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Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. Arriving on 15 May 2026, the record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single "Heavy Sound." The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of "next," driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, "off-the-grid" tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

Peter Frampton ist Mitglied der Rock & Roll Hall of Fame, ein Gitarrenvirtuose und Hit-Songwriter. Nach
einer Abschiedstournee im Jahr 2019 schien für ihn zunächst der Moment gekommen zu sein, sich zurückzuziehen. Doch bald wurde ihm klar, dass er weitermachen will. Mit 75 Jahren und genau 50 Jahre
nach seinem Nummer-1-Album Frampton Comes Alive! veröffentlicht er nun sein erstes neues Album mit
eigenen Rocksongs seit 16 Jahren. Das Album schrieb er gemeinsam mit seinem Sohn Julian. Produziert
wurde das Album neben Peter Frampton selbst, auch von seinem Sohn und Chuck Ainlay.
Die zehn Songs sind eine Reise durch die Magie des Rock ’n’ Roll. Und das mit hochkarätigen Gästen wie
H.E.R., Benmont Tench, Sheryl Crow, Bill Evans, Tom Morello und Graham Nash.

Das kanadische Progressive-Rock-Duo Crown Lands hat sich nach und nach zu einer der ambitioniertesten modernen Stimmen des Genres entwickelt und kehrt 2026 mit seinem bislang anspruchsvollsten und ausgereiftesten Werk zurück - "Apocalypse". Auf diesem Album hat die Band mit den renommierten Produzenten Nick Raskulinecz und David Bottrill (beide bekannt für ihre Arbeit mit Rush) zusammengearbeitet, deren gegensätzliche Ansätze die Entstehung des Albums geprägt haben.

Konzeptionell ist "Apocalypse" als vollständiges, narratives Erlebnis designed, das unter Berücksichtigung des klassischen Albumformats gestaltet wurde und sich als zusammenhängende Geschichte entfaltet, die im selben Universum wie ihr 2023 erschienenes Album "Fearless" spielt. Im Mittelpunkt des Albums steht der 19-minütige Titeltrack, ein ausuferndes Epos, das das Album sowohl musikalisch als auch narrativ verankert.

Letztendlich handelt "Apocalypse" von Veränderung, vom Ende einer Sache und dem ungewissen Beginn einer anderen. Dieses Thema findet nicht nur in der Science-Fiction-Erzählung des Albums Widerhall, sondern auch in der Entwicklung von Crown Lands selbst, die eine Band zeigen, die ihre Vision vollkommen beherrscht und bereit ist, alle bisher gesetzten Grenzen zu überschreiten.

Erhältlich als limitierte CD-Edition, Gatefold-LP in Neongelb und als digitales Album.

You On Repeat is a bittersweet indie pop album shaped by warmth, immediacy, and unfiltered charm, recorded over a summer weekend on Sweden's west coast. Jangly and distorted guitars meet lo-fi textures and disarming melodies, rooted in a DIY '90s indie spirit. Moving fluidly between noise and tenderness, the record balances raw emotion with finely crafted hooks. Fort Not, the Swedish songwriting duo of Robert Carlsson and Fredrik Söderström, return with their new album You On Repeat on Meritorio Records. Joined by bandmates Philip Gates, David Hansson, and Joakim Björnberg, the group recorded the album over a hot summer weekend in a barn near Sweden's west coast - an environment that left its mark on the record's warmth, immediacy, and unfiltered charm. You On Repeat is a bittersweet indie pop record where jangly and distorted guitars, lo-fi textures, and disarming melodies meet. Rooted in a DIY spirit inspired by '90s indie rock and classic pop songwriting, the album moves fluidly between noise and tenderness, urgency and ease, capturing a band equally attuned to raw emotion and crafted hooks. Long regarded as one of Sweden's best-kept indie secrets - as praised by Swedish music magazine GAFFA - Fort Not are ready to step fully into the light. With You On Repeat, that secret is finally revealed. FFO - Guided by Voices, Beat Happening, The Clean, Pavement, Television Personalities, Daniel Johnston.

Sans Merit arrives on Knekelhuis with his second album Trolley Polly. A radiant album from currently LA-based Australian musician Griffin James—one that leans into unguarded joy with a playful, disarming sincerity.

The album rocks right away into our world. Lifting off where the guitar pedals mash the gas and go. While at other moments the acoustic guitar passages carry a neofolk intimacy, like the low-voiced choir singer cast out of a pastoral world, left to wander in his own solitude. These moments are swept up by surging shoegaze episodes, slipping into hazy hypnagogic pop interludes and wiry post-punk turns, giving the record a restless, shifting pulse.

Beneath it all lies a lyrical sensitivity that grounds the album’s movement. Sans Merit reflects on the big questions in a world that feels increasingly fragile, balancing vulnerability with a self-aware, gently naïve humor, while staying attuned to the emotional undercurrents of everyday life. It’s this perspective that makes Trolley Polly feel so human—alive in its contradictions, and quietly comforting.

Błoto’s bold 2020 debut brought forth three albums in just twelve months. This prolific creative burst, followed by an ongoing tour and involvement in other projects, meant that fans had to wait over three years for the next release. During this time, new ideas took shape, and the vision for their fourth LP crystallized. The wait for Błoto's new album is nearly over. As always, autumn signals the arrival of Grzybnia (Mycelium).

The idea for the album had been simmering within the band since the release of Kwasy i zasady and finally took shape in late January 2023 at Warsaw's Studio Pasterka, under the careful guidance of Piotr Zabrodzki. It was by far the most fruitful session in the group's history, with ideas flowing in abundance. The chosen tracks not only resulted in two well-received singles, Szlam / Ścieki and Bakteria, but also provided enough material for an EP set to drop next year.

The seemingly chemical title of the album Kwasy i zasady (Acids and Bases) ultimately referred to interpersonal relationships, describing traits that prevent harmony. The album embodied the polarization of societies in the 21st century. The metaphor of Grzybnia (Mycelium) goes a step further. It emphasizes the importance of cooperation as a fundamental skill that can yield various results (fruits, fungi)—both good and bad. Above all, it underscores the power of collective action beyond divisions.

In a complex, unstable modern world that is breaking apart into pieces, the concept of mycelium offers a powerful model. Mycelium thrives in degraded, seemingly lifeless environments created by humans. A key aspect of the broader significance of mycelium is that cooperation benefits all involved parties, where each contributes something and receives something in return. Mycelium is a symbiont, meaning it forms a symbiotic relationship with certain tree species through mycorrhiza, where the roots of the trees and the mycelium exchange essential life-sustaining substances. This results in mutual benefits. The world of mycelium exemplifies cooperation.

A single mushroom, like a person, dies, but mycelium endures, much like humanity itself. Thus, similar to culture, it is immortal. Błoto operates in a manner akin to mycelium. It undoubtedly belongs to the underground realm, embodying the essence of the underground. It is also a destructor of music. In what sense? The Polish Nobel laureate Olga Tokarczuk noted in her book Primeval and Other Times that “... Mycelium thrives by drawing the last remnants of life from what dies, decomposes, and seeps into the earth. Mycelium is the life of death, the life of decay, the life of what has died.” In the same way, Latarnik, Cancer G, Wuja HZG, and OlafSaxx, through their collaboration, process cultural products to create entirely new and surprising combinations. The result of this work is both edible and poisonous mushrooms, manifested in the form of fat beats, house, spiritual jazz, improvised music, illbient, organic techno, and genre-defying electronics.

The peak mushroom season in Poland occurs in autumn, which is why Grzybnia will be released on October 11, 2024, via Astigmatic Records.

The Flirtations are poised to release ‘Still Sounds Like the Flirtations’ – their first album of new material in 55 years. They are best known for their 1969 signature song, "Nothing But A Heartache”, off their debut album ‘Sounds Like the Flirtations’. That song spent 14 weeks on Billboard’s Hot 100, and its success saw the group tour with Stevie Wonder, Tom Jones, The Four Tops and The Temptations. “Nothing But a Heartache” remains an undeniable Northern Soul classic; it has been streamed over 13 million times, and in 2022 was remixed by Tobtok and Oliver Nelson. On their forthcoming album, which was produced, engineered, mixed, and co-written by Ben Rice (Joan Osborne, Valerie June), Earnestine Pearce, Shirley Pearce, and Viola Billups aka Pearly Gates tell the stories of their lives. Drawing inspiration from the churn of personal, social, and political situations that they have lived through over the past five decades, they capture a timeless and well-earned perspective on love and life. The record, which features the Dap King horns, contains standout tracks, including the reflective call to action “Memories”, co-written by Stevie Wonder; the hopeful love song “Ain’t No Easy Way” and the instant dance floor hit “Didn’t Anybody Tell You”, both co-written by Grammy-nominated songwriter Gian Stone (John Legend, Meghan Trainor); the uplifting groover “Love Somebody”; and the roaring “Take It Back”, co-written by Dave Sherman (Nick Cave & the Bad Seeds, Elle King). The recording process was a transatlantic adventure, with sessions at Abbey Road and Resident Studios in London, Degraw Sound in Brooklyn, and Creative Workshop in Nashville. Retaining the classic soul sound and melodic harmonies The Flirtations are known for, the album will not disappoint long-time fans, while also promising to bring their authentic, inimitable sound to a new generation of music.

Hiriketiya is a small, enclosed bay on Sri Lanka's southern coast, where jungle leans toward the water and the days unfold without urgency.
Passing through in early 2025 on the way to Europe, Alex Albrecht spent a week here at MOND's artist residency, allowing the rhythms of the place to quietly shape the work that followed.
During the residency, Albrecht recorded and exchanged ideas with Sri Lankan musicians Dhyan Basho on sitar, Dinelka Liyanage on electronics, Uvindu Perera on double bass and Pasindu Herath on saxophone.
Their performances appear throughout the album, sampled and re-contextualised, influencing its melodic language, pacing and emotional tone.

Much of the music was shaped directly by its surroundings. Field recordings were gathered across Hiriketiya, and instruments were played wherever it felt necessary. This included rocks beside the ocean where waves set irregular rhythms, tall grasslands where wind and insects blend into the recordings, and open decks overlooking the sea. 'Round Table' captures this approach most clearly. Recorded while sitting together overlooking the ocean, a large steel table in front of the group gradually became part of the composition, used instinctively as an unplanned percussive element.

Not everything could be captured. Some of the most meaningful moments occurred before recording was possible. Those sounds exist only in memory, and the album is shaped in part by an attempt to hold onto their feelings.

Rather than documenting the residency in a linear way, the album gathers fragments, recordings, electronic sketches and field sounds, assembling them into a continuous listening experience shaped by place and recollection. MOND owners Jess and Renato foster an environment that supports artists without directing them, creating space for focus, trust and connection.

The result is a record shaped by Hiriketiya's enclosed bay, dense vegetation, heat and night air. Music formed through listening, restraint, missed recordings and the sensation of being temporarily held by a place.

