Search:cap

Natasha Watts Announces Limited Edition 7” Vinyl Release Featuring “Good Love” & “Feels Like Sunshine” in a special LRK sleeve

Soul powerhouse Natasha Watts returns with a must-have release for collectors and music lovers alike a limited edition 45 vinyl featuring two of her most beloved original recordings.

On one side, the timeless “Good Love”, taken from Natasha’s self-titled debut album released in 2012 a track that helped define her signature sound and introduce her unmistakable voice to the soul scene. On the flip side, the uplifting and vibrant “Feels Like Sunshine”, lifted from her acclaimed album Music Is My Life, showcasing her evolution as both a songwriter and performer.

Released via LRK Records, the label behind every one of Natasha Watts’ highly sought-after 7-inch releases, this latest pressing is set to continue a tradition of fast selling, collector’s favourites. Known for their quality and exclusivity, Natasha’s vinyl releases have consistently generated huge demand and this one will be no exception.

This special edition celebrates not only Natasha’s journey as an artist but also her commitment to authentic, original soul music. With both tracks written by Natasha herself, the record is a true reflection of her artistry rich in emotion, groove, and timeless appeal.

Fans and vinyl collectors are encouraged to act quickly. With limited quantities available, this release is expected to sell out fast.

Pre-orders are now live secure your copy today via LRK Records.

Don’t miss your chance to own a piece of Natasha Watts’ musical legacy.

Renowned for her powerful voice, captivating live performances, and deeply personal songwriting, Natasha Watts has become a standout name in the UK soul scene. With a loyal global fanbase and a catalogue of acclaimed releases, she continues to inspire through music that speaks from the heart.

With more than 140 live performances in Italy and Europe, Petrolio is a solo project by Enrico Cerrato, a versatile artist able to move with ease between experimental and noise music, soundtracks and compositions for the theatre In recent years, the artist has released numerous singles, EP and albums, playing throughout Europe, sharing the stage with artists of the caliber of Lingua Ignota, Lustmord and Karin Park, Jesu, Fennecs, and many more, and performing in international festivals. It boasts high profile collaborations with artists of the caliber of Jochen Arbeit (Einstrzende Neubauten), Aidan Baker (Nadja), as well as many noble names of the Italian noise/ industrial scene as Italian as Fabrizio Modonese Palumbo (Almagest!, Blind Salamander, Coypu, Coypu, Lanzen, XXL), Sigillum S, Stefania Pedretti and Mai Mai Mai.

With more than 140 live performances in Italy and Europe, Petrolio is a solo project by Enrico Cerrato, a versatile artist able to move with ease between experimental and noise music, soundtracks and compositions for the theatre In recent years, the artist has released numerous singles, EP and albums, playing throughout Europe, sharing the stage with artists of the caliber of Lingua Ignota, Lustmord and Karin Park, Jesu, Fennecs, and many more, and performing in international festivals. It boasts high profile collaborations with artists of the caliber of Jochen Arbeit (Einstrzende Neubauten), Aidan Baker (Nadja), as well as many noble names of the Italian noise/ industrial scene as Italian as Fabrizio Modonese Palumbo (Almagest!, Blind Salamander, Coypu, Coypu, Lanzen, XXL), Sigillum S, Stefania Pedretti and Mai Mai Mai.

Back on the Discos Panorama series we head once again to Colombia, this time pairing two Afro-cumbia dancefloor weapons from Afrosound and Wganda Kenya — two giants of the late-’70s and early-’80s tropical scene.

Around this time Colombian studios, particularly those connected to Discos Fuentes, were beginning to push things forward. Traditional cumbia rhythms were still at the core, but now they were being driven by electric organs, synths, drum machines and fuzzed-out guitars. The result was something raw, hypnotic and incredibly rhythmic — records that feel almost proto-electronic, long before anyone would’ve used that word.

The two cuts on PAN014, originally released in 1978 and 1981, capture that moment perfectly. Rolling percussion, locked-in basslines and swirling keyboards create grooves that just keep building. They’re party records, no doubt about it, but there’s something else going on too — repetitive, driving, almost techno in spirit, the kind of tracks that can run for minutes and never lose the floor.

The A Side is the anthem, the B Side feels like it was lost on an LP…

Part of PANORAMA’s Discos Panorama series, this one continues the label’s focus on bringing essential Colombian dance music back to DJs and collectors. Carefully remastered and pressed on 7inch, these are the kinds of records that instantly change the temperature in a room.

4-track EP from Milan-based producer Michele Manzo. Deep, driving cuts for the floor. Manzo’s commitment to analogue gear ensures a raw, tactile warmth, offering listeners a sonic journey that feels personal yet universal. Capturing the richness and depth of classic house while maintaining a minimalist, modern edge.

Acclaimed producer, DJ, and dancefloor healer Octo Octa (Maya Bouldry-Morrison) announces her fourth full-length album, Sigils For Survival. Following 2013's Between Two Selves, 2017's Where Are We Going?, and 2019's Resonant Body, the new record marks a decade since Maya publicly came out as transgender in November 2015. ''As an autobiographical artist, I set out to write an album that would be a milestone for this past decade of joy and sorrow,'' Maya explains. ''Sigils For Survival is my attempt to encapsulate the intentions and techniques that I used to move through life into a spell.'' For each of the record's eight tracks, Maya drew a sigil. Each is a personal symbol intended to ''bind magic to the song and seal its intention.'' These drawings appear throughout the physical edition's design. Maya's sister, New York artist Hope Morrison, incorporated each sigil into her original paintings, which comprise the album's vivid artwork. Hope Morrison, whose imagery translates the sigils' energy into vivid form; the layout was designed by Jo?o Ervedosa. Created entirely on hardware instruments and later mixed in Logic, Sigils For Survival captures the tactile immediacy of live performance. Maya preserved the feel of MIDI-clock drift and off-grid recording, letting her machines interact in the rhythmic pocket, rather than confirming them to a click. Alongside her signature deep, ecstatic electronics, the album features hand-played dulcimer, hand-pan, and recorder. Her voice also returns, carrying spells of love, protection, and transformation. Across Sigils For Survival, Octo Octa channels the ecstatic house lineage into an intimate ritual space. The music speaks of immediacy, play, and communion -- of magic as method, love as survival, and sound as spellcraft. Sigils For Survival is both a document of ten years lived fully and an invocation for the next chapter -- a glowing testament to music's power to protect, transform, and set the spirit free.

