Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more
Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.
Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.
Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.
After almost twenty years of releasing music, Sven Tasnadi finds himself circling back to some of the sounds that first drew him into house music. Explorer was written at home following a longer break from producing and after moving out of his studio, a change of setting that coincided with a shift in priorities. "The tracks on this EP came together at home after a longer break from music and after I moved out of my studio," he explains. "Musically they are very deep and minimal, at times almost meditative. They were inspired by a new chapter in my life as well as my never-ending love and connection to artists like Lawrence from Smallville and Frank & Tony from Scissor and Thread."
That sense of returning to something runs through the whole record. For much of Tasnadi's career, producing and DJing were closely connected, with many releases naturally shaped by the club. Things have changed. "DJing is no longer my main focus, so I can dedicate myself to these deep and minimal sounds again, free from pressure or expectations," he says. "In a way, after almost twenty years of releasing music, things have come full circle for me."
"Atlas (Chapter 1)" and "Atlas (Chapter 2)" grew from the same initial idea but followed separate paths during production. Chapter 2 came first, while Chapter 1 emerged later from a variation Tasnadi discovered while the track was still essentially a loop. "I was still looking for the right theme for the original idea when another version suddenly opened up," he recalls. He saved that variation for later so he could stay focused on the first version. When he returned to it, the two had developed distinct enough identities to stand independently. Their shared DNA is still audible in the restrained rhythms, slowly shifting details and the way small changes carry much of the movement.
The title track moves further into dub techno, another longstanding passion for Tasnadi. "Explorer is almost a classic dub techno track," he says. "Subtle movements within a constantly repeating pattern create a particular atmosphere. It feels like the track could just keep going forever." It is a patient approach to repetition that he connects to artists such as Moritz von Oswald and his friend Daniel Stefanik.
"Megasektor", one of the first tracks Tasnadi made at home with a new equipment setup, brings the EP into deep house territory. "To me it's almost classic deep house, or at least how I define deep house for myself." Warm, compact and gently propulsive, it provides a natural closing point for a record that is ultimately less about changing direction than reconnecting with an instinct that has always been there.
Explorer captures Tasnadi at a point where making music has become more personal again. The four tracks come from following ideas for their own sake and from rediscovering the deeper, more minimal sounds that have stayed with him throughout his career.
A Portal To The Unknown – 7 Rotations of Neptune Discs brings together 12 producers across a double LP. Tifra and Match Box return following their own ep’s on the label this year, joined by familiar contributors Wigs, Aiden Francis, Jeku, Cybernet and Mahkina. COZi, Dive Crew and Thurlow Joyce make their first appearances, with Milès Borghese and Biodive completing the four sides.
Run independently by Astro from Edinburgh, Neptune Discs treats the exploratory ideas of ’90s and early-’00s club music as unfinished business. Prog, trance, tech house and dub techno remain reference points rather than templates, with more than 50 releases—and the arrival of Jupiter’s Depth and Pyramid Fields—allowing that identity to keep developing.
Wigs’ “Strangers” and Aiden Francis’ “Uno” bring warped, driving prog. COZi makes his Neptune debut with “Ride The Snake”, a lean, stripped-back tech-house roller that brings early-2000s economy into the present. Jeku follows with “Droop”, a trippy, ozone-soaked slow roller, while Thurlow Joyce closes with the warm, deeply submerged dub techno of “Sundowner”.
Beyond the vinyl, three digital exclusives expand the release: Bert Vesper’s “Babbel Truc”, Azzecca’s “Home” and Foley’s “What Could’ve Been”.
Featuring artwork by theAJM, the release is pressed across two 12-inches, distributed by One Eye Witness and arrives on 23 October 2026.
The first wave of British punk was overrun with smart kids from upper-class backgrounds playacting at being working-class yobs. Sham 69 was different; every bit as thick-headed and provincial as the band sounded, they took a perversely populist pride in its lack of musical or intellectual sophistication, just like The Exploited and Anti-Nowhere League.
Side one of Tell Us The Truth was recorded live, and it perfectly captured the Cockney vibe, complete with football chants and a spontaneous chorus of "Knees Up, Mother Brown." Frontman Jimmy Pursey's banter with the audience is impressive, and all the songs are brimmed with straight-ahead live energy. The studio side is a template for brash UK punk rock: snotty, in-your-face, fast and loud.
Tell Us The Truth is now available on black vinyl.
Melissa Weikart and her piano have proceeded through life in step, from her early classical
training to the experimental practice that defines her work today, a blending of sounds and forms that has never been so clear—and so fully realized—as on her new album, Contact. Across twelve shifting and evocative tracks that examine the connective tissue binding us to ourselves and others, the Franco-American musician’s voice and piano navigate personal and emotional terrain with clarity and nuance, forging a rich dialogue between artist and instrument, artist and self, and artist and listener.
Winner of the 2022 Nancy Jazz Pulsations emerging artist award and the instrumentalist prize at the 2023 La Défense National Jazz Competition, Weikart has released two EPs and an album as a solo artist, and one EP and an album—Surprise and Secret—with her electronic duo Beatrice Melissa. A student of jazz and ’70s folk-pop, and a keen lover of improvisation since her time at the New England Conservatory in Boston, Weikart has always conjured the confessional candor of the singer- songwriter in her music, even as she dispenses her lyrics across rich, shifting, dreamlike tableaux.
On Contact, written and arranged entirely by Weikart (aside from “New angles”), she pushes her sound further than ever before. The album is animated by a pressing need for connection, observing what brings us together and what drives us apart, and the life-saving revelations that emerge along the way. The album’s opener, “Crash,” is a dreamy telephone-hour ode, a message in a bottle, to connections new and old. On the wistful “Mesurer le vent,” Weikart conjures Debussy or Ravel, layering contrasting sounds like an Impressionist painting. The title track begins as a showcase of Weikart’s frank lyricism, a splice-reel of missed connections and wasted time, then glides into a hazy, euphoric galaxy of pleas, circling around her thesis—“I wanted to make contact”—that ushers us into “The Intersection,” a song that recalls her the beginning of her career, when it was just Weikart and her keys. “Appétit.e” is built around a sample of her down-the-hall neighbor’s drumming—another subtle, affecting gesture toward proximity and connection—while pulsating synths reminiscent of Air lend the track an unsteady atmosphere. On the Carpenters-inspired “Expectations,” Weikart muses on the relationship patterns, universal and specific, that have always been a hallmark of her songwriting.