Für Kevin Morby ist das ,kleine Weite" der weite Himmel, das einfache Leben, seine Herkunft aus dem Mittleren Westen und alle Pflichten, Bescheidenheit, Vertrautheit und Isolation: das Land, die Menschen und die Teile davon, die in ihm stecken. ,Der Mittlere Westen hat etwas Unbeabsichtigtes Musikalisches an sich: Zikaden, die in den Bäumen zirpen, ein vorbeifahrender Zug, eine Tornadosirene, die losgeht", erklärt Morby. ,Wenn man genau hinhört, gibt es diese fast unheilvollen Geräusche unter dem weiten Himmel - seine Hässlichkeit und seine Schönheit und wie beide oft gleichzeitig zusammenwirken. Und obwohl der Mittlere Westen technisch gesehen keine Ödnis ist, ist er meine Ödnis." Little Wide Open ist der Titel von Kevin Morbys achtem Studioalbum, produziert von Aaron Dessner. Im Sommer 2024 hatte Dessner Morby gebeten, The National bei ihrem Konzert im Londoner Crystal Palace Park zu unterstützen. Kurz darauf wandte sich Dessner, der gerade eine Glückssträhne hatte, nachdem er Alben für Taylor Swift, Ed Sheeran und Gracie Abrams produziert hatte, wandte sich an Morby und teilte ihm mit, dass er gerne sein nächstes Album produzieren würde. Anfang 2025 begannen sie mit den Aufnahmen in Aarons Long Pond Studio in Stuyvesant, New York, und beendeten sie im September desselben Jahres. Das Album, an dem eine Vielzahl von Mitwirkenden wie Dessner, der mehrere Instrumente spielt, Amelia Meath, Andrew Barr, Justin Vernon, Katie Gavin, Lucinda Williams, Meg Duffy und anderen, wurde von Morby als dritter Teil einer Trilogie nach ,Sundowner" (2020) und ,This Is a Photograph" (2022) beschrieben, in denen er seine Zeit im Mittleren Westen nach seiner Rückkehr nach Kansas City dokumentierte. Dieses Mal wertet Dessners Produktion Morbys Aufnahmen auf, ohne dabei den Fokus auf die Songs selbst zu verlieren. Es gibt eine neu gewonnene Zuversicht und Klarheit sowohl in Morbys Songwriting als auch in Dessners Produktion, die an Tom Pettys Klassiker Wildflowers aus dem Jahr 1994 erinnert. Da Morby mittlerweile hauptsächlich in LA lebt, hat sich die Atmosphäre, die Little Wide Open durchzieht, gegenüber seinen Vorgängern etwas verändert. Wie Rachel Kushner in ihrem Begleittext zum Album über Morby schreibt: ,Es geht um Zeit, um das Gefühl, dass er sich von der Nostalgie und dem verlorenen, aber schönen Kampf, an der Vergangenheit festzuhalten, gelöst hat. Er hat akzeptiert, dass die Zeit unaufhörlich fließt und man sie nicht aufhalten kann. Stattdessen hat er das Gefühl, dass er auf ihr reitet. Er ist Passagier der Zeit."

Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.

Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.
Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.

This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.

Steig ein in die neueste Mega-Firma von Seattle, Telehealth. Sind sie Rebellen, die mit Synth-Punk/New Wave die Grundlagen unserer techno-kapitalistischen Hölle untergraben wollen? Oder sind sie Unternehmer, die Marken aufbauen, um die Märkte zu stören und die Massen auszunehmen? Der einzige Weg, das rauszufinden, ist, ihr Debütalbum für Seattles älteste Mega-Firma, Sub Pop Records, zu kaufen. Green World Image folgt auf eine ausgedehnte US-Tournee, ein selbst veröffentlichtes Album und eine knackige 7"-Single aus dem Sub Pop Singles Club aus dem Jahr 2023. Für Fans von B-52s, Water From Your Eyes, Devo und Snooper. Die Kalshi-App ist ein ,Prognosemarkt für den Handel mit der Zukunft", eine Plattform, auf der Leute auf das Ergebnis von fast jedem realen Ereignis wetten können - von der Genauigkeit der Wettervorhersage bis hin zur Frage, ob in Gaza offiziell eine Hungersnot ausgerufen wird oder nicht. Als der Mitbegründer der Plattform, Tarek Mansour, Ende 2025 als offizieller Wett-Partner zu CNN kam, meinte er nach dem Deal: ,Die langfristige Vision ist, alles zu finanzieren und aus jeder Meinungsverschiedenheit einen handelbaren Vermögenswert zu machen." Telehealth wurde in dem chancenreichen Umfeld des Post-COVID-Seattle als skalierbares Musik-Startup mit ähnlichen Zielen gegründet. Das Unternehmen wurde 2022 von dem Ehepaar und Glücksspielbegeisterten Alexander Attitude (Synthesizer/Gesang/Gitarre) und Kendra Cox (Synthesizer/Gesang) gegründet, zu denen sich die langjährigen Mitarbeiter Ian McCutcheon (Schlagzeug), John O'Connor (Bass) und Dillon Sturtevant (Gitarre) gegründet. Die Gruppe will alle Meinungsverschiedenheiten darüber, wie die chaotische lokale ,Musikszene" weitergehen soll, zu Geld machen. Kann man DIY sein und gleichzeitig eine gute Suchmaschinenoptimierung haben? Kann man progressives kulturelles Ansehen und bares Geld gleichzeitig verdienen? Ist Kunst, die durch ,Kulturförderungen" der Tech-Industrie finanziert wird, irgendwie langweilig, authentisch gorpcore (junge Männer leben laut der New York Times den ,Quarter-Zip-Lifestyle") oder ironischerweise punkig? Für Telehealth ist die Antwort auf diese Fragen nicht ja oder nein, sondern eher eine unerschlossene Lücke im Musikmarkt, die auf eine Band wartet, die visionär und verrückt genug ist, auf die Verbreitung zu setzen. Produziert von Trevor Spencer, Green World Image, ist das zweite Album von Telehealth (nach dem Debütalbum Content Oscillator und einer Veröffentlichung des Sub Pop Singles Club, beide aus dem Jahr 2023) und sein Börsengang mit den Angel-Investoren Sub Pop ein vertikal integriertes Kunstwerk für die Post-Grunge-, Post-Flanell-Seattleiter und Konsumenten auf der ganzen Welt, die ebenfalls bereit sind, ihre eigene Leidenschaft für Musik zu finanzieren. Das traumainformierte, ergebnisorientierte und äußerst tanzbare Weirdo-Punk-Album ist inspiriert von Attitudes Zeit als ehemaliger Architekt in einer Climate PledgedÖ-Stadt, die mit ihrem Netzwerk aus effizient zonierten 5-über-1-Gebäuden die Kunst der ,Green World"-Architektur perfektioniert hat. Der PNW-Post-Punk von Telehealth schafft ähnliche architektonische Räume, in denen sich die glänzenden, futuristischen, techno-industriellen Rhythmen und Synthesizer des Seattle der Bezos-Ära mit dem rohen, unabhängigen Underground-Sound vermischen, den die Stadt aus kulturellen und Marketinggründen liebevoll bewahrt. Das Ergebnis? Stell dir XTC, REM und YMO vor, mit einem stärkeren Fokus auf ROI. Stell dir The B-52s vor, aber B2B. Stell dir einen intelligenteren Brainiac, einen transhumanen Gary Numan oder einen terminalen Online-Pylon vor. Endlich eine Band mit so vielfältigen Talenten, dass sie sowohl in deinem Keller als auch in den Amazon Spheres spielen kann.

[a] 1[USER ONBOARDING SEQUENCE]

The creative bond between Atjazz and Fred Everything is a story decades in the making. It began in 1998 at The Bomb in Nottingham during a DiY label night—a label through which they both released music. That first encounter sparked a lasting friendship and a steady exchange of ideas that would continue for many years. While they collaborated regularly and remixed each other’s work, it wasn’t until the summer of 2022 that they committed to making a full-length album.

The project took shape during an 8-day stay at Martin’s (Atjazz) home in the Midlands of England, where they set themselves the challenge of writing one track per day. Their shared musical language allowed ideas to move quickly, with some tracks forming in under an hour. Over the next three years, the material was carefully developed alongside their respective album projects: Atjazz’s Starbase 17, Fred Everything’s JUNO Nominated Love, Care, Kindness & Hope, and All Is Well’s A Break In Time.

A final session in Montreal in 2024, coinciding with Fred’s 50th birthday, brought the album into focus. From there, the duo invited a select group of world-class collaborators, including Jorge Bezerra (The Joe Zawinul Syndicate / St Germain), Octavio N. Santos (SiR, Lupe Fiasco), Clyde Beats, Ernesto & The Basement Gospel, and Dominique Fils-Aimé.

The result is a personal, well-constructed record that draws on the spirit of 90s deep house while applying three decades of experience to a deeply rooted, forward-thinking sound. It is a sonic testament that honours their mutual love of synthesizers, beat making, and sound design.

It is a project that took 8 days to start, 3 years to finish, and 30 years to perfect.

Single Lock Records feiert das 10-jährige Jubiläum von Dylan LeBlancs hochgelobtem drittem Album ,Cautionary Tale" mit einer limitierten Auflage auf gelbem Vinyl. Er kehrte nach Muscle Shoals zurück, um seine Wunden zu lecken und sein drittes Album zu schreiben, mit den Produzenten Ben Tanner (Alabama Shakes) und John Paul White (Civil Wars) an der Spitze. ,Bei diesem Album geht es darum, dass ich ehrlich zu mir selbst bin", sagt Dylan. ,Ich musste die Schuldgefühle über die Vergangenheit loslassen und eine neue Wahrheit in mir selbst finden. Dieses Mal hatte ich das Gefühl, dass ich wirklich etwas zu sagen hatte."

Visionary producer Ibrahim Alfa Jr, who's been traversing the rave's farthest fringes since the late '90s, returns with his most focused and concise set to date, an anthology of undulating, bass-heavy experiments that surveys techno and its distorted history, printing fractured pulses and cybernetic synths over vanishing snapshots of jazz, funk, trip-hop, broken beat, dub and ambient music. It's a body of work that coalesced during a difficult time for Alfa.

After returning to Brighton and sobriety in 2022, he was diagnosed with a pulmonary embolism, subsequently suffering two debilitating heart attacks. With his immune system compromised, isolation was the only option, so for months on end Alfa devoted each waking hour to his art, recording samples, building digital synths and effects and meticulously sequencing some of his waviest, most experimental material to date. Over this period he finished over 500 tracks, writing impulsively and constantly challenging himself. "There was nothing to hold me back," he explains. "I just had music, I didn't know if I would see the next day."

Now recovered from his ordeal, Alfa looks back at this prolific period with optimism and fondness. It was a chance for him to reconnect with his art holistically, writing purely for himself without any outside influence. Because, at this stage in his life, Alfa has already been through a series of artistic evolutions. When he was still just a teenager, he penned a slew of grinding, jacking techno 12"s (under a variety of mysterious monikers) in the late '90s before re-emerging a decade ago with the acclaimed 'Hidden By The Leaves', an album made up of deeply personal archival tracks that were thought to have been lost. A few years later, Alfa returned wholeheartedly with a series of records for Mille Plateaux that redrew the boundaries of his "Black political music without words." And on 'Infinite Black Inside', those different strands are muddled with Alfa's profound life experiences and he expresses himself free of any self-imposed boundaries, writing quickly on a hybrid analog-digital setup to document as many ideas as possible.

There's a palpable sense of liberation that drives the album's opening track, 'Subutrax', lubricating polyrhythms that isolate the connective tissue between footwork and Detroit techno as they slip between looped electric piano vamps and vaporous synths. On 'Naked Lunchbreak' meanwhile, the beat generation's excesses are illustrated by mesmeric fast-paced acoustic drums that Alfa balances out with brassy drones and euphoric keys. He captures rubbery hits from a Ghanaian djembe on 'Drum Slinger', re-sequencing them into seismic waves that rumble underneath live woodwind blasts. And on 'Capture', decelerated breaks and garbled voices tumble into humid pads, suspending the album somewhere between the chill-out room and the night sky. It's a record of new beginnings and fresh narratives that collapses the hardcore continuum, revealing a sonic signature that's Alfa's alone.

Der sudanesisch-amerikanische Künstler Dua Saleh setzt seinen unaufhaltsamen Aufstieg mit ,Of Earth & Wires" fort, einem durchweg warmherzigen, spirituellen und mitreißenden Album, das sich mit den Themen Heimat, Menschlichkeit und Erneuerung auseinandersetzt. Mit Beiträgen von Justin Vernon (Bon Iver), aja monet, Gaidaa und anderen verwebt und dekonstruiert Saleh Indie, R&B und elektronischen Pop mit Einflüssen aus sudanesischer Volksmusik, britischer Dance-Musik und elektronischer Popmusik. ,Of Earth & Wires" ist ein Album, das sich durch seine Vielseitigkeit und seine Fähigkeit auszeichnet, die Zuhörer in seinen Bann zu ziehen. Mit Beiträgen von Justin Vernon (Bon Iver), aja monet, Gaidaa und anderen verwebt und dekonstruiert Saleh Indie, R&B und elektronischen Pop mit Einflüssen aus sudanesischer Folk-Musik, UK Dance und Reggaeton - Klänge, die untrennbar mit ihrer Geschichte verbunden sind und durch eine ambitionierte, zukunftsorientierte Produktion und klare Lyrik zusammengehalten werden. Salehs gefühlvoller, kraftvoller und wandlungsfähiger Stil hat Fans von der New York Times bis zum NME überzeugt, ebenso wie ihre Durchbruchrolle in der Netflix-Serie ,Sex Education". Salehs gefühlvoller, kraftvoller und wandlungsfähiger Stil hat Fans von der New York Times bis zum NME gefunden, ebenso wie ihre Durchbruchrolle in der Netflix-Serie Sex Education, die das Debüt von Ghostly International im Jahr 2024, I SHOULD CALL THEM, zu einem echten Erfolg machte. Das mit Spannung erwartete Album ,Of Earth & Wires" ist sowohl ein Meilenstein in ihrer Karriere als auch ein dringender Dialog mit den Herausforderungen, denen man sich auf universeller Ebene gegenübersieht. Zusätzlich zu ihren musikalischen Aktivitäten ist Dua ein aufstrebender Schauspieler, der mit einer Durchbruchrolle in der beliebten Netflix-Serie ,Sex Education" bekannt wurde, in der er drei Staffeln lang die Rolle des Cal Bowman spielte.