Psyché Records is proud to present our first vinyl release, a piece that isn’t just heard—it’s felt, collected, and experienced. Five years dedicated to what we truly love, brought to life in physical form with this release that fills us with pride.

The artist bringing this debut to life is Dani Labb, one of our favorite local artists, who perfectly captures the essence of the label: depth, identity, and journey.

This vinyl represents much more than just music. It is the sound of Psyché brought to life.

Phoenix Reimagined (Live) by Lakecia  Benjamin, a powerful live studio album capturing an unforgettable performance. Previously available only on CD, it features standout performances from jazz icons John  Scofield, Randy  Brecker, and Jeff “Tain” Watts, and earned nominations in two Grammy categories—Best Jazz Performance and Best Jazz Instrumental Album.

For Record Store Day 2026, Brownswood Recordings mark two decades of boundary-pushing independent music with Twenty Years Deep, a limited-edition 3xLP vinyl compilation celebrating the label’s rich, global catalogue and enduring influence.

Founded in 2006 by broadcaster, DJ, and cultural tastemaker Gilles Peterson, Brownswood has spent the last 20 years championing forward-thinking artists who sit just left of centre: rooted in Afro-diasporic music, but never confined by genre. Twenty Years Deep is a snapshot of that journey: a carefully curated collection spanning the label’s early breakthroughs, cult classics, and defining moments.

Pressed exclusively for Record Store Day on 3 piece coloured vinyl Twenty Years Deep brings together tracks that reflect Brownswood’s long-standing commitment to artistic freedom, musical lineage, and future-facing sounds. From deep jazz explorations and dancefloor mutations to global collaborations and genre-defying hybrids, the compilation captures the connective thread that has defined the label since day one: trust in artists and belief in music that lasts.
Rather than a greatest-hits exercise, Twenty Years Deep functions as an archive and a statement documenting how Brownswood has maintained its own point of view. By following a highly instinctive approach to A&R the label has shaped music culture, introduced new voices, and built a catalogue that continues to resonate well beyond release cycles.

Twenty Years Deep will be available exclusively at participating independent record stores on Record Store Day 2026, pressed as a limited-edition 3 piece vinyl release.

If there is one track that perfectly embodies the explosive transion between the late '80s and the
dawn of early '90s rave culture, it’s "Just Get Up And Dance." Today, this immortal anthem returns
to the decks in an exclusive visual form: a limited edi.on Picture Disc that serves as a true visual
and sonic tribute to the legend of Afrika Bambaataa.
Originally released in 1991, the track is a killer mix of Hip-House, techno-tribal rhythms, and that
unmistakable charisma that only the founder of the Zulu Na.on could provide. That vocal
command — "Just get up and dance!" — remains one of the most powerful calls to acon ever
heard on a dancefloor.
Forget the standard black vinyl. This Picture Disc version transforms the record into a work of art.
The meculous graphic detail makes it perfect not only for a DJ set but also for framing and
displaying as a genuine piece of dance music history.

Thirty years. That is how long it has been since 1996, when European electronic music was
overwhelmed and reshaped by a wave of melody, melancholy, and rhythm. At the center of that
big bang was Roberto Concina, known ar1s1cally as Robert Miles—a visionary capable of bringing
Dream Trance to the global stage. Today, to celebrate three decades of pure sonic magic, "Fable"
returns to the turntable in a splendid celebratory reissue that stands as a well-deserved act of love
for an ar1st who passed away far too soon.
If Children was the programma1c manifesto of that era, Fable was its emo1onal evolu1on—the
track that proved dance music could touch in1mate and cinema1c chords. Listening to it today,
remastered for vinyl, is an experience that goes way beyond a simple nostalgia trip. This 30th-anniversary reissue splits into two versions to sa1sfy both purist DJs and avid collectors,
offering two excep1onal vinyl op1ons:

 The Standard Edi3on (Black Vinyl): Perfect for audiophiles and DJs who want to spin this
track in their sets without the fear of wearing out a museum piece. The warmth of the
black groove enhances the dynamics of the famous piano line and the depth of the
enveloping bass.

 The Limited Edi3on (Transparent Blue Vinyl - Limited & Numbered): The true crown jewel
of this release. Visually stunning, the transparent blue vinyl seems to evoke the dreamlike,
liquid, and suspended atmosphere of the track itself. The fact that it is a limited, handnumbered edi1on instantly makes it a grail for collectors worldwide.

Fela Kuti in Dub is a showcase album containing four essential songs by Fela Kuti in the style of a Jamaican Discomix, evolving from an instrumental cover version to a dub version, celebrating the musical heritage of Nigeria and Jamaica likewise.

Please understand this work as a hommage to both musical cultures.

