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Scøpe's first solo EP on the label unfolds across four minimal pieces where pulse dissolves into synthetic textures and distant echoes. A precise, restrained futuristic landscape.

Mit The House Session setzt die renommierte Electronic Music Anthology von Wagram ihre stilprägende Reise durch die elektronische Clubkultur fort. Nach erfolgreichen Ausgaben zu Deep House und Techno widmet sich diese Edition dem Herzstück elektronischer Musik: House Music. Kuratiert vom französischen Electronic-Aushängeschild FG Radio versammelt die Compilation zeitlose Klassiker, moderne Favoriten und inspirierende Genre-Perlen. Mit dabei sind zentrale Namen wie George Morel, Cassius, Motor City Drum Ensemble, Mézigue, Moloko, Soha, Bob Sinclar, DJ Gregory, Joe Smooth und St Germain - Artists, die House in unterschiedlichen Epochen maßgeblich geprägt und weltweit auf die Dancefloors gebracht haben. Zwischen funkigen Grooves, soulful Vocals, pumpenden Basslines und eleganten French-Touch-Momenten entfaltet The House Session ein breites Spektrum an Sounds, das sowohl Sammler als auch DJs anspricht. Eine hochwertige Anthologie, die den Spirit von House Music - warm, energiegeladen und zutiefst euphorisierend - perfekt einfängt.







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Shit Robot and DFA are psyched to rerelease 2015 anthem "Where It's At", a collaboration with the singer/comedian/television star Reggie Watts. Reggie Watts' vocal performance runs the gamut of Chicago dance music history - from the gloom and melodrama of iconic label Wax Trax, to the jubilant choruses of Frankie Knuckles' house anthems. But let's not de-emphasize the solid instrumentation provided by Mr. Marcus 'Shit Robot' Lambkin - we've got that classic DFA bassline, claps, and bleeps and bloops aplenty - mixed and manipulated by none other than our own James Murphy. The flip features a remix by London producer Johnny Aux, who turns the track into a staticy, stripped down, raw Deep House banger, with hissing glimmers of icy cymbals peeking through the smog.

Outstanding Dub! Subset returns to Primary Colours with Gathering The Threads, a record that feels reflective rather than declarative. Following recent work with Echo Inspectors on “Youthman” and the measured pulse of “Impedance” from the Antipodean Dubs compilation, this release settles into its own pace. There is no sense of urgency here, only continuation. Across four originals and a remix from Pugilist, the collection leans into low frequency weight and spatial awareness. The grooves are patient. The arrangements are economical. Each element is given room to sit in the mix without excess.

For the first time in its 27-year history, Defected compile its greatest hits, underground anthems and bonafide house music classics into a five volume triple vinyl collectors series.

Volume Two collects twelve of Defected’s most established and sought after releases. Featuring Dennis Ferrer’s anthem ‘Hey Hey’, CamelPhat & Elderbook’s huge ‘Cola’, alongside MK’s classic ‘Burning’, Oliver Dollar & Jimi Jules’s chart smash ‘Pushing On’, Defected’s first ever release; Soulsearcher’s ‘Can’t Get Enough!’. Plus Mike Dunn, DJ Gregory, Hercules & Love Affair and more.

An essential addition to your record collection.

Time To Get On Board A New Black Universal Express.

With each new recording Anthony Joseph presents an imaginative, personal vision of contemporary black culture, and The Ark is yet another compelling album by the award-winning Trinidadian poet and musician. This second part of a sequence of two albums launched with last year’s Rowing Up River To Get Our Names Back, finds Joseph giving full vent to his desire to explore many thought-provoking themes. However, there is a specific thread running through the glorious offering of sounds.

”I was especially interested in the idea of using Afrofuturism as a means of using the future in order to correct the wrongs of the past,” explains Joseph. “And so a lot of lyrics reimage or imagine an alternate black history. At the same time there are elements of autobiography.” The aforesaid cultural phenomenon, a view of the black experience through the prism of science fiction and ancient Egypt and Africa, as mapped out by visionaries from music and literature such as Sun Ra, Parliament-Funkadelic and Octavia E. Butler, has previously inspired Joseph. His 2006 novel The African Origins Of UFOs was a multi-hued work, and the new music shows how Joseph

has, much like all significant artists, gone on to broaden his conceptual palette, creating beguiling new stories and images set to startling rhythms and tones. Tracks such as ‘James’, with its taut, crisp bass and dubbed-up brass, and ‘Transposition Of Space (Glissant)’, a potent evocation of the influential Martiniquan theorist set in a haze of jazz guitar and ambient synthesizers, are marvels of text-sound painting.