Elations Recordings presents "Terra Ignota", the long-awaited new full length album from elusive Melbourne-based fusion ensemble Krakatau. "Terra Ignota" marks a return and an epochal shift for the group, a deep exploration of possible sonic spaces and a portent of things to come.

In the years since 2016's cosmic jazz funk-prog-spiritual 12" "Tharsis Montes/Apogean Tide" Krakatau have worked on refining their craft as instrumentalists and writers, expanding further into the world of jazz and fusing influences from world folk musics, contemporary jazz and the European post-minimalist music of the 1980s and early 90s. "Terra Ignota", literally translated as "Unknown Land", takes its name from the cartographer's notation for uncharted territory, the blank spaces on maps where knowledge gives way to imagination and speculation, gesturing towards the group's studio explorations and search for new sonic worlds in the years spent developing the record.

The results are a diverse yet unified combination of sounds and influences across five tracks that see Krakatau drawing closer to the independent underground "world" jazz scene of the 1980s than anything contemporary. The album opens with the digi-minimalism and fourth world atmospherics of title track "Terra ignota", a percussion heavy latin fusion sound in "Birds of Passage", and melancholic ambient saxophone and synthesiser duo "In Memory". Three-part epic "Cosmetic Surgery" journeys through a long, complex post-minimalist arrangement into latin fusion and contemporary jazz, followed by the contemplative ECM-styled acoustic quartet closer "Trial in Absentia".

The album features significant contributions from saxophonist Rob Vincs, former Victorian College of the Arts head of Jazz and Improvisation and a collaborator with Australian musician Brian Brown; layered percussion and wordless vocals from Brazilian percussionist and esteemed songwriter Alcides Neto; and a guest performance from trumpet player Reuben Lewis on the title track.

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

On May 15, HULKOFF returns with his fifth studio album; Jotunheim - a towering new chapter that bends space and time, and throws you back to the very darkest void where the nordic sagas began - Etunaheimar. The first spiritual landscape known in the blood-memory of Fennoscandia, today referred to as Jotunheim - the realm of Giants. Founded by the former frontman of Raubtier, HULKOFF has dominated Swedish charts with multiple #1 releases, including Pansarfolk (2020), Ragnarök (2021), and Hersir (2023). As with some of the previous releases, HULKOFF once again drops a double album. With 20 tracks split across two discs -one in Swedish, one in English- the album invites the world into the frostbitten heart of the North, expanding the saga without loosing its roots. With Jotunheim, HULKOFF delivers what has become his hallmark: iron-hard riffs over folky melodies and thunderous drums. Often described as "Music for the Viking hearted", Jotunheim once again presents the established HULKOFF sound - Metal refined and enhanced by the primal organic sound from Talharpa and violin - wood, horsehair and steel. A symbiosis that is adding an earthy, ritualistic texture to the otherwise dark and heavy sonic landscape.

In ,Library Copy Do Not Remove" präsentiert JJ Weihl von Discovery Zone eine digitale Verzauberung der Realität, in der er das Materielle und das Immaterielle miteinander verwebt, um zu zeigen, dass es sich dabei tatsächlich um zwei Aspekte ein und desselben handelt. In Weihls Welt sind Natur und Technologie keine Feinde, sondern erschaffen sich gegenseitig in einem unendlichen Tanz aus Bedeutung und Reflexion. Ursprünglich als Raumsound für das Zeiss-Groß-Planetarium in Berlin geschaffen, ist ,Library Copy Do Not Remove" eine Schöpfungsmythologie für das simulierte Universum. Dabei handelt es sich jedoch nicht um eine trockene, bostromische, maskuline Fantasie einer digitalen Realität, der die Geheimnisse der Natur fehlen. Stattdessen fordert Weihl den Zuhörer auf, im Rahmen einer Simulation Raum für die beeindruckende Realität der natürlichen Welt zu lassen. Wenn unsere Welt simuliert ist, dann muss die Simulation in der Lage sein, die Schönheit und Pracht der Natur zu erschaffen. Auf diese Weise betreibt Weihl eine ambient-artige Alchemie, die eine große Versöhnung von Natur und Technologie fordert, während sie uns auffordert, darüber nachzudenken, wie und wo die Erfahrung transzendenten menschlichen Bewusstseins zwischen ihnen existieren könnte. Die Songs auf ,Library Copy Do Not Remove" entstanden, während Weihl gleichzeitig ihr zweites Album ,Quantum Web" fertigstellte, und spiegeln einen weitreichenden, inspirierenden Zustand aus Aufregung und Angst wider, der mit der Aufgabe einherging, Musik für einen so einzigartigen Raum zu komponieren. Die Songs selbst wurden durch Ambisonics geformt, ein spezielles Format für räumliches Audio, das direktional ist, anstatt auf Kanälen zu basieren (wie Stereo), und wurden über ein Mosaik aus 49 Lautsprechern übertragen. Da es für Live-Auftritte geschrieben wurde, war ,Library Copy Do Not Remove" nie als Album im eigentlichen Sinne gedacht, sondern als dreidimensionales Ereignis. Auf diese Weise spiegelte die Klanginszenierung wider, wie wir Klang in unserem Alltag wahrnehmen: uns aus allen Richtungen umgebend. Für diese Albumveröffentlichung hat Weihl alle Songs gemeinsam mit ihrem langjährigen Produzenten E/T von Grund auf neu abgemischt und die Konstellation der Tracks für ein Stereoerlebnis neu konzipiert und überarbeitet. Inspiriert von den Werken von James Gleick, LD Deutsch, Johannes Kepler und Jorge Luis Borges, erforscht ,Library Copy Do Not Remove" die kreative Spannung zwischen Realität und Wahrnehmung, Information und Mythologie, Harmonie und Unordnung. Im gesamten Album fragt Weihl, wie wir als Menschen das Universum um uns herum und den zugrunde liegenden Code, der es belebt, verstehen lernen. Was dabei entsteht, ist ein klanglicher Mythos, der von spiralförmigen digitalen Universen erzählt, die ineinander verschachtelt sind und in denen jeder teilnehmende Akteur gleichzeitig sowohl Teil als auch das Ganze der Realität ist. Auf diese Weise ist ,Library Copy Do Not Remove" ein cyber-Ausdruck zeitloser Weisheit: Anstelle von ,wie oben, so unten" könnte Weihl vorschlagen: ,wie der Input, so der Output".

On Lila, his debut LP, Moroccan artist Karim presents a series of undulating electronic rhythms laser-etched into tessellated form: drumless techno from the pre-Sahara, built for communal psychic expansion.

Drumless, yes, but not percussionless. There are shakers, castanets, stabs, plonks, thuds. There are insistent basslines propelling forward, pulsing with energy, rippling in time. There are tones interlocking, rolling, fluttering, pattering. Dancing within, around, between each other. Considered in terms of sheer geometry, Lila is a techno record, unmistakably. But it sounds quite unlike any other techno record you've heard lately.

To write the album, Karim borrowed from the music of the Gnawa, a religious-spiritual musical tradition descended from West African peoples brought to Morocco as slaves hundreds of years ago. Now integrated deeply into Moroccan culture, the centerpiece of Gnawa music is the lila—or "night," in Arabic—an all-night-long ritual of rhythm designed to induce participants and musicians alike into a healing trance state. Which, if you're a dedicated raver, may sound familiar, yes?

Crafted entirely with modular synthesizers, Lila conjures a range of textures and moods. The show opens with "Bakh," a blissful exercise in beatlessness, clear and crystalline. On "Philipoussis," "Kiyex," and "Sonic," arpeggiated synths approximate Gnawa chants while interlaid percussion keeps time in multiple meters. "La" and "Kille" pulse in half-time, ideal for creative mixing. "Joul à lèvre" bristles with electricity, the sound of a charged lightning rod. "Pamil," woozy and lurching, feels like being shipwrecked on a forgotten island. Last and absolutely certainly not least, on the final track, "Miloir," Karim faces West and unleashes the album's only kick drum for a ten-minute psychedelic techno masterpiece. The mind warps; the body moves. 

Lila is released on Tikita, Karim's own record label, founded in 2014. Tikita's discography, spare but tightly curated, features artists from across the globe pushing outwards into techno's deepest reaches. Karim's album pushes even farther. Listen for yourself.

Simsara Records is proud to announce Syrr, the new album by Egyptian artist Maryam Saleh, arriving 27 March 2026. A mythic and introspective work, Syrr transforms memory, loss, and lived experience into a shifting world of sound, voice, and embodied emotion. Written and composed by Saleh, the album traces a three-part journey—Origin & Image, Vessel, and Intuition & Echo—in which the self is fractured, questioned, reassembled, and ultimately expanded. Blending raw expression with subtle dramatics, Saleh crafts an immersive sonic autobiography rooted in intuition, embodiment, and human becoming.
Co-produced by Maryam Saleh, Maurice Louca, and Kamilya Jubran—who also perform keys, oud and backing vocals throughout—the album’s songs are set to or inspired by existing Egyptian and Arabic song forms (including mawwal, lullaby, madih, muwashshah, taqtuqa and more). The project underwent a rigorous three-year journey of songwriting and composition by Saleh with Kamilya Jubran as mentor before recording.
“Syrr” is mixed by Mokhtar El Sayeh and mastered by Heba Kadry, with artwork by Pauline Gouablin (photography), Omar Mostafa (image editing, treatment and inserts design), and Maged El Sokkary (typography and illustration). Lyrics translation by Nariman Youssef. Produced by Simsara Music with support from the Arab Fund for Arts and Culture (AFAC).

Purple Skies is an underground rock band from Bergen, Norway, formed in 2017. With roots in the heavy rock of the late '60s and '70s and a dark veil of doom, Purple Skies delivers drenched, fuzz driven rock that moves seamlessly between crushing riffs and classic melodies. Their music draws inspiration from stoner rock, proto-doom, and vintage heavy rock. During the recording of A Million Years, the band set out to create a sound that feels timeless yet relevant to today's rock scene. The album was recorded at Polyfon Studio in Bergen with producer Leif Herland, and the process has been both uncompromising and inspiring. Not only did he shape the overall sound, but he also guided the band to deliver their very best performances. The album draws clear inspiration from Swedish Witchcraft and their ability to bridge the gap between retro and modern expression, with roots reaching all the way back to Black Sabbath's Vol. 4. A Million Years is an album that nods to the past while pointing toward the future, capturing the essence of heavy, melodic, and honest rock with both power and precision.

