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Soul Quest Records proudly welcomes longtime friend and mastering engineer Coflo for his long-awaited debut on the label with the Gimme That EP. A rich collaboration with Egyptian American vocalist, bassist, and multidisciplinary artist, Aya Moor. With this EP, the label continues its commitment to meaningful collaboration, presenting a release that feels timeless, heartfelt, and effortlessly danceable.

Skimming Wizard Fallout Systems

Seasick Steve returns with the last season of America. In 2024, Steve and his wife Elisabeth took a road trip across America where he witnessed the poverty and divisiveness in the context of the upcoming election. They were in a New Orleans club where a house band leader welcomed two Belgian musicians on stage by saying "welcome to the last season of America." This became the theme for the rest of their road trip and led to him writing the title track to the new album. A deeply personal, heartfelt reflection on the state of his home nation, The Last Season of America is a protest record in the truest sense.

Bachar Mar-Khalifé Plays Christophe

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

Shaped in the shadows and sounds of the legendary Topanga Canyon, California. The debut album from Biita Houdei is buoyed by a magic that feels wildly and beautifully untamed; wild-hearted sentiments that are shaped by the world around it, fascinated by the enchantment of it all, and delivered via a collective (harmony layered) voice that understands the complex nature of what it means to be alive in the here and now.

Produced by Haley Heynderickx, 'This Bed Was Made For Me' is a striking collection of stirring, signature folk songs animated by subtle instrumentation and orchestral flourishes. It feels lived in: vocals weave together in a beautiful harmonic dance, seasons shift, sunshine appears and bold psychedelic colours warm the horizon.

In the early stages of making her debut album, Biita Houdei knew two things: that she wanted the recordings to feel distinctly and palpably warm, and that she would sew a unique patch for every song on the album. The first of those things is subjective, though brightness pours in from all corners of This Bed Was Made For Me. The second became a laborious task she undertook throughout the process, the completion of which is testament to the slow process of it all, to the physical commitment and patience required to make a full work of art.

The patches she crafted during the making of This Bed Was Made For Me became a full quilt, one that now adorns the album’s front cover. Beneath it sits a striking collection of Houdei’s stirring, signature folk songs, brought into fruition with the help of fellow songwriter Haley Heynderickx, in her first lead production role, and the album’s producer/engineer Sahil Ansari. It’s also the first release Biita (pronounced “bee-tah”) is releasing under her newly-taken name, one that was gifted to her by her auntie and means "unique" in the Farsi language. “I proudly take this name,” Biita says of the change. “It makes me feel that much closer to my Persian heritage.”

Recorded across ten back-to-back and full days, the album touches on themes of love and heritage, of taking chances, the preciousness of time and the impact we all have on the world around us. A number of the songs were written in Topanga, California, while Biita settled into a new home as wild fires raged, and as she adjusted to a life which no longer held distinct seasonal changes, far from the Ozark Mountain home she felt so attached to. Such themes reveal themselves in a variety of ways across the album’s fourteen songs, that key sense of warmth retained in the bones of the album whether they are stepping into darkness or seeking out light.

The album feels lived in and alive; dust swirls, seasons shift, sunshine appears and is held. Biita calls it ‘psychedelic’ and there is indeed a sense of that in the world building, in the way the bold colours are always shifting. Formed of fourteen songs, and filling nearly forty-five minutes, This Bed Was Made For Me not only builds a whole world for listeners to inhabit but also implores you to stay a while. This was deliberate, indeed it’s Biita’s wish that listeners give the album dedicated time; to learn its shape, to explore it fully, away from the instant grab of playlists and skewed algorithms.

“Many of my favourite albums didn’t reveal themselves instantly to me,” Biita, now based in the Catskill Mountains of New York, explains. “Some did, of course, but I had to work to understand the full scope of the piece as a whole. I encourage people to dive deeper into everything that they choose to consume. It is not my intention to sound pretentious, but instead, I am trying harder to explain the gratitude I have for being able to craft every part of this album— using my hands, my brain, my voice, my visions. To me, it is an all encompassing work of art,” she continues. “Making the quilt was laborious. Taking the cover photo was laborious. No shortcuts, but rather a manual and tangible approach. I am thankful for the time it took.”

Im Laufe des Jahres 2026 hat das Jazz-Piano-Trio Okonski (Steve Okonski am Keyboard, Aaron Frazer Bandkollege von Durand Jones and the Indications am Schlagzeug und Bassist Michael Isvara Ish" Montgomery) nach und nach eine Vielzahl von Singles veröffentlicht, um die Fans bis zum mit Spannung erwarteten Album LP3" im Jahr 2027 bei Laune zu halten. Die Tracks zeigen vielfältige Einflüsse und beinhalten Kollaborationen mit Künstlern wie dem Saxophonisten Cochemea und der Harfenistin Rachel Kitchlew. Zum Abschluss dieser Single-Reihe hat Colemine Records eine limitierte Auflage von Kassetten gepresst, die alle neuesten Tracks sowie ein paar Bonus-Live-Stücke enthalten. Die hochgelobte EP Trio Session Demos" der Band wurde auf die B-Seite der Kassette gepackt damit sind diese vom Hip-Hop inspirierten frühen Aufnahmen zum ersten Mal physisch erhältlich. Anfang 2025 veröffentlichte Okonski ihr zweites Album Entrance Music" und erntete dafür großes Lob. Das Spiritual-Jazz-Album wurde von Rolling Stone, BBC, Billboard, KEXP und unzähligen anderen gelobt und wurde bereits über 10 Millionen Mal gestreamt. Das Trio hat kürzlich ein ausverkauftes Konzert in LA absolviert und bricht diesen Herbst zu seiner ersten Tour durch Großbritannien und die EU auf. Von Okonski ist in den kommenden Jahren noch viel mehr zu erwarten.