The psychedelic “L’amour de construit” is a slow-motion fall down the rabbit hole, as Weikart
considers the way her own emotions are captured and commodified by the confining ways we think about love. The interlude—“L’amour pt. 2”—finds her near the end of that trip, shouting into the void as a last-ditch effort to rescue herself from the fall. The drums near the end of the interlude warn us that there may be no cushion for, until she is saved, again, by the power of revelation, on the confident, resilient “Not Right”—on which a show-stopping, frenetic conversation between singer and piano is gracefully interrupted by a rush of transcendent strings, lifting her back up.
On solid ground anew, “New angles,” featuring Manu Delta, creates a percussion-less groove that relies on experimental synth sounds. The 11-o’clock stunner “Catching up”—composed in a church—meets the singer in a state of ecstatic confession, bringing her to the formative memory that propels “Bicycle,” the album’s closer. Younger, more wide-eyed, she reflects on her move from Boston to Strasbourg, those early days, when Weikart had no other companion than that loyal hunk of scrap metal that took her to the shores of her own soul. She seems to suggest, on “Bicycle,” that a backward-glance is not always troublesome, not always anxiety-producing, but can be grounding: a reminder of where we come from, so that we can keep moving forward.
Budapest based concept label Blue Sun arrives with the 3rd edition of their annual VA series, showcasing a colorful taste of the local underground music scene, with some international sidenotes.
Following up on the label’s customs, the 19-track selection is not only released digitally, but also on a limited 200-piece cassette series. Curated by the label heads, the tracks follow Blue Sun's listening-oriented concept without genre restrictions with downtempo, trip-hop, jazz, dub, balearic, ambient, experimental, and electronica as highlights, with pieces that are more difficult to classify.
As before, instead of the usual A-B markings, the two sides are divided by the label's colors: “ORANGE” contains more organic and high-energy music, while “BLUE” contains more pensive and experimental tracks. Moreover, the selection has been carefully curated so that it can be listened to as an endless loop: the end of a side always resonates with the beginning of the other, wherever the listener begins.
The list of contributing artists this year are truly various and just as impressive. From uniqe debuting local artists to internationally recognised performers, it gives a taste of how the Hungarian underground scene sounds like atm. Important to note, that the release marks another debut: the label’s new visual identity by Blue Sun’s new designer, Péter Tóth.
Ossie lands back on Heist after his 2025 hit ‘Are U still smiling?’ with a 4 track EP featuring Miraa May.
How on earth do you follow up your debut when that record got dancefloors moving across the world and picked up radio & dj plays from dance music’s finest selectors?
Many producers would get instant writer’s block, but not Ossie. His new EP on Heist is full of joyous melodies, catchy vocals and euphoric dancefloor moments. Across 4 tracks, Ossie takes us on a trip through rolling electronics, catchy UK sounds and big room anthems.
His Heist debut in 2025 did not go by unnoticed, and Ossie kept a busy calendar since, with regular shows in London and Hï Ibiza with Skepta’s Mas Tiempo crew, his own Supercali imprint as well as his appearance alongside heavyweights Louie Vega, Kerri Chandler, Cinthie and more on Heist’s ‘House of House’ much celebrated compilation.
The Motivation EP kicks off with a bumpy UK track that somehow reminds us of Bicep early day hit ‘Vision of love’. Where the Bicep boys went for a big sample, Ossie landed a surprise studio session with Algerian born-London native Miraa May where they wrote ‘Motivation’ in a single session. The track is stripped back to its core with catchy scats and chants from Miraa May and keys that’ll stick with you far after the track is over. If you’d need any extra motivation for your daily routine, to get out of bed or to go out dancing, this is your jam.
‘Can it get any better’ is a loopy house affair with soulful vocal chants, hints of disco and a subtle piano theme that drives the track into big room territory. It’s energetic without ever getting over the top; a thin line Ossie navigates effortlessly on this record.
On the flip, we’ve got ‘Left side’; a deep groover built around a synth & disco loop and cleverly sampled vocals singing ‘I believe… oooh yes I do’. This one is definitely a lowkey banger, where Ossie turns that one simple loop into a powerful theme made to ignite dancefloors.
The EP closes with the heavy warehouse groove of ‘Don’t stop’. A cavernous low end, rough percussion and chopped synth stabs all come together on this beast of a track. Ossie cleverly plays around with vinyl backspins, vocal chops and small changeovers to keep things interesting, while the groove just keeps on going.
Ossie’s ‘Motivation’ EP has dancefloor written all over it and with all its forward energy, there’s no doubt you’ll be hearing this one a lot in clubs all over the world.
IROIRO aus Seattle verbinden auf ihrer Debütsingle ,Once / Formosa" instrumentalen Psychedelic Rock, Noise Rock, Krautrock und experimentelle Gitarrenmusik zu einem dynamischen, ausufernden Sound. Die Band um die ehemaligen IQU-Mitglieder Michiko Swiggs und Kento Oiwa entwickelt aus improvisierten Jams vielschichtige Klanglandschaften, die zwischen melodischer Schönheit und kontrolliertem Chaos pendeln. Während ,Once" mit treibenden Rhythmen und psychedelischen Gitarrenwirbeln überzeugt, verbindet ,Formosa" Arena-Rock-Gesten mit verträumten Melodien und verzerrten Klangtexturen. Entstanden aus gemeinsamen Sessions mit Justin Schwartz und James Drage, markiert die Single den Beginn einer Band, die experimentelle Rockmusik mit bemerkenswerter Kreativität und Energie neu interpretiert.
Versteckt in der ruhigen, malerischen Stadt Ipswich an der Ostküste Großbritanniens schwanken die Jungs von Basement zwischen dem Trost des Schönen und Vertrauten und dem Reiz der Flucht. Diese Dualität durchzieht das gesamte Dasein der Band. Während sich der raue Gesang von Frontmann Andrew Fisher über treibende Rhythmen und ergreifende Gitarrenmelodien schlängelt und ausdehnt, wird deutlich, dass Basement gekonnt den Spagat zwischen den Gegensätzen von herzzerreißendem Pop und rauem Post-Hardcore meistern. Ob sie nun einen langsam aufbaubaren Midtempo-Song spielen oder treibenden Punk hämmern - bei Basement webt sich unter der glatten, melodischen Oberfläche eine stille Schicht zerklüfteter Verzweiflung durch die Songs. Ähnlich wie beim Erwachsenwerden sind die Songs mühsam, zerrissen und platzen aus allen Nähten.