NEW IDEA SOCIETY signs to Relapse and offers their new album, Fire on the Hill. The band has taken on differing shapes and forms over the years, but at its heart is the duo of Mike Law (Wild Arrows) and Stephen Brodsky (Cave In, Mutoid Man), a pair enraptured and united by the alchemical power of songwriting. With a connection that can be traced back to their high school years, between them exists an intuitive understanding that informs exactly what NEW IDEA SOCIETY is at any given point. Although the pair have come a long way since their earliest explorations in audio in the late 90s, the roots of their alliance were forged in those makeshift basement studios. For Fire On The Hill, Law and Brodsky took a more collaborative approach to songwriting than on previous releases. With Brodsky describing their process as “microscopic” and Law marveling at the particulars of the minutiae they pored over, the attention to detail and their meticulous approach to making adjustments in service of the work shines through in the cohesiveness of this collection of songs. With demos passed back and forth over months - Brodsky sending them in the early morning, and Law taking the evening shift - the songs evolved naturally; refining a chord progression, adapting a lyrical perspective, or in the case of the track Lantern, rewriting the words entirely. Thematically the album is about love, in its many forms. With each track detailing some element of navigating emotional relationships - the beauty, the pain, the loss and the hope - the duo have captured the immediacy and urgency of such feelings, tempered by a sliver of yearning that stops short of tipping into nostalgia. Now with years of experience to their names, alongside a developed vocabulary and extended sonic palette to draw from, they have created something specifically and idiosyncratically NEW IDEA SOCIETY. Fire On The Hill is them in full flight, at the height of their powers. Short: NEW IDEA SOCIETY signs to Relapse and offers their new album, Fire on the Hill. The band has taken on differing shapes and forms over the years, but at its heart is the duo of Mike Law (Wild Arrows) and Stephen Brodsky (Cave In, Mutoid Man), a pair enraptured and united by the alchemical power of songwriting. FFO: CAVE IN, MUTOID MAN, EMMA RUTH RUNDLE, HARVESTMAN, BIG BRAVE, CRIPPLED BLACK PHOENIX, JESU

RATTUS' furious sophomore album from 1984 reissued in May Rattus is one of the most legendary Finnish hardcore punk bands. Formed in 1978 and split up in 1988, Rattus returned in 2001 and are setting venues ablaze to this day. Uskonto on vaara was originally released on Poko Rekords in 1984. It's a furious album with nine killer songs; an aggressive and intense ride, a true classic in its genre. Svart Records reissued the album in 2012 and after fourteen years it's about time to bring it back to the streets with black and limited color vinyl editions. "RATTUS combustion, startling adrenaline speed and hammerhead blows of power. Featuring the new high-velocity rasping vocals of Annikki, RATTUS virtually sweep forth with sharp-edged earloads of riveting force and disorderly rapidity. Brilliant Finnish hardcore, unhesitant and explosive assaults of raw nitro energy." -Pushead, Maximum Rocknroll #7, July/August 1983

RATTUS' furious sophomore album from 1984 reissued in May Rattus is one of the most legendary Finnish hardcore punk bands. Formed in 1978 and split up in 1988, Rattus returned in 2001 and are setting venues ablaze to this day. Uskonto on vaara was originally released on Poko Rekords in 1984. It's a furious album with nine killer songs; an aggressive and intense ride, a true classic in its genre. Svart Records reissued the album in 2012 and after fourteen years it's about time to bring it back to the streets with black and limited color vinyl editions. "RATTUS combustion, startling adrenaline speed and hammerhead blows of power. Featuring the new high-velocity rasping vocals of Annikki, RATTUS virtually sweep forth with sharp-edged earloads of riveting force and disorderly rapidity. Brilliant Finnish hardcore, unhesitant and explosive assaults of raw nitro energy." -Pushead, Maximum Rocknroll #7, July/August 1983

Swan is a warm, melodic, and emotionally direct album, blending guitars, pedal steel, and synths, with wry, heartfelt songwriting reminiscent of MJ Lenderman and David Berman- but with a distinctly antipodean voice. Fazed on a Pony is the alt country/indie rock recording project of New Zealand songwriter Peter McCall. Swan is his second full-length album. On swan McCall sings with emotional immediacy, warmth, and wit about living honestly in the face of inevitable uncertainty and disappointment. McCall's mix of wry humour, sincerity, and melodic instinct has drawn comparisons to MJ Lenderman, David Berman, and Sparklehorse. However, Fazed on a Pony lives within its own antipodean aesthetic and sound. Sonically, swan sees Fazed on a Pony expand from the Pavement-esque tuneful indie rock of previous releases to include pedal steel, fiddle, drum machines, and synthesizers. While there is a diversity of style, the album is rooted in the hallmarks of McCall's music: uplifting and catchy guitar lines that serve the song, paired with arrangements that feel both comfortable and surprising. Where the lyrics tell a sad story, the music betrays that it might just be okay in the end.

Holy Sun Opera House at its core is soprano and drummer Krissy Barker with composer dl Salo. Along with a revolving cast of collaborators, singers and performers, they create emotionally engaging and haunting symphonic music embellished by electronics, heavy drums and synthesizers. The group has been described as “Opera Cult” and as one who would play at the Roadhouse in Twin Peaks. They draw influence from early Dead Can Dance, Fever Ray and Klaus Nomi.

The Holy Sun Opera House is the group's self-titled debut set for release in May 2026 on the label Hologram Opera. The self-produced album was conceptualized as a way to describe an obsessive mind with music and inspired by the recurring dreams of singer Krissy Barker. In it is a realm of shifting rooms, dilapidated houses and passages. These unsettled rooms and spaces pose a striking confrontation of fear and anxiety from deep within.

In its conception, The Holy Sun Opera House was written as a passage through these ethereal dreams and spaces. The song Latched On depicts the compulsive psyche as a draining physical entity attached. While Voice of Gob, Decrepit Mansion, and Room with the Rain observe and attempt to find acceptance in this conflict. The Passages I & II travel between the curtains to the unknown entity residing in The Attic, who looks inside the mind of the dreamer and determines she has no soul.

The album blends genres with electro, darkwave, and contemporary classical music. The ritualistic passages of the choir throughout the album are reminiscent of Wicker Man and 1970's mystic cults, praising the deities residing within the dream. The arrangement of synths, electronics, heavy drums and operatic singing lend itself to something uniquely memorable.

Nothing Under Heaven is the third full-length album from Scottish ambient and drone multi-instrumentalist Yulyseus.

It follows 2022’s In the Dark Palaces of Both Our Hearts, an introspective and immersive work shaped by travel, displacement, and unfamiliar surroundings. Where that release explored darker and more inward-looking terrain, Nothing Under Heaven opens outward into broader, more expansive soundscapes. Drawing on years spent moving between Glasgow, Berlin, Mexico City and Valencia, Niall Gahagan’s compositions here feel patient and quietly luminous, built from layered electronics, bowed strings and subtle field recordings.

Rather than seeking dramatic gestures, the album unfolds slowly, allowing atmosphere and emotion to emerge over time. Working within a crowded and ever-evolving ambient landscape, Yulyseus continues to focus on texture, weight and gradual movement.

Across eight carefully shaped pieces, Nothing Under Heaven explores how sound can hold both stillness and momentum, inviting attentive listening rather than functioning as simple background music. The opening track, Veillands, sets the tone with a quiet intensity that gently draws the listener inward. From there, the album develops as a continuous, immersive experience, rich in detail and emotional nuance. Nothing Under Heaven reflects an artist still in motion, responding to change, uncertainty and new surroundings with humility and care. It stands as a thoughtful and deeply considered addition to Yulyseus’s growing body of work which is rooted in patience, deep listening, and a continuing search for meaning through sound.

Mit SAMMA?! zünden SOAB die nächste Eskalationsstufe und präsentieren ein Album, das ihre ohnehin explosive Mischung aus Rap, Alternative und Metal noch weiter verschärft. Die zweite Platte der Band wagt deutlich tiefere Ausflüge ins Metal-Terrain: härter, düsterer, kompromissloser - und gleichzeitig überraschend witzig, direkter und musikalisch reifer. SOAB kennen inzwischen genau den Ort, an dem sie landen wollen: irgendwo zwischen völliger Abrissbirne, ehrlicher Melancholie und kollektiver Eskalation. SAMMA?! ist ein Album voller emotionaler Spannungsfelder, das mühelos von brachialen Breakdowns zu eingängigen Refrains wechselt, von pointierten Zeilen mit Tränenpotenzial zu Riffs, die selbst "Omma zum Headbangen bringen". Egal ob Mitgrölen auf der WG-Party, Auspowern im Gym, Frustabbau nach einem harten Tag oder kollektives Durchdrehen auf Konzerten - SAMMA?! liefert den Soundtrack für all diese Momente. Energetisch, laut, direkt und kompromisslos authentisch. Mit ihrem zweiten Album beweisen SOAB endgültig, dass sie gekommen sind, um die deutschsprachige Alternative-Metal-Rap-Szene gründlich aufzumischen.

‘Black Butterfly’ is Brooklyn Funk Essentials eighth studio album and includes the bands recent hits ‘Never Give Up’, ‘Bust The Bus Stop’ and ‘Life During Wartime’. Playlisted on BBC Radio 2 and Jazz FM and supported by Craig Charles and Cerys Matthews at 6 Music as well as many stations across Europe and the Americas. The album was produced and co-written by bassist Lati Kronlund and features Alison Limerick, Ebba Åsman and Desmond Foster on vocals.

Kronlund and Limerick have been enjoying the recent renewed interest in ‘Where Love Lives’. Kronlund wrote and produced it for Limerick in 1990, it was remixed by Frankie Knuckles and David Morales and became a club classic and was featured in this year’s John Lewis Christmas TV Ad. Arthur Baker heard the original in a club in 1991 that he contacted Kronlund about working together and they then formed Brooklyn Funk Essentials.

Since then, Brooklyn Funk Essentials have built a devoted international following and notched up over 100 million streams. Fusing Soul, Hip Hop, Spoken Word, Jazz, Latin, and, of course,
Funk, the band’s journey began experimenting with drum machines and loops in Baker’s Shakedown Sound Studio in Jersey City—hunting for that perfect beat. The early recordings featured greats such as Maceo Parker, Lenny Pickett, Tower of Power Horns, Michigan & Smiley, and Dizzy Gillespie, leading to the acclaimed debut ‘Cool & Steady & Easy’ (1994). Fast-forward to April 2024, when Kronlund reunited with Baker in Miami, rediscovering recordings featuring percussion prodigy Bashiri Johnson, which inspired new creative sparks for the next chapter of Brooklyn Funk Essentials.

Copenhagen-based DJ and producer Anastasia Kristensen presents her debut album Bestiarium Sombre, a vivid and cinematic techno work shaped by UK bleep, jungle and dubbed IDM influences. Known for headlining major clubs and festivals worldwide and for releases on Houndstooth, Turbo and Arcola, she now delivers a cohesive long-form statement on Intercept, home to artists such as Tsepo, Coloray, DJ Aya and Ineffekt. The album follows an anthropomorphic concept where each track embodies an animal, creating a distinctive narrative world with strong visual identity. This vinyl edition arrives as a limited transparent yellow marbled pressing housed in full-colour artwork. Designed for both peak-time DJs and collectors, it combines dancefloor impact with strong shelf presence.

Following their 2024 debut „La Grande Accumulation“ Anadol (Gözen Atila) and Marie Klock return with „Manivelles“.

Hailed by The Quietus as a duo that pushes each other to "greater heights of oddness" the pair produces an undefinable mix of folk, kraut, and pop nested inside expansive organ-based arrangements. The album‘s nine tracks emerged from intensive improvisations in Paris and Istanbul, brought to life with an odd mix of tools: from Prophet-5 and Jupiter-6 synths to mechanical Pianet clatter and even a salad spinner repurposed as a drone.

Klock‘s French lyrics navigate the miniature and the cosmic, exploring the small tragedies of everyday life - botched holiday gatherings, lingering heartbreak or the absence of a loved one.

Born from a moment of catharsis during an Istanbul earthquake that ended a period of writer‘s block, the record draws its material from lived experience and a lasting friendship.

Its title „Manivelles“ - meaning "cranks" - hints at the musical partners creative penchant for generating songs through friction and playful contradictions. From the shouted pastiche of "Symposium" to the sparse synth pulses of "Une Grande Tragédie Polonaise", it‘s an album with a wonderfully wonky heart that sounds like faint signals from a beautifully failing transmitter.

Mit Assikel präsentiert die ikonische Sahara-Rockband Tamikrest ihr sechstes Studioalbum - ein Werk voller Tiefe, Intimität und atmosphärischer Wucht.

Live und direkt auf Analogband aufgenommen, fängt das Album die rohe Energie, die hypnotische Präsenz und das intuitive Zusammenspiel der Gruppe ein.

Seit fast zwanzig Jahren stehen Tamikrest für die Stimme und das kulturelle Bewusstsein der Kel Tamasheq. Ihre Songs erzählen von Widerstand, Gemeinschaft und Sehnsucht - geprägt von Exil, Verlust und der ungebrochenen Hoffnung ihres Volkes. Assikel ("Reise", "Voyage") markiert einen bewussten stilistischen Schritt: organischer, unmittelbarer, ehrlicher.

