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Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

Album First Released 1980 Now Available On 180 Gram Vinyl And Cd. All Songs Are Performed By Byron Lee's Allstars. Featuring Ken Lazarus, Jo-jo, Keith Lynn, Smokey 007, Hubert Lee And Cecil Barker. All The Tracks Originally

Recorded In The Mid-sixties, Were Produced By Alty East, One Of The First Producers Of Ska In Jamaica. Dvertising In Riddim, Black Echoes And Record Collector Magazine

Four Framed Music is back with their second label release, featuring the talented Buenos Aires-based Colombian producer Diego Ruiz, also known as DFRA.

The EP, titled ‘Soul to Soul’, showcases four exceptional house tracks that beautifully blend DFRA’s own unique sound with strong influences from Detroit and Chicago house music of the 90s and early 2000s. His production skills are on full display throughout the EP, as he expertly weaves together a diverse range of musical styles to create a truly captivating and one-of-a-kind listening experience.

Get ready to be transported on a musical journey that is sure to move your soul as DFRA’s infectious beats and grooves take over.

Mandrake Handshake announce new remix version of lead single Hypersonic SuperAsterid from W.H.Lung's Tom Sharkett released 24th November and the Special Limited Eco- Green Vinyl Edition of their critically acclaimed debut LP 'Earth- Sized Worlds', set for release 12th December via cult indie label Tip Top Recordings The concept tying together every last note and lyric of 'Earth- Sized Worlds' - the debut album from the London/ Oxford self- dubbed 'Flowerkraut' collective Mandrake Handshake - is an awfully simple one: 'Welcome to Space Beach' .Varying anywhere between 7-10 members - including a dedicated, flamboyant tambourine shaker - their pristine, multi-limbed spectacle of a live show has journeyed up and down the UK and EU in recent times. With multiple headline tours to their name, including a sold- out show at London's iconic 100 Club earlier this year, the group have already ticked off slots at the likes of Wide Awake, Green Man and Manchester Psych Fest, as well as shows with psych-figureheads W.H Lung, Pale Blue Eyes, Triptides and Sugar Candy Mountain, and Del Amitri as their profile soars.

Attention Italo-disco junkies: Disco Segreta is back, and we’re kicking off our 10th-anniversary celebration in style with a release you simply can’t miss. We’re beyond excited to present the official reissue of Cecilia Rizzoli’s iconic single, “Così non va”—a tearjerker Italo-disco masterpiece that has haunted the dreams of collectors for decades.

Originally released in 1985 in an ultra-limited run of just 500 copies split on two cult labels, Scarabes Sound and Discokkio, this gem became a mythical treasure for those dedicated diggers uncovering the rarest Italo disco tracks. “Così non va” blends hypnotic Juno synth lines, punchy Linndrum beats and airy arpeggios with Cecilia’s emotionally charged vocals, creating a soundscape that’s pure melanchol-Italo perfection—ideal for winter nights and nostalgic dance floors.

For this reissue, we’ve painstakingly tracked down the original analog master, that we’ve lovingly restored and remastered to deliver the kind of pristine sound quality this track deserves. The release features the remastered original and a fresh, contemporary edit by Latino-Swedish Italo-disco legend Claudio Burgos, aka Mr. Fantasy. Secure your copy now before it disappears into collector heaven—again!

2026 Repress

Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.

The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.

Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”

Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,” Olive grins.

Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable… I want to own the dark stuff!”

As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”

With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.

The seventh release on The Comfort comes from a legendary Finnish electro-disco duo known to any music nerd worth their salt: Putsch’79, the pair of Sami Liuski and Pauli Jylhänkangas. Across their shared catalog and solo projects, most notably Sami’s work as Bangkok Impact and 8Bit Rockets, their music has found a home on some of the most inspiring platforms and labels, including Creme Organization, WeMe, Viewlexx, Clone, Bunker, Klang Elektronik, and Klakson.

Heavy on bliss and warmth, the four tracks sit elegantly between italo, house, and disco, featuring sleek vocoders, beautiful arpeggios, soft percussion, gentle plucks, and just the right amount of low-end to hold it all together. Each track feels like being dropped into a different dream-state: from the bubbly B2 “Birdz” to the racy, forward-driving A1 “Estrange.” The grooves and soundscapes never resolve—they simply unfold—perfect for open-airs, afters, and hazy loft parties.

Some records are born on the dancefloor, some from vivid visions, and some—like this one—from the beauty of birdsong. Tracing its origin to a moment suspended between night and morning, sometime around 2016 or 2017, Birdz emerged from a shared experience: Sami and Pauli listening in awe as the world slowly woke up. This EP is their attempt to translate that fleeting encounter into music.

