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Returning for another highly-anticipated album for Spatial, label stalwart Aural Imbalance breathes new life to a genre often starved of truly wide-ranging ambience blended with breakbeats that can move a dancefloor, elevating and surpassing expectations once again across a varied, cohesive selection of tracks.

A1 - Dream Assembly

Opening the LP we see Aural Imbalance showcase that inimitable world-building through swirling ambient soundscapes in full effect, a luscious intro welcoming sharp, snappy breakbeats, edited sublimely, collecting visceral cyberpunk debris on their long journey home. Subtle 808 basslines lie sleepily beneath as the composition forms a memorably soothing vibe that captures the mind.

A2 - Comet Cycle

Low filtered beats adorn an intro warning of energy to follow, forming a distinctive tone that is quickly elevated by surprisingly energetic and impeccably tuned breaks. Presently joined by inquisitive smatterings of ethereal effects, the track develops a curious and tuneful identity with harmonising melodies crafted across a varied mix, building and retaining a rousing, suspenseful vibe, leaving the listener in no doubt as to the ever-evolving skillset of Aural Imbalance.

B1 - Neptune

Setting the pace immediately with classy, imposing breakbeats, Neptune sees Aural Imbalance showcasing a wonderful ethos of dancefloor-friendly atmospherics with finely crafted edits toyed with at will for the listener with the breaks being the undoubted star of the show from an ambient legend. Subdued melodies and wide-ranging synthwork dances back and forth complementing the mix, all with a bouncy 808 bassline rumbling below.

B2 - Stasis

Changing the pace somewhat, next up we are treated to Stasis, a track which again opens with breaks, this time slightly more reserved with a thudding, analogue tone. Calming atmospherics crafted from delicious synthwork and reverberating melodies join forces with wisping pads that fly gently around the soundscape, with plinky rhapsodies delicately adding texture to a truly wonderful collage of sound.

C1 - Warpcore

Deceptively airy with incredibly light bongos and synths, the introduction to Warpcore entices the listener perfectly, smoothly introducing filtered breaks which suddenly reveal superbly programmed, distinctive amens that thrash around the mix with vigor. Clicky hats, striking cymbals and layers of tuneful effects deliver immense detail you can listen to over and over, hearing new elements each time.

C2 - Into The Void

Continuing the breaks-driven approach to the LP, Into the Void sees Aural Imbalance lay down a sublime selection of crisp, earthy old school breakbeats, edited to perfection with an immensely danceable beat pattern with delicate cowbell-style hi hats. Energising, vibrantly inspiring pads inject a warm sparkle to the mix, while a consistent, luscious classic 808 bassline playfully judders along below.

D1 - Thermal Isolation

Opening with an ever so slightly nervous tone, a plethora of layered ambient sounds create caution and intrigue, as Thermal Isolation's intro draws you in before a wonderful arrangement of messy breaks built with a delicious exuberance Aural Imbalance is clearly enjoying as his Spatial repertoire grows ever more impressive. Radiant effects are liberally flecked across the flourishing track in the latter half, adding grand texture and depth.

D2 - Forever

Closing the LP in style, Aural Imbalance delivers a mellow intro to Forever, consisting of filtered beats and a simple xylophone-style melody, before the true star of the show - some of the most finely crafted breaks you'll hear - thump their way into the mix and warmly seize our attention. Edited with a bold, effortless brilliance, the classic hats and kicks triumphantly jostle around long vocal samples and subtle ambient synths to round off this beautiful track - and album.

Words by Chris Hayes (Spatial / Red Mist)

Lo Fidelity Music proudly unveils Rave Invaders Vol. III, marking the latest chapter in its acclaimed series with Washington D.C.’s innovative producer, Jackson Ryland. This release channels Ryland’s signature fusion of Detroit techno, house, and breakbeat across five hardware-driven tracks that pulse with raw energy and analog warmth.

Opening with Keep Building, Ryland crafts a relentless grooving beat, elevated by atmospheric melodies that build momentum, setting a powerful tone for the release. The following track, “Spa Echo”, shifts into a hypnotic space, blending elements of 90s techno with tech-house rhythms, its humming vocal loops adding a touch of mystery and swing to the groove.

A standout moment on the A-side is Orlando Voorn’s remix of Keep Building, where the legendary producer merges Detroit techno’s grit with smooth, Dutch house influences, adding his depth and energy to the original.

Auf seinem neuen Album präsentiert der britische Multiinstrumentalist und Grammy-Gewinner Kaidi Tatham eine zukunftsorientierte und abwechslungsreiche Mischung aus eklektisch-elektronischem Jazz, in der Genres und Grenzen mit intergalaktischer Energie überschritten werden. Der heute in Belfast lebende Tatham ist seit Jahrzehnten eine innovative Kraft der britischen Black Music. Von den Anfängen als Broken Beat-Pionier (Bugz In The Attic) bis zum heutigen Keyplayer für DJ Jazzy Jeffs PLAYlist-Projekt inspirierte er weltweit Künstlerkollegen von Madlib bis Gilles Peterson und arbeitete u.a. mit Amy Winehouse, Mulatu Astatke, Soul II Soul, Leroy Burgess, Nubya Garcia, Slum Village, The Herbaliser und Marcos Valle zusammen. Als Featuregast dabei ist der fantastische MC Uhmeer (Jazzy Jeffs Sohn).

Whipped up in the dust of Rene & Rene’s Tejano tornado “Angelito,” the Dynamic label was just one among San Antonio record and real estate mogul Abe Epstein’s enterprises. Dynamic’s flagship outfit, the Commands, marched “No Time For You” up to the middle of the charts in 1966 with performance chops honed jet-sharp by the demanding Air Force Base circuit. That take off paved a runway for 20 more soulful Dynamic singles over an impressive 30-month campaign. Epstein’s open-door policy brought a diverse cross-section of Texas talent into convergence within his General McMullan Drive studio, as whites, blacks, and Latinos alike suited up for service in whichever new group the call of duty called for. Epstein’s Alamo City melting pot is ladled out here in 21 (28 on the 2LP) of Dynamic’s most intriguing dishes by the Tonettes, Little Jr. Jesse & the Tear Drops, Don & the Doves, Willie Cooper & the Webs, Bobby Blackmon & His Soul Express, and Doc & Sal. Lone Star pic sleeves, full-color dancehall photography, and rich ephemera plant a new flag for soul in soil that’s seen its share of hoisted banners.

Straight outta Montreal, Canada, Spleen is a one supergroup featuring members of local royalties such as punk bands Béton Armé and Puffer and black metal acts Conifère and Vespéral.

Formed in 2022 and taking their name from Paris Spleen by Charles Baudelaire, they released their first cassette on Roachleg Records in 2023 delivering five post-punk cuts inspired by the colder aspect of french bands like Camera Silens, DEM and later-era Blitz.

Having added a new, sixth member on synthesizer, their second demo was released on Roachleg again just one month ago, taking on new influences from 60’s and 80’s psych garage rock and developing a unique sound not easily categorizable.

Not unlike the latest Duke of Oi! EP by Criminal, picture French skankin’ punk rockers from the 80s (I’m thinking Identité X) meeting somewhere cold with the California dreamers from the Paisley Underground (The Dream Syndicate, of course) and you’ll get the vibe.

And if you think this is odd for people playing also in Oi and BM groups just remember that Blitz first covered Lou Reed’s Vicious back in 1982 so you should not be surprised.

With everything just said we simply couldn’t back out of pressing both EPs on one tasty 12” vinyl compilation, one demo per side, with new sci-fi-influenced artwork by the band’s own Dan and Mathias.

Der Nachfolger von City of Evil, Avenged Sevenfold's viertes Studioalbum, das selbstbetitelte Album im schlichten Weiß mit Logo, debütierte auf Platz 4 der US Billboard 200 Chart und Platz 24 in UK. Mit dem Fan-Favoriten "Afterlife", "A Little Piece of Heaven" & "DearGod", wurde das Album mit dem Kerrang!-Awards als Album des Jahres ausgezeichnet. Das Album ist auch auf Kerrangs "666 Alben You Must Hear Before You Die" aufgenommen. Für Fans von Metallica, Slipknot & Bullet For My Valentine. Avenged Sevenfold (abgekürzt A7X) ist die amerikanische Heavy-Metalcore-Band aus Huntington Beach, Kalifornien, die 1999 gegründet wurde. Das aktuelle Lineup der Band besteht aus dem Sänger M. Shadows, dem Rhythmusgitarristen Zacky Vengeance, dem Leadgitarristen Synyster Gates, dem Bassisten Johnny Christ und dem Schlagzeuger Brooks Wackerman. Avenged Sevenfold sind bekannt für ihren abwechslungsreichen Rocksound und teilweise für ihre dramatischen Bilder auf Albumcovern und Merchandise-Artikeln. Die Band trat mit einem Metalcore-Sound auf ihrem Debütalbum Sounding the Seventh Trumpet in Erscheinung und setzte diesen Sound bis zu ihrem zweiten Album Waking the Fallen weitgehend fort. Der Stil der Band hatte sich bis zu ihrem dritten Album und ihrer ersten Veröffentlichung bei einem Major-Label, City of Evil, zu einem traditionelleren Heavy-Metal-Stil entwickelt. Mit dem selbstbetitelten vierten Album erkundete die Band neue Klänge und feierte einen anhaltenden Mainstream-Erfolg, bevor ihr Gründungsschlagzeuger Jimmy ,The Rev" Sullivan 2009 starb. Trotz seines Todes machten Avenged Sevenfold mit Hilfe des Dream Theater-Mitglieds Mike Portnoy weiter und veröffentlichten 2010 ihr fünftes Album Nightmare, das an der Spitze der Billboard 200 debütierte und ihr erstes #1-Album war. Doppel-LP, 2025er Pressung in rot-rotem Vinyl!