The four tracks were chosen because they are a timeless witness to the political potential of music, that being proofed by their actuality. The songs feature essential dub effects like echoes, reverb and filtering but also feature analogue sound effects underlining and sonically illustrating the missing lyrical content. These vary from thundery spring reverbs and percussion instruments imitating the pouring rain on „Water No Get Enemy“ to marching soldiers and shot gun like reverbs on „Zombie“. From a cash register on „Expensive Shit“ to the dub sirens created live on a Korg MS10 on „Everything Scatter“.

Only analogue instruments, sounds and dub effects were used on this recording. Mixing, dubs and arrangements were done live in consecutive sessions. The premaster was done by Sodi Marciszewer at Zarma Studios (Fela Kuti, Femi Kuti, Seun Kuti, Damian Marley) on the original Decca desk used by Fela Kuti in Lagos. Fela Kuti In Dub was conceived and produced by Cpt. Yossarian alias Manuel da Coll musician, producer and soundman from Munich/Germany. His last work „Bob Marley In Dub“ (2021, Echobeach) attained a lot of critical acclaim and was featured by Don Letts on BBC6, the Riddim Magazine and Helmut Phillips book „DUB - The Sound Of Surprise“ amongst others.

Founded in 1981 by Tom Silverman in New York City, the label became a cultural engine for groundbreaking artists who blurred genre lines and defined the sound of the 1980s and '90s. Tommy Boy introduced the world to acts like Afrika Bambaataa & Soul Sonic Force, whose 1982 single "Planet Rock" helped launch the electro hip-hop movement. The label also released iconic material from Queen Latifah, Digital Underground, House of Pain, and Coolio, among others. Known for its fearless creativity and ear for innovation, Tommy Boy became synonymous with the golden age of hip-hop and remains a cornerstone in independent music culture. Tommy Boy celebrates its 45th anniversary with this 7" box set of Classics, Fan Favorites and Deep Cuts featuring De La Soul, Naughty By Nature, Planet Patrol, and more.

a 1 Cotton Candy - Havin' Fun (7" Mix) Feat. Donna Trollinger
[b] 2 Afrika Bambaataa & the Jazzy 5 - Jazzy Sensation (Bronx Version) [Short Edit]


[e] 5 The Jonzun Crew - Pack Jam (Look Out for the Ovc) [Remix 7" Edit]














[t] 20 Coolio - 1, 2, 3, 4 (Sumpin' New) [Timber Mix]


[w] 23 Handsome Boy Modeling School - Holy Calamity (Bear Witness II) [Feat. DJ Shadow & DJ Quest]
[x] 24 Handsome Boy Modeling School - the Truth (Short Edit) [Feat. Róisín Murphy & J-Live]

[a] 1 Cotton Candy - Havin' Fun (7" Mix) [Feat. Donna Trollinger]
[b] 2 Afrika Bambaataa & the Jazzy 5 - Jazzy Sensation (Bronx Version) [Short Edit]


[e] 5 The Jonzun Crew - Pack Jam (Look Out for the Ovc) [Remix 7" Edit]














[t] 20 Coolio - 1, 2, 3, 4 (Sumpin' New) [Timber Mix]


[w] 23 Handsome Boy Modeling School - Holy Calamity (Bear Witness II) [Feat. DJ Shadow & DJ Quest]
[x] 24 Handsome Boy Modeling School - the Truth (Short Edit) [Feat. Róisín Murphy & J-Live]

[a] a1 | Cotton Candy - Havin' Fun (7" Mix) [Feat Donna Trollinger]
[b] b1 | Afrika Bambaataa & the Jazzy 5 - Jazzy Sensation (Bronx Version) [Short Edit]


[e] e1 | The Jonzun Crew - Pack Jam (Look Out for the Ovc) [Remix 7" Edit]














[t] t1 | Coolio - 1, 2, 3, 4 (Sumpin' New) [Timber Mix]


[w] w1 | Handsome Boy Modeling School - Holy Calamity (Bear Witness II) [Feat DJ Shadow & DJ Quest]
[x] x1 | Handsome Boy Modeling School - the Truth (Short Edit) [Feat Róisín Murphy & J-Live]

House favourites Kai Alce, JKriv, Sean McCabe and Medlar debut on Universo Positivo with their masterful reworks from Universo Positivo’s catalog. After two years of agenda-setting sounds, the label is set to drop this classy remix EP, and in that time, founder Joseph Salvador has established the label with a mix of his own music and fresh grooves from carefully A&R’d pioneers and new school names. He has been doing much the same since the 90s with various projects from his cult TINK Records and the Tomorrow Is Now Kid! nights in Amsterdam, in collaborative production outfits like Black Tulip & Wendell Morrison, and releasing records by DJ Steaw, Malin Genie, Fabio Monesi and more. This latest release brings together some of the most respected names in the scene for four standout reworks.

First up, Atlanta-based NDATL label head Kai Alce, who has long been one of deep house's most influential architects. He flips 'Sonido Latino' into a smooth groove with jazzy, Roy Ayers-style melodies that bring a soft-focus glow and late-night intimacy. Then comes Bristol-based don Sean McCabe, a master of vintage synths with a 20-year back catalogue on seminal labels like Local Talk, Strictly Rhythm and Z Records. His take on 'Ipanema Jazz' maintains the original's samba shuffle but reframes it in a deep house groove with extra expressive jazz keys, dainty chords and playful trumpet motifs.

Brooklyn-based groove architect and Razor-N-Tape co-founder JKriv brings his many years of experience as a guitarist, producer and songwriter to his take on 'Caparica Sunset'. It's a deep, driving sound that's playful and romantic with flirtatious horns and soft acid, dusty breakbeats and luscious grooves for loved-up good time sessions. Last but never least, is Medlar, the South London underground maverick with a wide-ranging sound and album credits on the likes of the hallowed Delusions Of Grandeur. He remixes 'U R The Revolution' into a warm, euphoric rush of throwback house that's warm, melodic and sure to get the floor going right off.

