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Unit Nine is a The Hague-based musical collective weaving together soulful melancholy, minimalist composition and soft grooves. Their debut album, Disaster Jester, will be released digitally and on 12?? vinyl on The Hague imprint PIP Records on November 14th, 2025, celebrated with a release show at Paard, Den Haag. The album was recorded under guidance of renowned producer Tijmen van Wageningen, at The Womb Studio. Disaster Jester revolves around the archetype of the jester, the trickster who embodies both chaos and wisdom, humour and tragedy. Across the album, music video and cover artwork, he appears as a clown in a shadowy crime narrative and as a weary detective who eventually dons the fool?s hat himself. The image becomes a mirror for the artist: observing, stumbling, laughing & fooling. The track ?Afgesproken Plek? features rap artists KC and MC Lost, who provided an imaginary crime skit playing on the detective persona central in the story telling of the album. While their universal and timeless sound could travel anywhere, there?s something distinctly The Hague about Unit Nine; a mix of irony, unpolished charm, and understated design sensibility. Their city?s blend of rough edges and refined aesthetics runs through their work and places the debut album within a historical tapestry of not-so-mainstream culture and art that the sea town is known to embody.

Alex Caballero, also known as Doctrina Natura (Seville, Spain), is known for his organic, nature-inspired sound, and this remix follows that style closely. It exists alongside my original track, like two versions in different universes with the same purpose.

In his version, the focus is on punchy, tight drums that give a 90s feel. The track starts dark and moody, then gradually builds into a more intense and powerful climax, keeping its natural and immersive vibe throughout.

This is the second time Alex has remixed one of my tracks. The first collaboration dates back to 2019 on Edgar’s Nferee. While my own sound has changed significantly since then, Alex has remained true to his distinctive style, steadily raising the quality of his work.

2026 Repress

In our era of post-truth & questioned realities, tin foil hatted folk project their insecurities onto the puppet masters, those holding the strings to us all, the endless psy-op at play. For those opting for psychedelic enlightenment over psychological terror, we find solace in the dance, especially when the music is from heads such as Jeku.

‘Peyote Trance’ follows the Helsinki based artists journey into the “trip”, where mother nature instead pulls the strings. A sound of trance often not followed, continuing the work of forebearers such as eXquisite CORpsE; where the zap of the synapses in the brain connect with the bubble & squeak of electronics. Creating a sound advanced by nature, yet resonating within the concrete walls us ravers know and love. All 4 tracks harness a kinetic energy that nudges you to ascendance, not desperately reaching for it like the heavy handed aesthetics of the genre can. Instead, the heads down motion of the music can take you there, and well, a little bit of Peyote might just help, as mother nature intended.

Friday Fuzz are a collec#ve of professional musicians now presen#ng “Much Funk About Nothing,”
an excellent piece of work with a retro flavor. With years of high-profile collabora#ons under their belts, Marco Leo, Cesare Pizze:, Elvin Be:, and Niccolò Barozzi have worked with some of the
greatest Italian musicians—including Tullio De Piscopo, Fabrizio Bosso, Paolo Tommelleri, Alessio
Bertallot, Rocco Hunt, Casinò Royale, and Aereoplani Italiani, just to name a few.
The album features a primarily instrumental sound that evokes 1970s funk and soundtracks. The
band is defined by its ability to create sonic atmospheres ranging from more sparse, introspec#ve
moments to rock and psychedelic horizons, always with funk as the common thread. The result is
“Much Funk About Nothing,” an album that represents the perfect synthesis of their sonic
explora#on and crea#vity.

HOT CASA RECORDS is very proud to present two fantastic songs from 2007 by the great singer DULCE NEVES for the first time on vinyl .


Born on January 28, 1960, in Mansoa, in the Oio region, in northern Guinea-Bissau, Dulce Neves is one of the greatest voices in Bissau-Guinean music. Coming from a family of musicians, she began her professional singing career at the age of 16. After the country gained independence on September 24, 1973, she became the pioneer among female vocalists to join the famous group Super Mama Djombo (whose name references the protective god of warriors), with whom she recorded several albums delivering sublime, politically engaged music blending Tina and gumbe styles.