Nach fast zwei Jahren meldet sich Okonski mit "Entrance Music" zurück - ein Album, auf dem sich das Trio auf dem Höhepunkt seines improvisatorischen Könnens befindet und das Spontane und Meditative zelebriert. Nach dem Debüt "Magnolia" von 2023 hat der Pianist und Bandleader Steve Okonski seine langjährigen musikalischen Mitstreiter (Durand Jones & The Indications-Bandkollege Aaron Frazer am Schlagzeug und Bassist Michael Isvara "Ish" Montgomery) für eine weitere Session im Geiste von Künstlern wie The Bad Plus, Gerald Clayton und The Breathing Effect wieder zusammengebracht. Letztendlich ist "Entrance Music" eine Einladung zu frühen Stunden, in denen die Songs in der Tür verweilen und ihre Anwesenheit ankündigen, bevor sie in die Luft zurückkehren, um sorgfältig in die nächste Runde zu treiben. "Entrance Music" wurde in einer fünftägigen Session aufgenommen und war eines der ersten Alben, die in Portage Lounge, dem Studio von Terry Cole in Loveland, OH, auf Band gebannt wurden. "Es war ein neues Setup, aber mit Terry hinter den Reglern war es sehr vertraut", sagt Okonski. "Ich kann nicht genug betonen, wie sehr sich Terry wie ein viertes Mitglied der Band fühlt, wegen des Raums, den er kuratiert, der Energie, die er einbringt, und den Produktionsideen." Die Energie und der Sound, die mit dem Colemine-Labelchef am Ruder entstanden sind, sorgen für ein Hörerlebnis, das sich mit den Katalogen von ECM oder Stones Throw messen kann. Während ein Großteil des Debüts auf seine Zeit in New York zurückgeht, fühlt sich "Entrance Music" "ein bisschen weniger wie ,auf den Straßen um 2 Uhr morgens' und ein bisschen mehr auf der Natur basierend an - ein bisschen mehr ätherisch", sagt Okonski. "Es ist definitiv das Alter, die Umgebung und die Familie - all das kommt in der Musik durch."

Das Studio in der 122 West Loveland Avenue war für Steve Okonski, den Leiter seines gleichnamigen Trios Okonski", kein unbekannter Ort. Seitdem sich das Label Colemine in Loveland, Ohio, niedergelassen hat, war es Gastgeber für eine Reihe von Bands, die auf der Durchreise waren, darunter auch Durand Jones and the Indications, zu denen alle Mitglieder dieses Trios Verbindungen haben. Nachdem er sich im Winter 2020 etwas Zeit genommen hatte, lud Okonski, der ursprünglich als klassischer Pianist ausgebildet wurde, Michael Isvara Ish" Montgomery und Aaron Frazer ein, an einem Album zu arbeiten, das ursprünglich als beatgetriebene und vollständig komponierte Trio-Instrumentalstücke geplant war. Nachdem diese erste Session mit einigen Improvisationen abgeschlossen war, wurde im Sommer 2021 eine zweite Woche gebucht, um zu versuchen, noch mehr von dieser spontanen Energie einzufangen. Während dieser Session wurden alle Stücke improvisiert und live auf einem Tascam 388 während mehrerer später Nächte im Colemine-Hauptquartier aufgenommen. Sie waren so strukturiert, dass die kollektive Intuition der Gruppe die Melodien und den Verlauf der Musik voll und ganz prägen konnte. Das Album beginnt mit Runner Up", wo eine triumphale und doch melancholische Melodie am Klavier zu einem zurückhaltenderen B-Teil überleitet, der von Schlagzeug und Bass von Frazer und Montgomery getragen wird. Auf deiner Reise durch den Rest des Albums begegnest du einer Fülle von hervorgerufenen und erforschten Emotionen. Die Ruhe, die man empfindet, wenn man nach Mitternacht eine mondbeschienene Straße entlanggeht, die Verbindung zu einer Person, die nur für einen Moment oder ein ganzes Leben in deine Welt tritt, und die Nervosität und Katharsis, die man spürt, wenn man sich auf eine neue, unbekannte Reise begibt. Magnolia" endet mit Sunday", einem Titel, der spät in der Nacht am Ende ihrer ersten Aufnahmesession aufgenommen wurde. Ohne die Spontaneität von Sunday" wäre der Rest von Magnolia" wahrscheinlich nie zustande gekommen. Magnolia" entstand aus dem Herzen und dem Geist derer, die in jenen späten Nächten in Loveland im Studio waren. Es ist der Höhepunkt einer emotionalen und künstlerischen Befreiung, die erst möglich wurde, als die Band sich an ihre Instrumente setzte und gerade deshalb ist das Album introspektiv, meditativ, spirituell und neuartig.

Kissin' Dynamite veröffentlichen ihr selbstbetiteltes 9. Studioalbum in kompletter Eigenregie. Doch nicht nur die Rahmenbedingungen zum Album zeugen von Ende und Neuanfang. Genau diese beiden Themen wurden auch inhaltlich in den neuen Songs aufgegriffen.

So ist die Single-Auskopplung »Glory Days« eine Stromgitarren-getriebene Reminiszenz an die glorreichen, vergangenen Tage, in der sich inhaltlich jeder einzelne wiederfinden kann. Sommer-Cabrio-Vibes garantiert!
Der Stampfer »I Salute You« kann als eigene Art und Weise des Frontmanns verstanden werden, sich von seinen Fans zu verabschieden. Musikalisch rollt der Titel schwer wie ein Panzer voran und bahnt sich mit triumphierend klingenden Dudelsäcken und prominenter Unterstützung von der Band Saltatio Mortis als Feature-Künstler seinen Weg in die Gehörgänge.
Die ausufernde Rockballade »The Good Goodbye« erzählt vom Schmerz der notwendig gewordenen Trennung, aber auch davon, dass es weitergeht, auch wenn es anders ist, als zuvor.
Im Arena-Rocker »I'll Be« wird ein Schwur geleistet, immer da zu sein, immer präsent zu sein. Der Titel ist wie gemacht für die ganz großen Bühnen.
Das zunächst düster daherkommende »Nothing Breaks Like A Heart« baut sich kontinuierlich auf, bis im Chorus die s.g. Hero-Kadenz ebendiesen zum perfekten Singalong-Refrain macht. Thematisch geht es um leere Versprechungen, die ein gebrochenes Herz nach sich ziehen.
Bei »The Night Is Calling« wird jedes Partyherz höher schlagen. Es ist die perfekte Rockhymne.

Auch optisch hat man bei diesem Langspieler Nägel mit Köpfen gemacht: Das Cover und seine Wirkung erschließen sich dem geneigten Betrachter unmittelbar. Zu sehen ist ein verführerisch roter Kussmund, der eine nicht weniger knallrote, Dynamitstange küsst. Es wurde der Bandname und somit auch gleichzeitig der Albumname bebildert! Das Cover wirkt dabei schon fast ikonisch. Man kann sich das Motiv jetzt schon auf T-Shirts, Taschen, Autos und co. vorstellen.

Zu den brandneuen 6 Songs gesellen sich weitere 7 Titel der ersten zwei Alben des Quintetts. Diese wurden neu aufgelegt und ins typische Kissin-Dynamite-Gewand gepackt. Hier wurde nicht gegeizt:
So bekam ein Song der ersten Stunde »Out In The Rain« prominente Unterstützung von der Band Amaranthe.
Für die geheime Schwabenhymne »Steel Of Swabia« wurde passenderweise Ralf Scheepers von Primal Fear verpflichtet. Außerdem wurde ein gigantisches Gitarrensolo von Dragonforce-Gitarrist Sam Totman beigesteuert.

