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Recorded in a remote mountain cabin,'Liguna' gradually found its form. What began as an open ended collaboration between Tarjei Nygard and Are M. Foss unfolded through recording sessions, splitting firewood and changing seasons. Ideas arrived from many directions: a guitar phrase, a synthesizer line, a change in season, the mood of the forest itself. The result is nine tracks connected less by genre than by atmosphere and a shared sense of place. Debut album by Norwegian duo Liguna. Its members have previously released music on Full Pupp, Eskimo Recordings and ESP Institute.

Galaxy 2 Galaxy) on strings, and the return of STRIPPERTM (Sleeve) on the B side for some twisted bass work. Holding light and shade, and pushing out plenty of low end, this record has two cuts for different times of night…
The A side, "In Light," starts with a pulsing kick, bright chords, and shakers, with a string line that slowly builds towards a soaring conjunction with the massive bassline that drops underneath. Filled with bittersweet emotion, this collaboration represents a beacon of light, like the golden hour after sunrise.
On the B side, "In Darkness," gnarly bass textures come to the fore as a harbinger of the dark, turbulent night, dropping into a massive twisted groove. Shakers, tribal percussion, and pulsing sub-bass keep things in a tight rhythm, while Esteban’s strings arrive to guide us through the darkness to dawn.

It’s been a while! Six years after their last release on the best seller' Good Plus label, Les Yeux Orange return in full force with four tasty edits drawn from their ever-expanding record crates. A selection of obscure and rare French gems you’d never expect to find brought together on a single release. Expect some funky Balearic vibes, sleazy Italo, infectious disco, and lustful boogie… Each track has been carefully readjusted for the aural pleasure of devoted crate diggers and discerning collectors. Sacrebleu !

After his contribution to Tangled Waves Vol. 2 with “Grit Wave”, Little Sea returns to Bosconi for his first solo EP.

A producer, vinyl collector and lifelong student of electronic music, Little Sea has spent over two decades refining a sound shaped by the Italian progressive and techno scene of the ’90s, filtered through a contemporary approach. In 2025 he launched his own imprint, Sea Horse Records, followed by the Mental Tools Series.

Ritmo Divino moves across progressive house, breaks and trance without leaning on nostalgia, drawing naturally from a musical language that still feels relevant today.

“Minx” opens the record with rolling grooves, hypnotic sequences and a powerful electro-tinged breakdown. “Vital” shifts into broken rhythms, combining UK-inspired breaks with spacious pads and uplifting progressive melodies.

On the flip, “Shields” explores darker territory through restrained percussion, deep basslines and whispered vocal textures, before the title track “Ritmo Divino” closes the EP with a warm, emotional take on late-’90s progressive—melodic, expansive and perfectly suited to the final moments of a set.

Four tracks that bridge classic influences and contemporary production, confirming Little Sea as a distinctive new voice within the Bosconi catalogue.

Introducing the second release from Principauté de Bowl-Air — PBAVINYL002

Principauté de Bowl-Air is a label founded by DJ Bowlcut, a key figure in supporting Seoul’s underground scene through Seoul Community Radio. The project presents his vision of deep, glitchy minimal house music, woven with the story of a secret micronation hidden in the heart of Seoul.

Following the debut vinyl release, PBAVINYL002 features an original track by DJ Bowlcut alongside reinterpretations by his friends Slowmouth and Furz.

The cover artwork references one of the first K-pop acts to introduce rave sounds to Korean audiences — Seo Taiji and Boys. Their first techno album featured an image of the top of an aluminum can, and PBAVINYL002 draws from the same visual reference. The track “Dig This” also reworks elements from their song “You in Illusions (Techno Taiji Mix).”

The A-side opens with “Falling”, a hypnotic-groove track built around deep synths and designed for afterhours. It works as a perfect DJ tool for gently guiding the crowd into a subtle trance state, further enhanced by the vocal sample “Everybody Falling, Anybody Feel that Falling?”, which pulls listeners into a slow, spiraling moment.

The second A-side track, “Dig This”, takes direct inspiration from one of the earliest K-pop tracks to feature rave stabs, TB-303, and classic rave elements — “You in Illusions (Techno Taiji Mix)”. DJ Bowlcut reuses many of the same samples that Seo Taiji originally layered, reconstructing them into a deep minimal cut with a distinctive Mentasm stab woven into the minimal house framework.

The B-side features remixes by Slowmouth and Furz.

Slowmouth transforms “Falling” into a brighter, more festive exploration that reveals the hidden layers of the original hypnotic groove.
Furz, meanwhile, turns “Dig This” into a funky, dancefloor-ready banger aimed at a wider crowd.

Dance Protocol keeps his foot down after an EP on Butter Side Up, serving three more cuts with plenty of bounce in the suspension for Long Vehicle here. "Heads Off" is going deep, wrapping crisp drums in lush pads and a warm streak of high-tech soul, best served as late-night snack or healthy breakfast. On the flipside, "Zero Gravity" loosens the bolts with percussion-heavy liquid funk and a disembodied vocal circling through the mix with a nod to Mr. Baby Ford. New Job (P45 Edit) clocks out on a lighter note, opening the windows to breezy grooves, loose claps and an easy, summery swing. Night shift done. See you outside!

The first HEREAFTER label release enters the universe with three deep, rolling cuts from DOTT and a pumped-up peak-time remix from JUAAN.

“1955 Revival” sets the tone with a killer groove, warm drone-filled textures and DOTT’s off-kilter character. “Grumpy Merlin” moves deeper into the murk, while “Drunken Tune” brings an infectious, eyes-closed groove to the B-side. JUAAN closes the EP by flipping the original into a tight peak-time driver built to ignite the dancefloor.

