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Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician’s life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender’s is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably : Melchior is a perfect cover-boy, and his very existence has put our man back to work.



They set a path for phat electronic ventures (and by the way, mostly english-speaking). Sub- continental bass & massive drums, heavy-footed and unabashed : as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on “UFO” and “Waiting for the sign” : Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo, our favorite Japanese « it » girl in Paris, also sent her “Postcard”, more vapour than song, unreal musical cotton candy of arrangements.


Domotic, who mixes and co-produces, gives a nice spin to “Count to 10”, a hip-hop/kraut crossover with a BEAK> flavour. The Forever Pavot, once a big-band, will be touring as a bass/ drums/keys & vocals trio, with Melchior as guest.



Record after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. « Le robot gentilhomme », a skillful pastiche of baroque composer Jean-Baptiste Lully, would stand a few rounds against Wendy Carlos. His love for oldies also shines through “Skyway”, a nod to the late Pierre Arvay, France’s Colonel Sanders of library music nuggets.



Forever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone & François de Roubaix make Hitchcock-style cameos: discreet appearances that you’ll watch out for (those syncopated cascades of syllables at the end of « UFO », and I guess we can indulge with some clavichord/ondioline Victoria sponge). His new flirt is all but a toxic relationship. « Melchior, Vol. 1 »: the robo-bromance is not over yet.

Wiederveröffentlichung des Debutalbums 'Shadows Of The Dying Light' der schwedischen Cineastic Melodic Hard Rock Band Sarayasign. Mit Wurzeln im Gitarren Rock der späten 70er Jahren und dem Kinoerlebnis des 21. Jahrhunderts. Klingt wie Queensrÿche, Dio, Avantasia oder Allen/Lande. Jetzt erhältlich als Ltd. Col. 2LP!

Diese LP, die ursprünglich 2002 auf CD veröffentlicht wurde, enthält Archivaufnahmen aus dem Jahr 1959 sowie Aufnahmen, die Hal Willner im Januar 2001 (7. bis 10. Januar) gemacht hat. Zum ersten Mal überhaupt auf Vinyl erhältlich, wurde ,DIE ON ME" von Kramer remastered und neu bearbeitet. Diese historische Sammlung enthält die letzten Sprachaufnahmen des legendären Beat-Poeten Gregory Corso. Intim und unverfälscht sinniert er im Gespräch mit seinen Freunden Allen Ginsberg, Marianne Faithfull und dem legendären Chicagoer Schriftsteller Studs Terkel über sein Leben und diskutiert und rezitiert einige seiner beliebtesten Gedichte. Die Aufnahmen beleuchten Corsos Gedanken zu seinem eigenen Werk in aufschlussreichen Details. Keine andere Spoken-Word-LP beleuchtet ihr Thema so eindringlich. Marianne Faithfull fordert ihn spielerisch auf, Geschichten zu erzählen, und auf seine Bitte hin beehrt sie ihn mit ihren eigenen Rezitationen seiner Gedichte. Dies ist ein einzigartiges Kompendium der Werke eines der unterschätzten Helden der modernen Poesie, produziert vom verstorbenen großen Hal Willner. Gregory Corso starb am 17. Januar im Alter von 70 Jahren, nur wenige Tage nachdem viele dieser wertvollen Aufnahmen fertiggestellt worden waren. Corsos Asche wurde am 5. Mai 2001 in Rom am Fuße des Grabes von Percy Bysshe Shelley auf dem Cimitero Acattiolico beigesetzt. John Keats liegt in der Nähe.

Undiluted - a highly anticipated collaborative Hip-Hop album from two of the underground’s most respected artists, Cymarshall Law and Ramson Badbonez, One Nation Exclusive.

As trans-Atlantic alchemists pulling from a shared dialectic that somehow encompassed both postmodern deconstructionist tendencies and a delightfully subversive sense of poptimism, it’s easy to see how David Cunningham and Peter Gordon immediately hit it off upon initially meeting each other back in the late-1970s at the height of their youthful transgressions. Having initially worked together on the second Flying Lizards’ LP fourth wall, with its ingenious fusion of dismantled rhythms and rearranged melodies juxtaposed against the slyly sultry singing of Snatch’s Patti Palladin— with Gordon adding a few sprinkles of mischievous sax in the mix— it’s no wonder the collaboration would lead to further musical adventures.

Which leads us directly to the genesis of The Yellow Box. Embarking on a collaborative exercise in the structural repurposing of music as untethered puzzle pieces in need of rearrangement with no predetermined outcomes, the duo gave birth to a project that would see them move through both time and recording studios across Europe, taking nearly two years from 1981-1983 to complete. Enlisting the great Anton Fier on drums from The Feelies/Lounge Lizards nexus and John Greaves on bass from Henry Cow/Soft Heap lore to round out their dueling creative counterparts, the album would be something of a lost treasure until its eventual release on Cunningham’s Piano imprint in 1996.

Cinematic in scope, and filled with drifting drones, beautiful counter-melodies, eery minimalism, Kraftwerkian synthesizers, looped voices, skronky interludes, and other shifting undercurrents of sound, it was an album that utilized both a diverse array of expressive languages, as well as early sampling techniques and prepared instruments, well before most people were thinking in such expansive, integrated terms at the dawn of the 80’s. But such is life at the vanguard of new music. And one of the reasons that it likely sat on the shelf for so long before finally being released well over a decade later. Like a sparser, less groove-oriented version of My Life in the Bush of Ghosts, or a more radical take on the experimental work of Can’s Holger Czukay, The Yellow Box stands at the crossroads of time and technology, fusing multiple strands of musical thought and compositional techniques into a disjointed whole that somehow still comes off as a conceptually complete record.

Now, here it is again, over 40 years later, with perhaps even more historical resonance than it had before, remade and remodeled just waiting to be rediscovered again.

The perfect accompaniment to that deep fall feeling, Frank Maston's beloved 2025 single finally gets its long overdue vinyl release! As our friends New Commute articulated beautifully, "Foreign Affairs" drifts through London fog and Paris shimmer, its avant-lounge glow wrapping each melody in a wistful ache. On B-side "Liaison," ghostly strings and a solitary piano paint a deserted twilight shoreline, Pacôme Henry's distinct 16mm cinematography hovering nearby." We've pressed just 500 of these gorgeous records so, be quick, Maston always flies.

Originally written for a film Maston was scoring in 2024, he decided to keep it aside for himself. And, well, us all. The song has a vibe Maston has previously flirted with; he wanted to dive in...all the way: "The arrangement is huge, definitely the biggest I've written, and it merited live musicians playing together. Also another experiment, to do it with all live musicians playing my arrangements. I wanted to make something that you'd want to put on when you bring a date back to your place. It's on the edge of sappy but that's sort of the point. I decided to give myself an unlimited budget - just spend whatever was necessary to get the right musicians and record it the best way possible."

It's this dedication to sonic perfection which Maston is rightly lauded for. We couldn't not put this on a cute wee 7" when we heard it.

The A side, "Foreign Affairs", is a brilliant, Bacharach-esque romp with a bit of that unapologetically romantic Morricone angle. Says Frank: "I was trying to synthesize that sort of jazzy/sexy/classy/romantic mature sound, where the edginess is in these surprising chord changes and subtle arrangement cues."

A wonderful complement, the flipside "Liaison", evokes Martin Denny, but Eden's Island was in Frank's head, too. He wanted to take a deep dive into that exotica sound - a genre he'd referenced a bit but never fully committed to - so the piece is lavished with those big sighing strings and a pretty lush arrangement. Happily, it all sounds super rich. Also, "Umiliani is always a reference for this sort of thing (Il Corpo etc.), That almost mechanical arrangement of things moving together and a simple melody over it (something I nicked from Ennio)".

The two songs were recorded in Paris and London in the summer of 2024. Aside from the rhythm section and piano, there's vibraphone, a full string section, trombones and alto and concert flutes. "Liaison" boasts strings, vibraphone, a female choir and tenor sax. Maston played piano and acoustic guitar but that's it (as opposed to playing basically everything on Tulips). His friend Oscar Sholto Robertson played drums and percussion whilst Maston mainstay Elie Ghersinu (formerly of L'Eclair) played bass.

The theme for a lot of Maston's titles is that they have two meanings. So "Foreign Affairs" is both a reference to him living abroad and the idea of constant cultural diplomacy and then there's this sexy/cheeky interpretation of foreign affairs in a literal way - "an affair abroad, ooh la la!". The artwork for this 7" single has Roman campaign flags, referencing the foreign affairs in sort of a sassy way. There's a violence implied. But then if you look from a bit of a distance it looks like a bouquet of flowers. So Frank thought it went with the spirit of the title. Also, he's used a lot of roman motifs now so he kept that theme going, even with the terracotta cover.

This is a vitally important project for our Frank. He explains why, here: "For whatever reason, these songs really resonated with me. I feel like they are either the end of a stylistic era for me or the beginning of a new one. They're sonically the culmination of what I'd been working towards and trying to get better at since I started. If I heard this when I was making Tulips I would have said "YES! *This* is what I want to be doing!". So that's the essence of it. It's a statement and the intended reaction is "This is really good, but why now?". Like the edge to it is the context of someone making this sort of thing in 2025, which I think is a huge strength. The real heads will get it. My music always has like a 2-3 year latency until people really catch onto it, and these ones will have a nice payoff I think."

We couldn't put it better ourselves. So we haven't.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again, ” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset. ” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead, ” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

ANORAX goes for the jugular - offering 2 in-demand gems from the legendary USA All-Platinum label - with its’ latest #eatsleepcollect 7” release.

The a side is a real coup, the first ever worldwide issue on single of the much loved Just Having Your Love by veteran Soul trio The Moments. JHYL is up there with the acts much loved Nine Times and I’ve Got The Need as a creator of dancefloor frenzy but being an album only track has restricted its DJ plays.

Now, for the first time in 50 years, it is available on 7” single so the simmering demand can finally be satisfied. The track fuses timeless Soul harmonies with exuberant magically produced New Jersey Disco and as well as being a Modern Soul connoisseurs favourite has long been a Northern Soul floor filler. The flip was also released on All Platinum’s Turbo imprint and was produced and written by The Moments. The Rimshots were the house band at All Platinum’s recording studio in Engelwood and had close links with The Moments who they toured with as support. Do What You Feel saw them take centre stage in 1975 as the adrenalin up chanted jam became a funk anthem. Five decades on it is still a timeless gem at jazz funk venues.

For the ninth installment of the _NRV series, Romania’s Cosmjn delivers The Music Behind EP — four hypnotic cuts that showcase his trademark swing and subtle intensity. Cosmjn is a name most in the minimal circuit perk up just seeing on the sleeve. He runs the Radial imprint together with LIZZ — who appeared on _NRV006, in case you missed that. “Doom Alarm” sets the tone with driving percussion and a shadowy groove, while “Dirty Wob” leans into gritty bass pressure and late-night warehouse energy. On the flip, “Nancy Byoss” pushes forward with a heavy, propulsive workout built for maximum floor impact, before “The Music Behind” closes the record with a spacious, dynamic trip that stretches into the after-hours. A versatile EP, primed for the booth and the bag alike.