War Drosselbart eine Krautrockband nur weil sie aus München kamen wie Amon Düül, deutsch sangen und 1971 bei einer großen Plattenfirma ihr erstes und einziges Album veröffentlichten? "Nein", meint Monika Vincent-Gunia aka Jemima, Sängerin von Drosselbart. "Wir waren die erste Punkband Deutschlands. Die Jungs von der Band konnten damals nur drei Akkorde, vielleicht auch vier, aber sie brannten vor Begeisterung." Doch mit dem Punk der Mitsiebziger Jahre hat dann Drosselbarts Musik auf dem gleichnamigen Album recht wenig zu tun. Die Jungs hatten anscheinend doch ein bisschen geübt und sich mehr als vier Akkorde draufgeschafft. So klingt das Ganze stark nach den 1960er Jahren, erinnert gelegentlich an härtere rockende, psychedelische US-Bands wie Iron Butterfly oder an die Musik britischer Bluesrocker wie z. B. Brian Auger und Julie Driscoll. Keyboarder Christian Trachsel steuert ein paar progressive Momente bei und Gastmusiker Ralf Nowy sorgt für klassisch angehauchte Hörerlebnisse. Gesungen wird, wie bereits erwähnt, in Deutsch, von Jemima und Peter Randl. Der bevorzugt einen eher aggressiven, agitativ-deklamierenden Stil, wie man ihn auch von diversen deutschen Politrockbands Anfang der 1970er kennt. Aufgenommen wurde in den Union Studios in München, wobei der Band ein junger Toningenieur namens Reinhold Mack zur Seite gestanden und für den Mix gesorgt haben soll. Unter dem Kürzel Mack machte dieser ab Mitte der 1970-er Karriere als Soundmixer und Produzent von Größen wie ELO, Sparks, Deep Purple und vor allem Queen.

Bis ins Jahr 1973 reicht die Historie von Mass zurück, als Günther V. Radny (das V. steht für Viktor) mit Sänger Josef Hartl, Gitarrist Walter Speck und dem Schweizer Drummer Charles Frey (heute als Akron bekannter Autor) die Formation Black Mass startete. Nachdem Speck wegen psychischer Probleme mit tödlichen Folgen ausfiel, ersetzte ihn der Saarbrücker Gitarrist Gerd Schneider, der zuvor mit ScorpionsSchlagzeuger Hermann Erbel alias Herman Rarebell bei RS Rindfleisch gespielt hatte. Schneider musste allerdings nach einem Jahr wegen massiver Drogenproblemen wieder gehen und wurde durch den englischen Gitarristen Mick Thackeray (The Merseys), der in der Schweiz mit den Slaves und Countdowns, und in München mit Abi Ofarim spielte, ersetzt. Zur gleichen Zeit ersetzte Johannes Eder, von der englischen Band I Drive kommend, Drummer Frey, der sich laut Radny auf den Büchertripp begeben hatte. Zudem wurde der Bandname auf Mass verkürzt.

In dieser Besetzung nahm MASS im April 1975 im Studio 7o in München mit Dave Siddle am Mischpult, der unter anderen mit den Beatles, Jimy Hendrix, Jeff Beck, Animals und Deep Purple arbeitete ein Album auf. Aufgrund der Drogenprobleme von Sänger Josef Hartl wurde dieses Album nie veröffentlicht. Leider sind diese Bänder bis heute verschollen. Doch damit nicht genug der unruhigen Zeiten: Ein Jahr später mussten Hartl (Drogenprobleme, verstorben 1998) und Thackeray (Übermäßiger Alkoholkonsum), gehen.

Mit dem aus Berlin gekommenen Detlef „Dave“ Schreiber als neuem Gitarristen war die Formation als Trio 1976 erst einmal stabilisiert. 1977 entstand das Album Back To The Musicâl, welches bei United Artists Records (Hawkwind, ELO, Don McLean) erschien. In Folge wurden Mass als teils boogieorientierte Hardrockgruppe, anschließend als Heavy Metal Band bekannt und genießen heute ähnlich wie Accept, Scorpions, Trance oder Fargo Pionierstatus. Nach einer zeitweisen Umbenennung in Monsters kehrte Bandboss Günther V Radny kürzlich mit Mass zurück und lieferte eine gefeierte Reunion-CD. Die Band wurde auch kürzlich von Golden Core/ZYX geehrt, da je ein Track von Mass und Monsters auf der Compilation Sound & ActionGerman Hardrock & Heavy Metal Rarities Vol. 1 zu finden ist. Im Zuge dieses Kontaktes kam es zu der längst überfälligen Idee, das Debütalbum von Mass erstmals auf CD (und erneut auf Vinyl) zu bieten. Dieses Gesamtpaket gibt es jetzt als Bundle und ist somit ein absolutes Sammlerstück.

Submarine ist der Nachfolger des von Kritikern hochgelobten und für einen Grammy nominierten Debütalbums Cinema (2021), dessen Lead-Single „Hush“ auf Platz 1 der Billboard Adult Alternative Airplay-Charts landete. Die Band ist dafür bekannt, beeindruckende Visuals zu liefern, die ihre traumhaften Songs ergänzen, und schafft weiterhin ein einzigartiges und transformierendes Erlebnis für Fans und Publikum gleichermaßen.

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

Deafheaven, die langjährige und von Kritikern gefeierte Metal-Band, hat bei Roadrunner Records unterschrieben und wird mit »Lonely People With Power« ihr erstes Album seit 2021 veröffentlichen.

Lonely People With Power wurde mit Produzent Justin Meldal-Johnsen (Paramore, Jimmy Eat World) aufgenommen und enthält Gesangsbeiträge von Boy Harsher's Jae Matthews und Interpol's Paul Banks. Das Roadrunner-Debüt wird eine Doppel-LP-Deluxe-Edition erhalten.

»Es ist eine Ehre, Deafheaven bei Roadrunner begrüßen zu dürfen«, sagt Labelchef Johnny Minardi. »Sie waren schon immer eine Band, die Grenzen überschreitet, und dieses Album setzt dies auf massive Weise fort. Chris Brown und ich sind seit jeher Fans, und ich bin sehr stolz darauf, dass sie Teil der nächsten Generation des Labels sind.«

Fresh from the triumphant return of a successful domestic and international tour, Smif-N-Wessun's new album is a cumulative reflection of their life experiences. Executive produced by college professor and world-renowned producer 9th Wonder and the Soul Council, 9th explains the thought process with the album. “I wanted to make sure that it didn't sound dated. It sounds like them (Smif-N-Wessun), but it's also new. They are our generation's version of Thelonious Monk, Charlie Parker, Donald Byrd.”

Illustrious MCs featured on the album include Buckshot, Pharoahe Monch, Conway the Machine, legendary artists Sean Price and Prodigy, multi-platinum RnB legend Ralph Tresvant, along with rising stars Sweta and Jalisa. Scheduled for release January 10th, 2025, Infinity cements Smif-N-Wessun's status as creators of nothing but classics. This is their eighth album and the second collaboration with 9th Wonder and the Soul Council. Showcasing buttery beats from Council members, 9th Wonder himself, Khrysis, SND*TRK, Kash, Mu'aath, and Nottz, the album delivers a sonic smash that will satisfy everyone from the rap purist to new school connoisseurs.

For the past couple of years, Sam Akpro has been rising as one of the brightest talents coming from the thriving UK alternative scene. Hailing from Peckham, South London, he incorporates elements of post-punk, wave, dub, jazz and trip-hop, fueled by a fascinating range of influences (from Joy Division to SAULT, through Miles Davis, Talking Heads, Cocteau Twins, Dean Blunt, Fela Kuti, Frank Ocean). Fuzzy, moody and dreamy at times, "Evenfall" paints a refreshing picture of life in the London suburbs in your twenties. It"s the light, the darkness and the slow passing of time in an accomplished, genre-defying art form. With this beautiful debut, Sam Akpro is destined to break through in 2025.

Some record crates deserve a sub-category called 'play it again, Sam'. tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental for synths and drums music played live. This time it was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. Let us praise Krikor Kouchian's mix: drums have been resampled with some restraint, and that Linn Drum kick lightens up the overall mix. It marks a notable evolution in the band's sound, and adds some dynamic. The album kicks off with 'No cruise control', a big bad sedan that effortlessly eats up the distance at 120 BPM. Kraut as can be, with a twist. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming : forward, straight and fluid, top-notch suspension (Cosmic Neman / Dr Scho?nberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board : mechanical birds chirp, the odd atonal piano here and there. Nerds will appreciate liner notes detailing the equipment used : about twenty synths and they still describe it as minimal. With 'Densite?', we've just passed a polyphonic milestone: outright chords ! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. That same vibe can be found in 'Jungle the Jungle', paradoxical tune, catchy and moody at once. You'll get some brass riffs in 'Helix', which takes off on a synth moving from one speaker to another to herald the crash of syncopated drums to come.Zombie Zombie sounds ready to write themes for niche TV series.'Aurillac Accident' documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live with two drummers performing, this aspect showcases in 'Snare Attack' and 'Double Z', with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on 'Dodorian', perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. 'Magnavox Odyssey', a nostalgic but bouncy synth lasagna, brings this album to a majestic close. The cover by Dddixie sets the tone with its 'Motorik Vibes & Stereo Grooves' sticker. Motorik, absolutely, it's autobahn time for 45 minutes. And when it comes to stereo grooving, the acoustic image is as wide as the canyons of Mars. DO NOT MISS THIS ALBUM (or the previous Vae Vobis)!

Bei Stepptanz denkt der Musikfreund natürlich zunächst an Gene Kelly und Fred Astaire. Auch wenn nicht mehr so populär wie in der ersten Hälfte des 20. Jahrhunderts, findet der Tapdance nach wie vor in den Shows am Broadway statt. Die perkussive Ausdrucksform mit den schnellen rhythmischen Beinbewegungen ist die Spezialität des Wiener Musiker Thomas Marek, der zu den gefragten Tapdancern in Europa zählt. Der 52jährige Choreograf und Schlagzeuger hat diese Tradition schon vor einigen Jahren aufgegriffen und zeigt seine expressive Tanzkunst in vielen Theatershows. Gemeinsam mit dem Pianisten Patrick Bebelaar und dem Bassisten Jan Roder hat Marek jetzt Tapdance, Perkussion und Schlagzeug im Rahmen einer LP-Aufnahme integriert, die sowohl ausgewählte Jazzstandards, als auch ausdrucksstarke Improvisationen beinhaltet. "Footprints" heißt die im Frühjahr 2024 in Wien aufgenommene Musik, die wir nun im Rahmen unserer Vinyl-Edition als LP präsentieren. Altbekannte Standards wie "Tea For Two" und "Softly As In The Morning Sunrise" sind ebenso zu hören, wie emotional geprägte Balladen von Bebelaar und rhythmisch vielschichtige Improvisationen von Thomas Marek. Entstanden ist mit "Footprints" ein musikalisches Kaleidoskop mit Elementen von Swing bis Free, das von drei erstklassigen Musikern eingespielte wurde. Pianist Bebelaar, hat viele Jahre mit dem Trompeter Herbert Joos und dem französischen Tubisten Michel Godard zusammengearbeitet und ist zudem ein ausdrucksstarker Komponist. Bassist Jan Roder ist fester Bestandteil der Jazzszene Berlin und Bandleader Thomas Marek ist sowohl als Drummer, wie als Tapdancer auf dieser LP zu hören.