As for ‘Baron Samedi’, shaped by a languid, almost wounded guitar line and slow rise of horns that frame Joseph’s journey to the ‘mountain of fire, almost touching the sky’ it is an epic blend of commanding vocal delivery and dramatic sonic tapestry.

Joseph led the Spasm band in the early 2000s and recorded well-received albums such as Bird Head Son and Time, in which songs were largely based on spirituals or chants enhanced by improvisation. But his musical curiosity has naturally led to collaborations, and the new work is produced by Dave Okumu, the prodigiously talented guitarist-vocalist-composer known as the leader of Mercury Music Prize-nominated The Invisible, and who was also a member of the seminal band Jade Fox.

Having first performed together at a show curated by influential saxophonist-flautist Shabaka Hutchings at the storied Total Refreshment Centre In London during lockdown, Joseph and Okumu struck up a rapport that further developed when the former guested on he latter’s album. With the connection made Joseph knew Okumu was the ideal producer for this latest project, which has a freewheeling, almost black psychedelic thing. After sifting through demos and loops the guitarist made on pro-tools the poet started to live with the music. Many months later words began to take shape. Joseph then went into the studio with Okumu’s band and set about creating a magnum opus. Boasting a stellar cast such as vocalist Eska Mtungwazi, trumpeter Byron Wallen and keyboardist Nick Ramm, The Ark is a highly intricate musical mosaic framed by simmering funk grooves, wily jazz improvisation and haunting dub effects. Through the use of many genres the music has simply become its own genre.

The Ark can be perceived as a vessel or means of transport to new worlds, along the lines of Sun Ra’s Ark or Funkadelic’s Mothership, and the material it contains is a unique blend of who Anthony Joseph is and how he sees the world and society in these stimulating, challenging times. “It balances the personal with the universal in a much more vulnerable, accessible way than on previous albums,” Joseph explains.

“It has become less about a personal experience and more about a collective, communal experience in which the artist is conduit, messenger, urban griot.”

2025 Repress

“We created a holiday inside our heads.”

A Deeper Life, Chaos In The CBD’s debut album over 10 years in the making, is nostalgic for the duo’s nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish…” The album’s blissful setting is also depicted on the album cover: a painting, by a childhood friend, of the beach where they grew up in Devonport.

A Deeper Life whirls that profound love of house music and wide-ranging influences – from Brazilian to R&B, ambient to Italo to deep house and downtempo pop – into a serene, cohesive whole with their signature finesse. The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours.

On the album they’ve teamed up with a number of US legends and married their vocals with the UK underground: Josh Milan of house pioneers Blaze brings his soulful vocals to the bossa nova beats of ‘I Wanna Tell Somebody,’ a future jazz-dance anthem. Unheralded Chicago house hero and Larry Heard collaborator Lee Pearson Jr. goes deep over ‘More Time’s broken beat flex. And on ‘Maintaining My Peace’, the brothers have matched veteran house singer-songwriter Stephanie Cooke with UK grime MC Novelist, on a slinky LDN interpretation of LA hip-hop and g-funk.

Also featured on the album are New Zealand jazz artist Nathan Haines, frequent collaborator Isaac Asaeili and more.

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

Recorded in New York in 1967, Silk & Soul is Nina Simone's second album for RCA. Despite arrangements that don't always best suit her voice, this album does contain classics "I Wish I Knew How It Would Feel To Be Free", which would become a Civil Rights anthem and "It Be's That Way Sometimes", written by her brother Sam Waymon. "The Turning Point"' is a song that seems to be about a child making a new friend, but turns out to question the origins of racism. Ms Simone also takes on Dusty Springfield by covering "The Look Of Love", which was originally featured in the 1966 James Bond spoof Casino Royale.

Silk & Soul is available as a limited edition of 2500 individually numbered copies on red vinyl.

Vegas is the self-titled album from the one-off collaboration between Terry Hall (The Specials) and Dave Stewart (Eurythmics). Originally released in 1992, the album combines elements of electronic music and pop with alternative rock influences.

The album was recorded in London with additional contributions from drummer and programmer Olle Romö, and showcases a more atmospheric side of both Hall and Stewart. It includes the singles "Possessed", "She", and "Walk into the Wind", the latter featuring vocals by Siobhan Fahey (ex-Bananarama, Shakespears Sister).

Vegas is available as a limited edition on orange vinyl.