After completing primary school in Bubaque (an island in the Bijagos archipelago), then secondary school at the Kwame Nkrumah national high school in Bissau, and secretarial courses in 1976, Dulce Neves spent ten years working at the National Bank of Guinea-Bissau, all while continuing to sing.


In 1980, she decided to return to her passions — singing and music — and launched a solo career. Four years later, she won the “Prix Calao,” followed in 1985 by the “President of Mali Prize.” It wasn’t until 1996 that Nha Destino arrived, her debut album with its afro-zouk-gumbe flavors, sung in Portuguese Creole. In 2000, Dulce Neves was appointed Ambassador of Modern Bissau-Guinean Music by President Kumba Yala.
In 2007, the album Mundo Rabiba was released, blending gumbe and afro-zouk — and it was a massive success, going gold that same year.

SCOTTISH TRUMPETER MALCOLM STRACHAN RETURNS WITH HIS MOST UPLIFTING AND GROOVE-DRIVEN ALBUM YET – “LOOK ON THE BRIGHT SIDE” On Look On The Bright Side, Malcolm Strachan sounds more open than ever. His third solo album moves effortlessly between soul-jazz, Latin grooves and Afrobeat touches, anchored by the warm, cinematic feel of 1970s jazz but driven by a clear sense of forward motion. Released on 22 May 2026 via Haggis Records, the album sees Strachan stepping further into his role as a composer and bandleader, drawing together the threads of a career spanning more than two decades at the heart of the UK’s jazz, funk and soul scene. Where his debut About Time (2020) channelled the spirit of classic Blue Note recordings and Point Of No Return (2023) leaned into the groove-heavy CTI era, Look On The Bright Side feels broader in scope – still rooted in groove, but more open to outside influences and a more consciously uplifting tone. “I wanted the music to feel upbeat and positive,” says Strachan. “I start at the piano, working through chord ideas until I find something that feels right. Once the harmony is there, the melodies tend to come naturally.” That approach gives the album its fluidity, with tracks evolving from feel as much as structure and arrangements that leave room for interplay and movement.

This collaborative album is characterized by the unique taste and qualities of Dutch producers Joop de Graaf (Y.O.P.E.) and Tommy van Leuken (AVVNT MM). Where Y.O.P.E. is known as a live project based on groove, improv and electronic music, AVVNT MM has mainly been known for his soothing ambient projects. With this album these two producers find eachother in perfect harmony. Scratch your brains with some perfectly balanced confusion.

Maria is the debut album from renowned Brazilian electric bassist and composer Moyses Dos Santos. A homecoming for the London-based artist, Moyses’ debut reconnects him with his North-Eastern roots while assembling an international cast of collaborators including legendary Brazilian arranger Arthur Verocai, US trumpet sensation Theo Croker and London-based vocal star Lynda Dawn.

After relocating from Brazil to London in the early 2000s, Moyses dos Santos quickly became one of the capitals’ most in-demand players, sharing stages, studios, and writing credits with best-selling artists including Nile Rodgers, Janelle Monáe, Emile Sandé, Gregory Porter and Omar.

In 2022, Moyses toured with Brazilian jazz-funk legends Azymuth, completing the rhythm section alongside Brazilian drumming master Ivan "Mamão" Conti. "It felt like he was my wise Brazilian grandfather figure." Moyses recalls. "When you spend so many years working internationally, you unconsciously start to leave certain parts of yourself behind. Mamão encouraged me to reconnect with Brazilian music, and that's where this record really began."

Brazil’s North-east, where African, indigenous and European traditions collided and fused most intensely, produced a musical heritage unlike anything else on earth, Moyses dos Santos is a product of this syncretism. On Maria, named after his mother, Moyses brings the musical vocabularies of his youth to the fore. From the soul of the church band where he began to learn his trade as a musician, to the rolling batucadas – maractus, baiaos, sambas and frevos – which he played throughout his teenage years.

Drawing on the lineage of North American electric bass giants like George Duke, Jaco Pastorius, and Stanley Clarke, Moyses runs Brazilian musical traditions through jazz, funk, soul and disco: his sound charged with the cosmopolitan energy of London's contemporary jazz scene.

