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Dutch collective.multibeat return with OOO their third album and debut for Sonar Kollektiv. Rooted in Utrecht’s vibrant musical community, the trio of Boudewijn Pleij (keys), Thijs van Zutphen (bass) and Aron Smit (drums) blend hip-hop, jazz and beat culture into a groove-driven sound inspired by artists such as Robert Glasper, J Dilla and the contemporary UK jazz scene.

The three musicians first met while studying at the conservatoire in Utrecht, initially performing as a live backing band under the name Muddy Grease before evolving into a production-focused collective. Over the years they have built a reputation for connecting the worlds of jazz, hip-hop and contemporary beat music through an ever-expanding network of collaborators, while helping to foster a vibrant and experimental local scene around them.

Warm, collaborative and deeply groove-centred, OOO captures .multibeat at their most confident and expansive.

It is an album that honours the collective’s roots in jazz and hip-hop while continuing to push their sound into new and inspiring spaces, a fitting introduction to one of the most exciting young groups to emerge from the Dutch scene in recent years.

Across a glitching, glimmering constellation of 10 tracks, the record redraws the boundaries of her own subconscious through daring harmonic modulations, glitchy electronica, and frenetic orchestral sequencing. Deeply informed by Nordic folklore, it moves through a journey confronting body dysmorphia, control, and a staccatoing sense of self - reaching toward creative and emotional liberation through ethereal, amorphous avant-pop.

Within the work, the artist made the deliberate choice to take the focus away from her physical self - a protest, but also a tribute to the countless versions that form one person. "It's not about disappearing or being anonymous," she says, "more about loosening the grip of appearance, and letting the work exist without being defined by it."

Named for Bach's Inventions - played on piano growing up - Inventio carries a Baroque sensibility: trilling polyphonic textures and lush vocal harmonies rising above it all. Sonic touchstones include Björk, Elizabeth Fraser, and the kulning-style singing of Lena Willemark. Made across three years in Sweden, the album was built without Murex knowing it would become one. Collaborators including Pelle Westlin, Isak Hedtjärn, and Elvira Anderfjärd gave the work what Murex calls "extra arms." All music videos are directed by Murex herself.


"Making this album gave me back authority and power. I hope it's just as freeing to listen to."

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg’s experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its “grittily iridescent ambient billow rendering maximalist panoramas” and by Backseat Mafia as “extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power.” Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album’s coherence as a seamless work. “I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn’t able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder.” Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album’s cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates’ “idea of slowly scanning a radio dial” with a soundworld of recurring timbral and textural touchstones that forge an integrated whole.

The album’s 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener “Pink pink pink pink…pink pink” drifts gently toward submerged ambience, darkened by the noised rumble and static interference of “Green as a ghost”, which introduces broken beats and piano chords in its denouement. Tracks like “Battles and sieges and street trees” and “Easier sad than done” work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. “Waste, songs of the world” and “Disaster loans” are among the album’s most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track “Swamps and factories”, the album’s longest piece, is perhaps most reminiscent of Bates’ previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening.

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg's experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its "grittily iridescent ambient billow rendering maximalist panoramas" and by Backseat Mafia as "extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power." Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album's coherence as a seamless work. "I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn't able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder." Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album's cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates' "idea of slowly scanning a radio dial" with a soundworld of recurring timbral and textural touchstones that forge an integrated whole. The album's 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener 'Pink pink pink pink_pink pink' drifts gently toward submerged ambience, darkened by the noised rumble and static interference of 'Green as a ghost', which introduces broken beats and piano chords in its denouement. Tracks like 'Battles and sieges and street trees' and 'Easier sad than done' work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. 'Waste, songs of the world' and 'Disaster loans' are among the album's most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track 'Swamps and factories,' the album's longest piece, is perhaps most reminiscent of Bates' previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening

Marking their second release for GULF COAST RECORDS, the collection favours raw performance over polish, capturing the chemistry, spontaneity, and fearless musicianship that have defined the group for more than three decades. Fronted by the unmistakable voice of JERRY LANGER and the soulful guitar work of RANDY JACOBS - formerly of Was (Not Was) - the EP embraces honest, acoustic arrangements where every note and breath remains beautifully exposed. Produced by Jacobs, Langer, and JOHN WOOLER, the project reveals a band confident enough to let the songs speak for themselves. Recorded primarily at Kaleidoscope Studios in Berlin, the sessions continued wherever the road allowed, with additional performances captured in U.S. studios and hotel rooms between shows. This wandering spirit gives the EP a sense of movement and lived experience. A remarkable ensemble of collaborators adds depth throughout, including Holly Montgomery, Arthur Thompson, Joe Sublett, Mark Pender, Jon Gilutin, and Oliver Leiber. Across six tracks - bold reinterpretations and originals - the band blends Detroit soul, New Orleans groove, blues, and rock & roll swagger. Pull Up the Roots celebrates authenticity, proving that great songs and genuine soul need no embellishment.

