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DEADLETTER frontman Zac Lawrence’s latest solo venture hones in on the songwriter’s love of the contemporary folk scene of the 60s. Though not necessarily a conventional “Folk” sound, the acoustic guitar led songs intertwine the singer’s passion for lyricism and literacy with heart-string tugging melodies and arrangements. With the first single from this project expected in the summer of 2025, he brings a new band together made up of Misty Miller on vocal duties, Blossom Caldarone (English Teacher) on Cello, and Nathan Pigott (also of DEADLETTER) on clarinet. Antithetical to what we know from him as the frontman of the aforementioned, expect laid back, fingerpicked numbers that take you anywhere from Hamburg’s most gruesome hotel, to him imagining himself as a fifty something looking back on a life that he didn’t live in the way that was intended.

There’s a lot for MAYDAY PARADE to celebrate these days. The T allahassee, Florida-formed quintet recently
wrapped a career-defining tour marking two decades together, one that saw more than 70,000 fans pack sold-out venues to celebrate their storied catalog. They performed a triumphant main-stage set at the 30th anniversary of the V ans W arped T our, a full-circle moment for a band that made their name selling self-released CDs in those same sweltering parking lots nearly 20 years ago. Their landmark debut LP, A Lesson In Romantics, turned 18, still beloved for its iconic singles like the platinum-certified “Jamie All Over” and gold-certified “Miserable At Best.” And the group released Sweet, the first in a self-released three-album series that reaffirmed just how vital and creatively energized Mayday Parade still remains. Now, on Sad, the second installment in that trilogy, the band continue diving deeper into the emotional nuance that’s defined their most captivating albums, blending aching sentimentality with melodic urgency as only they can. Once again produced by longtime collaborators Zack Odom and Kenneth Mount, Sad sees Mayday Parade stripping back some of the tempo that colored Sweet in favor of more deliberate grooves, more introspection, and a sharpened focus on mood and space.

Limited edition on clear vinyl. Wie in het voorjaar van 2025 het voorrecht had om de theatertour van Het Zesde Metaal bij te wonen, kon daar op de koop toe genieten van een handvol gloednieuwe songs. En daarna vaststellen dat die helaas nergens te (her)beluisteren waren. Tot nu, want de goesting om de songs vast te leggen voor de eeuwigheid werd op den duur wel heel groot. En dus kampeerden Wannes Cappelle en co afgelopen zomer enkele dagen in Waimes (DAFT Music Studios), voor het eerst in de nieuwe bezetting met Kasper Cornelus op gitaar/toetsen en Sander Verstraete op bas.



Het resultaat is de EP Randgevallen: vijf songs, vijf vertellingen uit het persoonlijke en wereldse leven die andermaal bewijzen dat Het Zesde Metaal als geen ander kan beschrijven, beklijven en betoveren. Een staalkaart bovendien van de muzikale en tekstuele veelzijdigheid die de band al jaren kenmerkt. Opener Service is een opgewekte popsong waarin Cappelle sappig de drang naar reviews en hartjes in het dagelijkse en economische leven fileert: 'wa' vind je van onze service? / zou j'ons geen tiene willen geven? / asteblieft, want anders is den directeur vies.' In Traagskes Groeien verstilt het tempo en keert de blik naar binnen, het persoonlijke leven in, mijmerend over kinderen die stilaan het nest ontgroeien. 'ge moet u zo nie' spoeien / ge moet traagskes groeien / ge moe' laagske per laagske groeien', probeert Cappelle het loslaten nog even uit te stellen.



Wie dacht dat Oud En Nieuw daarna gaat over feestvieren in de donkerste dagen van december, is op het verkeerde feestje beland. Wiegend op hypnotiserende bas, drum en pedal steel passeert opnieuw de vergankelijkheid van het leven, dit keer met een bredere maatschappelijke blik. 'alles da' oud is, was ooit nieuw / en groot is ooit kleine begonnen / veel komt van weinig / glad was eerst ruw / zelfs de waarheid wierd ooit verzonnen'. Wanneer naar het einde toe pulserende synths het tempo opheffen en de song licht euforisch uitwaaiert in een instrumentale coda, kun je alleen maar de ogen sluiten en stilstaan bij wat was en nog komen zal.

Label is het enige nummer dat speciaal voor de EP werd geschreven en baadt net als Service in meer dartele klanken, terwijl Cappelle met trefzekere oneliners een beeld van zichzelf schetst. 'de meeste middens mijd ik, ik hore bie de randgevallen thuis / misschien verdiene 'kik ook een label'. Moeten we altijd proberen de ander in een vakje te duwen? Kan iedereen niet 'gewoon' anders zijn? En ironisch draait Cappelle de rollen om: 'atypisch is de norm / ge moogt buiten de lijntjes kleuren / gewoon is niet verboden / normaal zijn doet geen zeer / as ze mor hunder plekke kennen / de rare zijn met meer.'