Volpe is the finely tuned trio led by Ghent-based pianist Heleen Andriessen. Drummer Stijn Demuynck and bassist Kobe Boon support Andriessen's lyrical melodies with an infectious groove. The carefully crafted compositions alternate between energetic and melancholic, allowing the listener to feel immersed in a warm bath while transporting them to an uncanny world.

'elders' (Dutch for "elsewhere"), doesn't refer to a physical place but to a refuge in Heleen's mind-a sanctuary where she searches for beauty on gray, rainy November days. A simple detail taken from everyday life can serve as a gateway to this hopeful, imaginative world. Musically, this translates to repetitive patterns that gradually evolve or suddenly burst open. Subtle dissonance is welcome here, with the band lovingly embracing the slight disruption it offers. Heleen's playful runs and Stijn Demuynck's grooves balance the melancholic undertones. Seemingly simple melodies tell stories and offer familiarity to listening ears.

keywords: piano trio, contemporary jazz, keith jarrett, modal jazz, minimalist

The engine idles low. The story is almost told. Jaguar On Palisade 3 marks the final descent in a trilogy carved from fog, memory, and cold chrome — a farewell wrapped in smoke and steel.

CRIMEAPPLE weaves through late-night laments and razor-edge reflections, cruising past ghosts and gilded silence, traveling over cinematic productions by trusted collaborators: DJ Muggs, DJ Brown 13, Michaelangelo, Buck Dudley, Loman, DJ Skizz, and Comma Uno. Each beat is a scene; each bar, a flicker of something lost. There’s heat, there’s hunger, and the creeping calm of finality.

It’s not about where we’re going — it’s about what we’ve already left behind. Pressed on limited edition vinyl for those who’ve been riding since the ignition turned. No reruns. No reissues. Just one last ride.

From the shores of Lake Erie to the heart of the dancefloor, DJ Romain opens a brand new chapter with The Cleveland EP, his latest release on legendary UK house imprint Hard Times.

Having relocated from his beloved New Jersey to Cleveland, Ohio, Romain dismantled and rebuilt his studio piece by piece, laying the foundations for a new wave of creativity. Following his acclaimed Lost D.A.T.S. series and The New Jersey EP, this marks the first body of music born entirely from his new northern base.

The EP kicks off with the haunting vocal and ghostly chords of 'Change Your Mind', before diving into the rattling hats, crisp snares, and plucked bassline of ‘Crysis’ - a pure Romain floor-tool. 'Cuz You Like' rolls deep with warm, shuffling UK vocal energy, while closer 'Deep Reaktor' lands with preaching tones and heavyweight bump, sealing the collection in signature style.

With The Cleveland EP, Romain bridges past and present - new city, same uncompromising house spirit.

Molekul is taking its claim in the underground techno scene, teaming up with the next-gen artists on this 6 tracks compilation built for the dancefloors. Each artist delivering their own signature sound and personal energy, making this release unique.

Wahrscheinlich das erste Album, das komplett in einem Bundesliga-Fußballstadion geschrieben und aufgenommen wurde, nämlich im Millerntor-Stadion des FC St. Pauli in Hamburg. Keine Sorge, es klingt überhaupt nicht nach Stadionrock. Ganz im Gegenteil sogar ... Lo-Fi, ohne spröde zu sein, und minimalistisch, ohne karg zu wirken. Seit 1995 haben sich Swearing At Motorists mit ihrer rohen Energie, ihren herzlichen Songtexten und ihrer unerbittlichen DIY-Ethik eine Kult-Anhängerschaft aufgebaut. Als ,The World's Local Band" bezeichnet, sind sie unzählige Kilometer gereist, um weltweit Konzerte zu geben, und haben die Bühne mit legendären Acts wie Guided By Voices, Songs:Ohia, The Breeders, Spoon, Unwound, Brainiac, The Lemonheads, My Morning Jacket und vielen anderen geteilt. Nach einer zehnjährigen Pause ist die Band zurück. Von Kritikern gefeiert, aber definitiv unter dem Radar geblieben, sind Swearing At Motorists nach wie vor ein beliebter Fixpunkt der Indie-Rock-Underground-Szene.

SoftSun was formed in 2023 by guitarist Gary Arce (Yawning Man) and bassist/vocalist Pia Isaksen (PIA ISA). On their second album they are joined by Robert Garson on drums. The band is experimenting with sounds and are difficult to place in a specific genre. They have a style of their own with contrasts of softness and distortion, beauty and noise and emotional peaks and valleys. The music is patient, heavy and dreamy, with haunting vocals and beautiful guitars drenched in distortion and reverb over patient and thought out drums. The songs are flowing slowly and take inspiration from both the Californian desert landscapes to the Norwegian oceans where the two founding members come from. On this second record SoftSun has developed their sound further and sound both moody, experimental, beautiful, and raw.

Aqua Blue vinyl, limited to 350 copies. SoftSun was formed in 2023 by guitarist Gary Arce (Yawning Man) and bassist/vocalist Pia Isaksen (PIA ISA). On their second album they are joined by Robert Garson on drums. The band is experimenting with sounds and are difficult to place in a specific genre. They have a style of their own with contrasts of softness and distortion, beauty and noise and emotional peaks and valleys. The music is patient, heavy and dreamy, with haunting vocals and beautiful guitars drenched in distortion and reverb over patient and thought out drums. The songs are flowing slowly and take inspiration from both the Californian desert landscapes to the Norwegian oceans where the two founding members come from. On this second record SoftSun has developed their sound further and sound both moody, experimental, beautiful, and raw.

Wounds is the band's long-awaited fifth album - their first in six years, their most eclectic and ambitious work to date. As heavy as it is haunting, the record masterfully blends doom, post-punk, and driving krautrock in a dynamic, hypnotic maelstrom - pushing London's most exciting cult band into intoxicating new territory. "Wounds is a series of songs about the different ways people live with and process 'the wounds' of their lives," explains vocalist Maya. "A strange celebration of that formative pain we have all experienced in some way. The loss and joy of survival - the celebration of finding others like us, the gift of knowing life comes after fire." Wounds was recorded by Mike Bew, on location at Foel Studio. The band could be found working deep into the witching hours, experimenting with new sounds and filling the valleys with cantankerous wails of sound, bursting from amps borrowed from My Bloody Valentine. "The Welsh countryside has a mystical quality to it," says guitarist Adam. "We recorded in a deep, dark valley; misty days and shooting stars at night. You could wander through nearby woods and stone circles during breaks. Foel Studios is woven into this setting with a transcendence of its own - its storied history includes sessions by Electric Wizard, Hawkwind and The Fall." Synths on the album are arranged by Berlin-based Bow Church, an influential figure in the dark electronic scene and a longtime collaborator of the band. His work weaves icy and atmospheric textures into the album's tracks. While meticulously crafted, Wounds captures the visceral energy of Cold in Berlin's renowned live shows. The album's arrangements and raucous sound remain true to the unrelenting intensity and atmosphere of their stage performances - every track retains the sweat, urgency, and immediacy of a band performing in the moment.

Couples Therapy - the split between Philly buds Modern Baseball and Marietta is available re-mastered and on vinyl!

Camp Trash ist das Ergebnis von zwei Freundschaften: 1. Friendship America, die kurzlebige Band aus Sarasota, die von den Brüdern Keegan und Levi Bradford und Bryan Gorman gegründet wurde, und 2. die jahrzehntelange Freundschaft und Zusammenarbeit beim Songwriting zwischen Keegan und Bryan. Nachdem Keegan Florida verlassen hatte, blieben er und Bryan in Kontakt, indem sie an Musik arbeiteten und sich Song-Demos per E-Mail schickten. Obwohl sie in verschiedenen Bundesstaaten lebten, beschlossen die drei Freunde, dass es Zeit war, mit den Songs, die sie geschrieben hatten, ein neues Projekt zu starten. Sie gründeten Camp Trash, ohne einen Plan zu haben, wie sie aufnehmen oder auf Tour gehen würden, nur mit einer Handvoll Songs und der Freude, gemeinsam mit Freunden etwas zu schaffen. Camp Trash unterschrieb 2020 bei Count Your Lucky Stars Records, veröffentlichte 2021 ihre Debüt-EP ,Downtiming" und 2022 ihr erstes Album ,The Long Way, The Slow Way". Ihr neues Album ,Two Hundred Thousand Dollars" wurde von James Palko aufgenommen, produziert und gemischt, von Zach Weeks bei God City Studios gemastert und enthält einen neuen Beitrag von Kyle Meggison (ehemals Worst Party Ever) am Schlagzeug. Die zweite LP der Band ist das Ergebnis jahrelanger Begeisterung für Fountains of Wayne und Guided by Voices und dem Wunsch, kurze, laute und eingängige Songs zu schreiben. Die Songs sind lose miteinander verbundene Charakterskizzen, die unglücklichen Betrügern, Spielern, Sektenmitgliedern und kleinen Gangstern folgen, die von etwas Größerem träumen und sich narrensichere Pläne ausdenken, um dorthin zu gelangen, aber feststellen, dass der Weg dorthin komplizierter ist, als sie sich jemals vorgestellt haben.

First chapter of a futuristic dub experiment series by The 18th Parallel. Geneva based collective invites engineer extraordinaire Roberto Sánchez to revisit 10 scorcher riddims from the Fruits Records vault to craft this inventive modern classic. Reminiscent of the greatest dub albums by King Tubby, Scientist, Prince Jammy, or Lee ‘Scratch’ Perry.

Fruits Records presents the first volume of a series of dub albums by Swiss collective The 18th Parallel. Following in the tradition of Jamaican producers who revisited their catalogues in dub versions, such as Bunny Lee and his Aggrovators with King Tubby, Junjo Lawes or Linval Thompson teaming up with Roots Radics and Scientist, or Joe Gibbs and his Professionals with Errol Thompson, Fruits Records is launching a series of dub albums produced by the label's studio band, The 18th Parallel, which will invite different sound engineers to (re)mix the tracks throughout the albums: DUB AVALANCHE. This first volume offers a deep dive into the label's catalogue through ten classic or unreleased riddims revisited by Fruits Records' long-time partner, Spanish sound engineer extraordinaire Roberto Sánchez. The instrumentals are brilliantly performed by The 18th Parallel and punctuated by the voices of legendary artists such as The Viceroys, Lone Ranger, Cornell Campbell, and Dennis Walks, who appear fleetingly before disappearing into clouds of echo. Roberto Sánchez performs ten explosive, creative sound deconstructions, playing with stylistic codes to stimulate our memory and offer a timeless sensory experience.
Like the classics of the genre, the cover art evokes a quirky retro-futuristic imaginary space where, breaking with convention, the talent of Mexican artist Melissa Santamaría is expressed through a striking metaphor of a sonic avalanche.

DUB AVALANCHE VOL. 1 is already establishing itself as a future must-have for fans of uncompromising reggae and dub!