DJ Support: Joseph capriati, Joris Delacroix, A-Trak, Eliza Rose, Damian Lazarus, Laurence guy, TSHA, Ame, Maslow Unknown, Malugi, DJ Heartstring, Anna Lunoe, Mera Bhai, Mat.Joe, Swoosh, Tyson, THELMA, Speaking Minds, Cole Knight, Joris Voorn, Peggy Gou, Eden Prince, Tony and many more

SHEE is a Dublin born house music producer and DJ whose sound bridges deep, soulful club music with a distinctly Irish identity. Built on years of consistent releases, relentless touring, and grassroots community, SHEE has established himself as one of Ireland's most exciting house music exports. The Rosebud EP anchored by lead single 'The Groove' in collaboration with New York legend A-Trak and Dub Katz is the most significant release of his career to date.

Bolka is known as the man with the cap. His cap has lived through a lot: his glitchy and microtonal experiments, studies at Institute of Sonology in The Hague or through countless performative works. A few years ago, Bolka’s cap fell apart. By that time he was already a fixture on the slovak experimental scene, but only releasing his debut album, “smutné stropy.” He started wearing new caps from then: somehow reminiscent of the old one, but much more varied — same as “smutné stropy,” bubbling with motifs, charming humour and pop sensitivity layered over detailed soundscapes popping with surprises.

On schwarzkopf, Bolka returns wishing for a thick black hair. With his charming love songs, that are positioned somewhere between a tightly run freak folk orchestra, deconstructed ballads and colorful ecstatic melancholy, he creates an album that thrives on juxtapositions that are completely unique, yet strangely familiar. Bolka’s songwriting is at once tender and irreverent — lovestruck whispering suddenly tripping over absurdist jokes and surreal images that fizz like soda. His songs move in that strange space between vulnerability and mischief, where intimate confessions collide with radical playfulness and the poetic rubs shoulders with the delightfully ridiculous.

On schwarzkopf, Bolka expands his world with a wide circle of collaborators and an even richer sonic palette. The album is meticulously detailed yet carefree: delicate moments sit next to sudden explosions, drifting from gentle pop to bursts of noise. Toward the end, the album even slips into a footwork-infused remix by Kodiki, passes through Julek ploski’s signature neon-baroque string perspective, and briefly wanders into Lénok’s cinematic sonic world. Bolka sings that he wants to dissolve into a healing ointment, to be ground in a mortar with calendula — and he invites us into this musical spa with him: a place that stings a little but ultimately soothes, a gorgeous soundscape that is both painful and joyful at the same time.

For its 9th release after its relaunch, Apnea Records proudly presents another ERP record, this time in the form of a 2x12" Album "Faded Caprice" is a mesmerizing journey into the heart of summer's fading glow. Crafted with meticulous attention to detail, each track is a sonic tableau, capturing the essence of hot afternoons and wistful sunsets. E.R.P.'s signature blend of deep, cosmic funky electro gems resonates with emotional depth, inviting listeners to lose themselves in its hypnotic embrace. From the pulsating rhythms of "Miami Nice" to the introspective melodies of "Cape Earl "Faded Caprice" is a testament to E.R.P.'s artistry and vision. A testament to Gerard Hanson's music landscape, offering audiences a glimpse into the boundless possibilities of sound and emotion.

The new recordings from The Dengie Hundred unfurl on Tain Records after a busy year releasing a solo tape on Sagome and a collaborative LP and tape with Japan Blues on Demdike Stare's DDS imprint.

Lammas Land is an album which meditates on the Walthamstow Marshes, an ever-changing watery landscape, rich with history and wildlife. The Dengie Hundred writes:

"I am sitting at my table overlooking the marshes listening to Lammas Land in November 2023, watching crows fight a never-ending aerial battle with the gulls. In summer, you can see bats from here every evening, fluttering around the windows as the light begins to fade, but today it is colder so there is smoke rising from the boats on the River Lea and the dog walkers are wrapped up tight against the wind.
Most of Lammas Land was made sitting right here, playing guitar and recording the sounds passing by. I would hang a microphone out of the window to capture the ‘putput’ boat which delivers provisions, or the trains that rattle along the tracks that cut across the marshes and up to Stanstead, carrying passengers to the airport and away.
I wonder what tourists make of the marshes as they cross them, the landscape opening up for a moment between the urban sprawl of the East End and the rampant development of Tottenham. They offer a jarring pause of green and sky. I feel very lucky to be living in that pause, a resident, for now…

The album contains a whole year of found sounds recorded from the window and while out walking. It is full of bird song and radio sounds, singing, life.

Many others have been inspired by this space, this pause. The author Esther Kinsky who wrote River, published by Fitzcarraldo Editions, captures this area so perfectly. I borrowed the two track names for this album from her book. I hope she doesn’t mind.

Also, the photographer Paul Fuller whose work reflects the atmosphere I feel here precisely. On hearing the music he wanted to collaborate on the Lammas Land project, He spent a year filming the marsh through the seasons. Some of his images are included with the vinyl release, and there is an accompanying film close to completion. I am so pleased this project is continuing in new forms.

The vinyl also contains a piece of writing, ‘Sound Fishing’, by Gemma Blackshaw, an author, art historian and curator who in a twist of fate also found herself spending time on the marshes, but that is her story, for another day."