A reggae cover of the classic track by Pharoah Sanders and War is being released on 7"!

Two legendary reggae covers from the album 『Drag'N Fly』, released in 2024 by the popular French reggae band The Dynamics, are now available on 7-inch vinyl!!

"You've Got To Have Freedom"is a bold reggae arrangement of the iconic track by spiritual jazz master Pharoah Sanders. It’s a standout cover with a powerful, dubby texture that really grabs you. The B-side features a reggae cover of"Low Rider,"the signature song released in 1975 by the legendary funk band War. With both sides sounding absolutely fantastic, this is an absolute must-have!

Luv*Jam presents Dan*Eds ~ a mini album for those ever so discerning DJs that are out there…

Rare native silver has been found across the hard to reach mountainous regions of North Wales’ Snowdonia.

As the peaks get rougher and more difficult to traverse we bring you a secret selection of unique live sound experiments from Bersham’s finest Dan*Eds. Plus L*J invites Cologne’s Dynomodyse as his DJ Longsleeve alter ego for a ‘Workpant E17 Vestinipppp’ mix and Flyypost dusts down her Evening Leader accusations of illegal fly posting to deliver some bananas DJ weapons of interest. The penultimate peak of 14 peaks!

ONE STEP CLOSER TO FULFILLING THE GLOBAL DREAMLAND CONTINUUM. THE RESULTS WILL KEEP YOU MOVING… ALL NIGHT. THE CIA ATTEMPTED TO CONFISCATE OUR TECH BUT HOUSE NATION INTERCEPTED THE CASE. THEY CAN’T STOP US FROM GROOVING. 4TH DIMENSION SONIC ENGINEERING PREVAILS AGAIN.


Label head GD returns to global swing with new EP, "Come Closer."

Following "Gary's Dreamland," his last outing on the label, Garrett continues to refine a sound that's distinctly his own. With "Come Closer," he delivers another confident, fully realized EP. Featuring a collaboration with Shanny Wise of Fcukers, marking a first-time collaboration between the two.

Garrett doesn't cut corners, and it shows. Every track here reflects the same attention to detail that's defined his output for years, pushing his catalog forward while staying true to the underground sensibility he's known for.

Chicago was a hotbed for talent in the 1970s (well, it always has been and always will be, to be honest) and one of the groups to emerge at that time was Heaven & Earth, a vital soul vocal collective. They released four high-quality albums and this one, 'I Can't Seem To Forget You', was the first on Clarence Johnson's G.E.C. Label. It is packed with super sweet vocals and Dwight Dukes' lush falsetto and has never before been reissued. This version from the good folks at P-VINE has an extra bonus cut 'Promises,' which has previously only been available as a single from 1975.

Children of Zeus return with their third studio album ‘As The World Burns…’

Five years on from their highly-acclaimed sophomore album ‘Balance’, Manchester’s kings of hip hop soul, Tyler Daley and Konny Kon, bring us a brand new 16-track opus.

Sonically the duo continue their story where they left off; crafting an amalgamation of street soul, alternative r&b and boom bap hip hop, with a sprinkle of flavours taken from their original multi-genre pirate radio influences, and a dash of forward-thinking new sounds, ensuring all tracks are destined to become future classics.

The features are sparing but powerful, enlisting the talents of revered UK rapper Knucks (‘Before We Drown’), Colorado-native Young Old Soul (‘Dopamine’), MCR family K S R (‘Do You Want To Get High’, & Australian/Mauritian up & comer Anieszka (‘Water & Vibes’).

As with previous projects, this album is largely produced by the duo themselves, though there are guest productions from previous collaborators too, including Grammy Award-winner Beat Butcha, Grammy-nominated Teo, and broken beat pioneer K15, along with an assortment of new players making moves in the underground neo-soul & beats circuit.