British alt-rock favourites A return with PRANG, their first studio album in over 20 years, released via Cooking Vinyl. Sparked by the effervescent lead single "Hello Sunshine," the album finds the band rediscovering their identity with the carefree spirit and stylish sloppiness that defined their early days. Written and recorded free from expectation or pressure, PRANG is a vibrant, hook-laden reaffirmation of A"s enduring appeal - balancing punchy, riff-driven anthems with heartfelt, soul-baring moments. Frontman Jason Perry, now a Grammy Award-winning producer known for his work with Don Broco, McFly and Kids In Glass Houses, helms production to preserve the band"s DIY ethos and singular personality. Lyrically, PRANG is A"s most open and reflective work to date. Drawing on two decades of life experience, Perry explores gratitude, resilience, mental health and friendship with warmth and disarming honesty. The result is an album that feels both nostalgic and strikingly modern - each track its own colourful island, yet unmistakably A. Twenty years in the making, PRANG is more than a comeback; it"s a rebirth. Cathartic, melodic and life-affirming, it marks a bold new chapter for one of Britain"s most beloved rock bands.

Marisa Anderson"s music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson"s music lives in conversation with tradition. "My approach to tradition is with the hands that I have and the history that I have," notes Anderson. "In that way it"s a collaboration - you don"t go into collaboration trying to play like the other person, you go in trying to find out how to play together."

Marisa Anderson"s music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson"s music lives in conversation with tradition. "My approach to tradition is with the hands that I have and the history that I have," notes Anderson. "In that way it"s a collaboration - you don"t go into collaboration trying to play like the other person, you go in trying to find out how to play together."

Originally released in 2014 on cassette and digital only, Till Human Voices Wake Us was the first album by the Iranian artist on Umor Rex. It became a key work in our catalog, and now, 12 years later, it is available on vinyl for the first time. This is the first in a series of four special, limited reissues to be released in 2026 to mark the 20th anniversary of Umor Rex.

Till Human Voices Wake Us comprises ten tracks with a clear and carefully structured script, based on poems by T.S. Eliot, highlighting Siavash Amini’s work as a composer for theater, film, and art exhibitions. His music deliberately leans toward ambient expressions, at times recalling Morricone’s Western film scores. The interplay between synthetic and digital elements, together with multilayered, soul-healing electric guitar passages, creates an opulent sonic texture that moves between dramatic and melancholic moments with a finely constructed, fluid dynamism.

There is an emotional depth in each piece, guided by tonal variations and shifting textures that turn the music into a mental journey, with landscapes, a sense of cold resolution, and the quiet inevitability of an ending. Till Human Voices Wake Us was Amini’s first album on a non-Iranian label. Following this release, he has also published work, in addition to Umor Rex, on labels such as Room40, Hallow Ground, and Opal Tapes, among others, and is now considered one of the most prominent figures in Iran’s experimental music scene.

All music by Siavash Amini. Original master by Nicholas Szczepanik. Remastered for vinyl by Rafael Anton Irisarri. Artwork by Daniel Castrejón.

"Already established within Iran’s music scene, Siavash Amini has crafted a powerful signature sound that blends meticulously assembled ambient synthesis with languid electric guitar melodies, recalling Lanois and Eno’s classic Apollo." — THE QUIETUS (Tristan Bath)

DYING VICTIMS PRODUCTIONS in conspiracy with DE PANKRAKER RECORDS is proud to present SHEWOLFF’s highly anticipated debut mini-album, We’re All Gonna Fukking Die, on CD and 12” vinyl formats. Hailing from Belgium, SHEWOLFF emerged from the underground as a solo-project of K. Von Shewolff, which eventually formed into the solid three-piece band it is today. They find their origins in raw, punk-driven blackness galore, faithfully returning to the old-school spirit of making music by modest and primitive means. A five-song digital-only demo was released in 2023 - songs which contain absolute fury towards the known and long-overdue established order, existential live-or-die sentiment, and a small tribute paid to the old-school believers who came before them. Now, SHEWOLFF blend all that together on the debut mini-album We’re All Gonna Fukking Die.

With six new tracks pushing towards a final and inevitable end, this bleakly titled record is actually invigorating and inspiring: railing against the dying of the light with a paradoxically dark metalpunk sound, familiar in its stomping swagger but exuding cantankerous charisma that’s all their own. The aesthetic signposts are planted firmly in the ground – think Hellhammer, pre-Viking Bathory, Darkthrone’s record-nerd era, early Midnight, the almighty Venom, or even labelmates like KARLOFF, HELLCRASH, and Germany’s LUCIFUGE – but SHEWOLFF manage to stir some diabolical little twists into the bubbling brew, with K. Von Shewolff’s vocals in particular imparting a femininity that’s fierce, frightening, and fucking going for the throat.