Het slotakkoord is voor het beklijvende Duizend Soldaten van Willem Vermandere, dat Cappelle en Filip Wauters begin dit jaar brachten voor het tv-programma Ik Vraag Het Aan. Nu zet het een pakkend punt achter een EP die nogmaals de tijdloze klasse van de band onderstreept. Meeslepend, verhalend, herkenbaar, grappig, ontroerend, scherp. Het Zesde Metaal is het allemaal en heeft daar slechts vijf songs voor nodig.



Randgevallen werd opgenomen met Frederik Segers (productie) en Jasper Maekelberg (mix) aan de knoppen, en komt uit op 4 oktober. Met de plaat onder de arm én aan de merchandisetafel herneemt de band zijn theatertour, maar dan in het groot, langs fantastische zalen in onder meer Brugge (Concertgebouw), Gent (Capitole) en Nederland.

Mutant, in partnership with Netflix, are proud to present the premiere physical media release of Alan Silvestri's epic score to the Netflix original film The Electric State. One of the most important and prolific composers of our lifetime, Alan Silvestri (The Back To The Future Trilogy, Forrest Gump, Predator, Who Framed Roger Rabbit and so many more) rejoins the blockbuster fimmaking duo Joe and Anthony Russo (Avengers: Endgame, Captain America: The Winter Soldier), to score their latest sci-fi epic based on the graphic novel by legendary artist Simon Stålenhag.

A Milan-born multi-instrumentalist of Venetian heritage, Alberto Baldan Bembo was a gifted vibraphonist, organist, pianist, arranger, and composer whose work bridged jazz, pop, and film music. By the early 1960s, he was performing with Italy’s leading ensembles, including I Menestrelli del Jazz and Bruno De Filippi’s group, and soon became an in-demand session musician. For several years, he toured with the legendary Mina, providing the piano and organ backbone to her live shows—a role that sharpened the cinematic sensibility and refined musicianship that would later define his soundtrack work. In the years to come, he would be celebrated for his scores to films such as L’Amica Di Mia Madre (1975) and Lingua Argento (1976), earning a place alongside Piero Umiliani, Alessandro Alessandroni, Berto Pisano, and other luminaries of Italy’s golden age of soundtrack and library music.

Io E Mara is the soundtrack to a film that was never made. Originally released on the CGD label in 1969, this debut album from the brilliant Maestro Baldan Bembo is a sophisticated concept-album tracing 24 hours in the life of two young lovers. Told entirely through music, the record unfolds as a continuous suite of ten tracks, where cinematic lounge, bossa, and jazz flavors mingle to create a dreamlike atmosphere. Baldan Bembo’s signature piano and organ are masterfully complemented by Mara’s ethereal vocals, while immersive soundscapes of crashing waves, seagulls, and rain showers enhance the feeling of a deeply personal and intimate journey. A cast of exceptional musicians brings this vision to life, including Bruno De Filippi on electric guitar and sitar, Carlo Milano on electric bass, Rolando Ceragioli on drums, and Pasquale Liguori on sound effects. This singular work not only showcases the burgeoning talent of a future soundtrack master but also features the original pop art front cover by Italian cult illustrator Guido Crepax.

Lorquin’s Admiral is a striking heavy psychedeliccollaboration featuring current and formermembers of Afghan Whigs, Hermano, YawningSons, The Fizz Fuzz, Orquesta del Desierto, Sonsof Alpha Centauri and Luna Sol.
The band unites a lineup of seasoned musicians todeliver a captivating debut album filled with soulfulharmonies, rich psychedelic textures and powerfulguitar-driven riffs.
Born from the creative connection between MarlonKing, Nick Hannon and Dandy Brown, previouslyheard on the acclaimed Yawning Sons album ‘SkyIsland’, this new project expands their musicalvision with infectious songwriting and deep soniclayers. The dual vocals of Dawn and Dandy
The result is an album that blends the raw spirit ofdesert rock with elements of blues, psychedeliaand alternative experimentation. Vibrant, melodicand adventurous, Lorquin’s Admiral offers a freshand exciting voice in today’s evolving landscape ofheavy psychedelic rock.
For fans of Hermano, Yawning Sons, Fatso Jetson,Screaming Trees, Garbage.
LP available on Clear with Red Marble colouredvinyl.

Perhaps it was a cold winter day or a warm summer night in Finland - but it was around 2010. Someone came up with an idea to combine bluegrass, Finnish folk and rock/metal music. The outcome was and has since been Steve 'n' Seagulls. The kind of band you've never heard before but you do want to hear again. Hailing from Finland in Northern Europe - this flock of musical energy keeps on going and flying faster than ever. In 2025, the sun will lay its rays on the long-awaited fifth Steve 'n' Seagulls album - The Dark Side of the Moo! Recorded and produced with the same crew as the previous one, Steve 'n' Seagulls have again found and torn down the limits of progressive bluegrass and newgrass. The album combines elements from genres that are hard to imagine together. Yet they meet and shake hands like old friends. Steve 'n' Seagulls' originals and some re-arranged classics form yet another interesting musical soup ready to be served on their The Dark Side of the Moo -tour around Europe in 2025.