Since first bursting onto the scene with her classic Number One hit singles 'Can The Can' and 'Devil Gate Drive', Suzi Quatro has sold over 50 million records worldwide and is recognized as a true rock 'n' roll legend and feminist icon. Over her 50-year career, Suzi has inspired countless artists from Joan Jett to Debbie Harry and KT Tunstall. She is also known for her role as theLeather Tuscadero in 'Happy Days'. 'A's & B's' is a collection putting the spotlight on her classic '70s singles. Side one is packed with hits including 'The Wild One', 'Devil Gate Drive', '48 Crash' and 'Can The Can', whilst side two showcases the Quatro-penned B-sides which accompanied those iconic rock singles Available on vinyl for the first time, the compilation is remastered from the original master tapes by Phil Kinrade at AIR Mastering, and is pressed on 140g red glitter vinyl with a top-loading sleeve.

None other than Nick Cave helped director John Hillcoat with the screenplay for the movie Lawless, while he also took great care of the movie’s soundtrack. Cave and fellow musician Warren Ellis form the core of The Bootleggers, a country and bluegrass ensemble that welcome a string of guests artist like Emmylou Harris, Ralph Stanley and Mark Lanegan. The Lawless soundtrack contains cover versions of artists such as Velvet Underground and Captain Beefheart and also features original compositions by Cave/Ellis and the great Willie Nelson. Lawless is a studded movie by director John Hillcoat (The Road, The Proposition) about a gang of bootleggers in Virginia during the Great Depression. And when we say star-studded, we really mean it: Guy Pierce, Gary Oldman, Tom Hardy and Shia LeBoeuf signed up for the gritty and evocative story about brothers who try to create their own American Dream during Prohibition. Lawless is available as a limited edition edition of 750 numbered copies on smoke coloured vinyl and includes an 8-page booklet with movie pictures and liner notes by Hal Willner and director John Hillcoat.

The Dears have made some of the most beautiful music of the past quarter century, but also some of the most defiant, with an attitude and emphasis that seems to blend the operatic with a punk sensibility. On their new album, "Life Is Beautiful! Life Is Beautiful! Life Is Beautiful!", The Dears are again at the top of their form, coming back with passionate, compassionate, urgent music that uplifts, explores dark corners, and ultimately shines out in a way that's absolutely gorgeous, with an edge.

""Life Is Beautiful! Life Is Beautiful! Life is Beautiful!" feels like a new masterpiece and provides further evidence that The Dears are a vital part of the musical landscape, and also just completely doing their own thing, as ever." "If I love The Dears, if you love The Dears, it's because that orchestral, symphonic feel, those gorgeous melodies, are grounded in a gritty, gonna-die-on-this hill mentality and a heady intellectualism." "... my heart skipped a beat from the opening chords of "Gotta Get My Head Right"—a masterpiece of rising tension and killer melodies, layered and precise and yet roving and wild, with changes in the music and the progressions that alter your brain while listening. What follows is an album that's as various and yet as unified as that first track. Few bands can achieve this kind of complexity while also making it seem timeless and so very perfect." "There's no one like The Dears and there never will be, and I really appreciate that so very much." - excerpts from the album bio, written by New York Times bestselling author Jeff VanderMeer

The Dears' 9th studio album, "Life Is Beautiful! Life Is Beautiful! Life Is Beautiful", pressed on gold vinyl in a limited edition of 1000, will release worldwide 11/7 via Next Door Records.

Calling a Deicide album “more accessible” is kind of like calling a velociraptor less lethal than a T-Rex…you’re gonna die either way. But on 1997’s Serpents of the Light, the fourth album from the Tampa death metal quartet, Glen Benton’s rage-filled imprecations are a little more intelligible and songs like “Slave to the Cross” and “Blame It on God” do sport choruses that verge upon being hooky (if you have a meathook in mind). The anti-religion invective remains unabated, however… this remains music in extremis despite the stripped-down production. For its first-ever standalone U.S. LP release, we’ve remastered Serpents of the Light for vinyl and given it an Orange Smoke pressing complete with an inner sleeve featuring lyrics and a 12” x 24” poster of the cover image. Not for even the faintly faint of heart

Calling a Deicide album “more accessible” is kind of like calling a velociraptor less lethal than a T-Rex…you’re gonna die either way. But on 1997’s Serpents of the Light, the fourth album from the Tampa death metal quartet, Glen Benton’s rage-filled imprecations are a little more intelligible and songs like “Slave to the Cross” and “Blame It on God” do sport choruses that verge upon being hooky (if you have a meathook in mind). The anti-religion invective remains unabated, however… this remains music in extremis despite the stripped-down production. For its first-ever standalone U.S. LP release, we’ve remastered Serpents of the Light for vinyl and given it an Orange Smoke pressing complete with an inner sleeve featuring lyrics and a 12” x 24” poster of the cover image. Not for even the faintly faint of heart

During the past 50 years, tenor-saxophonist Scott Hamilton has been one of the most consistent jazz artists, always taking thoughtful and swinging solos while displaying a warm tone. His 2004 live recording brought a top-notch quartet to the Jazzclub De Tor, Enschede, the Netherlands. Accompanied by pianist Rein de Graaf, bassplayer Marius Beets and on drums Eric Ineke, Scott Hamilton plays six jazz tracks from the set including "Rhythm Riff", a 12-chorus solo that gradually builds in excitement. Live at De Tor is available as a limited edition on silver coloured vinyl, contains liner notes on back of the sleeve by jazz journalist/author Scott Yanow.

Finding Ways is a new project from Sebastian Rochford (Polar Bear).

Sebastian Rochford is a singular force in British music, an extraordinary drummer, composer, and producer. His work with theiconic group Polar Bear helped redefine the boundaries of jazz and earned multiple Mercury Prize nominations. With a careerspanning collaborations with Patti Smith, Damon Albarn, Brian Eno, Adele and Grace Jones, and his 2023 ECM duo album A ShortDiary with Kit Downes, an album written for his father described as a “ quiet masterpiece” , Rochford has carved out a uniquespace in contemporary music.Finding Ways, his new major project, marks a bold new chapter for Seb Rochford. The first album focuses on the guitar, featuringamong others, the dynamic lineup of Tara Cunningham, David Preston, Adrian Utley (Portishead), and Simon Tong(The Verve,Gorillaz), exploring various combinations and layering up to three guitars at once. The result is a striking blend of jaggedexperimental grooves and raw emotional depth, with an unaffected, pedal-less sound that evokes a timeless, exploratory edge.Rochford’s music, as ever, defies categorisation—a sound that feels alive, fractured, and profoundly human, and all mixed by thesingular talent and master of sound, Tchad Blake.The title Finding Ways refers to a frame of mind he chose to adopt after multiple significant life events happening in a smallamount of time. "It’s about finding ways to keep ourselves moving forward and buoyant, transforming life’s challenges intosomething meaningful, also in a practical, everyday type of way.In Finding Ways, it’s direct, energetic music that refuses to be boxed in, a reflection of Seb Rochford's trailblazing spirit. For fansof his previous work and newcomers alike, this album is a testament to his ongoing quest to find emotional truth in sound.

Léo Dupleix return to Black Truffle with Round Sky, following the enchanting Resonant Trees (BT119). The composer here performs on analogue synthesizer, harpsichord and spinet as one member of Asterales, a group that brings together four important figures in the international community of musicians working with just intonation: Dupleix, Jon Heilbron (double bass), Rebecca Lane (quarter-tone flute) and Frederik Rasten (guitars). The quartet perform three recent pieces by Dupleix, each of which is like a different view on the same landscape of unruffled calm, where the unique harmonic events made possible by just intonation flicker across melodies and harmonies like light on the surface of water.

The first side is dedicated to ‘Poème d’air’, composed while Dupleix was immersed in the music of 14thcentury ars nova composer-poet Guillaume de Machaut. A sustained study of the ‘sonic possibilities of low-pitched sounds in just intonation’, it begins with a long, rumbling pitch from Heilbron’s bass, soon joined by the organ-like tones of the composer on synthesizer. The piece is made up of cycling sequences of chords, each of which is repeated for several minutes before the music either freezes on a single harmony or silently pauses before the next episode begins. These structures are initially dominated by the bass and synthesizer, with Lane’s pure vibrato-less flute tone and Rasten picked harmonics adding flashes of colour. As the piece develops, flute and guitar become more prominent and the bass climbs to higher registers. The development culminates in a stunning episode around fifteen minutes in where the texture thins out, casting a spotlight on a melodic figure exploiting the uncanny sound of Lane’s quarter-tone flute.

On the second side we are treated to two briefer pieces, closer to the sound of Resonant Trees as they return harpsichord and spinet to the foreground. ‘Ghosts’ centres on a harpsichord melody that slowly expands as it repeats, growing from a haunting six-note cell to a flowing succession of notes whose shape become increasingly difficult to perceive. Alongside this melodic development, an increasingly lush accompaniment grows, with long tones from bass, flute, e-bowed guitar and synthesizer holding notes picked out the harpsichord melody in a swaying harmonic cloud. Dupleix notes that the concluding ‘Round Sky’ was written in the countryside in spring, a circumstance that seems far from irrelevant to the impression the piece makes when its euphonous spinet arpeggios emerge from a gentle synthesizer drone like a flower from a bud. Performed as a duo with Rasten, with both instrumentalists also singing, this title piece exemplifies what makes Dupleix’s music so unique: grounded in a rigorous application of just intonation principles yet as open as Harold Budd or Andrew Chalk to an uncomplicated, intuitive experience of beauty.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

"The Archer" is the second studio album by American musician Alexandra Savior. It was released on January 10, 2020 through 30th Century Records. "The Archer" was produced by Sam Cohen, often known as a fan of collaboration. On working with Savior, Cohen says, "It's really a joy to work with someone who's got such a strong sense of melody and also such a strong sense of what she wants stylistically." Savior's debut record, "Belladonna of Sadness", was written in collaboration with Alex Turner of Arctic Monkeys and NME says, "Savior continues to build on that bold arrival and is becoming a star in her own right." "The Archer" shows that not only does her voice stand alone, but that her musicality stands alone, too.

The Klezmaticsare thrilled to announce the re-issue of their seminal 1990 album, "Rhythm & Jews Revisited", set for release on limited-edition vinyl LP pressed on Bio Vinyl. In 2026, The Klezmatics will be celebrating their 40th anniversary. This milestone will include the re-issue of many of their landmark recordings which will include previously unpublished material. Originally released in the pre-digital era, this groundbreaking album never made its way to modern platforms, until now. The re-issue features alternate versions of the album"s iconic tracks, unearthed from recently discovered master files, offering fans and new listeners alike a fresh perspective on this klezmer masterpiece.