WRWTFWW Records is thrilled to unveil the limited edition vinyl reissue of Natural Sonic, the groundbreaking 1990 environmental percussion album by Japanese composer and performer Yoshiaki Ochi. Long a hidden gem of the kanky? ongaku movement, Natural Sonic finally returns in its full analog glory, housed in a heavyweight sleeve with obi and carefully remastered from the original archives of Wacoal Art Center / Spiral's visionary NEWSIC label.
Originally released only in Japan at the dawn of the 1990s, Natural Sonic is a mesmerizing exploration of earthly sound and rhythm - a sonic tapestry woven from wood, water, and stone, and skin. Ochi, who at the time was the in-house composer and performer for world-renowned designer Issey Miyake, created a series of elemental pieces that blur the line between avant-garde percussion, ritual music, and environmental sound art. The result is both deeply physical and profoundly meditative - an album that breathes with nature itself.
Echoing the organic minimalism of Midori Takada's Through the Looking Glass and the ecological grandeur of Geinoh Yamashirogumi's Ecophony Gaia, Ochi's compositions open portals into primal landscapes, evoking forests, rivers, and stones in flux. Part of NEWSIC's celebrated experimental catalog - alongside Yoshio Ojima's Une Collection des Chaînons, Motohiko Hamase's #Notes of Forestry, and Satsuki Shibano's Rendez-Vous - Natural Sonic now finds new life for contemporary listeners seeking sound that feels both timeless and vital.
A singular album of resonance and restraint, Natural Sonic is a treasure from the golden age of Japanese environmental music, finally available again over three decades later.

Hyperstellar returns on Bordello A Parigi with a nocturnal and deeply magnetic EP. In For a Flash captures the fleeting beauty of a moment stolen from the night, the tension of a glance that will never return, the sensation of having loved inside a dream. The record carves out a singular aesthetic through new wave, shady atmospheres, and early electronic influences.

The eponymous track, In For a Flash, opens the record like a sudden vision: a burst of light in the dark, propulsive, yet already fading. From its fatalist urgency to the longing of The Dance We Never Had, each piece suggests a different facet of the same mirage. Surrender unfolds like a slow implosion, a toxic war between release and control, while L’Amour sur Saturne drifts endlessly in a suspended space, like a tale where the impossible is still imagined.

Influenced as much by Burial as by New Order, the solitude of classical composers or eccentric glam rock acts, Hyperstellar continues to build his artistry on numbers, and intimate constellations.


Known for their exhilarating live-to-record albums such as last year's critically acclaimed Wood Blues and Giant Beauty, سماع Sama'a (Audition) is the first of two releases that will surface after أحمدAhmed’s first studio recording sessions at North London’s The Fish Factory in early 2025.

Since 2014, Ahmed أحمد have excavated and re-imagined the music of Ahmed Abdul-Malik, in an ever ongoing search for future music. Over a decade on, the group were given the opportunity to set up in the studio for the first time and, with the aid of meticulous engineer Benedic Lamdin, سماع Sama'a (Audition) is the quartet's most detailed work to date.

Fastidious fans may recognise the album's tracklisting as that of Ahmed Abdul-Malik’s Jazz Sahara. After his success collaborating with the pianists Thelonious Monk and Randy Weston, Jazz Sahara was the first record Abdul-Malik made as a leader and was released in 1958. It used the flame of late Fifties jazz to light the wick of North African folk music and acted as a reminder of the Arabic origins of jazz, creating a distinct, unique sound that was far beyond its time. In Malik’s Jazz Sahara, there is no piano. The ongoing work of each member of [Ahmed] then is to think differently, to wonder how the music will work and to take a risk on trying it out - an extraordinarily compelling feat of imagination. Using group improvisation strategies and recording in single takes, سماع [Sama'a] (Audition) tackled the full suite of Jazz Sahara in just one session, with ‘Ya Annas [Oh, People’] and ‘Isma'a [Listen’] being previously unrecorded. 'Farah 'Alaiyna’, also released on 2019’s Super Majnoon, sounds unrecognisable - the slow, heady stomp and repeated phrasing of 2019’s embryonic [Ahmed] having been blast furnaced and sped up four-fold. The result is four kaleidoscopic, relative miniatures that move, unfold and re-imagine at a very different scale and proportion than [Ahmed]’s previous records. It’s a dizzying, euphoric music and an extraordinary record of a group moving through space-time like no other.