REPRESS of Mephistofeles third album. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This album is a slowly bubbling cauldron of eerie atmospheres and drugged-out sonics; amidst the ever-present haze of hashish and sulfur, it's by far one of the band's most authentically DOOM recordings. And at 47 minutes, the simmering slime MEPHISTOFELES here dole out so effortlessly sounds more like 47 hours, so ensnared by addiction you'll be.

REPRESS of Mephistofeles debut album. Magenta-coloured vinyl, limited to 350 copies. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This debut release offers catchy grooves and melodies, complemented by a gritty, lo-fi production. The tracks delve into themes of self-destruction and drug addiction, presenting a raw and unfiltered stoner doom experience. A must have!

REPRESS of Mephistofeles third album. Yellow vinyl, limited to 350 copies. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This album is a slowly bubbling cauldron of eerie atmospheres and drugged-out sonics; amidst the ever-present haze of hashish and sulfur, it's by far one of the band's most authentically DOOM recordings. And at 47 minutes, the simmering slime MEPHISTOFELES here dole out so effortlessly sounds more like 47 hours, so ensnared by addiction you'll be.

Recursivity is a reflection on inspiration, derivations, cycles of life, environments, and the
consequence of time.
Written and produced by Maro Kariya
Artwork by Maro Kariya
Layout by Cookhouse Studio
Mastered & Cut by Tim Xavier at Manmade Mastering Berlin

Sub Channels Records is proud to announce their first release, "Epic EP," featuring a collaboration between Belgium-based producer Unlisted Fanatic and Moonshine Horns.

The track "Epic" is a result of the first "post-covid" spontaneous rehearsal session. After Martin just finished building his new fast-driven 90s UK stepper riddim, Jort and Kris came to a studio, and they both felt the vibes instantly. Very quickly this turns into a recording session where they have lay down the powerful, triumphant horn line. With bouncy bass and very clever percussion layering, it's a perfect backing beat for uplifting horns.

On the flip side, EchoBoy slows down the tempo of the original recordings, transforming the melodic horns into more rootikal vibes. This, combined with hard-hitting wobs and ground-shaking subs, makes the B-side a more futuristic tune.

Welcome to Pfefferkorn: a countryside studio hidden inside a former 1950s café. The stylish interior stayed, the cake display is gone, but the mountain panorama is still very much in place. Out of this unlikely combination came Obsolescence, Feater's new album and a record that wasn't supposed to happen, but insisted on doing so anyway.

Originally, Pfefferkorn hosted a merry-go-round of guests and genres: jazz, kraut, pop, experiments, even the occasional field recording. Among the many, Mara Oldofredi aka Mietze Conte became the most frequent and inspiring visitor. Their sessions set sparks, and one of them, "Trio," landed directly on the album.
The method? Call it instant archaeology: live jams on two-track tape, then pushed through edits, resampling, Fairlight IIX sorcery, and endless tape-laptop relays. Quick, raw, and without too much overthinking, more sketch than sculpture, more instinct than intent.
The result is Obsolescence, a record born out of detours, made for personal delight, and proof that side products can be main courses if you let them.

Dj T-Kut Team Leader of Skratcher Madrid, Skratch Elementz & Tablist Lounge Spain, publishes a new volume of Skratch Practice. After the success of the previous volumes, this time it will be called Skratch Fu-Finger Practice. Side A consists of 12 seamless loops at 100 BPM and Side B consists of 12 seamless loops at 133 BPM. This vinyl is a perfect tool for battle routines, freestyle scratching, in which you will find classic original sounds, phrases, Fx sounds and much more. This Battle Breaks & Scratch Tools vinyl promises hours of practice and is focused both for DJs who are beginning and advanced DJs. This work is published on 12" and 7" vinyl in black plus a limited edition in colour oxide blood for 12" and gold for 7". The 7" vinyl sides A and B consist of 6 loops per side at 100 BPM. Artwork: Adolfo Gerrero Mastered: Le Jad Producer: Dj T-Kut I hope you enjoy it and Happy Skratching!

Davide & Emily form the duo "The Jackson Pollock", delivering an explosive blend of lo-fi and garage music that creates a sound far greater than the sum of its parts. Emily sounds like a cannon blast when she strikes her 22âÇ3 ride cymbal with full force, while simultaneously cursing the spirit with mermaid-like melodies. Davide alternates between guitar and bass, bringing distorted, bluesy tones to life. "What we do is very energetic, free, and positive, because we want to encourage people to have the courage to do what they truly want - to be themselves and fearless - as human and as animal - while avoiding any kind of schema, external structures, definitions, and imposed references."

Die verschollenen Originalaufnahmen des zweiten Cradle Of Filth-Albums erblicken endlich das Tageslicht! Aufgenommen 1995 im Original Line Up, welches auch das wegweisende Debüt »The Principle of Evil Made Flesh« einspielte, wurde diese Version aufgrund von Besetzungswechseln vor Veröffentlichung zurückgezogen.

Das neue Band-Lineup spielte dann das Album erneut ein, welches offiziell released wurde. Nun endlich nach 21 Jahren erscheinen die Original Aufnahmen plus zwei Bonustracks auf dem wiederbelebten britischen Extreme Metal Label Cacophonous.