After seeing these tracks captivate the crowd at one of the UK’s best-loved festivals, we knew we had to share them with the world through the HEREAFTER label.

Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.

What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.

‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.

Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.

‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.

On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.

We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!

As always, play it loud and share the music.

Lars & Maarten

Cello player and electronic artist Martina Bertoni returns with her 2nd album for Karl: Hypnagogia delivers six new, masterfully crafted tracks between experimental ambient, drone and modern composition.

Cellist and composer Martina Bertoni started playing the cello at a very young age. Classically trained, her career further developed around experimental and film music, for which her cello has been featured in numerous records, works and soundtracks for films and series. After two EPs and her debut full length All The Ghosts Are Gone (2020), Bertoni joined the Karl roster where she released Music For Empty Flats in January 2021 to critical acclaim (a.o. one of the Top Ten drone albums of 2021).

On her new album Hypnagogia she continues to explore the sonic possibilities of her cello which she uses as primary source for composition and sound processing through reverbs, feedbacks and sub-bass frequencies, thus crafting sonic sculptures, rich of atmospheres and frictions, fed by ambient as much as drone and modern composition.

In the words of Martina Bertoni:
"The six tracks that constitute Hypnagogia have been written during 2021 and partially inspired by the reading of Stanislaw Lem's book Solaris. The title refers to a transitional state of consciousness from wakefulness to sleep, during which one might experience sensorial hallucinations and lucid dreaming, and can tap into the pristine structures of the subconscious. Hypnagogia portraits an imaginary cosmic journey of the Self that crash ends into a blinding sun."

Japanese acid pop outfit Cho Co Pa Co Cho Co Quin Quin channel the globe-trotting spirit of Haruomi Hosono’s 1970s tropical boogie on their debut album, Tradition.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself.

Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present.

Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth.

Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of BADBADNOTGOOD.

“In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks.

Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!”

Hugely popular in Japan, with festival appearances lined up alongside BADBADNOTGOOD at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. You won’t have heard anything like it."

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

2026 Repress

Divorce From New York returns with Jazzthetics, a sophisticated blend of Broken Beat, Nu Jazz and House, where detailed musicianship meets club ready energy. Featuring collaborations with Quiet Dawn, Stickydub, and Carla Luna, the EP explores warm, organic textures and rhythmic depth.
Remixes by K15, GE-OLOGY, and Stefan Ringer expand the sonic palette with future?minded interpretations that connect soulful atmospheres with powerful grooves.

After releasing three LPs and appearing on influential labels such as Nervous Records and Toy Tonics, as well as being featured on the acclaimed Somewhere Soul compilation, Divorce From New York presents his new EP Jazzthetics.
Distinctive fusion of Broken Beat, Nu Jazz, and House. Collaborations with Quiet Dawn, Stickydub, and Carla Luna, plus remixes by K15, GE-OLOGY, and Stefan Ringer.
12" vinyl format with premium finish and digital download included.
Supported on stations such as NTS Radio, Worldwide FM, Rinse FM, The Lot Radio, and Kiosk Radio. Endorsed by influential DJs and platforms including Lefto, Marco Weibel, Mr.Redley, Somewhere Soul, and Brownswood Recordings.
Backed by an international promo campaign and European club tour throughout summer 2026.

After appearing on some of the label’s key releases, dub maestro Andre Kronert is back on BERG AUDIO doing what he does best : dubby, reduced, and highly efficient dancefloor breaking tunes - Incl. a highly awaited repress of “Triton”.

The jaded daughter of a dead preacher-man caught in an exodus, Ethel Cain winds her way through a dizzying attempt at escape from her suffocating upbringing only to find herself crushed within its jaws in the end. Hayden Anhedönia, the woman behind the curtain, serves as the architect for the visceral and haunting world of Ethel Cain. After over four years of meticulously constructing her debut album and the graphic visual world that accompanies it, Preacher’s Daughter, was released in May 2022 to critical acclaim, catching fire with her reverent fanbase of daughters and the adoration of The New York Times, Vogue, NPR, Billboard, Vice, TheFADER, NYLON, Paper Magazine, Pitchfork, W Magazine, V Magazine and more.

Mr. K turns his attention to his hometown with a couple of deep underground NYC disco cuts that have never appeared on 7-inch before: the stomping ‘Hey Roots’ by Black Rock and Ahzz’s sought-after ‘New York’s Movin’’. Black Rock’s ‘Hey Roots’ was the band’s follow-up to their 1975 proto-disco single ‘New York City Bump’ and takes a similar four-on-the-floor approach while raising the tempo to match the energy of a standard 1977 dancefloor cut. Mr. K’s edit builds the track methodically, using a sparse sprinkling of the original vocals and focusing on the hypnotic, Bohannon-esque beat. On the flip, he tackles the Peter Brown-adjacent classic ‘New York’s Movin’’, this time dropping the vocals entirely in favour of working with the wicked instrumental take, a wild jam that layers handclaps, tambourine, slicing rhythm-guitar and perfectly cheesy synth strings to make an irresistible dancefloor banger. Adding a dubby breakdown and arranging the parts to get the maximum out of the limited 7-inch real estate (both cuts here top the five-minute mark), Mr. K has given us another powerful tool in an ever-growing arsenal of dancefloor weapons.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Bachar Mar-Khalifé Plays Christophe