They are in their thirties, meaning they are "too much too young" to have felt the vibrations of the ska revival of the late 1970s and early 1980s live, when The Specials, The Selecter, Madness and the likes of The Beat were electrifying England at a time when social tensions were running high and were getting brass missiles into the charts, hitting all of Europe. Far too young, it goes without saying, to have experienced the initial shakes of the music that would fuel all that was to come: 1960s Jamaican ska and its later evolutions, bluebeat or rocksteady, from which reggae drew its essence and fever.

Am 28. März 2025 erscheint »Field of Lights«, das dritte Album von REGENER PAPPIK BUSCH. Das
Jazz-Trio verschiebt den Schwerpunkt seines Repertoires mit diesem neuen Album in Richtung Cool Jazz
und Post Bop und stellt erstmals drei eigene Stücke vor. Gleich mit dem Debüt, »Ask Me Now«, erreichten REGENER PAPPIK BUSCH 2021 die Spitze der deutschen Jazz-Charts, das Trio spielte bei den
Leverkusener Jazztagen, veröffentlichte 2022 das zweite Album »Things to Come«, gab mit Blixa Bargeld
einen Abend aus Werken der Beatliteratur und Bebop-Klassikern und spielte zahlreiche Konzerte.
»Field of Lights«, ihr drittes Album, ist von maximaler Unmittelbarkeit geprägt. Wir hören auf »Field of
Lights« Klassiker wie »All Alone« und »Billie’s Blues« von Billie Holiday und Mal Waldron, »Nostalgia In
Times Square« von Charles Mingus und eine äußerst raffnierte, pointierte Version von Thelonious Monks
»Bye-Ya«. Wir hören diese und andere bekannte Stücke, aber wir erkennen sie nicht immer gleich – weil
es REGENER PAPPIK BUSCH tatsächlich gelingt, ihnen eine neue Perspektive abzugewinnen.

Future ist der passende Titel für dieses innovative Meisterwerk von Deutschlands faszinierendstem ElektronikMusiker. Hier erklingen berauschende und mitreißende Sounds in einer zeitlosen Intensität. Der ideale
Soundtrack, um den Alltag vollkommen hinter sich zu lassen, jeder Song ist wie ein eigener Film, hinleitend
auf das, was die Zukunft bereithalten könnte, schließlich liege „in der Zukunft die Kraft für Träume”, wie
Künstler Christopher von Deylen selbst sagt.
Future ist die magische Weiterentwicklung des einzigartigen Schiller-Kosmos. Traumhafte Melodien und
kunstvolle Arrangements ergeben ein außergewöhnliches Klangerlebnis zwischen epischer Kraft und atemberaubender Anmut. Auch hier wurde im Vorfeld sich wieder auf eine große Entdeckungsreise begeben:
Zwischen der pulsierenden Metropole Los Angeles und den scheinbar unendlichen Weiten der Mojave Wüste
entstand ein schwereloses Album mit packenden Instrumental-Tracks und imponierenden Gastvokalisten.
Schiller hat seine musikalische Neugier mit vielen neuen Stimmen teilen können. Sie sind mit Hingabe und
Leidenschaft ein Teil der musikalischen Expedition von Future geworden.
Es erscheinen nun die beiden Hauptbestandeile der Future Saga in neuem farbigen Vinyl Gewand - Teil 1
kommt in träumerischem lila, Teil 2 in transparent-neonorangeneonorange, passend zu den farbenfrohen
Welten, die Schiller immer wieder aufs Neue zu kreieren vermag

Future ist der passende Titel für dieses innovative Meisterwerk von Deutschlands faszinierendstem ElektronikMusiker. Hier erklingen berauschende und mitreißende Sounds in einer zeitlosen Intensität. Der ideale
Soundtrack, um den Alltag vollkommen hinter sich zu lassen, jeder Song ist wie ein eigener Film, hinleitend
auf das, was die Zukunft bereithalten könnte, schließlich liege „in der Zukunft die Kraft für Träume”, wie
Künstler Christopher von Deylen selbst sagt.
Future ist die magische Weiterentwicklung des einzigartigen Schiller-Kosmos. Traumhafte Melodien und
kunstvolle Arrangements ergeben ein außergewöhnliches Klangerlebnis zwischen epischer Kraft und atemberaubender Anmut. Auch hier wurde im Vorfeld sich wieder auf eine große Entdeckungsreise begeben:
Zwischen der pulsierenden Metropole Los Angeles und den scheinbar unendlichen Weiten der Mojave Wüste
entstand ein schwereloses Album mit packenden Instrumental-Tracks und imponierenden Gastvokalisten.
Schiller hat seine musikalische Neugier mit vielen neuen Stimmen teilen können. Sie sind mit Hingabe und
Leidenschaft ein Teil der musikalischen Expedition von Future geworden.
Es erscheinen nun die beiden Hauptbestandeile der Future Saga in neuem farbigen Vinyl Gewand - Teil 1
kommt in träumerischem lila, Teil 2 in transparent-neonorangeneonorange, passend zu den farbenfrohen
Welten, die Schiller immer wieder aufs Neue zu kreieren vermag

All Saints' iconic debut album All Saints is returning is now available on Black vinyl. This release brings forth the timeless allure of the British girl group's chart-topping hits, including the infectious rhythms of "Never Ever," the soulful harmonies of "Under the Bridge," and the irresistibly catchy "Bootie Call." Be prepared to be transported back to the late 1990s, where the signature blend of pop, R&B, and hip-hop captivated audiences worldwide.

US indie-pop darling Chloe Moriondo announces new album oyster, out March 28th

Assembled with a close-knit team of cowriters and producers including Jonah Summerfield (Holly Humberstone, Tommy Lefroy), Chloe Kraemer (The Japanese House), AfterHrs, and more, oyster finds Moriondo pulling from all her musical palettes, delving into the depths of heartbreak and cataloguing the process of surfacing braver, wiser, and ready to dive back in. oyster is available for preorder now

Hailed as “one of indie pop’s brightest stars” (Teen Vogue), Chloe Moriondo's 2022 album SUCKERPUNCH marked a bold leap forward from the understated indie-pop and jittery pop-punk of her 2021 offering, Blood Bunny. The idiosyncratic artist has racked up critical praise from The New York Times, Billboard, NYLON, V Magazine, Consequence, UPROXX, PAPER, Alternative Press and more, with performances on Jimmy Kimmel Live! and The Late Late Show with James Corden. Now, she begins her next chapter with the wistful, pulsing single "shoreline," and more to come in 2025.

Deafheaven have shared details of their new album Lonely People With Power - set for release March 28th via their new label home, Roadrunner Records alongside releasing the first single from the record ‘Magnolia’.

Recorded with producer Justin Meldal-Johnsen St. Vincent, M83, Lonely People With Power follows Deafheaven’s 2021 studio album, Infinite Granite, which saw the GRAMMY-nominated band charting new ground and expanding stylistic boundaries. On Lonely People With Power, Deafheaven again confound expectations, piling element on element, and towering towards the sky with their most ambitious release yet. Tracked at EastWest Studios, Lonely People With Power includes additional vocal contributions from Jae Matthews of Boy Harsher and Paul Banks of Interpol.
The band return to the UK in June to play Manchester’s acclaimed Outbreak Fest.

Celebrate the 5th anniversary of Future Nostalgia with this stunning special edition triple vinyl set. Including Future Nostalgia Moonlight Edition and Club Future Nostalgia. This unique release features vibrant new artwork and a limited-edition splatter vinyl.

“I will forever be grateful to the album that changed my life and taught me so much about myself over these past five years. I have memories to last a lifetime, and songs to go with them. Future Nostalgia forever”. DUA x

Hypnotic deep dub new chapter of the Loftsoul Re-works series.

180g black vinyl - limited to 200 numbered copies.

"What is my heart now"is the debut solo album by Ziemowit Klimek, known so far from bands such as Immortal Onion, Hania Rani, and Magda Kuraś Quintet. It is a cycle of five improvised compositions – "What," "Is," "My," "Heart," and "Now" – unified by a unique artistic concept, with each piece created in collaboration with a different musician.

The creative process for each of the five duets began with a conversation between Ziemowit, the guest artist, and the video team. Deconstructing the title word into its fundamental elements through questions like "What does 'What' mean? What emotions and associations does this word evoke in us? How can we capture its essence in sound and image?" became the starting point for artistic exploration.

To preserve the authenticity of the material as much as possible, both sound and image were recorded live, with no cuts or post-production editing. Equally important was the choice of spaces that corresponded to the meaning of each title word. Instead of sterile studios, the recordings took place in a variety of unique locations – "Heart" was captured in Ziemowit's most personal space, his bedroom, while "Now" was recorded inside a car during a dynamic drive, where the physical forces acting on the musicians significantly influenced their decisions while playing.

The album resonates with dialogue – not only musical but also emotional and intellectual. It is a meeting of individualities who, for Ziemowit, are not only inspirations as artists but also significant people in his life."What is my heart now"is an album about defining one's identity and capturing the moment, created in an atmosphere of honesty and trust. Ultimately, the question arises: is it even possible to definitively answer the question posed in the album's title?

"What Is My Heart Now"

Ziemowit Klimek (Double bass, Bass, Piano, Moog)

feat.

Krzysztof Hadrych - Guitar

Michał Jan Ciesielski - Saxophon, Volca

Hania Rani - Piano

Mikołaj Kostka - Violin

Jacek Prościński - Drums

Mr. K with two slices of Philadelphia disco, from smooth and slinky on our A-side to all-out floor pounding disco madness on the B.

Janice McClain, rightly adored for her Garage classic “Smack Dab In The Middle” (feat. on MXMRK-2068) but her second single is a real under-the-radar treat. The comfortably laid back groove somewhere between a stepper and simmering midtempo disco, classy and danceable as the finest Philly soul. Originally on a small LA-based label in 1983 (and sounding like it could have come out a good five years earlier), written and produced by McClain’s uncle Milt Tennant and his writing partner Thom Page, the same team responsible for “Smack Dab” — all Philadelphia rooted, so the sound should come as no surprise. Add McClain’s heartfelt and uplifting vocal and we easily have a lost classic. Mr. K’s edit trims the rare 12-inch version down for maximum sonic fidelity for its first appearance in a 7-inch format.