,Bands Like It When You Yell `YAR!' At Them" war ursprünglich eine Promo-EP von Minus the Bear, die 2002 als Vorgeschmack auf das Debütalbum ,Highly Refined Pirates" erschien. Was als einfache Werbe-CD begann, entwickelte sich schnell zu einem Fan-Favoriten und erscheint 2026 erstmals offiziell auf Vinyl. Die Veröffentlichung zeigt die Band in ihrer frühen Hochphase und vereint ihren charakteristischen Mix aus Indie-Rock, Math Rock, Funk, verspielten Gitarrenfiguren und elektronischen Elementen. Neben frühen Albumtiteln enthält die EP mit ,Drop It Like It's Hot" auch einen exklusiven Song, der die kreative Experimentierfreude der Band eindrucksvoll dokumentiert. Heute gilt ,YAR!" als wichtiges Zeitdokument der Anfangsjahre von Minus the Bear und als perfekte Ergänzung zu ,Highly Refined Pirates", einem der prägendsten Indie-Rock-Alben der frühen 2000er-Jahre. Von Bernie Grundman für Vinyl remastert und mit bei 45 U/min geschnittenen Lackplatten trägt diese limitierte Auflage von 1.000 Exemplaren auf "San Juan Sands" Vinyl dazu bei, die aufregenden Anfangsjahre einer der beliebtesten Bands des amerikanischen Indie-Rock zu dokumentieren und zu bewahren.
Fudge is Michael Kiwanuka’s most free and instinctive album to date. A vibrant, deeply human record shaped by spontaneity, emotion, and creative joy. It’s loose, soulful, and alive with the kind of magic that only happens when the process leads the way. The album was inspired by the encouraging words of the late Chick Corea, whose interview Michael stumbled upon during the pandemic lockdown, urging him to embrace what he loved without worrying about what others might think.
Each physical edition brings you into that world. The artwork, created by Michael’s friend and visual collaborator Stevie Gee, bursts with colour and character. It’s a psychedelic cartoon-inspired piece that perfectly mirrors the album’s warmth and wonder
Die südafrikanische House-Variante Amapiano geht bei ATFA mit "Teenage Dreams" in die dritte Runde. Nach TENO AFRIKA und DJ BLACK LOW schnappte sich das in New York beheimatete Label das 2019 gegründete Produzenten-Duo NATIVE SOUL, die mit "Teenage Dreams" ihr Debüt geben. Der Titel ist passend gewählt, schließlich sind Kgothatso Tshabalala und Zakhele Mhlanga (DJ Zakes) mit 19 bzw. 18 Jahren sozusagen selbst gerade erst den Kinderschuhen entwachsen. Obwohl die beiden in Pretoria aufgewachsenen Jungproduzenten zur Generation 'Ma2000' gehören, also nach Beginn der Demokratie geboren wurden und die Apartheid nie erlebt haben, überzeugt "Teenage Dreams" mit einer künstlerische Reife, die das jeweilige Alter der beiden Soundtüftler weit übersteigt. Die zwölf Tracks auf dem Debüt sind überwiegend moody, instrumental und mit Drums "made from basslines which stick out like a pocket turned outside of pants" versehen. Für Fans von BURIAL und MR. FINGERS!
Fudge is Michael Kiwanuka’s most free and instinctive album to date. A vibrant, deeply human record shaped by spontaneity, emotion, and creative joy. It’s loose, soulful, and alive with the kind of magic that only happens when the process leads the way. The album was inspired by the encouraging words of the late Chick Corea, whose interview Michael stumbled upon during the pandemic lockdown, urging him to embrace what he loved without worrying about what others might think.
Each physical edition brings you into that world. The artwork, created by Michael’s friend and visual collaborator Stevie Gee, bursts with colour and character. It’s a psychedelic cartoon-inspired piece that perfectly mirrors the album’s warmth and wonder
Put your hands together and please welcome Linda Lo to Shall Not Fade's Time is Now imprint. The LA producer/DJ's new 12" EP "Masa" drops 23rd Oct 2026 and f**k is it sick.
Linda Lo fuses* mambo, samba, and salsa with UK garage, dubstep, and club rhythms to make guaranteed rewind material that is gonna light up the dance…
* imma talk about this fuses sh*t in a minute.. First we need to get a bit philosophical. Cos rewinds and fusions aside, this EP is alive. It's part of something bigger and cyclical, without a start or an end. It is music. It was part of someone else's music before and it will be part of other people's music in the future. Right now though, it's Linda Lo's music.
Too esoteric? Let me elaborate and, let's talk about fusion. There is the fusion that is – steal a bit of genre X and culture Y, chuck it on the grid and strut about professing fusion – and then there's actual fusion: Music that is something "new" and real and genuine. Music that you end up describing excitedly as a "fusion of" things (even if it inevitably ends up doing it a disservice). Music that is simultaneously one thing and not that thing, and also something else and not that something else too. Music that is just "music" to the creator but is also part of the progression and evolution of music for others. Mala wasn't making "dubstep". Skream & Benga ended up not making Garage. Like many before and after they were making their music and Linda Lo is making her music so let's hear from her about it. Big up Linda. This is real.
Notes from Linda:
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“Like Croydon by way of Havana”
“Masa, or corn-based dough used to make tortillas and tamales, is a traditional staple food for many in Mexico and throughout LatAm. In the Maya worldview, people's flesh is made out of masa. In order to make masa, corn must be dried, nixtamalized, ground, and mixed (often by hand) to create the right textured dough. I find much of my music work is a collision and a mixing of many elements, all worked into one product. In this way, I've worked these songs, transforming raw rhythms and sub bass into hand-mixed tunes. ‘Masa - EP' presents four delicious heaters. The title track explodes with a fiery double-time dubstep groove. Mambo horn stabs bite through a bass inferno. ‘Cenote' looks down upon a subterranean pool of sound—still on the surface but impossibly deep. ‘Minifalda', pure flirt and gyration, calls in cuica and other voices from a samba bateria. Finally, claves stitch across ‘Mestiza', a fusion of blooming lush orchestration and jagged 2step rhythm.