San Francisco hardcore stalwarts Western Addiction return with Psychedelic Munitions, a high-octane successor to Frail Bray that captures the explosive fervor and technical precision of their Bay Area roots. Recorded and mixed by Scott Evans at Sharkbite Studios and Antisleep Audio, then mastered by Brad Boatright at Audiosiege, the album delivers a massive, "live-in-the-room" sound that avoids modern polish in favor of visceral, room-shaking grit. Despite the time between releases, the band bridges the gap with a collection of songs that feel both seasoned and dangerously urgent. Psychedelic Munitions stands as a definitive masterclass in authentic California punk, honoring the legacy of the Gilman Street scene while pushing the boundaries of the genre's aggressive potential. Since forming in 2003, WA has defied easy categorization, the band crafting songs that comfortably draw from a wide swath of rock 'n' roll while retaining punk's ferocity with a hardcore feel. Fat Mike often lists WAs "Cognicide" (2005) as one of the greatest releases on the label, also calling it one of the best hardcore albums he's ever heard. Joey Cape from Lagwagon has also stated that it's his favorite album released on Fat Wreck Chords.

Radhika Meera Dade: “Ever since I entered this realm, music has surrounded me in every way possible. The sounds of magic have been nourishing my soul since birth, the first memories I have as a young child are listening to my dad’s eclectic vinyl collection. I feel so lucky to have been exposed to such a range of music at a really young age: artists from Alice Coltrane to The Go-Betweens, all of these musicians have subconsciously and consciously inspired me musically in many different ways”.

Glass Modern is very proud to present the debut album by Radhika Meera Dade. Cine-Pop is a collection of songs that flow gently and easily in and out of each other - a suite, a short film, everything an album should be. Coming in at 33.3 minutes, it’s the perfect length for an album, it doesn’t short change you, it doesn’t stay too long - it’s designed to be played in one sitting. It’s like being in a friend’s house and noticing the things that are most important in their life - objects, family portraits, records, musical equipment, their curated accumulation. It reflects so many things - culture, community, fandom and the incredible bond between Radhika and her father, Sushil, the Future Pilot AKA. The record spans generations and continents but its home is always Radhika and the family jams she made with Sushil in various garages, bedrooms and garden dens - her soaring voice and love of all kinds of music from Bollywood to Goth Pop to The Glasgow School. The songs are collected from memory and the immediacy of time - one goes all the way back to her 10 year old self penning Future Me, an eco anthem. In different moments other musicians appear - most notably key collaborator, Eric MacDonald, on hazy synth and keys, and Radhika’s mother Vinita, who has a gorgeous voice too. The Glasgow School is very present - Mitch Mitchell (The Pastels) , Gerard Love (Lightships/ ex-Teenage Fanclub) and Tracyanne Campbell (Camera Obscura) all bring their casual magic to the table. Cine-Pop, mostly made in Glasgow at La Chunky Studio with the excellent Colin McGeogh (who also contributes flute, keys and electronics) is a one-off. It’s unrepeatable - there, gone. It’s the world through the eyes of a dazzling young Indo-Scottish woman. Everything she is has gone into it, is part of it and is there for a reason. Following on from the first single, Starry Eyes, which was played multiple times on BBC 6Music and other stations, other singles to be released from the album include Feline Bandits plus a version of the Strawberry Switchblade classic Since Yesterday. Radhika will also be collaborating with Glasgow-based film maker, Laura Meek, on promos and the plan is to play live throughout the year.

Rashad and Confidence announce the vinyl reissue of their debut album “The Element Of Surprise”. Though originally released in 2011, the melange of soul samples, classic breaks and favoring of lyrical storytelling / conceptual joints could easily have been released in the 90’s.

The 2xLP vinyl edition includes the 2019’s single “Desires” as well as two never before heard tracks from the 2011 sessions entitled “Non Stop” and “Feel It.” All tracks on the 2026 vinyl version are remastered!

Rashad, a Brooklyn NY emcee who sports a nimble and rapid flow excels at making anthemic choruses interspersed with highly detailed bars. Examples of album topics include a vivid picture of the hood while making a cautionary tale of its pitfalls (“The City”), his personal emcee origin story (“Days Of My Youth”), and the results of low motivation (“Pass Me By”) among others.

Boston based producer Confidence has made a career of sample chopping and analog warm heaters. He also tends to favor the one emcee/one producer line-up of the golden years. This extends to his recent collaborative LP's on Below System Records including “Library Of Sound” with M-Dot and “Kool Moe Dese” with Big Dese.