The album title, Bachar Mar-Khalifé Plays Christophe, inevitably comes as a surprise: the Lebanese composer, singer, and multi-instrumentalist ventures into the world of the pop dandy who escaped the yé-yé era… From the very first notes, one thing becomes clear: splendor flows effortlessly from melodies restored to their fragility and simplicity. Bachar Mar-Khalifé explores the hypnotic melancholy of a world that is both sophisticated and crystal clear. A fascinating plunge “into this collapsing luxury,” as the lyrics of Paradise Lost say. Seven tracks with his collaborators Dogan Poyraz on drums and Aleksander Angelov on bass, seven narratives unfolding the musical richness of Christophe’s songs as much as that of Bachar Mar-Khalifé’s playing and singing. A captivating journey, both on record and on stage. It all started there, in fact. In April 2025, BMK dared to pay tribute to Christophe at the Fragile Festival, at the Cirque Zingaro, five years after his death. At first glance, it wasn't his familiar world. "I haven't idolized him my whole life," he explains. "I really knew Christophe personally before I knew his work in detail." During his childhood in Lebanon, and then after arriving in France in 1989 at the age of six, the music played at home left little room for Christophe's pop. "We listened more to Brassens, Brel, Ferré, Barbara. I hardly knew anything more than 'Les Mots bleus.' Then we met. Christophe loved the night, young musicians, exploring together..." In 2018, Bachar and Christophe recorded a Unik session for FIP, which involved recording a 45 rpm single live, followed by a concert at the Maison de la Radio. The younger brother has the opportunity to discover a legend, but also how it works: “His melodies allow you to go very far—even him, who seems to be searching for a new version with each interpretation, as if he wanted to return to the organic aspect of the song. A researcher who, out of a need for freedom, wants to escape the image people have of him.” So there was no question of overproducing these covers as one might do with the stage fright of tackling an intimidating work. “I tried to go very fast to deliver each song, as if I had composed it myself.” Working instinctively, very spontaneously, the bulk of the album comes from the trio's rehearsals and the concerts that followed. “I chose songs that moved me. Very beautiful melodies and very beautiful lyrics.” Whether the lyrics are by Jean-Michel Jarre or Alain Kan, “they often speak of love in danger.” “I like to hear this quote from Paradise Lost: ‘Dandy, a little cursed, a little aged / In this crumbling luxury.’ Here and there, he pruned the lyrics, as if to make them more audible, in Les Mots bleus, ‘The winter wind blows in April / I love the still silence’ – an evocation of the month of Christophe’s death. And he chose a little-known song from the yé-yé era, Les Amoureux qui passent, in which we hear the young trumpeter Siméon Petrov, who further expands the play on the archetypes of vintage romantic song. Between accepted fragility and the vertigo of feeling, between virtuosity of lightness and unfathomable depths, Bachar Mar-Khalifé unfolds an unexpected kinship with Christophe.” A kinship of silences and sonic surprises (a synthesized zurna sound in "Emporte-moi," for example) that will continue on tour. He is also preparing an album of original songs, his first since 2020, after many compositions for film and collaborations with other artists. He writes songs of love and dance, at a time when Lebanon and the world are experiencing such dark times. Perhaps this is yet another lesson from Christophe: to love and sing "in this crumbling luxury."

There was an immediate buzz surrounding This Is What I Know About Being Gigantic, the 2001 debut EP by Seattle indie phenomenon Minus the Bear. It wasn’t the kind of viral interest that translated into a string of sold-out tour dates, but it meant that the tuned-in crowd eagerly anticipated their next move. To help stir up the excitement for their first proper full-length, the band followed up Gigantic with a promo CD featuring two tracks from their upcoming album, a short instrumental interlude, an exclusive new song, and a demo version of another album track. Packaged in a cardboard slipcase, it was the kind of cheaply manufactured promotional item that could be handed out for free at shows or thrown in as a bonus in online orders—a relic of the final years of the CD age before the advent of the iPod and mp3. The sampler CD was christened Bands Like It When You Yell “YAR!” At Them in a nod to the upcoming album Highly Refined Pirates.

While these kinds of promotional items typically had an ephemeral existence, filed away in some neglected binder of CDs or tossed out during one of the many apartment-to-apartment moves of the band’s principal demographic of urban twentysomethings, Bands Like It When You Yell “YAR!” At Them had a curiously persistent presence. Perhaps it was because it was packaged more like a proper EP than a sampler. It certainly helped that it was a free release, meaning anyone who came to a show likely walked away from the evening with the cardboard slipcase tucked in their jacket pocket. It’s also noteworthy that the EP showcased three songs from the back half of Highly Refined Pirates rather than the album’s live staples and fan favorites from side A. Whatever the combination of factors at play, “YAR!” took on a life of its own and was ultimately re-packaged in a jewel case and sold as a proper EP in 2004 in the wake of Highly Refined Pirates’ success. And now in 2026, it’s getting its first proper release on vinyl.

Opening with the driving beat, chirping guitars, and funky low-end of “Spritz!!! Spritz!!!,” Bands Like It When You Yell “YAR!” At Them quickly cements Minus the Bear’s foundation of sophisticated revelry, a spirit further emphasized in the Highly Refined Pirates title choice. Part of the Bear’s lore involves them playing their first show three days after 9/11, and just as New York City’s indie rock scene took a sharp turn towards nightclub debauchery and a rejection of ‘90s rock’s dour fatalism in the wake of the World Trade Center tragedy, so did the Bear turn away from the Seattle’s scene’s penchant for gloom and angst towards a cerebral after-hours pop sound. The inclusion of “Women We Haven’t Met Yet” helped elevate what could have otherwise been seen as an album deep cut into a lead track. The fact that these first two songs essentially served as preview singles over future Pirates hits like “Monkey!!!Knife!!!Fight!!!” and “Absinthe Party At The Fly Honey Warehouse” speaks to the high quality of every song the band cranked out in their early years. The EP’s exclusive track “Drop It Like It’s Hot” presaged Snoop Dogg’s mega-hit single of the same name by two years, but whereas Snoop leaned into restrained minimalism, the Bear unleashes some of their fiercest work here, building off of interwoven riffs and electronic layers to a climax of stabbing guitars and hollered vocals. Much like Nirvana’s Hormoaning EP, Minus the Bear’s Bands Like It When You Yell “YAR!” At Them was initially more of a marketing gimmick than a proper release, but given the popularity of the pivotal studio albums that stemmed from the same recording sessions, these extended plays serve as compelling companion pieces that have earned a special spot in their respective fanbases’ hearts. Suicide Squeeze is proud to offer Bands Like It When You Yell “YAR!” At Them on vinyl on September 18, 2026, nearly 25 years after the band’s first show.