Around 1960, my grandparents were regular dancers at the Palladium in Los Angeles: young, Mexican, and falling in love to dance music, specifically big band mambo. My mom, consequently, is a fantastic dancer, and her mambo collection along with my dad's exotica records formed the base of my own vinyl collection. When I first discovered garage and dubstep, there was something indescribably familiar to me, something mambo-like about the syncopated offbeat hits and drama. Later, as I began stitching together mambo claves and 2step drums, I assumed I was trying out something totally new. The farther I go, the more I see that I was wrong.
Dubstep, garage and jungle share a parental lineage back to dub reggae, originating from Jamaica. Mambo hails from Cuba, and sister genres of salsa to NYC & PR, and bachata and meringue to the Dominican Republic. Yet, these musical genres of the Caribbean have not developed in isolation. Reggae, mambo, dancehall, salsa, even son jarocho from Veracrúz, Mexico (where my family is from), all developed together, influencing each other fundamentally. Ultimately, all musics of the Caribbean have come from West African polyrhythmic musical heritages. Garage, mambo, dubstep, and salsa are points in time along one musical continuum.
I feel very honored to be a selector working in Los Angeles (and elsewhere!). I hope I can share some music for the next generation of young people to fall in love to. "
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I'm moved by what Linda writes here. #1 Doing what you love, and finding you are part of something bigger. Creating for yourself freely and hoping to inspire others with healthy amounts of care, humility, freedom, self awareness and enjoyment. (It is inspiring and I'm honoured we are now a part of sharing Linda's music). #2 There's something wonderful about finding connection and a sense of place. A place physical, spiritual and in time. Music can help us all find connection and be part of a place. Wheel it up wherever you are.
The Liber series was always about the dancefloor. Dark rooms, loud systems, repetition, pressure and the point where the machinery takes over. Liber Eleven continues that idea. The tracks have been remastered and are now available again on CD, vinyl and download.
This is The Black Dog in full techno mode. Hypnotic, physical and built for big systems, with enough strange corners to keep things interesting when the lights go down.
The Liber series started with Liber Kult, Liber Temple and Liber Nox, followed by Liber Dogma and Liber Chaos. Eleven picks up that thread and carries it forward.
No nostalgia trip. No archive dusting for the sake of it. Just The Black Dog making techno...
This album was born from a long-held, quiet ambition. I always wanted to navigate the entire journey of a record – from the first written note to the final mix. Winterglare is the result of finally stepping into that journey. Recorded in my home, the process was inextricably linked to the life happening just outside the door. Being surrounded by the daily routine and family created a unique tension; time felt precious, limited, and often fleeting. At first, finding mental stillness felt impossible. Yet as the winter deepened, a shift occurred. I found a place of unexpected calmness, where the music began to float, and the domestic noises around me became an accompaniment rather than an interruption. What began as an idea for a piano album expanded to include the Wurlitzer electric piano and the Gigster vibraphone. Some pieces evolved into experiments with percussion, accordion, and finally, the Roland tape echo and field recordings. Throughout this growth, the vision remained: to preserve a sense of space and time, allowing the true ambience of the moment to breathe. My hope is that these compositions find a place in your own quiet moments. I hope they offer your mind and soul the same sense of peace they eventually granted me during those cold months.— Volodja Brodsky
Now repressed on limited edition Venus Pink vinyl – 300 copies for the world Give your retinas a workout A supergroup of sorts - Fat White Family’s Lias Saoudi, Trashmouth Records’ Luke and Liam May, and Quinn Whalley of Paranoid London and Warmduscher - Decius have travelled the earth liberating people from banality since the release of Vol. I. They’ve revealed to all those they’ve encountered just what was missing in their lives: pump without borders, pump without reason - absolute pump. Decius live sets at Berghain’s 19th birthday celebrations, Block 9’s NYC Downlow at Glastonbury and Opium Club in Vilnius have set pulses racing, and they count the likes of Dixon, 2manydjs, Honey Dijon, Mochakk, Or:La, Iggy Pop and Depeche Mode as fans. Now they offer up Decius Vol. II (Splendour & Obedience). It throbs with an almost impossible sense of potential, and expands on the lexicon of molten desire. The sound has moved into new territories, with tastes of house, disco and techno, all with an underlying base note of acid on tracks such as the slippery night cruise intensity of ‘Birth of A Smirk’, where Colonel Abrams gets his nipples tortured. ‘Queen of 14th St’ is all watersports and Cybotron force from Detroit via Deptford. ‘Walking In The Heat’ struts like a sunburnt and horny Kraftwerk, while ‘Ghent’ is purest uncut ’88 acid. Vol. II is the art of seduction in damp rooms painted black. Keep hydrated from whatever source is available. Be your own pleasure centre. Vol. II is veritable selection box of booty bumps and illegal highs made at night for the night and beyond. This is music that takes pride in its walk of shame.
This compilation took almost four years to come together. For the residency, the band Alexander Flood composed three new pieces, which they developed with the ensemble over two rehearsal days before performing them across three concerts. The core ensemble - Lucy Liebe, Franka Fairy, Tara Sarter, Raffaelo Visconti and Nonny Smith - remained together throughout the summer of 2024, growing into something far greater than just a band. This compilation not only documents the music played by the Residence Band, but also captures the wider story of the other bands that we recorded while they were on tour and who came to the studio with me the following day. Kai appears here after performing at Holidays in 2024. Sonic Interventions recalls a special milestone: the band's first concert outside Berlin, which took place at Holidays in 2023. Sasha Berliner performed at the Jazz Klub, which is illustrated throughout the comic included in this booklet. Benedikt Montiel Mathews joined the Jazz Montez project through a year-long internship and a record we released together. Hind Ennaira led the successor to the Residence Band during a weekend at El Barrio in 2024. However, her recording was not made in Frankfurt, but in Essaouira, Morocco, during a spontaneous late-night session.
Inlcuding: Pressed on high quality 150g vinyl, the record comes packaged in a beautiful cover, designed by artist Verena Mack. It features a 20 page booklet that includes a fictional comic on the making of a Jazzklub.
