großteil des Albums wurde während eines Aufenthalts in einem unheimlichen Studiohaus am Stadtrand von Leeds geschrieben und anschließend in Berlin und Greater Manchester aufgenommen. Es war eine intensive Umgebung, was zum Teil auf die gesundheitlichen Probleme zurückzuführen war, mit denen Caulfield und Macdougall während des Schreib- und Aufnahmeprozesses zu kämpfen hatten. Dennoch bleiben Mandy, Indiana kompromisslos. Caulfield setzt ihre Stimme als verzerrtes Instrument und Waffe ein, die zwischen verspielt und vernichtend oszilliert. Der pulsierende Sirenenton von ,Magazine" steht neben dem zerhackten Vocal Fry von ,try saying" und der sich wandelnden Wildheit von ,ist halt so", das die Dringlichkeit von Protestbewegungen kanalisiert, auf den Widerstand gegen den Völkermord in Gaza verweist und gleichzeitig allgemeinere Kämpfe thematisiert, während der letzte Track ,I'll Ask Her" eine bewusste Direktheit ist, die die toxische Boy-Club-Kultur anprangert, und eine hartnäckige Abrechnung, die über dem gesamten Album schwebt. Obwohl es immer noch unbestreitbare ,Knaller" gibt (wie der zerfetzte Rap von ,Sicko!" mit Billy Woods), wirkt "URGH" oft wie präzise geschnitztes Kino. Vom sprühenden Techno von ,Cursive" bis zu den dekonstruierten Feedback-Loops von ,Life Hex" bewegt sich das Album zwischen industrieller Katharsis und filmischer Unruhe und spinnt eine Spannung, die Fair als ,Remix seiner selbst" beschreibt. Diese kontrastreiche Palette ist sowohl ein notwendiger Aspekt des Albums als auch das zugrunde liegende Bindeglied. Obwohl "URGH" sehr persönlich ist, spiegelt es den gewalttätigen, zerbrochenen Zustand der Welt wider. Caulfields Texte setzen sich mit Gewalt, systemischer Gleichgültigkeit und der Allgegenwart von Schmerz auseinander, betonen aber auch Momente der Schönheit und Solidarität. URGH gehört in die physische Welt, und das Artwork von Carnovsky mit einer anatomischen Illustration von Andreas Vesalius unterstreicht die viszerale Auseinandersetzung des Albums mit dem Körper und seinen Grenzen. URGH ist sowohl jenseitig als auch physisch und kathartisch, sowohl ein erster Schritt zur Heilung als auch eine Weigerung, das Gespräch sterben zu lassen.

Hello Games and Laced Records are embarking on a new intergalactic journey as they bring 32 new songs from the No Man's Sky universe onto vinyl.

Composed by Hello Games' audio director Paul Weir and Sheffield instrumental band 65daysofstatic, No Man's Sky: Journeys has been crafted from the ground-up as a fully-fledged companion piece to the original No Man's Sky soundtrack.

This new soundtrack includes 32 new songs born out of the endless, dynamic soundscapes from the Pathfinder update. Until now, these soundscapes have been sitting inside the video game generating infinite variations of themselves. Now they're landing on vinyl - a sonic representation of the game's constantly evolving journey over the last nine years.

Music from the soundtrack to a horror-comedy podcast that Wood was commissioned to compose for in 2020. "At the height of the pandemic, podcasters Mayfield & Belov approached Will Wood to commission him to compose for an upcoming show entitled ""Camp Here & There."" The podcast had not been recorded yet, and as if that weren't enough, Wood couldn't read sheet music. However, Wood accepted the challenge and began to teach himself new methods of writing that would allow him to compose music note-for-note in ways that his days as a bandleader had not yet prepared him for. M&B provided notes and concept art they had developed so Wood could learn about the stories and characters, and he dug into his own life and used that and what he learned about the show as inspiration for what started as simple background music and eventually became a collection of both score and original songs. This album contains both instrumental music and four original songs, including "Yes, to Err is Human, So Don't Be One." and "Your Body, My Temple."

includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.

Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate.

The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs".