»The Original Sin« bietet rohen, ungezähmten britischen Underground-Black Metal in seiner Urform.

Die verschollenen Originalaufnahmen des zweiten Cradle Of Filth-Albums erblicken endlich das Tageslicht! Aufgenommen 1995 im Original Line Up, welches auch das wegweisende Debüt »The Principle of Evil Made Flesh« einspielte, wurde diese Version aufgrund von Besetzungswechseln vor Veröffentlichung zurückgezogen.

Das neue Band-Lineup spielte dann das Album erneut ein, welches offiziell released wurde. Nun endlich nach 21 Jahren erscheinen die Original Aufnahmen plus zwei Bonustracks auf dem wiederbelebten britischen Extreme Metal Label Cacophonous.

»The Original Sin« bietet rohen, ungezähmten britischen Underground-Black Metal in seiner Urform.

Die verschollenen Originalaufnahmen des zweiten Cradle Of Filth-Albums erblicken endlich das Tageslicht! Aufgenommen 1995 im Original Line Up, welches auch das wegweisende Debüt »The Principle of Evil Made Flesh« einspielte, wurde diese Version aufgrund von Besetzungswechseln vor Veröffentlichung zurückgezogen.

Das neue Band-Lineup spielte dann das Album erneut ein, welches offiziell released wurde. Nun endlich nach 21 Jahren erscheinen die Original Aufnahmen plus zwei Bonustracks auf dem wiederbelebten britischen Extreme Metal Label Cacophonous.

»The Original Sin« bietet rohen, ungezähmten britischen Underground-Black Metal in seiner Urform.

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Berlin musician and DJ Nastia Reigel presents her debut solo album, Identity, on Function's legendary Infrastructure New York imprint. Following a constant output of EPs on heavy-hitting techno labels like fabric, Rodhad's WSNWG and Token, and playing regularly at the likes of Berghain, Reigel now returns with new music that pushes deep into the core of her craft. She has honed and sharpened her sound into something sleeker and more uninhibited. Identity embodies the core of Nastia's production DNA, showcasing her as a powerful and precise engineer. These eight new tracks, mixed by herself, all offer something distinct and carry her unmistakable signature. Much like human identity itself, the album explores contrasting layers of tension, groove and mood, oscillating from hypnotic rollers to peak time intensity with ease. It is both a personal artistic statement and a DJ-ready techno toolkit for fans of Function and Sandwell District.

Francois Kevorkian (Wave) : Lovely EP, atmospheric vibes.
Chris Udoh (Various) : Lovely !!!
Lea Lisa (Phonica Records / Folklor Club) : Fred P is a master of deep house. Live Long Love & When in Miami for me.
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : nice n deep ty!
Radio Slave (Rekids) : The King is back and what an EP ! Full support.
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Lovely vibes on When In Miami and Live Long Love!
Jacques Renault : Nice EP, into When In Miami and The Heights in particular
Danny Howells (Dig Deeper) : Love Fred so much, always the highest quality music with soul. All four are stunners.
Dan Beaumont (Chapter 10 / NTS) : Always brilliant.. deeep! When in Miami for me
DJ Sprinkles (Comatonse) : thank you
Kai Alce (Real Soon) : Live Long Fred P!
Tomoki Tamura (Holic Trax) : pure class, deep house
Raresh (ar:pi:ar) : super! thanks
Laurent Garnier : FRED P alwayssssssssssssssss
Marcel Dettmann : thx
Archie Hamilton (Microhertz / FUSE) : Nice thanks
DVS1 : thanks
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Beautiful tracks
Pat Hyland (Northside Loft Society) : Fred P is a master of deep. AWEsome EP!
Thor (Thor-Thule Records) : Another great release by the master of Deep House. Full support
Colin Dale : One of my fave producers from way back! Excellent 4 tracker with all the cuts 'hittin' the mark'. Will rotate & support.
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Jaye Ward (Dalston Super Store / Netil Radio) : Syncrophone just continues to churn out the goodness.. love Fred P too. so deep and full of the good soul ace! thx
Ame (Innervisions) : thanks
Domenic Cappello (Subclub) : love this
Greg Gow (Restructured / Transmat / KMS) : cool vibes full support
Jerome Sydenham (Ibadan) : When Miami is the business! Overall nice E.P!
Bill Brewster (NTS) : FRED P RETURNS!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Live Long Love <3

The Alien Dub Orchestra is ragtag collective of Bavarian musicians, featuring members of The Notwist and G.Rag y los hermanos Patchekos. The cohort formed around the idea of performing the standards of the fabled Breadminster Songbook, aka the back-catalogue of lone dubman Elijah Minnelli. Minnelli is known for constructing wheezy, forlorn odes to his hometown, both as highly sought-after self-released 7" singles, and a critically-acclaimed debut album, ‘Perpetual Musket’ for FatCat Records, lauded by the likes of The Guardian, The Wire, and The Quietus. ‘The Alien Dub Orchestra: Plays the Breadminster Songbook’ finds group covering Minnelli’s cumbia-infused dub reggae with full band, playing an eclectic array of instruments including: guiro, accordion, melodica, sousaphone, trumpet and assorted percussion.