Conceptually, this project continues on with the story to date. An eternal search for sunsets and soulfood, as a respite to the anxieties of the modern world; personally, professionally and globally. Assertive swagger is matched with brutal but sincere candidity. As ever, it encapsulates the rough with the smooth, with reflections on where they’ve been, where they’re at and where they’re headed. There’s no preaching to be found here; just an acceptance of things as they are, an embrace of the environment and people they were nurtured by, and a celebration of some of the finer things in life; slow jams, weed & rum, water & vibes. Raps for listeners, blunt heads, fly ladies and prisoners. All packaged together as another perfect sonic love letter to sound system culture. 50 minutes of big people music.

Since the release of their anthemic debut single ‘Still Standing’ a decade ago, to the subsequent EP ‘The Story So Far’, and their critically-lauded debut album ‘Travel Light’, the duo have received numerous accolades, including nominations for AIM Awards & Worldwide Awards both, along with tons of ‘Album of the Year’ nods care of Clash Magazine, Bandcamp, Complex, Wordplay and many more. This along with huge swathes of support from DJs, radio stations, press outlets, tastemakers, luminaries & fellow artists across the globe.

Children of Zeus have performed sessions for COLORS, Soulection (Apple Music), DJ AG, Boiler Room, BBC 6 Music and at the infamous Maida Vale studios for BBC 1Xtra as well as touring across Europe, Australia and South Africa. This is in addition to collaborating & touring with Mercury Award Winner’s Ezra Collective, including a Wembley Arena show. Other collaborations over the years have included Shy FX, Juls, Goldie, Black Milk, Kofi Stone and the late great Lenzman.

From the Broke ’n’ English / Hoodman-era, to the present day, Children of Zeus have been omnipresent in the fabric of British black music. Proud ambassadors of Manchester music, and of UK soul, it really is “Zeus to the world”.

Children of Zeus have been adorned with plenty of flowers over their career. The unbridled quality and poignance of the music and the message on display throughout this project will see the algorithmic needle move some more. It’s undoubtedly set to be a Zeus Summer. As the world burns…

Available on all digital platforms and physical formats, Friday September 4th 2026.







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







t 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[g] B3 | Do You Want To Get High? (feat [ K S R ]) - Children of Zeus03:26

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

Over the course of 2026, jazz piano trio Okonski (Steve Okonski on keys, Durand Jones and the Indications bandmate Aaron Frazer on drums, and bassist Michael Isvara “Ish” Montgomery) have been trickling out a wide variety of singles to keep fans at bay ahead of the highly anticipated 2027 LP3. The tracks offer a variety of influences, and include collaborations with the likes of Saxophonist Cochemea and harpist Rachel Kitchlew. To conclude this series of singles, Colemine records has pressed up a limited number of cassettes including all the newest tracks and a few bonus live tunes. The group's regarded EP 'Trio Session Demos' have been added to the flip of the cassette, the first time these hip-hop inspired early cuts have been available physically.
At the top of 2025, Okonski released their sophomore LP 'Entrance Music' to wide acclaim. The spiritual jazz record received praise from Rolling Stone, BBC, Billboard, KEXP, countless others and has streamed over 10 million times. The trio recently completed a sold out LA show and embark on their first UK/EU tour this fall. There is much more to come from Okonski in the coming years.

Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard ragebaiting.
”A roar of nothing”—HeartattaCk

Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard ragebaiting.
”A roar of nothing”—HeartattaCk

There was an immediate buzz surrounding This Is What I Know About Being Gigantic, the 2001 debut EP by Seattle indie phenomenon Minus the Bear. It wasn’t the kind of viral interest that translated into a string of sold-out tour dates, but it meant that the tuned-in crowd eagerly anticipated their next move. To help stir up the excitement for their first proper full-length, the band followed up Gigantic with a promo CD featuring two tracks from their upcoming album, a short instrumental interlude, an exclusive new song, and a demo version of another album track. Packaged in a cardboard slipcase, it was the kind of cheaply manufactured promotional item that could be handed out for free at shows or thrown in as a bonus in online orders—a relic of the final years of the CD age before the advent of the iPod and mp3. The sampler CD was christened Bands Like It When You Yell “YAR!” At Them in a nod to the upcoming album Highly Refined Pirates.