Puhdys - Live im Musikladen 1977 & mehr: Die frühen West-Auftritte Mitte der 1970er Jahre wagten die Puhdys erste Schritte über die Grenzen der DDR hinaus. 1974 spielten sie in Belgien, 1975 folgten Auftritte in niederländischen Diskotheken. 1976 standen sie beim Festival in Turku (Finnland) sogar mit Chuck Berry auf der Bühne und traten erstmals in der Bundesrepublik auf - beim "Fest der Jugend" in Dortmund. Ein besonderer Meilenstein war die Einladung zur Sendung "Musikladen Extra" im Februar 1977. Die Aufzeichnung in den Studios von Radio Bremen zeigte die Band ungewohnt locker und spontan - ganz anders als bei den streng durchgeplanten DDR-TV-Produktionen. Dieter "Maschine" Birr erinnert sich lebhaft an die entspannte Atmosphäre und die Gastfreundschaft von Produzent Mike Leckebusch. Diese Veröffentlichung dokumentiert die frühen West-Auftritte der Puhdys mit Originalmaterial aus dem "Musikladen" und weiteren seltenen Archivaufnahmen. Sie zeigt eindrucksvoll, wie die Band ihren Weg in die westliche Musiklandschaft fand - lange bevor sie mit über 22 Millionen verkauften Tonträgern und mehr als 4.000 Konzerten zur festen Größe der deutschen Rockgeschichte wurde.

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their second album, How You Been, finds the supergroup of prolific composer/producers pushing ever further into the hyperrealist, collectivist approach to music creation nascently explored on their debut Small Medium Large, which was lauded as "awe-inspiring" by Glide, "exuberant" by the Los Angeles Times, and "an exciting milestone" by Pitchfork. As SML has evolved and spread out in space-time, their fluencies, both as an improvising unit in performance and as a production team in the studio, have sharpened. At inception the band inspired disparate but distinctive artist comparisons like Essential Logic, Oval, Herbie Hancock"s Sextant, and electric Miles Davis, as well as assorted genre touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How You Been their work manages to both collapse and explode such derivatives, displaying a new, high resolution version of SML, fully-flowered into a new strain of sound, bound to incite its own copycats in due time.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger"s Oblivion Express. The band - Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas - was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory. Critics took notice, with Billboard praising the album as "excellent in development and inventiveness", and it found its way onto multiple charts at once.

A Single Woman was reissued in 2006, adding seven of those performances left behind. Now, four more previously unissued recordings from those sessions have been added to create A Single Woman: The Complete Elektra Recordings—21 tracks on CD and double-LP. Newly remastered, this collection also contains new liner notes from the British Ambassador of Soul, David Nathan, outlining both the recording of the album, but also recounting his nearly three-decade relationship with Dr. Simone—beginning when he formed the UK Nina Simone Appreciation Society in 1965. Experience this icon’s final studio recordings in the most comprehensive way with A Single Woman: The Complete Elektra Rcordings.

Der Breakthrough-Artist sombr hat sein Debütalbum "I Barely Know Her" veröffentlicht. Das 10-Track-Album ist jetzt über Warner Records erhältlich und enthält die Hits „back to friends”, „undressed” und „12 to 12” (inklusive Musikvideo mit Addison Rae), die weiterhin international die Charts stürmen – darunter die globalen Spotify-Charts, die UK Official Singles Charts sowie die US-amerikanischen „Top 40 Radio“ und „Alternative Radio“-Charts. In diesen erreichte sombr schneller als jeder andere neue Künstler der letzten zehn Jahre Platz 1. Auch in den Billboard Hot Rock Songs setzte er ein Ausrufezeichen und verdrängte Hozier nach einem Jahr von der Spitze. In Deutschland befinden sich mit „back to friends”, "12 to 12" und „undressed” mittlerweile 3 Singles in den Top 30 der deutschen Single-Charts und das Debutalbum schoss auf Platz #16 der offiziellen deutschen Albumcharts!
"I Barely Know Her" wurde komplett von sombr geschrieben und vom 20-jährigen Künstler zusammen mit dem renommierten Produzenten Tony Berg (Phoebe Bridgers, The Replacements) co-produziert. Gegenüber i-D gibt er zu Protokoll, die Songs seien inspiriert von „young romance, dimly lit rooms, late nights, and love, loss, and life.” Die Veröffentlichung folgt auf die Nachricht, dass sombr sein Debüt bei den MTV Video Music Awards geben wird – live aus New York am 7. September –, wo er als Best New Artist und Best Alternative Artist nominiert ist.

sombr (bürgerlich Shane Boose) wuchs im New Yorker Stadtteil Lower East Side auf und entdeckte seine Liebe zur Musik als Teenager im eigenen Schlafzimmer. Parallel dazu studierte er klassische Musik an der renommierten LaGuardia High School. Mit dem viralen Hit „Caroline“ (2022) wurde er über Nacht zum Internetphänomen. Seitdem hat er mehrere EPs und Singles veröffentlicht und bringt es inzwischen auf über 400 Millionen monatliche Streams über alle Plattformen hinweg. Heute lebt sombr in Los Angeles und verarbeitet in seinen Songs die Höhen und Tiefen junger Liebe – alles selbst geschrieben, co-produziert und veröffentlicht über Warner Records.

Official 12" reissue of Freex Machine's sought-after discoid-funk burner. Two underground groove-led gems recorded and released in 1979 on the New York indie-label Starbase Sounds. The Freex Machine hailed from Corona, Queens and had emerged as an extension of the group Hooker, a teenage band of musicians that started performing together in the early 70s, earning a respected reputation locally. Whilst a handful of singles were released under various monikers, including Aura and Stars, the band's distinct New York-centric live funk sound remained consistent.

Originally released in 1973 and pressed in very small quantities, Emerge is the second album by the McCrary family and their non-gospel debut. Long sought after by collectors and modern-soul and funk connoisseurs, it's an exemplar of what was considered "progressive soul" in the early 70s as well as what emerged a generation later as "neo-soul." This long-overdue reissue was produced with the full cooperation of the McCrary family and gives this remarkable record wide distribution and easy accessibility for the very first time since its initial low-key release over half a century ago. The McCrary family started out as a gospel group in their native Youngstown, Ohio but turned to secular music upon relocating to Los Angeles in 1970 and recording this album for the tiny Cat’s Eye label of Beverly Hills. The music veers between sophisticated, jazzy R&B (Charity McCrary’s beautiful “Matter Of Time”) to occasionally grittier funk (as on “Kung Fu”). “Be A Father To Your Son” and “People Run On Love” bear messages that are still relevant decades later. The McCrarys would later gain wider recognition with their hit “You” featuring Stevie on harmonica and with “Any Old Sunday” which was memorably covered by Chaka Khan.

Muito Kaballa return in style with a refined modern sound on "Tomorrow A Flower" for the London-based imprint Batov Records, blending indie pop, soul, hip hop, jazz, Brazilian rhythms, and West African grooves.

Sometimes there are discoveries that hit like thunderbolts! Matt Pascale & The Stomps are undoubtedly one of them-and a major one at that. Everything here is simply perfect. Musically, the backbone of this album remains blues, but rock, funk, soul, and even hip-hop are never far off. The compositions flow like a string of potential hits. It only takes listening to this album once or twice for certain melodies to lodge themselves firmly in your brain. As for the performance, it"s downright incredible. Matt Pascale has a raspy voice with a "more Italian you couldn"t get" vibe, his guitar playing is a sheer marvel of precision and feel, and The Stomps are a rhythmic and groovy powerhouse capable of waking the dead. Un-be-lie-va-ble!

"A Few We Remember" is the new album by Jonah Parzen-Johnson and Lau Nau. The recording debut for the new duo of Finnish composer Lau Nau, aka Laura Naukkarinen, and American baritone saxophonist Jonah Parzen-Johnson, it cycles between moments of knotty ambience, whispered melody, and innocent tinkering, as the duo improvises over 8 narrative scores composed by Parzen-Johnson.

The long-awaited analog release of “ODDTAXI” by Skirt and PUNPEE, the opening theme of the TV anime "ODDTAXI" is finally here!

■Skirt
Skirt is a self-described “unhealthy pop” band known for its refreshingly light yet slightly shadowed songwriting and band ensemble, earning widespread
acclaim across professions, genders, and age groups.
The project began in 2006 as the solo multi-track recording endeavor of Wataru Sawabe. In 2010, he launched his own label, Kaczka Sound, and released
his first album ""S-O-S,"" marking the true beginning of Skirt’s full-fledged musical journey.
In April 2021, Skirt collaborated with PUNPEE on the opening theme "ODDTAXI" for the anime "ODDTAXI". Drawing from his extensive knowledge of
comedy, Sawabe served as a judge for the finals of the UNDER 25 OWARAI CHAMPIONSHIP—a comedy competition for performers under 25—in
September 2023, and also wrote the event’s official theme song, "Kitai to Yokan"
In addition, he has contributed music to numerous animated works, films, and TV dramas. His exceptional songwriting skills have led him to write songs
for a range of artists including Takashi Fujii, Kaede (Negicco), Toko Miura, and adieu (Moka Kamishiraishi).
As a versatile multi-instrumentalist, Sawabe has also participated in live performances and recordings with artists he deeply admires, such as Spitz,
Makoto Kawamoto, and Moonriders. Skirt continues to attract attention as both a band and the project of a wonderfully talented, genre-defying
singer-songwriter.

■PUNPEE
Active as both a rapper and producer, PUNPEE has released acclaimed albums such as "MODERN TIMES" and "The Sofakingdom"" His diverse body
of work includes contributions to a Red Bull TV commercial, the opening theme for the TBS show "Wednesday's Downtown" a remix of Hikaru Utada’s
"Hikari -Ray of Hope MIX-" and the track "Time Machine ni Notte / Kazoku no Fukei" for the Sotetsu–Tokyu through line commemorative short film.
But of course, what truly matters—is what comes next. P

Ulver geben heute bekannt, dass ihr klassisches Promo-Tape aus dem Jahr 1993 auf Peaceville Records neu aufgelegt wird. 2023 markiert dreißig Jahre seit der Aufnahme und die Platte zeigt Ulvers Black-Metal-Wurzeln, bevor die Band begann, sich außerhalb der Grenzen des Genres zu entwickeln.

Weithin bekannt für hochkarätige Klanglandschaften und exquisite experimentelle und elektronische Kunst als Teil ihrer kontinuierlichen und sich ständig verändernden Entwicklung, verschmolzen Ulver's Anfänge ätherischen Black Metal mit zarten Folk-inspirierten Passagen. Trotz der rauen Kanten sticht das Material der Band mit seinen höchst unkonventionellen Kompositionen im Vergleich zu den primitiveren und roheren Angeboten anderer schnell aufstrebender Acts in der norwegischen Szene jener Zeit hervor.

Vargnatt war Ulvers erster Ausflug in die Wildnis und ein außergewöhnliches Debüt-Demo, das das verwendete, was zu einem Grundelement ihrer legendären Trilogie (Bergtatt, Kveldssanger und Nattens Madrigal) werden sollte, nämlich akustische Gitarren inmitten melodischer und oft komplexer und verworrener Arrangements, die mit einem bereits fortgeschrittenen Grad an Musikalität gezaubert und vorgetragen wurden, mit dem unheimlichen Gesang des langjährigen Frontmanns Kristoffer Garm" Rygg. Zu dieser frühen Inkarnation von Ulver gehörten auch Carl-Michael Eide von Aura Noir / Ved Buens Ende am Schlagzeug sowie Robin "Mean" Malmberg (von den norwegischen Pionieren Mysticum) am Bass.

