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"The Sophs sind quasi aus dem Nichts aufgetaucht", sagen Rough-Trade-Mitgründer Geoff Travis und Jeannette Lee über ihr neuestes Signing: eine sechsköpfige Band aus L.A. mit dem feinsinnigen Namen The Sophs. Die kompromisslose Ehrlichkeit und der weite Soundkosmos der Band überzeugten sofort. Als Sänger Ethan Ramon ein Demo an seine Lieblingslabels schickte, rechnete er nicht mit einer Reaktion - doch schon am nächsten Tag meldete sich Rough Trade mit der Bitte um ein Gespräch. In den frühen Songs hörte das Label genau jene Kreativität, Vielseitigkeit und den draufgängerischen "Don"t expect me to act pretty"-Spirit, den The Sophs auf jede Bühne bringen: Ethan Ramon (Gesang), Sam Yuh (Keyboards), Austin Parker Jones (E-Gitarre), Seth Smades (Akustikgitarre), Devin Russ (Drums) und Cole Bobbitt (Bass). Die fünf Demo-Tracks bildeten die Blaupause für ihr Debütalbum "GOLDSTAR". Musikalisch bewegen sich The Sophs im Zickzack: Pop-Punk trifft auf Funk, Delta Blues auf ZZ Top. Ramons warme, kraftvolle Stimme wandert dabei wie ein vokales Chamäleon durch die Genres. "Wir versuchen nie, so vielseitig zu sein, wie wir am Ende klingen", sagt Ramon. Songwriting verstehen sie als Pop Art - ein spielerisches Zitieren, Verformen und Neuerschaffen. Oft entstehen Songs aus spontanen Ideen, die im Bandprozess eine völlig neue Richtung nehmen. Der Track "THE DOG DIES IN THE END" erinnert an 2000er-Pop-Punk, getragen von düsteren Gedankenspiralen und Akkordeon. "DEATH IN THE FAMILY" kombiniert sonnigen Rock mit bitterem Humor und der Sehnsucht nach Mitleid als Schutz vor Verantwortung. "GOLDSTAR" stellt dabei einfache, aber unbequeme Fragen nach Anerkennung und Moral. Weitere Highlights wie "SWEETIEPIE" und "BLITZED AGAIN" zeigen die Band zwischen Selbstentlarvung und euphorischer Energie - roh, lebendig und kompromisslos kreativ.

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

Featuring a topflight quintet, Healing Songs includes Texier's son Sebastien on alto sax and clarinet, rising US trumpet star Hermon Mehari, plus internationally acclaimed drummer Manu Katche guesting on two tracks. Henri Texier, born in Paris in 1945, is a highly respected French double bassist and composer who has played a pivotal role in shaping modern European jazz. He began his career in the vibrant Paris jazz scene of the 1960s, quickly gaining acclaim for his work alongside vanguard musicians such as Don Cherry and Daniel Humair.

Over the decades, Texier became known for blending jazz with influences from folk, African, and Middle Eastern music, giving his sound a unique global flavour. His work has earned him several prestigious awards, including multiple 'Victoires du Jazz' (France's top jazz honour) and widespread international recognition. In the words of The Guardian newspaper, "Texier is one of Europe's consistently inspired jazz musicians, with a career that continues to inspire new generations.

The 7:45s are a soul collective from Manchester, UK – the brainchild of songwriter and bassist Sam Flynn. Inspired by the house bands of labels from Motown to Big Crown, the young collective spotlights guest vocalists on each tune. Named after 7-inch vinyl, The 7:45s write snappy singles that blend the vintage feel of rare groove with the songcraft of perfect pop. BBC Radio 6 Music has played seven songs by The 7:45s this year.

Clocking in at under three minutes, 'I'll Be Fine' is a short and snappy soul sensation. The guitar hooks your ear, the rhythm reels you in, and the arrangement keeps you on your toes – adding exuberant horns, break downs and build ups. Featured vocalist Yemi Bolatiwa shines through the song's bittersweet theme, that it's better to have loved and lost… 'I'll Be Fine' has been played on BBC Radio 6 Music. Craig Charles called it "Proper up-tempo soul of the highest order".