Lead single and album opener “Boa Viagem’ is joyous, carnivalesque dancefloor jazz: a timeless groove for the nightclub and street party alike. Calling directly to a higher power “Brazilian Spirit” is an astral-jazz phenomenon, featuring the transcendent trumpet playing of Grammy nominated Theo Croker. On “Saudade” Moyses calls upon iconic Brazilian maestro Arthur Verocai, whose signature string arrangements cascade around the divine vocals of ascendant London artist Lynda Dawn.

With impeccable style, charisma, warmth and virtuosity, Moyses steps forward with his stunning debut Maria: out on vinyl, LP, CD and digitally on the 12th June 2026.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

Steve Bug and Pornbugs team up on Behind The Glass / On The Swing with remixes from Mihai Popoviciu and Markus Homm.

Unsung House hero, Steve Bug has been there and done it all. Arguably Germany’s most important pioneer, his label Poker Flat has been an epoch-defining imprint. Celebrating 20 years of Bondage Pornbugs are mixing in different circles with recent releases for Selador and Acker Dub, showcasing their crossover appeal with a new generation of DJs.

Opening with ‘On The Swing’ we are delighted by classic deep vibes with a modern twist. Grooevsome and warm, this will get the floor going anywhere in the world. On remix duties, Mihai Popoviciu drops his trademark style, smoothing out the bumps for a deeper ride.

Next up, ‘Behind The Glass’ takes a similar path. Soulful warmth exudes from the speakers as the bumpy bass and echoing keys mark time. Reaching a crescendo with muted acid undertones in the second half keeps attention high and the dancefloor full and happy. For his remix, Markus Homm takes it deeper with shades of Detroit. Liquid cool for the later floors.

A decade has now passed since French-Algerian collective Acid Arab (a studio and live outfit helmed by producers Guido Minisky and Hervo Calvalho) wowed the world with their debut album Musique De France. Since, they've delivered two more albums, both of which take different approaches to fusing electronic beats and instrumentation with North African and Middle Eastern sounds and vocals. Resonance, their fourth full-length, sees them return to the raw, analogue-rich and bass-heavy club sounds that marked out their formative years at the turn of the 2010s - all heady Arabic vocals, traditional instrumentation, moody grooves, twisted acid lines and knowing nods to everything from acid house, new beat and EDM to industrial funk, dark new-wave throbbers, and the mid-tempo psychedelic pulse of new beat.

We can't resist the carefully fused and treated sounds of The Reflex who shows his class again here with more multitrack remixes that bring vintage grooves bang up top dates without stripping them of their seasoned charms. 'Cherry Dub' is packed with big riffs and well known vocal-hooks but is dubbed out top perfection with screeching guitar solos destined to send dancers wild. The flip side is a more warm and breezy roller for sunny days and cocktail sessions, again with an iconic vocal and top line adding that familiarity that always unites dancers.

Restock

Chicago funk band Royal Flush release sonly one full length on their local Texas label Lucky and that was Hot Spot. They did so in 1980 before later reissuing it via GEC and although it isn't one of the most well known albums amongst funk heads, we think that is rather a crime because it is a top notch if not underrated album. It is couched in the traditions of the genre but with nods to styles like P-Funk. If you can find an OG copy you will have to shell out plenty of money and although this same label put out a CD version in 1994, it has not been reissued on vinyl before.

Limited Edition

Frenzy steps back into the warehouse fog for FRNZYREC012, marking the arrival of Mees Javois with the Eyes Without A Face EP. This six-track collection functions as a raw blueprint of the early hours, where the steady pulse of hardware meets a stripped-back, mechanical soul.

Already turning heads in the underground circuit, Mees brings a fresh yet timeless approach that feels equally suited to intimate basements and peak-time dance floors. His debut on Frenzy introduces an artist with a clear vision and a deep understanding of club music's darker edges.

