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

[a] 1[USER ONBOARDING SEQUENCE]

REPRESS ALERT! Long out of press and with copies regularly changing hands for close to £100 on the second-hand market, Air Miles are proud to present a limited repress of their inaugural release, “An Ode To Midnight EP’ by Jeigo.

The tone is set from the off with the eponymously named first track of the release ‘an Ode to midnight’. The tracks mellow break beat feel is met by warm rushing pads, ebbing and flowing between textures of the night before last.

Floor focussed, zero fussing ‘Wing Systems’ carries the front side at an orbital trajectory. No time for an intro, the drums jolt you into alertness, the wobbly bass perfectly counterpointed by gated, washing keys.

‘Lime Hawk’, melancholic euphoria brings the release back to the conscious. It’s structure toy-fully crescendos and builds, all while the Balearic synth peaks with the sub line keeping you grounded throughout.

Rounding off the record is ‘By My Side’ meandering the record into slightly darker territories. The shifting keys wash over, the siren call vocals penetrate and the thudding kick punches through, anchoring the track as an emotionally driven, cerebral affair.

Xistence Records is destroying the boundaries between house and techno. The Rise E.P. simply goes to show you a good label does not lose it's competency after 4 years of releasing music. This 4 tracker sounds sublime! If you like deep emotional melodic music, you should have this 12”.
Difficult to pick a standout track as they all offer something different…

The original version of Resilience is a stunning track, reminds of the early Octave One sound with a great mixture of percussion, classy bassline, nice layering of textures and melodies.

While Gerald Mitchell (Underground Resistance/Los Hermanos) retouch is a soulful stripped back tune with elegant drum work, linked together by a uplifting synth pattern.

Sunset To Sunrise, a delightful piece of haunting electronica. It’s a real journey back to the birth of Los Hermanos. Class!

Meteoric Rise original version came out as digital earlier on the label, Journey Around The Sun Mix here has the UR sound. It’s more complex, Detroit lesson in syncopation and rhythmic programming with chord stabs and shuffling drum work drives this one forward..epic!

“Without Hope None Of Us Have Anything “

Schwarzes Vinyl! Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey). Black Vinyl. Originally released in 2017 & now available for the first time in Europe via Sub Pop! Pure Comedy, Father John Misty's third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. While we could say a lot about Pure Comedy including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen we think it's best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species' only hope for survival, nding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like "love," "culture," "family," etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species' loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty's longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

Celestial Echo returns with a proper UK soul classic — The Cool-Notes “I Forgot How To Love You”, back on 12” and cut loud for the dancefloor.

Hailing from South London, The Cool-Notes were one of the UK’s most consistent soul outfits through the late ’70s and ’80s. While many know them for their chart successes later in the decade, this early period shows the band in a formative state — warm basslines, tight rhythm section, rich harmonies and that unmistakable Britfunk feel.

“I Forgot How To Love You” is one of those records that’s quietly done the rounds for years. A favourite of Frederika’s back in the day, it’s about time it has it’s first ever reissue.

Presented on 12” in a clean company sleeve, this edition gives the record a new lease of life.

Celestial Echo is here to put proper soul records back into circulation — Buy or Cry

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

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

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

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

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

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

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

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

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

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

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

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

Fresh off the back of the successes of Work Money Death, The Flying Hats and The Library Archives: Volume 4, ATA Records is proud to present The Karman Line by Outer Worlds Jazz Ensemble.

When musicians are on tour conversations naturally turn to music. Two years ago, whilst exploring the jazz kissas and record stores of Tokyo, woodwind maestro Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down and on tape.

The moods of the album are varied yet share a sense of reverence and exploration. On Karmen Cantala and All Is Chip’s flute floats and soars, propelled by dreamlike harp and waves of impressionistic piano. Low Orbit takes things in a funkier direction, arrangements with Steve Parry’s horn (including the unusual instrumentation of bassoon, French horn and tuba) channelling 1970s Quincy Jones and the loping swagger of Archie Shepp’s Mama Too Tight. The Celestial Matari and Molecules recall the flowing, cosmic sounds of Joe Henderson and Alice Coltrane’s masterpiece The Elements, and Earthly Elements gets earthy indeed. Driven by a heavy, dance-floor bass line and an array of percussion, Chips flute gets huskier, dirtier and more insistent, drawing deep from Yusef Lateef’s Psychicemotus and Roland Kirk’s Blacknuss.