Long Ryder guitarist/mandolinist Sid Griffin states 'High Noon Hymns' is “two thirds the distilled altcountry genre we helped found back in the 1980s, one third Paisley Underground adventurism yet with a dash of our own crazed soulfulness thrown in." Due to the unexpected passing of Long Ryders' bassist Tom Stevens, bass duties on the new album were shared by Murry Hammond of Americana stalwarts The Old 97s and The Long Ryders’ own Stephen McCarthy. McCarthy also performs live with The Jayhawks and occasionally records with the Dream Syndicate. Guests appearing in the album include DJ Bonebrake of X on vibes and young bluegrass wunderkind Wyatt Ellis on mandolin. The album was recorded at Kozy Tone Studios in sunny Poway, California.

- 2026 repress -

Black vinyl / 12" Long Player / 180 Grams / Hand-stamped / Dub / Dub Techno / 120 - 125 BPM.

Brooklyn Sway's 8th installment arrives from outside with more unexpected debuts and riotous returns to form. Experienced Barcelonian Larry Lan's epic 10-minute opener 'WTNG' is minimal goes post-punk, repurposing well-known, undisguised lyrics into an aggressive take on early Perlon and explanation enough for his recent album drop on Cadenza. BKS vets N/UM return with 'A Free Woman in Queens' showing off a reduced side of their sound adjacent to mid-00s minimal with plenty of character, its stripped intro giving way to a fuller, dubbed-out second half, with the cheeky vocal and instrumental touches joined by a swelling pad. Featuring spoken vox from Mari Blue and the debut of BKS co-head Asha Jasz alongside DeWinter and Jay Prouty, 'Acid in Your Coffee' takes the dirtier route, with layers of zapping electronics, an insistent single-note acid bass, and synths drifting between tones and textures all veering off like its vocals before eventually returning to center. LA/Bucktown scallywag $coe brings it home with 'The Devil is a MF Liar', an acid jam whose profanity-laced vocal samples don't require divine intervention to decipher. Bookended by a pair of interludes, the first on the power of repetition and the last in memoriam BK legend Big Sexy in his own words, and again featuring striking artwork from notable NYC street artist Fumero, BKS keeps that Sway from going astray.

reActive Lab proudly unveils its first vinyl release, marking a defining moment for the label's evolution. reActive Lab Collective 001 brings together four of the label's core members - Chrivu, Dragne, Flavius, and Pattern Tusk - to craft a 12" that perfectly captures the collective's sonic DNA: deep groove, subtle minimalism, and timeless house energy. The record opens with Chrivu - "Cell Division", a vibrant house piece driven by a confident bassline and crisp percussive motion. Built with clarity and flow, it sets the tone for a journey anchored in groove and precision. Dragne - "Get Funk" follows with playful rhythm and low-end warmth - an irresistible combination of swing, bounce, and character designed for the dancefloor. On the flip side, Flavius - "The Interview" introduces a more introspective dimension - stripped-down yet immersive, balancing atmosphere with emotion through delicate textures and steady rhythm.

Closing the release, Pattern Tusk - "We Went On" blends soulful depth with minimal intricacy, offering a smooth, driving finale that resonates with both feeling and functionality. reActive Lab Collective 001 stands as more than a debut - it's a declaration of artistic identity. A 100% in-house release from reActive Lab, crafted with authenticity and intent. A promising first step in what's clearly a long-term commitment to sound, craft, and community. Short Description: reActive Lab makes its vinyl debut with reActive Lab Collective 001, a powerful VA featuring Chrivu, Dragne, Flavius & Pattern Tusk. Four deep and groovy house cuts blending energy, warmth, and minimal precision - a pure statement of the label's identity.