Includes unlimited streaming of Jazz Montez Presents Vol. III via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
“Slide in the party like three monkeys wearing a trench,” GDP says in the opening seconds of Cross Off Matthew, his first solo album in over a decade. The line is indicative of the New Jersey emcee/ producer’s relationship with music, one that’s ebbed and flowed throughout his career and eclectic discography. Entirely self-produced, Cross Off Matthew feels like a reintroduction as well as an expansion of what makes the cult rapper so beloved. GDP came up in the respective punk, hardcore, and skateboarding scenes of New Jersey, roots that inspired his DIY approach to making hip-hop. He applied a decidedly punk ethos to his brand of neo- boom bap on early releases like 2009’s Realistic Expectations and 2011’s Useless Eaters, albums that celebrated his youthful indiscretions but also signaled an old soul lying beneath the surface.
He opted to release them on punk/indie labels (including Run For Cover and Ride The Fury Records) instead of more traditional hip-hop outlets, and along with an ambitious touring schedule, he carved out a dedicated fanbase throughout the early 2010’s. Cross Off Matthew is a slow-cooked labor of love, born out of taking enough time away from something to understand the journey with greater perspective and appreciation.“I’m older, arguably wiser, but that creative fire stayed with me,” he says. “I wanted to make something that felt nuanced, something that I could feel proud of.” Throughout the album, the production toggles between foreboding and facetious just as deftly as his bars. Tracks like “Island In The Sky” and “Location Therapy” make rap confetti out of caustic guitars and glaring distortion, while “Seroquel” and “Rock For Light,” (the latter a nod to NJ rap royalty, The Outsidaz) embrace GDP’s signature blend of East Coast hip-hop and punk sensibilities, with lyrics that highlight the sharp wit and heady philosophizing that he made his name on. GDP examines vices, interpersonal relationships, the collective dread of late-stage capitalism as well as the pitfalls and rewards of trying to lead a creative life throughout it all. The wiseman that peaked out from beneath the shield of debauchery on his early releases has now come to the forefront, as GDP’s trademark humor and commentary feel refined by years of life lived experience
Revisiting the sound and spirit of Jazzy Sport, rooted in Japan and carried forward by a new generation. Compiled by Nina Yamada, featuring Cro-Magnon and Grooveman Spot, with remixes by DJ Mitsu the Beats and Idjut Boys.
Founded in 2002, Jazzy Sport emerged at a particularly fertile moment in Japanese music. Beginning as an independent label and record shop, with its first store in Morioka and Jazzy Sport Music Shop Tokyo opening in Shibuya the following year, it became a home for artists including GAGLE, DJ Mitsu the Beats, Cro-Magnon and Grooveman Spot. Its releases moved freely between hip-hop, house, jazz, broken beat and live musicianship, helping define a distinctly Japanese strain of open-minded club culture.
But the music was only the beginning. Jazzy Sport developed into a network of record shops across Japan, alongside its label and distribution work, apparel and design, dance studios, and a Morioka record shop joined to a bouldering gym. These were not unrelated side projects. They expressed the same founding idea: that music, sport and everyday life could come together to create community.
PAST FORWARD: SILVER marks the first release on the Jazzy Sport London label, distributed by Time Capsule. Established in 2022, the London project first took shape through parties, radio shows and community collaborations connecting Japan and the UK. This compilation carries the Jazzy Sport archive and its values forward through a new generation.
At the centre is Nina Yamada, the daughter of one of Jazzy Sport’s core members. She grew up within the community that shaped the collective, and her selection is not a conventional greatest-hits survey, but an inside view of the catalogue and an intergenerational handover made audible.
The music moves naturally between hip-hop and house, electronic production and live performance. That openness has always been central to Jazzy Sport, where club music, musicianship and community are part of the same conversation rather than separate scenes.
DJ Mitsu the Beats’ remix of Cro-Magnon’s “Eclipse” brings the refined, soulful depth that makes him such an important figure in Japanese beat music. Idjut Boys’ deep, dubwise Cro-Magnon rework reflects the long exchange between Japan and the UK, while Grooveman Spot’s “Do The Dance” finds a sweet spot between acid-tinged 808 groove and warm soulfulness.
Elsewhere, Nubian Lady’s “In☆Flu☆Enza” draws on Detroit techno and Chicago house but sharpens those influences into something lean and distinctive. Physical Sound Sport’s “Magical Kalimba” captures the communal energy and openness of a live session. Bottom Fly’s “Rhyme Or Reason,” rooted in Morioka, pairs rough-edged beats with mellow samples and a quiet sense of nostalgia.
What comes through is not only the strength of the individual tracks, but the sensibility that connects them. That keeps PAST FORWARD: SILVER from feeling like a nostalgic best-of. For longtime followers, it offers rediscovery; for new listeners, a way into the breadth of Jazzy Sport; and for DJs, a selection made for the record bag, not just the archive.