Die Band versteht es wie keine andere, ihrer Musik einen übergroßen Pathos zu verleihen, der nicht Comedy ist, nicht Welt verbessernd, sondern einfach mitten ins Herz geht! Geile Hooks, knackige Riffs, eingängige Melodien!

Für all das und mehr stehen Kissin' Dynamite.

Bonnie "Prince" Billy veröffentlicht ein Live-Album mit neu arrangierten Songs aus seinem umfangreichen Katalog.

Am 18. September erscheint Ghosts of American Psychonauts, das neue Live-Album von Bonnie "Prince" Billy. Aufgenommen am Valentinstag im Pico Union Project in Los Angeles, führt das Album durch verschiedene Stationen von Will Oldhams Karriere als Bonnie „Prince“ Billy. Zu hören sind neu arrangierte Stücke von Letting Go und I See A Darkness bis zu jüngeren Songs wie I Made A Place und The Purple Bird. Begleitet von London May, Jacob Duncan und weiteren Gästen, rückt das Album Oldhams Qualitäten als Live-Musiker und seine ausgeprägte Fähigkeit zum musikalischen Storytelling in den Mittelpunkt.

Nicole McCabe und Savannah Harris tun sich für ihre allererste Zusammenarbeit bei "All Together Now" zusammen. Ihr Album im Vollformat ist eine raffinierte, kraftvolle Interpretation des modernen Jazz im Jahr 2026. Das Album wurde über einen Zeitraum von zwei Monaten im Sommer 2025 aufgenommen und entstand sowohl in Los Angeles als auch in Brooklyn beide Orte haben die allgemeine Stimmung und den Sound der Musik geprägt. McCabe und Harris haben sich stetig einen Ruf als zwei der besten Musikerinnen auf ihren jeweiligen Instrumenten erarbeitet. McCabe am Altsaxophon und Harris am Schlagzeug werden in der Jazzwelt gleichermaßen als virtuose Instrumentalistinnen und Komponistinnen gefeiert. All Together Now" bringt diese Elemente besonders gut zur Geltung. Jeder ihrer musikalischen Stimmen ist unverwechselbar individuell und ergänzt dennoch die musikalische Gesamtrichtung des Albums. Beide finden ihre Momente, in denen sie die Führung übernehmen, während sie sich zu anderen Zeiten gegenseitig unterstützen, um einen wirklich bemerkenswerten Einblick in das Schaffen dieser beiden Künstler zu schaffen. Der Eröffnungstrack des Albums, Monstera", entführt den Hörer in eine Welt aus wirbelnden Saxophonmelodien und hellen, akzentuierenden Schlagzeugklängen. McCabe und Harris legen sofort den Grundstein für das, was auf dem Album noch kommen wird. Im Verlauf des ersten Songs offenbart sich immer mehr von jedem der Künstler als würde man in einer Kunstgalerie von Raum zu Raum schlendern. Textur, Farbe und die gesamte Ästhetik der Welt dieses Albums nehmen Gestalt an. Wenn der zweite Song All Together Now" einsetzt, steigt die Energie und der Dialog zwischen den beiden Musikern erreicht seinen Höhepunkt. Lonely People" zeigt McCabes unglaubliches Gespür für Melodien, während Harris den dynamischen Bogen des Stücks prägt und vorantreibt. Jeder Song auf All Together Now" hat seine ganz eigene Persönlichkeit, was insgesamt zu einem wunderschön intimen und ungemein kraftvollen Album führt.

A major independent figure on the global electronic music scene, Petit Biscuit returns with Movement, a new album featuring a striking rework of “Everything In Its Right Place,” the acclaimed track “Let You Know” with Sonia Ammar, and the new single “Midnight Sky Pt II,” a tribute to his fans that reconnects with Petit Biscuit’s signature sound, both powerful and emotional.


The album will be showcased on the biggest stages of French festivals this summer.

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

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

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

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

Auf Illusion Suite ist ”der Zauber leise”, wie Down Beat es 1974 in einer Rezension des Albums ausdrückte.
”Es schleicht sich an einen heran und trifft auf subtile Weise ins Ohr. Dinge, die erst an einem vorbeigehen,
springen Stück für Stück aus der Faktur hervor. Dieses Album präsentiert Stanley Cowells frischen
pianistischen Ansatz auf direkteste und präziseste Weise”. Auf dem Album – Cowells einzige Aufnahme
für ECM – wird das Trio des Pianisten durch Stanley Clarke am Bass und Jimmy Hopps am Schlagzeug
ergänzt.

Das aus Benton Harbor, Michigan, stammende Trio The Three Sounds - bestehend aus dem Pianisten
Gene Harris, dem Bassisten Andy Simpkins und dem Schlagzeuger Bill Dowdy - gehörte zwischen 1959 und
1962 zu den kommerziell erfolgreichsten Zugpferden von Blue Note Records. In dieser Zeit veröffentlichte
das Soul-Jazz-Trio sieben eigene Alben bei dem Label und begleitete auf zwei weiteren die Saxofonisten Lou Donaldson und Stanley Turrentine. Nach einigen Aufnahmen für die Labels Verve, Mercury und
Limelight kehrten The Three Sounds 1967 mit einem neuen Schlagzeuger und einem leicht modifizierten
Sound zu Blue Note Records zurück. Auf dem Album “Soul Symphony” arbeitete das Trio - nun mit
Henry Franklin am Bass und Carl Burnett am Schlagzeug - mit einem von Monk Higgins arrangierten
und geleiteten Orchester zusammen. Höhepunkt des groovigen Albums ist das 25-minütige Titelstück, ein
wahres Soul-Jazz-Opus , das wie alle anderen Kompositionen des Albums aus der Feder von Monk Higgins
stammte.

10” black vinyl + DL card.