Das auf dieser Platte enthaltene Audiomaterial besteht aus Originalmaterial, das vom Original-DAT stammt. Die Veröffentlichung enthält außerdem den Bonustrack "Vargnatt", der 1993 live bei Bootleg TV in Oslo aufgenommen wurde und aus der Nationalbibliothek Norwegens stammt.

Kristoffer "Garm" Rygg äußerte sich wie folgt zu der Wiederveröffentlichung:
Das ist das erste, was wir als Ulver aufgenommen haben. Wikipedia sagt, es sei unser zweites Demo, aber es ist unser erstes und einziges. Stovner, Oslo, 1993, zwei-drei Tage, wham, bam, thank you mam, mit sehr wenig oder gar keiner Erfahrung. Wir waren Kinder, 17-19 Jahre alt, und haben das Wasser getestet. Abgesehen vom Gesang und einigen merkwürdigen musikalischen Entscheidungen muss ich sagen, dass ich mich heute weit weniger dafür schäme, als ich es wahrscheinlich in den Neunzigern tat, und ich muss darüber lächeln, dass diese Aufnahme 30 Jahre später immer noch aktuell ist. Es erfüllt mich mit Freude (und etwas Traurigkeit), die verrückten Launen und Dinge, die wir erlebt haben, in relativ unberührter Form wiederzuhören. Peaceville, der Hauptlieferant vieler unserer Lieblingsplatten von damals, leistet hervorragende Arbeit bei der Wiederveröffentlichung einiger dieser alten Underground-Tapes. Also, nach ein paar limitierten Auflagen, "warum zum Teufel nicht", oder? (Kristoffer Rygg, Ulver)
Tracklisting

Musikalisch schwebt das Gespenst von Leonard Cohen aus seiner mittleren Schaffensphase über dem Album, und die Band räumt ein, dass dies eine wichtige Inspiration war – „das ist der wichtigste Maßstab – die Art von dystopischen Songs, die er mit einer satirischen Haltung schrieb, trugen dazu bei, den düsteren politischen Ton dieses Albums zu prägen“ – Alexi.

Endlich das erste Soloalbum des bayrischen Experimental-Volksmusikers und Frontmanns der hochgelobten "Kofelgschroa" ist wieder lieferbar. Maxi Pongratz - der bayrische Texter und Liederschreiber der Band "Kofelgschroa" - ist mit diesem Album nun endlich auch solo unterwegs. Nach den drei erfolgreichen Alben mit seiner 4-köpfige Kapelle und ihrer ganz eigenen Version traditioneller Blasmusik, geht Maxi Pongratz nun eine Zeitlang eigener Wege: Mit seinem ureigenen Akkordeonspiel und Liedern, die uns laut auflachen lassen, solange, bis uns das Lachen auch mal gehörig im Halse stecken bleibt, die mehr als nur zwei Ebenen haben, in der die heile Welt Risse kriegt und die, das ist entscheidend, dem Schmunzeln und Augenzwinkern, der leisen und auch der lauten Ironie ihren Raum geben. Kaum ein anderes Bundesland hat eine so starke Tradition der anarchistisch gegen den Strich gebürsteten Volksmusik hervorgebracht wie Bayern; wo sonst wird so kritisch, politisch, witzig und laut geschrammelt, gestampft und gesungen? Ganz in dieser Traditionslinie der Zick-Zack-Gänger und Querschläger stehend, hatte es nicht umsonst bereits über die Texte von "Kofelgschroa" geheißen, sie seien dadaistisch-valentinesk. Das setzt Maxi Pongratz auf seiner ersten Soloplatte nun noch eins drauf. Mit seinem Akkordeon oder dem Klavier lässt er diese Texte in schnellen Schritten springen, plötzlich stocken oder schleppt und schuppst sie hinter und vor sich her. Das ist authentisch und rau, laut und lustig und nicht zuletzt auch ziemlich schlau.

Jetzt, wo der Spätsommer/Herbst langsam ausfadet, denkt man, Herr Jemine, jetzt kommen sie wieder, die kalten dunklen Tage, eigentlich wollte ich doch nie mehr frieren. Also, aber genau jetzt, zur rechten Zeit, kommt Paul mit einer neuen Platte um die Ecke, die sich um dich legt wie eine wärmende Decke, tröstet und dich sanft mit in den in den Herbst nimmt. 9 klassische Pop Songs, die sich Zeit lassen und Ruhe ausstrahlen, mit grossen Melodiebögen und aufgeräumten, eleganten Arrangements. Sie handeln von Abschieden, neuen Freunden, sind Melancholie und Zuversicht. Das Ende des Sommers musikalisch umgesetzt. Brian Wilsons Surfs Up und die grossen europäischen Chansonballaden eines John Cale oder Gilbert O'Sullivans und der One Man Beatles Pop von Emitt Rhodes kommt einem in den Sinn und doch schreibt nur Paul Abbrecht diese ganz besonderen Sloe Paul Songs, die es eben nur hier gibt.

Due to demand (and that we zero copies of their vinyl studio album left, and only a few of their live vinyl album), we've compiled all the tracks from both (and more - see below), we're reissuing them both on a 2xCD with a 24-page booklet. Before Suicide had really made it to the West Coast, Grey Factor were working in a similar realm - early post-punk, a little before punk (as such) and proto-industrial music. Here's what the band has to say: The future is tricky - and while we may have been left behind, this is our attempt to catch up with it. We offer a double CD capturing everything we've ever recorded. The Future Arrives Without You includes the previously released vinyl LPs - 1979-1980 A.D. Complete Studio Recordings and A Peak In The Signal: Live 1979-1980_plus a few surprises, including our first new studio tracks in 45 years. Both songs are covers, Wire's 12XU and Campag Velocet's Sauntry Sly Chic, and nine more lost studio tracks. 12XU was a jolt of pure adrenaline_two minutes of perfection from one of the era's best bands, a huge influence on us. Sauntry Sly Chic, from a group few remember but we never forgot, had one of the most infectious grooves we had ever heard. We also loved their lead singer's live getup: a cycling helmet and fencing gear. Perfection. These tracks inspired us to head back into the studio after four decades away. On A Peak In The Signal, we've added nine unreleased pieces we call the In-Betweens. Created out of necessity in 1979-1980, pre-recorded and played between our live performances, these sonic interludes filled the dead space while we reprogrammed our temperamental analogue synths between songs. Absurd, experimental, audience favourites.

Fin" is the fourth album by Spanish band Exnovios, a group that has been described as a blend of Spacemen 3 influences and the best of Spanish '60s pop. The new dozen songs that make up their fourth LP happily shifts away a bit from to the usual unbeatable formula of this Pamplona-based quartet (garage reverbcore as if sung by Spanish legends Juan y Junior) and add new and fascinating layers-at once fresh yet entirely logical in the evolution of such a unique band within the local scene. Exnovios' new collection of songs wasn't created in a rehearsal space or recorded in a single week in the studio. Rather, it was composed and rehearsed slowly in bedrooms and living rooms-songs that were later brought into the studio with the idea of finishing building them there. Over the course of nearly a year, the band approached each song one by one, in a handcrafted manner, alongside their trusted ally, producer Guillermo Mutiloa. The result is a treasure trove of songs, perhaps more psych-folk than ever, as acoustic pieces abound-full of exquisite melodies without abandoning the consciousness-expanding journeys that have made Exnovios a cult favorite: from the instant classic 'Nubes' (with its very Byrds-like harmonies and gorgeous twelve-string acoustic guitar), to the delightful Big Star-style fiction of 'El cine se queda en silencio', or even the fabulous cover of Stephin Merritt's 'Tú tú tú tú.' These are often drumless tracks, perhaps with some light percussion, always featuring detailed and exquisite arrangements of guitar, electronics, percussion, and even touches of strings. And despite the reduced presence of drums (which, along with the laid-back recording approach, makes this almost Exnovios' "White Album"), fans of the band's legendary fuzz-guitar reverbcore sound won't be disappointed: there's the psychedelic 'Viaje Alucinante', full of their classic riffs; their brutal cover of Psychic TV's 'Godstar' (drenched in echo and eccentric vocal effects); and the perfectly crafted 'Naves Misteriosas', which pulls off the impossible feat of sounding like 'Cerca de las Estrellas'-era Los Pekenikes in the verses, Phil Spector in the chorus, and the Ramones in the post-chorus. And there's much more: percussion reminiscent of the most 'baggy' Primal Scream on the brilliant 'Aún no es tarde'; love lyrics wrapped in an exquisite drum machine soaked in reverb and Suicide-style Farfisa on 'Ha venido a quedarse'; the beautiful two-chord electronic Christmas carol 'Ya es Navidad'; and that lysergic waltz that sings of the peace brought by karmic revenge, carried along by waves of fuzz and delay, titled 'El día del juicio final.' "Fin" reveals more sides and nuances of Exnovios than ever before-a festival of eclectic styles that all remain true to the musical vision that has defined them over the past decade, with their melodic powers at the peak of their talent.

For the first time ever, the only full-length album by Spanish soul and garage legends Z-66 is being reissued. Z-66's signature blend of powerful soul, psychedelia, and pop-clearly influenced by bands like The Move, Stones, Vanilla Fudge, and Blood, Sweat & Tears delivers a bold, modern sound that remains fresh and compelling. Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts... They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. We are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP plus a booklet with liner notes and rare photos.

First Word Records are proud to present the sophomore solo EP from Victoria Port.

'Barefoot In The Garden' is a 5-track selection merging classic soul with contemporary sounds.

Put together from sessions recorded at the world famous Abbey Road Studios in London, and Victoria's home studio Candle Shop, this project exemplifies her talents as a singer-songwriter, developing upon the building blocks of her debut EP 'Did it Again' and Victoria's work as one half of electronic-soul duo, Anushka (BBE / Tru Thoughts / Brownswood).

On this EP, Victoria is accompanied by a wealth of talented artists in their own right, including frequent collaborators Hemai and JNR Williams, the highly-acclaimed drummer Moses Boyd, and vocalists such as Lea Lea, to name just a few.

The sonic tapestry stitched together on this EP epitomises the quality of British soul music of modern times; a vintage symphonic feel approach with modern-day production techniques, encompassing the Ronson-era of the late great Amy Winehouse, to the pack leaders of nowadays such as SAULT and Jungle. It's a logical progression considering Victoria's lifelong influences of US luminaries like Minnie Riperton, Gladys Knight, Nina Simone and Dionne Warwick.

Her fanbase includes Gilles Peterson (BBC 6 Music / Worldwide FM) who has tipped her as "an exciting emerging new artist whose sound fits alongside current successful acts like Cleo Sol, Lynda Dawn and Yazmin Lacey."


Victoria's previous EP had support from a wide range of tastemakers, including Cerys Matthews, Huey Morgan, Somewhere Soul, Mo Ayoub (Selector Radio), Ronnie Herel (Mi-Soul Radio's "One to Watch"), Tony Minvielle (Jazz FM) and across platforms like Rinse FM, NTS, Soho Radio and Global Soul, whilst her work with Anushka also received airplay from Annie Mac, Jamz Supernova, Huw Stephens and BBC Radio 1.