The new Nu Genea? A real band on Toy Tonics that plays dance music! Drums, bass, percussion, keys… no samples, no computers.

Kymono bring together house, Italian pop, Brazil, and jazz. They have amazing skills as musicians, as songwriters, and they ROCK hard live. It sounds a bit 70s but also it sounds so post-digital or as some say: organic. It’s a band for the Lo-Fi heads and the people who like groove on a dancefloor.

One song features Italian legend Alan Sorrenti on the mic. The rest has a few Italian vocals, which makes it so unique and charming that it will appeal not only to funky house music fans but also to lovers of the current jazz scene.

Das Erste, was man hört, ist eine einsame, klare Gitarre und ein sanfter Gesang, der von "city scenes caught up in the moment" erzählt, bevor das Schlagzeug einsetzt und es losgeht! So beginnt die atemberaubende, kraftvolle Eleganz von The Spatulas neuestem Album ,A Blue Dot". The Spatulas, das sind im Wesentlichen Miranda Soileau-Pratt und wer auch immer sie rekrutiert, um ihre Vision zu verwirklichen. Alles begann in Oregon, wo frühere Veröffentlichungen wie ,March Chant" und ,Beehive Mind" mit dem Schlafzimmer-Schmerz von ,Beyond the Implode" und der wackeligen Psych-Magie von ,Garbage and the Flowers" glänzten. Doch obwohl diese Elemente nicht verschwunden sind, ist ,A Blue Dot" ein ganz anderes Kaliber. Ein Umzug nach Cambridge, Massachusetts, und eine notwendige personelle Veränderung haben das, was einst eine beständige, schimmernde Lockerheit mit voller Rockdynamik war, verwandelt. Die neue Besetzung (Gitarrist Luke Einsiedler, Bassist Elijah Bodish und Schlagzeuger Greg Witz) hat ihren Sound zu einer lauten Masse aus harter und stimmungsvoller Jangle-Explosion verdichtet. Der Post-NZ-Glory-Pop von Barbara Mannings SF Seals ist hier zu finden, ebenso wie der dichte Wirbel von Rain Parade. Fachmännisch aufgenommen im Suddenly Studio von Emily Robb, gemischt von Evan Mersky und von Sarah Register zu vollendeter Kohäsion gemastert, klingt das Ganze laut und stolz. Seit der Fertigstellung dieses wunderbaren Albums sind Miranda und Elijah nach Indiana gezogen, wo glücklicherweise eine neue Besetzung gefunden wurde. Aber ein noch glücklicheres Ende ist, dass diese spezielle Crew noch nicht fertig ist mit dem gemeinsamen Musizieren, und hoffentlich wird diese elende Welt noch lange genug existieren, um im Sommer 2026 eine Tour an der Ostküste mitzuerleben. Man kann sich im Leben wenigstens auf eine Sache freuen! - Max Milgram

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

MP06 introduces DHAEUR to the Moving Pressure catalogue. The Berlin-based producer carves his sonic worlds through a strong sense of rhythmic architecture and a deep understanding of dancefloor dynamics. Here, he channels club-driven sensibilities into a mature and conscious 4 tracker.

The concept behind the EP reflects the principles of the label - namely, the pressure of sound and its resulting movement. Minimalism meets maximum technical intention, where swollen basslines and tightly coiled rhythmic progressions open up in signature DHAEUR style. The groove carries a distinct elasticity, punctuated by vocal inserts that add a subtly funky, almost soulful essence to the flow. Every element sits with purpose: dynamic yet
stripped back, intricately offset in ways that keep the body locked and the mind wondering. While the A-side leans into this physical immediacy - driving, playful, and sharply articulated - the B-side slips further into the tunnel. Atmospheres thicken and the palette turns eerier, stretching its essential rhythmic backbone into darker territories. Spatial details begin to seep through the structures, pulling the listener deeper while maintaining that firm gravitational pull toward the dancefloor.

Together, the two sides reveal different shades of DHAEUR's language. The result is a beautifully balanced narration between propulsion and immersion, where groove-led functionality meets a more shadowy, atmospheric depth.