Josephine Foster's peculiar 2000 home recorded debut There Are Eyes Above is an essential introduction to her music that’s unfolded now for over two decades. Released for the first time on vinyl, this limited edition 10-inch pressing comes packaged with brand new artwork and is adorned by one of Josephine’s illustrations. Lo-fi and unaffected by tradition or commercialism these initial recordings are sepia-tinted, folk-art music with powered by uke minimalism; it’s outsider music that still doesn't fit in. Just 30-minutes caught in time before her 2001 follow up Little Life - this humble first incarnation includes here for posterity super personal lullabies and a glimpse into her songwriting evolution. It’s music from an era that only exists in your mind, with a bow to Tin Pan Alley for good measure. This super rare collection, originally only released on CDR and sold at shows, remains an essential part of the curious oeuvre of this unique songwriter and singer. “A dissonant soprano and lyrics about benevolence and old-time faith, Foster expertly weaves ancient and modern” The Guardian. Track listing: Side A 1 One Hundred Songs I Sing 2 Emily Told Me 3 Teeter Totter 4 Little Life 5 I Am A Guest In Here. Side B 6 Robber Song 7 Hey Matthew 8 There Are Eyes Above 9 Godcake 10 Yippee I'm Leaving 11Two Not One

Archimboldos have clawed their way out of the starcaves of their primordial past and into the tranquil light of a coral garden on their third full length album, Crusta Arcana, a gumbo stewpot of transcendent electronica suffused with tribal rhythms and liquid ambience. Across a stereo field smeared with tolling bells, post-industrial folk percussion, and tinkling keys, Archimboldos soundtrack a science fictional journey, not into the depths of space, but deep beneath the waves.

In the past the Chilean duo of Nicolás Carcavilla and Felipe Crocco have described their music as “liminal shrimp folk.” Here they continue this strange exploration when they visit the court of the prawns, producing stately electronic chamber orchestrations. Perhaps these are the frequencies used for ritual dream initiation into the mystery schools of drowned Atlantis. Weaving an ancient sacred science, Archimboldos take listeners on a mystic vovage into their singular crustacean mythology, the crusta of their hidden arcana.

Archimbolodos are masters of conjoining cyclonic and centrifugal lines of electricity into spellbinding incantations. These deep-sea transmissions envelope the listener into aquamarine forcefields that are as hallucinatory as they are hypnotic. Navigating these strange fantasias could lead one to getting lost at sea, but the work is buoyed by the somnolent melodies of lonely harpsichords and swelling synth pads whose sustained tones reach towards distant shores. Sailing across a vast expanse of oceanic harmonies and percolating percussion, these pieces are as precise as the hand of a sailor on the rudder, moving with the tide.

Casting their net wide across eight pieces, Archimboldos have made a big catch. From the emotive electronic counterpoint found on “Bursting Armor” to the blocks of seaweed tangled sonic sculpture trawled up from the ocean floor on “Aphelion IX.” Other songs are like samples of biological ambience collected from luminous tide pools: resplendent tones placed into a Petri dish of sound, swirled, cultured and fermented until it undulates with the rhythmic movement of microscopic lifeforms. Alternating between rippling minimalist sonority and pounding, progressive, synth-heavy entrancement, Crusta Arcana charts its own idiosyncratic itinerary of instrumental invention.

All the while light is down streaming from the heavens to pierce the waters, here calm, there choppy. The intrepid musical captains commanding Archimboldos have laid a course for new archipelagos of the imagination, guided by heavenly constellations.

-Justin Patrick Moore, author of The Radio Phonics Laboratory, Telecommunications, Speech Synthesis and the Birth of Electronic Music

Debut full length of old school DEATH METAL on a timeless warpath strewn with familiar and unknown terrors beyond.

Timelessly in the vein of Bolt Thrower, Nihilist, Entombed and Dismember where death takes bearing on the facade of life.

The ancient stench of war follows HEDONIST on their campaign of destruction!!

This four-piece old school death metal band hails from Victoria, BC, and brings forth a ferocious exhibition of power amidst morbid undercurrents of disaster.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

Das in den USA ansässige Trio ist seit 2013 aktiv und besteht aus Ryan Lott, Ian Chang und Rafiq Bhatia. Getragen von Neugier und der Suche nach einem Gleichgewicht zwischen roher emotionaler Intimität und akribischen elektronischen Kompositionen lässt sich Son Lux, wenn nötig, den Genres Experimental Rock, Post-Rock und Electronic Rock zuordnen.

Ihren ersten Durchbruch erlebten sie mit dem Titel „Easy“, einschließlich Alternativversionen von Woodkid (2013) und Lorde (2014). Nominiert für den Oscar® und den BAFTA in der Kategorie „Beste Originalmusik“ für Everything Everywhere All at Once (2022 – Daniel Kwan). Son Lux traten bei den Oscars anlässlich ihrer Nominierung für den besten Song gemeinsam mit David Byrne und Stephanie Hsu auf. Weitere Filmmusiken: „Thunderbolts“ (Marvel).
Im Jahr 2026 arbeitete Son Lux mit Poppy und Harmony Korine an einem neuen Song und Video für Bungie Studios „Marathon“ (Videospiel). Zahlreiche Synchronisierungen, darunter „The Vow“ (HBO), „Skins“ (UK) (E4), „Baby“ (Netflix), „Good Girls“ (NBC) und „American Horror Story“ (FX)...
Lott und seine Bandkollegen – Gitarrist Rafiq Bhatia und Percussionist Ian Chang – stürzten sich in das rhythmisch opulenteste und textlich eindringlichste Son-Lux-Album, das es bisher gab. In fast zwei Jahrzehnten hat sich Son Lux einen Ruf für Pracht und Schwung erworben, doch 'Out Into' ist etwas anderes: eine kraftvolle Suite aus greifbaren, detailverliebten Songs, die aus schillernden Momenten kollektiver Improvisation entstanden sind.

For South Central’s premier singer, songwriter, and producer, success was never an overnight accident; it was a blueprint executed with meticulous precision. With his highly anticipated project, Labor of Love, Blxst delivers a masterclass in modern West Coast R&B and Hip-Hop, proving that true artistry requires both sweat and soul. The album serves as a sonic manifesto on the price of ambition, the weight of loyalty, and the delicate balance of maintaining romance while building an empire. It stands as a definitive evolution of the distinct sound Blxst pioneered, blending crisp, trunk-thumping 808s with soulful, nostalgic chords and his signature, effortlessly smooth vocal runs.

Entirely self-produced and co-written, Labor of Love bridges the gap between the sun-drenched grit of Los Angeles street culture and the vulnerability of late-night bedroom playlists. From the bounce of celebratory anthems to introspective, late-night drive confessionals, Blxst curates a tracklist that feels both deeply personal and universally resonant. It explores the sacrifices made in the pursuit of greatness, paying homage to the sonic pioneers of LA while firmly cementing his own place as the vanguard of the city's modern sound. It is a celebration of independence and the self-made mentality, reminding listeners that he remains the chief architect of his own destiny.

Ultimately, Labor of Love is a testament to the grind, capturing the sleepless nights and tested relationships that pave the road to success. Blxst puts his heart on the line to show that the work itself is where the true passion lives, creating an album for the city, for his family, and for everyone who stays dedicated to their craft. More than just a collection of radio-ready hits, this project is a cohesive, cinematic experience from one of music's most reliable hitmakers. It is a definitive reminder that Blxst isn't just riding the wave—he is directing the current.