Die französisch-afrikanische Künstlerin Amy Gadiaga (AH-mee GAH-dee-ah-gah) ist eine in London lebende Bassistin, Sängerin und Komponistin. Ihre Debüt-EP "All Black Everything" hatte eine wichtige neue Stimme in der Londoner Jazzszene angekündigt. Mit ihrem neuen Projekt "BabyGoated" macht Gadiaga einen mutigen Schritt in Richtung Farbe und Selbstbewusstsein. Sie folgt ihrem Instinkt, über den Jazz hinaus zu expandieren und Musik zu machen, die sich weitläufig, grenzenlos und ihren Wurzeln treu anfühlt. "BabyGoated fasst zusammen, wer ich bin", erklärt Gadiaga. "Sowohl verletzlich (Baby) als auch mutig (Goated). Es ist niedlich und liebenswert, aber auch ein bisschen arrogant." Der Titel spiegelt die Dualitäten wider, die das Projekt prägen: zwischen Demut und Stolz, Sanftheit und Stärke, göttlicher Energie und menschlicher Unvollkommenheit. ,Das ganze Projekt ist ein ständiger Kampf zwischen Selbstbewusstsein und Verlorenheit - aber immer voller Anmut." Während "All Black Everything" sich auf erweiterte Jazz-Instrumentierung stützte, tauscht "BabyGoated" diese gegen Direktheit ein. Gadiagas Stimme rückt in den Vordergrund und verleiht ihrem inneren Dialog mit ungeschützter Klarheit Gestalt. "BabyGoated" setzt auf organische Texturen und nutzt warmes Klavier, Trompete und folkige Gitarrenklänge. Zum ersten Mal schreibt sie auch in französischer Umgangssprache. Das ist eine befreiende Wendung, die ihre französische und afrikanische Identität verbindet. "Normalerweise schreibe ich auf Französisch poetisch und extravagant", sagt sie. "Aber dieser Song entstand aus der Absicht, etwas zu schaffen, mit dem sich mein jüngeres Ich identifizieren und das es genießen kann." Die EP ist durchzogen von einer überschwänglichen Stimmung, sowohl in der Musik als auch in den Bildern. In Zusammenarbeit mit einem Kreis enger Mitarbeiter, die sie liebevoll ihre African Baddies nennt, ließ sich Gadiaga von ihrem afrikanischen Erbe inspirieren, um die Welt von "BabyGoated" zu einer farbenfrohen Vision zu formen, die Individualität und panafrikanischen Stolz zelebriert. Letztendlich ist "BabyGoated" eine Geschichte über Selbstvertrauen, Verwandlung und Freude.

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

Veloziped presents two tracks from Mahogani Music contributor and Ferrispark Records label boss, Scott Ferguson. Future is an ?Electro Techno Bass? speaker rattler followed by crunchy sample based Detroit beatdown on the flip.

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf

down 2 release the fourth one:

d2e004: philip chernikov’s green directions

ace masta bass with a four tracker that spreads an electric blanket over any dance floor.

Peach Discs' first release of 2026 comes from fast-rising star of the Manchester scene PACH. (pronounced "pack"). Five slippery rollers built for dark rooms, wafty terraces and the most locked-in of afters.

"The Wake-Up Call" EP represents the full spectrum of the PACH. sound, one rooted in the minimal tunes coming out of Romania but with a cheeky playfulness that can only come from a life spent in the trenches of UK club culture. The A1 "Keep It Bubblin’" is a prime example, as Todd Edwards-style vocal chops flirt back and forth with dub-inspired feedback lines, or "5am Wake-Up Call's" skipping, UKG-adjascent hats. Things get a little rowdier with "Complex Waveform's" scuzzy bassline that wouldn't sound out of place coming from the Clone Records ecosystem. Here it's bolted to a chassis of tough, techy drums and trippy vox that tickle at your peripheries. Flip to the B-side for something a little deeper – the dubbed-out percussion and disembodied voices of "Not That Kinda Party" contrasting with the moody, low-key synthetic tones of "Book The Dungeon", both sharing a mutual concept of smartly stripped-back, hypnotic jams that focus on heads-down grooves and rolling energy.

Nail has been an important voice in the UK underground ever since his DiY Sound System days in the East Midlands in the 90s. After many years away, he returned, much to the delight of many heads, about a decade ago and has continued to roll out essential jams ever since. This one on his In The Dance label embodies his style - loopy, disco tinged house that's rough around the edges and burning with soul. 'Lick The Bag' is a cheeky title for a cheeky tune, 'The Price Is Wrong' shimmers with muted jazzy chords that are always held back, but the delight is in the promise and 'Medicine Stick' rolls on sweet grooves and knotted bass. 'Swing By' shuts down with plunging kicks and hints of MAW. Superb.

Tartelet is pleased to kick off 2026 with a display of warm-hearted tech funk from Italian house maestro Paffetti. Having made his name with a strong run of sample-rooted deep house as Black Loops, Riccardo Paffetti unveils a new alias to explore a more club-focused, trippy sound.

Even with the shift in sonic focus, Paffetti maintains a razor-sharp instinct for low-downgrooving deep house dynamics that course through every inch of the UTOPIA EP. It's plain to hear in the rolling bassline and shuffling drums that mark out 'B.Y.M. ' and the disco-licked strut of 'Escucha Me'. The difference is the decoration on top, where mind-massaging zips and pings and artful samples add a subtle touch of psychedelia to the sophisticated house music blend.

