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2026 Repress

Next up on Philippa Pacho’s, 'phorum' imprint is Berlin based artist Regent. Across four tracks Regent
showcases a diverse range of sound backed with purposive force making for a futuristic and interstellar
voyage into the deep depths of modern techno

Dr. John Chowning (b. 1934) is a pioneering computer musician, composer and professor who, in 1967, discovered the FM synthesis algorithm. This breakthrough in electronic music allowed for simple, yet rich timbres described as sounding "real." With this discovery, Chowning composed singular, dramatic electronic music and changed the timbre of music forever.

Chowning utilized the potential of computers to synthesize sounds according to programmed instructions. The composer's use of his own FM algorithms, digital synthesis with computers and the new compositional concepts offered by a programmable musical structure combine to create some of the most original and unique electronic music ever created.

The compositions on this LP were realized between 1966 and 1981 and the music on this LP, with the exception of Stria, was originally released on CD in Germany (Wergo, 1988). The version of Stria included here contains a section not included on the Wergo CD. Thus, this version of Stria is complete. This is the first time these purely digital recordings have been released on an analog medium. The original dynamics of these groundbreaking compositions have been preserved on this LP. As a result, listeners are advised to increase volume with caution.

In 1975, John Chowning founded the CCRMA - Center For Computer Research In Music and Acoustics at Stanford University. Through Stanford, Chowning licensed his groundbreaking algorithms to Yamaha resulting in numerous new instruments including the iconic DX series of keyboards. In 1972, his composition Tureens which is included on this LP, was the first to create the illusion of continuous 360-degree space using four speakers.

Technical Notes:

All pieces on this LP are originally quadrophonic. The illusion of moving sound sources is thus projected from the surrounding environment given by four loud-speakers on the stereo-basis.

STRIA was composed using Chowning’s own program to compile the musical structure into note-lists and MUSIC 10 (by D. Poole/Tovar) to generate the sounds in software-synthesis. The original quadrophonic version utilized 12 bits, two different sampling rates being used to accommodate the enormous amount of data on the magnetic disc-packs available at that time. The original sound-data was processed by sampling-rate conversion and digital mixes to achieve the stereo version presented on this LP.

SABELITH and TURENAS were synthesized originally using Smiths’ SCORE and MUSIC 10. However, their format was changed from direct sound-samples to a command stream for a special purpose computer, the System Concepts Digital Synthesizer, designed by Peter Samson, one of the first large-scale digital synthesizers for real-time sound processing - one was designed for CCRMA in the late seventies. For this recording the sounds were recorded directly from the synthesizer computing the samples in real-time.

PHONÈ was realized with the System Concepts Digital Synthesizer using again Chowning’s own program to create the note list.

The master tape of this LP was made directly from the computer system at CCRMA which generated and stored the sound data in digital format. No analog recording was involved at any stage of the production and editing process.

'Pretty (Ugly Before)' b/w 'A Distorted Reality Is Now A Necessity To Be Free' holds the distinction of being the last recording by Elliott Smith to be released while he was still alive. Originally released as a single in August 2003, the songs were a part of the recording sessions that would ultimately yield the acclaimed posthumous album From A Basement On The Hill. The two songs serve as a powerful reminder of why Smith became the voice for a dejected generation.

A weapon... Made in Cork... Upsounded in London.. suported by Paris...

We go EAST !

A superb kick, you can trust on a sound system : the bass is Ivory.*

Also the beat is totally Melly... DJ tool.

also the production is full trustable with Simoin The Exchange fully on it.

crazy good !

Extra Stars is Gregory Uhlmann"s solo debut on International Anthem. It"s a deep and gorgeous expansion of the LA-based multi-instrumentalist producer / composer"s rhythmic ambient side, as nascently explored in his much-lauded duo with Meg Duffy, his trio work with Josh Johnson and Sam Wilkes, and in the gentler of SML (the improvising trance-jazz unit of which he is a member).

Extra Stars is Gregory Uhlmann"s solo debut on International Anthem. It"s a deep and gorgeous expansion of the LA-based multi-instrumentalist producer / composer"s rhythmic ambient side, as nascently explored in his much-lauded duo with Meg Duffy, his trio work with Josh Johnson and Sam Wilkes, and in the gentler of SML (the improvising trance-jazz unit of which he is a member).

Triple J refers to him as "the multi talented creative whose chaotic and sweet energy has coined him as a force to be reckoned with both on and off the dancefloor."