Zwischen Ishumar-Gitarren, schwebender Lap Steel, druckvollen Basslinien und poetischem Storytelling entsteht Musik, die gleichermaßen erdet wie entrückt.

Mit Gästen wie Ibrahim Ag Alhabib (Tinariwen) verstärkt das Album seine emotionale und kulturelle Resonanz. Tamikrest klingen 2026 konzentrierter, entschlossener und eindringlicher denn je. Assikel ist ein musikalisches Statement - kraftvoll, zeitlos und zutiefst menschlich. Musik für diesen Moment. Musik für Menschen, die Tiefe suchen.

Campbell Owens, Douglas MacIntyre and Mick Slaven worked on the album alongside founding members Robert 'Bobby Bluebell' Hodgens, David McCluskey and Ken McCluskey to create the new collection of tracks. The result is a stunning body of work; rich, melodic, thoughtful and infectious. First single No Pasaran! premiered on BBC Radio Scotland and in The Herald in September 2025. The Bluebells rose to fame in the 1980s as jangle-pop pioneers of the Sound of Young Scotland era with their three hits Young at Heart, Cath and I'm Falling.

Despite only releasing one readily-available album during their initial run (Sisters, 1984) the band have remained as one of Scotland's most beloved bands, currently boasting over 144,000 monthly Spotify listeners. The band enjoyed a post-breakup revival in 1993 after a Volkswagen advert featured Young at Heart, pushing the single to No.1 for 4 weeks. They have since reunited over the years, to play various festival slots and develop new material. In 2023, the band released The Bluebells In The 21st Century, their first LP in decades. In 2025, The Bluebells played Glastonbury.

One of electronic music’s most sought-after names, producer and DJ KETTAMA today announces the release of his long-awaited debut album, Archangel, out 3rd of October. The announcement arrives in tandem with new single “Sort It Out” featuring Clouds, and a landmark moment in his career: his biggest ever London headline show, taking over Brixton Academy on Saturday, October 4th, followed by an expansive tour across Europe, North America, and Australia.



A decade in the making, Archangel is the definitive statement from KETTAMA (Evan Cambell), the Galway-born, London-based artist. The 15-track project is a powerful blend of hard-house energy, trance-inflected euphoria, hip-hop sample-based attitude, and unmistakable emotional depth—sonic signatures that have placed KETTAMA at the cutting edge of contemporary dance music.



The album showcases a curated roster of collaborators who reflect KETTAMA’s reach and relevance across today’s underground and mainstream scenes, including Interplanetary Criminal, Fred again.., Clouds, Prospa, DJ HEARTSTRING, Shady Nasty, SØLV and seantommy. Their contributions amplify the project's scope, offering a multi-sided view into KETTAMA’s musical universe.



Among its early singles, the Interplanetary Criminal collaboration “Yosemite” is a high-velocity anthem marrying speed-garage grit with ecstatic rave melodies, while his track “Air Maxes” with Fred again.. And Shady Nasty blends introspective vocal sampling with wide-eyed club emotion. On “If U Want My Heart” with DJ HEARTSTRING featuring KLP, the ensemble channels high-energy trance, breakbeats, and vocal euphoria into a soaring anthem that fuses emotional intensity with peak-time club energy. Meanwhile, his collaboration with Clouds, released today, “Sort It Out” dives headfirst into industrial-techno territory, conjuring a dark, cathartic energy destined for warehouse euphoria. And reigning as one of the undeniable anthems of the summer so far, “It Get’s Better (Forever Mix)” delivers euphoric waves of uplifting synths and relentless rhythm, bringing an irresistible surge of energy that’s become synonymous with this summer’s club moments.



Archangel has already found a home on the world’s biggest stages and radio airwaves, with early support from key tastemakers including Jack Saunders, Danny Howard, Sarah Story, and Tim Sweeney. Simultaneously, a grassroots groundswell continues to bloom across social platforms—where viral snippets and show footage capture the visceral reaction of a fast-growing, global fanbase.



This year, KETTAMA has elevated his status to a full-blown festival phenomenon, performing at major stages including Coachella, Glastonbury, Creamfields, Portola, Seismic, and ARC Festival, to name a few. In June, he played to 20,000 people in Belfast for a b2b with Chris Stussy—one of the UK’s largest DJ events in recent memory—and is currently mid-way through a 16-week Ibiza residency at Amnesia, playing every Monday night throughout summer. Full list of upcoming live dates can be found below.



Perhaps the clearest signal of his surging popularity is the jaw-dropping response to his upcoming Boiler Room live set, with over 15,000 fans signing up to attend— the set’s release is now highly anticipated as a time capsule moment in a breakout year for the artist.



KETTAMA’s rise to prominence has been anything but conventional. Eschewing the traditional gatekeepers of the industry, KETTAMA cultivated an underground following through the likes of SoundCloud and TikTok, where raw uploads, bootlegs, and viral edits generated a tidal wave of grassroots momentum. Over the years, these platforms became launching pads for a fiercely loyal global community, drawn to his unfiltered energy and boundary-pushing sound. This subversive path to recognition has made him not just a fixture of the scene but a symbol of how new-generation artists can forge success on their own terms.



From his humble roots in the Irish underground to the world stage KETTAMA is now pushing the limits of what a next-gen DJ-producer can achieve. With Archangel, he fuses the sound of his native ‘G-Town’ with a futuristic vision that’s unapologetically global—marking a creative milestone that cements his place among electronic music’s most compelling voices.

Mit "Folklore" vertiefen 16 Horsepower ihre unverwechselbare, düster-spirituelle Interpretation amerikanischer und osteuropäischer Traditionals. Das Album verbindet eigene Songs mit radikal neu gedeuteten Klassikern, die die Band in rituelle, minimalistische und zugleich kraftvoll aufgeladene Klanglandschaften verwandelt. Banjo, Cello, Hurdy-Gurdy und Bandoneon bilden ein archaisches Fundament, das David Eugene Edwards" intensiven Gesang eindrucksvoll trägt. Die Oxblood Vinyl Edition bringt diesen Meilenstein in besonderer Form zurück - passend zur Reunion-Tour 2026, bei der die Band erstmals seit zwei Jahrzehnten in ihrer Originalbesetzung auf europäischen Bühnen steht. Folklore bleibt eines der charakteristischsten und atmosphärisch dichtesten Werke der Band: dunkel, entrückt, hypnotisch - ein Album, das die Grenzen zwischen Tradition, Mythos und moderner Alternativkultur auflöst.

Mit "Yours, Truly" veröffentlichen 16 Horsepower eine Sammlung, die tiefer in das Herz der Band führt als jedes reguläre Album. Die Doppel-Compilation vereint auf LP1 eine von Fans weltweit kuratierte Best-Of-Auswahl - ein Querschnitt durch die intensivsten Stücke der Bandgeschichte. LP2 ergänzt das Bild um 13 rare Aufnahmen, die bis dahin auf keinem offiziellen Album erschienen waren: B-Seiten, Demos und Radiomitschnitte, die die rohe, unmittelbare Kraft der frühen Phase festhalten. Inmitten der Oxblood-Vinyl-Reissues und begleitet von der Reunion-Tour 2026 in Originalbesetzung wird Yours, Truly zu einem zentralen Dokument der Band: authentisch, emotional und ein unverzichtbares Archiv für neue wie langjährige Fans des "Denver Sound".

Nach einer dreijährigen Pause kehrt der schwedische Singer-Songwriter Thomas Jonsson mit ,Give Up Together" zurück, seinem sechsten Album als I'm Kingfisher. Nach dem 2023 erschienenen, hochgelobten Album ,Glue", das größtenteils gemeinsam mit Jazzmusikern arrangiert wurde, hat sich Jonsson dieses Mal für einen etwas anderen, härteren Sound entschieden - mit einer brillanten Sammlung von Americana-Songs, die von ruhigen Drums, markanten E-Gitarren und satten Streichern umhüllt sind, während sie gelegentlich zu reduzierten Folksongs dekonstruiert werden. Als eines der bestgehüteten Geheimnisse Schwedens und als einer der besten Songwriter der nordischen Folk-Welle hat Jonsson still und leise ein mehr als beeindruckendes Repertoire aufgebaut, während er die Bühne mit Kevin Morby, Courtney Marie Andrews, The Weather Station und Damien Jurado teilte, und ist nun endlich bereit, neben seinen berühmteren Zeitgenossen ins Rampenlicht zu treten.

"Happy Today" is the third album from guitarist/bandleader"s Jeff Parker"s long-running ETA IVtet, recorded live at Lodge Room in Los Angeles on August 20, 2025. This fresh entry into the IVtet"s catalog captures the instantly recognizable group sound of Parker and the band - including drummer Jay Bellerose, bassist Anna Butterss, and saxophonist Josh Johnson - on record outside of the now-shuttered Highland Park micro-club ETA for the first time ever. "Happy Today" is that sound - the IVtet"s signature syntax built around long-form, minimalist improvisation - expanding confidently into larger space while creating the same hypnotizing, deeply-tuned listening effect on visibly enraptured audiences. The album contains two sidelong pieces recorded as the band performed in the round at Lodge Room, surrounded by an audience of 400 or so deep listeners.

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'.

Freerange Records proudly presents SUN, the brand-new album from Crackazat - a radiant, genre-spanning statement and the long-awaited follow-up to his critically acclaimed 2021 LP Evergreen. SUN is Crackazat’s fourth album and his most expansive work to date: a rich blend of jazz, house, hip-hop, soul, and funk that fully steps into his own lane as a musician, bandleader, collaborator, song writer, and producer. Early radio support from 6 Music (Craig Charles), NTS and Jazz FM. Press/online support from Notion, Electronic Groove, Atwood, Earmilk & Magnetic Magazine.

Freerange Records proudly presents SUN, the brand-new album from Crackazat - a radiant, genre-spanning statement and the long-awaited follow-up to his critically acclaimed 2021 LP Evergreen. SUN is Crackazat’s fourth album and his most expansive work to date: a rich blend of jazz, house, hip-hop, soul, and funk that fully steps into his own lane as a musician, bandleader, collaborator, song writer, and producer. Early radio support from 6 Music (Craig Charles), NTS and Jazz FM. Press/online support from Notion, Electronic Groove, Atwood, Earmilk & Magnetic Magazine.

JoeyStarr is the co-founder of the famous French rap duo Suprême NTM. Originally starting out as breakdancers and graffiti writers, the duo is known for representing the perspective of minorities residing in the underprivileged neighbourhoods of Paris and beyond through dark, gritty, politically-conscious lyrics. Despite achieving record sales with their four albums, they split in 1998.

After a few detours away from the music business, in 2006 JoeyStarr dropped his first solo album. Egomaniac, released in 2011, is his second album and includes some high-profile collaborations; on "Mamy..." he works together with Nicoletta on a rework of her 1971 hit single "Mamy Blue" and the interlude "Appel À La Resistance" features a speech by leading left-wing politician Olivier Besancenot. After its initial release, the vinyl edition went out of print so we're happy we can finally make it available again.

Egomaniac is available as 15th anniversary edition of 1000 individually numbered copies on orange vinyl and includes an 8-page booklet.

Nicola Conte and Nico Lahs’ Tema Due project finally comes to full realization in a double LP entitled “Universo Astratto”,adding a wealth of new musical shades and ideas to the two EPs released on Schema Records in 2025. The albumrepresents not only the natural evolution of their artistic dialogue, but also a statement of intent in terms of sound.Fans of the most sophisticated and refined club music, elevated by the fusion of exquisite electronica with spiritual jazz (it isno coincidence that the opening track evokes the baseline of “A Love Supreme”), African-American rhythms and tribalpercussion, will be thrilled by this complex and multi-layered album, which unveils new hidden details upon each listen.A meticulous selection of exceptional musicians contributes in a distinctive and significant way to broadening the scope ofthe project: Giovanni Guidi, Pietro Lussu, and Dario Bassolino on keyboards, Gabriel Prado and Abdissa Assefa onpercussion, Magnus Lindgren on wind instruments and Hammond organ, and Pasquale Calò on saxophone. On vocals wehave Lalin St. Juste, Siya Makuzeni, Nina Miranda - for what is probably the best track on the album, “Share Your Love”- and Toco - for a new and previously unreleased version of the track “Macumba de Oxalà” featured on the first EP.In “Universo Astratto”, Tema Due’s vision is finally fulfilled: a world of ancestral grooves, cosmic jazz, and electronic musicconceived for clubs as a type of “active experience” in which one is transcended by music. This record is an invitation—tomove, to feel, to elevate—and a manifesto for those who see the dance floor not just as a location, but as a shared experience of awareness and rhythm

America’s Volume Dealer is the sixth studio album by Corrosion of Conformity. On this album the band's Southern tinge is more pronounced than ever. Warren Haynes (Allman Brothers, Gov't Mule) lends his slide guitar to the Skynyrd-ish acoustic-driven ballad "Stare Too Long." What's most immediately obvious, though, is that this is COC's most radio-friendly record yet- the production is more polished, but the record still has that typical COC sound.