Zur Feier des 25-jährigen Jubiläums ihres siebten Albums aus dem Jahr 2001 (ihres letzten mit Brant Bjork) veröffentlichen Fu Manchu die California Crossing 25th Anniversary Edition. Das Album, das von der Band gemeinsam mit Matt Hyde (Deftones, Slayer, Monster Magnet) in den legendären Sound City Studios in Los Angeles aufgenommen wurde, ist die kommerziell erfolgreichste Veröffentlichung der Band. Die aus 11 Songs bestehende Sammlung enthält "Mongoose" (bekannt aus einem Toyota-Super-Bowl-Werbespot sowie aus Sons of Anarchy, The Hot Chick, Boondock Saints II u.a.), "Squash That Fly" (ihre erfolgreichste Radio-Single), "Bultaco" (mit Gesang von Keith Morris von den Circle Jerks) sowie die Fan-Favoriten "Separate Kingdom", "Hang On" und den Titelsong. Diese auf 1.000 Exemplare limitierte Ausgabe erscheint als El Camino Sand Splatter-farbiges Vinyl im Gatefold-Jacket. Für die optimalste Klangqualität wurde das Audiomaterial des Albums nun neu gemastert. "a strangely nihilistic celebration of all things Cali." - The Guardian "Fu Manchu are the stoned Ramones, a matey Motorhead: a band who can rewrite that album into the infinite future and rule perpetually." - NME
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
SPIKE & THE GIMME GIMMES sind zweifellos die unterhaltsamste Coverband aller Zeiten. Die Band, die bis letztes Jahr noch unter dem Namen ME FIRST AND THE GIMME GIMMES umherreiste, hat sich den Titel Supergroup redlich verdient: Jedes der fünf Gründungsmitglieder konnte bereits auf eine ernstzunehmende Musikkarriere zurückblicken. Ursprünglich fanden Spike Slawson (Swingin' Utters), Fat Mike (NOFX), Chris Shiflett (Foo Fighters), Joey Cape (Lagwagon) und Dave Raun (Lagwagon) durch ihre gemeinsame Liebe zum Punk zusammen. Mittlerweile tritt die Band in wechselnder Besetzung rund um Sänger Spike Slawson auf. "Shit the Bed", das Debüt von Spike and the Gimme Gimmes, bietet genau das, was man von einer Veröffentlichung der Gimmes erwartet: sofort eingängige Songs und herausragendes musikalisches Können - ihre Versionen deiner Lieblingslieder musst Du einfach lieben. PUNKt. Alle Einnahmen aus der hochkarätig besetzten Version von "We Are the World", die hier als Abschluss des Albums enthalten ist, gehen an den Sweet Relief Musicians Fund, du bist also moralisch dazu verpflichtet, mindestens ein Exemplar zu kaufen. Falls die Unterstützung notleidender Musiker als Grund nicht ausreicht: Die fantastische Gruppe von Sängern, die für dieses Projekt zusammengekommen ist, besteht aus den Gimmes mit Spike, CJ, Swami, Pinch and Jake as well as Milo, Nikki Corvette, Tony Reflex, Har Mar Superstar, Dani Miller, Dickey Barrett, Robert "El Vez" Lopez, Stacey Dee, Greg Antista, Johnny Bonnell, Joe Principe, Jolie Holland, Darius Koski, Jesse Wagner, Eva Walker, Chaki Funk Wizard, Jim Lindberg, Efram Schulz, Matt Caughthran, Jon Snodgrass, Blag Dahlia & Miss Guy! Auf Europatour im Oktober/November 2026. EU exklusive braune Vinyl-LP sowie CD mit Falt-Booklet erhältlich.
SPIKE & THE GIMME GIMMES sind zweifellos die unterhaltsamste Coverband aller Zeiten. Die Band, die bis letztes Jahr noch unter dem Namen ME FIRST AND THE GIMME GIMMES umherreiste, hat sich den Titel Supergroup redlich verdient: Jedes der fünf Gründungsmitglieder konnte bereits auf eine ernstzunehmende Musikkarriere zurückblicken. Ursprünglich fanden Spike Slawson (Swingin' Utters), Fat Mike (NOFX), Chris Shiflett (Foo Fighters), Joey Cape (Lagwagon) und Dave Raun (Lagwagon) durch ihre gemeinsame Liebe zum Punk zusammen. Mittlerweile tritt die Band in wechselnder Besetzung rund um Sänger Spike Slawson auf. "Shit the Bed", das Debüt von Spike and the Gimme Gimmes, bietet genau das, was man von einer Veröffentlichung der Gimmes erwartet: sofort eingängige Songs und herausragendes musikalisches Können - ihre Versionen deiner Lieblingslieder musst Du einfach lieben. PUNKt. Alle Einnahmen aus der hochkarätig besetzten Version von "We Are the World", die hier als Abschluss des Albums enthalten ist, gehen an den Sweet Relief Musicians Fund, du bist also moralisch dazu verpflichtet, mindestens ein Exemplar zu kaufen. Falls die Unterstützung notleidender Musiker als Grund nicht ausreicht: Die fantastische Gruppe von Sängern, die für dieses Projekt zusammengekommen ist, besteht aus den Gimmes mit Spike, CJ, Swami, Pinch and Jake as well as Milo, Nikki Corvette, Tony Reflex, Har Mar Superstar, Dani Miller, Dickey Barrett, Robert "El Vez" Lopez, Stacey Dee, Greg Antista, Johnny Bonnell, Joe Principe, Jolie Holland, Darius Koski, Jesse Wagner, Eva Walker, Chaki Funk Wizard, Jim Lindberg, Efram Schulz, Matt Caughthran, Jon Snodgrass, Blag Dahlia & Miss Guy! Auf Europatour im Oktober/November 2026. Die goldige Vinylversion ist nur dem Indie-Handel vorbehalten!
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
The long-awaited vinyl re-issue of ‘Hawk’ from Isobel Campbell and Mark Lanegan.
Isobel Campbell (ex-Belle & Sebastian) and Mark Lanegan (ex-Screaming Trees, Queens of the Stone Age) third album Hawk, will be reissued on November 6th on LP and CD.
Hawk builds on the critical acclaim of 2006’s Mercury Prize-nominated Ballad of the Broken Seas and 2008’s Sunday at Devil Dirt, solidifying the duo's signature dynamic—Campbell’s ethereal, whispery arrangements juxtaposed against Lanegan’s deep, gravelly baritone. Written, arranged, and produced entirely by Campbell, Hawk was recorded across studios in Scotland, England, and the United States. The 13-track record expands their sonic palette far beyond classic country-folk, venturing into dusty Southern soul, garage-rock stomps, and soaring gospel arrangements. "With this record, I wanted to stretch the canvas further," says Isobel Campbell. "Mark and I have built a true shorthand together over the years, which gave us the freedom to push into heavier grooves, raw blues, and sweeping orchestral textures while keeping the core intimacy intact. Album Highlights & Key Collaborations "You Won't Let Me Down Again" — The album’s lead single, driven by a hypnotic rhythm and featuring a searing guitar solo from former Smashing Pumpkins guitarist James Iha. "Come Undone" — A moody, slow-burning Southern soul ballad showcasing Lanegan at his most vulnerable. Townes Van Zandt Covers — Faithfully rendered versions of "Snake Song" and "No Place To Fall," the latter featuring guest vocals from American singer-songwriter Willy Mason. "Lately" — A cinematic album closer that swaps the pair's vocal interplay for a rousing, brass-tinged gospel choir.
Cipo delivers 4 deep minimal cuts. Blending dubby textures with hypnotic atmospheric layers, the EP strikes a precise balance between intricate sound design and driving dancefloor energy. Anchored by immersive sub-frequencies and evolving modular rhythms, each track unfolds as a captivating microhouse journey perfectly tuned for late-night sound systems.