While these kinds of promotional items typically had an ephemeral existence, filed away in some neglected binder of CDs or tossed out during one of the many apartment-to-apartment moves of the band’s principal demographic of urban twentysomethings, Bands Like It When You Yell “YAR!” At Them had a curiously persistent presence. Perhaps it was because it was packaged more like a proper EP than a sampler. It certainly helped that it was a free release, meaning anyone who came to a show likely walked away from the evening with the cardboard slipcase tucked in their jacket pocket. It’s also noteworthy that the EP showcased three songs from the back half of Highly Refined Pirates rather than the album’s live staples and fan favorites from side A. Whatever the combination of factors at play, “YAR!” took on a life of its own and was ultimately re-packaged in a jewel case and sold as a proper EP in 2004 in the wake of Highly Refined Pirates’ success. And now in 2026, it’s getting its first proper release on vinyl.

Opening with the driving beat, chirping guitars, and funky low-end of “Spritz!!! Spritz!!!,” Bands Like It When You Yell “YAR!” At Them quickly cements Minus the Bear’s foundation of sophisticated revelry, a spirit further emphasized in the Highly Refined Pirates title choice. Part of the Bear’s lore involves them playing their first show three days after 9/11, and just as New York City’s indie rock scene took a sharp turn towards nightclub debauchery and a rejection of ‘90s rock’s dour fatalism in the wake of the World Trade Center tragedy, so did the Bear turn away from the Seattle’s scene’s penchant for gloom and angst towards a cerebral after-hours pop sound. The inclusion of “Women We Haven’t Met Yet” helped elevate what could have otherwise been seen as an album deep cut into a lead track. The fact that these first two songs essentially served as preview singles over future Pirates hits like “Monkey!!!Knife!!!Fight!!!” and “Absinthe Party At The Fly Honey Warehouse” speaks to the high quality of every song the band cranked out in their early years. The EP’s exclusive track “Drop It Like It’s Hot” presaged Snoop Dogg’s mega-hit single of the same name by two years, but whereas Snoop leaned into restrained minimalism, the Bear unleashes some of their fiercest work here, building off of interwoven riffs and electronic layers to a climax of stabbing guitars and hollered vocals. Much like Nirvana’s Hormoaning EP, Minus the Bear’s Bands Like It When You Yell “YAR!” At Them was initially more of a marketing gimmick than a proper release, but given the popularity of the pivotal studio albums that stemmed from the same recording sessions, these extended plays serve as compelling companion pieces that have earned a special spot in their respective fanbases’ hearts. Suicide Squeeze is proud to offer Bands Like It When You Yell “YAR!” At Them on vinyl on September 18, 2026, nearly 25 years after the band’s first show.

Remastered for vinyl by Bernie Grundman with lacquers cut at 45rpm, this limited edition pressing of 1000 copies on Puget Sound-colored vinyl helps document and preserve the exciting early years of one of American indie rock’s most beloved acts.

MĀRARA, meaning flying fish, is a musical project born in the heart of a still largely unknown Polynesian island. While Tahiti commands attention and the spotlight, Mārara remains in the shadows, ignored by tourist circuits and dominant cultural narratives. This album aims to put Mārara on the map and give voice to an island that deserves to exist in all its richness.


Through this work, we offer an immersion into our traditions, customs, legends, and myths. These stories, deeply rooted in Polynesian culture, are transformed by the environment: for example, the legends of an atoll differ from those of a mountainous island, shaped by the climate, the terrain, and the elements. MĀRARA captures this diversity and reveals its unique character.


This album is not just a musical creation: it is an act of cultural transmission and visibility. Music becomes a vehicle for identity, a voice for an unknown territory, and a bridge between past and present.


"With MĀRARA, we make our island sing so that its voice resonates beyond its horizon."