America’s Volume Dealer is available as a limited edition of 750 individually numbered copies on black & white splatter vinyl and includes an insert.

Uncle Slam, featuring former members of Suicidal Tendencies and Warrior, was a politically-minded thrash act from the 90's. Their list of influences shouldn’t surprise anyone with a passing familiarity of the genre: early Corrosion of Conformity, Dark Angel, Testament, Megadeth and of course Suicidal Tendencies.

Will Work for Food, originally released in 1993 by Roadrunner Records in Europe, with cover art by the legendary Ed Repka, will now be a available on vinyl for the first time ever.

This album features an iconoclastic take on Led Zeppelin’s “Dazed and Confused” which is one of the record’s highlights, These guys are turning that song’s proto-punk into actual punk. The rest of the album is a blast of antigovernment aggression, and is ready to be rediscovered 30-odd years later!

Will Work For Food is for the first time available on vinyl as a limited edition of 750 individually numbered copies on purple vinyl and includes an insert.

On their fourth proper studio album Ruckus, Galactic wholeheartedly move not so much away from their past as a bad-ass New Orleans jazz & roll band, as they move toward another of its traditions: Voodoo funk.

Not merely content to stick to Mardi Gras or Dr. John esthetics, Galactic points firmly toward the technological present with their primordial groove machine music. Bass, bass, and more bass is the order of the day, and strange keyboard sounds come bubbling under like some lost Lee Perry session gone digital. Ruckus is a spooky ride to the other side of midnight. That moment in time when anything is possible.

This is musical rebirth of a band. Galactic was made all the better for its brave new direction. Ruckus is a album packed with ass-burning grooves and was produced by Dan The Automator.

Ruckus has not been available on vinyl more than 2 decades, and now it's finally out again as a limited edition of 750 individually numbered copies on yellow & green marble vinyl, and includes an insert.

Cowboy Junkies are set to release Open to Beauty, a collection of songs from their 21st century albums to date. This "Best Of" set will revisit selected tracks from albums "Open", "One Soul Now", "Early 21st Century Blues", "At The End of Paths Taken", "Renmin Park", "Demons", "Sing In My Meadow", "The Wilderness", "All That Reckoning", "Songs of the Recollection" and "Such Ferocious Beauty". Speaking about the new collection, Cowboy Junkies" Michael Timmins said: "We are now 25 years into this century, the beginning of which saw us leave the world of major labels and return to making music as an independent band. We figured this was as good a time as any to look back, reassess, and reflect on the music that we have recorded over these past two and a half decades and, hence, "Open to Beauty - The Best of the 21st Century".

Widely regarded as Romeo's finest work, the album is a landmark of roots reggae, combining political commentary, Rastafarian themes and Perry's distinctive dub production style. Released on Island Records, the album reflects the social and political turmoil of mid-1970s Jamaica, addressing poverty, violence, and oppression.

The record features nine tracks, including some of Romeo's most enduring songs such as "One Step Forward," "War Ina Babylon," and "Chase the Devil,".

War Ina Babylon is often grouped with other Black Ark productions as part of a celebrated trio of reggae albums from the era, and it remains one of the most acclaimed and influential releases in the genre.

Soulbound with their new album "Addicted To Hell" from 2020 stand for urban, end-time Industrial Metal. They don't renounce their roots from Alternative Metal and keep their trademark despite all harshness: catchy melodies with dystopian and socially critical lyrics. Stomping beats combine heavy guitars and aggressive synths to an apocalyptic mix of Gothic, Metal and Industrial which in this form is still unparalleled. Here comes the album for the first time as a limited edition vinyl neon orange/black dust gatefold.

Limited Apricot/Rose Vinyl. After being only available on his "North America & Japan Tour 2025", Black Screen Records is excited to release the second pressing of VK Blanka's latest studio album "Knightclub" on 1xLP Rosé / Apricot Split Vinyl. The album comes with an exclusive vinyl bonus track "Black Catcher - Piano Version" and includes a lyrics sheet. The Japanese singer-songwriter and multi-instrumentalist also announced his return to AnimagiC 2026. The convention will be held from July 31st - August 2nd in Mannheim, Germany. Black Screen Records will also return and bring the Knightclub vinyl to the event. Since expanding his activities overseas in 2023, he has performed electrifying live shows in new territories, including North America, Europe, Saudi Arabia, and Latin America. At Brazil's largest anime convention, Anime Friends Sao Paulo 2024, he captivated a staggering audience of 10,000, their voices rising in fervent chants of his name, as he closed out the event as the final act of the night.










[j] 10OLD RIVALS [A SELF-COVER OF RIVALS!]
[k] 11BLACK CATCHER PIANO VERSION [BONUS TRACK]

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons.

A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse.

The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit.

Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973.

Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage.

The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass.

Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

Following the success of his debut EP 'Departure', J Michael Harris returns with a dynamic neo-jazz album that marks his evolution as an artist. Bringing together legendary musicians from London, Los Angeles, and Atlanta, the album embodies elements of jazz, dance and electronica while drawing inspiration from luminaries such as Robert Glasper, J Dilla, Aphex Twin, Sampha, and Herbie Hancock.



All music written by J Michael Harris (saxophone, piano, fender rhodes, synths, EWI, clarinet, flute)

featuring

Freddy Sheed (drums, percussion, programming/ Lewis Capaldi, The Japanese House, The 1975)

Jimmy Haslip (bass/ Yellowjackets, Allan Holdsworth, Jeff Lorber Fusion)

Mo Pleasure (piano, hammond b3/ Earth Wind and Fire,

Michael Jackson, Ray Charles)

Karlos Edwards (percussion/ Nitin Sawney, Spice Girls, Mark Ronson)

Henry Collins (trumpet/ Amy Winehouse, Tom Jones, Van Morrison)



Mixed and Mastered by Guy Massey (The Divine Comedy, Kylie, The Beatles)

memotone returns to Accidental Meetings with a collection of stunning and delicately crafted songs, featuring Ugné Uma, guest (Jabu) & Typesun!

Multi-instrumentalist, producer & composer memotone (Will Yates) announces the release of his album Warm Shadows and a homecoming on Accidental Meetings. Warm Shadows sees Yates’ discography continue to flourish and traverse into new territory once again, his ever-growing sound palette commands total attention throughout the LP. Within the album sees delicate collaborations with Lithuanian artist Ugné Uma, Jabu’s guest and percussionist, Typesun.

Memotone is a learn-by-playing multi-instrumentalist and producer, working with minimal, ambient and contemporary classical music. Predominantly an improviser, recent years have seen memotone lean towards a more free-form approach, exploring jazz, drone and more meditative music, also showing a keen interest in sound design and textural experimentation. Will has released music with various labels over the years to critical acclaim, most notably; World of Echo, The Trilogy Tapes, Sähkö Recordings, Accidental Meetings, Patience/Impatience & Black Acre.

Udo Lindenberg - Alles unter einen Hut - Eure Favoriten
41 Tracks / 40 Songs aus 40 Studio-Alben plus „Komet“
Auf dieser Compilation befinden sich die Original-Versionen - remastert
Künstler, Udo Lindenberg / Udo Lindenberg und das Panikorchester, diverse fest. Artists



Das besondere Birthday Package.
Zu seinem runden Geburtstag veröffentlicht Udo Lindenberg eine ganz besondere Panik-Compilation. Kein klassisches Best Of-Album, sondern ein Geschenk der Fans an Udo Lindenberg - denn über die Songauswahl haben die Fans abgestimmt


Im Januar startete dafür eine beispiellose Mitmach-Aktion, die die Fans begeisterte und zu einem großartigen Voting-Ergebnis führte: Alle Songs aus 40 Studioalben standen zur Wahl. - vom ersten Album „Lindenberg“ (1971) bis zum letzten Studioalbum „Stärker als die Zeit“. Das Ergebnis ist diese brandneue, von den Fans kuratierte Compilation mit den 40 meistgewählten Tracks - gekrönt von „Komet“ als 41. Song, den Udo höchstpersönlich außer Konkurrenz gesetzt hat.


Die Mischung der Songs ist eine wilde Zeitreise durch mehr als fünf Jahrzehnte Musikgeschichte: von den frühen Panik-Hymnen bis zu den jüngsten Meisterwerken - auf Deutsch, Englisch und sogar Niederländisch. Begleitet von vielen Weggefährten und natürlich dem legendären Panikorchester, erzählt diese Platte am Ende nicht nur Udos Geschichte - sie erzählt die Geschichte der Fans


Dass diese Compilation ein echtes Unikat ist, zeigt sich auch an den hauchdünnen, internen Duellen auf den jeweiligen Alben. Oftmals stießen Fan-Lieblinge die großen Titel-Tracks vom Thron. Einige Songs befinden sich auch zum ersten Mal auf einer Compilation.


Mit jeweils einem Song aus 40 Studioalben und dem Riesenhit „Komet“ ist diese Werkschau (in den remasterten Originalversionen) somit das einmalige Dokument einer deutschen Jahrhundertkarriere.

Lorelle Meets The Obsolete return with their seventh album. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and last year's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol."Playing other artists' music is different," says Lorena Quintanilla about the change of direction towards the dancefloor. "You're not just listening, you're watching how energy flows and how it affects other people. It gives you the chance to witness what moves other bodies." And Corporal, as the title suggests, is all about the body. "The body is what carries the weight of stress, exhaustion, sadness. It's the body that the system breaks first," explains Lorena. "Unintentionally, while composing the album, our bodies were seeking joy in the songs. Reconnecting with pleasure became a way to open new dimensions - a way to escape, yet remain present." The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies we miss, the bodies that march together in protest, the bodies that are being controlled".

After releasing two albums with the UK label Rocket Recordings, the Italian psych band Julie"s Haircut now release the new album on its own Label Superlove. With a title taking inspiration from the I Ching book of divination, and a six piece lineup introducing new singer and songwriter Anna Bassy joining the consolidated team formed by Nicola Caleffi, Luca Giovanardi, Andrea Rovacchi, Andrea Scarfone and Ulisse Tramalloni, Radiance Opposition collates an eight tracks cycle that generates a consistent yet multifaceted musical journey, combining psychedelia, electronica and polyrhythms - all blended together thanks to a syncretic vision juxtaposing apparently irreconcilable factors. None of this is more evident, perhaps, than in the opener "I Can See The Light", with its sudden yet flowing shift from a dark pulsating preamble to an invigorating, hypnotic coda; or in the transition from the stoner-drenched heavy chthonic blues of "Extinction Of The Sun" to the liquid nocturnal moods of closing piece "6AM Carpet Candlelight". But it is the whole record that finds a rare balance, with tracks melting deep atmospheres and summoning vocals, synth-driven shapes and dynamic cadences, noise textures and evoking chants - all of them making the album a cohesively transformative experience. Nestled in a visual frame by contemporary artist Zoë Croggon suggesting an aura of ritualistic tension and mystique, Radiance Opposition sets Julie"s Haircut in a renovated form, at once rooted in their history and rushed to a creative renascence.