[b] Isma'a [Listen]
[c] El Haris [Anxious]
[d] Farah 'Alaiyna [Joy Upon Us]


[b] b1 Isma'a [Listen]
[c] c1 El Haris [Anxious]
[d] d1 Farah 'Alaiyna [Joy Upon Us]


[b] b1 | Isma'a [Listen]
[c] c1 | El Haris [Anxious]
[d] d1 | Farah 'Alaiyna [Joy Upon Us]

A true gem of French animated cinema, Sylvain Chomet's Les Triplettes de Belleville (2003) left a lasting impression with its quirky universe, tender humor, and unforgettable musical score.


Composed by Benoît Charest, this cult soundtrack blends retro swing, gypsy jazz, ramshackle brass bands, and cycling rhythms to create a unique atmosphere that is both nostalgic and fiercely modern.



This vinyl edition finally celebrates the soundscape of Belleville as it deserves to be celebrated: unusual percussion instruments made from bicycle parts, mischievous orchestrations, and the playful voice of the cult song “Belleville Rendez-vous,” performed by M - Matthieu Chedid in its French version.



Carefully remastered for analog format, the record captures all the warmth and vitality of this timeless music, a vibrant tribute to the creativity and audacity of the film.


A must-have for lovers of cinema, jazz, and beautiful vinyl editions.

MidnightRoba is the solo project of vocalist, songwriter and producer Roba El-Essawy. The voice of Attica Blues (Mo Wax 1997, Sony 2000), Raise A Symphony is MidnightRoba's second solo album. Her first album, Golden Seams, very much rooted in jazz, received support, airplay and features from DJs such as Gilles Peterson (BBC Radio 6), Tony Minvielle and China Moses (Jazz FM), Robert Elms (BBC London Live) and Kevin Le Gendre on J to Z (BBC Radio 3). Single releases from this second album have been played by Gilles Peterson (WorldWideFM & BBC Radio 6), Kate Hutchinson (Soho Radio), Marshmello (NTS), Rob Luis (Tru Thoughts), Kev Beadle, Patrick Steele, DJ Amazon, and more.

'Raise A Symphony' is music of our time. A 15-track electronic offering, it comments on topics ranging from colonialism to complicity of silence; from compromised politicians to the power of protest and gratitude to those on the frontlines of change; from displacement and sea migration to the desire to protect our loved ones and the need for kindness; to have faith in the future and the importance of searching for joy in the meantime. The self-produced album 'Raise A Symphony' sees contributions from Saul Williams, Deschanel Gordon, Michael King and Tony Kofi, amongst others. The album title takes it's name from Martin Luther King's 'I Have A Dream' speech where King calls for the nation to rise to gather together and form a 'beautiful symphony of brotherhood'.

"..in Raise A Symphony, Midnight Roba has transmuted talent into something more powerful, where bridges built from her exquisite, unique harmonies, soaring songs and percussive productions allow competing emotions to co-exist and feed into each other. This album itself is a form of community; voices in unison, reaching outwards and offering restoration and upliftment throughout this remarkable work of love and fury." Emma Warren



a 01: Joy (Reprise) [feat. Deschanel Gordon]

„Deadline Season“ ist das Debütalbum von Lucy Liebe. Einigen könnte sie bereits als Gründungsmitglied von Bokoya sowie durch Konzerte mit douniah und Gianni Brezzo bekannt sein. Lucy ist Multiinstrumentalistin: Sie spielt Schlagzeug, Keys, Flöte, Trompete, Gitarre und Bass – und singt. Unterstützung erhält Lucy zudem von Sänger*innen AKA Kelzz, Coco Elane, garrrog, Giaa, Laíz und Rosa Landers sowie Trompeter Pachakuti.

Das Album entstand nach Lucys Umzug von Köln nach Berlin. „Ich war neu in der Stadt und wusste, dass ich nicht einfach weitermachen wollte wie zuvor", erinnert sie sich. „Also wurde ich sehr aktiv: habe Leute angeschrieben, Ordner mit Beats verschickt, Kontakte geknüpft. Parallel bewarb ich mich bei verschiedenen queeren Organisationen auf Forschungsstellen – ohne Erfolg. Was aber klappte, war eine Albumförderung. Und ich hatte ohnehin schon viel Material in Arbeit. Die meisten Songs sind während Sessions von Grund auf entstanden, mit Gästen, mit denen ich mich einfach treffen und gemeinsam etwas Neues schaffen wollte."

Musikalisch bewegt sich Deadline Season in viele Richtungen, bleibt dabei aber immer punktgenau und zu 100 Prozent Lucy Liebe. „Ich nenne es gerne Alternative R&B – vielleicht die 2025er-Version von Neo-Soul? Meine Jazz-Einflüsse sind auf jeden Fall noch da."