Zur Feier des 10-jährigen Jubiläums veröffentlicht LP eine erweiterte Deluxe-Edition ihres vierten Albums,
mit dem ihr der große Durchbruch gelang. Neben dem klassischen Titelsong „Lost on You“ – der kürzlich in
den renommierten „Billions Club“ von Spotify aufgenommen wurde – enthält die neue, erweiterte DeluxeAusgabe den bislang unveröffentlichten Track „Strange (Live at Harvard and Stone)“. Darüber hinaus sind
bisher unveröffentlichte Remixe von „Lost On You“ enthalten, die von DJ Pantelis, DiPap, MANSTA und
Lolos stammen.
Despite the widespread popularity of reggae music in the UK, following its explosion onto the international music scene in the late 1960s, many of these in charge of Britain's mainstream media were reluctant to give the exciting new sound coverage, wither in print or over the airways.
In an attempt to counter this prejudice, Trojan Records took the bold step of embellishing recordings from Jamaica with sophisticated orchestration, with the resultant ‘commercial reggae’ sound immediately finding favour with the country’s reggae fans.
Consequently, the company not just maintained, but in fact extended the procedure, employing producers to record the country’s finest British-based reggae acts. The result was the release of an abundance of superbly crafted recordings, the production values of which rated with the best that British pop had to offer.
Anlässlich ihres 20-jährigen Jubiläums veröffentlichen The Devil Wears Prada ihr Debütalbum *Dear Love:
A Beautiful Discord* neu. Diese besondere Pressung erscheint in einer „Split-Splatter“-Variante in Grün.
Mit „Ski Aggu Musik“ beginnt Ski Aggu das nächste Kapitel seiner Karriere. Nach seiner Pause präsentiert
er sich erwachsener und facettenreicher, ohne seine unverkennbare Party-DNA zu verlieren. Zwischen dem
roughen, 2016-codierten Dubstep von „GELD“, der melancholischen Club-Euphorie von „Verschwommen“
und dem kompromisslosen Abriss von „Hardtekk Tutorial“ zeigt das Album die ganze Bandbreite seines
Sounds. Laut Aggu steckt darin sein gesamtes Leben – entsprechend persönlich, elektronisch und direkt
fällt die Albumreise aus. „Ski Aggu Musik“ erscheint am 23.10.2026 und ist unter anderem als durchsichtige
1LP-Vinyl erhältlich.
Mit ”Muse” präsentiert EGOT-Gewinner und Multi-Platinum-Artist John Legend am 23. Oktober sein
neues Studioalbum – vollständig produziert und co-written von Pharrell Williams, der als Produzent bereits
Hits für Künstler wie Jay-Z, Snoop Dogg und Justin Timberlake geprägt hat. Musikalisch verbindet das
Album Gospel, Soul, Doo-Wop und Hip-Hop mit modernen Afrobeats.
Aufgenommen und produziert wurde ”Muse” in den Louis Vuitton Studios in Paris. Auf den insgesamt 16
Tracks zeigt sich John Legend bewusst von einer neuen Seite. Weitere Album Highlights sind Features von
sowohl Pharrell Williams als auch Clipse.
FROM THE HEART OF STAR TREK – 60 YEARS
From the Archives – Vol. 2 Vinyl Box
60 Jahre Star Trek – die Jubiläumsreise geht weiter! Vol. 2 der zweiteiligen Vinyl-Box-Edition widmet sich der großen Kinofilm-Ära von Star Trek: The Next Generation. Enthalten sind die Soundtracks zu Star Trek: Generations, Star Trek: First Contact und Star Trek: Insurrection – drei prägende Klangwelten zwischen Jahrhunderten, Kino-Geschichte(n) und Emotionen.
Ergänzt wird die Box durch TV Series Soundtracks, eine Compilation mit musikalischen Höhepunkten aus dem StarTrek-Serienkosmos.
Enthaltene Vinyls:
· Star Trek: Generations
· Star Trek: First Contact
· Star Trek: Insurrection
· Star Trek – TV Series Soundtracks (Doppel-Vinyl)
From the Archives – Vol. 2 ist eine besondere Jubiläumsedition für Vinyl-Liebhaber, Soundtrack-Sammler und Trekkies – ein weiteres Stück Star-Trek-Geschichte zum Auflegen.
Here come two unearthed scorchers from the 90s era of UK Dub. Shades Of Black also known as Jonah Dan and Paul Fox on the riddim, mix and vocals. On the A side, one finds ‚Free Again‘, a conscious vocal piece including two dubs calling for freedom and equality. It has never been released as such, and only sounds like Aba Shanti-I were able to beat down cuts of this one dubplate style. The side B holds ‚Fight For The Right‘ an anti-war hymn from the late nineties, which seems to be unfortunately just as relevant today. A crunch with the needle and let the time traveling begin. 90s SALUTE !
This compilation containing both super limited and sold out EPs "Naehe & Flackern" and "Es laesst nicht los, mich jedoch laengst" on one 12" Vinyl. The band Nidare presents their EP "Naehe und Flackern", a collection of three powerful songs that thematically deal with the feeling of hate. The singer's lyrics paint a vivid picture of hate in different facets: the hate towards society, the hate the singer faces in his life and the hate the singer himself carries outward. "Naehe und Flackern" is an EP that takes listeners on an emotional journey while also being a profound emotional exploration. Nidare manages to channel the darkness in her lyrics and music. The EP is an expression of pain, anger and despair, but also a call for self-reflection and understanding of the complex nature of human emotions. "Es laesst nicht los, ich jedoch laengst" is a visceral, unapologetic journey through the emotional landscape of a fractured world. Built around themes of political disillusionment, mental health struggles, and the crushing weight of existential dread, this EP serves as both a cry for help and a reflection of the suffocating atmosphere of modern life.
IRST ALBUM IN 10 YEARS.
TOURING WITH TROPICAL FUCK STORM IN NOVEMBER (DATES BELOW).
PRODUCED BY DAN LUSCOMBE (THE DRONES) WHO IS ALSO PART OF THE LIVE BAND.
PREVIOUS ALBUMS ON HARDLY ART/SUB POP AND REMOTE CONTROL.
VERY LIMITED BLACK VINYL AND INDIES ONLY PINK VINYL . NON-RETURNABLE.