The Dengie Hundred
Lammas Land
LP, with essay insert + five photographic prints
Cat No: TAIN02
Price: £14.49
Due next week

A: A hand full of ever thickening twilight
(Sample clips 1 / 2 / 3)

B: A string of pearls pulling
the night away
(Sample clips 1 / 2 / 3)

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

Building on the momentum of their acclaimed debut The Return Of - championed by FIP Radio - featured in their May Selection, Craig Charles BBC Radio 6 and Reggae Vibes magazine - The Flying Hats return with a 7” featuring Traffic Light, the first taste of their upcoming LP Ups. Expanding their signature blend of flying cymbal reggae, irresistible hammond organ and analogue funk, the track captures the band’s evolving sound. The 7” is completed by Bust Up, the band’s explosive NOLA-inspired funk cut from the debut album.

Diese LP präsentiert eine Auswahl besinnlicher Werke der klassischen Musik und richtet sich an Hörer:innen, die eine ruhige, reflektierte Klangatmosphäre suchen. Das Tracklisting verbindet groß besetzte orchestrale Kompositionen von Mahler und Williams mit der kammermusikalischen Präzision von Bach und Debussy. Seite A wird durch das Adagietto aus Mahlers 5. Sinfonie eröffnet, das insbesondere durch seine Verwendung im Film „Tod in Venedig” bekannt wurde. Es folgen das Thema aus „Schindlers Liste“ von John Williams sowie Faurés „Après un rêve“. Dadurch wird der erste Teil des Albums von dichten, orchestralen Arrangements geprägt. Die B-Seite wechselt in einen intimeren Rahmen und stellt die Solisten in den Vordergrund. Nach den impressionistischen Klängen Debussys folgt Saint-Saëns' „Aquarium“, das als Erkennungsmelodie der Filmfestspiele von Cannes bekannt wurde. Den Abschluss bildet Beethovens „Pathétique“-Sonate.

Kronstad 23 returns with Dodehavet, the Norwegian quartet"s third album and first release on Batov Records. Continuing their instinctive, analogue-led approach, the record sits between cinematic jazz and psychedelic rock, threaded with Scandinavian folk and wider global influences. Recorded live to tape with minimal preparation and no modern studio intervention, Dodehavet captures a band working on feel, interaction and momentum rather than polish or precision.

Originally released in 1987, Deathcrush is more than just an EP; it is the debut recording of the most infamous band in extreme metal and the first studio release to emerge from the Norwegian Black Metal scene. Reissued with meticulous attention to detail, this new edition captures the raw, chaotic energy of Euronymous, Necrobutcher, Maniac, and Messiah before the genre was fully defined.

With “Louder Than Fate”, Jared James Nichols delivers his fourth studio album and easily his most powerful and fully realized statement to date. Raw, unapologetic, and deeply rooted in the lineage of blues-driven hard rock, the album captures an artist at the peak of his creative confidence, channeling grit, groove, and soul with relentless intensity. Produced and mixed by Jay Ruston (Anthrax, Stone Sour, Amon Amarth, Uriah Heep, Steel Panther etc.), “Louder Than Fate” balances muscle and melody, combining thunderous riffs, searing solos, and emotionally charged vocals with a modern, punchy production. The songs move effortlessly between hard-hitting rock anthems and more reflective, dynamic moments, showcasing Nichols’ ability to fuse classic influences with a contemporary edge. Tracks like “Bending or Breaking” and “Killing Time” expand the sonic palette with subtle keyboards and cinematic string arrangements, adding depth without ever sacrificing power. Since his breakout debut, Jared James Nichols has built a reputation as one of the most electrifying guitarists and performers of his generation. Known for his unmistakable tone, fearless playing style, and commanding stage presence, he has toured extensively across the US and Europe, sharing stages with some of the biggest names in rock and earning praise from fans and critics alike. Louder Than Fate is not just an album — it’s a declaration. A record that speaks to resilience, conviction, and the unstoppable force of an artist who plays every note as if it truly matters. Loud, honest, and deeply human, this is Jared James Nichols at his absolute best.

On March 20, 1964, legendary American comedian and harpist Harpo Marx joined the Riverside Symphony on stage at a benefit for the Southern California organization. By then, the comic had been in semi-retirement, and after a series of heart attacks in 1961, he was told to stop working altogether. But to a lifelong performer, nothing compared to the feeling of being on stage. Benefit shows, he slyly argued, were not technically work, since he wasn’t getting paid. For the next few years, Marx’s wife and doctors grudgingly went along with the pitch. Harpo Speaks! The Riverside Symphony Concert, out June 5 from Ramseur Records, captures a considerably remarkable, one-of-a-kind performance: The silent Marx Brother, the one whose trademark persona led many audiences to believe he was actually mute, spoke. As Harpo Marx’s first, and last—recorded just six months before his death—live album, Harpo Speaks! places listeners in the room, immersed in the swell of the Riverside Orchestra as Marx performs alongside the symphony and leads them in a narration of Peter and the Wolf. In another unusual move for Marx, he allowed the recording of the show for posterity, though the tapes seemingly disappeared after his death. Harpo Speaks! is the result of heroic archival work. Recently discovered by longtime Marx Brother archivist John Tefteller, he and Marx biographer and expert Robert Bader set out to restore the long lost recording. “The fact that we have a recording is a miracle,” says Bader. “It was not the most professionally recorded thing.

It was very haphazard. The work that was done to rehabilitate it is stunning. It’s as if you’ve found something covered with layers of mold and dirt, got it all cleaned off, and now are able to see something brand new underneath it.” Across the recording’s near-43 minute runtime, Marx, alongside the Riverside Symphony, takes the cheering audience through the delightfully lighthearted “Toy Symphony” and carries them into the softly romantic “Moon Medley,” (a medley of “Fly Me to the Moon” and “How High the Moon,” arranged by his son Bill, alongside his own composition, “Moon Tune”) and a rare instrumental performance of his composition “Guardian Angels.” And then the concert’s true highlight: the near 22-minute long riveting narration of Peter and the Wolf. For the first time, Harpo reveals his voice: deep, yet soft-spoken, refined, yet still retaining the slightest hint of his New York City origin. And, in speaking, he entertained, getting laughs not just for his physical gags, but for the storytelling itself: the dramatic inflections in moments of suspense, the arch mischievousness, and tongue-in-cheek references to Goldwater, Rockefeller, and Nixon.