Remastered for vinyl by Bernie Grundman with lacquers cut at 45rpm, this limited edition pressing of 1000 copies on Puget Sound-colored vinyl helps document and preserve the exciting early years of one of American indie rock’s most beloved acts.

Remastered limited edition double vinyl with double-sided screenprinted poster-cover (sleeve folds out to be one huge poster). A real collectors item!

When Off Off came out around June 1984, one couldn’t speak of an independent music scene in Portugal. Warm Records’ vague existence didn’t have any impact and Dansa do Som’s inaugural release appeared only in December. 10 years after the revolution, after two IMF interventions, a lot of political instability (not to say turmoil, in the first couple of years) and the natural excesses of a sudden burst of freedom, the Portuguese consumer had more choices but a generally poor standard of living. There was no entrepreneurial culture and serious second thoughts about investing private money in risky ventures.

After many complaints about the whole music scene (institutions, critics and record label executives, popular and classical music alike), something that would continue well beyond the end of the decade, Telectu decided to finance, record, produce, release and sell an album with complete independence from outside structures. Their karmic reward was profit. According to Vítor Rua, Off Off was the only album fully payed by the duo and the only one that really payed off. Not an easy accomplishment for a double LP housed in a large (also double-sided) screenprint with complicated cuts and folds. The artwork was conceived by António Palolo, a friend and multidisciplinary artist. It was based on a collage of heavily saturated and xeroxed polaroids framed in shocking pink and green. Palolo was considered the third member of Telectu, regularly producing slides, video and other visual support for their shows. The inspiration for the type of cover came from GRM’s Gramme series.

Off Off is divided in four distinct sides, each one corresponding to a “theme” or “function” related to Telectu’s manifold artistic interests and interactions. The titles are also gateways to influences and a small portion of Portuguese cultural life:

- Side 1 / “Diagonale” is dedicated to Egídio Álvaro, art critic and gallery director (he opened Diagonale in Paris). Performance art was arguably his main artistic concern over the years, so the music on this side is suggested for use by one or more performers in live or playback situations. The three tracks segue into each other, linked by a synth arpeggio much in the same way as Telectu’s previous “Belzebu” álbum (1983);

- Side 2 / “Anarké” is dedicated to the composer Filipe Pires, one of Jorge Lima Barreto’s recurring invocations when asked about worthwhile contemporary music in Portugal. It is subtitled “concert music”, proposing «a new form of listening». Three tracks also, and these are separated by “clap interludes”, which basically consisted in the following: JLB and VR each had a pair of headphones on, and they clapped their hands according to the rhythm of the music each one was listening. Both musicians were interacting with a different Steve Reich piece: Vítor with “Music for Mallet Instruments”, Jorge with “Six Pianos”. The result is disjointed clapping, an awkwardly deliberate celebration of their own music. Telectu applauded themselves.

- Side 3 / “Cornucópia” is subtitled “music for theatre” and dedicated to Luís Miguel Cintra and Luís Lima Barreto (JLB’s brother), both connected to the Cornucópia theatre company. The side consists of several short pieces previously used as interludes in the Cornucópia staging of “Mariana Espera Casamento” (1983). Field recordings, mood pieces, ambience and a numeric poem (“Soneto Soma 14x”, by E.M. de Melo e Castro) read by João Perry, a quite well-known stage actor. His voice is treated with a flanger effect;

- Side 4 / “Palolo” is “video music”. It’s a one-take mix recorded from cassette sources (Telectu studio experiences) and done live while watching António Palolo’s Om film (1978) projected on the living room wall. It’s a deep, immersive, quasi-mystical 20-minute piece perfectly suiting the meditative, abstract, fluid images created by Palolo by mixing paint and water inside a bathtub. One imagines the Cosmos, hardly suspecting the technique. The film is 90 minutes long, so the music on the LP is of course edited.

The six titles on sides 1 and 2 evoke demons, all of them with conflicting symbolism, since it varies from culture to culture, religion to religion. No explanation is given and Vítor Rua has no idea where this imagery comes from. During virtually the whole stretch of the 1980s, Jorge was the one in charge of titles and concepts, and Vítor didn’t bother too much even reading the liner notes :) In any case, when you synchronize the listening experience with the imagery, a powerful impression emerges, a feeling of being in the presence of these entities while placing yourself inside the sonic narrative.

Off Off is undoubtedly a seminal album in the history of electronic music, as much Heldon as Fripp & Eno, jazz and American minimalism, cosmic out-thereness, mantric miniatures. Telectu at the height of their powers, still very early on, delivering an album-manifesto advocating intermedia art and the fierce independence of Portuguese musicians «from the scum of capitalist music industry monopolies. It’s a path to follow, albeit one that requires enduring hardships and retaliation from music industry gangsters.» Despite a few journalists deemed «capable of being free», the media are «enslaved by the dominant and fascist imbecility of the speculators of light music.» Off Off is addressed to those journalists «and to an audience angry at the cultural misery imposed upon us ..., certain that this music will open new horizons of musical pleasure in the conception of Portuguese avant-garde music, and in the open consciousness of us all. OFF OFF repeats Freedom.»