The tale begins in 2022, when Minnelli was invited to lend his unique dubbing style to a pair of remixes for The Notwist, and what followed was an ever-flourishing relationship between the Breadminster native and the wider Munich scene. The seeds of the Alien Dub Orchestra were sown during a support gig for The Notwist, where assorted musicians joined Minnelli for a encore, reinterpreting one of his dub remixes across woodwind, brass and assorted percussion.

“The idea of real, competent professionals playing something you’ve muddled together on a computer in a damp basement is quite overwhelming,” reflects Minnelli on the process, “hearing them interpret and improve these melodies is a real joy and privilege.”

Despite the non-traditional origins of the source material, the inherent musicality of Minnelli’s songwriting shines through across his releases, and this creative kinship is what attracted the Orchestra to reimagining his work. The first live collaboration led to recording sessions and further gigs, with the Orchestra building a full set of Minnelli’s music.

The resulting album puts forward the strongest case yet of the shared musical throughline between the acts, where cumbia, dub and folk sensibilities coalesce to something all together unique. The tracks are wrought new, with melodies fleshed out and broader instrumentation expanding the sonic possibilities of the compositions. The tactility of the tracks is perhaps best demonstrated on the gorgeous ‘Vine and Fig Tree’, with it’s layed vocals and expressive bassline returning as a cavorting sousaphone line. Elsewhere, fan favourite ‘SLATS’ sounds as if it was simply written to be performed this way.

To further instill the cylindrical nature of these collaborations, the entire second half of the album is made up of dub versions of the Orchestra’s renditions. For these dubs, Minnelli is joined by Raimund Wong, who had caught his ear with his ambitious live sets, a daisy chain of tape machines and FX pedals. Again, despite their differing creative processes, the two bonded over a shared love of dub music. Each dub was a one-take, with Minnelli riding the faders and Wong’s filters and FX supplying a sound that doesn’t seek to imitate dub, so much as it tries to be it’s own chaotic self. The droning, psychedelic hypnosis of ‘Pundit Dub’ stretches the material to a whole new realm that feels outside of anything else Minnelli has produced before, an ode to the benefits of recycling sound if ever there was one. The whole second half is a perfect closing note to an album that is undoubtedly a love letter to folk tradition, dub ideology and, most importantly, the joy of uninhibited collaboration.

​Elijah Minnelli - voc, guiro, percussion
Philip Gross - accordion, melodica
Theresa Loibl - clarinet, melodica
Cico Beck - electronics, keyboards
Sascha Schwegeler - congas, steel drum, percussion
Micha Acher - sousaphone, trumpet
Markus Acher - drums, voc
Dub mixes performed live by Elijah Minnelli & Raimund Wong at Breadminster County Council Studios

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald.

Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace.

As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us”

He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

Living in the present is an album built around the work of American minimalist poet, Robert Lax (1915-2000) who is widely praised for his artistic concept of reduction, in which a pause becomes as important as the things said.

The album brings together the sound of Robert Lax reading his poetry, narrative field recordings by Nicolas Humbert and subtle yet imaginative timbres by Carina Khorkhordina (trumpet) and Miki Yui (electronics) who is also behind the final mixing of the album.

Living in the present is drawing from an archive of audio recordings originally made by film maker Nicolas Humbert while shooting a film on Robert Lax entitled Why Should I Buy A Bed When All That I Want Is Sleep?, ( Nicolas Humbert and Werner Penzel, Germany, 1999) The film was made on the Greek island of Patmos where Lax has lived withdrawn for 3 decades.

More than 25 years after the premiere of Why Should I Buy A Bed When All That I Want Is Sleep?, Humbert, Khorkhordina and Yui are revisiting the original audio material and patiently open worlds within worlds, pointing to new harmonic textures and isolating timbres, synchronizing different layers of time and traces of various locations into a new composition in its own right.

In some ways this album feels like an expansion of the work Humbert and Penzel did with Lax across six years, between 1993 and 1999, where they developed a unique intimacy in their textual-visual collaboration. On two long pieces, for each side of the album, “Where do i begin” and “One moment passes, another comes on” respectively – Yui’s electronics and Khorkhordina’s trumpet interweave beautifully with Humbert’s field recordings, in a manner that shadows the reflective reduction of Lax’s poetry. Indeed, it's no surprise that Lax’s poetry draws musicians into its orbit; it offers the curious a welcoming reduction in which only individual words and syllables represent the essence of language.

Lax’s poetry is notable for its qualities of near-stillness and its capacity to pause the reader’s thought, asking them to hold the sensuality of language for an extended, quietly revelatory moment. His readings on this album share a similar cadence, interested in settling with syllables, with single or several words, for an extended time.