Five years after her bossa nova single "Tes petites fesses" and a notable appearance at the Colors studio in 2023, singer LYNN releases her debut album: La vie me va si bien. Comprising eleven tracks, it blends French neo-soul, smooth R&B, and minimalist pop, with a confident and sincere approach. For LYNN, each song explores the fragility of moments when tenderness shifts into doubt, expressing the fatigue of loving, the fear of losing oneself, and the beauty of longing. Her writing, precise and nuanced, focuses on detail and restraint. Accompanied by guitars, pianos, and layered voices, she tells stories between childhood and lucidity, in an organic and harmonious soundscape. The album exudes a controlled sincerity, meant to be listened to in calm, establishing LYNN as a distinctive voice, ready to mix gentleness with truth in a hurried world.

Hazy Runway Indie Rock That Oozes Vibes

Katie Schecter is for fans of Sharon Van Etten, Caroline Rose, and Amy Winehouse. Raised in NYC, it feels as if Katie Schecter time traveled to present day from a chicer and more sonically cool yesteryear of the future. She effortlessly blends the half-cool, half-kitsch of her home in Nashville that is neither new nor timeless. Deeply soulful and introspective indie rock vibes await the listener when you drop the needle on this LP. Produced with love and care by Nick Bockrath of Cage The Elephant with an incredible set of musicians (Homer Stenweiss, Leon Michels to name a few!) this LP is one that reveals more of itself the more you spin it.

Mighty Joseph is the combination of emcees Vast Aire (Cannibal Ox) with his long-time rhyme ally Karniege. The duo's sole album, Empire State (2008) was released during the tail-end of the last great non-commercial Hip-Hop period.

Never released on vinyl before, the album will be available soon on a double LP edition.

Rooted in the concrete streets but lyrically abstract, features and beats are provided by equal musical foils including Madlib, Camu Tao, Murs, J-Zone, Poison Pen and Vordul Mega (Cannibal Ox) among others.

Fan and critical attention were positive with All Hip Hop summing the album as "solid post-millennium product that bridges the gap between gritty street tales and a paranoid view of the future."

Plug One Magazine added that "Empire State" "unravels a unique perspective, documenting not only much personal change between the two emcees but also the changes in the streets of New York City. From poverty, to the September 11 attacks, to the abuse of Hip Hop culture in general, "Empire State" stands strong as a snapshot of the city."

French chanson, electro beats, pared-down or synthetic piano: at 21, Iliona draws on all of this. Plural, multifaceted, elusive. Yet her lyrics resonate as if one were singing heartache—and the love one hopes for—for the very first time.
She composes, records, and produces her tracks alone, determined to keep them as close as possible to the tunes, harmonies, and silhouettes she holds in her mind. This time, they are infused with the light of an intense love, and still carried by extreme sparseness in their arrangements: nothing—from electronic arpeggios to melodic autotune—is ever superfluous; everything has its place. Lifted by a new lightness, the tracks also echo the spirit of the yéyé sound Iliona has been listening to for a few years, without necessarily knowing the name of every songwriter or the mark they left behind. It’s their longing for carefree abandon that hovers over the hypnotic Si tu m’aimes demain and its music video inspired by the New Wave, the Beatles, and all those future memories you begin to build when you’re in love.


A gentle warmth also sweeps through the hazy doo-wop contours of Tête brûlée, and the lo-fi twist of Cocoon; but always with that veil of shadow that once floated over the apparent nonchalance of Françoise Hardy’s songs. That unease, that worried smile, resurfaces in the lovely pop gallop of Garçon manqué, an ode to the deepest friendships—the ones you hold in your arms to dance or, sometimes, to cry. Or in the delicate Cent fois, which whispers, “when will the movie scenes we quietly dreamed of come to life?”
The answer, perhaps, lies in wherever you hide, the party finds you, a superb soundtrack to an imaginary drama, whose venomous keyboards unfold the pictorial strength of Iliona’s songs.

This album originally released on Electrecord’s RCM (Romanian Contemporary Music) series in 1986 provides a selection of works which belong to Nicolae Brînduş's cycle PHTORA (1968-1972). The cycle comprises five pieces which are five degrees of structuring collective improvisation, leaning towards the spectralist tradition.

It’s probably the most eccentric record in the whole RCM series, offering a mesmerizing collage of organized cacophony, as a massive but subtly layered whirlwind of abstract orchestral improvisations, Romanian picturesque folklore and free jazz with extensive use of tape manipulation and reverberation.

This reissue comes with the beautiful original sleeve artwork by Ana Golici who designed many sleeves for Electrecord.

SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.