Those two words are a direct lift from Alberto Arbasino’s 1968 book Off Off, the basis of which is a critical analysis of Theodor Adorno’s and Dwight MacDonald’s ideas concerning the stratification of culture in different levels (high, mid and low) and the pervasiveness of mass culture in the form of a culture industry. In very simplistic terms, and that is precisely the point that inspired Jorge, Arbasino argued that it was possible and desirable to effect a revolution from below, cultivating alternative circuits completely cut-off from what he termed the in-in reality. Telectu’s record was a deliberate demonstration that it could be done, displaying Freedom in the face of all the gatekeepers and other human obstacles.

The studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio's members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara "Ish" Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals.

After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group's collective intuition to fully shape the melodies and arcs of the music.

The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey.
Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition.
Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. It is the culmination of an emotional and artistic release that was not afforded or recognized before the band sat at their instruments, and because of that it is introspective, meditative, spiritual, and new.

Issued on Crystal Clear vinyl is Max Richter’s emotive and minimal score to Damon Lindelof’s TV series about a post-apocalyptic global event where 2%

of the world’s population disappears without explanation. Richter’s approach explores the feelings of the protagonist’s family, the Garveys, through intimate,

small scale music. He tackles this psychological landscape by bringing a ritual quality to the score, while themes of departure and loss are represented by

a sense of sonic decay, relying on the instrumentation of a few sustained tones on pianos, harps and celesta.

Max Richter is a classically trained composer that defies boundaries. Trained at the Royal Academy of Music and finishing his studies under the tutelage

of avant-garde composer Luciano Berio in Florence, Richter’s career has followed many paths. His musical output ranges from ballets

(Wayne MacGregor’s Infra), reinventions of classical works (Vivaldi’s Four Seasons), collaborations with The Future Sound Of London, Roni Size and

Vashti Bunyan to writing scores for film and TV (Waltz With Bashir, Lost and Found, Last Days on Mars) and solo work.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

Clear Vinyl


Her sound remains vast and yearning, with gut-punch drums pushing through explosions of colored powder; her voice is a chrome-plated sigh, and her agile melodies soar effortlessly. - Pitchfork *BEST NEW MUSIC*
she achieves some serious cinematic grandeur. - Stereogum
Simply too sublimely crafted to ignore. - Consequence of Sound
A catchy ethereal piece of pop - Brooklyn Vegan
Rose's layered, reverb-laden vocals hit like waves of sunlight, warming her lines almost to the point of wordlessness. - Paste Magazine


"Hila. A record about loss. What persists beyond the range of ordinary perception? The place mourning keeps returning to - not quite transcendence, not quite doubt. The edge of what we can see."
Frankie Rose has spent fifteen years building one of the most quietly distinctive bodies of work in American independent music. Bursting out of the shackles of her legacy on 2024's Love As Projection, 2026's Hila builds on the muscular, dance-ready songwriting and transcendent melodies to result on Rose's most exploratory and affecting record of her career. Imbued with yearning melodies and brooding post-punk dynamics, Hila is Frankie Rose at her most impressionistic and expansive.

Self-produced at her home studio featuring collaborations with drummer Justin Welch (Elastica/Lush), Hila was recorded following extensive touring with The Jesus & Mary Chain and Swervedriver. The result is the most confident, searching music Rose has produced; muscular in its production yet emotionally vulnerable in its diffracted neon glow. A record informed by loss and the way grief mutates our senses, it's fitting that Rose channels the nuanced darkness of later Coil, at times the pounding EBM-production of Skinny Puppy and the near-spiritual alien-ness of Cocteau Twins. On Hila, the doors of perception are constantly melting, revealing the porous nature of the seen and unseen. The result is a synesthesia that flips the senses.

If Love As Projection was an outward-looking record looking to embrace the world, Hila brings the dark cosmos into inner space. Rose's love for 80s production and soaring melodies remain, they're cornerstones to her craft after all, but there's something more assured and gothic underneath the massive waves of sound. Opener Olo shimmers into a pulsating, cinematic brooder, Rose's vocal transcending and swan diving between registers in the chorus breakdowns. First single Cant Be Wrong serves as a transition from the optimistic pop of Rose's previous album, introducing a thumping 80s funk rhythm track under the soaring vocal performance. The ebullient Shadow Twin is that song's sibling, recalling major label-era Strawberry Switchblade melancholy mixed with Robin Guthrie's twinkling guitar work.

Hila blossoms darkly from here on in, blowing out into a glacial wide-screen sonic dynamic. On Rainman and the title track the listener is transported to a rain-soaked, nocturnal cityscape ridden with desire, moonlight cutting through blinds, intoxicating chasms without bounds. Rose's use of saxophone and digital synthesis recalls the nightmusic of Hats-era Blue Nile or the more ambient end of Emeralds' catalog. Indeed, in the towering synthetic cello sounds that climb into the mind on Hila, there's a distinct flavour of the instrumentals on Bowie's Low. This is musick to play in the dark, to light the way a little, just enough to trick the senses.
Leading into the strobe-filled haze, single Manifest pounds forward with a massive Industrial 4/4 beat and post-punk/goth musicality, an exercise in unlit ecstasy. For Best Of Times, the liberal saxophone passages feel like a suppressed, 80s Michael Mann soundtrack with Frankie Rose's effortless, melodic vocal performance probing, searching for connection. Navigating through the dry, iced landscape into a rising sun, closer Velvet Refrain flips the melancholy of the preceding passages. With a massive sound dripping with harmony, the clanging guitar and vocal duet feels they're sound-tracking an unexpected happy ending after bouts of darkness."