Ultimately, Living in the present unfolds with unforced grace and poetics – one moment passes, then another comes on. (Jon Dale)

Off The Record (faitiche 39), the new album by French collagist Roméo Poirier, is an amusing romp through the discarded history of recording studios. It contains fourteen miniatures based on accidental recordings of studio talk, revealing things that were never meant for the public: we hear instructions from studio staff, scraps of talk between musicians, or just microphones being adjusted, as well as false notes, false starts: everyone stops. Start again: 1, 2, 3, 4!

Poirier’s approach recalls Accumulation, an artform practiced by Arman, Jean Tinguely and Daniel Spoerri that involved piling up everyday items into assemblages. The objects themselves often remained unaltered, the artistic gesture consisting in the careful curating of a distinctive selection. Poirier’s audio collages explore similar terrain. The fourteen pieces on Off the Record combine more than a thousand found sounds from studio archives into complex miniatures. The audio content of these outtakes is twisted, stretched, cut, reassembled, slowed down and accelerated. Voices cut into a microgroove, from a very old recording, intertwine with digital voices gleaned from YouTube. All of them in dialogue, engaging the listener with the impression of being part of a new music group.

Poirier uses the mundane routine of setting up before the actual recording gets underway to tell a universal story about working in a recording studio. And he manages something few achieve, transforming specialist knowledge into a narrative whose beauty goes far beyond its immediate subject. It speaks to everyone, because the story is told in a musical language that is open and accessible, evoking magical images reminiscent of Oz – a world consisting less of events than of camp hallucinations, captured in grainy black-and-white photographs. En passant, Poirier shows us how the notion of material accumulation can produce great art.

Written and produced by Roméo Poirier, mastered by Stephan Mathieu, photos by Roméo Poirier, graphic design by Tim Tetzner.

»Chitin« captures Berlin-based duo Narval (Peter Strickmann and Evgenija Wassilew) in a series of recordings made during a 2025 residency in the village of Schöppingen, Münsterland. Known for their use of everyday objects, self-built wind and percussion instruments, feedback systems, and small-scale electronics, Narval treat the performance space itself as a collaborator. In Schöppingen, this meant farmhouses, a parish church, a sculptor’s studio, and surrounding cornfields — each site imprinting its acoustics and atmosphere onto the performances. The result is a set of recordings where birds, insects, and ambient traces of rural life seep into the music, blurring the boundary between intentional gesture and environmental chance.

The title refers to chitin: the hard-yet-flexible material that forms insect shells, fungal walls, and crustacean exoskeletons. Like tape or rural matter, it is at once protective and permeable, tactile and intimate — qualities mirrored in the album’s sound world. By working with a deliberately limited palette of tools, Narval allow small sonic details to accumulate into shifting durations, giving each piece the strange, layered texture of surfaces both organic and mechanical. Chitin offers a portrait of site-specific listening where the line between instrument and environment continually dissolves.

Peter Strickmann – objects, smartphone, ceramophone, cornfield, iron bar Evgenija Wassilew – AM radio, prepared Stylophone, feedback, smartphone, Bastl Kastle, iron bar Recorded by Peter Strickmann and Evgenija Wassilew Mastered by Jacob Calland

Animistic Resonance marks a new stage for artist and electronic musician Leslie García, as it is her first album under her own name, following several releases as Microhm and her parallel work as founder of the contemporary art studio Interspecifics, where she has developed an extensive body of sonic projects presented in major museums and programs around the world. The album is the culmination of a profound and extended exploration of sound as language. It is also a statement against the classicism of long-form ambient pieces. Narratively, each track is conceived as a finely detailed work that functions as a condensed temporal fragment, each with its own individuality while simultaneously forming part of a broader universe.

The compositional language of the album draws on minimalist structures, deep listening strategies, and experimental approaches to electronic sound. Each track offers a meditation on repetition, density, and micro-variation, unfolding like a sonic landscape shaped by temporal tension and perceptual ambiguity. Animistic Resonance resists categorization, situating itself between ambient, noise, and abstract rhythm, while grounding its aesthetic in a Latin American sensibility that embraces technological poetics, affective depth, and critical imagination.

The album invites listeners to move beyond the surface and inhabit a world of vibrational and animistic temporalities. It offers a refuge in sound, a suspended space where calm can emerge. In the midst of contemporary turbulence, Animistic Resonance opens the door to imagining new ways of listening and feeling, demanding an embodied and visceral form of engagement.

Composition sound synthesis and programming by Leslie García. Composed between 2022—2024 in Mexico City.
Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Artwork by Daniel Castrejón.

A stunning re-envisaging of Sade ‘Cherish The Day’ in a upfront reggae style from singer Sailor Jane. It is produced by the great Michael Goldwasser. A side mixed by the maestro mixer Gregory Morris, the B side features a magnificent dub piece from Jallanzo The Dub Wizard.

The release comes on a criss 7inch housed in a beautiful picture sleeve designed by Madein876 Productions / Streets of Jamaica & formatted by Classic Blends.

Sailor Jane is out of Florida but has spent a lot of time in Jamaica honing her skills as a singer and musician. This track is taken from her album of Sade covers which is certainly worth checking out called No Ordinary Dub.

Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and songwriter/technician Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue a different musical direction.