FRNZYREC012 is a singular vision of the dancefloor, a deliberate sequence of sound that balances cold precision with a visceral human touch.



c A3: Mees Javois - Reflection Matrixxman Remix

Zeitgleich mit dem 40-jährigen Jubiläum der Band wurde Complete B Sides: 1988-97 von Pixies neu remastert und wird 25 Jahre nach seiner ursprünglichen CD-Veröffentlichung erneut herausgebracht. Das Album erscheint als Doppel-LP auf schwarzem Vinyl, als Doppel-LP auf klarem Vinyl sowie als Doppel-CD. Außerdem wird diese Veröffentlichung damit zum ersten Mal überhaupt auf Vinyl gepresst. Complete B Sides versammelt alle B-Seiten aus der klassischen 4AD-Ära der Band und enthält einige der besten "anderen" Songs der Pixies, darunter "Wave of Mutilation (UK Surf)", "Into The White" und "The Thing". Ursprünglich 2001 auf CD veröffentlicht, als sich die Band bereits seit fast einem Jahrzehnt in einer Pause befand, enthielt Complete B Sides: 1988-97 alle 19 Nicht-Single-Tracks aus der unglaublichen Reihe von Singles, die die Band zwischen 1988 und 1991 veröffentlichte. Zum Abschluss wurde die instrumentale Version von "Letter to Memphis" hinzugefügt, die zuvor nur auf der US-Version der Veröffentlichung der Alec Eiffel-Maxi-Single erschienen war. Da auf vier Vinylseiten Platz für mehr Musik vorhanden ist, enthält diese aktualisierte Version zusätzlich sechs Live-Tracks, die aus späteren Pixies-Veröffentlichungen stammen, darunter aus der 1997 erschienenen Neuauflage von Debaser. Für diese aktualisierte Edition wurden alle Titel von ihren ursprünglichen analogen Bändern von Kevin Vanbergen neu remastert. Das Ergebnis klingt erstaunlich frisch und vervollständigt zugleich seine umfangreiche Arbeit am gesamten Katalog der Band. Diese neue Vinyl-Edition fungiert außerdem als Begleitstück zur kürzlich erschienenen Compilation Live at the BBC. Designer Chris Bigg (v23) hat dafür ein eindrucksvolles neues Artwork geschaffen und dabei Fotos aus dem Archiv von Simon Larbalestier verwendet, die ursprünglich für die Pixies vorgesehen waren, später jedoch verworfen wurden. Beide arbeiteten seit vielen Jahren mit der Band zusammen und gestalteten beide Veröffentlichungen parallel, um an den verstorbenen visuellen Direktor der Band, Vaughan Oliver, zu erinnern und ihn zu ehren.

Im Februar 2026 erscheint zum zwanzigjährigen Jubiläum Hard to Love a Man" von Magnolia Electric Co. als erweiterte Edition und zum ersten Mal auf Vinyl. Diese Jubiläumsausgabe der ersten EP der Band enthält drei zusätzliche Tracks: remasterte Demos von 31 Seasons in the Minor Leagues" (zuvor unter dem Titel Tonight I'm So Down" bekannt) und Lonesome Valley", aufgenommen in den Echo Park Studios in Indiana während der Hard to Love a Man"-Sessions, sowie One Thin Dime", aufgenommen während der Black Ram"-Sessions in den Sound of Music Recording Studios in Richmond, Virginia. Working-Class-Rock" ist ein Begriff, der häufig zur Beschreibung von The Magnolia Electric Co. verwendet wurde. Kategorisch hatte sich die Band ihren Platz unter gleichgesinnten Ikonen wie Bob Seger, CCR, Tom Petty und Bruce Springsteen gesichert, doch es handelte sich nicht nur um eine ästhetische Beschreibung, sie untermauerten dies mit ihrer Arbeitsmoral. Im Jahr 2005 waren The Magnolia Electric Co. erstaunlicherweise acht Monate unterwegs. Diese Tatsache wurde den Bandmitgliedern selbst am deutlichsten bewusst, da sie so lange von ihrem Zuhause und ihren Liebsten getrennt waren. Daher die Bedeutung des Titeltracks. Wenn Jason Molina die Perspektive der Person einnimmt, die er zurückgelassen hat, und in Hard To Love A Man" singt: "It was hard to love a man like you / Goodbye was half the words you knew / While you were waiting for me not to call / I sent my love", dann wird die Einsamkeit und Schuld der Trennung schmerzlich deutlich. Jennie Benfords verletzliche Stimme, gepaart mit Jason Groths fließender Gitarre und Mike Kapinus' klagender Orgel, unterstreicht dieses Gefühl eindrucksvoll, unterlegt vom charakteristischen, präzisen und geschmackvollen Rhythmusfundament von Mark Rice und Pete Schreiner, während Nicole Evans eine neue, dynamische Stimme hinzufügt. Hard To Love A Man" und der Live-Favorit Werewolves Of London" wurden mit Steve Albini in seinen Electrical Audio Studios aufgenommen, die übrigen Tracks entstanden während eines kurzen fünftägigen Heimaufenthalts in Indiana bei Echo Park Studios mit Paul Mahern, dessen Engineering-Resume schon damals Projekte wie The Blake Babies, Lisa Germano und John Mellencamp umfasst. Während die Magnolien weiter wuchsen und erblühten, ließ Jason Molina die Insassen das Irrenhaus regieren.