Introducing Whoman, a Brussels trio formed by Mira and Ambroos De Schepper and Lou Wery, after several years of concerts and sonic explorations between electronic and acoustic formats. Born from travels, rehearsals, and fragments accumulated in various living spaces, About Honey has patiently taken shape, like a collection of soundscapes and intimatenarratives. The richnessof the textures and the fluidity of the arrangements are striking. Acoustic guitars, mandolin, and tenor guitar converse with synth pads and delicate vocal harmonies, sketching a shifting sonic universe where pop energy and introspective folk atmospheres intersect. Finalized at Studio Ledeberg in Ghent, the album bears the mark of these years of concerts, particularly the tours in mountain refuges that refocused the band"s attention on the essence of the songs: voices, harmonies, and collective breath. Like the honey from which it borrows its metaphor, About Honey concentrates multiple influences to reveal a singular color: the textured expanse of Animal Collective and Panda Bear, the luminous melancholy of Fleet Foxes, and the abundant songwriting of Dirty Projectors. In ten tracks, Whoman delivers a dense and luminous debut album, both organic and inventive, where the delicacy of the vocals and the richness of the arrangements combine to create a warm and vibrant record, revealing a unique new voice on the Belgian indie scene.

There’s a song on There’s A Whole World Out There, the second album by Canadian four-piece Arm’s Length, called “Palinopsia”. Derived from the Greek for “again” (palin) and “seeing” (opsia), it’s a visual phenomenon marked by the persistent image of something that’s no longer actually there. Singer and lyricist Allen Steinberg wrote the song wrote about “pure devotion or love towards someone that may no longer be a part of your life”, but it also applies to the record as a whole.

Because throughout this album’s 12 songs, Steinberg wrestles a with the part of life that’s been and gone. Yet there’s a noticeable difference between the person who wrote this record compared to the one who wrote Arm’s Length’s 2022 debut, Never Before Seen, Never Again Found. “This record speaks more to my life at the moment than the past,” he explains, “even though there’s still a good amount of past on it. But it’s how I’m dealing with it now, as opposed to being enveloped in it—there’s more a sense of being on the other side of it, of seeing it with hindsight. The tone has shifted a little. I’m probably just a bit more mature, as my frontal lobe is developing as we speak.” Produced by Anton DeLost—who worked with the band on Never Before Seen, Never Again Found and 2021’s EP, Everything Nice—There’s A Whole World Out There does indeed expand Arm’s Length’s horizons in accordance with Steinberg’s developing frontal lobe, presenting him as more self-reflective contemplative than he was before. He wrote the parts for all the instruments, as well as the vast majority of the lyrics, alone in his room, and then brought those initial sketches, recorded as voice memos, to drummer Jeff Whyte, who added percussion to Steinberg’s song skeletons. While the majority of the creative process was in Steinberg’s hands, it was only when these songs were recorded as a full band with Jeremy Whyte, who played bass on the record, and Ben Greenblatt that their full potential was realized. The result is that the feelings driving these songs burst and bloom with full force, building on the incredible foundations set by the band’s previous recorded output.

Equal Vision Records, Dine Alone Records, and The Flatliners are thrilled to announce the release of Cold World, the Juno-nominated Canadian punk quartet’s brand new studio album, arriving Friday, May 8. The album is available now for pre-order / pre-save / pre-add. Where 2022’s New Ruin wrestled with the inherited damage left behind by the previous generation, Cold World confronts that legacy as something more distant — a ghost, a fading memory. If New Ruin captured the rage of realization, Cold World lives in the aftermath of clarity. Welcome to the future. Leading the charge is first single “Good, You?”, a snotty, tongue-in-cheek anthem that takes aim at toxic masculinity and the all-too-familiar fear of opening up about our feelings. Fans can watch the Jeff Powers-directed music video on YouTube and stream the track now on all platforms. Light Grey Marble available limited to 250 Rude Records Exclusive.

First new album in 6 years along with being their EVR debut album. Brett Romnes (Hot Mulligan, The Front Bottoms, Mom Jeans) produced the record along with being the drummer of the band. I Am The Avalanche features members of The Movielife, Head Automatica, Crime In Stereo, and Such Gold. Vinyl White Swirl LP limited to 250 available, Rude Records Exclusive

Deep, deep stuff on the debut album from K Wata. Long and dubwise, dark and detailed. With bass that fills and warms a space.

All noir. Cast shadows against the wall. Weight being shifted and distributed with singularly delicate poise, like a knife being balanced on the end of a finger.

There’s a silvery, loose flow state to this record that maybe reveals the way some tracks were first written to be deployed live at Sustain Release 2025. Then taken back to the lab and tightened up further into the album’s final form, with beautiful mixing work between Kenzo and Chris Botta.

With that in mind, Give U Space unfolds slowly and fluidly, giving the listener the chance to access and open up to the deepness of the sound, being led down a path. It rolls and builds momentum and groove, and ratchets tensions up toward peaks of energy "Whisper Dub" and "There Will Be Love".

The tunes feel architectural. Rooms to be in and settle into. Simultaneously stripped back and then etched with neat little details and characterful or atmospheric sound choices. The silhouette of slo mo Memphis and Houston trap is a leading influence, especially with the drums. Mixing with bits of click’n’cut sampling and psychoacoustic tricks, the penumbra of dub techno and drowsier dubstep, and SG’s soft vocals rising in the ether.

The presence and inspiration of the sound system is obvious in all of Kenzo’s work, the music can rattle when spun up louder or blended into the club. But K Wata’s uniqueness and signature comes from an often equally inward facing quality, touched by distance and longing and a sort of chiaroscuro incandescent light set up.



Written and produced by K Wata.

Mixed by K Wata and Christopher Botta at Fer Sound Studio.

Vocals on “Give You Space” and “Go” by SG.

Clarinet on “Radio Embrace” by Eugene Lai.

Mastered and cut by Mike Grinser at Manmade.

Art by S. Gong

Yungblud kehrt mit neuen Songs zurück und komplettiert mit ”Idols Pt. II” sein Grammy nominiertes 2025
erschienenes Album ”Idols”! Fans können sich auf sechs brandneue Songs sowie eine neu interpretierte Version der Grammy-nominierten Single „Zombie“ mit The Smashing Pumpkins freuen. Yungblud beschreibt
„Idols 2“ als das zweite Kapitel der Idols-Geschichte, in dem er erkennt, dass er lebt und dass die Reise,
auf der er sich befindet, ihn nicht umgebracht hat.
Die physische Version des zweiten Teils seines vierten Studioalbums wird am 15. Mai auf Vinyl und
CD veröffentlicht. Die Vinyl enthält sechs brandneue Songs sowie eine neu interpretierte Version der Single
„Zombie“ mit The Smashing Pumpkins.
Die CD enthält die komplette 19-Track-Sammlung, die beide Teile von Yungbluds GRAMMY-nominiertem
Album „Idols“ vereint, und umfasst neben den im Juni 2025 veröffentlichten Titeln sechs brandneue Songs
sowie eine neu interpretierte Version der GRAMMY-nominierten Single „Zombie“ mit The Smashing Pumpkins.

Darauf haben die Fans gewartet: Tank and the Bangas lassen nach “Green Balloon“ (2019) und “Red
Balloon” (2022) mit “The Last Balloon” jetzt den dritten, besonders energiegeladenen und tanzbaren
Albumballon steigen. Die Band aus New Orleans wird von der charismatischen Frontfrau und Lyrikerin
Tarriona ”Tank“ Ball angeführt und gewann letztes Jahr den Grammy für das ”Best Spoken Word Poetry”-
Album.
“The Last Balloon” ist erneut ein knallbunter Mix aus Soul, Hip-Hop, R&B und Jazz und präsentiert Kollaborationen mit den Sängerinnen Ledisi und Jelly Joseph, der Musikerin Iman Omari und dem Pianisten Tane
Runo. Das Album balanciert zwischen Momenten tiefer Verletzlichkeit und Ausbrüchen überschäumender
Energie – ganz im Sinne der legendär dynamischen Live-Auftritte der Gruppe.

Nachdem er Mitte der 1950er Jahre mit “Afro-Cuban” und “‘Round About Midnight at the Café Bohemia” zwei frühe Klassiker für Blue Note aufgenommen hatte, feierte Trompeter Kenny Dorham 1961 mit
“Whistle Stop” ein fulminantes Comeback bei dem Label. Das Album, eingespielt mit einem erstklassigen
Hard-Bop-Quintett, enthält sieben Originale aus Dorhams Feder, die seine erstaunliche Vielfalt als Komponist unterstreichen. Scott Yanow gab der Aufnahme bei AllMusic 4,5 von 5 Sternen und schrieb: “Dorham
präsentiert hier lebhafte, frische und durchweg swingende Musik. Dies ist ein allgemein übersehenes, fast
schon klassisches Album.”

Reissue. Dead Rock Commandos is the fifth studio album by Greek band Nightstalker, released in 2012. The album is considered a milestone in the European stoner rock scene, characterized by heavy riffs, groovy rhythms, and a "raw rock 'n' roll" attitude. The release blends desert rock sounds with psychedelic influences and classic hard rock à la Black Sabbath.

Reissue. Dead Rock Commandos is the fifth studio album by Greek band Nightstalker, released in 2012. The album is considered a milestone in the European stoner rock scene, characterized by heavy riffs, groovy rhythms, and a "raw rock 'n' roll" attitude. The release blends desert rock sounds with psychedelic influences and classic hard rock à la Black Sabbath.

Port Noir ist eine dynamische und musikalische Grenzen überschreitende schwedische Progressive-Metal-Band, die 2013 die Szene im Sturm erobert hat. Das Trio aus Stockholm kreiert einen Sound, der ebenso intensiv wie fesselnd ist und Heavy Metal, Präzision, Atmosphäre und einen großartigen Groove gleichermaßen vereint. Bekannt für ihre mitreißenden und intensiven Live-Shows, haben sie sich einen Ruf als eine der interessantesten Bands des modernen Rock & Metal erworben.

Mit ihrem Debütalbum "Puls" aus dem Jahr 2014 haben sich Port Noir sofort von anderen Bands abgehoben und einen kühnen und einzigartigen Sound präsentiert, der sowohl heavy als auch komplex ist. Ihre Folgealben "Any Way the Wind Carries" (2017), "The New Routine" (2020) und "Cuts" (2022) haben ihre kreativen Grenzen noch weiter verschoben. Ihre Musik zeichnet sich durch kreative Kompositionen, minimalistische und kraftvolle Arrangements mit einem unverkennbaren Groove aus, der jeden Track mit Intensität und Energie vorantreibt.

Port Noirs Ambitionen sind unbestreitbar - sie folgen nicht einfach nur Trends, sondern wollen die Zukunft der Heavy-Musik mitgestalten. Ihr neues Album "The Dark We Keep" verspricht noch härter zu werden als ihre bisherigen Veröffentlichungen. Die Band hat einen aggressiveren und intensiveren Sound angekündigt, bei dem ihre charakteristische Mischung aus Alternative Metal und progressiven Einflüssen neue Extreme erreicht. Mit ihrem wachsenden Ehrgeiz und ihrer Experimentierfreudigkeit wird dieses nächste Kapitel ihrer musikalischen Reise sicherlich einen bleibenden Eindruck bei ihrer ständig wachsenden Fangemeinde hinterlassen.

"The Dark We Keep" ist als limitiertes Digipak, limitierte ultraklare LP und digitales Album erhältlich.

Prism Shores return with Softest Attack, produced by Scott "Monty" Munro, the album blends '90s power pop crunch and shoegaze shimmer in their most collaborative and ambitious release yet. Montreal janglers Prism Shores return with a sharper, more immediate follow-up to their acclaimed 2025 breakthrough Out From Underneath. While the previous record leaned into atmosphere, this new album doubles down on hooks, maximalist guitars, and the pure strength of their melancholic songwriting. Produced by Scott "Monty" Munro (Preoccupations) and mixed by René Wilson, Softest Attack blends jangle pop, '90spower pop, and shoegaze with clear echoes of The Wedding Present, Teenage Fanclub, and My Bloody Valentine all filtered through the band's Dunedin-inspired indiepop sensibility. For the first time, all four members contribute lyrics and lead vocals, marking their most collaborative and ambitious effort yet. Softest Attack is Prism Shores' boldest attempt to craft a top-tier indiepop record: bigger, brighter, and overflowing with guitars, but always anchored by undeniable melody.