Turner claims that the idea of Deux Filles came to him in a dream, and the novel fiction/roleplay would be strictly maintained throughout the girls' short career. As well as posing in costume for the album covers, the duo even performed live without the audience realizing that the girls on-stage were actually a pair of blokes from south London having a giggle.

Deux Filles released two highly collectable albums: Silence & Wisdom (1982) and Double Happiness (1983)

Eco Coloured Edition
Elena Tonra ist zwar keine passionierte Schwimmerin, aber der Sound auf dem neuen Daughter Album "Stereo Mind Game" klingt wie ein Ozean, in den man eintauchen möchte. Das dritte Album der britischen Band, gleichzeitig das erste Studioalbum seit sieben Jahren, setzt sich damit auseinander, was es bedeutet, von geliebten Menschen und auch von sich selbst getrennt zu sein - ein komplexes Thema. Daughter, das Trio bestehend aus Elena Tonra, Igor Haefeli und Remi Aguilella - wurde 2010 gegründet. Nach der Veröffentlichung von zwei Studioalben, "If You Leave" (2013) und "Not to Disappear" (2016), und dem Videospiel-Soundtrack Music "From Before the Storm" (2017), beschlossen sie, eine Auszeit voneinander zu nehmen. Kurz zuvor jammten sie allerdings noch gemeinsam in Los Angeles, zwischen einer Support-Tour für The National und ihren ersten Headline-Shows in Südamerika. Hier begann die Arbeit am neuen Album. Danach herrschte erst einmal Stille - als Band und untereinander. In den nächsten Jahren, in denen die Mitglieder an ihren eigenen Projekten arbeiteten, darunter auch Tonras Soloplatte als Ex:Re, trafen sich Daughter gelegentlich zum gemeinsamen Schreiben in Studios in London, Portland und San Diego, wo Haefeli 2019 für sechs Monate lebte. Die zentrale romantische Figur der Platte ist jemand, den Tonra dort kennengelernt hat, als sie aus London zu Besuch kam. Sie teilten eine bedeutende Verbindung, aber sie wusste, dass der Atlantik zwischen ihnen liegt. Daughter begann 2021 konkret mit den Aufnahmen für die zwölf Songs des Albums. Haefeli, der in Bristol lebt, traf sich mit Tonra in den Middle Farm Studios in Devon. Aguilella, der in Portland, Oregon, lebt, nahm seine Schlagzeugparts im Bocce Studio in Vancouver, Washington, auf. Haefeli produzierte eine Reihe der Songs, während Tonra "Junkmail" produzierte. Den Rest haben sie gemeinsam produziert. Die Sehnsucht, physische Entfernungen zu überwinden, ein Gefühl, das sich während der Pandemie noch verstärkt hat, ist in viele dieser Stücke eingeflossen. Auf "Wish I Could Cross the Sea" hören wir Sprachnotizen von Tonras junger Nichte und ihrem Neffen, die in Italien leben. "(Missed Calls)" enthält eine weitere Sprachnotiz, in der ein Freund einen Traum beschreibt. Gefüttert mit einigen modularen Effekten, klingt er geisterhaft eindringlich. Diese Nachrichten, Versuche einer Verbindung von geliebten Menschen, die man nicht sehen kann, "können einen aus dem Brunnen ziehen", sagt Tonra - aber nur, wenn man den Hörer abnimmt. Wenn man andere hereinlässt, kann Schönheit entstehen. Tiefes Gefühl kommt von den Bögen des 12 Ensemble, dem in London ansässigen Streichorchester, das bei vielen Stücken des Albums zu hören ist. Die von Haefeli und Tonra arrangierten und von Josephine Stephenson orchestrierten Stücke wurden, passenderweise, im The Pool aufgenommen, einem Raum in Bermondsey im Süden Londons, der eine ehemalige Badeanstalt war. Ein Blechbläserquartett verleiht auch "Neptune" und "To Rage" eine wohlig klangliche Wärme. Während Daughters frühere Arbeiten ihre Kraft in ihrer entwaffneten und emotionalen Ehrlichkeit fanden, handelt "Stereo Mind Game" von gegensätzlichen Gefühlen. "Es geht darum, nicht in absoluten Kategorien zu arbeiten", sagt Haefeli. Nach mehr als einem Jahrzehnt, in dem sie die dunkelsten Emotionen darstellten, haben Daughter ihr bisher optimistischstes und ein fast schon strahlendes Album aufgenommen.

"Na Rua, na Chuva, na Fazenda" is a landmark 1975 album by Hyldon, a key figure in Brazilian soul music. His debut release was one of the top-selling albums that year, capturing the vibrant musical spirit of the 1970s and reflecting the influence of the black power movement alongside artists like Tim Maia and Cassiano. With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists and contributing to the Brazilian music scene. With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists like Azymuth. The album, which features the iconic title track, is a celebration of love with timeless songs like 'As Dores do Mundo', 'Na Sombra de uma Arvore' and 'Meu Patuá.' Produced by Guti Carvalho with arrangements by Hyldon and Waldir Arouca Barros, the studio band included the talented musicians from Azymuth (José Roberto Bertrami, Alex Malheiros and Ivan Conti "Mamao"), making it a memorable piece of Brazilian musical history. This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After being unavailable outside of Brazil for years, it's finally been reissued - don't miss your chance to own this legendary piece of music history.