‘Jarrod Quarrell, creator of Lost Animal, is one of the most underrated songwriters in Australia and one of our all-time favourites. He creates poetic expressions. His work is very interesting in a highly original way and richly emotional. The songs reveal themselves more over many listens and always feel fresh. His powerful, beautiful, transformative, and unforgettable songs possess the vast depth of the human spirit.’ - GIMMIE GIMMIE GIMMIE ZINE
‘Quarrell has developed a collaged techne that embodies a heart-on-sleeve attitude. Lush melodic delays wash with an influx of lyrics that pierce with uncanny imagery and diction.’ - VICE
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut Ex Tropical (Hardly Art/Sub Pop) was released in 2011, and followed by You Yang (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing Give Some Get Some as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like Do That Thing, and In
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird (I'm a Bird Now), or that he is living on another planet (Never is Forever). Whatever and wherever he may be,
Give Some Get Some invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
IRST ALBUM IN 10 YEARS.
TOURING WITH TROPICAL FUCK STORM IN NOVEMBER (DATES BELOW).
PRODUCED BY DAN LUSCOMBE (THE DRONES) WHO IS ALSO PART OF THE LIVE BAND.
PREVIOUS ALBUMS ON HARDLY ART/SUB POP AND REMOTE CONTROL.
VERY LIMITED BLACK VINYL AND INDIES ONLY PINK VINYL . NON-RETURNABLE.
‘Jarrod Quarrell, creator of Lost Animal, is one of the most underrated songwriters in Australia and one of our all-time favourites. He creates poetic expressions. His work is very interesting in a highly original way and richly emotional. The songs reveal themselves more over many listens and always feel fresh. His powerful, beautiful, transformative, and unforgettable songs possess the vast depth of the human spirit.’ - GIMMIE GIMMIE GIMMIE ZINE
‘Quarrell has developed a collaged techne that embodies a heart-on-sleeve attitude. Lush melodic delays wash with an influx of lyrics that pierce with uncanny imagery and diction.’ - VICE
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut Ex Tropical (Hardly Art/Sub Pop) was released in 2011, and followed by You Yang (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing Give Some Get Some as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like Do That Thing, and In
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird (I'm a Bird Now), or that he is living on another planet (Never is Forever). Whatever and wherever he may be,
Give Some Get Some invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
LA-based producer Real Bad Man and multi-JUNO Award winning Toronto-based artist TOBi release their collaborative album The Perfect Blue via the producer’s own Real Bad Man Records. The album collects a diverse array of sounds,highlighted by the album’s two advance singles “When I’m Home, ” which Stereogum described as “a moody,graceful soul song with a serious groove, ” and the funk-laden “Over The Moon, ” released last week.
TOBi and Real Bad Man’s work together on The Perfect Blue encapsulates the producer’s mission for 2025, a year in which he released intricate collaborative albums with a wide swath of artists. His work with TOBi was seamless and began quickly after the two first met, finding kinship in their ability to push past their comfort zones in genre and familiar sounds. The result is eclectic and boundless, jumping from straightforward and unflinchingly personal rap moments, to the flared funk of “Over the Moon” and understated contemporary soul flourishes that prove the Toronto emcee can confidently make each of these sounds his own.
The Perfect Blue marks Real Bad Man’s fifth full-length collaborative album of the year, bookending a prolific 2025 that began with his collaborative album with ZelooperZ, Dear Psilocybin. Over a celebrated catalog spanning years, Real Bad Man, also known as Adam Jay Weissman, has cemented himself as a force in underground hip-hop, but his impact extends beyond work with contemporaries like Boldy James, Pink Siifu, Blue and more. Each of Weissman’s five collaborative albums this year showcases a different side of his craft, appeasing fans familiar with his gritty hip-hop production on his third album with Boldy James Conversational Pieces. He also surprised listeners with a bold turn in sonic direction, well outside of his traditional production palette, with his reunion with former Pollyn bandmate Genevieve Artadi on Everything Is Under Control.
Nigerian-born, Toronto-raised artist TOBi has carved out a distinct lane for himself with a celebrated discography of releases that explore themes of vulnerability, self-reflection and contemporary masculinity with a pointed nuance. His 2023 album PANIC swept the rap categories (Best Rap Album, Best Rap Single for “Someone I Knew”) at the 2024 JUNO Awards and his catalog has been praised by the likes of Billboard, Rolling Stone, i-D and more. Expanding on his ELEMENTS project series with the second volume released earlier this year to high praise, The Perfect Blue cements TOBi’s bonafides as an adept collaborator.
Annie Bloch’s luvt is a quiet reorientation of the organ: away from its monumental image and ritualised spaces, towards the delicate mechanics of touch, air and friction. Across seven compositions marking her debut on OOH-sounds, the Cologne based organist and composer turns to the chest organ, a small and mobile counterpart to its larger relative, traditionally used to accompany Baroque music. On luvt, Bloch limits herself to just three stops of wooden pipes, using the instrument’s sensitive keyboard, mechanical subtle effects to crystalline sound world shaped by meditative strategies and fanciful detailing. Bloch’s approach sits at the crossroads of modern composition, new psychedelia, ambient and minimalist traditions, with occasional traces of an avant pop sensibility, while keeping the unique sound and physical character of the chest organ at its core.
The title luvt derives from the German luven, “to turn to the wind” and Luft, “air”, a gesture Bloch extends beyond the mechanics of the chest organ towards what cannot quite be grasped or put into words. Bloch follows the organ into quieter, more intimate territory, letting its monumental potential fade into the background while exploring the sensual its sound. luvt is a gentle and immersive meditation on the sound of the chest organ, revealing the instrument’s contemporary relevance while pushing its expressive possibilities into new territory.
Annie Bloch (*1994) is an organist, composer and songwriter based in Cologne, Germany. As an organist she performs solo and in alternating constellations with an improvisational and situational approach. The reality that every pipe organ as well as the space it speaks in is unique, is something she not only adapts to, but actively works with. The resulting composed improvisations explore states of change. Her pieces focus on the in-between-spaces, that are already leaning towards the next event. Searching for the ambivalences in a sound and lingering on them, her music resists singular truths. The musical material she draws from is informed by her engagement with the experimental music scene, but also by compositional styles of pop and ambient music. She has performed at Huddersfield Contemporary Music Festival, Orgelpark Amsterdam, Philharmonie Köln, Moers Festival and others. As an indie-folk artist Annie Bloch released the album „I DEPEND“ (Papercup Records) with a chamber orchestral band, that she regularly performs with.