Clairvoyant Dimensions is the first album by Mei Honeycomb, a new duo of Jordan Czamanski, renowned as a member of the acclaimed Juju & Jordash and the Magic Mountain High project, with solo work released as Jordan GCZ, and legendary saxophonist Jeff Hollie, known mostly for his work with Frank Zappa and Ike Willis. An explorative ambient album, Clairvoyant Dimensions is an exercise in distance and contemplation, and the exhilarating feeling of insight, however fleeting, like staring at the midnight flicker of an old VCR. Czamanski's music has a trademark tenderness and soft-spokenness, an ability to maximize minimalist musical elements and bring them to an open-ended conclusion. Jeff Hollie provides interpretative sax lines on all tracks, slipping into the scene like a shadow, silent and unexpected, touching upon emotional registers almost explicit, yet confounding.

As musical signifiers keep turning around themselves, they set up a mood of euphoria, one that suggests understanding. Never explicitly spaced-out, there is continuous reference to cosmoses both inward and far away. Ambient music in modern form. Jordan Czamanski uses his experience in producing off-the-charts club music to come up with five tracks that at times are standstills, and at times dwell in forward momentum. Jeff Hollie provides both comprehension and beautiful confusion. As grainy images switch into focus, Clairvoyant Dimensions is a beautiful and contemplative trip that suggests its own reality in delicate ways. One of the five tracks, the gorgeous live-recorded Painted Desert Pastel, features composer, performer, and researcher Ilya Ziblat Shay on double bass and electronics.

Screen-printed cover designed by Johan Kauth.
Mastering by Rashad Becker

New label Species hits the ground running with its debut release. The outlet is an extension of globally-renowned booking agency Pieces, and will feature music exclusively from the agency’s roster, which includes some of the scene’s most formidable and talented DJs and producers. The first release comes from an exhilarating project - Punky & The Brain, AKA Otis and Paul Lution. Described by the duo themselves as “scientific experiments” the music is a fusion of playful excursions with their lab equipment, and their musical knowledge.

Together they have been experimenting in the studio, merging incisive technical prowess with straight up dance floor-focused rhythms. Their field research has tested emotional variables on numerous research subjects through live performances in the most renowned clubs. A Fender bass guitar and vocoder bring another dimension to their studio exploits, and this EP is the result of their preliminary scientific findings…

Max Gardner from San Francisco's Direct To Earth crew debuts on Sonic Groove with 'Echo Archive', a four-track EP of deep, physical techno marked by pulsing low-end bass, warped synth work, and hypnotic, late-night tension. Designed for those who like thought provocation in their techno.

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

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

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

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

In the rapidly shifting tectonic plates of the global Afrobeats scene, few arrivals have been as seismic as that of Ahmed Ololade—better known to the world as Asake. With his breakout project Mr. Money With The Vibe, the artist didn’t merely debut; he effectively recalibrated the tempo of the Nigerian pop soundscape. The EP functions as a masterclass in synthesis, pulling from the ornate, percussive history of Fuji music and grafting it onto the driving, bass-heavy architectures of contemporary Amapiano. It is a calculated, deeply rhythmic hybridization that manages to feel both nostalgic and jarringly modern.

From a critical vantage point, Mr. Money With The Vibe is defined by its brevity and density. Asake treats each track as a focused vignette, utilizing a vocal delivery that oscillates between a melodic, almost liturgical chant and the staccato urgency of a Lagos street orator. The production—characterized by sharp, frenetic percussion and deceptively simple melodic loops—creates a high-intensity atmosphere that mirrors the relentless pace of urban life. He avoids the pitfall of bloated experimentation; instead, he doubles down on a "street-pop" ethos, prioritizing accessibility without sacrificing the complex rhythmic interplay that gives the genre its distinctive texture.

Ultimately, Mr. Money With The Vibe stands as a pivotal document of the current era, capturing the transition of Afrobeats from a regional powerhouse to a dominant global force. By blending the aspirational "hustle culture" narrative with an increasingly sophisticated sonic palette, Asake established a blueprint that has since influenced a new wave of artists. The project is a testament to the idea that authenticity, when paired with relentless precision, remains the most effective currency in contemporary music.