The flip side vibe goes in a completely different direction, although once again has its roots in Philly. The disco remake of the standard “Brazil” was a massive hit for the Ritchie Family in 1975, topping Billboard’s dance charts and getting deep into the Top 20 on the Hot 100. The group itself was a studio concoction led by veteran producer Richie Rome, with legendary trio Sweethearts of Sigma handling vocals — you’ll recognize their trademark harmonies from other huge classics like “Ain’t No Stoppin’ Us Now” and “Love Is The Message", studious listeners will detect a lot of similarities in the vamp section of “Brazil” and “Love Is…” as the MFSB house band launches into their trademark groove. This vamp section is unfortunately truncated on the original 7-inch single, but the always-attentive ear of Mr. K picks this point to begin his edit, starting where the original single faded out and giving us a full four-plus minutes of galloping disco delight.

Two flavors, both as tasty as it gets, all on one compact piece of wax! Another essential addition to your collection.

Ventura (Lausanne, CH), started in 2003, and has released 4 albums so far, with Superheld being the proud fifth. It was recorded with Serge Morattel again, and displays a slightly more aggressive and intense sound than its predecessor, even if it explores a few new paths with songs like the semi-acoustic "Freeze In Hell" or the motorik "Optimistic". The line up still consists of the same three guys, Diego (bass), Grégoire (drums) and Philippe (guitar and vocals) as on the previous album, Ad Matres.

In dem neuen Werk ''Shlimazl'' des Schweizer Komponisten Michael Wertmüller verschmelzen Sinfonieorchester und Big Band zu einem virtuosen, polymetrischen Organismus zusammen, der nicht nur Stile, sondern auch eine gefühlte Linearität der Zeit überwindet. Dabei knüpft er explizit an die reiche Tradition der Big Band an und belebt sie im sinfonischen Kontext unter neuen Vorzeichen wieder und lässt sie emporfahren. Alle Solisten agieren wie ein Bild im Bild der Big Band, die zwischen musikalischer Keimzelle, Ort der Konzentration und utopischem Freiraum oszilliert. Wertmüller beleuchtet die Doppeldeutigkeit des jiddischen Titels Shlimazl (dt.: Durcheinander) mit den strukturierenden Phrasen Mazely Shlimazl (dt.: Glück und Unordnung). Die stilistische Karombole und das Chaos der Polyphonie ohne Einheitlichkeit bergen nicht nur den überwältigenden Effekt der scheinbaren Unvereinbarkeit, sondern auch das Glück neuer Möglichkeiten des Miteinanders: aus der Kraft des Widerspruchs und der Reibung an irgendetwas, welches weder planbar noch vorstellbar ist. Ein Model, das in Zeiten zunehmender Unvereinbarkeit und Verhärtung die Vision eines konstruktiven Auswegs birgt. ''Shlimazl'' von Michael Wertmüller ist eine Auftragskomposition der Basel Sinfonietta und der Ruhrtriennale. Basel Sinfonietta & NDR Bigband Musical Director - Titus Engel Drums - Lucas Niggli E-guitar - Kalle Kalima

The Venezuelan composer Oksana Linde presents Travesías, her second album released by Buh Records, featuring pieces created between 1986 and 1994 in her private studio in San Antonio de Los Altos, Venezuela. These works belong to the same creative period as the pieces included in her acclaimed debut album, Aquatic and Other Worlds (Buh, 2022). Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde's journey is an example of resilience and innovation. After abandoning her career as a chemist due to health problems, Linde devoted herself to music, experimenting with synthesizers to create a deeply evocative sonic universe. She produced a vast number of recordings during the 1980s, many of which remained unreleased until the publication of Aquatic and Other Worlds. This new collection of pieces, taken from the extensive archive of cassette tapes preserved by Linde, unveils yet another perspective of her work. The pieces "Mundos Flotantes" (Floating Worlds), "Horizontes Lejanos" (Distant Horizons), and "Arrecifes en el espacio" (Reefs in Space) were specifically composed for the show Travesía Acuastral (Aqua-Astral Journey), presented by Linde in February 1991 at Casa Rómulo Gallegos as part of the 3rd Encounter of New Electronic Music. This event, produced by Maite Galán in collaboration with the Musikautomatika group, was a milestone in shaping an experimental electronic music scene in Venezuela, one of the most active in Latin America at that time. Linde also composed a series of pieces for use in meditation sessions, four of which are included in this compilation: "Luciérnagas en los manglares" (Fireflies in the Mangroves), "Estrellas I" and "II" (Stars I and II), and "Kerepakupai Vena." The latter refers to two words from the Pemón Indigenous community in southeastern Venezuela, meaning Angel Falls, the name of the world's tallest waterfall. Travesías solidifies Oksana Linde's position as an essential figure in electronic music and furthers the effort to bring to light one of the most fascinating archives of electronic music produced in Latin America. This compilation is released through Buh Records in a limited edition of 500 copies. Compilation and liner notes by Luis Alvarado. Mastered by Alberto Cendra at Garden Lab Audio. Cover photo by Elisa Ochoa Linde. Art and design by Gonzalo de Montreuil.

Although still very much a secret, Oakland, California's Justin Pinkerton has perfected and expanded his Futuropaco project to a stunning degree over the past seven years. The one-man band is deeply rooted in Pinkerton's masterful drumming, which builds on the legacy of 1960's and 1970's legends such as Tony Allen and Jaki Liebezeit. But he's an accomplished multi-instrumentalist as well, and the Futuropaco sound is a colourful fusion that sees him throw fuzz guitars, flutes, vintage synthesizers and Anatolian string instruments into the mix - seemingly without much effort. The second and final volume of the "Fortezza Di Vetro" series feels like a conclusion, the sound of an artist reaching his creative zenith. It's an experimental album, yet immediately seductive in its energy - channeling the vibey art-rock of Tortoise, Black Sabbath riffage and vintage Italian film music in equal measures. It's such a refined and esoteric blend, yet hits so directly. It's simply impossible not to crank the volume knob once this slab of vinyl is on the turntable, followed by immediate head nodding. Buy the ticket, take the ride. Justin Pinkerton is a vastly talented rhythmsmith, best known as a member of Californian stoners Golden Void. On this project he plays all the other instruments too so he can do what he blooming well feels. And it's not as if the drum solos go on for twenty minutes like those of John Bonham and his pale imitators. Nope. Into tracks that are both jam-packed and concise, Pinkerton has squeezed his love of vintage Italian library music, classic krautrock and heavy psych rock. At one point it suggests Grails have been performing super-speed cover versions of fusion-era Miles Davis with Adrian Younge on production. -The Quietus Futuropaco returns in a big way with Fortezza di Vetro, a buzzing, groove-heavy album that expands on what came before while staying true to the project's origins. Dizzying, fuzzed-out psych with just the right amount of melancholy for good measure. Justin Pinkerton and Futuropaco have done it again. Fantastico! -Complex Distractions

Der gefeierte Komponist (A Scanner Darkly, Before Midnight, Hit Man) und musikalische Außenseiter Graham Reynolds veröffentlicht sein erstes Soloalbum für Fire Records. Gepresst auf limitiertem lila/weißem Splatter-Vinyl in einem Deluxe Die Cut Mountain Sleeve. Eine sozio-geografische Reise entlang der Sierra im Kopf. Der herausragende Titeltrack "Mountain (Part 1)" ist voll von romantischen orchestralen Schwüngen, die das Bild einer weiten Landschaft heraufbeschwören, die von einem einzelnen Gipfel unterbrochen wird, während "...Part 2" einen zerklüfteteren Weg einschlägt, der einen kantigen Bergrücken überquert, bevor er sich in einem Hermann-esken Hitchcock-Stück festigt. "Mt. Monadnock" in New Hampshire wird namentlich erwähnt, während der "Enchanted Rock" (ein donnerndes, an die Einstürzenden Neubauten erinnerndes Wiedererwachen der Sinne, das von Grahams charakteristischer dröhnender Orchestertrommel begleitet wird) etwas außerhalb von Austin, Texas, steht, wo Reynolds seit über 30 Jahren zu Hause ist. Das Album wurde von Reynolds komponiert und eingespielt, mit Beiträgen vieler seiner musikalischen Freunde. Produziert und abgemischt wurde es von geheimnisvollen englischen Duo PeterTalisman. Das Album birgt einige Überraschungen, Austin-Nachbar Jad Fair (Half Japanese) taucht mit Backing Vocals auf, ebenso die italienische Chanteuse Marta del Grandi, deren beschwörende Worte auf "Linger In Silence" das exquisite siebenminütige "Prophet Harmonic" wieder zum Leben erwecken. ,Dieses Album ist sehr persönlich. Es beginnt mit Monadnock, dem ersten Berg, den ich je bestiegen habe, oben in Neuengland. Die erste Seite endet mit dem Enchanted Rock, dem ersten Berg, den ich in meiner Wahlheimat Texas bestiegen habe. Und obwohl ich schon mein ganzes Leben lang Musik veröffentlicht habe, ist dies das erste Mal, dass ich für etwas Eigenes, das nicht an einen Film oder ein anderes Medium gebunden ist, echte Labelunterstützung bekomme. In gewisser Weise ist es also mein erstes echtes Soloalbum", so Graham Reynolds.

3 Typen, 4 Songs - so einfach kann es sein. Ordentlich Hall auf die Vocals, quietschende Gitarren, Wall of Sound, denkt an eine Mischung aus Merchandice und Home Front - einfach geiler Postpunk, wabernd, treibend, energetisch & d.i.y.. Die Band hatte erst 100 Stück selbst veröffentlicht, die rasend schnell ausverkauft waren. Nun legt TCM zusammen mit der Band nochmal 300 Stück neu auf, in richtiger 10" Kastentasche - und Achtung Premiere: DAS IST DIE ERSTE 10" BEI TCM!

Two killer tracks of erotic psychedelia with a jazzy twist and touches of acid rock by the French cabaret star Rita and Chilean rock pioneers Aguaturbia. A perfect soundtrack to an imaginary sexploitation film, half-way between the classic sound of library records and a progressive and hypnotic musical journey driven by fuzzy guitars. French actress, model, dancer and singer Rita Cadillac, local star at well-known Parisian cabarets like Crazy Horse or Folies Bergère, recorded several 45s in the 1960s. In 1969, and most likely following the success of the Welsh band Man (from whom they "took inspiration" when recorded this 'Erotica'), released this song that could have easily worked as the perfect soundtrack for a sexploitation movie. Rita's sensual voice is wrapped in a piece of background music that could have been taken from a classic library record from the KPM, Chappell or Montparnasse 2000 catalogues. Hammond-driven prog jazzy passages, subtle fuzzy guitar solos and a contagious bassline all delivered by some anonymous studio band accompanied by Rita's provocative whispers and moans. This 7"-only rarity has been compiled many times over the years, but we thought it would be nice to have it reissued in its original format. What better than another song in a similar vein and identical title, 'Erotica' by Chilean rock pioneers Aguaturbia, to complete this single? Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar loaded with fuzz and wah wah effects, building up a progressive and hypnotic musical journey. This song was included in their much sought-after debut LP and we present it here again as the perfect accompaniment to the sensual Rita.