Across five cuts, UTOPIA unfolds with a strong sense of momentum and melodic intent, marking a confident new phase in Paffetti’s ongoing exploration of deep, hypnotic club sounds.

Die Ende der 90er Jahre gegründete Band Unwed Sailor aus Tulsa macht einen einzigartigen Bass-lastigen Instrumental-Pop mit Post-Rock-Elementen, der zwischen knallharter Härte und luftiger Melodik schwankt. Seit sie 2019 nach einer zehnjährigen Pause zurück sind, haben sie mit ihrer kreativen Energie und dem Mischen von Genres ihre bisher besten Werke rausgebracht, darunter "Mute The Charm" (2023), "Underwater Over There" (2024) und "Cruel Entertainment" (2025). Für ihr elftes Album, "High Remembrance", brachte Gründungsmitglied Johnathon Ford eine Reihe von zu Hause aufgenommenen Entwürfen, Demos und Hooks ins Studio, wo sie unter der Leitung der langjährigen Mitstreiter Matt Putman (Schlagzeug) und David Swatzell (Gitarre) unter dem Motto Nostalgie und dem bittersüßen Trost der Erinnerung zum Leben erweckt wurden. Auf den acht Tracks des Albums gibt's Anklänge an den alternativen Rock der Blütezeit, die AM-Radio-Attitüde der späten 70er Jahre und die ekstatische Unbekümmertheit der New Wave, neben anderen Einflüssen, die sich einer einfachen Kategorisierung entziehen. Die Lead-Single ,West Coast Prism" verbindet einen unvergesslichen melodischen Hook mit optimistischen Drums und einem klirrenden Arrangement, das sich in einen treibenden, farbenfrohen Refrain verwandelt. Getreu seinem Titel erinnert der Song an weißes Licht, das sich in ein Spektrum aufspaltet, während weitläufige Synthesizer und sanfte Backing Vocals eine Aura melancholischer Glückseligkeit schaffen. Ford nennt treffend ,eine tiefe Vorliebe für das Meer, das Surfen, die Redwoods und die felsige Küste von Oregon" als spirituellen Hintergrund für seine Umgebung. Inspiriert von der Art und Weise, wie Erinnerungen die persönliche Identität prägen, könnte ,Don't Let Go" mit seinem straffen Tempo, seinem knackigen Ton und seinen schwindelerregenden Gitarren ein verlorener Alternative-Radio-Ohrwurm sein, während die täuschend einfache Rhythmusgruppe und seine glitchige Elektronik ,The Longest Day" fest in der Gegenwart verankern. ,Cinnamon" stellt wunderschön arrangierte Akustikgitarren-Gegenmelodien in den Vordergrund, zusammen mit Schichten subtiler Details, Chorstimmen und entspannten, hohen Bassgitarrenklängen. Laut Ford ist der Song ,eine Hommage an die Country-Musik der 70er und 80er Jahre, die die Familienausflüge in die Wüste begleitete, als ich ein Kind war", wobei Townes Van Zandts ,Pancho and Lefty" ein besonders bedeutender Ankerpunkt ist. An diesem Punkt in der bewegten Karriere von Unwed Sailor findet Ford einige seiner stärksten Inspirationen darin, darüber nachzudenken, wo das Projekt begonnen hat, während er es ständig mit neuen Ideen, Arrangements und Genre-Einflüssen vorantreibt. ,Es geht darum, an den Dingen festzuhalten, die man am meisten liebt", sagt er, ,einschließlich sich selbst." Sein akkordbetontes Bassspiel zieht sich wie ein roter Faden durch die Alben der Band und verleiht jeder neuen Sammlung eine vertraute Ernsthaftigkeit und Wärme.