In 1979, the Soviet label Melodiya released a record that immediately stood apart from most Soviet jazz of its time and perhaps for that very reason never became widely known. Oriental Suite by Oleg Gotskosik Quintet is a rare example of jazz, Eastern musical tradition, and compositional thinking coming together not as an exotic stylization but as a fully formed artistic statement.

This is not “Oriental colour” used as decoration, nor folklore treated as an ornament. Oriental Suite grows from within another musical tradition, with its monody, modal logic, slow unfolding of form, and focus on inner states rather than outward effect. The music is calm and concentrated. It does not try to impress, but gradually draws the listener into its own space.
Oleg Gotskozik was born in Tashkent in 1951, a city where Eastern music was part of everyday life rather than something distant or exotic. That may explain why his engagement with traditional material sounds so natural. He does not quote or stylize; he thinks in the same musical categories. By temperament, he was closer to a composer than to a jazz musician in the conventional sense. For him, jazz was not a style but a way of working with form and improvisation.There is no standard “theme and solos” logic in Oriental Suite. Improvisation is woven into the fabric of the music itself and unfolds in the same way as in oral traditions, gradually, with rising tension and a clear sense of arrival. Individual sections refer to traditional Uzbek genres such as lullabies, lyrical songs, and funeral laments, but these are not genre sketches. They are states of being. The music unfolds slowly, avoiding familiar harmonic drama and relying instead on modal scales and subtle internal movement.

A special role is played by trumpeter Yuri Parfyonov. His approach, with delayed vibrato, micro-glissandi, and melismatic phrasing, sounded unexpected at the end of the 1970s and still feels remarkably fresh today. This is not expressive jazz virtuosity but a focused, almost meditative voice, where improvisation becomes a form of inner speech.
It is also important to note that the original recording was not without technical flaws. Like many Soviet jazz releases of the time, Oriental Suite was captured under far from ideal conditions, and the master contained audible imperfections that were never part of the music itself. For this edition, the restoration was approached with great care and respect, working through the recording moment by moment to remove unwanted artifacts while preserving the character and atmosphere of the original. The aim was simple: to make sure nothing stands in the way of fully experiencing the music.

In the early 1980s, Oleg Gotskozik left the Soviet Union, and after that his name virtually disappeared from Soviet music journalism and literature. There were no official bans or public statements. He was simply no longer mentioned. Oriental Suite continued to exist on its own, without an author and without context. The record never entered the canon, received no continuation, and was never officially reissued. It seemed to fall out of time.
The original vinyl pressing was released in a run of around 32,000 copies, but most of them remained within the republic and never reached wide circulation. Today, original copies are hard to find and have long become objects of interest for collectors. There have been no official reissues, only attempts that never went beyond test pressings.
Today, Oriental Suite sounds surprisingly contemporary. It is music that can be described as deep ethno-jazz and even, in a certain sense, spiritual jazz. There is no exoticism here, no decorative borrowing, only a complete immersion in another musical way of thinking. It does not require explanations and does not need to be justified by its time.
This is not a forgotten curiosity revived for collectors’ sake. It is music that simply waited for the moment when it could be heard without ideological filters or genre expectations. Now it is returning quietly, without noise or hype, but with the clear sense that this is not an artifact of an era, but a living and genuinely rare artistic statement.

British punk trio GRADE 2 return swinging with Talk About It, their third and most blisteringly realized album, out on Tim Armstrong"s storied Hellcat Records. It"s an 11-track surge that fuses classic punk"s bare-knuckle conviction with the disillusionment, identity crises, and quiet rage of Gen-Z-delivered by three Isle of Wight lifers who"ve been sharpening their edge since they fifirst bashed out covers at 14. Jack Chatfifield, Jacob Hull, and Sid Ryan have spent thirteen years turning raw instinct into a signature roar, and Talk About It captures them at full velocity. Their blistering track, "Cut Throat," distills their ethos: fifierce guitars, punishing rhythm, and a narra-tive of clawing forward while the world seems hellbent on pulling you under. "It"s about a world that takes more than it gives," the band says-and that tension becomes fuel, a rallying cry for anyone navigating a landscape that feels colder by the day. With Talk About It, GRADE 2 don"t just revive punk"s urgency-they embody it.

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod

A transcendental journey through the shadows of consciousness - remastered and expanded for the deepest listening experience yet With Metamorphyses , Swedish dark ambient pioneer Peter Andersson (RAISON D'ETRE) invites us into a labyrinth of sound and soul, where drone, ritualism, and neoclassical minimalism converge into something vast, immersive, and transformative. Originally released in the mid-2000s, this defining work now returns in a gloriously expanded edition - and for the first time ever, pressed onto double vinyl.