Led By Vultures, the new Los Angeles based heavy rock band fronted by Brian Tichy (Ozzy Osbourne, Whitesnake, Foreigner, Billy Idol, Gene Simmons, etc...)
has come together over the past year to record its powerful, uncompromising, undeniable brand of heavy music, and released their highly anticipated first single “Get It Right” in late-March. With that comes 12 songs dominated by loud guitar, massive drums, big riffs, killer grooves, aggressive vocals, and a feeling of flying through a tornado! With a pro home studio, Tichy started the recording
process and instead of trying to find the right players, engineers and producers, he chose to see it through on his own, and aim to make it feel and sound like a band that’s been together for years. Long time buddy/keyboard virtuoso Derek Sherinian (Alice Cooper, Dream Theater) lent a hand on a few tunes, including some co-writing and it was Sherinian who has been one of Tichy’s main friends, supporting him and telling him to stop talking and to get writing and recording!!
Led By Vultures is all about serving the song, the groove and the power it possesses. The recording process began as an organic, exciting, challenge for Tichy but soon became an all-consuming obsession to serve the songs and sounds with all of his being and abilities. This includes a rule of no samples or
auto tune! Led By Vultures; not just a band but a pure musical obsession!

Originally released in 2012, 1999 is the definitive debut mixtape from Brooklyn MC Joey Bada$$ that helped reshape the modern underground rap landscape. Leaning heavily into the golden era sound, a 17-year-old Joey earned instant critical acclaim by paying flawless homage to the 90s. Beyond timeless standout tracks like “Waves,” “Survival Tactics,” and “Snakes,” the 15-track mixtape boasts production from icons like Chuck Strangers, Lord Finesse, MF DOOM, and J Dilla. It remains a crucial time capsule for the Pro Era collective, featuring memorable verses from Kirk Knight, CJ Fly, Nyck Caution, Rokamouth, Dessy Hinds, Dyemond Lewis, T’nah Apex, and the late Capital STEEZ. A classic that still sounds as fresh today as it did a decade ago. Pro Era Forever.

Oliver Baroni, stand-up bassist and Hillbilly Moon Explosion co-vocalist has a new side-project with a flexible group of musicians, under the moniker The Baroni Blow-Up. In keeping with the Englishman"s worldwide rock"n"roll viewpoint from his base in Switzerland, it"s an international affair. The band-members are American, though two were found in London. Guitarist Andy Kandil, a session favourite and veteran of psychobilly legends Mad Sin amongst others, and drummer Tuck Nelson, who also co-engineered recordings in his London Echo Ray Studio. On vocals is Shy But Flyy, the celebrated blues and jazz singer from Long Beach, CA. The A-side song "I Wanna" is an obscure punk song original by Berlin band Hot Boogie Chillun; the flip "Free" is a Shy But Flyy original. The single"s artwork originated in Spain.

Swedish speed/thrash metal newcomers XION are set to release their second album, *When Stars Collide*, on 11 September via Fireflash Records. XION’s fresh blend of speed and thrash metal sounds unique, and you can clearly sense the power, dedication, boundless energy and ambition of this young band.

The quintet was formed in 2022, when some of the members were still under 18, yet they were already playing with the same precision and energy as more established metal bands. Since then, the band from Falun – the hometown of acts such as SABATON, BROTHERS OF METAL, TWILIGHT FORCE and others – has taken the world by storm. The combination of the members’ young age and their extremely precise and virtuosic musical skills has made XION one of the most interesting and promising newcomers on the Swedish metal scene in many years.

Trey Songz released Trey Day, the follow-up to his debut album I Gotta Make It, on October 2, 2007, via Atlantic Records. Almost 20 years later, the album is being issued on vinyl for the first time. Hailing from Petersburg, VA, Trey Songz launched his career after graduating from high school, went on to record eight studio albums, sell over 32 million albums worldwide, and began acting in movies and TV shows in 2008. Troy Taylor, along with a team of producers, released four singles from the album, including the Grammy-nominated "Can't Help But Wait." Featuring an intro by Bun B, the album's production was more influenced by Hip-Hop, a departure from his debut, which was more akin to modern-day soul and featured an intro by Aretha Franklin. Get On Down, in partnership with Rhino and Atlantic Records, has issued the album on tinsel-town-colored vinyl, limited to 1,000 copies.

A Project dealing with the relative length of time at a record label and the effect of adding another zero. To explore this passage of time and all those memories, we’ve commissioned remixes of key tracks from the LEX catalog by artists we love and admire. The album features contributions from Danger Mouse & Jemini, Fly Anakin & Pink Siifu, Eyedress, Golden Rules featuring Yasiin Bey and Freddie Gibbs, Neon Neon feat. Cate Le Bon, alongside Kaleida, Belief, Nevermen, Prince Po and MF DOOM. With remixes that reinterpret the tracks by Boards of Canada, Kevin Shields of My Bloody Valentine, DJ Premier, Prefuse 73, Madlib, Stereolab, Warpaint, King Krule, Chad Hugo and Thom Yorke. The limited edition physical release is presented in a rigid slipcase, with the vinyl housed in a triple sleeve gatefold, and accompanied by a large format board book, with both featuring artwork by Commission Studios. The records are pressed on 180g heavyweight vinyl, with the D-Side finished with a bespoke etched design.