OXXON, drittes Album nun auf Vinyl! 1995 von Sänger und Gitarrist Ralf Lisson gegründet und stehen OXXON seit jeher für kompromisslosen Punkrock und Rock'n'Roll. Gemeinsam mit Sascha Riegger (Leadgitarre), Brösel (Bass) und Guido (Drums) vereint die Band eingängige Melodien mit kraftvollem Drive unddirekter Attitüde. OXXON transportieren Wut, Energie und Leidenschaft in Songs, die zwischen schnellen Punkhymnen, treibenden Midtempo-Nummern und rauen Straßenballaden pendeln. Zahlreiche Konzerte führten die Band quer durch Europa, wo sie sich die Bühne mit Szenegrößen wie Donots, Spermbirds, Sonny Vincent oder den Lurkers teilte. Aus dem einstigen Punkrock-Trio ist längst ein eingespieltes Quartett in klassischer Rock'n'Roll-Besetzung geworden - seit 15 Jahren konstant, laut und unabhängig. OXXON funktionieren auf jeder Bühne: nahbar, intensiv und mit der Fähigkeit, ihr Publikum nachhaltig zu begeistern. Nach der CD-Veröffentlichung 2024 erscheint das Album im April nun LP - konsequent, laut und wie gemacht für die Rille: 180g red/ black marbled vinyl, 500 Stück handnummeriert mit Einleger

One of the best mid 70s roots tunes, reissued the way we always wanted to see it. The Officials (later known as Earth & Stone) "Babylonian" was released on a very rare Jaguar 45 as a solo vocal, but also had a lesser known release on a Dynamic Sounds compilation album. That album cut is a duo harmony vocal over a slightly different take of the rhythm, and never reissued on vinyl before. Both vocal cuts are now paired back to back in crisp master tape quality.

Born in Wroc?aw. Known and liked as a member of the Wroclaw-based duo Skalpel. Much less known and liked as the author of several solo albums that illustrate and explore different states of consciousness: Breslau (solo debut released on Ninja Tune) - the frenzy of war, Dream Logic - the meanders of dreams, Delirium - psychedelic hallucinations, Fyodor - religious exaltation and ethical illusions. On the album "Refleks", he explores the state of consciousness of an old digger and beatmaker. He lives in Wroclaw.
About Refleks:

Refleks is tender and free. Of the two meanings of this word in Polish, I choose the one that is a reflection of light on a river. Hypnotic and never monotonous, brilliant and charming, with depth slumbering beneath. The whirlpools we encounter on the album are only slightly cunning; they are rather playful. Although one can look into the abyss, it is not greedy-it allows you to stay on the shore and does not consume you unconditionally.
In some tracks, it even throws you out: you think you're still riding that slide-a tunnel you think is endless-but it ends safely and suddenly in the grass. In the plush. As if a momentary wind carried you away, only to stop at the least expected moment, finding yourself in a completely new yet seemingly familiar space-time-at home, which is not yours, yet not foreign either. While the titles clearly suggest Wroc?aw-based situations, in my opinion, we are moving on a higher level of intimacy and abstraction. On the waves of the ether, the forgotten element of everything that cannot be measured, weighed, or counted. What we know for sure, but might only seem so to us. In the hospitable cosmos of a well-settled head.

Transformation, growth, and rebirth drive Ascent Effort, the latest release from Portland, Oregon trio Rhododendron. The title points upward, but not toward arrival. The record documents a period of change defined as much by instability as progress, where confusion and renewal unfold at the same pace.
Formed in 2019 while the band’s members were still in high school, Rhododendron’s Ezra Chong (guitar, vocals), Gage Walker (bass), and Noah Mortola (drums) set out to push their musical limits without regard for genre boundaries or audience expectation. For Ascent Effort, the band joined the roster of The Flenser, aligning with a label that has long championed artists who work in tension rather than comfort.

In the past seven years the trio has developed a sound rooted in technical precision and repetition. Drawing from the angular experimentation of underground rock in the 1980s and 1990s alongside elements of jazz, ambient, and progressive music, their compositions are deliberate with intensity. Riffs fracture and reform, rhythms lock into patterns only to break apart, and extended passages build pressure before shifting direction.
Performing regularly in Portland, the band has cultivated an intense and loyal local following. The live setting hardened the material. Songs grew heavier, sharper, more physical through repetition and high volume.

The material that became Ascent Effort was tested on tour before entering the studio. Written largely in sequence, the album traces a period of personal change and internal friction. Growth is not always clean; sometimes it grinds forward. Nothing resolves without cost. Confusion and strain do not sit outside the songs, they shape their architecture. That is what the band has accomplished with Ascent Effort, a work that is not always clean but well-shaped by struggle and growth. The Pacific Northwest lingers in the background of the record, its long winters and brief summers echoing the album’s shifts between abrasion and restraint. Ascent Effort does not offer catharsis in the traditional sense. It allows tension to remain. In that unresolved space, transformation takes form and a band in motion is revealed.

Transformation, growth, and rebirth drive Ascent Effort, the latest release from Portland, Oregon trio Rhododendron. The title points upward, but not toward arrival. The record documents a period of change defined as much by instability as progress, where confusion and renewal unfold at the same pace.
Formed in 2019 while the band’s members were still in high school, Rhododendron’s Ezra Chong (guitar, vocals), Gage Walker (bass), and Noah Mortola (drums) set out to push their musical limits without regard for genre boundaries or audience expectation. For Ascent Effort, the band joined the roster of The Flenser, aligning with a label that has long championed artists who work in tension rather than comfort.

In the past seven years the trio has developed a sound rooted in technical precision and repetition. Drawing from the angular experimentation of underground rock in the 1980s and 1990s alongside elements of jazz, ambient, and progressive music, their compositions are deliberate with intensity. Riffs fracture and reform, rhythms lock into patterns only to break apart, and extended passages build pressure before shifting direction.
Performing regularly in Portland, the band has cultivated an intense and loyal local following. The live setting hardened the material. Songs grew heavier, sharper, more physical through repetition and high volume.

The material that became Ascent Effort was tested on tour before entering the studio. Written largely in sequence, the album traces a period of personal change and internal friction. Growth is not always clean; sometimes it grinds forward. Nothing resolves without cost. Confusion and strain do not sit outside the songs, they shape their architecture. That is what the band has accomplished with Ascent Effort, a work that is not always clean but well-shaped by struggle and growth. The Pacific Northwest lingers in the background of the record, its long winters and brief summers echoing the album’s shifts between abrasion and restraint. Ascent Effort does not offer catharsis in the traditional sense. It allows tension to remain. In that unresolved space, transformation takes form and a band in motion is revealed.

Transformation, growth, and rebirth drive Ascent Effort, the latest release from Portland, Oregon trio Rhododendron. The title points upward, but not toward arrival. The record documents a period of change defined as much by instability as progress, where confusion and renewal unfold at the same pace.
Formed in 2019 while the band’s members were still in high school, Rhododendron’s Ezra Chong (guitar, vocals), Gage Walker (bass), and Noah Mortola (drums) set out to push their musical limits without regard for genre boundaries or audience expectation. For Ascent Effort, the band joined the roster of The Flenser, aligning with a label that has long championed artists who work in tension rather than comfort.

In the past seven years the trio has developed a sound rooted in technical precision and repetition. Drawing from the angular experimentation of underground rock in the 1980s and 1990s alongside elements of jazz, ambient, and progressive music, their compositions are deliberate with intensity. Riffs fracture and reform, rhythms lock into patterns only to break apart, and extended passages build pressure before shifting direction.
Performing regularly in Portland, the band has cultivated an intense and loyal local following. The live setting hardened the material. Songs grew heavier, sharper, more physical through repetition and high volume.

The material that became Ascent Effort was tested on tour before entering the studio. Written largely in sequence, the album traces a period of personal change and internal friction. Growth is not always clean; sometimes it grinds forward. Nothing resolves without cost. Confusion and strain do not sit outside the songs, they shape their architecture. That is what the band has accomplished with Ascent Effort, a work that is not always clean but well-shaped by struggle and growth. The Pacific Northwest lingers in the background of the record, its long winters and brief summers echoing the album’s shifts between abrasion and restraint. Ascent Effort does not offer catharsis in the traditional sense. It allows tension to remain. In that unresolved space, transformation takes form and a band in motion is revealed.

Me Saco Un Ojo proudly presents the second full length album from Germany’s Teratoma.

Otherworldly atmospherics soon turn to visceral death metal as we begin our all-consuming descent into the bowels of the beast. Murky guitars churn around punchy bass lines and snappy drums. The old school death metal method, tried and tested, is delivered with crushing precision and monstrously snarled vocals to complete the mix. Building a strong rhythmic current to unleash a tidal wave of grooving, mid-tempo death metal offal; this is going to grip you with the rusted chains of pure viciousness. The crawling pace of the riffs ensures they are memorable, catchy even, for your ears to be wormed by chaotic bewilderment and perpetual anguish. The band warns you of the displeasures they inflict, so if you’re still here: that’s entirely your own doing. Still with us? Good, because this juggernaut of decay lumbers forward into more devastating territories, building wonderfully on the already strong debut album.

Slithering for over 45 minutes, this is a behemoth of death metal that will either destroy you or have you fully enveloped in its meaty mass for the duration. Plentiful clever grooves switch things up between the charnel atmospherics, so even the dullest mind will have its attention held. As each asphyxiating song creeps forth to swallow you, the void-like atmosphere continues swirling into itself and spitting out only the rotten remains of that which has crossed its path. From the whiplashing assaults to the slower moments of eerie decay, each moment has its own gruelling intensity to offer. There is no denying the sheer brute force in terms of the heaviness delivered here. Equally impressive is the totally harrowing ambience they conjure with these songs. Do not miss out on this ruthless slab of death, enter the festering realm of spewing atrocities…

Immolation was founded after the demise of Rigor Mortis (NY), a band formed in May 1986 by Andrew Sakowicz (bass guitar, vocals) Dave Wilkinson (drums), and Robert Vigna (guitar) After recording the Decomposed and Warriors of Doom demos, Sakowicz left the band in early 1988 and was replaced by Ross Dolan, and the band's name was changed to "Immolation". The new lineup put out two studio demos, in 1988 and 1989, and gained a worldwide following in the underground death metal scene. Immolation signed a record deal with Roadrunner Records and released their debut album 'Dawn of Possession' in 1991. After leaving Roadrunner, the band released "Stepping on Angels," a compilation of demo releases and live tracks. In 1995 the band was signed by Metal Blade Records and released three albums: 'Here in After' ,'Failures for Gods', and 'Close to a World Below'. After their second album, drummer Craig Smilowski left the band and was replaced by Alex Hernandez. Their next three albums, 'Unholy Cult', 'Harnessing Ruin', and 'Shadows in the Light' were released by Listenable Records.

Campbell Owens, Douglas MacIntyre and Mick Slaven worked on the album alongside founding members Robert 'Bobby Bluebell' Hodgens, David McCluskey and Ken McCluskey to create the new collection of tracks. The result is a stunning body of work; rich, melodic, thoughtful and infectious. First single No Pasaran! premiered on BBC Radio Scotland and in The Herald in September 2025. The Bluebells rose to fame in the 1980s as jangle-pop pioneers of the Sound of Young Scotland era with their three hits Young at Heart, Cath and I'm Falling.

Despite only releasing one readily-available album during their initial run (Sisters, 1984) the band have remained as one of Scotland's most beloved bands, currently boasting over 144,000 monthly Spotify listeners. The band enjoyed a post-breakup revival in 1993 after a Volkswagen advert featured Young at Heart, pushing the single to No.1 for 4 weeks. They have since reunited over the years, to play various festival slots and develop new material. In 2023, the band released The Bluebells In The 21st Century, their first LP in decades. In 2025, The Bluebells played Glastonbury.

Jesse Royal was nominated for a GRAMMY award in 2022 for his second album, ROYAL Since then, he's continued a relentless touring pace, building up audiences around the world; dropped an anthemic elegy for his good friend Jo Mersa Marley ("Blessing"); and taken on an even bigger role within his community in Jamaica as a leader, mentor, and ambassador.

NO PLACE LIKE HOME is the full-length follow-up album which he has been writing and recording for the past few years. Singles released over the past two years, like "Blessing," "Light Of Mine," "Hope" (feat. Romain Virgo), and "Your Soul" are here, along with 6 new powerful tracks. New guest features include Canadian soulstress Melanie Fiona, GRAMMY winner Kabaka Pyramid, and Perfect Giddimani. NO PLACE LIKE HOME finds Jesse focused on his beloved island of Jamaica, trying to bring wisdom and inspiration especially to the youths of his country and beyond.

Repress
*BRAND NEW ALBUM RELEASED.