In the ever-evolving yet foundational landscape of instrumental groove music, F-Spot Records is proud to debut "Monkey Part 2 b/w Lully" from up-and-coming, multi-faceted keyboardist and composer Max Naseck. Raised in Dallas, Texas, but having worked throughout the Los Angeles music scene for almost a decade, Max Naseck, joined by guitarist Brandon Bae and drummer Julian Allen, brings his new trio project to life. After chasing this sound and style of playing for several years, Appropriately given the name "The Left Hand of God" by some of his musical peers, Max takes the classic soul jazz trio setting of holding down both the bass and melody elements and moves them to a unique combination of funky Moog synth (Key bass) and a Wurlitzer 200A electric piano. This 45 provides a fresh yet retro sound that is sure to leave listeners grooving and locked in.
From the first notes and tight 4-on-the-floor rhythm, "Monkey Part 2" kicks off the A-side with a unique psychedelic blend of soul, funk, and a touch of disco. With Allen's groovy touch, Naseck perfectly locks in with his left hand, followed by Bae's precision-picked electric guitar, which completes the trio's solid groove, further propelled by Naseck's right hand taking the melodic lead. Then on side B, "Lully" brings the tempo down to a more soulful, atmospheric blend that's equal parts Khruangbin & modern jazz pioneers, a la John Scofield. Recorded live together in one room, Max brings his strong compositional style to the table, showcasing how three musicians can interact in a playful, melodic, and groove-focused way.

ZHERAV unleashes hypnotic Middle Eastern grooves on NAJA / BAZAAR 45 for Batov’s highly collectable 45 series.

New Zealand-based producer ZHERAV announces his debut release, NAJA / BAZAAR, a double single and 45 on Batov’s Middle Eastern Grooves series. The record fuses psychedelic rock, hypnotic rhythms, and electronic production influences, creating a sound that moves between swung grooves and cinematic, reverb-soaked textures.

ZHERAV draws from his background in house and techno, layering live guitar, bass, and synths over programmed drums. “I had a production template for house music on Ableton” he explains, “and I thought about how to switch to this Middle Eastern sound using the same format”. Most of ZHERAV’s tracks developed through improvisation - starting with programmed drums, then experimenting around scales on instruments until something works. ZHERAV has already received support from independent radio in Australia and New Zealand, and encouragement from international artists like Ko Shin Moon.

Both tracks explore Middle Eastern scales, bringing a distinct flavour to the grooves, while maintaining ZHERAV’s signature hypnotic layered sound. ZHERAV had something in mind related to snakes and their charmers when creating the A-side, NAJA (“Indian Cobra”). An ominous bassline loops repeatedly over snapping drums and percussion, whilst ZHERAV improvises guitar riffs and effects over the top.

Belgian artist, label boss and DJ, End-jy, glances back at one of his most revered releases to date, the 2003 ‘Red Alert’ EP, originally released on Lupp Records it marked a defining moment, earning widespread support from scene-shaping artists including Carl Cox, Tiësto, Marco Bailey, Dave Clarke and Mark Broom. Long regarded as a personal milestone, the track now returns in renewed form on the artist’s own label as MV08. This forthcoming EP revisits the original with fresh perspective, featuring a powerful remix from Pig&Dan alongside a newly reworked version by Dimitri Andreas and the artist himself, bridging the track’s enduring legacy with a contemporary evolution.

Pig&Dan take the reins first, extracting fragments of the original version of ‘Red Alert’ and reshaping them into a dub tinged, deep techno cut fuelled by circling synth stabs, robust percussion, tension building atmospherics and a driving bottom end. Following on is ‘Red Alert’ (Dimitri Andreas & End-jy 2026 Remix), the pair lay down a deeper, more hypnotic and minimalist interpretation courtesy of crisp, stripped-down drums and oscillating resonant synth flutters underpinned by the original’s dark, dubby aesthetic.

The original version of ‘Red Alert’ opens the flip side, capturing the essence of the underground at the turn of the millennium, the track fuses, gritty stabs with organic percussive elements, hypnotic siren like synths and a subtly evolving feel throughout.

‘Flexibeat’ then concludes the release, a composition that veers into the realms of early Detroit techno and electro via an amalgamation of twitchy synth pops, cinematic strings, saturated 808 drums and murky bass tones.

Already Supported by Jamie Jones, Calao, Amé, Marco Faraone, Timo Maas, Nick Varon, Steve Parry, Just Her, Dax J, Perc, Massimiliano Pagliara, Alex Neri.

MonsieurWilly – “Stomp” (Nu-Disco Remake of The Brothers Johnson) – 7" Vinyl Single Get ready to move your feet: MonsieurWilly revitalizes the timeless funk anthem “Stomp” by The Brothers Johnson with an electrifying Nu-Disco makeover. Pressed on a high-quality 45 RPM 7" vinyl, this remake blends vintage groove with modern dancefloor energy, delivering an irresistible combination for DJs, collectors, and funk-disco lovers alike.