39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlichte eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. LP als 180g Vinyl, Glanz-Cover & A2 Poster, CD als Digipack. Diese Version hier ist schwarzes Vinyl mit rot-orange-weiß Splatter (Lonesome Shadow Splatter)

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

2026's Brightest Hope Confirmed: “Kabutomushi”!
In their 7th year since debut, an unprecedented best album is released on CD, Cassette Tape, and LP!
Formed in 2019 as a music production team or conceptual four-piece rock band comprising a pianist, avant-garde composer, painter, and percussionist.
J-POP, hip-hop, new wave, prog rock, techno, house, free jazz, contemporary classical, folk music－all sublimated into an elusive avant-pop.
It could be called the 2020s reimagined version of Yura Yura Teikoku.

Who could have imagined that Ryo Fukui had left behind a recording like this? Captured on June 8, 1977, this previously unreleased live session was recorded at the Sapporo jazz club Vidro by Masataka Ito, the producer behind Fukui’s albums Scenery and Mellow Dream. It is unmistakably the Ryo Fukui Trio of that era, yet the performance possesses an overwhelming intensity and freshness that far surpass any studio recording—excitement in its purest form.

The 16-minute, searing performance of “Mellow Dream” is just the beginning. The propulsive energy of “Speak Low”, the beautifully woven lyricism of “Body & Soul,” the blistering drive of “Love For Sale”, the weighty depth of “Mr. P.C.”, and the crystalline fragility of “My Foolish Heart”—each track is delivered with feverish brilliance. It was this very live recording, excerpts of which were evaluated at the Trio Records headquarters at the time, that ultimately led to the production of Fukui’s second album Mellow Dream. In every sense, this is an extraordinarily precious document.

Ryo Fukui, the renowned pianist from Hokkaido who sadly passed away in 2016, has earned global recognition among jazz listeners through his highly praised early works Scenery and Mellow Dream. A Letter From Slowboat, recorded in 2015, marked his first leader album in sixteen years. The sessions took place at Slowboat his musical home together with two young musicians whose talent Fukui himself deeply trusted. The lyricism that seeps through “Sonora”, the poetic warmth enveloping “Stella By Starlight,” the vibrant energy coursing through “Speak Low” each performance is filled with life. His touch grew more forceful, his emotions more profound, his musical fragrance even more luxuriant.

Ryo Fukui, who passed away in 2016 after releasing only five albums, recorded this fourth work in 1999. Featuring bassist Lyle Atkinson and drummer Leroy Williams—the longtime rhythm section of Barry Harris this New York-recorded album captures the full appeal of Fukui as a bebop pianist. Centered around standards, the track selection, structure, and of course the performances all radiate intent and vitality. His assured and weighty touch, the firm yet elastic swing, and the emotion and lyricism that permeate his dynamic phrasing everything here conveys Fukui’s breath, will, and presence in vivid form. The re-performance of his signature piece “Mellow Dream” is also a welcome highlight.

Femo der ersten Stunde für den Tanzboden - ohne Kompromisse. Kaum ein Jahr lang aktiv und nie über das Delaware Valley hinausgekommen, brachten Eldritch Anisette eine 7"-Single heraus und spielten zwei Dutzend Konzerte, bevor sie aus dem Bandalter herauswuchsen und sechs Momente herzlicher Jugendlichkeit hinterließen, die die Welt neu entdecken kann. 30 Jahre nach ihrem seelenvollen Album ,Complete Fairytales" versammelt die Band ihre fast vergessenen Nick Rotundo Sessions auf einer einzigen LP mit beiliegendem Textblatt, damit man mit den Kids entspannt mitschreien kann.