Individually, each one is known as a first-call player capable of handling any type of musical situation, and their personal credits are simply too long to list. They've collaborated on a wide range of projects and session work, including recent live, recording, and touring work with jazz-funk globetrotters Incognito and the American guitarist Robben Ford. Every now and again, their packed schedules permit them to take time out to make their own music, drawing on their shared love of the Latin jazz tradition, and whenever this happens, they're collectively known as TRYPL. Recently, they've found themselves with some rarely shared downtime and the opportunity to commandeer the capacious Big Jelly Studios.

The next step was to assemble the tunes and contact their favorite singers and players, including pianists Alex Wilson and Ross Stanley, guitarist Giorgio Serci, bassists Javier Fioramonti and Davide Mantovani, and Roberto Pla, Edwin Sanz and Davide Giovannini on percussion, with newcomer Sophie Stevenson on voice and vibraphone. Family and friends dropped round to provide an informal in-studio audience. Drawing inspiration from their shared love of the classic salsa sound pioneered by Fania Records in 1970s New York, given a twist by their own individual musical personalities, they've created Phantasticus - an album of joyously uplifting music that distils all the conviviality and good humor with which it was created into a heady yet feel-good brew. It's the perfect antidote to our nervous, fragmented times.

With festival season in the air, Vince Watson lets loose on his big summer track for 2026. Piano-heavy ‘The Awakening’ hits right on the money - full-on hands in the air piano and some E-Dancer-style bass give this track the ‘Summer Anthem’ vibes. This is a hit record! It’s backed up with a stripped-back version, letting go of the big orchestral strings to make way for more heat from that E-Dancer baseline. On the flip side, there is a faster BPM edit of ‘Flashback’ from his 2023 album ‘Another Moment In Time’, not only bringing a more friendly club tempo, but also extra heat and intensity in the build-ups.


b A2: The Awakening No Strings Attached
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Limited, 500 copies black gatefold 2LP...

Originally released in 2013, the long-awaited second album from Lulu Rouge finally returns to vinyl in its first-ever limited repress — revived after years of growing demand.

The Song Is In The Drum captures the duo at their most fearless and immersive. Known for their deep melancholia and anti-traditional pop structures, Lulu Rouge blur the lines between dark dub, cinematic electronica, and left-field songwriting. Intense, soul-cutting vocal pieces unfold alongside towering instrumentals — brooding, beautiful, and unapologetically atmospheric.

The album features standout appearances from Danish indie pop visionary Asbjørn and Icelandic-born vocalist Fanney Osk, adding further depth to an already richly textured sonic landscape.

Across 11 meticulously crafted tracks, producers Torsten “Buda” Jacobsen and Thomas “T.O.M” Bertelsen shape a world that feels both intimate and vast. Every beat is deliberate, every space intentional. This is music that doesn’t simply play — it envelops.

Fifty-three minutes that grip you by the heart and refuse to let go.

Welcome to the brightest dark place you’ve ever been.

Look out for a much anticipated new album coming later this year from Lulu Rouge - making this re-issue a timely reminder of the power of their work.

"Slime Wave 2" is the highly anticipated sequel to Hus Kingpin's 2019 album, immersing listeners into the gritty, yet hypnotic world of one of the waviest MC’s in underground hip-hop. Building upon the foundation laid by its predecessor, this album pushes boundaries, blending intricate lyricism with captivating production to create an auditory journey like no other.
Backed by an array of talented producers, the album's beats range from soulful and jazz-infused to hard-hitting and gritty, providing the perfect backdrop for Hus Kingpin's lyrical prowess. Each track is a sonic masterpiece, meticulously crafted to evoke a range of emotions and keep listeners captivated from start to finish.
"Slime Wave 2" features a killer lineup of guest appearances, adding layers of depth and diversity to the album's sonic landscape, with Bala No Judas, Shyheim, Supreme Cerebral, Skrilla and Tritty joingin Hus on this journey.
Behind the boards, a stellar lineup of producers brings their A-game to "Slime Wave 2," ensuring a diverse and immersive listening experience. From the legendary Madlib's signature soulful soundscapes to the gritty, boom-bap vibes of Macapella, Owltree, and Manny Megz, each producer leaves their indelible mark on the album, creating a rich tapestry of beats that perfectly complement Hus Kingpin's lavish lyricism.

2026 Repress


Straight fire from the vaults! Three deep raw joints including the legendary floor anthems "Live at Palladium" and "Back to my Groove” by the legend Phil Weeks, back on wax with that gritty groove. OG vibes only — limited press, real heads know. Grab Rare Cuts before it’s gone!

Das dritte Album der Londoner Band Sorry!