Mit "Strange Horses" präsentiert Downpilot-Mastermind Paul Hiraga sein achtes Album und zugleich eine seiner persönlichsten und vielschichtigsten Arbeiten. Zwischen atmosphärischem Guitar-Pop, feinsinniger Americana und introspektivem Songwriting reflektiert Hiraga die Herausforderungen einer Welt im rasanten Wandel. Die Songs erzählen von menschlichen Beziehungen, inneren Konflikten, sich verändernden Landschaften und den Kräften der Natur. Dabei vereint Strange Horses eingängige Melodien mit emotionaler Tiefe und klanglicher Vielfalt. Von intimen Balladen bis zu weitläufigen, traumhaften Arrangements entfaltet sich ein Album voller Wärme, Nachdenklichkeit und musikalischer Eleganz. Ein zeitloses Werk für Hörerinnen und Hörer, die anspruchsvolles Songwriting und atmosphärische Klangwelten schätzen.

A beautifully observed baroque masterpiece, part dream pop, part futuristic psych-folk with ambient synths and Josephine Foster’s plaintive guitar. Godmother is a slowly unfolding song cycle that marries a myriad of previous musical escapades with electronic experiments. Exploring new horizons on this record, it sees Foster at her most expressive and hypnotic. Now back home in the mountains of Colorado, Josephine’s 20-year journey to this new nirvana becomes enthralled further with a symphony of synths that sound like they are played in some neighbouring netherworld, through cotton gauze. It’s music that’s devotional, spiritual, a fitting soundtrack for any journey within or without, a means to experience places and vibrations beyond the boundary of time and space. Discussing the record, Josephine explains “You may notice me travelling a bit further sonically from our precious earth, aspiring to rise into broader astral perspective, to contemplate the light and origins of it all, as I do believe there is a grand source that is the sum of it all, us all. Performing all the parts on this recording, you may sense me focussing gestures of my singing into the instrumentation, which is a very great relief indeed, as the voice has such grand dreams to be set free.” “With her haunted, theatrical delivery, Foster cuts an arresting figure.” Pitchfork // “Out of time yet timeless” The Wire

John Williams Legacy: Seine größten Filmmusiken in einer Edition
Dieses Album versammelt einige der bekanntesten Filmmusiken von John Williams, darunter Star Wars,
Harry Potter, Jurassic Park, Indiana Jones und E.T. Das Besondere an dieser Auswahl: John Williams dirigiert seine eigenen Kompositionen selbst. Die Aufnahmen entstanden mit den Berliner Philharmonikern,
den Wiener Philharmonikern und dem Recording Arts Orchestra of Los Angeles. Ergänzt wird die Veröffentlichung durch Booklet-Texte von Journalist Jon Burlingame.
So entsteht ein Album, das viele der prägendsten Stücke der Filmgeschichte in einer hochkarätigen Einspielung zusammenführt.

Black Truffle is back with his fourth EP on GAMM!
This time, BT goes all out, exploring everything from spaced-out, European disco to mid-tempo proto-disco and jazz-disco.

Expect disco interpretations flying in every direction on this 12"...exactly what we've come to love from Black Truffle.
All tracks are mastered by Lay-Far on reel-to-reel tape to capture that beautifully organic, warm analog feel.

When everything around is racing blindly toward ruin, change direction and spin as fast as you can until you defy gravity and rise above the ground into blissful madness. "K-drone", the debut album by three renegades—Jakub Šimanský, Michal Vaľko, and Ján Podracký—is like a hallucinatory Calvary with five stations. Each station is a time-loop capsule, a tiny utopia sneering at the phantom progress of the world outside.