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

Two years after his breakthrough debut Drifter established him as one of the most authentic new voices in modern blues, Jovin Webb returns with Son of a Sinner, a raw and powerful follow-up on Blind Pig Records. Produced once again by multi-Grammy winner Tom Hambridge and recorded in Nashville, the 11-track collection finds the Baton Rouge native digging deeper into his Southern roots, where swampy blues, gospel fire, and gritty Southern rock collide. Across songs of temptation, consequence, and hard-won redemption, Webb confronts his past, owns his vices, and reaches for salvation even when he knows he might fall short—capturing the tension between Saturday night and Sunday morning. Son of a Sinner is Jovin Webb at his most revealing: blues music that doesn’t just tell the stories, but lives them.

Following the “immaculate and eternal soul” (The Guardian) of The Indications’ 2019 album, American Love Call, Private Space unlocks the door to a wider range of sounds, boldly launching the band into a world of synthy modern soul and disco beats dotted with strings. Anchored by the high-low harmonies of Aaron Frazer (drums/vocals) and Durand Jones (vocals), and rounded out by Blake Rhein (guitar), Steve Okonski (keys), and Mike Montgomery (bass), The Indications are true masters at melding revival sounds with a modern attitude. The ten tracks across Private Space provide for both an escapist fantasy and a much-needed recentering after a tumultuous 2020.In conjunction with today’s announcement, they share Private Space’s lead single/video “Witchoo.” Reflective of the track’s vibrant, playful energy, the Weird Life-directed video features the five band members and close friends, transitioning from a live performance 
to an electric backstage soirée.“At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me,” says Jones. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness. From an Indiana basement (where the band recorded their 2016 self-titled debut LP as college students), The Indications have catapulted into the soul limelight and an international stage. Following their sophomore album American Love Call
 — a dreamy but pensive record of big string arrangements and sweet soul stylings — The Indications became revered by vintage music fans, the lowrider community and late-night television.

Formed in New York City in 1993 around singer, guitarist and songwriter Chris Leo, the band emerged from the same fertile underground scene that gave rise to many of the most influential post-hardcore, indie rock and emo acts of the decade. Yet while many of their contemporaries went on to achieve wider recognition, The Van Pelt chose a different path: one built on artistic independence, restless experimentation and a stubborn refusal to fit comfortably into any scene or trend.
Across two landmark albums — Stealing From Our Favorite Thieves (1996) and Sultans Of Sentiment (1997) — The Van Pelt developed a singular language that combined intricate guitar interplay, spoken-word intensity, literary lyrics and emotional depth. Their music occupied a unique space between post-hardcore urgency, indie rock invention and the introspective sensibility that would later become associated with emo, influencing generations of musicians while remaining largely outside the spotlight.
After disbanding in 1997, the band's reputation continued to grow. What began as a well-kept secret among underground music fans gradually became a touchstone for listeners searching beyond the obvious narratives of 1990s alternative rock. Reunions in 2009 and 2014, the release of the long-lost Imaginary Third, and a series of acclaimed live performances introduced their music to a new audience while reaffirming their enduring relevance.
In 2023, The Van Pelt returned with Artisans & Merchants, their first collection of new material in more than twenty-five years. Rather than revisiting old formulas, the album expanded the band's sonic vocabulary while preserving the qualities that made them unique: curiosity, intelligence, vulnerability and an unwavering commitment to following their own instincts.
Now, more than three decades after their formation, The Van Pelt are set to return in 2026 with Remain Obscure, their fifth studio album. Continuing their tradition of defying expectations, the record pushes beyond the familiar boundaries of the band's sound while embracing the same spirit that has defined them from the beginning. A band whose influence has consistently exceeded its visibility, The Van Pelt remain one of independent music's most enduring and rewarding secrets.

With Random Constraint Satisfaction Problems, the ever elusive and shape-shifting Thomas Bush offers up a new album of category scrambling song craft. Since earlier solo efforts like Old And Red (2018), Preludes (2022) and The Next 60 Years (2024), Bush—currently based in Malmö—has traced a digressive path that has proven him capable of everything from murky wobbling dirges to uptight head-bopping laments to crystalline synth chords that hang precariously in the air over your new favourite bass line. Like its title, the album's songs/tunes/opportunities for pleasure offer the listener further evidence of a sensibility that is equal parts ambiguity and clarity.

In addition to his solo work, Bush has worked with a range of collaborators in one-off configurations and longer term projects like RAP (with Guy Gormley) and cATHOLIC CHURGH (with Jon Auman). Critical responses to Bush's output have often focused on his predilection for certain folk-ish impulses and instrumentation, but, judging from releases like 2026's guld, his definition of "folk music" seems to have as much to do with A Guy Called Gerald as it does with Shirley Collins or John Martyn.

For all of its diversity, what unites Bush's ever-expanding body of work is its dual commitment to experimentation and a job well done.

“Random Constraint Satisfaction Problems was recorded at Vista Studio 1, Malmö between 2022 and 2025. After creating an account at academia.edu for the purpose of reading a text now forgotten, I began to get emails asking me questions such as ‘Thomas Bush, did you write “Brucellosis and Sacroiliitis: A Common Presentation of an Uncommon Pathogen”?’ or ‘Are you the Thomas Bush who wrote “ATR-dependent phosphorylation of FANCA on serine 1449 after DNA damage is important for FA pathway function”?’, which began to make me wonder if I was, or if not, perhaps I should.

The resulting work is an attempt to find meaning in this, and other chaotic and ambiguous situations through analysis using materials and equipment available to hand. Being sensitive to signs and following them with enthusiasm. Both the source material and evaluation is presented.”

Brazilian artist Rubel isn’t one to be pigeonholed and typecast into staying in one sound. Casas, the follow-up to his debut album Pearl from 2015, brought a bigger, more epic, and richer production quality to the table. Fusing the worlds of MPB and hip hop, Rubel’s sophomore LP built on the momentum of its predecessor, gaining a Latin-Grammy nomination along the way. Mr Bongo is proud to be giving Casas its first worldwide release on vinyl and CD outside of Brazil and Japan.