MonsieurWilly’s production pays homage to the original’s infectious basslines and uplifting spirit while injecting fresh synth textures, crisp beats, and a stylish contemporary polish. The result is a vibrant re-imagining that feels both nostalgic and brand new— perfect for setting the tone at any party or adding standout flair to your vinyl collection. This is another special and exclusive 45/7“ release via Soulkitchen Distribution…

Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.

The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.

"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.

Shadow Child’s ‘Say It Now’ is an ode to the Portsmouth producer’s rave-heritage and how it has inspired him.

· Featuring a soaring vocal sample, ravey piano stabs and a dangerous bassline, this is a release that tells the story of Shadow Child’s music journey.

· London Records have pressed four mixes onto wax, including a thumping techno cut from Dusky, a floaty progressive house interpretation from Cinthie and asoundsystem-ready, jungle banger from S.P.Y, as well as Shadow Child’s original mix.

· This 12” features artwork from renowned print artist and designer Jimmy Turrell, who has worked with names such as Chanel, Adidas, Apple, Rolling Stones, Dazed and Chemical Brothers, just to name a few

Since last year's EP “rhyme09,” a quiet storm has been brewing around the label. This release is not only long overdue, but Vienna is also home to numerous new talents as DJs and producers. The label boss makes the selection here and kicks off this release with a completely crazy track that is unlike anything else out there. There is virtually nothing else like it, making this track unique with its bassline, offset kick drum, and acid grooves. The second tune on the A Side comes from Fabiano Jose’, a well-known DJ in Vienna who, with his brand “Merkwürdig” has been an important player in the local party scene for several years. A catchy tech house tune, “step in” if you can!

The first tune on the B Side is a collaboration between ZentaSkai, well known for his label MASK Berlin, and Thomas Grün, also a long-time DJ and producer in Vienna who releases house and tech house tunes also on his own label “Untitled100 records”.

With Manu Script on B2, we have a debut here. With his great taste as a DJ and producer, he delivers a powerful groove. Another true Party stepper! Be ready...

Siren Selector presents the first voyage of Remy Solar, as the producer takes a break from composing sound system exclusive dubs to expand his horizons with this by-turns lush, textured, menacing and plaintive album.

‘Heavy Terrain’ emerges from the depths of a lifetime inside the dub fraternity: reared on a potent diet of Lee Scratch Perry and Augustus Pablo, The Disciples and Digital Mystikz, it’s an album which stuck its head in a bass bin in an abandoned bingo hall in north London before striking out on a musical road-trip to imbibe sounds and rhythms from further afield.

The album opens with the militant drums and ethereal pads of 'Sound in the East' before being bookended by two mixes of 'Star Trail', where unformed musical space and time cross uncharted distances to coalesce into the beginning of direction and rhythm. The lush deep house chords and drilling synths of 'Lila #3' summon ghostly presences, while in its counterpart 'Lila #7' layers of melody rise and hang like mist before dissipating in percussive heat. 'Dakhla's’ swelling and retreating drones fade into swirls of drums. In the eponymous 'Heavy Terrain', off-beat keyboard chops respond to each other from uncertain depths while electronic horns pulse across miles of open space. 'Empty City 'sees walls of sound coalesce and fragment, falling into bursts of white noise.

Remy Solar explores a deliberately constrained hardware set-up to create the primordial conditions of trance, locking down a rhythmic foundation while semi-improvised excursions form and reform above it. It’s an album that takes the listener on a journey between order and chaos, past and future, all the while underlaid by a counterpoint of cavernous bass lines and echoing percussion, yang and yin, shade and light.

The name Ran is a new one to us and seemingly remains, for now at least, cloaked in secrecy, but when we see their influences range from Loefah, Photek and Carrier to Source Direct, Regis and Mika Vainio, we were instantly hooked. To this new EP on Gelassenheit, then, which speaks to a producer with a rough and tough analogue sound and love of bass-driven techno. 'Violence' is gritty and heavy as it pounds out a groove with eerie pads in the distance, 'Minus' has punchy broken beats that come at you through a murky fog, and 'Closure ' then ducks and dives with a post-dubstep nimbleness as spooky background details suggest there is an oncoming threat. 'Manoeuvres' is a sparse, heavyweight and soot-black dub with crispy hits that demand a physical response. Early support from Carrier!