The opening track, "Speedrone", is pure vertigo; for seven long minutes, there's nothing to hold onto. Šimanský’s banjo cuts through the air, Vaľko’s hurdy-gurdy sounds like someone scraping a rusted sheet of metal with a handful of nails, and Podracký’s bass recorder hums like a slowly intensifying migraine. "Sine" is like a train journey through a barren wasteland, where the images outside the window constantly repeat like a bad trip. "Pro DJ" starts like a gig in a bar at the end of the line—a gig that never actually goes anywhere. It’s as if all three are locked in a spasm, their repeated motifs turning into haunting earworms. "Alien Radigue" shifts into a strange idyll in a clearing in the middle of the forest, where an unknown bird species trills in the background. The end and definitive dissolution come in "Slush", where everything suddenly slows down. Šimanský plucks a simple guitar melody, Podracký’s harmonica drifts from side to side like a boat gently rocking by the shore, and Vaľko’s hurdy-gurdy drones like a drunken mosquito buzzing around.

"K-drone" sounds like an acid anti-western movie recorded in a tucked-away burrow, like smoke-soaked folk and experimental campfire songs echoing through a deep forest. It evokes Third Ear Band's "Alchemy", it screeches and repeats like some of Henry Flynt's experiments, and you could easily imagine hearing it drifting from one of the windows on the cover of Hala Strana's eponymous album.

Jakub Šimanský is the bard of Czechoslovak guitar primitivism, an earthy folk sommelier whose fingerpicking you may also know from the duo Šimanský Niesner. Michal Vaľko, aka Line Gate, needs no introduction to fans. He has released three albums on mappa, and his hurdy-gurdy meditations hold an important place in the drone and minimalist music scene. "Den", "Apex", and "Trap" have become essential listening. Ján Podracký is a self-taught composer and musician whom you might know from various participatory music projects, such as an orchestra where all the players play diatonic harmonicas. Besides harmonicas, he has long explored a wide range of flutes. In short, a pied piper who will guide you through other worlds.

Am 15. Februar 2026 feierte Posaunist und Sänger Nils Landgren seinen 70. Geburtstag – wie es sich für einen der erfolgreichsten europäischen Musiker seines Fachs gehört mit einem oppulenten Orchesteralbum »Love of My Life« und einer Tour durch die großen Konzerthäuser.

ACT-Gründer, Förderer und Freund Siggi Loch machte Nils Landgren ein besonderes Geschenk: Einen Abend in der von ihm kuratierten Reihe »Jazz at Berlin Philharmonic« im großen Saal der Berliner Philharmonie. Im ersten Teil des Konzertes spielten Mitglieder der ACT Family für »Mr. Red Horn«.

Nach der Pause betrat Nils Landgren unter großem Jubel selbst die Bühne – mit einem exklusiven Programm, dass seinem großen Idol und Weggefährten Joe Sample gewidmet war. Mit dabei: Michael Wollny, Lars Danielsson, Wolfgang Haffner, China Moses und Mitglieder der Berliner Philharmoniker mit Arrangements von Magnus Lindgren.

Es wurde eine Soul-Jazz-Party im Klassiktempel, bei der am Ende der ganze Saal tanzte – jetzt nachzuhören auf »Jazz at Berlin Philharmonic – Nils Landgren 70«

2026 Repress

The latest album in the series of "Beats and Knowledge" from Marc Mac. This episode focusing on the thousands of Black soldiers who fought in the Second World War, their efforts and stories hidden and forgotten for a lifetime. Marc's style of soulful Hip Hop beats are woven through the dialogue setting the scene for this mixtape style long player. Part six in the series of albums and limited to 400 vinyl copies worldwide.

Back in 1990 the New Bomb Turks got together as four Ohio State University students who just wanted to rock. 10 years later they are already on their 7th studio album: Nightmare Scenario.

New Bomb Turks return to their snaggle-toothed first mistress — hard-driving, no-holds-barred American punk rock. With the guitar jive of Chuck Berry, the blinding ferocity of Motörhead and the snot of The Dead Boys, singer Eric Davidson and his backing trio fire off a dozen grenades of authentic old-school three-chord riff-rock in little over a half-hour, with nary a pause for breath between tracks. You can’t quibble with the four-on-the-floor intensity of tunes like opening salvo Point To A Point Blank. It was recorded over four days and nights, the only break being a jaunt over to a bar to see a reunited Real Kids, their first show in years, which floored the band and only added more mezcal to the fire.

Nightmare Scenario is available as a limited edition of 500 individually numbered copies on transparent vinyl, and includes an insert.