This 2025 edition, meticulously remastered to K14- level standards by Andersson himself, features not only the core studio album (Disc I, recorded winter 2005-2006), but also two full discs of evocative live performances from across Europe, including Gent, Sofia, Salzburg, Alkmaar, Budapest, and a stunning set recorded in the Sophienkirche of Wuppertal during the Phobos II Dark Ambient Festival (2010) - a performance that plays like a liturgy for forgotten gods. The sound is monumental yet subtle: subterranean drones coil beneath spectral chants, decaying harmonics ripple through ancient cathedrals of reverb, and slowshifting textures create a space where the listener floats between the sacred and the surreal. There are echoes here of Lustmord's somber gravity, Thomas Koner 's icy isolationism, and the ritualistic depth of Inade or Desiderii Marginis, but it's RAISON D'ETRE's singular spiritual voice that rises from the abyss. The artwork by Kati Astraeir perfectly captures the album's meditative darkness - fluid forms, organic decay, and transcendent abstraction - while the layout, also designed by Andersson, reinforces the ritualistic purity of the listening experience.

A transcendental journey through the shadows of consciousness - remastered and expanded for the deepest listening experience yet With Metamorphyses , Swedish dark ambient pioneer Peter Andersson (RAISON D'ETRE) invites us into a labyrinth of sound and soul, where drone, ritualism, and neoclassical minimalism converge into something vast, immersive, and transformative. Originally released in the mid-2000s, this defining work now returns in a gloriously expanded edition - and for the first time ever, pressed onto double vinyl.

This 2025 edition, meticulously remastered to K14- level standards by Andersson himself, features not only the core studio album (Disc I, recorded winter 2005-2006), but also two full discs of evocative live performances from across Europe, including Gent, Sofia, Salzburg, Alkmaar, Budapest, and a stunning set recorded in the Sophienkirche of Wuppertal during the Phobos II Dark Ambient Festival (2010) - a performance that plays like a liturgy for forgotten gods. The sound is monumental yet subtle: subterranean drones coil beneath spectral chants, decaying harmonics ripple through ancient cathedrals of reverb, and slowshifting textures create a space where the listener floats between the sacred and the surreal. There are echoes here of Lustmord's somber gravity, Thomas Koner 's icy isolationism, and the ritualistic depth of Inade or Desiderii Marginis, but it's RAISON D'ETRE's singular spiritual voice that rises from the abyss. The artwork by Kati Astraeir perfectly captures the album's meditative darkness - fluid forms, organic decay, and transcendent abstraction - while the layout, also designed by Andersson, reinforces the ritualistic purity of the listening experience.

"It's about being really ambitious, and seeing enhanced beauty in the world, and knowing that seeing things in that way isn't unrealistic," she continues. "It's about striving for that ultimate freedom." Recorded in a joyful stay at Wales' residential StudiOwz, 'Tell Me It's A Dream' rings with the audible fizz of friends hanging out and having fun. Though many of its lyrics began during a complicated time for Walton, the record itself is a testament to choosing life and pleasure and the people that make it all worthwhile. "A lot of the record is about stretching outwards and acknowledging how far love can take you; about expressing how I feel about the people I love through music in ways that words can't," she says. "It was important to capture that lightness from the recording, because that spirit is in a lot of the songs." Frequently euphoric and brightly emotional, the songs themselves aim heavenwards. 'Heart To Heartbreak' cracks through the clouds of a break up, taking influence from emotionally-rich bands like The Cure and Prefab Sprout to translate the feeling at its core. "This is a song about feeling like everything in your life has shattered but realising that relationship was holding you back and the world is opening up," she says. "I wanted this song to feel really visual, like things are starting to sparkle and look colourful again.

Thirteen years later, building on everything they had learned about capturing the purest sound, Guttenberg returned to produce The Ultimate Demonstration Disc Volume 2. Designed to bridge the gap between technical terminology and the listening experience, this collection serves as a practical guide to the audiophile lexicon. On each track, Guttenberg "spells out" exactly what to listen for, providing clear musical examples of concepts like "transparency" and "soundstage depth." By using a custombuilt recording chain and avoiding dynamic range compressors, equalizers, or overdubbing, the album captures a "live" session exactly as the microphones heard it - resulting in a sound so neutral and natural that it can be used to reveal the subtle differences between high-end speakers, electronics, and cables.

This tune was destined to be the one when Adam and SG Lewis met in Los Angeles in 2023. They hit it off immediately—why wait to collaborate on something when you can use the time in between Coachella weekends to go to a studio in LA together? That’s where „Be The One“ came to life. Refined and road-tested in the months that followed, it’s finally seeing the light of day as a record that thrives on both artists’ mutual penchant for captivating hooks and heartwarming emotional depth.

Summer is around the corner and what a perfect timing to introduce you to Admo’s latest musical project - Charlottenzbeul Science Club. After three years since his last solo EP, many live acts around the globe and releases on Limousine Dream, Haws and Ordinateuf, the mad bassist is back at it again with his first release on his new label - Two-Headed Fish Records - which he co-runs with his wife. Definitely an EP that stays in the family.

It’s another four-tracker - you know the kind of vinyl that keeps on giving. A celebration of his time in the vibrant German capital, Berlin (West is the best). A1 opens the ball : bassy, catchy and this infectious chromatic melodic line. The recipe for a summer hit. Now onto A2 (and we’re not talking about his German language skills here): a regular laidback approach where acid sounds mesh together with this high-energy baseline. A classic in the making. If you’ve seen him live, you must’ve recognised B1 as it used to be his closing. A dreamy touch, where storytelling is the key word. You will have your head bopping from the first minute - mellow moment guaranteed. And B2 wraps it up - it takes you by the hand, you hop onto the next U-bahn and straight to the dance floor. The analogic bass keeps on bringing the track higher, progressively transforming into this groover that gets your feet stomping. It’s a proper farewell and a perfect conclusion to this beautifully crafted record.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took usfrom the industrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 1.