Victoria says "this EP comes from a place of nostalgia. It's kind of reflective of parts of life up to this moment, culminating in 'Barefoot in the Garden'. I guess it's me starting to understand the things that are truly important to me. How I want to love and be loved, the way I want to spend my time, and just me starting to filter out a lot of the noise. Sonically it's been such a dream to explore elements of old soul and jazz with so many incredible musicians, and to put our own unique spin on the genre."

Already a seasoned live perfomer, additionally to various live appearances solo past & forthcoming including We Out Here, Jazz Cafe, Koko and the London Jazz Festival, Victoria Port is set to be one of the leading lights in the world of British soul music. This EP provides some solid examples as to why.

'Barefoot In The Garden' is due to be released on vinyl and digital, November 7th 2025.

Smith & Liddle are two young artists from the North of the United Kingdom who have never been to the desert and whose mere existence was a long way off the horizon in the 1970s, yet their music wouldn't be out of place on the FM waves in a Cadillac driving through the California desert at that time.

"Songs For The Desert" is Smith & Liddle's debut album, a collection of great songwriting, beautiful harmonies and wonderful musicianship that also offers an unashamedly a large dose of nostalgia harking back to some of the best eras there ever was.

These songs were created during one of their hometowns rainiest year, offering the duo an escape via their creations, dreaming of being transported to California at a time when the music scene there drifted from legendary stars of Laurel Canyon to the soft rock icons of Fleetwood Mac and The Doobie Brothers.

Elizabeth Liddle & Billy Smith grew up 25 miles away from each other in small towns but only met when Billy was on the lookout for a vocalist years later. The chemistry between the pair was instant, and over time their intertwined musical sensibilities evolved into something unique.

Following years of swapping records and building a transcendent musical connection, Smith & Liddle worked alongside producer Josh Ingledew to record 9 songs that blend Soft Rock, West Coast soul & 60s beats to produce their debut album "Songs For The Desert".

Akhira Sano is a Tokyo-based artist working across sound, drawing, installation, and video. His practice finds generative potential for music in life's fleeting incidents, etching meaning from unassuming spaces and resonances. With releases on 12k, LAAPS, IIKKI, and The Trilogy Tapes, Sano has steadily carved out a distinctive voice within minimal and experimental music - one that privileges attentiveness and patience over spectacle.

"To Material Past", Sano's debut for SWIMS, carries this thread with a single 30-minute work built solely using glockenspiel tones and field recordings from his local neighbourhood. This is a night walk with no map or end point; Sano follows irregular, coiling fragments that extend to form a tessellating luminous whole - like a subliminal mass of tree roots quietly shifting the concrete slabs beneath our feet.

Under this faded gauze of gestures and interactions, Sano's glockenspiel interjects like a grandfather clock, softly marking the partitions that make up a day's collected experience; clicking and chiming like the sleeping brain, as it sifts and catalogues a lifetime's ephemera of thoughts, faces and puzzles.

rhi·zome
/ˈrīˌzōm/ • RIGH-zohm • noun
a somewhat elongated usually horizontal subterranean plant stem that is often thickened by deposits of reserve food material, produces shoots above and roots below, and is distinguished from a true root in possessing buds, nodes, and usually scalelike leaves a network that connects any point to any other point

We are happy to have our longtime friend Ian Pooley back on the label. We might have stolen this release from Pooled Music but we couldn't resist to have it on Innervisions. Fresh sounding house music by an old school producer.

2025 Repress Edition!

In 1964, Martin Denny looked beyond the Hawaiian and Asian influences of his previous records to find another place to plant his umbrella in the sand, as well as in your drink: the sounds of Latin America. With this new sound to hang his exciting arrangements on, Latin Village has long been considered one of Denny's high-water marks, and Jackpot is thrilled to have this long-cherished LP back in print. This is an album that rips through what was considered "The Now Sound From Overseas," a sophisticated mash-up of sambas, bossa novas, and Latin jazz. From the first track, "Angelito" (the hit song written by Réne y Réne, later to also be covered by Trini Lopez & Herb Albert), all the way through to its closer, "Flying Down To Rio" (a song which Roxy Music later referenced in their 1972 song "Virginia Plain”), the album is a hypnotic listen. Latin Village also drops in some serious jazz numbers, with respected compositions such as "On Green Dolphin Street" by Kaper & Washington (which has been covered by Miles Davis, Bill Evans & Sarah Vaughn), "Malagueña" the sixth movement in Ernesto Lecona's Suite Andalucía & "Corcovado" by Antônio Carlos Jobim (who merged samba with jazz to create bossa nova). Latin Village is comforting in its familiarity within Denny's sonic world, but steps refreshingly out of the smoke-filled Tiki bars of his previous records and straight into the sunlight where this music still strolls around in a listener's heart, soul, and mind. “Latin Village is a triumph of Martin Denny’s search for a new style, post-exotica.” – ALLMUSIC, 4 stars.

At last, after fifty years, the first ever vinyl album by British 60s band The
Montanas!Despite having "turntable hits" such as 'Ciao Baby', 'You've Got To
Be Loved' and 'Let's Get A Little Sentimental', they never had a UK hit
'You've Got To Be Loved', a Tony Hatch & Jackie Trent song, made the US Top 100, but
no album followed.
Includes the US-only 45s 'Heaven Help You' and 'I'm Gonna Change'.
Digitally remastered and released on 180 gram vinyl / 300 gsm board.
Also available on BGO Records: BGOCD1438 The Complete Studio Sessions.
Other vinyl releases available on BGO Records: BGOLP2005 Bang (The James Gang);
(The Searchers) BGOLP2007 A and B Sides 1963-67, BGOLP2009 Meet The Searchers,
BGOLP2010 Sugar & Spice, BGOLP2011 It's The Searchers, BGOLP2012 Sounds Like
Searchers, BGOLP2013 Take Me For What I'm Worth; and BGOLP2015 In Town (Rockin
Berries).

Highly anticipated album by The Cool Kids, who are widely recognized as
architects of the much fable "blog era" of hip hop (they were also early
colleagues of the Fool's Gold family)
The album is mostly focused on the group's own production and rapping, but include
features like Radamiz, Pink Siifu, A-Trak and Sango.

"“Veruschka” is a unique film within the Italian cinematic landscape of the early 1970s — halfway between experimental cinema, visual art, and fashion. Directed by photographer Franco Rubartelli, it tells (in a highly symbolic and almost dreamlike way) the story of Veruschka von Lehndorff, the famous model and muse of the director, who plays herself in a journey of inner exploration and alienation through Africa and the world of fashion photography.
It is not a narrative film in the traditional sense, but rather a visual and sensory experience, made of extraordinary imagery, contemplative rhythm, and a constant sense of aesthetic melancholy. And for this very reason, Ennio Morricone’s score plays a fundamental role: it is the true emotional voice of the film.
For Veruschka, Morricone composed one of his most delicate and spiritual works. The soundtrack is a perfect balance between avant- garde and lyricism, between melody and sonic experimentation."

[v] 9Have No Fear Bond Is Here (Single Version) [feat. Mike Redway]
[w] 10The Look of Love (Film Version) [feat. Dusty Springfield]

Portland ist einer der überzeugendsten Indie-Exporte Belgiens. Mit einer Mischung aus cineastischem Pop, melancholischem Folk und festivaltauglichem Rock feierte die Band ihren Durchbruch 2019 mit ihrem Debüt „Your Colours Will Stain“ und dem Nachfolger „Departures“ (2023). Bekannt für ihre zarten Harmonien und emotionsgeladenen Live-Shows, wurde Portland von europäischen Trendsettern hoch gelobt und stand auf Bühnen von Rock Werchter bis Eurosonic. „Champain“ ist ihr bisher persönlichstes und furchtlosestes Werk.

„Champain“ ist Portlands drittes Album und die erste Songsammlung, die nach dem Kampf der Singer-Songwriter Jente Pironet gegen Hirnkrebs entstand. Es ist ein Album, das die Narben der letzten Jahre deutlich sichtbar trägt, aber gleichzeitig eine unbändige Lebensfreude ausdrückt. Es liest sich wie das ehrliche Reisetagebuch einer wandernden Seele, von der Bühne ins Krankenhaus an den Schreibtisch und wieder zurück. Vom Fallen – hart und tief – und dem Wiederaufstehen. Von einem Sänger und einer Band, die durchhalten. Und das Ergebnis zeigt: Portland hat noch nie so energetisch, reifer und reicher geklungen wie auf diesen 10 neuen Songs.

Jesse Harris’ Freund und Arrangeur Maycon Ananias hatte zusätzliche Aufnahmezeit mit einem estnischen Orchester und lud Harris ein, ein Stück beizusteuern. Das erste Experiment, Dolores, entfachte eine neue kreative Richtung. Obwohl Harris – Grammy-Preisträger und langjähriger Wegbegleiter von Norah Jones, Willie Nelson und Cat Power – bereits mehr als zwanzig Alben veröffentlicht hatte, war es seine erste Aufnahme mit Orchester. Beflügelt von dieser Erfahrung schrieb Harris innerhalb von nur fünf Wochen acht weitere Songs – detailreiche Kompositionen, die von Beginn an für symphonische Arrangements gedacht waren. Entstanden ist ein Album, das zwischen New York, Rio und Talinn aufgenommen wurde und hochkarätige Gäste wie Norah Jones, den brasilianischen Gitarristen Guilherme Monteiro, Jake Sherman sowie Marine Quéméré von Nouvelle Vague vereint.Mit seinen opulenten, zugleich feinfühligen Arrangements taucht If You Believed In Me in Themen wie Erinnerung, Sehnsucht und imaginierte Möglichkeiten ein – in die „Was-wäre-wenns“, die jeden Träumer begleiten. Herausgekommen ist orchestraler Pop voller Wärme, Melancholie und leiser Überraschungen – ausgelöst durch eine einzige Einladung.

3xLP (1x Rot / 1x Weiß / 1x Blau) 140g Vinyl in stabiler Box mit abnehmbarem Deckel, UV-Glanzlackierung + 24x12-Poster

Sie sind zurück. Lauter, klarer, größer – und »immer unter Feuer«. Frei.Wild schlagen 2025 das nächste, vielleicht sogar das stärkste Kapitel ihrer Bandgeschichte auf. Geschmiedet vom Leben, mit scharfer Zunge. Das neue Studioalbum ist ein Manifest – für alle, die mit ganzem Herzen brennen.

Voller Kraft, Schmerz, Hoffnung – ein wuchtiger Mix aus hartem Deutschrock und Gänsehaut-Balladen. Texte, die Mut machen, Grenzen sprengen, Brücken bauen. Echte Geschichten, keine leeren Phrasen. Mit Haltung, mit Tiefe – mit der Freiheit, auch unbequem zu sein. 2x 12 brandneue Songs bündelt das Doppel-Album im dreifach ausklappbaren Digipack plus 32 Seiten Booklet mit allen Songtexten, Band-Fotos und heißen Insider-Infos. Das Box-Set befeuert Frei.Wild noch dazu mit 6 weiteren, exklusiven Songs, die sich ausschließlich auf dieser Fan Edition eingebrannt haben. Wer aufs Streaming hofft, muss leider sehr, sehr lange warten … falls diese 6 Tracks überhaupt jemals den Weg auf die digitalen Plattformen finden.