In collaboration with Method Music, Impressed are proud to present STÜM's EP's SONS OF THE FOREST/ FRUIT OF KNOWLEDGE, pressed together for the first time ever on limited edition vinyl. 

"a rising prospect who’ll be sound tracking so many euphoric moments in your life." JJJ

Mai Mai Mai’s artistic path has never rested on laurels, it’s been a constant evolution, a profound and poetic research, a dark and dusty journey through awareness and collaborations where the heart of the process has always been about building connections and understanding people and their rituals. Mai Mai Mai’s new album ‘Karakoz’ was mostly recorded in Palestine (Ramallah and Bethlehem) in 2024 during an ongoing genocide and follows his acclaimed Southern Gothic double-album ‘Rimorso’. The album opens a new chapter for the Roma based artist, a deeply personal record where his traditional industrial miasma flows into a weeping vortex of spiritual hymns, Mediterranean hauntology and Middle Eastern chants of sorrow, carrying the despair of a battered population and matching the fighting hope with echoes of ambient bliss. Recorded during his artistic residency in collaboration with Radio Alhara and Wonder Cabinet, the album is the result of an immersive six-week residency between January and May 2024, in Bethlehem and Ramallah, where Mai Mai Mai delved deep into the traditional music of Palestine, meeting and collaborating with local musicians, exploring archives, and recording the resonances of the land. This deep engagement allowed him to unearth the intricate layers of Palestinian sonic heritage, weaving them into his own sonic language.

Taupe’s latest album release, waxing | waning delivers jazz experimentalism, ‘skronk’, avant-rock, and electronics, by the Glasgow-based trio, due out via Minority Records. Across its seven tracks, waxing | waning captures Taupe’s approach – bold and boundary pushing – shaped by a fresh shift in the band’s dynamic and compositional approach.

Taupe’s waxing | waning, co-composed and realised by its players in a studio that was once an undertaker’s premises in Glasgow, is an absolutely affirmative album, an act of cultural defiance in desperate times.

Comprising Mike Parr-Burman (guitar, bass guitar, electronics), Jamie Stockbridge (alto and baritone saxophones) and Alex Palmer (drum kit, percussion), Taupe work up a storm of skronk, free jazz and harmolodic frenzy whose closest relations include Zu, Melt Banana and John Zorn. However, waxing | waning is from its opening, stuttering blasts, an exercise in seeking out and claiming new territory, finding unique and novel permutations in which jazz, rock, electronics interbreed at breakneck pace. Here is a group determined to say and do things they don’t get to say and do elsewhere in their musical lives.

‘Lemonade Tycoon’ hits the ground skronking. It’s cubistic jazz, cumulative in its impact, avoiding the white lines of the conventional freeway, bridling, bustling, coming at you from all angles – a three way conversation of astonishing rapidity, fast track, telepathic communication – everyone from James Chance to Albert Ayler coming at you at once, before morphing in to a spidery scrawl of electronics and furious percussion. ‘Anti-Bird-Spike BirdNest’s‘ title somehow sums up the sort of mental images evoked by the music – its sheer creative disobedience, as if being chased in vain, like a delivery rider evading capture by ICE agents -– shapeshifting, assuming different shades, sprouting metal quills and, in its midsection, seeming almost to swallow itself alive, before regurgitating itself in a sublime mess.

‘Interlude (Stride)’ is not exactly ambient, more a horizontal enmeshment of percussion, drones, reverberant noise, electronics, a sonic mulch. ‘allcapsallbold' reminds of early Aksak Maboul, in its playfulness, a haywire series of short phrases, subject to mechanical interference, a complex weave of irregular rhythms, increasingly eloquent sax phraseology and caustic guitars, which land heavier and heavier. ‘Pet Boss' is the new jazz equivalent of a highly evolved, mature conversation among brilliant equals, sharp, empathetic, complementary, rising to a collective, joyful noise. On the title track, electronics descend like a shower of bright particles, intensifying in their luminosity, whitening the skies, as sax and drums kick up a tempestuous, spontaneously sculpted noise that summons the ghosts of the great free jazz players, before a dark calm descends slowly. Finally, ‘Turn Push Kick’, a burgeoning chatterstorm of electronics, before the group kicks in, at angles to one another, led by abrasive guitars, reminiscent of Sunn O))) in their ritualistic concussion, riffing, digging deep amid squealing sax and piledriving percussion.

Thelonious Monk, considered one of the greatest Jazz pianists of all time, recorded Underground in '67-'68. It's the last recording with the Thelonious Monk Quartet (Larry Gales on bass, Charlie Rouse on tenor sax, and Ben Riley on drums) and one of the last album he made for Columbia.