Nightcode EP finds UK deep-house craftsman Jacksonville in full control, lacing warm chords, swinging drums and basslines built for red-lit basements. Across “Nightcode”, “Ecstasy in Starlight”, “Octobers in Love” and “Blind Spot”, he fuses classic Detroit/UK house textures with his own emotional, story-telling touch—timeless deep house for DJs who play past sunrise.

Feedbacks:


Laurent Garnier : Octobers in Love <3 <3 <3
Nick Holder : dope
Gina Breeze (Classic / Get Up / Homoelectric) : Feeling the deepness! Look forward to playing.
Nightmares On Wax (Warp Records) : Ecstasy in starl;ight and Blind spot are my jams !
Josh Wink (Ovum) : Deep, old old school flavored with new school production.
Alexkid (Rawax / FUSE / NG Trax) : Lovely
Lauren Lo Sung (LOLiFE records, e1even records) : Octobers in love is nice!
Dj Hutch (Ambers / Rinse FM) : grooves
Louise Chen (NTS) : This is so so sooo good! Can't wait to play on the radio!
Rob Pearson (Evasive Records / Sine 102.6fm) : Nightcode is the standout for me, will play tonight on Evasive
Eviltron / Paul Donton (Bombis / Triangle) : Blind Spot and Ecstasy in Starlight are the ones on the
D'Julz (Bass Culture) : feeling night code and blind spot . merci!
Junior Sanchez (Strictly Rhythm / Cube Recordings) : Really Cool EP!
DJ Three : this is all very high quality house that feels very much a
nd_baumecker (Ostgut Ton) : Nightcode and Octobers In Love for me. Quality as usual.
Sasha (Last Night On Earth) : Downloading for Sasha
William Kiss (Rekids) : very nice!
Monty Luke (Rekids / Black Catalogue) : thx for this...
Mystic Bill (Classic / Trax / Relief) : Will try some of these out, thanks!
Carista : beautiful
Crackazat (Freerange / Local Talk) : Sick sick sick
Jhobei (Bizarre Trax / FUSE / Felon 5) : Nice smooth deep
Khadija (Rek'd / Rafiki Collective) : Danke
Ben Sims : Now downloading - will check asap!
DJ Bone (FURTHER) : Very nice tunes here, thanks
Bake (All Caps/Rinse FM) : thank you!
Dj Deep (Deeply Rooted) : very nice tracks!
Oliver $ (Classic Music Company / Play It Down) : nice one!
Tripmastaz (Plant 74) : Nightcode is tight
Harvey Sutherland (MCDE / PPU / Voltaire Records) : couple of nice tunes here!
Anthony Collins (Frank & Tony / Scissor & Thread) : super nice deep tunes
Marcel Dettmann : thx
Voigtmann (Subsequent) : Ecstacy in Starlight is the one!
Gerd (4Lux / Clone) : dope house trax from the phonogramme crew once again!
Groove Armada : Great EP - Love Nightcode, Ocotber is love so good too±
Harri (Sub Club) : nice, will play and support
Jorkes (Freeride Millenium) : ecstasy in starlight..yes yes yes yes
DJ Minx (Women On Wax Recordings) : Every one of these...top tier! I'm on 'em!
DJ Rocca (Nang Records, Mantra Vibes) : Great EP. Nightcode is great, super bassline indeed
Jacques Renault : Ectasy In Starlight for me here!
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Mark Farina : dig it
Âme (Innervisions) : thanks
Djebali ( ( djebali ) / INFUSE / Freak n Chic) : Love it ! thanks for sharing. Blind Spot is my fav
Jaye Ward (Dalston Super Store / Netil Radio) : wicked release!! night code is a belter!!! thx
Iron Curtis (Mule Musiq, Morris Audio) : thank you!

Spiritual World presents: Ashleigh Ball — Center of the Universe, a transcendental flute journey from the singer and flutist of Teal. Center of the Universe is a 32-minute improvisational odyssey recorded inside the Dominion Astrophysical Observatory (DAO), a National Historic Site on Vancouver Island, in British Columbia Canada..

Inspired by the pioneering work of Paul Horn and his Inside series, the recording channels a similar spirit of reverent exploration within a space rich in history and resonance. Completed in 1918, the observatory is home to the Plaskett Telescope - once among the largest and most powerful in the world - playing a key role in mapping the Milky Way.

Following months of coordination, three hours of private access were granted on the morning of August 25, 2025. Beneath the observatory’s towering telescope, Ball performed a wordless meditation, moving between alto flute and soprano concert flute, allowing each note to merge with the chamber’s vast natural reverb. Tones bloom, linger, and return, carried along the massive curved steel walls.

Captured using a minimalist recording approach, Center of the Universe preserves the purity of the moment—its warmth, stillness, and the architecture’s subtle mechanical resonance. Here, the observatory itself becomes an instrument, shaping the sound into something elemental, timeless, and deeply human. Center of the Universe will be released as a limited-edition vinyl LP (300 copies) with a printed insert on May 15, 2026, via Rubadub, Forced Exposure, and HiFi in Sheep’s Clothing.

Two decades into their existence, Elder remain an anomaly in the heavy underground - a band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their identity. Their new album Through Zero is a reaffirmation of their commitment to pushing boundaries and cements their status as leaders in heavy psychedelic rock. Elder has long since mastered crushing riffs, melodic jaunts, progressive patterns, hypnotic grooves and ethereal atmosphere along their path of music-making in the past twenty years. On Through Zero, Elder takes these years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework. Listeners will find familiar elements of new textures, sequences, and sounds alongside Elder"s iconic take on heavy rock. As always, every spin reveals new details. Recorded in Berlin across several months between tours in 2025, Through Zero is the first album which the band not only produced but also comixed together with longtime collaborator Richard Behrens. The album sounds more like a full extension of the band"s creative intentions than ever before.