Seit über 20 Jahren beweisen die Südtiroler, dass man mit klarer Haltung und Meinung Großes bewegen kann. Vom Proberaum im Kinderdorf bis an die Chartspitze, durch Gegenwind und im Feuer der Kritik – wo andere verbrannt sind, geht Frei.Wild aufrecht weiter. »Immer unter Feuer« ist ihr Dank an alle, die füreinander brennen. Und ein Antrieb für die, die noch kommen. Frei.Wild-Songs beugen sich nicht, nennen beim Namen, was unausgesprochen ist. Geliebt und gemieden. Es gibt gefühlt niemanden, der keine Meinung zu diesen Rock-Revoluzzern aus dem Grenzland hat. Südtirol ist nicht Berlin – doch im Kern lodert in Großstädten wie auf dem Land dieselbe Kraft. Frei.Wild zieht seine ungezähmte Energie aus der Heimat, den Familien, der Freundschaft. Gewachsen im Schmelztiegel von Kulturen und uralten Bräuchen und Geschichten haben sie ihre ganz eigene Prägung erfahren. »Immer unter Feuer« trägt das Album das Geweih so stark wie nie!

»Immer unter Feuer« erscheint als Doppelvinyl-Version im Gatefold Cover mit UV-Spotlack Parts und zwei weißen 180g Vinylplatten mit bedruckten Innenhüllen.

Couples Therapy - the split between Philly buds Modern Baseball and Marietta is available re-mastered and on vinyl!

Am 12. und 13. Oktober 2024 gaben American Football zwei ausverkaufte Konzerte im El Rey Theatre in Los Angeles als Teil ihrer Tour zum 25. Jubiläum ihres selbstbetitelten Debütalbums. Mit Gastauftritten von Ethel Cain und M.A.G.S. wurden diese besonderen Konzerte für das erste und einzige Live-Album der Band aufgezeichnet. Zeitgleich erscheint gemeinsam mit Prophet Media und Regisseur Steph Rinzler ein abendfüllender Konzertfilm mit Interviews. Sowohl der Film als auch das Album fangen das Erbe und die unerwartet anhaltende Stärke einer Band ein, die ein Genre mitgeprägt hat.

Nachdem American Football 1999 während des Studiums in aller Stille ihr Debütalbum veröffentlichten, lösten sie sich auf, um sich anderen Projekten zu widmen. 15 Jahre später kehrte die Band jedoch mit einer Fangemeinde zurück, die in der Underground-Emo-Szene stetig gewachsen war. Das Album landete später auf #6 der Rolling Stone-Liste "40 Greatest Emo Albums Of All Time", während Pitchfork der Deluxe-Neuauflage den Titel "Best New Reissue" verlieh und die LP als "einflussreichstes Album des Genres" bezeichnete.

Sex Tags UFO presents the second instalment of the non stop ongoing HOUSE music collaboration between the Burger man and DJ Sommer! Music created as house music as a FEELING!

Another four track EP smashing out some fine underground house music, all with the mix of DJ Sommers studio skills and old-school hardware approach, and the Burger man's wonky touch! The almost weekly live session recorded in DJ Sommer's studio, then arranged and mixed at Casa de Fett bare some fruits, and here is their first record!

The first track on this EP, a deep and mellow house groover, with some trippy beats and percussion that keeps it moving. Deep pad, with a light and engaging melody on top. A real house groover to start the night.

The second cut, the energy shifts! A power infused feel good house track with spacey elements, timeless and simple 909 kick, a catchy bass line, swinging hi-hats for the groove, a strong classic snap. Added with some keyboard infused organ melody, and a 303 bass line. Sparkled with some synth EFX to give it a feeling of Galaxy!

One the flip side we go back to the depth. A deep tribalistic and dubbed out house track. Simple by all means. A moving and grooving beat added with a simple but catchy pad that brings everything together! Simple, pure and groovy!

The last tune on the EP, another uplifting energy driven house track! Classic US house style, with the driving, and swinging beats to make you move. With an uplifting organ pad, and some additional party oriented flute action! A real underground party smasher!

Just as previous time, versatile, simple, raw dance floor oriented HOUSE EP made in and for the underground!

Enjoy!

On UFO 23 DJ Fett Burger and Stiletti Ana team up once again.
Their third release together after 2013´s Seriously Goodbye and their 2028 album 358 Men on Freakout Cult. Here the duo is back again with the esoteric mix of disco, dubbed out new age house, with a twist of balearic ambient.

These cut's originally produced in 2018, supposed to be a quick follow up to their 358 Men album. But time wanted it different. Soundwise we are still in the vein of those days, with the strong combination of live drums, warm analog synth driven melodies, vintage studio effects, with a spaced out and esoteric soundscape. A combination of melodic dream landscape, dubbed out deepness, and a driving disco energy.

With two long long epic dream cuts on each side, complimented with a drum bonus and a ambient outro. A danceable and spiritual balearic disco workout!

Enjoy

A hiatus is nothing but the reconsideration of fundamental values and interests.

Simple Times is back with “A Thin Line Between Dreams & Nightmares” EP, an emotional deep dive into the world of Progressive Trance, House & Electro. Aiming to follow the principles of stereo and raw, uncompressed music, this EP offers a fresh take on vintage music and the early culture of raves, dancing, and dance music.

TRON: Ares (Original Motion Picture Soundtrack)
24 neue Tracks von Nine Inch Nails: das Duo aus Trent Reznor und Atticus Ross veröffentlicht am 19.
September 2025 sein Album zum Disney-Kultfilm „TRON: Ares“, inklusive der neuen Single „As Alive As
You Need Me To Be”. Damit setzt die Band eine erfolgreiche Soundtrack-Geschichte fort: ihre vorherigen
Untermalungen zu Filmen wie „The Social Network“ (2010), „Soul“ (2020) oder „Challengers“ (2024)
wurden unter anderem mit zwei Oscars, drei Golden Globes, einem Emmy und einem Grammy ausgezeichnet. Die düstere Industrial-Handschrift Trent Reznors fängt die Stimmung der Sci-Fi-Reihe „TRON“, für
deren letzten Film Daft Punk komponierten, perfekt ein. Reznors Einfluss auf die alternative Musikwelt ist
seit den späten 80ern ungebrochen: mit Hits wie „Closer“ und „Hurt“ sowie Alben wie „The Downward
Spiral“ kombinierte das Mastermind elektronische Sounds mit Rockmusik wie nie zuvor. „TRON: Ares“ ist
die erste NIN Veröffentlichung seit fünf Jahren und liefert gleich 70 Minuten neue Musik – erhältlich ab
dem 19.09. auf CD und Vinyl.

"Love it! Electronic wonkiness at its finest" - Richard Norris (The Grid)

TEA, CAKES AND THE (WO)MAN MACHINE

Curtain Twitcher could only have emerged from Sheffield.
A female electronic duo whose corrupted downtempo post Balearic chug pulses and wobbles, throbs and twitches - full of fat noises and bolshy Moogery.
It's human and appealingly analogue. More Delia Derbyshire's Radiophonic Workshop than DAF, More Tangerine Dream than Depeche Mode. Not your average bloketronica.

Frankly this music doesn't behave itself in any way you might expect. Plugged in post rave pop can be far too orderly. Music should be messy. Even on occasion revealing a tune your mum could hum.

"Leap The Dips" emerged from machine jamming with a creative freedom that only comes from friendship. That friendship is a musical one but it's also real and genuine: "We’ll talk about pretty much owt if you provide the tea and cakes".

Acclaimed electronic musicians, producers and sound architects Max Cooper and Rob Clouth team up for a new collaborative EP; a dark, playful four-track dive into ambient, breakbeat and techno’s subconscious flow, featuring a standout vocal performance from South London rapper FLOHIO.

Recorded over a series of spontaneous London sessions, “8 Billion Realities” channels years of creative exchange between two of the genre’s most quietly innovative artists and is a result of a decision between the longtime friends to refrain from conceptual overthinking in favour of instinct and joy.

As long-time admirers of each other’s audio/visual work, Cooper and Clouth collaborated in London together after both emerging from intense, idea-heavy album cycles. What followed was a series of exploratory sessions, half-improvised, half-built around half-formed thoughts.

The result is a club-ready EP that feels alive and human: imperfect and hypnotically rich.

“Rob Clouth has been one of my favourite electronic music producers since I first heard his work in 2011,” says Cooper. “His work is more full of ideas and structure than anyone else.” “We were both coming from extensive conceptual studio albums and both in the mood for simplifying things and having some fun with the music, so that’s what we did”.

For Clouth, no stranger to Max Coopers Mesh label having previously released an array of EP’s plus his 2020 debut album “Zero Point” this record marks a new chapter, both creatively and personally.“Something pretty new for me is collaborating,” he says. “You kind of have to when to stop, because if you develop an idea all the way to its endpoint, the other person has nowhere to jump in.”

The first “A Moment Set Aside” began as a break from another idea, a live, unplanned improvisation based around arps and ambience. “The track was written in about as long as it took to play it,” says Cooper. “It was pulled from a 1 hour recording session, more or less as you hear it… the energy and excitement grew as the unplanned moment bore some magic.”

“The lesson being that sometimes it’s helpful to set aside a moment without forcing results, and let the subconscious have something to say.” What followed was darker, heavier. “Asymptote” is detuned techno. Subversive and euphoric in its descent. “We found a sort of brain mangling, half consonant, half wandering detuned techno pulse, which we started chatting about being a sort of pit of spiralling body parts we were falling into,” says Cooper. “It was a lot of fun to work on and let loose with bigger kicks than I usually ever get to unleash.”

Then came “8 Billion Realities”, featuring a standout rap performance from FLOHIO; an emerging figure in the UK grime and rap scene. The track was inspired by conversations about algorithmic echo chambers and hyper-personalised online worlds. Frantic, direct, and South London to the core, FLOHIO brings this tension to life. Her sharp, intense flow cuts through distortion and rhythm, landing the track somewhere between chaos and control instantly making it one of the most striking moments in either artist’s catalogue. “A different reality for all 8 billion of us,” says Cooper. “We weren’t sure if it would work… but there was something about the energy of the percussive idea and the story which felt like it might fit.” “Then FLOHIO had a play with it and straight off the bat absolutely killed it, not just with the lyrics and energy, but the harmonising too, it was a beautiful process.”

The final piece on the EP “Candeleda” originated from Clouth’s solo experiments with a live rig made entirely of vocals and keys, using his self-developed “cheatbox” system. “He put forward a beautiful stumbling melodic sequence which we bounced back and forth adding harmonies and synth layers,” says Cooper. “It rounds off a collection covering some of the breadth of music that we both love.”

The third drop into the Poorly Knit ocean, sees Bruce washed ashore with three silted and barnacled explorations into dub techno, ambient and beyond.