What makes Underground special is that unlike his other Columbia recordings, four out of the seven songs were newly composed and recorded. The album cover depicts Monk as a member of the French Resistance and is meant as an homage to Pannonica "Nica" de Koenigswarter. She was a member of the aristocratic Rothschild family and became a patron of leading jazz musicians, hosting jam sessions, driving them to gigs and sometimes even help out with paying the rent. In 1969 the cover won a Grammy for Best Recording Package.
Underground is available as a limited edition of 2000 individually numbered copies on orange vinyl and comes in a deluxe, heavy duty sleeve.

Das bisschen Totschlag’s new LP 0dB Headroom drifts through a cathartic kind of vulnerability—telling stories of losing, larking, and feeling everything all at once. Its soundscape echoes the act of remembering: manipulated samples and floating guitars bent through distorted electronics embody memory not as a fixed archive, but as something alive: tender, fractured, shifting. Moments come back in flashes—sometimes radiant, sometimes aching, always familiar, yet blurred and distorted. A beautiful mess that you can’t ever fully capture.
(FFO: Alex G, Wednesday, Maria Somerville)

On his new album, the Ivorian balafon virtuoso Aly Keïta explores new horizons for his instrument in improvised music. Together with his Berlin-based trio, he conquers the peaks of balafon possibilities one by one, wandering between groovy African rhythms, spectacular polyphony and elements of jazz, and combining them into a fusion that is both futuristic and deeply in roots. In Balafon Evolution, Keïta establishes a new level of balafon artistry, creating universal, contemporary soundscapes that transcend cultural boundaries. The Aly Keïta Trio embodies the pulsating spirit of the Berlin jazz scene. Coming from different cultural backgrounds, the three musicians found a common language on stage as they explored the metropole, one of the most active, buzzing jazz hubs of Europe. Aly Keïta and the Dutch drummer Marcel van Cleef, began playing together in 2008, forming the core of the trio"s future "groove machine". As a part of the "Aly Keïta and Magic Balafon" formation, they shared a prize of the Global music contest "Creole" in 2009. Recognised as one of the most intriguing and innovative bass players among the new generation, the Italian bass player Roberto Badoglio, joined trio in 2014, becoming a true "fusion reactor" of the band.

There's one thing that everyone readily agrees on: Live concerts are the icing on the cake for musicians and fans alike. Every show is a very special experience and sometimes even creates an almost magical performance. Such moments are beyond explanation, you just have to be there to believe it or, in a best-case scenario, have them recorded for posterity – as American metal act Prong have done with their latest live album. Which is exactly what guitarist/vocalist Tommy Victor and bandmates Christopher Dean (bass) and Tyler Joseph (drums) have achieved on ‘Live And Uncleansed’: Recorded over seven nights in July and August 2025, they are now ready to present eleven powerful live songs (plus three live bonus tracks), all pure and unadulterated, authentic and honest, which is the reason why the result is so incredibly captivating.

Critically acclaimed Death Metal force TEMPLE OF VOID return with their new album, The Crawl. The caveman brawn of previous albums, namely Summoning the Slayer (2022), remains, but there’s a wider dynamic on the group’s fifth full-length album at play. Now a quartet—featuring guitarist Alex Awn, drummer Jason Pearce, vocalist/guitarist Mike Erdody, and bassist Justin Malek—the Michiganders aren’t shying away from their non-metal influences, seeking greater integration of grunge and post-punk with their brutish signature. Singles “The Crawl” and “Soulburn” demonstrate the proficiency of TEMPLE OF VOID's death-cloaked, spearheaded attack. From the high intensity of opener “Poison Icon” to the granite wall of “The Twin Stranger,” The Crawl isn’t just TEMPLE OF VOID evolved, it’s a harbinger of death metal to come. “The biggest shift for me on this record was not feeling like we had to fly the ‘death-doom banner’ as part of our identity,” says Alex Awn. “Death-doom, as a genre, gave us something to anchor our sound around when we started. It was always a reference and touchstone. At the same time, we always wanted to make sure we had our own spin on it. We’ve always been adding to the conversation, adding to the genre, giving our point of view. A huge part of what makes a Temple of Void record is the non-death-doom influences that make up our DNA. And on album five we never once asked ourselves, ‘Do we have enough death metal? Do we have enough doom metal?’ We simply wrote a heavy-ass record—let the chips fall where they may.” For lyrics, Erdody built on the psychology and fear themes of Summoning the Slayer. The overarching theme of The Crawl is, put rather simply, an “allegory about life, choices, and consequences.” It’s a qualitative view on the horrors of the human condition and the contemplation of our monstrous capabilities. “The Twin Stranger,” for example, is about being stalked by a person’s doppelganger; “Godless Cynic” draws on a short story by sci-fi author Harlan Ellison; and “Poison Icon” tackles the crushing effects of mankind’s intrinsic nature to deceive and control.