It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

Swiss artist Lukas Traxel releases his powerful debut album One-Eyed Daruma on We Jazz Records, March 10. The trio features Traxel on double bass, Otis Sandsjö on sax and Moritz Baumgärtner on drums. Compact, deep, and organic to the bone, Traxel & co's sound echoes the innovations of rhythmically driven avantgarde jazz while keeping things moving at all times. There's both drive and freedom to this sound.
ONe-Eyed Daruma features eight new compositions by Traxel, who crafted the outline for the album while dealing with the loss of his father. The group came together after an open invitation from the Zurich jazz club Moods to present a new group. The trio of Traxel, Sandsjö and Baumgärtner creates a full, symphonic, and powerful body of sound despite the instrumentation without a harmony instrument. The trio functions as a collective where the boundaries between composition, melody, and accompaniment are in flux, while keeping the common goal of creating new music together in sight at all times. Traxel reports that after playing bass in various groups with guitar and/or piano, he wanted to create a counterpoint of sorts with his new group and specifically go about it with a more sparse setup. As One-Eyed Drama proves, the idea behind the trio dynamic is a strong one and the unit makes use of their extra space in creating evocative, moody, swinging creative jazz with a distinguishable fingerprint of its own.
Lukas Traxel says:

"The process of composing this music while dealing with the loss of a loved one resulted in a writer's block at first. The notes would just not flow out of my pen until I noticed a mysterious-looking figure in the right upper corner of my piano. It was a daruma, an eyeless figure that in the Japanese tradition brings luck and prosperity. According to the myth, the first eye must be drawn onto the figure while expressing a wish. The second eye can be added only if the wish comes true. My daruma is meant to stay one-eyed as my wish, strongly connected and intertwined with my now gone father, is not meant to be fulfilled. The feeling of unfulfillment and imperfection of life serves as a common thread throughout this album, right down to its title. In a similar fashion, a composition remains incomplete until it is interpreted by musicians, and given form as music. That being said, for me playing together with this trio symbolises the upside: the sense of fulfillment in music and life.

Our musical influences include the American composer and singer Caroline Shaw, Swiss pianist Colin Vallon's trio, and composer/singer-songwriter Gabriel Kahane. In addition, I have listened a lot to the trio albums of Jimmy Guiffre and Sonny Rollins. Besides that, my musical heroes like Charlie Haden, John Coltrane, and Keith Jarrett always flow into the music. Another very important influence in the music is the work of American visual artist Agnes Martin, in whose works the imperfection of a multiplicity of repetitions results in a lively big whole in the end. (See "Wild Flower")

Live, the trio takes a lot of freedom in interpreting this music, yet we have a deeper, almost pop-like attitude towards the live performance as an experience. For me it's always important to build a strong narrative with the band while on stage."

One-Eyed Daruma by Lukas Traxel is released on 10 March 2023 by We Jazz Records on LP/CD/digitally. The LP edition is shelved in an inside-out sleeve and pressed on white vinyl. The CD is housed in a cardboard digisleeve with UV lacquer finish.

Vega Tables marks a bold shift from Soda Coda (2023), trading folk for raw, electric energy—DIY synth-pop meets gritty lo-fi punk. Entirely self-produced, the EP’s creative spirit shines through its music and mixtape-inspired artwork.

Guitars On Life solves a nagging mystery about the fate of a musician who stood out as a singularly spectacular bloom even in the verdant creative fields of the San Francisco Bay Area at the turn of the century. After more than two decades of recording silence and about a dozen years away from the bandstand, Jack West is back, still immediately recognizable as a guitarist and composer but miles from the last stop on his ongoing musical journey. There’s poetic symmetry in discovering that his detour from life as a performing musician involved fruitful work devising innovative solar technologies, as he had similarly distinguished himself as an inveterately inventive musician. When we last heard from West he’d carved out a vibrant niche as a guitarist with a percussive attack and lustrous group sound. Wielding a custom-built eight-string acoustic guitar with uncommon rhythmic dexterity, he released six albums featuring his original tunes, mostly recording with his band Curvature (though he also played mesmerizing solo recitals). West’s knack for crafting glistening, minutely detailed soundscapes full of surprising twists and oddly inviting textures prompted NPR to describe his work as “a whole new sub- genre of jazz.” Drawn back to performing in recent years, West saw guitarist Walter Strauss at Berkeley’s Freight & Salvage in 2022 and suspected he’d found a kindred spirit. Intrigued by Strauss’s unusual approach to guitar, West “wondered what a musical conversation might sound like between two guitarists who had developed such uniquely different ways of playing the instrument.” An invitation to play together led to them writing the tune ‘More Guitar,’ the bravura opening track that launches Guitars On Life. Several months later they spent a week in Florida together writing intensively, resulting in most of the material for this consistently thrilling project.