Gegründet wurde Daughter von Sängerin Elena Tonra und Igor Haefli 2010 während ihrer Zeit an der Musikhochschule. Dort trafen sie auch Remi Aguilella, der später das Line-up komplettierte. 2011 veröffentlichten sie in Eigenregie die EP "His Young Heart" und wenig später "The Wild Youth" und in der Folge erspielten sich die drei eine große Fanbase in England. Auch auf dem Kontinent konnten sie bereits überzeugen: Beim Hamburger Dockville-Festival spielten Daughter 2012 vor über 5000 Zuschauern. Die im Herbst folgenden Konzerte in Hamburg und Berlin waren dann schon im Voraus ausverkauft - kein Wunder, betören Daughter das Publikum doch mit ihrer zauberhaften Musik. Mit "If You Leave" ist der Band nun ein eindrucksvolles Debütalbum gelungen, dessen intime Atmosphäre mitunter an das erste Album von The XX erinnert.

Next up on Mesh is Throwing Snow’s ‘Jackals’, a five-track EP drawing on echoes of UK subcultures.
Written in Ireland late last year with the London 2010s in mind, ‘Jackals’ is Throwing Snow’s love letter to his time spent there, tapping into a detailed web of sounds and styles through a personal lens, but skillfully produced to resonate with many. Locating memories in a transient city that is constantly reconfiguring itself, each track is an attempt at honouring fragments of recent, but seemingly distant, musical history. Taking us from DMZ at Brixton Mass to FWD at Plastic People, or Future Garage Fridays in Soho (IYKYK) to early days of NTS, the EP captures some of the fleeting moments that continue to play a significant part in the city’s sonic patchwork.

Production-wise, all the tracks share the same sounds twisted in different directions. The hats are vocoded with noise and random LFOs, and much like the chaos of London, every bounce has a unique pattern.

Opening track ‘Jackals’ walks the line between dub and UK bass, quickly overtaken by a wonky synth lead that spirals eternally upwards. ‘Ohnein’ jumps in with a massive pad swirling above a half-time step. In Throwing Snow’s own words, ‘I had to check with Martyn whether I'd ripped him off, turns out I hadn't, but it's a heavy head nod crossed with Un Vingt from my first 12"’. ‘A Cloud Mountain’ - a nod to the timeless James Holden remix of Nathan Fake’s ‘The Sky Was Pink’, leans into a maximalist progression of deep chords and fractured synths. ‘Forged’ steps into a weightier space with sparse drums driven forward by a deep cut of bass and twitchy echoes. Rounding things off, ‘Path Dependency’ speeds things up with touches of DnB in the drums, distant echoes in the forefront and the occasional sub wobble holding things together.

Clear Vinyl. ,A Series of Actions in a Sphere of Forever" ist eine Sammlung von neun Soloklavierwerken, die sich mit Widerstand, Resonanz und Raum mit einer ausgeprägten spektralen Sensibilität auseinandersetzen. Diese Stücke sind Nocturnes, die tief in der Stille des Winters in einem kleinen ländlichen Studio in Valens, Kanada, geschrieben wurden. A Series of Actions in a Sphere of Forever ist der Nachfolger von From Where You Came, das im Mai veröffentlicht wurde und eine RA-Empfehlung sowie die Auszeichnung ,Experimentelles Album des Monats" von The Guardian erhielt, das es als ,stille Ekstase eines Komponisten ohne Grenzen" bezeichnete.

,A Series of Actions in a Sphere of Forever" ist eine Sammlung von neun Soloklavierwerken, die sich mit Widerstand, Resonanz und Raum mit einer ausgeprägten spektralen Sensibilität auseinandersetzen. Diese Stücke sind Nocturnes, die tief in der Stille des Winters in einem kleinen ländlichen Studio in Valens, Kanada, geschrieben wurden. A Series of Actions in a Sphere of Forever ist der Nachfolger von From Where You Came, das im Mai veröffentlicht wurde und eine RA-Empfehlung sowie die Auszeichnung ,Experimentelles Album des Monats" von The Guardian erhielt, das es als ,stille Ekstase eines Komponisten ohne Grenzen" bezeichnete.

The downtempo legacy of Tosca continues. Originally released in 2005, J.A.C. is the fourth studio album by the Austrian duo - an album dedicated to their then newly born sons, "Joshua, Arthur, Conrad". For its 20th anniversary, which also marks !K7"s 40th anniversary, it has been fully remastered and compiled into a beautiful gatefold 2LP. Between the release of their classic Dehli 9 and J.A.C., the two entered fatherhood. As all Tosca albums relate to biographic events in the life of Huber and Dorfmeister, the birth of their sons naturally called for an album dedication. J.A.C. is perhaps the most consistent formulation of both, the carefree and melancholic sound of Tosca.