With breakneck rifs and explosive dynamics already earning a formidable reputation for avant-garde post-metal quartet Telepathy, their fourth album `Transmissions' sees the band turn their gaze inward to explore the rich sonic landscape of their creative and cultural origins. A new arsenal of cinematic synth textures and alien soundscapes pushes the band's genre-defying ethos towards more nostalgic and introspective ter- rain as they come to terms with the unknown. The band's latest ofering `Transmissions' marks the culmination of four years of introspection, experimentation and revitalisation for Telepathy, representing the band at its expressive core. Inspired by faded photographs unearthed in the brother's family home and the surprise discovery of a long lost relic, `Transmissions' is a cluster of musical messages that hurtles between nostalgic snapshots of the past and the everyday chaos of the present. Amongst precious memories and family treasures, the Turek brothers stumbled upon a recording of the frst radio broadcast of statesman Jo'zef Pilsudski, widely regarded as the founder of modern Poland. The wonder and optimism in his voice, captured over 100 years ago, ignited an inspirational drive to refect this time- less sense of awe in the present by pushing their musical creativity further than ever before. This revolutionary reinvention is immediately apparent on the opening track and lead single `Oath', which poured efortlessly out of the band in just one day. A recreation of that famous radio transmission introduces eight formidable minutes of widescreen rifs, thundering drums and otherworldly synth work that simultaneously feels like the blink of an eye. Subsequent track `Augury' rises from the dying whispers of `Oath', signalling Telepathy's renewed focus on composition and storytelling. The sense of open space and weightlessness from the song's halftime groove, soaring guitar arpeggios and an audio sample declaring that "the answer lies in the future" pushes the band beyond the familiar into exciting, uncharted territory. FOR FANS OF Tool, Russian Circles, The Ocean (Collective), Hans Zimmer, Mogwai, Kokomo

With breakneck rifs and explosive dynamics already earning a formidable reputation for avant-garde post-metal quartet Telepathy, their fourth album `Transmissions' sees the band turn their gaze inward to explore the rich sonic landscape of their creative and cultural origins. A new arsenal of cinematic synth textures and alien soundscapes pushes the band's genre-defying ethos towards more nostalgic and introspective ter- rain as they come to terms with the unknown. The band's latest ofering `Transmissions' marks the culmination of four years of introspection, experimentation and revitalisation for Telepathy, representing the band at its expressive core. Inspired by faded photographs unearthed in the brother's family home and the surprise discovery of a long lost relic, `Transmissions' is a cluster of musical messages that hurtles between nostalgic snapshots of the past and the everyday chaos of the present. Amongst precious memories and family treasures, the Turek brothers stumbled upon a recording of the frst radio broadcast of statesman Jo'zef Pilsudski, widely regarded as the founder of modern Poland. The wonder and optimism in his voice, captured over 100 years ago, ignited an inspirational drive to refect this time- less sense of awe in the present by pushing their musical creativity further than ever before. This revolutionary reinvention is immediately apparent on the opening track and lead single `Oath', which poured efortlessly out of the band in just one day. A recreation of that famous radio transmission introduces eight formidable minutes of widescreen rifs, thundering drums and otherworldly synth work that simultaneously feels like the blink of an eye. Subsequent track `Augury' rises from the dying whispers of `Oath', signalling Telepathy's renewed focus on composition and storytelling. The sense of open space and weightlessness from the song's halftime groove, soaring guitar arpeggios and an audio sample declaring that "the answer lies in the future" pushes the band beyond the familiar into exciting, uncharted territory. FOR FANS OF Tool, Russian Circles, The Ocean (Collective), Hans Zimmer, Mogwai, Kokomo

Mit ihrem achten Studio Album präsentiert das von Journalisten oft als "Deutschlands unterbewertetste Punk-Rock Band" bezeichnete Berliner Trio ein Cover-Album das es in sich hat. Im klassischen "K-Tel" Gewand werden hier 12 Kracher der 50er, 60er, 70er und 80er Jahre abgeliefert. Allerdings nicht im üblichen, "wir spielen einfach mal alles doppelt so schnell-Hauruck Sound", nein, hier wurde mal richtig tief in die musikalische Trickkiste gegriffen. So kommen die ,Rubettes" im Gewand der ,Ramones" daher, ,Slade" im Sound der ,Stranglers" und ,Jimi Hendrix" sogar als waschechte Southern Rock Nummer a la ,Lynyrd Skynyrd". Von Uli Confidence dem Mastermind der Band und Betreiber des Berliner Kult-Clubs ,Wild At Heart" im hauseigenen Studio produziert, wird auf dieser Scheibe völlig ungeniert von klassischem Rock`n`Roll, über 70s Rock, Glam und sogar New Wave alles zelebriert, was der Kirche des Vertrauens lieb und heilig ist. Spaß-, Party-, und Unterhaltungsfaktor bis zum Anschlag auf Maximum gedreht, zündet hier ein Kracher nach dem anderen... 500 Stück weltweit, klassisch schwarzes Vinyl, durchnummeriert.

"Night Sketches" is the follow-up to French pop duet Papooz's first album "Green Juice". The album spawned single release 'Ann Wants To Dance' (alongside a video directed by French artist & musician SoKo), which has since clocked over 12 million streams online and counting.



After selling out both Moth Club & The Sebright Arms, Papooz headlined Scala in London in December 2018. Produced by Adrien Durand of Bon Voyage Organisation, Night Sketches finds Papooz perfecting their gift for wonky, exotic pop balanced with surreal, character-driven lyricism.



"We had this romantic idea of capturing the essence of night life: its stories, its suspicious characters, its highs & lows and put them into pop songs." Whilst Night Sketches continues to keep Papooz' tongue firmly in cheek, there's real precision at play in Armand Cottin and Ulysse Penicaut's assimilation of soft rock, jazz and Brazilian music, leavened with an unmistakably British sense of humour (those lyrics sung in English are not by chance).

Grimm Grimm's new release, Untitled II (2025), is a distinctive sound collage/mixtape that blends grainy cassette recordings with demo tracks from a 4-channel recorder. The original release, limited to only 30 copies, included a cassette tape, a pillow cover, and a bundle of sleeping pills. Sold exclusively at the London record shop Atlantis Records, it sold out instantly and has become a rare, sought-after collector's item. The album features guest contributions from contemporary artist Naima Karlsson and Colorado-based singer-songwriter Josephine Foster.

Wenn es jemals ein Album für jeden Anlass gab, dann ist es dieses: Von gefühlvollen Balladen zum Entspannen bis hin zu durchdringenden Gitarrenkrachern zum Aufdrehen, wenn man spät nachts Auto fährt. Das Album hat alles. Eröffnet wird in gewohnter Allison Manier mit einer energetischen Mischung aus Funk und Blues, um über den Verlauf des Albums die ganze Bandbreite seines musikalischen Könnens, von soulgetränkten Bluessongs über treibende Funkgrooves, bis hin zu rockigen Gitarrenriffs zu zeigen.

It is undeniable that Billie Holiday’s singing changed in her later years. Her voice darkened and shifted to a lower range. Her economy of expression distilled her sound to its essence — a kind of heightened speech. The classic LP Songs For Distingué Lovers — her best work of the 1950’s — has also deepened and become burnished with time. Now in limited edition yellow vinyl.

Diana Ross’s eleventh studio album spawned three hit singles, including the number-one ‘Upside Down’. A masterpiece of disco and pop and a dazzling collaborative effort between Chic and Diana Ross. Now in limited edition ultra clear vinyl.

2025 cassette edition, originally released in 2023 on 2CD/digital.

Recordings + booklet of the unveiling of »Katharina AW«, a relational artwork by Joris Martens. The unveiling event took place at St. Catharine’s Church in Hoogstraten - a city in the northeast of Belgium - on two Saturdays in May 2021.

While beholding the artwork, a woven tapestry, you listen to organ music by Miaux. Outside the church, you hear the carillon gurgle with music by Lieven Martens and town carillonneur Luc Dockx, prolonging the event into the public space.

Joris Martens created »Katharina AW« for the city hall of Hoogstraten. The tapestry now serves as an informal conversation starter in the conference room. Joris Martens is a multi-disciplinary artist and works in the field where applied arts and fine arts meet.

Miaux played her own compositions on the church organ. The songs appeared on the albums Black Space White Cloud, Hideaway, Dive and Gigi - released by Ultra Eczema, Lal Lal Lal, and Alien Passengers - and were originally written for electronic keyboard. Mia demonstrates that the church organ, which is normally used as an underscore for sadness or compelling thoughts, is a fitting instrument of connection. Through its resonance, we communicate our sounds.

Lieven Martens invented sketches for the carillon—by loading bird sounds into the computer program Melodyne, varying them and converting them to musical notes. As a nod to the religion crazy Olivier Messiaen, who considered the birds to be God’s chosen singers and songstresses. The trifles were translated on the carillon by town carillonneur Luc Dockx. The playing comes into and out of focus. In this way, Lieven creates a dreamscape and breaks with the dreary carillon as an instrument of power.

Luc Dockx studied church music at the Lemmens Institute in Leuven and the carillon at the Royal Carillon School in Mechelen. He is the city carillonneur of Hoogstraten since 2002. Dockx is an active practitioner of the art of improvisation on the carillon.

An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London.

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens.

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.

Black Fairy is a fairy tale, but not in the traditional sense. When writing this play, i did not want to re-create the types of fantasies which are so common in Childrens theater. There is no kind of magic that can relieve black children from the oppression that retards their development. However, i do feel giving them a better understanding of their heritage can help them achieve their true potential. And those of us who are concerned with their development should try to expose them to knowledge that gives them a positive sense of identity. Although i do feel a chldren's play should be entertaining, I also feel it should be educational. Also, because there are so few children's plays which reflect the black experience, I wanted to write a play that Black children could identify with.

"Black Fairy" is a musical drama about a black fairy who lacks pride in herself and feels she has to offer Black children. But when she meets Black Bird and Queen Mother (Who take her to ancient Egypt, East Afrika, a southern slave plantation and the streets of Harlem) she begins toget a better understanding of her heritage. Her journey through the past enables Black Fairy to meet Aesop, Brer Rabbit, Brer Fox, Uncle Remus, Stag-o-lee, Leadbelly and many other characters in Black folklore and Black history. At the end of her journey, Black fairy realizes that "Being Black is nothing to be ashamed of" and is then able to share her knowledge with other Black children. Even though Black Fairy doesn't completely resolve her dilemma, having a knowledge of her heritage does give her more confidence to cope with the future.