It's been a decade since the Soderhamn quintet last released a full album, 2016's Machina Viva, and four years since their last EP, 2021's A Darkened Sun, raised hopes that they were back with a vengeance. Throughout their career, Wolverine have always carried a similar dark emotional heft to their fellow countrymen Katatonia, driven by a sonic wall of sound. Lyrically too, singer Stefan Zell's lyrics pack a powerful emotional punch, and on Anomalies he's at his peak, drawing on those years of exasperation. The Swedes have evolved continuously, from their earliest days toying with death metal sounds, before adding in a more progressive influence on 1999's Fervent Dream EP, before setting themselves up as purveyors of the finest in melancholic prog metal, a flag they continue to carry aloft to this day.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

Bluegrass band Big Richard makes music for the 21st century’s twisted cultural unease. Their Signature Sounds debut Pet, is a fierce, provocative, rejoinder to what troubles them and the world right now, and was recorded live to tape in order to capture the fervor of their live shows.

“Big Richard is so much about our energetic delivery, and so I think it's been really important for us as a group to figure out how to do that for a record,” says mandolin and guitar player Bonnie Sims. And figure it out they did. Pet delivers, successfully translating the supergroup’s live kinetic harmonies and string virtuosity. Unapologetically outrageous and provocative, the band’s name is a wink to the ‘big dick’ energy Big Richard is reclaiming from male bluegrass bands. Since exploding onto the Colorado scene in 2021, the four women have been on a wild ride, slapping as hard as possible on the festival circuit, working up their stamina on nationwide headlining tours, and leaving a wake of die-hard Big Richard Heads across the country swooning for their honest songwriting, chilling vocals, and fiddle-driven barn-burners.

“Our live performances are so raw and so gritty, and I think that our sound never really flourished in that digital landscape.” GRAMMY and Emmy Award-winning cellist Joy Adams says. “Recording live to tape we were all in the same room together, very close together, with a lot of mic bleed, etc. And the energy was insane. It felt so good to record this way. Even on the first day, we were like ‘wow, this sounds like our band.’ And to do something that's very real and gritty and has little mistakes in it just feels alive and human.”

Siriusmo is back! His fourth album, "Buletten & Blumen", will be released in November 2025 – a collection of musical delicacies. Freshly prepared, spicy, and greasy, but as always with a flower on top. The Berlin-based producer, whose real name is Moritz Friedrich, remains true to himself and his distinctive style – between funk, hip-hop, electronica, soundtrack vibes, and genre playfulness. As usual, Siriusmo wanders through musical styles, embracing them, missing them spectacularly – or simply inventing them. A subtle "Berliner Allerlei". The artist himself says of his working method on the album: "I'm a whole band. Nobody masters their instrument, but everyone pretends to – always with the fear that the others will notice." The album begins with the tongue-in-cheek opener "That Could Function As A Song", an ironic exploration of the artist's own creative process. With "Buletten & Blumen," Siriusmo delivers not simple fare, but a multifaceted menu.

Guests: Mr. Oizo, Erobique, Dana (& Claire Waldorff) An album that oscillates between irony, melancholy, and absurdity.

Tracklist:
A1. That Could Funktion As A Song
A2. Hongkong House feat. Liu's Family
A3. Watch Me Fall
A4. Ok So

B1. Baum
B2. The Syntheziser Has Been Drinking
B3. Liquit feat. Mr. Oizo
B4. In Der Klemme

C1. Koko
C2. Langsame Runde
C3. Der Uhrturm
C4. Meissner Schwerter

D1. Dummdidumm
D2. Every Tree Needs A Friend
D3. Lehm feat. Erobique & Dana
D4. Irgendwohin