Seizing the microphone for the first time since his sophomore album Not Ready For Love, Bruce weaves a seductive siren song with Golden Water Queen, treading sweet nothings into the bubbling abyss. Sinking further into the deep, The Hand fizzes and froths at the fringes of nothingness, born from the wishing of a softer and more insidious soundtrack to Denis Villeneuve’s Dune. Then finally the waves are parted with DHam’s Jam, bobbing along 8 minutes of bouncing kick and prancing percussion, pulling you with peaceful buoyancy along the dancefloor, into “the zone.”

With a continued emphasis on the importance of physical medium within dance music, the 12” is pressed with eco-friendly “Eco-Mix” reground PVC and sleeved in DIY lino printed sleeves.

funcionário delights in the freedom of creating freeform music for the first time in his career. On “horizonte”, he loosens the reins, his sound follows a wavy, organic structure rather than a rigid, formal one. If it feels freer and more colourful, that’s because it truly is.

Eight years ago, when we first encountered his work, he was composing soundtracks for imaginary video games and crafting sonic landscapes that felt like destinations for sci-fi anime characters. With “Cavalcante” (2022), he broke away from that past. It marked a turning point, he was ready to explore a “fourth world” in both sound and concept. The feedback was overwhelming.

Three years later, “horizonte” marks another evolution. He sends us music regularly, but this album stood out immediately. It felt right: more synth-driven, more open to improvisation. As he put it: “It’s like using oil pastels for the first time and discovering new possibilities. In a way, I’ve found new ways of creating using the same colours.”

Listening to horizonte is like waking up from a dream. Again and again. The opening track, “nascer”, suggests a new dawn, but it’s in “pássaros” that the vision fully takes flight: less processed, more raw, yet still detailed and expansive.

Finding new ways with the same colours has been his quiet mission all along. What’s new here aren't the tools, but the feeling. The movement. The invitation to travel with him. You can hear - and feel - his sense of wonder. Every sound radiates joy. Every moment sparks a new thought. The music moves quickly, but breathes slowly.

Tracks like “renascer” and “o caminho do regresso” echo the spirit of late-70s/early-80s Vangelis, in deep reverence. And just as you approach the end, “fantasma” arrives - a stunning closer, reminiscent of Eno’s “An Ending”. By then, it’s clear: the “fourth world” is behind him. funcionário has moved on. To where? We’re about to discover.

For the third time, they had been sent to this forsaken land. It was neither east nor west, neither north nor south. They said it had once been a kingdom, somewhere in the heart of the old continent, something they had pieced together from the ruins scattered across jagged hills sprouting here and there from the ground. Everyone else went islands, dived to the seabed, drilled at the poles, and explored waste in the east, but these two were sent here again, as if someone were trying to get rid of them, just to keep them out of the way.

What were they really supposed to find here? They wandered the land, aimless and bored, like the last bird watching from the sky. Sometimes they landed, took samples for the lab, and then caught a nap by the river bend. They avoided the hot fumes of active volcanoes. Compared to those on other planets, these were more like small, whispered fumaroles, but even so, they had to be careful.

They felt as if they had stepped into a scene from a movie they had once glimpsed. A mad and exhausted conqueror screamed and wildly flailed his arms on a ridiculous wooden raft in the middle of a raging river. It was somewhere in the south of this planet, deep in the jungle. There were many movies made on this planet, but only fragments of the reels survived, and this one quickly became iconic.

When a trumpet sounded in the distance and flooded the land with a booming murmur, when all the fumaroles hissed together, and when wind rolled in, covering the land in heavy fog, both of them knew the third expedition would not be like the previous ones.

At that moment, Kult Masek and Petr Vrba were flying over the land that was once called České středohoří.

8th release by Fresh & Low on their own RAWAX Treasures Series!
This time we have the honor to re-issue "Burnin Love" - origially released 25 years ago on i! Records!
Re-mastered & vinyl only!

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

Repress!

200 COPIES ONLY

Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.

Following the cult success of the first two EPs and debut album Cinema 3000, Common Saints returns with the highly anticipated EP, Equinox - a release that"s already generating excitement within the Common Saints community. The record blends the signature soul, funk, and psychedelic influences fans have come to love, but this time with a livelier tempo and renewed energy.

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

Es gibt wohl keine größere Überraschungserfolgsgeschichte aus dem Internet im Bereich Musik als die von Ata Kak.Der ghanaische Rapper und Sänger veröffentlichte 1994 still und leise ein Tape, das erst 2006 wiederentdeckt wurde - zu einer Zeit, als die bloggetriebene Online-Sammlerbewegung für Musik in der Vor-Streaming-Ära auf ihrem Höhepunkt war.Die mitreißende Mischung aus Lo-Fi-House und aufrichtig vorgetragenem, kraftvollem Burger Highlife eroberte Mitte der 2000er die Herzen von Musikliebhabern auf der ganzen Welt. Mit Unterstützung seiner Londoner Band spielte Ata Kak weltweit Konzerte und stand auf riesigen Bühnen vor Tausenden von Fans.Die sieben Songs auf ,Obaa Sima" haben Hörerinnen und Hörer gleichermaßen begeistert und verblüfft, seit sie als erster Beitrag auf dem Blog Awesome Tapes From Africa erschienen. Eine gut dokumentierte, jahrelange Suche nach dem Sänger endete 2015 mit einer Neuauflage.Trotz der sorgfältigen Arbeit der langjährigen ATFA-Mastering-Partnerin Jessica Thompson war die Klangqualität der Quelle jedoch nicht optimal - das originale DAT-Tape war verschimmelt und zerfiel.Nach jahrelanger Suche nach der bestmöglichen Kassette steht nun die Obaa Sima Anniversary Remaster-Version bereit. Zum ersten Mal können wir diesen inzwischen legendären, unkonventionellen Dancefloor-Klassiker in glasklarem Klang hören.Die ursprüngliche Neuauflage von ,Obaa Sima" hat über 10.000 LPs verkauft, und die Kassette wurde vom ursprünglichen Blogpost Hunderttausende Male heruntergeladen. Auf der Basis dieser legendären Aufnahme spielte Ata Kak energiegeladene Shows in Clubs und auf Festivals weltweit.Die Deluxe-Edition des neuen Remasters enthält eine LP in gesprenkeltem Vinyl sowie eine DVD-Dokumentation mit bisher unveröffentlichtem Filmmaterial.

Es gibt wohl keine größere Überraschungserfolgsgeschichte aus dem Internet im Bereich Musik als die von Ata Kak.Der ghanaische Rapper und Sänger veröffentlichte 1994 still und leise ein Tape, das erst 2006 wiederentdeckt wurde - zu einer Zeit, als die bloggetriebene Online-Sammlerbewegung für Musik in der Vor-Streaming-Ära auf ihrem Höhepunkt war.Die mitreißende Mischung aus Lo-Fi-House und aufrichtig vorgetragenem, kraftvollem Burger Highlife eroberte Mitte der 2000er die Herzen von Musikliebhabern auf der ganzen Welt. Mit Unterstützung seiner Londoner Band spielte Ata Kak weltweit Konzerte und stand auf riesigen Bühnen vor Tausenden von Fans.Die sieben Songs auf ,Obaa Sima" haben Hörerinnen und Hörer gleichermaßen begeistert und verblüfft, seit sie als erster Beitrag auf dem Blog Awesome Tapes From Africa erschienen. Eine gut dokumentierte, jahrelange Suche nach dem Sänger endete 2015 mit einer Neuauflage.Trotz der sorgfältigen Arbeit der langjährigen ATFA-Mastering-Partnerin Jessica Thompson war die Klangqualität der Quelle jedoch nicht optimal - das originale DAT-Tape war verschimmelt und zerfiel.Nach jahrelanger Suche nach der bestmöglichen Kassette steht nun die Obaa Sima Anniversary Remaster-Version bereit. Zum ersten Mal können wir diesen inzwischen legendären, unkonventionellen Dancefloor-Klassiker in glasklarem Klang hören.Die ursprüngliche Neuauflage von ,Obaa Sima" hat über 10.000 LPs verkauft, und die Kassette wurde vom ursprünglichen Blogpost Hunderttausende Male heruntergeladen. Auf der Basis dieser legendären Aufnahme spielte Ata Kak energiegeladene Shows in Clubs und auf Festivals weltweit.Die Deluxe-Edition des neuen Remasters enthält eine LP in gesprenkeltem Vinyl sowie eine DVD-Dokumentation mit bisher unveröffentlichtem Filmmaterial.

Anushka Chkheidze + Robert Lippok’s »Uncontrollable Thoughts« on Morr Music is the duo’s debut joint release. The Netherlands-based Georgian composer and the German sound artist from Berlin first met in 2019 in the context of a workshop programme that took place in Tbilisi, and later worked with Eto Gelashvili, Hayk Karoyi, and Lillevan on the massive »Glacier Music II« music and book project, released in 2021. This led them to engage in a less conceptually driven form of musicking and real-time composition that corresponds with their respective environments. They draw on traditions such as minimal music or late 1990s and early 2000s electronica to integrate subtle beats with elegiac organ drones, playful melodies with lush textures. The first document of an ever-shifting intergenerational dialogue, »Uncontrollable Thoughts« is a product of mutual listening outside time.

Though Chkheidze and Lippok had access to professional studios, they chose to rent a simple rehearsal space, equipped with only the bare essentials—bass and guitar amps as well as a small PA—to maintain immediacy in their working process. The music they made together corresponded to and drew on the respective possibilities and shortcomings of this studio, much like their collaboration in general is characterised by the care with which they approach each other's talents and ideas. While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether.

When the first chimes on »Bird Song« announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why »Uncontrollable Thoughts« carries this title: The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on »Rainbow,« melancholy with »Field,« and the interplay of suspense and release through the ten-minute-long title track. But the different pieces also tie into one aother in various ways. The dirge-like organ drones on which »Rainbow Road« ends reappear in the beginning of »Uncontrollable Thoughts,« much like Chkheidze’s gentle yet emphatic piano chords on »Field« seem to provide the starting point from which the artist develops the striking motifs of the final piece »Opening«, whose title itself suggests that the record as a whole can and should be enjoyed as a loop. All this creates a unique, idiosyncratic temporal logic.

While there is much that sets Chkheidze and Lippok apart as solo artists, the major shared leitmotif in their respective bodies of work is the sonic engagement with space. »Uncontrollable Thoughts« is hence best understood as an extension of this practice; as an album that maps the geographies of their minds in motion, tracing musical movements as they melt into each other.

The Klinik are Dirk Ivens(vocals) and Marc Verhaeghen (music). Also featured on Fear is Eric Van Wonterghem (sequence and percussion), Guy Drieghe cover design on Fear. Luxury package design and reconstruction by Pieter Willemen, All tracks remastered as " like you have never heard them before" by Pieter Dewagter early 2025.

Recital releases The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s A Letter From Home. Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The album’s shifting, variegated forms and voices pass quickly; the record feels both comforting and elusive, suitable for any hour of the day.

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members. It is released in a limited edition vinyl pressing of 200 copies, accompanied by a booklet of effusive program notes by the composer, alongside an assemblage of photographs, scores, and artwork.

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.