Seit ihrem Debüt "925" 2020 arbeiten Sorry an einer Topografie aus Anspielungen, Zitaten, falschen Fährten. Nun, mit COSPLAY (ab 7. November bei Domino), reißen sie die Landkarte ab, zeichnen alles neu. Ein Album als Maskenball: Jede Figur darf hier auftreten, lebend oder tot, real oder erdacht. Es ist das Werk, das Sorry von sich selbst befreit. Das Album fühlt sich an wie ein Spielzimmer für popkulturelle Geister. Ein Guided by Voices-Song mutiert zur Ballade über die Schmuddelecken des Ruhms, die berühmteste Cartoonfigur der Welt schleicht sich als Sirene ins Bild, theoretische Physik wird zu Rockmusik, die schwerer schlägt als jede Formel. Sorry haben das neue Material bereits live erprobt, erst auf eigener UK-Tour, dann als Support von Fontaines D.C., und man hört die Mischung aus Selbstsicherheit und Übermut, die dabei gewachsen ist.

Die XKatedral Anthology Series III ist die dritte Ausgabe einer Reihe von Archivveröffentlichungen, die Musik von Komponisten zeigen, die sich mit langsam sich entwickelnder harmonischer und klanglicher Musik beschäftigen. Die hier vorgestellten Stücke konzentrieren sich auf die Verwendung von synthetischen und akustischen Klängen sowie auf algorithmische Komposition als Werkzeuge für präzises Arbeiten im Bereich der spektralen Erforschung. Dieses Doppel-Vinyl-Set erscheint anlässlich des zehnjährigen Jubiläums des Labels und enthält Werke aus den Jahren 2014 bis 2025. Es wird zusammen mit Neuauflagen der XKatedral Anthology Series I-II veröffentlicht. "My Falling Sinks" von Kali Malone ist eine sparsame, absteigende Melodie für justierte Orgel, Cello und Akustikgitarre mit Lucy Railton und Stephen OüfMalley. Das Stück ist eine kompositorische Skizze in septimaler reiner Stimmung, die 2021 während eines Aufenthalts in La Becque auf einer experimentellen Stimmorgel in La Temple de La Tour-de-Peilz entstanden ist. ,Empyrean Flare" von Maria W Horn wurde 2022 für ,The Dawn Chorus" der Choreografin Stina Nyberg komponiert. Dieses Stück nutzt die von Arvo Pärt entwickelte Tintinnabuli-Technik, um vier Supersaw-Oszillatoren in langsamen diatonischen Arpeggios zu animieren, die um eine Moll-Tonika-Dreiklang kreisen, und destabilisiert das harmonische Gerüst durch Glissandi und verstärkt die Summe seiner Teile durch analoge Bandsättigung. ,Tessellation" von David Granstrom wurde im Sommer 2017 mit generativen Synthesemethoden komponiert. Die musikalische Periodizität und harmonische Bewegung, die in dem Stück zu hören sind, entstehen durch feste synthetisierte Bandschleifen, die einen Raum zwischen gegensätzlichen Welten erkunden. "To Whoever Shall Inherit the Earth" ist das erste Solostück von Jessica Ekomane und entstand laut der Komponistin fast zufällig. Das Werk wurde vor einem Jahrzehnt spät in der Nacht aufgenommen und fängt einen flüchtigen, zerbrechlichen und unwiederholbaren Moment ein, der genau so festgehalten wurde, wie er sich ereignet hat. Smoking Mother von Stephen OüfMalley wurde für Gisele Vienneüfs Der Teich / LüfEtang von Robert Walser geschaffen. Es wurde 2018 während eines Aufenthalts im SMEM-Synthesearchiv in Freiburg komponiert und im August 2020 bei EMS produziert. Das Stück greift auf Werke von Zia Mohuiddin Dagar, Krzysztof Penderecki und Popol Vuh zurück und erkundet gleichzeitig die Wurzeln des Minimalismus. ,Att boja sjalarna" von Mats Erlandsson wurde 2018 komponiert und ist Teil von ,On Eternity", einer Sammlung von vier Texten und vier zehnminütigen Kassettenloops, die 2021 von Irrlicht Forlag als limitierte Box-Set-Edition veröffentlicht wurde. Dieses Werk enthält Darbietungen von Gaianeh Pilossian und Sara Fors, jeweils auf der Violine und mit Gesang. This will be my last piece for organ wurde 2025 von Theodor Kentros komponiert und nutzt Gruppen von Cluster-Oszillatoren durch resonante Rückkopplung, um die schwankenden Frequenzen zu synthetisieren, die beim Verstimmen einer Orgel im physischen Raum zu hören sind. "Fault Lines" wurde von Daniel M Karlsson mit generativen Methoden komponiert, wobei ein deterministischer und endlicher Output für diese Veröffentlichung festgelegt wurde. Dieses Stück enthält Gesangsdarbietungen von Sara Fors, Ansis B.ti. und Art.rs C.ukurs.

XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette tape early on in the label's history, while the two remaining pieces are presented by the label for the first time.

"The works Ir Himinn, Grooenn by Kristoffer Svensson, Disquiet (Heart) by Marta Forsberg and Lamé by Isak Edberg were first released on the compilation XKatedral Volume II in 2016. Svenssons piece from 2014 combines justly tuned gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edbergs pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally - Edbergs Lamé composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsbergs Disquiet (Heart) from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity.

Glory for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette compilation XKatedral Volume III in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon. Dissolving Ceremony, composed in 2012 by Edberg/Erlandsson/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, Dissolving Ceremony now stands on its own as a memory of a time and methodology from the not so distant past.

The newest piece in this set is Shipwrecks by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. This piece is a celebration of transposition and its immense capacity for timbral transformation using a vast array of instruments performed, recorded and electronically treated by the composer to form a liquid uncanny topography where a deeply personal harmonic language constantly shifts, slides and shivers."

An album of improvised music was recorded in Belgrade, in the courtyard of one of the musicians’ homes. There were no prior agreements, prepared compositions, or preplanned ideas. The album came into being in real time, right there on the spot.



Ulya Volkova (pleurereme) - cellist/multi-instrumentalist, composer/sound designer, producer and music enthusiast with over a two decade of experience in cultural community. After studying for 15 years at the Gnessin School (Academy) of Music she began writing music for big films, documentaries, TV series, audio books, plays and exhibitions, soundtracks for games and sound design for interfaces, and music production for artists all over the world.

Evgenii Piankov - Keyboardist, producer, composer, sound designer, arranger, and multi-instrumentalist. Throughout his career, he has worked in various roles with different popular artists.

Aleksei Siubaev (Mark Borzer) - Musician, ( from True Flavas Band, and Great Rvivers ) producer and DJ operating at the intersection of funk, soul, avant-jazz, post-rock and experimental music. Alongside the collaborative projects, he develops a solo practice focused on hybrid forms and textural experimentation.

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

Der Altsaxophonist und Flötist Alan Braufman trat erstmals in den 1970er Jahren in der New Yorker Loft-Jazz-Szene als einzigartige Persönlichkeit in Erscheinung. Sein Debütalbum ,Valley of Search" aus dem Jahr 1975 wurde später als Meilenstein des Spiritual Jazz und Free Jazz anerkannt. Nach Jahrzehnten außerhalb des Rampenlichts kehrte Braufman mit einer neuen Welle der Anerkennung zurück und veröffentlichte 2020 und 2024 zwei hochgelobte Alben, die ihn sowohl als unverzichtbaren Veteranen als auch als wichtige zeitgenössische Präsenz neu etablierten. Anthem for Peace wurde an einem einzigen Tag im Herbst 2025 aufgenommen und ist ein völlig neues Studioalbum, das Braufman in der Gegenwart einfängt. An der Spitze eines Quartetts mit der Vibraphonistin Patricia Brennan, dem Bassisten Luke Stewart und dem Schlagzeuger Chad Taylor präsentiert er prägnante, eingängige Kompositionen, die fließend zwischen spirituellen Hymnen, beschwingtem Post-Bop und Free Jazz wechseln. Brennans Vibraphon - akustisch schimmernd und gelegentlich elektronisch bearbeitet - verleiht dem Ganzen Tiefe und Farbe, während Stewart und Taylor eine eng verzahnte, reaktionsschnelle Rhythmusgruppe bilden. Das Ergebnis ist Musik, die ,verspielt und leicht, aber dennoch texturreich" (NPR) ist: optimistisch, fokussiert und von einem klaren Gefühl der Vorwärtsbewegung getragen.

Limitierte Neuauflage des Debütalbums von Smoove & Turrell: "Antique Soul" aus 2009. Roh und retro, eine zeitlose Kombination aus Live-Instrumentierung und modernster Technologie. Fetter Funk, erstklassige Beats & Breaks, Northern Soul und mitreißende 1960er-Jams – mit Einflüssen von Mark Ronson, dem soulliebenden Modfather Paul Weller und dem frühen, erzählerischen Bowie aus der Zeit von "London Boys", vermischt mit den Breakbeats der letzten Jahrzehnte. Liner Notes von Funk-Kenner Craig Charles (BBC Radio 6).

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.