During ther summer of 1974 "Black Fairy" was performed for over four thousand children in Chicago. And, in April of 1975, it played to over two thousand children in Detroit at Mercy College.

"Black Fairy" is the only the first of many children's plays we hope to produce at the Better Boys Foundation. There is an Afrikan proverb which says: "Children are the reward of life". We at Better Boys Foundationm are dedicated to this belief, and feel that helping childrren to appreciate their heritage is one means of showing our concern for their development.

“Onde” is a story about continuous change, in which the sea resonates everywhere, from the gentle movement that can lull before it transforms into a tidal wave that destroys, making a clean sweep. It holds within itself numerous metaphors and multiple states of mind that, like sea waves, can take on thousands of forms.
While all water moves, changing shape and force, each song lets sounds pass through it within a sea of frequencies in which Cristiano della Monica's percussion and Ernesto Nobili's guitars guarantee Maria Mazzotta's song the possibility to navigate onward. The voice shoves off and sets sail, allowing itself to be hurled far away, sinking before returning to the surface and, finally, finding rest. For the three musicians who, from Lecce and Naples, have always had the sea in their minds and eyes, this album tells the story of the movement of the sea, from the torment that navigating it entails to the relief that, in the end, each landing offers.

The album was conceived as a response to his EP Winter Sunshine. The record, recorded at his home in Istanbul, finds Evgeny in a highly intimate setting. His piano and atmospherics are complemented by his long- time collaborators Iana Chekina (cello) and Pavel Mackevitch (viola, violin). The first notes of "Glare of Us" greet the listener warmly and invite her to relax into a tour through the seasons and different moments of the day.

Six years removed from their last release, Seattle’s Great Grandpa return with Patience, Moonbeam - an ambitious and deeply moving new album that almost didn’t happen. A decade of making music together was put on pause while each of the band’s were called indifferent directions. But as with any good relationship built on mutual love, trust, and a mountain of shared history, the quintet reunited, scrapped most ideas of songs they had put together, and started fresh to work on what would become their best album to date, due out in March on Run For Cover Records. Whereas 2019’s Four of Arrows mostly came together in the pressure cooker atmosphere of the studio with the help of an outside producer, Patience, Moonbeam emerged slowly through a generous demoing process. With fewer constraints and more control, the band had the opportunity to experiment and take their time, leading to a collection that feels and sounds more fully, confidently, themselves. Built on an “open door policy” for writing and recording, Patience, Moonbeam is the result of how seamlessly all five members contributed to the creation of the album. The result is a record that swings like a pendulum from heavy to tender, playful to weighty, painting a sonic illustration of the pains and pleasures of being alive across eleven songs. What could suffer from a kitchen-sink approach instead comes together brilliantly, a testament to the band’s musical and spiritual connection. With Patience, Moonbeam, Great Grandpa has crafted a triumphant document of what happens when your collaborators become your chosen family.

Six years removed from their last release, Seattle’s Great Grandpa return with Patience, Moonbeam - an ambitious and deeply moving new album that almost didn’t happen. A decade of making music together was put on pause while each of the band’s were called indifferent directions. But as with any good relationship built on mutual love, trust, and a mountain of shared history, the quintet reunited, scrapped most ideas of songs they had put together, and started fresh to work on what would become their best album to date, due out in March on Run For Cover Records. Whereas 2019’s Four of Arrows mostly came together in the pressure cooker atmosphere of the studio with the help of an outside producer, Patience, Moonbeam emerged slowly through a generous demoing process. With fewer constraints and more control, the band had the opportunity to experiment and take their time, leading to a collection that feels and sounds more fully, confidently, themselves. Built on an “open door policy” for writing and recording, Patience, Moonbeam is the result of how seamlessly all five members contributed to the creation of the album. The result is a record that swings like a pendulum from heavy to tender, playful to weighty, painting a sonic illustration of the pains and pleasures of being alive across eleven songs. What could suffer from a kitchen-sink approach instead comes together brilliantly, a testament to the band’s musical and spiritual connection. With Patience, Moonbeam, Great Grandpa has crafted a triumphant document of what happens when your collaborators become your chosen family.

Captures Blaze Foley and his working band-the Beaver Valley Boys-on their first Texas studio recordings dating from 1979 and 1980. Blaze and the band-anchored by the reknowned Gurf Morlix-are at the top of their form. Cold, Cold World includes 17 Foley songs from his well-known classics to six songs that appear on a Foley recording for the first time.

That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.

Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.

Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.

“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.

Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

»Sometimes Things Change« is an album after a year of profound change. A year with a new job, moving houses, and many visits to the IVF clinic. »Sometimes Things Change« brings closure, and is an artistic starting point. In the course of seven compositions memories, thoughts and fantasia meet.

»The sounds (…) they’re from whatever I happen to be doing wherever I ​happen to be. But these sounds hold memories because I was there, living those moments.« These recorded sounds - flowing like a journal - are mediated through compositional/improvisational interventions. By doing this, the artist expands the source material beyond its own circumstances.

13 years in the making, Mr Bongo proudly presents a new compilation of beloved Brazilian disco and boogie finds from the legendary London disco connoisseurs, Horse Meat Disco. A labour of love, it showcases a tantalising cross-section of disco, funk, boogie, samba and MPB, from past to present. Unearthing tracks from the seemingly endless gold mine of Brazilian gems, the compilation features legends such as Jorge Ben, Gretchen, Marcos Valle and Robson Jorge & Lincoln Olivetti, alongside unsung heroes including Zé Carlos and Carlos Bivar.

Over 20 years ago, the Horse Meat Disco crew (James Hillard, Severino Panzetta, Jim Stanton and Luke Howard) began their weekly residency at Eagle London back in 2003. That same year, Luke made his first visit to Brazil, beginning a musical love affair that is still going strong.

“I had always wanted to go to Brazil since I was a kid, and when I finally had the opportunity to go with Princess Julia, I was just blown away. I’ve visited Rio every year since 2003, and in that time, I’ve learned Portuguese and tried to discover as much as I can about Brazilian music and popular culture. I learned to dance samba with the Paraiso School of Samba in London and paraded three times at Rio Carnival. Brazilian music was a brand-new world for me to explore and get excited about—a whole universe of genius musicians, singers, and styles.”

9 years later, Mr Bongo invited Luke down to their Brighton HQ for a listening session of some of his favourite Brazilian boogie and disco 7" finds. A compilation was green-lit, but multiple licensing delays and the release of other HMD compilations meant that it lay dormant for years.

Fast forward to 2024, and with the help of esteemed, Rio-based record collector Tee Cardaci, along with suggestions from HMD’s James Hillard, the dream of an HMD Brazilian compilation finally materialised. It’s a carefully curated collection that includes the electronic-boogie/italo-disco-esque 1984 groover 'Venha (Remix)' by the singer Źe Carlos, two cuts by Luiza Maura taken from her sought-after Deixa Girar 7", and Gretchen's sultry 'Ela Tem Raça, Charme, Talento E Gostosura' written by Jorge Ben.

At its core, this compilation captures the excitement and sense of discovery that won over Horse Meat Disco’s heart more than 20 years ago. A vibrant mix of feel-good flavours, it homes in on a sun-soaked strand of disco and boogie that has been enriched with the spirit of a nation where music serves as a central pillar of life.

Reverend Gary Davis aus Laurens, South Carolina war Singer-Songwriter, Gitarrist
und ein wahrer Virtuose des Piemont-Blues-Fingerpicking-Stils. Jack White
erwähnte ihn als einen seiner Gitarrenhelden in der Dokumentation It Might Get Loud
und zeigte darin den Videoclip von Death Don't Have No Mercy (He'll come to your
house and he won't stay long).
Blind Gary Davies spielte Gitarre mit Daumen und Zeigefinger auf eine Weise, die nur
ein blinder Mann spielen kann. Viele seiner Songs wurden im Laufe der Zeit von
internationalen Künstlern gecovert; unter anderem gehören The Grateful Dead und Bob
Dylan zu den Interpreten, die durch ihre Davis-Interpretationen dem blinden Virtuosen
Ehre erwiesen. Harlem Street Singer beinhaltet seine größten Hits, die bis heute
populär sind.

13 was The Doors’ first compilation album, featuring tracks from the psychedelic rock legends’ first five albums.

The compilation starts with the epic Light My Fire, written by Doors guitarist Robby Krieger, and features other classics such as People Are Strange from Strange Days, Touch Me from The Soft Parade. It also contains the blues rock classic Roadhouse Blues from Morrison Hotel; which last year celebrated its 50th anniversary.

13 is now on vinyl for the first time in 37 years and includes newly remastered audio on 180gram black vinyl.

Mar De Novo is a mainstay of the Vinyl Only label which is now almost up to release number 20. As always these are magnificent beats that blend great invention with a healthy respect for disco days gone by and they are all made in what must be a studio jam-packed with analogue gear from all across the ages. 'Instant Humidity' has plenty of characterful synth details that are freaky and playful, 'Call Me' pairs stepping disco beats with super sweet vocals and 'Paraggi' is a blissed-out seaside gem. 'Progression' heady back to the club with strobe-lit disco arps, 'Get A Way' pairs plunging basslines with cosmic keys and another great vocal and 'Quiet Down' rounds out with another horizontal downbeat disco gem.

Almost a year after his last outing on Dungeon Meat, Borren is back with more hefty slabs of hardcore house and garage fusions. 'Space Mode' kicks off with shuffling beats and low sling bass that can't fail to amp the party. 'UKTD Gangsterloop' is another naughty and smiling cut with characterful samples and filthy bass. There's some nice and trippy melon to 'Warp Garage' that makes it perfect for those inky blue late night hours and 'Zeer Zakelijk' shuts down with chunky drum funk and rolling bass that is so deep it rattles foundations.

Merv keeps it super deep here with a trio of supremely tasteful techno cuts doused in dub culture. 'Sliver' is first and awakens the sense with some gentle rattling chords that sound like distant thunder rolling in with a storm. 'Embrace' is airy, with big kicks and frosty pads shimmering across the airwaves and crisp hi-hats cut right through. 'Strain' is last up on the flip and is an elongated journey through some sugary melodic pixelations, a frosty dubscape and hints of melancholia. All are perfect for those late-night and intimate back room sessions.

It is a huge honour to announce the publication of Peter Brotzmann’s final concerts on OTOROKU. When we invited Peter to do a residency at Cafe OTO back in February 2023 we had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again.

Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, (released as The Worse The Better kick starting our in-house record label) so it feels fitting that the last shows he ever played here should also have that trio at its core.

The quartet last played together at OTO back in 2013, (released as Mental Shake on OTOROKU), and Brotzmann humbly opened the return of the group saying, "it's a pleasure to be back” before launching straight into a long blast on the alto sax, swiftly met by the relentless energy and engagement of Adasiewicz, Edwards and Noble.

There are moments of tenderness to Brotzmann’s playing that feels specific to this small group - one that cuts across three generations - and in a space that’s come to feel like home. Of course, there is dizzying, forceful, singleminded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savoured and held onto. As he remarked at the end of the group's first visit to OTO, “the Quartet is, for us, a great adventure.”

Peter clearly wanted to play to the end. Did he know these might be his last shows? We will never know. What is clear is he wanted to go out in style and on his terms. For anyone in the room at the time or listening to these recordings it’s clear he achieved that.

It was Peter’s wish that these recordings should be made public and he was due to finalise the cover design on the week he passed away. We would like to thank Peter’s family for working with us to fulfil Peter’s wishes to release this material but more than anything we would like to thank Peter himself for all the extraordinary memories, his generosity and all he has given the music. On a personal level for us, like so many, he meant a huge amount and we miss him deeply.

The Quartet will be released as a complete recording on 2CD and as a special edit version on 2LP. Both feature artwork by Peter Brotzmann and UNTIET and are complete with photographs by Dawid Laskowski.
OTOROKU will also release a special 4LP boxset edition, limited to 250 copies and only available direct from us. Pre-orders are on the website now and Cafe OTO members will receive a 20% discount.

- LITA Exclusive pressed on Sky Blue colored vinyl - First ever official reissue - Produced in full cooperation with Hiroshi Yoshimura's estate - Liner notes by contemporary music writer and professor Junichi Konuma - Remastered from original sources by John Baldwin - First time on vinyl, cassette, and streaming - 2xLP vinyl housed in gatefold jacket - Discs cut at 45 rpm for optimal sound quality // Following their 2024 reissue of Hiroshi Yoshimura's classic album, Surround, Temporal Drift proudly presents the first-ever reissue of FLORA, Yoshimura's underappreciated ambient classic. FLORA was originally recorded and completed in 1987, and remained unreleased until 2006, nearly three years after Yoshimura's passing in 2003. The album is chronologically and stylistically a follow-up to his acclaimed 1986 works GREEN and SURROUND, wherein Yoshimura continues to play with the ambience of sound and the sound of ambience, underscoring his mastery in the field of environmental music. Yoshimura's other recorded works include Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and Pier & Loft (1983), commissioned as accompaniment to a contemporary fashion show.

Man-of-the-minute Jorg Kuning returns to Facta & K-LONE’s Wisdom Teeth imprint with ‘Elvers Pass’: a new 6-track exposition of his singular sound, and his most accomplished and comprehensive work to date. By now, the Jorg Kuning trademark is well established. Cherrypicking influences from the wiggiest ends of tech house, electro and bass music, his music is instantly set apart by his totally unique sound palette.

In fact, it’s hard to think of another club artist who has emerged with such a distinct and recognisable voice in recent years. Bubbling and funky with that unmistakable dose of wonk, you can tell a Jorg Kuning tune the minute it enters the mix. Since last appearing on Wisdom Teeth with 2022’s ‘Chosta-del-sol’ EP, the Welshpool-based artist has become a cult name on the global club and festival circuit - his must-see live set turning heads wherever he pitches up. Anybody who frequents the summer circuits around Freerotation, Love International, Gottwood and Dimensions will know exactly what we’re talking about. Along the way he has picked up a number of ardent and outspoken fans, including Lukas Wigflex and Koreless - the latter of whom tapped Jorg for a stellar remix on last year’s ‘Deceltica’ EP on Young. On ‘Elvers Pass’, Jorg manages to ring an exceptionally rich diversity of life from the circuitry of his modular machines.

The record’s melodies flutter and swirl like deep-sea creatures, and his synths ooze as if dredged from some primordial swamp. More so than ever, a host of otherworldly voices have begun to creep into his music: ‘Mercedes’ centres around a fluttering chorus of disembodied vocal chops, while ‘Synthetic Squashies’ rocks back and forth on a looping dialog between two AI chatbots. Across the record, synths mimic animal vocal tones, from the belching bass licks on ‘Skudde’ to the amphibious synth groans on ‘Teen Frogue’. Playful, oddball and in a class of its own, ‘Elvers Pass’ is a welcome New Year offering for ravers and club adventurers worldwide.

Look At Us Now: the long-awaited debut album from Song Festival sensation Gustaph!

"I wanted to make a record that makes people feel good about themselves."

Good things come to those who wait: after more than 20 years as a musician, Gustaph is releasing his debut album, Look At Us Now. The title is a phrase from the song Because Of You, which won him seventh place at the Eurovision Song Contest in 2023.

"Look At Us Now may be taken literally," Gustaph explains. "Look where we are now after 20 years of hardwork. And look where we are with the queer movement: as a queer artist, I can openly be myself and sing about the things that are important to me."

Gustaph's soulful voice takes us through various themes, from believing in yourself and fickle lovers to chosen family and loss.

Look At Us Now is a pop record infused with nineties house, dance and disco, but we also spot a ballad (Miss You The Most) and two Scandi-pop tracks: Like You, an ode to love and Darker Days, an epic track that will pull you through bleak periods with panache.

"I wanted to make a record that makes people feel good about themselves," Gustaph says. "One that they put on while getting ready to go out or just to start the day. A little pick-me-up that makes them think: Yes, now I can kick ass."

When you play the record for the first time, you'll already be able to sing along to a bunch of tracks: there's Because Of You of course, butalso more recent singles like Already Know, Faith In What You Feel and Calls Your Name.

The record was produced in London with Richard X, known for his work with Róisín Murphy, Alison Goldfrapp and Pet Shop Boys, among others. "That's very close to who I am as an artist, so that collaboration just made sense," Gustaph explains.

Look At Me Now sounds like a party where everyone is welcome. The club tour kicks off at Ancienne Belgique. Come celebrate!

Lauer returns this year with his highly anticipated second EP on Public Release. The two tracks showcase his ability to bookend both club and indie, unified by his signature hypnotic groove and emotionally charged dance-floor storytelling. “770077” is an ecstatic emo club builder, while “Felt Bat” ventures into guitar driven new-wave-club with a strong dose of renewed nostalgia.

On remix duties, two esteemed Canadian artists bring their own unique interpretations. Khotin enhances the ethereal allure of “770077”, deepening its hypnotic atmosphere and rhythms, while Yu Su reinvents “Felt Bat” as an urgent, brooding, breakbeat-driven track that pushes the EP into new territory.

The Jazz scene pays tribute to one of the greatest artist of all time. This time the IN JAZZ Collection focusses on Paul Mac Cartney with smooth jazz covers of some of the best titles composed by the great Macca !

Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release

The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special

Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.

Vinyl debut for 3 tracks that have been seriously moving dance floors the past few months. GLENN explores his tech side on this one, with jazz stabs, heavy synths, and hard 909s on the A-side. The B-side's "ACID DISCO" is more chill, giving listeners a chance to cool down and catch their breath.

Nach einem Jahrzehnt, in dem die Band das Beste aus improvisierten Aufnahmeräumen in Lagerhäusern, Wohnwagen und Lofts gemacht hat, ist „For Melancholy Brunettes (& sad women)“, das vierte Album von Japanese Breakfast, die erste richtige Studioveröffentlichung der Band. Produziert von Grammy-Preisträger Blake Mills, zieht sich Frontfrau und Songschreiberin Michelle Zauner von der hellen Extrovertiertheit des Vorgängers „Jubilee“ zurück, um die dunkleren Wogen zu erforschen, die in ihrem Inneren aufgewühlt sind, das launische, fruchtbare Feld der Melancholie, das seit langem als der psychische Zustand von Dichtern am Rande der Inspiration gilt. Das Ergebnis ist eine künstlerische Absichtserklärung: ein reifes, komplexes, kontemplatives Werk, das den romantischen Nervenkitzel einer Gothic Novel heraufbeschwört. „For Melancholy Brunettes (& sad women)“ folgt einer transformativen Periode in Zauners Leben, in der ihr zweifach GRAMMY-nominiertes Durchbruchsalbum ‚Jubilee‘ und ihre Bestseller-Memoiren ‚Crying In H Mart‘ sie in den kulturellen Mainstream katapultierten und ihre tiefsten künstlerischen Ambitionen erfüllten. Als sie über diesen Erfolg nachdachte, erkannte Zauner die Ironie der Sehnsucht, die so oft Glückseligkeit und Verderben miteinander verbindet. „Ich fühlte mich verführt, das zu bekommen, was ich immer wollte“, sagt sie. „Ich flog zu nah an die Sonne heran, und mir wurde klar, dass ich sterben würde, wenn ich weiterflöge“. Das Schicksal von Ikarus und anderen Verdammten verleiht „For Melancholy Brunettes (& sad women)“ sein beständigstes Thema: die Gefahren des Begehrens. Wie zerstreutes Licht führen seine spektralen Teile die Charaktere des Albums durch Zyklen von Versuchung, Übertretung und Vergeltung. In „Orlando in Love“ - ein Riff auf John Cheevers Riff auf „Orlando Innamorato“, einem unvollendeten Epos, das aus 68 Cantos des Renaissance-Dichters Matteo Maria Boiardo besteht - ist der Held ein gutmütiger Dichter, der sein Winnebago am Meer parkt und dem Ruf einer Sirene zum Opfer fällt, seinem 69. Canto (selbst im erhabenen Reich des klassischen Mythos hat Zauner ein Faible für Anspielungen). „Honey Water“ lotet die stille Wut einer Frau aus, die mit einem untreuen Mann verheiratet ist und zusieht, wie er immer wieder der Lust nachgibt wie ein niederes Insekt, das seinen eigenen Untergang herbeiführt Traurigkeit ist in der Tat die dominierende emotionale Tonart dieser Platte, aber es ist eine Traurigkeit der besonderen Art: die nachdenkliche, vorausschauende Traurigkeit der Melancholie, in der die Erkenntnis des im Wesentlichen tragischen Charakters des Lebens mit Sensibilität für seine flüchtige Schönheit einhergeht. Zauner findet in ihr genügend Raum für Hoffnungsschimmer. Es sind die Tröstungen der Sterblichen, die Dichter vor ihr gerufen haben und die Dichter nach ihr immer wieder neu entdecken werden: Liebe und Arbeit, und obwohl sie sich wie stärkende Vorsätze durch die vielen Episoden des Albums ziehen, erklingen sie am deutlichsten im letzten Song, „Magic Mountain“, einer Auseinandersetzung mit Thomas Manns berühmtem gleichnamigen Roman. Für sie fühlt sich jede Arbeit wie das Erklimmen eines Berges an, aber von der Spitze von „For Melancholy Brunettes (& sad women)“ aus blickt sie in die Zukunft.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

ZY THE WAY 中庸’s debut album Then and Now 溯 is out now, blending ancient Chinese poetry with jazz, improvisation, and global influences. Inspired by the Shijing 詩經, China’s earliest poetry collection, the album bridges history and modern sound. Collaborating with scholar Dr. Annie Luman Ren, it explores themes that transcend time. The band has earned two Global Music Awards and international recognition, with standout tracks like Blue Collar 子衿 and Agile 還 making waves. Two tracks from the album were remixed by Mark de Clive-Lowe and DJ Spinna, bringing a fresh perspective. The limited-edition vinyl drops in Spring 2025—a must-have for collectors.