The Homesick sind ein abenteuerlustiges niederländisches Trio, das Stile wie Post-Punk, Krautrock, New Wave und experimentellen Pop mit furchtloser Neugier und Hingabe meisterhaft miteinander verschmilzt. Frei von Dogmen und doch rastlos romantisch, haben sich THE HOMESICK über mehrere Alben hinweg immer wieder neu erfunden - vom mitreißenden Debütalbum *Youth Hunt* bis hin zum barock angehauchten Durchbruchsalbum *The Big Exercise*, das bei Sub Pop erschien. Auf ihrem dritten, unabhängig veröffentlichten selbstbetitelten Album - entstanden in der Zeit nach der Pandemie - verschmolz das Trio sein breites Referenzspektrum zu einem schlankeren, pulsierenden Sound. Nun, auf ihrem vierten Album (und dem ersten bei Siluh Records), haben The Homesick in zehn Tracks ihre ganz eigene, höchst einfallsreiche und durchweg unterhaltsame Version von Clubmusik geschmiedet. Dabei schaffen sie einen mitreißenden Fluss zwischen den Stücken und pendeln mühelos zwischen der eingängigen, von City-Pop inspirierten Lead-Single ,Esperanto", dem von 808-Beats getragenen Herzschmerz-Song ,Policelessness" und der märchenhaften Disco-Nummer ,The Bees". Um diese funktionale und zugleich fantastische Tanz-Odyssee zu realisieren, holten sich The Homesick ein viertes Paar Ohren zur Unterstützung ins Boot. Der in Amsterdam ansässige Produzent und Künstler Rimer London - eine Schlüsselfigur sowohl im Mainstream als auch im Underground - verlieh dem Material seine eigene, markante und pop-orientierte Note, nachdem das Trio seine Tüfteleien im Studio abgeschlossen hatte. Dieser frische kreative Schub half der Band, sich an pop-geschukten Vorbildern zu orientieren, etwa beim sinnlichen ,Love off the Leash" oder dem wehmütigen West-Coast-Pop von ,Hey". Indem sie stärker auf clubbige, von den 80ern inspirierte Sounds setzten als auf den disharmonischen Post-Punk früherer Tage, ließ sich das Trio oft von einer Lawine aus Ideen mitreißen - so etwa beim treibenden Electro-Pop von ,Sway the Needy". Letztlich ging es darum, jedem Track einen ganz eigenen klanglichen Charakter zu verleihen: ,Humdrum" wagt die Nähe zu den Talking-Heads-Klassikern, während der hektische Dub von ,Street Cyst" in unwiderstehliche Hyperpop-Anleihen mündet. Ihren Ruf als eigenwillige Scenesters untermauern The Homesick zudem mit dem mitreißenden Synth-Pop-Marsch ,Horse Alone". Und eines ist sicher - es gibt noch weitaus mehr eklektische Grandezza auf "What's Up With All These Shangri-Las" zu entdecken. Lass The Homesick der Soundtrack zu deinen offenen Fragen sein - es lohnt sich wirklich.

The Homesick sind ein abenteuerlustiges niederländisches Trio, das Stile wie Post-Punk, Krautrock, New Wave und experimentellen Pop mit furchtloser Neugier und Hingabe meisterhaft miteinander verschmilzt. Frei von Dogmen und doch rastlos romantisch, haben sich THE HOMESICK über mehrere Alben hinweg immer wieder neu erfunden - vom mitreißenden Debütalbum *Youth Hunt* bis hin zum barock angehauchten Durchbruchsalbum *The Big Exercise*, das bei Sub Pop erschien. Auf ihrem dritten, unabhängig veröffentlichten selbstbetitelten Album - entstanden in der Zeit nach der Pandemie - verschmolz das Trio sein breites Referenzspektrum zu einem schlankeren, pulsierenden Sound. Nun, auf ihrem vierten Album (und dem ersten bei Siluh Records), haben The Homesick in zehn Tracks ihre ganz eigene, höchst einfallsreiche und durchweg unterhaltsame Version von Clubmusik geschmiedet. Dabei schaffen sie einen mitreißenden Fluss zwischen den Stücken und pendeln mühelos zwischen der eingängigen, von City-Pop inspirierten Lead-Single ,Esperanto", dem von 808-Beats getragenen Herzschmerz-Song ,Policelessness" und der märchenhaften Disco-Nummer ,The Bees". Um diese funktionale und zugleich fantastische Tanz-Odyssee zu realisieren, holten sich The Homesick ein viertes Paar Ohren zur Unterstützung ins Boot. Der in Amsterdam ansässige Produzent und Künstler Rimer London - eine Schlüsselfigur sowohl im Mainstream als auch im Underground - verlieh dem Material seine eigene, markante und pop-orientierte Note, nachdem das Trio seine Tüfteleien im Studio abgeschlossen hatte. Dieser frische kreative Schub half der Band, sich an pop-geschukten Vorbildern zu orientieren, etwa beim sinnlichen ,Love off the Leash" oder dem wehmütigen West-Coast-Pop von ,Hey". Indem sie stärker auf clubbige, von den 80ern inspirierte Sounds setzten als auf den disharmonischen Post-Punk früherer Tage, ließ sich das Trio oft von einer Lawine aus Ideen mitreißen - so etwa beim treibenden Electro-Pop von ,Sway the Needy". Letztlich ging es darum, jedem Track einen ganz eigenen klanglichen Charakter zu verleihen: ,Humdrum" wagt die Nähe zu den Talking-Heads-Klassikern, während der hektische Dub von ,Street Cyst" in unwiderstehliche Hyperpop-Anleihen mündet. Ihren Ruf als eigenwillige Scenesters untermauern The Homesick zudem mit dem mitreißenden Synth-Pop-Marsch ,Horse Alone". Und eines ist sicher - es gibt noch weitaus mehr eklektische Grandezza auf "What's Up With All These Shangri-Las" zu entdecken. Lass The Homesick der Soundtrack zu deinen offenen Fragen sein - es lohnt sich wirklich.

Brought together by Antoine Rajon through their shared love of modal and free jazz, the four musicians of KOMA embraced the high-wire act of a ""Jazz on the Moment,"" a hallmark of the KOMOS label's Analog Home Session series. These friends, both on and off stage, already play together in other groups, such as AMG for Keïta Janota and Anthony Jouravsky, and OLA TUNJI for Ornella Noulet and Anthony.


For this recording, the new group set up in the living room of a Burgundy home, equipped for the occasion with the finest vintage analog equipment by Christian Hierro, engineer at the ""Back To Mono"" studio in the Drôme region.