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

Das 1965 für Blue Note aufgenommene Album gilt als eines der kühnsten musikalischen Statements des
Pianisten und Komponisten Andrew Hill. Auf ihm versuchte Hill, die Avantgarde durch das Prisma der
Wurzeln des Jazz in den afrikanischen Rhythmen zu betrachten. Entsprechend setzte er sein Klavier in
den vier von ihm komponierten Stücken mehr als perkussives und weniger als melodisches Instrument ein.
Begleitet wurde er von einem bis zu achtköpfigen Ensemble mit zwei Bläsern, zwei Perkussionisten, zwei
Bassisten und einem Schlagzeuger.

„Twio“ hieß das fünfte Studioalbum des US-amerikanischen Tenorsaxofonisten Walter Smith III, das im
Februar 2018 bei Whirlwind Recordings veröffentlicht wurde. Der Titel war eine spielerische Wortschöpfung
aus „Trio“ und „Two“. Downbeat schrieb damals: „‘Twio‘ präsentiert den großartigen Tenorsaxophonisten in einem kompakten Trio-Setting. Sein Ton und seine Melodik sind umwerfend, gepaart mit reichem,
packendem Ideenreichtum“.
Für sein drittes Blue-Note-Album greift der Musiker jetzt das Konzept wieder auf und präsentiert mit
„Twio Vol. 2“ ein äußerst gelungenes Album mit klassischen Jazzstücken voll swingender Spielfreude. Das
Album besticht durch eine neue, wechselnde Besetzung mit Bassist Joe Sanders und Schlagzeuger Kendrick
Scott sowie Gastauftritten der Jazzlegenden Ron Carter am Bass und Branford Marsalis am Tenorsaxofon.

On Days Like These , is a respectful and soulful interpretation of Quincy Jones ' masterpiece, while Warren original, Jenny, concerns a hope for assistance from Rod Serling and H.G. Wells, in a time-travel romance. Michael Warren's voice is joined by the creative team from Mariocki, Keiron Phelan (Peace Signs, State River Widening) Flute / Guitar, James Stringer (Peace Signs, Hilbert Space) Piano / Keyboards, with indie luminaries Ian Button (Papernut Cambridge, ex- Death In Vegas) Drums / Percussion, and Giles Barrett (The New Starts, Moebius Delta ) Bass.

Altan is arguably the most iconic band working in traditional Irish music today. For the past 35 years, they have brought the music of their native County Donegal to the world stage. The band's newest album, aptly titled Donegal , pays homage to County Donegal's rich musical heritage, breathtaking landscapes, and vibrant culture. The music's authenticity and allure transport listeners to a bygone era in rural Ireland while forging a connection between the past and the present.

Featuring co- founder, lead vocalist, and fiddler Mairead Ni Mhaonaigh ; newest member Clare Friel on vocals and fiddle; accordionist Martin Tourish; guitarists Daithi Sproule and Mark Kelly; and Ciaran Curran on bouzouki and mandolin. With Jim Higgins (percussion), Steve Cooney (bass), and Graham Henderson (keyboards). Recorded by Manus Lunny at Seafront Studio in County Donegal, Ireland.