10th anniversary limited edition, on vinyl for the first time! With guest features from yU (1978ers, Diamond District) and the illusive, Lobsterdamus.
Paten Locke on the beats & cuts. Dillon on the rhymes. It's the formula for their 2016 opus, 'Food Chain' and it's lesser known companion EP, 'Side Dishes' which was released that same year on a limited run of cassettes. This collection of songs was made during the 'Food Chain' sessions and they weren't leftovers - they were Side Dishes! Musical accompaniments to the already filling main course.
If you love 'Food Chain' (you do) then you will certainly enjoy these scrumptious 'Side Dishes', made with the same timeless recipe by Dillon & Paten Locke.

This album remains a fan favorite for its intimate atmosphere, featuring Susan's trademark soulful and breathy vocals set against tasteful, uncluttered arrangements. The tracklist is a masterclass in light jazz and soft pop, featuring definitive covers of eleven classics such as "Close to You," "Stay Awhile," "Killing Me Softly With His Song," and "Love Will Keep Us Alive." Every performance is delivered with a natural, immersive presence that showcases her impeccable phrasing and emotional depth. An important release in Susan Wong's career, Close to You has been remastered and will be released on 180g One- step Pressing vinyl LP, MQA-CD and Stereo Hybrid SACD, with new liner notes.

On his latest four-track EP, Marco Cassanelli presents a masterclass in deep, atmospheric dub techno. Rich in warmth, texture and groove, the release finds the Italian producer at his most refined, effortlessly balancing hypnotic rhythms with expansive chord work and immersive sound design that resonates equally on the dancefloor and in more introspective home listening settings.

For more than two decades, Marco Cassanelli has been quietly refining a sound rooted in the deepest traditions of dub techno. Emerging from Rome’s underground electronic scene, he has built a body of work defined by patience, restraint, and a profound understanding of space and atmosphere.

Each track unfolds with patience and purpose, drawing listeners into a world of drifting echoes, subtle movement and finely crafted detail. Rooted firmly in the traditions of dub techno while retaining a distinctive character of its own, the EP is both deeply engaging and beautifully understated—equally suited to late-night club systems and home listening.

The final track introduces an unexpected vocal performance, adding a fresh dimension to the release and bringing the journey to a memorable close.Elegant, timeless and richly textured, this EP is a testament to Cassanelli’s enduring craftsmanship and his ability to create dub techno of the highest calibre.

A serious private-press rarity gets its long-overdue reissue here for the first time ever. Formed in California in 1979, Freeway blended soulful grooves, jazz melodies and powerful horns into something that stood apart from the era's contemporary Christian scene. The cut just one self-released album in 1981 for New Born Records before disbanding. Originals now regularly fetch upwards of £400 on the resale market and this 45th Anniversary Edition marks a reissue that is going to fly off the shelves, complete with newly written liner notes and rare photographs telling the band's story. From funky jazz to boogie-inspired grooves, this is a previously hidden treasure now getting the light it deserves.

DC The Don has emerged as one of the most dynamic voices in modern rap, known for blending raw authenticity with genre-defying creativity. Hailing from Milwaukee and now based in LA, he spent years cultivating a fiercely loyal fanbase, culminating in his 2023 XXL Freshman Class selection, where fans propelled him to win the coveted 10th spot. His breakout year marks the arrival of REBIRTH, which he formally introduced to fans with a sold out pop-up at LA’s iconic Roxy Theatre.
With millions of streams and a reputation for introspective yet hard-hitting tracks, DC The Don continues to shape the future of hip-hop while staying true to his artistic roots.

Named after Anderson's Bengal cat, Rupi, the album is filled with wit, warmth & sharply observed storytelling, weaving together folk, rock, jazz, classical & world music influences into a uniquely atmospheric collection. Anderson's unmistakable flute melodies & expressive vocal performances lead the journey through vivid character sketches & reflective narratives, from the elegant title track & the playful "A Raft Of Penguins" to the poignant beauty of "Pigeon Flying Over Berlin Zoo." Musically adventurous yet deeply personal, 'Rupi's Dance' captures Anderson in a particularly creative period, balancing sophisticated arrangements with an inviting sense of spontaneity & charm. Tracks such as "Calliandra Shade (The Cappuccino Song)" & "Eurology" showcase his gift for blending intricate musicianship with lyrical humour & social commentary, while "Birthday Card At Christmas" reunites him with the sound & spirit longtime fans associate with his work in Jethro Tull.