Für Mandy, Indiana, ist die Wahrheit der einzige Weg. Auf "URGH", ihrem ersten Album bei Sacred Bones präsentiert, sich das Quartett - bestehend aus Sängerin Valentine Caulfield, Gitarrist und Produzent Scott Fair, Synthesizer-Spieler Simon Catling und Schlagzeuger Alex Macdougall - als eine Kraft von unheimlicher Natur, die ein Album geschaffen hat, das ebenso sehr ein Aufruf zum Handeln ist wie eine Reise in die Vergessenheit und Transzendenz. In den zehn Tracks verwebt die Band ihre eigene unkonventionelle Sprache zu einem Mantra für Selbstbestimmung und Widerstandsfähigkeit und schafft so eine Vorlage für eine bessere Zukunft, bevor alles in Dunkelheit versinkt. Ein Großteil des Albums wurde während eines Aufenthalts in einem unheimlichen Studiohaus am Stadtrand von Leeds geschrieben und anschließend in Berlin und Greater Manchester aufgenommen. Es war eine intensive Umgebung, was zum Teil auf die gesundheitlichen Probleme zurückzuführen war, mit denen Caulfield und Macdougall während des Schreib- und Aufnahmeprozesses zu kämpfen hatten. Dennoch bleiben Mandy, Indiana kompromisslos. Caulfield setzt ihre Stimme als verzerrtes Instrument und Waffe ein, die zwischen verspielt und vernichtend oszilliert. Der pulsierende Sirenenton von ,Magazine" steht neben dem zerhackten Vocal Fry von ,try saying" und der sich wandelnden Wildheit von ,ist halt so", das die Dringlichkeit von Protestbewegungen kanalisiert, auf den Widerstand gegen den Völkermord in Gaza verweist und gleichzeitig allgemeinere Kämpfe thematisiert, während der letzte Track ,I'll Ask Her" eine bewusste Direktheit ist, die die toxische Boy-Club-Kultur anprangert, und eine hartnäckige Abrechnung, die über dem gesamten Album schwebt. Obwohl es immer noch unbestreitbare ,Knaller" gibt (wie der zerfetzte Rap von ,Sicko!" mit Billy Woods), wirkt "URGH" oft wie präzise geschnitztes Kino. Vom sprühenden Techno von ,Cursive" bis zu den dekonstruierten Feedback-Loops von ,Life Hex" bewegt sich das Album zwischen industrieller Katharsis und filmischer Unruhe und spinnt eine Spannung, die Fair als ,Remix seiner selbst" beschreibt. Diese kontrastreiche Palette ist sowohl ein notwendiger Aspekt des Albums als auch das zugrunde liegende Bindeglied. Obwohl "URGH" sehr persönlich ist, spiegelt es den gewalttätigen, zerbrochenen Zustand der Welt wider. Caulfields Texte setzen sich mit Gewalt, systemischer Gleichgültigkeit und der Allgegenwart von Schmerz auseinander, betonen aber auch Momente der Schönheit und Solidarität. URGH gehört in die physische Welt, und das Artwork von Carnovsky mit einer anatomischen Illustration von Andreas Vesalius unterstreicht die viszerale Auseinandersetzung des Albums mit dem Körper und seinen Grenzen. URGH ist sowohl jenseitig als auch physisch und kathartisch, sowohl ein erster Schritt zur Heilung als auch eine Weigerung, das Gespräch sterben zu lassen.

Classy Deep House winners,,
Two tunes sent from an artist in a small town in the middle of Europe. The email signed off simply saying "Just A Chance".

Roland Corporation's MKS-50 form 1986 is a rack-mount version of the Alpha Juno. It has the same synth engine and architecture, but with added features like 16 programmable chord memories, the ability to store velocity, volume, panning, de-tune, portamento and other similar parameters within each patch you create. The optional PG-300 gives traditional slider type control of all editable tone parameters which include DCO (digitally controlled oscillators) LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF (filter) with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. Adapta delivers a project based on this legendary MKS-50 synth. Tracks created with technology from the past, aimed for the future. Techno!!

Following the overwhelming response to the Warner remix series produced by Joe Claussell, with copies disappearing in hours-another Stella remix package steps forward. This is not part of the Edits & Overdubs series. No loops. No shortcuts. Like the previous release, Ashford & Simpson’s “Stay Free” was rebuilt straight from the original 48-track 2-inch multitrack tapes, resulting in two fully realized remix versions designed for the floor. The A-side delivers a 14+ minute deep, extended journey-patient, evolving, and powerful, injecting new life while honoring the soul of the original. The B-side flips the script with an Alternate Instrumental, stripped back and ready for late-night moments. Cut, tested, and refined on dance floors worldwide over several years, these versions have already proven their weight in real club settings. Pressed on turquoise vinyl, housed in a heavy Japanese-style cardboard sleeve, and accompanied by a Warner-style disco promo one-sheet and bumper sticker-a nod to the golden era of 12” promos.

Gatzara Records presents its second vinyl single.

This record is a tribute to Jackie Mittoo, a key figure in the development of reggae, ska, and rocksteady. Known for his work at Studio One and his role as keyboardist for The Skatalites, Mittoo left a profound mark on Jamaican music with his melodic style and rhythmic approach to the keyboards.

The track is built on a classic reggae foundation produced by Sergio Caño, with a restrained rhythm and simple structure. The focus is on the organ, played by Joan Sobrevals, who carries the main line with a sober, respectful sound clearly influenced by Mittoo's school. Without seeking to imitate, the performance takes characteristic elements of his style — melodic phrasing, spaced chords, marked beats — to shape a coherent piece that remains faithful to the style.

The production maintains a minimalist aesthetic, without overloading, leaving space for each instrument to breathe and fulfil its function. The result is a serene, mid-tempo piece that invites you to listen carefully, without virtuosity, but with a clear intention: to pay tribute to a great musician who defined a sound, an era, a style.

Thank you, Jackie!