2026 Repress

Ob Krypto-Mensch oder Krypto-Substanz, es wird auf jeden Fall eine verhängnisvolle Affäre. Molas Musik ist die ungeschönte Antithese zu einer rosaroten Welt.
Sie feiert sich kaputt, zieht dich mit in ihr inneres Chaos und verzichtet auf übliche romantisierende Verklärungen der unbarmherzigen Orientierungslosigkeit, die einen nach der letzten Kippe auf dem Nachhauseweg einholt.?Das Album erzählt düster und doch fragil von kompromisslosen Autopilot Nächten die uns vereinen und trennen. Temporär reduziert intim, um dann in ikonischem 80er "Purpel Rain" Pathos zu eskalieren, illustriert MOLA das Gefühlschaos, das der innere Dialog von linker und rechter Gehirnhälfte in ihr auslöst.
Bei MOLA werden alle Erfahrungen misstrauisch auf links gedreht, um zu sehen was sich hinter der alltagstauglichen Fassade verbirgt. Sie kehrt ihr Inneres nach außen und spricht an was sie verletzt - unverzerrt, nicht übertrieben, nahbar.?MOLA beschreibt die eigenen Tiefschläge mit trotzigem Selbstbewusstsein, ohne sentimentaler Glasur.
"Schnee im Sommer" könnte ein Album einer 80er Jahre Punkrockband mit Liebeskummer sein, aber auch einer Alternative Band aus den 90ern kurz vor ihrem Urlaub in einer Betty Ford Klinik.

Experience ‘stardust’ like never before with this stunning limited edition coloured vinyl. Spin Freya Skye's sensational vibe, including her viral anthem "silent treatment", and let every note shimmer with starry energy! Each vinyl comes with an exclusive Freya Skye poster for every fan to enjoy! Available on translucent cobalt blue vinyl.

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]

San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage. Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted.

These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive. “Super fun, well crafted, with great melodies. It gives me that late ’70s power pop energy I loved so much as a kid. Every track has something joyous to grab onto. In a world full of bleak news, Spiritual Hangover is a warming blast of California sunshine.” — Walter Schreifels (Gorilla Biscuits/Quicksand)

Solid Red Vinyl Edition - 10@ Mini album. Originally release in 2025 in a painfully limited 2x7" + Book edition.

"Dream of the Egg" is the debut solo album by Tomo Katsurada, known for his work with the Japanese psychedelic band Kikagaku Moyo. This project is a unique fusion of music and visual art, inspired by the Japanese 1920s children's book “Yume No Tamago (Dream of the Egg)”. It reveals a deeply personal journey, reflecting Tomo's dreams and the numerous rebirths experienced in 2024—a year marked by profound new beginnings in every facet of his life.

This mini album was driven by a passion for raw and immediate expression. Every song was crafted and recorded with only the materials available to him at the time, embracing an organic and handmade atmosphere. By eschewing rhythm clicks and standard instrumental tunings, a spontaneous sound emerged, capturing the essence of both uncertainty and immediacy. Adding to this distinctive sonic landscape, guest musician Jonny Nash (UK) contributed ethereal guitar sounds on the first and final tracks, enriching the record's dream-like quality.

The journey begins with the opening track, "Moshimo," which means "If..." in Japanese. Here, Jonny's guitar weaves seamlessly with the vocal melody, creating a harmonious dialogue. The first half of the album concludes with "Zen Bungalow" a cover of Gabriel Yared's “Bungalow Zen” from the soundtrack of the film “Betty Blue 37°2 Le Matin”. This particular track is his partner’s favourite song to listen to every morning and left a profound impression on him. One day, he heard a song in his dream that combined both of these tracks and loved how they blended together. This experience inspired him to create a new arrangement, "Zen Bungalow," which has become a central piece of the “Dream of the Egg” album.

The third track serves as an interlude, printed on a flexi disk attached to the middle of a picture book. This interlude transitions the listener into"Inner Garden," a bittersweet folk song that explores themes of love. The EP's narrative spans 20 minutes, culminating in the final title track “Dream of the Egg”. This piece features a delicate session between Tomo & Jonny, combining cello and guitar to create a spectrum of tones that evoke the imagery of a rainbow. The focus on smooth dynamics and meticulous play reflects an intent to convey a sense of physical trembling. This track sounds like the beginning of a new dream; as if the egg of one’s dream is about to hatch, bringing a sense of anticipation and wonder to the listener. Throughout the album, a variety of instruments come into play, drifting between notes and embracing the beauty of imperfection. By incorporating free-form sounds in a highly technological age, the record aims to reconnect listeners with the tangible, human-made quality of sound.

Special Thanks
Jonny Nash – Guitar