Post-Hardcore nach Philly-Art. Unzufrieden mit dem metallischen Youth-Crew-Format, verfolgte Frail die wilde, lärmende Wut der Generation X gegen alles und jeden im rasanten Tempo von San Diego. ,No Indus Try" - die erste und einzige Vinyl-Compilation des Quintetts - enthält wichtige Singles für die Labels Yuletide, Bloodlink und Kidney Room sowie seltene Compilation-Tracks aus ihrer Zeit von 1993 bis 1995. Kommt mit 24-seitigen Zine, das die Band in Notizen, Zitaten, Fotos, Flyern und revolutionärer Literatur dokumentiert. Make Your Own Noise.

Time spent drifting from the northwest to Mexico to New Orleans and now to Montana has kept her off of the industry's radar until recently. Now, following her Newport Folk Fest appearance, she opened concerts for Big Thief and the Deslondes. Her performances on the Western AF have combined to garner over 200k views with the tastemaker site calling her "the GOAT." Cavazos' fans include Esther Rose, Benjamin Todd (Lost Dog Street Band), Riley Downing, Chris Acker, and Luke Bell. She collaborated as a member of a band (called Sundown) with Alynda Lee Segarra (of Hurray For the Riff Raff) and Sam Doores (of The Deslondes), the latter of whom produced this album.

Seit ihrer Gründung im Jahr 1988 bewegen sich The Telescopes in einer ganz eigenen Umlaufbahn. Vage zwischen Noise, Space Rock, Dream Pop und Psychedelia verortet, hat die Band um Stephen Lawrie ihre Klanggrenzen stets verschoben und sich konsequent jenseits etablierter Strömungen bewegt. Static Charge ist bereits das 19. Studioalbum der Gruppe und zugleich die achte Veröffentlichung bei Tapete Records - ein weiteres eindrucksvolles Kapitel ihrer rastlosen, genreübergreifenden Geschichte. Nach einer dreimonatigen Tour durch Großbritannien und Europa kehren The Telescopes mit einem kompakten, fokussierten Werk zurück. Sieben Songs, überwiegend live eingespielt, entfalten eine rohe, elektrisierte Energie: primitive Beats, Außenseiterklänge und tief vibrierende Frequenzen verbinden sich zu einem widerständigen Sound, der bewusst gegen die Absurditäten der Gegenwart arbeitet. Aufgenommen und produziert innerhalb von zwei Monaten im hauseigenen Butterfly House Studio in Shropshire, präsentiert sich Static Charge reduziert, direkt und kompromisslos. In der aktuellen Viererbesetzung bündeln The Telescopes ihre Kräfte zu einem Album, das zugleich wuchtig, hypnotisch und erstaunlich konzentriert wirkt - Musik, die nicht gefallen will, sondern nachhallt.

Seit ihrer Gründung im Jahr 1988 bewegen sich The Telescopes in einer ganz eigenen Umlaufbahn. Vage zwischen Noise, Space Rock, Dream Pop und Psychedelia verortet, hat die Band um Stephen Lawrie ihre Klanggrenzen stets verschoben und sich konsequent jenseits etablierter Strömungen bewegt. Static Charge ist bereits das 19. Studioalbum der Gruppe und zugleich die achte Veröffentlichung bei Tapete Records - ein weiteres eindrucksvolles Kapitel ihrer rastlosen, genreübergreifenden Geschichte. Nach einer dreimonatigen Tour durch Großbritannien und Europa kehren The Telescopes mit einem kompakten, fokussierten Werk zurück. Sieben Songs, überwiegend live eingespielt, entfalten eine rohe, elektrisierte Energie: primitive Beats, Außenseiterklänge und tief vibrierende Frequenzen verbinden sich zu einem widerständigen Sound, der bewusst gegen die Absurditäten der Gegenwart arbeitet. Aufgenommen und produziert innerhalb von zwei Monaten im hauseigenen Butterfly House Studio in Shropshire, präsentiert sich Static Charge reduziert, direkt und kompromisslos. In der aktuellen Viererbesetzung bündeln The Telescopes ihre Kräfte zu einem Album, das zugleich wuchtig, hypnotisch und erstaunlich konzentriert wirkt - Musik, die nicht gefallen will, sondern nachhallt.

On October 16, 2025, Synapson took over the Olympia for a sold-out anniversary concert, celebrating 15 years of their career. A symbolic night in an iconic venue, in front of a crowd that came to relive the tracks that shaped their journey.