Die lang erwartete Rückkehr der schwedischen Dream-Pop-Romantiker. Ein verschwommener Schleier aus düsterem und fesselndem Shoegaze-Pop. Die skandinavische Indie-Pop-Band Hater beendet nach ihrem beeindruckenden dritten Album ,Sincere" ihre dreijährige Pause mit der Veröffentlichung von "Mosquito", einem faszinierenden Dream-Pop-Drama, das sich über elf packende Episoden der Selbstreflexion erstreckt. Auf "Mosquito" klingt die in Malmö ansässige Band Hater wie neu belebt - sie greift den rohen Indie-Pop-Ansatz auf, für den sie bekannt geworden ist, jedoch mit einem direkteren, ausgefeilteren Songwriting. Die Band hat ihre Shoegaze-Wurzeln zu etwas Schärferem, Melodischerem und Tiefgründigerem verfeinert. Das Album strotzt nur so vor Geschichten, in denen mythische Wendungen (Vampire, Amor, Mücken) von der traurigen Sehnsucht nach wahrer Liebe untermauert werden. Aber dies ist kein typisches Album über die Liebe, wie die Band betont, es ist eine emotionale Achterbahnfahrt, die von halb vergessenen gebrochenen Herzen und gebrochenen Versprechen, voller Qualen und Kribbeln, aber auch von Hoffnungen und Träumen für zukünftige Lösungen geprägt ist. "Mosquito" wurde in der herrlichen Abgeschiedenheit der AGM Studios in Vollsjö, Schweden, aufgenommen, mit dem langjährigen Mitarbeiter Joakim Lindberg an den Reglern und dem Bassisten Adam Agace, der wieder zum Team zurückgekehrt ist. Sie vollendeten das Projekt in Lindbergs berühmtem Studio Sickan, wobei Caroline Landahl, Måns Leonartsson, Rasmus Andersson und Adam Agace gleichermaßen zu einem Sound beitrugen, der zwischen kraftvoller Introspektion und melancholischer Erkenntnis wechselt. Immernoch "Your next Scandinavian indie pop obsession." Flood. Klares Vinyl mit bedruckter Innenhülle und DLC sowie Digisleve-CD

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Taking the exploratory spirit of groups like Polar Bear and Malija (both also featuring Mark Lockheart ) the trio move together through a common language of jazz, rock, classical and free improvisation exploring dark textures and dramatic musical shifts as they revel in the unexpected. High energy jazz improvising combined with spatial and ambient sounds gives this trio its unique and bold concept. The music shifts effortlessly moment to moment, gracefully and spontaneously stitching together sound landscapes and grooves. The subtle use of electronics (particularly on the saxophone), fat rich bass lines and tantalising drum rhythms give his band a unique sound that although firmly rooted in jazz has rock, folk and classical influences too. The album's specially commissioned artwork by Tim Edgar perfectly reflects the shifting shapes of Shapeshifter

Wizardmaster is the experimental electronic music project of Oakland-based musician Mark Stramaglia with long-time collaborator Oliver Kollar. Both were members of Operation Re-Information (ORI), which released albums on Vinyl Communications.

This release features improvised electronic recordings focused on mood, texture, and tonality, incorporating noisy synthesis, found and appropriated sound, irregular rhythms, and narrative structures inspired by soap operas. The album uses only homemade musical instruments, including the WMCP generative software synthesizer, the BackToBasics sampler, and a custom modular synthesizer and pedal array. All tracks were performed, recorded, and mastered by Wizardmaster in Oakland, California.

DEVANDO is back again with a boogied-out banger 45, featuring pulsing beats, ascending bass synth lines and vocoders that will make even the most rhythm deficient folks bob along. "All Closed Eyes Ain"t Sleep" is a steady stream of danceable energy, while "Party With Me" is a falsetto-rich disco collaboration with the One, DeRobert Adams. Get blissed with this sophisticatedly bumpin" 45.

DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

Seine Kunstfertigkeit hat ihn zu einer prägenden Figur des zeitgenössischen Jazz gemacht, der Improvisation, Komposition und globale Einflüsse zu einem Klang verschmilzt, der sowohl filmisch als auch zutiefst persönlich ist.
Maestro begann im Alter von fünf Jahren mit dem klassischen Klavierunterricht und entdeckte mit acht Jahren den Jazz durch die Aufnahmen von Keith Jarrett und Oscar Peterson.
Mit neunzehn schloss er sich dem Trio des Bassisten Avishai Cohen an, war Co-Autor des gefeierten Albums „Gently Disturbed“ und trat weltweit auf.
2011 gründete er sein eigenes Trio und nahm sechs Alben auf, die seinen Ruf als einzigartige Stimme im modernen Jazz.
Das neue Album stellt einen mutigen Sprung nach vorne dar und kombiniert die Sensibilität des modernen Jazz mit elektronischem Sounddesign
und der harmonischen Tiefe der klassischen Musik. The Guesthouse schafft einen üppigen, filmischen Raum, in dem Grenzen verschwimmen und verkörpert aestros Erkundung von Offenheit und Zusammenarbeit.

John Pizzarelli returns with one of his finest albums yet, Dear Mr. Bennett—a heartfelt tribute to the legendary Tony Bennett, whom he knew personally. The cover even features artwork drawn by Mr. Bennett himself. A celebrated name in jazz, Pizzarelli has collaborated with music’s biggest stars and toured for years with Frank Sinatra. This release follows his acclaimed tributes Dear Mr. Sinatra, Dear Mr. McCartney, and Dear Mr. Cole.