With no preparation other than the few hours before starting the tape recorder, KOMA recorded the tracks in the order they appear on the album. Two pure improvisations sit alongside a composition (in two versions) by Keïta Janota, and a composition by vibraphonist Martin Blouet, who was experiencing his first professional recording.


The iconic piece ‘John Coltrane’, composed by bassist Bill Lee, father of Spike Lee, is the only cover on the album. The quartet offers a surprising, almost ambient version, without the rhythm section and epic solos of other recordings. The musicians' love for the music of the ‘supreme saxophonist’ is nonetheless intense.

As a birth certificate on the very day of the group's formation, this ‘no-nonsense’ album allowed this unusual lineup (two saxophonists, a vibraphonist, and a bassist) to present its lyrical and meditative music on numerous stages.

You have to wonder why Railcard took so long to be born: their debut album feels like it should have been in your collection for years.


But it wasn’t until 2025 that Rachel Love (Dolly Mixture), Ian Button and Peter Momtchiloff (both Heavenly) met at a gig, realised that they were exactly the same age, and decided that this was an excellent reason to form a new band. The shared history, the same pop references, the parallel lives… Railcard had to happen, and there was no time to lose. Two Steps At A Time - the album title and theme song - express exactly how quickly Railcard have worked since then - jumping over pavement cracks and whistling past graveyards to get these songs written, recorded and released while they are still sweet and fresh.


The band released three digital EPs in early 2026, which were then gathered onto a CD and released by Skep Wax and Slumberland. They sold out very quickly. The critical response to a mail-order-only CD was far greater than anyone expected.


Railcard made their live debut in December 2025 and had by then recruited their fourth member: Allison Thomson (Trash Can Sinatras, The Love Band), whose flawless trumpet and swirly keyboard-playing complete the Railcard sound, allowing the band to fulfil the significant ambition and range of the songs, which are mostly co-written and often co-sung by Love and Button. “Flannelette” and “Sunday Sun”, delicate and swoony, could almost be Slapp Happy at their most Bacharach. “Foxy”, mysterious and charming, has more than a hint of Kate Bush December magic. The raucous duet “I’m A Disaster” is The Kinks meets deadpan Shangri-Las. The title track could have been an alternative theme tune for Whatever Happened To The Likely Lads. “Runaround” is like a school choir doing The Raincoats. “Unstable Neighbour” is mesmerising and insistent: it might make you think of Stereolab; we might imagine an indiepop Hawkwind. Peter Momtchiloff also contributes two wonderful songs on the album: the fragile and hallucinatory “Paper Thin” and the Love-meets-Undertones rush of “Hillman Minx”.


As with the first EPs, Railcard enlisted the sonic services of Medway psych expert Allan Crockford (of The Prisoners, James Taylor Quartet and many more) who has delivered mixes that pump with vintage valve energy and reverby depth.


Railcard have a string of UK dates through the summer and Autumn.

Dublin-born, thirty years an immigrant. That's the spine of henryohenry's debut, Apocrypha, not as a concept but as a condition. He's spent three decades in the United States working in the trades, absorbing the country's mythologies and building what he calls "an idiosyncratic American language" out of them, something closer to Whitman's vision than what he found. He is, by his own account, "formally and informally not a musician" — all but two of the songs were written on a $6 charity-shop guitar with a repaired headstock and strings that distorted unpredictably. It doesn't appear on the record. Produced by filmmaker Rick Alverson, the album is anchored by guitarist Eamon O'Leary and his son Ned Steves, recording together for the first time, without rehearsal. Erik Hall mixed and contributed overdubs; Emilie Rex of Lean Year lends harmonies to three songs; poet Callie Garnett appears on another. Album standout "There" captures something harder to name: how powerful feelings drive you to the page, and how the thing you make can outlast the feelings that made it. "It feels like a triumph over something," he says, "even if you're a bit embarrassed by some of the sentiment."


Apocrypha arrives as a debut but carries the patience of a life lived in full. For fans of John Cale, Nick Drake, Leonard Cohen.

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

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

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

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

In einer Welt voller Lärm und Chaos bietet Harlans Musik eine Rückkehr zur Ruhe. ,Music for Stillness" entfaltet sich langsam und lädt zur Erholung und stillen Präsenz ein. Die Bansuri-Flöte gibt den Ton an; ihr gefühlvoller, gesanglicher Klang webt eine Melodie über Cello und ambienten Klangerlebnissen. Beeinflusst von indischer klassischer Musik, japanischer Kanky Ongaku und westlicher Ambient-Musik lässt das Album dem Zuhörer Raum, selbst zu entscheiden, wie tief er sich darauf einlassen möchte. Die Musik wirft eine einzige Frage auf: Wie könnte Frieden klingen?

Clear Vinyl


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


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

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

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

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

With the release of "Wildnis" in autumn 2026, Klangwart celebrate 30 years of the group"s existence. During numerous sessions in their own Inkiek studio in Unna/Germany and a residency in Montoriol/France in 2025, Klangwart have created their new work "Wildnis" ("wilderness"), inviting Sébastien Del Grande to add tenor and alto saxophone, drums, marimba and other various percussion instruments to their electronic textures. Catalan composer and performer Ivan Chin aka Ivan Telefunken also participated in the recording sessions by contributing to a Catalan version of Swiss group Grauzone"s famous new wave hit "Eisbär" under the title "Os Polar". Timo Reuber"s arrangements, production and mastering gave the album its final touch. Klangwart started their musical expedition into for them unknown territories already in 2014 when they went to Bogotá/Colombia in order to record with protagonists of the local music scene: Damián Ponce (drums), César Quevedo (bass) and Eblis Alvarez (violoncello), members of The Meridian Brothers, and singers Juanita and Valentina Añez Rothmann a.k.a. Las Añez. The result, released on Markus Detmer"s Staubgold label in 2019, was Klangwart"s trademark sound permeated by a Latin American pulse and pitch. With "Wildnis" the story continues: field recordings from Latin America are interwoven with delicate electronic structures, Del Grande"s iconoclastic approach to the saxophone meets Klangwart"s familiar organ drones, Catalan folk meets German Krautrock.

Anushka Chkheidze + Robert Lippok continue their collaboration with »The Sky Was Out of Tune«. Its eight movements form a long-form ambient piece in constant flux: soundscapes emerge from electronic synthesis and layered textures, while small melodies, rhythmic patterns, metallic noises, or distortions drift through like clouds across the sky. But a sky that is out of tune is still a sky. What shifts is the register in which it speaks.