The cliché they say is that the second album is always the trickiest; however, Rubel doesn’t seem to have had any problems on Casas. It’s a fountain of creativity and originality, marking an artist in full flow.

Conceived after Rubel spent six months living in Los Angeles, Casas is MPB-leaning at its core but is also driven by a hip hop inspired pulse. There is a clear influence from hip hop’s aesthetic across the 2010s woven subtly but fundamentally throughout. Nods to Frank Ocean, Kendrick Lamar and Tyler, The Creator can be heard across an album full of playful edge and personality. Luscious string-led arrangements and tracks that explore the rich folkloric rhythms of Brazil, sit next to songs with low-fi drum machines and features from acclaimed Brazilian rappers.

One of the highlights of the album, ‘Mantra’, starts with a traditional Brazilian rhythm that morphs into a hazy hip hop beat. A sublime song with a hooky call and response chorus, it features a guest appearance and verse by the Brazilian MC Emicida. Another highlight is the epic ‘Colégio’ (College) which further showcases the melding of stripped back drum machine beats with cinematic, sweeping arrangements. Elsewhere, ‘Partilhar’ is a swaying, heartwarming hug. A tale of longing and love that has become a singalong fan favourite at Rubel’s concerts.

Casas also shines a light on a string of key players in Brazil’s new vanguard, such as Pedro Fonte, Gus Levy, and Brazilian rapper / poet Rincon Sapiência to name a handful. The record has pop sensibilities yet also feels underground. It beats with the heart of a singer-songwriter, a feeling that was felt so strongly on Pearl, yet this time is bolstered by a level of arrangement and richness of sound that take it to another dimension - soaring horn and string sections elevating the songs from home recording to stadium-ready anthems. Keeping that intrinsic beauty and simplicity of a well-constructed song yet reframing it within a pop context is the true gift of this album.

Casas cemented Rubel’s status as one of Brazil’s leading contemporary talents and a key figure enriching the country’s already effervescent scene.

Four years after Les Mystères de Lorient, Il Est Vilaine returns with Best Service, a rich and cosmopolitan album that broadens horizons in a bleak era.
Twelve tracks and interludes crafted with the aesthetic the duo has been refining since its inception: a blend of analog electronics, techno, vintage rock, and synth-pop.
Tailor-made atmospheres, oscillating between raw energy, groove, and dark romanticism, provide perfect spaces for unexpected guests.

For years, EYRE LLEW were defined by motion.

Cities blurred into one another. Borders became routine. Airports, night drives, ferry ports, backstage rooms, festival fields, hotel corridors, and long-distance journeys stitched together into a single continuous life of movement. Success, such as it existed, was measured in miles travelled, crowds gathered, and momentum sustained. The band moved because they had to. Because stopping felt like failure. Because “making it” always seemed to live somewhere just ahead.

Then the world stopped.

Lockdown didn’t just interrupt EYRE LLEW’s trajectory; it dismantled it. The relentless forward motion that had shaped their identity for over a decade disappeared overnight. Tours vanished. Plans dissolved. The infrastructure of their lives as musicians collapsed into silence. For a band built on movement, it felt devastating.

Written across lockdown and the years that followed, the album is not a record about absence; it’s a record about presence. About love that feels like home. About stillness as strength. About devotion without spectacle. About grief without melodrama. About healing without performative optimism. About growth that doesn’t announce itself loudly, but happens slowly, privately, and honestly.

After years of movement, it is EYRE LLEW learning how to stand still and discovering that this is where the real growth starts.

For years, EYRE LLEW were defined by motion.

Cities blurred into one another. Borders became routine. Airports, night drives, ferry ports, backstage rooms, festival fields, hotel corridors, and long-distance journeys stitched together into a single continuous life of movement. Success, such as it existed, was measured in miles travelled, crowds gathered, and momentum sustained. The band moved because they had to. Because stopping felt like failure. Because “making it” always seemed to live somewhere just ahead.

Then the world stopped.

Lockdown didn’t just interrupt EYRE LLEW’s trajectory; it dismantled it. The relentless forward motion that had shaped their identity for over a decade disappeared overnight. Tours vanished. Plans dissolved. The infrastructure of their lives as musicians collapsed into silence. For a band built on movement, it felt devastating.

Written across lockdown and the years that followed, the album is not a record about absence; it’s a record about presence. About love that feels like home. About stillness as strength. About devotion without spectacle. About grief without melodrama. About healing without performative optimism. About growth that doesn’t announce itself loudly, but happens slowly, privately, and honestly.

After years of movement, it is EYRE LLEW learning how to stand still and discovering that this is where the real growth starts.

In 2026 viert Eva De Roovere het 20-jarig bestaan van “De Jager”. Ze trekt er op uit en speelt haar succesalbum integraal. Met klassiekers als “Fantastig Toch” (35 miljoen streams !), “Laat Me Je Lied Zijn” en “De Jager” wordt deze concertreeks vanaf het najaar een groot feest van herkenning en vernieuwing, met als kern: liefde voor muziek én publiek.

Want wat is er mooier dan de 20ste verjaardag van een album vieren met… een nieuw album? ‘Sluit De Nacht’ (productie Koen Gisen) wordt een eigentijdse mix van levenslied en liefdeslied: een ode aan poëzie, melodie en ritme. Een zoektocht naar verbinding en troost in deze woelige tijden. Eigen werk en ook straffe songs geleverd door of samen geschreven met Gert Bettens, Rick De Leeuw, Dirk Blanchart, Sabine Tiels, Wouter Berlaen, Lennaert Maes, Vincent Pierins… Ingespeeld door Eva zelf en Ward Dhoore: gitaren, Eva Hautekiet: akoestische en electrische piano, Philippe Thuriot: accordeon & bandoneon, Lara Rosseel: contrabas en Kobe Proesmans: percussie & drums.