This will be a two-project series based on the music of Tony Bennett. John is a well-known artist in the Jazz space and a staple in the NY scene. His father was a renowned studio musician and go-to person for years. Tony Bennett came to a show of John's and sketched a picture of him performing on a napkin during the show. That picture will serve as the cover of the album.

First-ever official reissue - Clear blue vinyl edition.

"Itinerario Beat" is as intriguing as it is mysterious. Performed by a group of largely unknown musicians called The Blue Sharks—previously heard on the excellent "It Became Crystal" (reissued by Redi Edizioni in 2021, Cat. No. REDILP001)—the album features ten easy-listening instrumental compositions for bass, drums, piano, and Hammond organ. The tracks are arranged and performed with distinctive taste, blending elements of beat, jazz-funk, and symphonic pop. Officially credited to Rigol, the pseudonym of composer Duilio Radici, the music also appears to include an uncredited contribution from Ugo Fusco, composer of several soundtrack LPs published by Edizioni Leonardi.

Beyond their use in television and film, library music tracks are highly sought after by renowned musicians and DJs and are frequently sampled. A notable example is "Itinerario romantico," included on this LP, which was sampled by rapper Travis Scott in his 2016 track "90210."

Matryoshka has already built a reputation as a producer for DJ Loser's Magdalena's Apathy imprint as well as work for the Nostalgians, an under-the-radar ambient rap collective featuring Yungwebster, Mdb, tnotsobad, Nopaprr and ogpra1. Her musical roots – dubstep, trance and hard dance – tell some of the story here, but she transmogrifies those influences into haunted, Basinski-esque memories like the gaseous traces and decelerated remnants of the club.

On album opener »Lifelover«, Burial's hazed interludes spring to mind, or perhaps the 4am cityscapes of Space Afrika's now mythical »Somewhere Decent to Live«. Background ambiance simmers below Lawson's pensive FM pads, but once she establishes the mood, things take an unexpected turn with a pitch-bent bassline that might have been lifted straight from a 6LACK loosie, and a rhythmic pulse that traces the thin red line of Shinichi Atobe. If it's dub techno, it's a strand that hasn't been codified quite yet.

»Surface Tension« uses deep, Maybach Music-coded bass womps to twist through her skittering slow rhythms and sadcore pads. But it’s Matryoshka’s harmonic instinct that stands out; if you heard the airy »otr« or »fantasize« from Yungwebster's '»II' you'll know exactly what we mean«, and she takes it even further here, weaving cinematic, languid harmonies that bridge the gap between Steve Roach and Future.

Check »Where the Dancers are Spinning« with its levitational, almost orchestral sweeps that Lawson counterbalances with thudding subs, or the brief title track, an Akira Yamaoka-style save room loop that dissipates into a dreamy, dissociated fog, for further proof. Then there's the second side's centrepiece »Parted by the Sea«, where a ratcheting Chain Reaction-style rhythm builds to a tense crescendo only to get splintered unrecognisably in the second half, its broken pieces pillowed by Lawson's billowing time-stretched chords.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

Makebo Shares New Four-Track The Universe EP

Woven with textured sound design and warped synthwork, The Universe presents a detailed and deliberate journey shaped by contrast and progression across its 32 minutes. The title track sets the foundation with crunchy low-end and hypnotic percussion that steadily pull the listener inward. ‘Galaxy’ follows with buoyant rhythms that introduce a sense of lift, while ‘Save Me’ deepens the mood with gritty basslines and mystical vocals, adding emotional weight without disrupting the EP’s flow. Closing with ‘Birth Of A New Sun,’ Makebo delivers a club-driven finale that encapsulates The Universe’s expansive, forward-moving themes.

Fronted by Rainie Lassiter's sultry, soulful vocal and produced by Blaze, the track glides between sensuality and euphoria, capturing the exact moment house music went from underground NYC basements to global dance floors. The Deep Dish remix turned it into a worldwide anthem, topping charts in Italy and breaking into the UK Top 10, while still holding down credibility with DJs and crate- diggers alike. Its hypnotic groove, lush chords, and emotional pull have made it a staple in countless sets, and it's been sampled by artists like Four Tet & Champion who recognized its timeless pulse. Three decades later, "Hideaway" still sounds as smooth and vital asthe night it first hit the decks. This 12" features the Radio Edit, Deep Dish Remix & the Acapella.