»The Sky Was Out of Tune« emerges from a live performance for »Festival of Future Nows« at Berlin’s Neue Nationalgalerie. Its organically tangled sounds mirror the artists’ attention to nature as a system that is never quite in equilibrium. Ecosystems lean, compensate, tip, and recover—balance, in the natural world, is not a fixed state but a perpetual negotiation. Chkheidze and Lippok take this as both subject and method. Their sounds shift weight between one another, approach resolution and then withdraw from it, hold tension without release—they find form in the unstable. »Preparing something unstable completely changed the method of how we would normally split our skills or roles,« Chkheidze says. »I think in this one looong piece you feel how much we listen to each other.«

Anushka Chkheidze + Robert Lippok continue their collaboration with »The Sky Was Out of Tune«. Its eight movements form a long-form ambient piece in constant flux: soundscapes emerge from electronic synthesis and layered textures, while small melodies, rhythmic patterns, metallic noises, or distortions drift through like clouds across the sky. But a sky that is out of tune is still a sky. What shifts is the register in which it speaks.

»The Sky Was Out of Tune« emerges from a live performance for »Festival of Future Nows« at Berlin’s Neue Nationalgalerie. Its organically tangled sounds mirror the artists’ attention to nature as a system that is never quite in equilibrium. Ecosystems lean, compensate, tip, and recover—balance, in the natural world, is not a fixed state but a perpetual negotiation. Chkheidze and Lippok take this as both subject and method. Their sounds shift weight between one another, approach resolution and then withdraw from it, hold tension without release—they find form in the unstable. »Preparing something unstable completely changed the method of how we would normally split our skills or roles,« Chkheidze says. »I think in this one looong piece you feel how much we listen to each other.«

,Teranga", das letzte Album der Wau Wau Collectif-Trilogie - dieser verträumten, kulturübergreifenden Zusammenarbeit -, zeigt, wie die Band endlich zu einer Einheit zusammenwächst. Der Name leitet sich vom Wolof-Wort ,Teranga" ab, das für Herzlichkeit, Gastfreundschaft gegenüber anderen und - ganz allgemein - für ein gemeinsames Zusammentreffen steht - ein passender Titel für das Album, das selbst Ausdruck einer solchen Begegnung ist. Das Projekt begann 2018 im Dorf Toubab Dialaw, wo die beiden Musiker Arouna Kane und Karl-Jonas Winquist die Idee erstmals hatten. In den folgenden Jahren entwickelte sich das Projekt weiter: Die beiden Produzenten tauschten über WhatsApp Dateien aus und bezogen ihr Netzwerk aus Freunden und Kollegen in das ein, was später zum Wau Wau Collectif werden sollte - was schließlich in ihren ersten Alben ,Yaral Sa Doom" (2021) und ,Mariage" (2022) gipfelte. Ihr neuestes Album, ,Teranga", ist der dritte und letzte Teil dieser Trilogie, der während der ersten Live-Tour der Band fertiggestellt und abgemischt wurde - eine fünfwöchige, weitreichende Reise quer durch Europa mit ,drei Schweden, drei Senegalesinnen und einem französischen Fahrer, ein herrliches Sprachengewirr", wie Karl-Jonas erklärt. Das Herzstück von Wau Wau Collectif ist ein starkes musikalisches Fundament, das nicht nur auf dem breiten kulturellen Spektrum beruht, aus dem sich das Kollektiv inspirieren lässt, sondern auch auf den äußerst talentierten Musikern - komponiert und eingespielt von sage und schreibe 26 verschiedenen Songwritern und Musikern, die eine beeindruckende Bandbreite an Instrumenten spielen, darunter Balfon, Ngoni, Calabasse, Violine, Cello, Saxophon und Omnicord. Der daraus resultierende Sound lässt sich nur schwer einordnen, hat aber klanglich zweifellos seinen Platz in Teranga gefunden. Mal verträumt und meditativ, aber durchdrungen von einer organischen Seele - ein völlig einzigartiger Sound, der zugleich anachronistisch und zukunftsweisend ist. ,Oh, Africa" könnte auf einer klassischen Neuauflage zu Hause sein, mit einem fast türkisch anmutenden Gitarrenriff, während ,100 ans" (ihre erste Live-Studioaufnahme) an Amadou et Mariam aus den frühen 2000er Jahren erinnert. Mit Wurzeln in der Avantgarde (Karl-Jonas hat Barney Wilens ,Moshi" als Inspiration genannt), während Wau Wau sich von diesen Experimenten inspirieren lässt, auch wenn sie in ihrem Bekenntnis zum Gemeinschaftsgeist davon abweichen - ein Projekt, das durch Handys, WhatsApp und im Internet kursierende MP3s ermöglicht wird -, was leicht ironisch wirkt, wenn man bedenkt, wie akustisch, bodenständig und menschlich es sich anfühlt. Während wir das Kapitel der Trilogie abschließen, betont Karl-Jonas, dass dies vielleicht erst der Anfang ist: ,In gewisser Weise haben wir gerade erst angefangen", sagt er. Für das nächste Jahr zeichnen sich Pläne ab, die ganze Band zusammenzubringen, und es stehen weitere Tourneen bevor - mehr Hoffnung, mehr Menschlichkeit und mehr Zusammenhalt.

Tiffany Day has quickly emerged as one of the most compelling voices in hyper-digital pop, blending emotional chaos, internet-born edge, and forward-thinking production into a sound entirely her own. Born in Toronto and raised in Kansas, Tiffany first broke through with a viral cover of “Hallelujah,” building a YouTube audience of over 500,000 subscribers before graduating high school. She began releasing original music in college, quickly developing a devoted fanbase drawn to her wit, vulnerability, and genre-fluid instincts.

A self-directed creative force, Tiffany has made her live show a defining pillar of her artistry, fusing choreography, visuals, and electronic-driven transitions that push her beyond traditional pop performance. In 2024, she independently funded and sold out several headline shows across a North American tour. She later expanded into the DJ scene, launching BASSFLUFF, a series of standalone events that generated viral moments DJing everywhere from gyms to nail salons.

Her 2025 releases marked a sharp sonic evolution, leaning into electroclash and hyperpop textures. Singles like “BREAKUP,” “TELL ME WHAT I DID,” and “START OVER” generated millions of views across platforms and earned coverage from NME, Ones to Watch, On The Radar, and beyond, positioning her at the forefront of a new wave of digital-native pop artists.

That momentum culminates in her album HALO, released April 3, 2026 via Broke Records. The project debuted at #1 on the Apple Music Electronic chart and #25 on the Billboard Electronic/Dance Albums Chart, drawing early co-signs from artists like Laufey and Yunjin (LE SSERAFIM) alongside coverage from Pitchfork, The FADER, NYLON, LA Times, and more. To mark the release, Tiffany staged three headline shows—each of which sold out in under five minutes. With her production across nearly every track, HALO marks Tiffany's most cohesive and ambitious work to date, solidifying her not just as an artist to watch, but as a defining voice in the next era of hyperpop.