Today, the duo unveils “15 ans à l’Olympia”, a live album recorded during this unique show, a vibrant testament to their stage energy and the evolution of their project.

,Shade Zero" ist das Debütalbum der Flötistin und Komponistin Taiga Ultan, das sich mit dem Verhältnis zwischen Freiheit und Regeln beim Musizieren auseinandersetzt. Anstatt Strukturen abzulehnen, schuf Ultan strenge, selbst auferlegte Systeme und missbrauchte und zerlegte diese dann bewusst. Das Werk basiert auf der Idee, dass Regeln niemals vollständig verschwinden; selbst in freien Spielformen entstehen sie oft stillschweigend und werden durch Gewohnheit gefestigt. Indem er Regeln explizit machte und gegen sie arbeitete, versuchte Ultan, über vertraute Klangwelten und überlieferte Annahmen über Freiheit hinauszugehen. Das Album entfaltet sich in drei miteinander verbundenen Sätzen, beginnend mit virtuosem, tonalem Flötenspiel, das in der klassischen Disziplin verwurzelt ist, sich zu erweiterten Flötentechniken ausdehnt und mit Poesie und persönlicher Reflexion endet. Aufgenommen, abgemischt und produziert von Randall Dunn, präsentiert ,Shade Zero" ein voll ausgearbeitetes künstlerisches Statement einer aufstrebenden Künstlerin mit umfassender klassischer Ausbildung, die heute im ländlichen Maine lebt und arbeitet und damit eine entscheidende Wende hin zu einer selbstdefinierten, prozessorientierten musikalischen Praxis markiert.

Wer ist Born At Midnite und warum sollte dich das interessieren? Born At Midnite sind keine gewöhnlichen Drag-and-Drop-Produzenten, sondern eine vertikal integrierte Songmaschine. Mit Samplern, künstlichen Drums, Tonbandgeräten und hauseigenem Artwork, alles im Homeoffice-Tempo; seit einem halben Jahrzehnt steuert das Duo aus Montreal ganz lässig auf den Status der ,coolsten Band der Szene" zu. Indem sie den allgegenwärtigen Narzissmus und die Selbstverliebtheit unserer Zeit ausspielen - und sich gleichzeitig darüber lustig machen -, flicken die Jungs eine Art ungesponserten ,Product-Placement-Punk" zusammen. Also sag mir, was hat es mit ihrem Debütalbum auf sich? Was ist das Gegenteil eines Wunsches, der mit einem schrecklichen Fluch einhergeht? Es ist etwas, das niemand wollte, das aber vor ewiger Verdammnis schützt; es ist ,Eternal BAM Nation", das lang erwartete und doch schnell zusammengestellte Debütalbum von Born At Midnite. Und du weißt, dass diese elfeinhalb Songs den Kern der Sache treffen.

Chad R. Matheny veröffentlicht seit 1998 exzentrische, textlich dichte Underground-Popmusik, oft unter dem Namen Emperor X. Nach seinem Studium der Physik, Philosophie und Musikkomposition legte Matheny eine Pause von der akademischen Arbeit ein und verbrachte einen Großteil der letzten zwei Jahrzehnte damit, die Welt mit Bussen und Hochgeschwindigkeitszügen zu durchqueren, um an Orten Musik zu machen, die von einem kleinen, aber vollbesetzten Konzertsaal in Portugal über eine leere Messehalle im Norden des Libanon bis hin zu buchstäblich unterirdischen Metal-Bars in der ganzen Ukraine reichten. Er tourt oft allein mit Gitarre und Synthesizer, teilt sich aber manchmal die Bühne mit Weggefährten wie Ratboys, The Hotelier, The World is a Beautiful Place and I Am No Longer Afraid to Die, Foxing, AJJ, The Front Bottoms und Xiu Xiu. Er produzierte das neue Brian-Sella-Album ,Well I Mean", war Co-Produzent des Sub-Pop-Albums ,Bits" der Jangle-Punk-Legenden Oxford Collapse zusammen mit Eric Topalski von Don Caballero und Storm & Stress und komponierte Videoundermusik für gemeinnützige Organisationen wie Planned Parenthood und SEIU. In den Jahren 2011 und 2012 wurde Mathenys Ambient-Werk ,Keeling Curve" in einer Multimedia-Installation des Fotografen Joel Sternfeld verwendet, die im Rahmen einer Retrospektive im Museum Folkwang zu sehen war.