Laseech is proud to announce the release of "I Saw You", a soulful and versatile 12” debut on his newly established label, Cosada. The release features the emotive voice of Swaylo, whose performance complements Laseech’s signature jazzy and soulful sound. Adding to the record’s prestige, "I Saw You" includes a remix by none other than Ron Trent, bringing his deep, mystical style to the release, further solidifying it as an essential record for house music lovers. A Dub mix is also included, designed to bring fresh broken beat energy to the dance floor or more intimate, reflective moments. This marks an exciting chapter for Laseech and Cosada, a label inspired by and named after a serene island of the Adriatic and the street of Laseech’s studio where the magic happens.

Makin' Moves is back with the latest edition of unreleased tracks “Unreleased Volume 3” that might one day see the light of day digital but for now they will stay in the vinyl vault !

First up on the A side we deliver two choice cuts from one of New York’s underground producers Conway Kasey as he returns to Makin Moves with two tracks that will work dance floors in equal measure.

On the flip Johnny Melek brings us Manifestations with Juliet Mendosa on vocals. This one is much anticipated following Johnny’s colossal debut release on Your records that was number one in the Traxsource charts for a long time! Finishing off this classy 4 track EP is David Harness’s unreleased remix of Reggie’s Steele’s “Vulnerable” which was a huge track in 2024. Harness uses his trademark beats to take this one to peacetime floors!

The second Jamming Is Life release comes from Amsterdam’s hidden gem RDS. After a close friendship of almost a decade, I feel proud to showcase his work on my imprint.
His signature style flows from the use of dusty machines dating back further than himself. Including many limitations in his process, inspiration is bound to erupt, and you clearly hear it on this record.

The balance in the selection sways from modern acid on the first track Creek, mysterious tech on A2: Chronicles, a proggy and tribal tool on the B1, Slappy Whappy Dub. Rounding it out with the last track Syngery-Lo, with a subtly trancy techno cut. Let it speak to you

Shadow Child & DJ Haus Present RHYTHM FORCE VOL.1 - a deep dive into the aquatic vaults of orgasmic synth pads being sponged by rusty breakz & saturated sub bass

RainboWarriors Vol 1 is the first compilation from the Warriorecords label, curated by Rebeka Warrior.

15 original tracks by 15 artists from all horizons and, for the most part, from the queer scene, grouped under the same Dark and New Wave banner.

Finger Lickin Good by Dennis Coffey, released 27 September 2024.

Transport yourself to the enchanting Brazilian seaside with our latest release, BOSSA LOFI COMPILATION! Each track in this collection embodies the spirit of summer, immersing you in the rhythmic sway of sambas and the soulful strumming of guitars. Picture yourself at a lively beach party, dancing beneath the stars, or relaxing with friends on sun-kissed sands, savoring each moment. This compilation promises a perfect soundtrack for unforgettable experiences, filled with warmth, joy, and the timeless charm of Brazil's musical landscape.

Pierre Bujeau is an expert at creating temporary escape zones—musical structures to evade the everyday. Sometimes he works collectively as part of the mysterious French groups Omertà and Tanz Mein Herz. But it’s when he’s on his own, performing as Megabasse, that he offers the most complete break from reality. His kit is simple: a few bottles of cheap lager, twin Fender amps, and his double-necked guitar. An instrument like this normally signals maximum rockist excess—think Jimmy Page, Geddy Lee, or that dude from the Eagles. In Pierre’s hands, it becomes more like a zither or a dulcimer, producing soft chiming patterns that build against themselves until the sound of the room, passed back and forth between his two amps, starts to blur everything, and we are away in another world. Wait, though—let down your yoga bun and don’t light the palo santo yet. The new space he creates has nothing to do with smug wellness. It’s a rough, do-it-yourself psychedelia, scuffed but hopeful. Not a perfect blank space to be your best self in, but instead a communal dreaming, an uncanny place where all are welcome.

Until now, without catching him live, the Megabasse experience has been difficult to find: CD-Rs, short-run tapes, and one blink-and-you-missed-it LP. Thankfully, this record on Efficient Space, a reissue of some pieces that were previously only available on a small cassette edition, will put that right. Here are two long, intricate pieces, and something new—a shorter track that hints at a move toward beautiful, burnt-out guitar soli.

Unless you are very lucky, wise, or rich, life imposes its structures on you. Maybe a record of shimmering, tranced guitar is all you need to get out from underneath?

Founded by Robbie Redway and psychedelic researchers Mathieu Seynaeve and WaiFung Tsang, UK-based 'United Freedom Collective' has grown into a network of artists including Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul. Originally conceived around psychedelic therapy sessions, online yoga and breathwork channels, the musical scope has expanded on each of the four EPs released on Maribou State's 'Dama Dama' label, and here continues with their debut on Multi Culti. This time Robbie takes the lead on production and sole vocal duties on all five tracks, presenting a range of influences and style. Lead single 'Between Memories' blends tropes of ecstatic dance with uplifting vocal piano house, somehow making flutes fit in with Detroit strings to epic, hands-in-the-air effect.' Title track ‘Bright Patterns’ bridges the gap between Jungle, Jai Paul, and Jamiroquai, a fusion of funky filtered disco-house and electroclash with side-chained pop vocal hooks. ’El Yo’ smooths things out, a dope, laid back groove with a measured reflection on psychedelic healing and the perils of spiritual bypassing. ‘Higher Drums’ warms things back up for the dancefloor with trumpet, afro-latin percussion, and flute flourishes. Finally, ‘Moonshine’ is a soaring, Amapiano-inflected post-desert-house ballad. Influenced, in their words, 'by birds, trees, Buddhism, yoga, headless way meditations, Jungian analysis, Zen Taoism, Chinese plant medicines, indigeneity, Amazonian and psychedelic cultures, icaros and world healing traditions,' the music is eclectic, ranging from afro-inspired jazz to Chinese folk, psych-rock to dub and dance music, an ambitious and inclusive range, collabs that extend well beyond the borders of western musical traditions. Their sound was described by Clash Magazine as an 'aural mosaic that glitters with colour and potential,' and while the sheen of the production and precision of the arrangements might seem a departure from Multi Culti's left-field endeavours, the psychedelic idealism and global connectivity make it a natural fit with the open-ended ethos of the label. Having already had radio support from KEXP, BBC6 Music (Laverne, Ravenscroft, Charles, Nemone, Letts), Jazz FM and Worldwide FM (Gilles Peterson), with a live show that sold out Dalston Curve Garde and The Waiting Room as well as supporting Maribou State for their recent comeback show at Islington Assembly Hall in London the collective's future is looking exceptionally bright.

Steeped in classic dancefloor rhythms and sounds, ARTIFACTUAL RHYTHM presents a re-interpretation of club and DJ music through the lens of a live band with a jazz edge. Tapping into sounds of the 90s and 2000’s while keeping his foot very firmly in the now and beyond, Flood’s new body of work is both for the dancefloor and the listener.

Dubbed 'nu-jazz', 'jazztronica' and 'jazz house music', at its core Alex’s sound takes influence from house, UK garage, drum n’ bass, and broken beat. 'Artifactual' can be defined as 'made by human hands', and that’s exactly what Alex explores with this record; taking sounds and styles that are inherently electronic and giving them new life through the rawness of a live band underpinned by jazz and improvisational explorations. Music made by human hands.

Recorded live in a studio in Naarm / Melbourne and engineered, mixed, and co-produced by Lewis Moody (Energy Exchange Records), the album features a list of some of the finest players 'Down Under' including Erica Tucceri (flute), Finn Rees (keyboards), Dylan Paul (bass), as well as guest vocal features from the lyrical legend Cazeaux O.S.L.O on LIFE IS A RHYTHM, Kara Manasala on UK garage cut DON’T WAIT 4 ME, and New York soul queen Vivian Sessoms heating up some classic house energy on CAN’T GET ENOUGH.

Alexander Flood is one of Australia’s commanding beat-masters, possessing a unique and finessed arsenal of groove, power, and expertise on the drums. Leading his own band from the drum chair, Alex’s music pushes a fresh rhythmic and dynamic realm of live dance music leaning on nu-jazz, deep-house, broken beat, DnB, funk, and experimental sounds. The band has recently featured at Wellington Jazz Festival, Melbourne International Jazz Festival, SXSW Sydney, WOMADelaide, JazzMontez Frankfurt and various clubs across Europe and Australia.

Winning Australia’s Best Up and Coming Drummer Competition in 2016 was just the beginning of Flood’s accelerating trajectory in music. After graduating top of his University jazz degree in 2017, Alex signed with US label Stretch Music to release his debut album HEARTBEAT, followed by his sophomore release The Space Between in 2022. Later that year Alex toured Europe with heavyweight 6x GRAMMY nominee Christian Scott aTunde Adjuah’s band. While in Berlin Flood recorded his third album 'Oscillate' with an all-star lineup including Horatio Luna and Abase, releasing via Jakarta Records in May 2023. In 2023 Alexander was also the recipient of the highly prestigious Young Achiever Award at the Ruby Awards, as well as receiving the Robert Stigwood Fellowship (Government of South Australia).

2024 sees Alex join forces with Atjazz Record Company to release new music from his forthcoming album ARTIFACTUAL RHYTHM, as well as touring his band across Australia, New Zealand, Europe and the UK.

Some notable collaborators of Alex’s include Chief Christian Scott aTunde Adjuah, Abase, Horatio Luna, Atjazz, Vivian Sessoms, Cazeaux O.S.L.O, Nelson Dialect, the ASO, WASO, QSO, as well as working with brands including Red Bull Music and Istanbul Cymbals.