Tiffany Day has quickly emerged as one of the most compelling voices in hyper-digital pop, blending emotional chaos, internet-born edge, and forward-thinking production into a sound entirely her own. Born in Toronto and raised in Kansas, Tiffany first broke through with a viral cover of “Hallelujah,” building a YouTube audience of over 500,000 subscribers before graduating high school. She began releasing original music in college, quickly developing a devoted fanbase drawn to her wit, vulnerability, and genre-fluid instincts.

A self-directed creative force, Tiffany has made her live show a defining pillar of her artistry, fusing choreography, visuals, and electronic-driven transitions that push her beyond traditional pop performance. In 2024, she independently funded and sold out several headline shows across a North American tour. She later expanded into the DJ scene, launching BASSFLUFF, a series of standalone events that generated viral moments DJing everywhere from gyms to nail salons.

Her 2025 releases marked a sharp sonic evolution, leaning into electroclash and hyperpop textures. Singles like “BREAKUP,” “TELL ME WHAT I DID,” and “START OVER” generated millions of views across platforms and earned coverage from NME, Ones to Watch, On The Radar, and beyond, positioning her at the forefront of a new wave of digital-native pop artists.

That momentum culminates in her album HALO, released April 3, 2026 via Broke Records. The project debuted at #1 on the Apple Music Electronic chart and #25 on the Billboard Electronic/Dance Albums Chart, drawing early co-signs from artists like Laufey and Yunjin (LE SSERAFIM) alongside coverage from Pitchfork, The FADER, NYLON, LA Times, and more. To mark the release, Tiffany staged three headline shows—each of which sold out in under five minutes. With her production across nearly every track, HALO marks Tiffany's most cohesive and ambitious work to date, solidifying her not just as an artist to watch, but as a defining voice in the next era of hyperpop.

2026 Repress

To be far ahead of your time sometimes means that you have to wait a while for the right moment to be understood. The visionary approach of multi-instrumentalist Johnny Lamas led him to experiment with a world of hybrid jazz-funk, ambient and electronic sounds while keeping the rhythms of Venezuelan traditional music alive. From 1993 to today, small recognition has grown into true admiration for this so specific sound and his "Danza Cósmica" masterpiece.

TrueClass Records are pleased to present as their second release a complete restoration of this gem, beautifully remastered and redesigned, making it available now for the first time in fine audio quality on vinyl and digital formats.

Continuing in its series of Yoko Ono reissues, Secretly Canadian has announced that Ono’s seminal 1982 album It’s Alright (I See Rainbows) will be released August 28, 2026, in expanded CD and digital versions, and on vinyl for the first time in more than forty years, with expanded and enhanced artwork. Influenced equally by 1960s girl group vocals and 1980s synthesizer experimentation, It's Alright (I See Rainbows) is an album of “adventurous… lush… committed and convincing avant-gardism” (Rolling Stone). As Ono said in her 1992 Onobox liner notes, “It was ’82 and it seemed as though I was finally in sync with the world.” Vacillating from a widow’s never-truly-over grief, to the necessary uplift for an artist and mother to continue her life’s missions, tracks like “Loneliness” and “Spec of Dust” make way for poptimism via “Let the Tears Dry,” and title track “It’s Alright.” As Ono said of the album in 1983, “It’s like my diary that I went through… and I’m just saying, hey, I’ve got the same kind of emotions that you’ve probably got too, and here I am saying hello… Around December 8th or whatever, I was feeling really heavy and feeling sort of down, you know… and then, side two, it’s all right… It was Sean Lennon who says, ‘Wake up, wake up, mommy.’ Like an angel that came and said, ‘Wake up!’… Wake up and dream love, and let the tears dry and I see rainbows. And sort of I’m saying all that. In result of Sean waking me up, see?” Lennon, speaking of his mother in a more recent interview with NPR in 2025, “She would say that energy is just energy, so you can turn it into anything you like. And she always said that she would take that negative energy and turn it into something productive and creative… It never stopped her from creating and putting herself out there, and I really think that it paid off… You never know how long it'll take for people to appreciate you if you just kind of hang on and don't give up.”

Musique Domestique marks the debut full-length from French duo Adiciatz, a project that emerges from the shared musical curiosity of Manon Nogier and Guillaume Lespinasse. Living near Lyon and making music together since before the pandemic, the pair developed their sound during lockdown improvisations at home — a creative process that quickly revealed a unique musical chemistry rooted as much in folk tradition as in experimental exploration.

Drawing on a wide palette of influences — from Occitan poetry, delicate folk to drone and spontaneous sound exploration — Adiciatz makes music that feels both intimate and expansive. Nogier’s voice and amplified taisho koto weave through Lespinasse’s keyboards, machines and percussive touches, forming a sonic world where ritualistic soft folk melodies coexist with subtle electronic textures.

Their live performances, including an appearance at the Meakusma Festival, where their set blurred the line between concert and séance, have already shown how this blend comes to life in front of audiences, with hypnotic vocals, spiralling chords and slow, trance-like rhythms inviting listeners into a space that is both meditative and evocative.

On Musique Domestique, those live-rooted sensibilities are distilled into recorded form. The album moves fluidly between rich pastoral folk and instrumental meanderings. Musique Domestique announces Adiciatz as a compelling new voice at the intersection of folk, experimental and electronic music crafted with care and intuition.

Stone Music returns with Into the Cosmic Forest, a deep and patient journey into open-air improvisation. The group was founded in 2022 by Tokio Hasegawa, a core member of the legendary Taj Mahal Travellers, and brings together a wide circle of musicians from Japan’s ambient and experimental scenes.

While the name is new, the spirit continues. Stone Music extends the free-form, site-responsive approach that defined Taj Mahal Travellers — music shaped by environment, duration, and collective awareness rather than fixed structure.

Into the Cosmic Forest consists of two long-form pieces, each exceeding 20 minutes, both recorded live outdoors. Side A was captured at Japan’s Off-Tone Festival. It unfolds slowly and organically — layers of voice, strings, electronics, wind instruments, and percussive textures gradually forming a shifting sonic landscape.

Side B was recorded on the grounds of Mithila Museum in the mountains of Niigata, an art space managed by Hasegawa himself. More intimate in atmosphere yet equally immersive, the piece centers on voice and subtle interplay, allowing space and silence to become part of the composition.

What you hear is direct and unpolished: air moving, sound resonating, musicians responding to each other and to their surroundings in real time.

Following tours in India during 2023–24, with performances in national museums and universities, Stone Music continues to explore music as shared space rather than spectacle.

Into the Cosmic Forest invites listeners into that space — unedited, unhurried, and fully alive.