Capturing the full scope of the Straw Hat Crew’s journey into the Grand Line, this collection brings together the massive, high energy score by award winning composers Sonya Belousova and Giona Ostinelli. From the shores of Loguetown to the snowy peaks of Drum Island, every moment of the voyage is brought to life through soaring orchestral arrangements and unforgettable pirate anthems.

2LP Audiophile Black Vinyl: Two 12 inch records pressed on high quality black vinyl for a classic look and superior sound fidelity, delivering every orchestral swell with crystal clear precision.

Double CD Set: Two discs featuring the complete original score and songs, presented in a premium compact format.

Premium Packaging: A double gatefold jacket for the vinyl edition and a three fold digipack for the CD, both showcasing vibrant cinematic artwork of Luffy and the Straw Hat Crew.

Complete Soundtrack: Over 40 tracks spanning the entire second season, including character themes, emotional moments and epic battle motifs.

Whether at home or on your own journey, this release is the perfect way to keep the spirit of adventure alive, immersing you fully in the world of One Piece.

Netflix’s epic high seas pirate adventure, ONE PIECE, returns for Season 2, unleashing fiercer adversaries and the most perilous quests yet. Luffy and the Straw Hats set sail for the extraordinary Grand Line, a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world’s greatest treasure, they will encounter bizarre islands and a host of formidable new enemies

Mark Jenkin, the BAFTA Award winning director, editor, screenwriter, cinematographer and musician, presents the score to his new film, Rose of Nevada on Invada Records. Unique among British feature filmmakers for the analogue way in which he crafts his films - all three feature films have been shot on 16mm using a Bolex clockwork camera – as well as his multifaceted roles as the writer, director, director of photography and editor of the film, once more he is responsible for handling the sound design and composing the original score.

The new score mirrors the techniques employed in the film, with analogue synthesisers drawing the listener into nebulous hypnotic tones and delicate movements.
Composed, produced, engineered and performed by Mark Jenkin using synthesiser, guitar, percussion and loops & effects, the environmental recordings remind us of the context in which the music was originally borne, but as the score ebbs and flows between ambient tranquil seas and crashing storms, it affirms its presence as a powerful stand-alone piece of work.
The score’s physical release follows the Cornish director’s third feature film: the time-travelling Rose of Nevada cinematic release in UK and Irish cinemas on 24 April, with a BFI Blu-ray and BFI Player release in the summer.

Missoula ist das Instrumental-Rock-Projekt des Schlagzeugers Brooks Wackerman (Avenged Sevenfold, Bad Religion) und des Gitarristen John Konesky (Tenacious D). Ihr Debütalbum ,Death Doula" verbindet metal-lastige Präzision mit melodischen, aufwendig arrangierten Gitarrenläufen und dynamischem, technisch versiertem Schlagzeugspiel. Das Duo liefert straff komponierte, energiegeladene Instrumentalstücke, die sowohl komplex als auch unmittelbar wirken.

Gadea’s original soundtrack to In the Beginning, the new animated short film by director Ala Nunu, unfolds across three surreal, yet surprisingly real, stories about people and the world around them: a lunar probe’s tardigrade cargo, 16th-century myths surrounding birds of paradise, and Hong Kong’s pandemic-driven hamster cull. The film is a tonally absurd documentary-fiction essay on anthropocentrism and the human need to control narratives.

This is Gadea’s first musical accompaniment for animation. Collaborating with Marina Herlop on vocals, Gadea’s sonic palette sits somewhere between field-recording minimalism, chamber electro-acoustics, and the more fragile end of speculative composition.

The artists at Stax Records were no more immune to the Beatles’ charm than the rest of the United States. From the mid-1960s onward, numerous Beatles covers were laid down for the label. Available wide on vinyl for the first time, this 8 track LP collection includes vocal and instrumental performances that deliver an eclectic cross-section of soulful Beatles covers by legendary Stax Records artists, including Otis Redding, Booker T. & the M.G.’s, Isaac Hayes, Carla Thomas, and David Porter.