Lincus is a new name for us, which is always exciting because it means you get to assess the sounds on their own merit with no extraneous baggage. Whoever is behind these betas on Slabs knows how to cook up heavy kicks. 'Feel The Rhythm' has a swagger and syncopation to it that is perfect for this label, with bold bass and hints of Kerri Chandler's kick to the kicks, all run through with some woozy late-night synth work. 'Pazazz' is another blend of low-end kicks and sleazy synths with some filtered vocals adding a touch of human warmth to what is a vibey cut.

“Certain albums hit like howling bullets at pivotal moments, tearing open the face of music to reveal hidden sonic muscles and fusing them back into something both strangely familiar and yet entirely unrecognisable. We believe this is one of those records.”

The double album Death of Music delivers 18 crooked vocal pops, some ruthless, others unexpectedly disarming. In some songs, Ajukaja & Mart Avi function like a two-headed saurus swinging its spiky tail to shady pop-house smackers. In others, Ajukaja's serene organ licks descend into subterranean caverns, allowing Avi to float to the surface on their wavelengths and turn his voice into billions of extinct moths, enslaved by the moonlight’s pull. There are songs that face destruction and those that seek to prevent it.

One kykeon rap goes, “If you die before you die, then when you die, you don't die!”. Ajukaja & Mart Avi have embraced this notion to create new music that allows them to thrive in the algorithmic wasteland. 13 years in the making, these 66 minutes are packed with lifetimes of truths you didn’t know you needed to know. They are Ajukaja & Mart Avi – two against death.

Produced by Ajukaja
Words by Mart Avi, Music by Raul Saaremets
Guitar and Bass by Sten Sheripov (Can’t Touch The Earth, Safe)
Sax by Steve Vanoni (I.D.O.L.)
Recorded between 2011—2024
Mastered by The Bastard
Cover Photo by fs
Sleeve by Marke, Mart Avi
Pressed in Tartu, Estonia

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.

Ohne Frage zählen Kerrigan zu den vielversprechendsten deutschen Newcomern im Bereich des traditionellen Heavy Metal. Im Jahre 2019 in Freiburg von Bruno Schotten (Gitarre, Bass) und Jonas Weber (Gitarre, Gesang) gegründet, spielte man ein Jahr später ein Demo mit den eigenen Stücken „Intruders“, „Force And Will“ und „Heavy Metal 2020“ sowie eine Coverversion von „Rest In Peace“ des NWOBHM-Geheimtipps Wolf ein. Als »Heavy Metal 2020« wurden die Aufnahmen über Fucking Kill Records als Tape und Vinyl veröffentlicht (später noch einmal von High Roller Records). Für ihr Debütalbum »Bloodmoon« (2023) holte man sich als Session-Schlagzeuger den befreundeten Jonathan Döring ins Line-up (der mittlerweile neben dem neu hinzugestoßenen Jakob am Bass zur festen Besetzung gehört). Die Scheibe erhielt in der Fachpresse nahezu überall außergewöhnlich gute Reaktionen. Jetzt, drei Jahre später, ist es Zeit für mehr… Als kleinen Vorgeschmack auf das neue Album hat sich die Band dazu entschieden, eine limitierte 7“-Single zu veröffentlichen. Die A-Seite „The Ice Witch“ ist eine der eingängigsten Nummern des Albums während die exklusive B-Seite „You Just Haven’t Earned It Yet Baby“, eine atemberaubende Coverversion der britischen Indie-Band The Smiths um den charismatischen Sänger Morrissey, den ikonischen 80s Sound mit melodischem Heavy Metal verschmelzt.

Two of the UK’s finest party-starters Dub Pistols and the Freestylers team up on ‘Enter The Sound’ to bring you an album of high-grade & high-pressure, bass-heavy cuts. Enter the party, Enter The Sound!

The album is a sonic journey through their diverse influences, blending genres like Reggae, Ska, Breakbeat, Jungle, Hip Hop & Trip Hop. It’s a celebration of their shared musical roots and evolution.
 
The album features an all-star lineup of guest artists, including Johnny Osbourne, Tippa Irie, General Levy, Too Many T’s, Horseman, Belle Humble, Scarlett Quinn, Tenor Fly, MC Spyda, Persona, Harry Shotta  and of course, Seanie T.

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 !

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.

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.

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.