ENG

In 2026, Eva De Roovere will celebrate the 20th anniversary of “De Jager.” She’s hitting the road to perform her hit album in its entirety. Featuring classics like “Fantastig Toch” (35 million streams!), “Laat Me Je Lied Z?n,” and “De Jager,” this concert series starting this fall will be a grand celebration of familiarity and renewal, centered on a love for music and the audience.

After all, what could be better than celebrating an album’s 20th anniversary with… a new album? “Sluit De Nacht” (produced by Koen Gisen) is a contemporary blend of life songs and love songs: an ode to poetry, melody, and rhythm. A search for connection and comfort in these turbulent times. Original material as well as powerful songs written by or in collaboration with Gert Bettens, Rick De Leeuw, Dirk Blanchart, Sabine Tiels, Wouter Berlaen, Lennaert Maes, Vincent Pierins… performed by Eva herself and Ward Dhoore: guitars; Eva Hautekiet: acoustic and electric piano; Philippe Thuriot: accordion & bandoneon; Lara Rosseel: double bass; and Kobe Proesmans: percussion & drums.

Two years after their debut, hijss are back with a self-titled second album. Synth-punk crashes headfirst into industrial krautrock and no wave. Throbbing basslines, blown-out fuzz guitars, and relentless drums, drive the whole thing forward without mercy - topped off with synth arpeggios to make sure you won't stand still.

Yellow Vinyl, limited to 350 copies. Two years after their debut, hijss are back with a self-titled second album. Synth-punk crashes headfirst into industrial krautrock and no wave. Throbbing basslines, blown-out fuzz guitars, and relentless drums, drive the whole thing forward without mercy - topped off with synth arpeggios to make sure you won't stand still.

Eero Koivistoinen's debut album reissued in July Eero Koivistoinen is a wide-ranging composer and a talented musician – one of the all-time greats of the Finnish jazz. In 1965 Koivistoinen founded a trio that played avant-garde and fusion jazz together with Pekka Sarmanto and Edward Vesala. In 1967–68 he was a member of Blues Section – a group that is regarded as the first progressive rock band in Finland. Valtakunta (“Kingdom”) was originally released in 1968 and is Eero Koivistoinen’s first jazz LP. The songs of the album are based on the lyrics written by Finnish poets Pentti Saarikoski, Tuomas Anhava, Hannu Mäkelä and Jarkko Laine. The vocalists are Eero Raittinen, Seija Simola, Vesa-Matti Loiri and Koivistoinen himself. He also plays the tenor saxophone, piano and vibraphone, and is joined by a vast selection of legendary Finnish musicians, including Seppo "Baron" Paakkunainen, Pekka Sarmanto, Ronnie Österberg, Hasse Walli, Juhani Aaltonen, Antero Jakoila, Kaj Backlund, Esa Pethman, and Reino Laine among many others. All compositions are by Koivistoinen. The album reflects well the forthcoming compositional repertoire of Koivistoinen with its wide style spectrum. Valtakunta was reissued on vinyl in 2016 via Svart and the pressing quickly found a new home on the turntables of record collectors worldwide. After ten years, it's time to bring back this quintessential piece of Finnish psychedelia, avant-garde, free jazz, and progressive rock on wax and CD again.

Spiral code is the second album released on An’archives by the Japanese trio archeus, after 2023’s Kusōzu: Nine Death Stages, and their seventh release altogether. It’s also the most staggering evidence yet of the single-minded pursuit of group-sound explored by Keiko Higuchi (voice, drums, percussion, trombone), Shizuo Uchida (4 strings), and TOMO (hurdy gurdy). For two tracks, “awakening, beyond recurrence” and “where points and lines intersect”, they’re joined by Kiyotaka Moriuchi, an improviser who’s played with the likes of Shoko Numao and Ensemble Shippolly, on percussion and darbuka (a goblet-shaped drum played widely across South East Asia).

Always able to scour magic from both their relationships with their instruments, and their non-idiomatic interplay, on spiral code they’ve widened their net further; the results oscillate from humid and claustrophobic blocks of noise to rivulets of tone coursing across post-volcanic landscapes, and on into simple gestures suspended in arctic space. Spiral code was recorded in a single day, on March 20 th 2025, at a studio in Koenji, Tokyo, the morning session with the original trio, and afternoon and evening session with Moriuchi – the first time archeus have played with a guest musician.

When asked about the music archeus makes together, TOMO is quick to isolate the singular characteristics of their collaboration: “we are trying to explore some new, unknown musical vocabulary every time we play. And what we are trying to achieve from every session is something unique, an interesting chemistry or, I should say, alchemical reaction among the three of us.” You can certainly hear that alchemy in the dynamic arc of their performances, the way they seem to be able to switch on a dime and push the music into unexpected terrain, all while sounding intimately archeus. “We have been playing for many years,” TOMO continues, “so I think that among three of us, we can telepathically sense, feel and understand what each of us is trying to express while we are playing.” It’s telling that guest musician Moriuchi fits so effortlessly into the archeus soundworld, able to hitch a ride on the intimate telepathy of Higuchi, Shizuo and TOMO; “I think he gave us some fresh air to our music,” the latter smiles. But that telepathy extends, even, to the name of the album itself, with all members pointing toward spiral imagery when naming the title track, whether TOMO’s evocation of Kundalini serpent imagery and Caduceus, to the spiral shape of DNA, what TOMO calls “the code of life.” It’s certainly deeply entwined music: spiral code is a helix of sound, a cylindrical coiling of possibility.