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After establishing himself as one of Europe's most distinctive voices in instrumental hip-hop, Mr. Käfer is ready to tell a different story. His third solo album, A Past Sense, arriving via Melting Pot Music on 11th November, shows a bold creative evolution from his signature lo-fi aesthetic into lush, collaborative territory that spans continents and genres.

His sixth project for Melting Pot Music marks a creative leap from the mood-driven, jazz-tinged instrumentals that built his reputation on releases like Lost Reflections (2019), Orientation (2020), and Now/Again I and II (2021, 2023). Now he's orchestrating a 14-track journey that weaves together hip-hop, soul, jazz, and North African rhythms through collaborations with carefully selected artists including Novine (GER), J-Tek (US), Kenji (US) and Cloudhead (AT).
Thematically, the album explores how memory reshapes identity, questioning the gap between who we were and who we've become. The visual side comes courtesy of acclaimed photographer and art director Robert Winter, capturing this nostalgic-yet-progressive spirit. A Past Sense will also be released on LP.
With A Past Sense, Mr. Käfer steps out from behind the boards and into the spotlight—trading lo-fi playlist comfort and algorithm-driven streams for something deeper. A past sense, maybe. But definitely a future sound.
Infotext DE
Europas instrumentaler Hip-Hop bekommt einen neuen Sound. Mit seinem dritten Soloalbum „A Past Sense“ verabschiedet sich Mr. Käfer von seiner lo-fi-geprägten Vergangenheit und erschafft ein Werk, das über Genres und Kontinente hinausgeht.
Wo frühere Veröffentlichungen wie „Orientation“ (2020) und die „Now/Again“-Serie (2021/2023) durch intime, jazzgetränkte Instrumentals bestachen, öffnet sich „A Past Sense" neuen Horizonten. Auf 14 Tracks verschmelzen Hip-Hop-Fundamentals mit Soul-Harmonien, Jazz-Improvisationen und nordafrikanischen Rhythmus-Patterns.
Die Kollaborationen mit Novine (Deutschland), J-Tek und Kenji (beide USA) sowie Cloudhead (Österreich) sind dabei keine Gastauftritte, sondern organische Begegnungen, die Mr. Käfers Musik in unerwartete Richtungen lenken. Er bricht bewusst aus der Blase algorithmusgetriebener Lo-Fi-Playlists aus und setzt auf echte musikalische wie menschliche Verbindungen.
Thematisch kreist „A Past Sense" um die Macht der Erinnerung und die Frage, wie Vergangenheit unsere Gegenwart formt. Diese konzeptionelle Tiefe spiegelt sich auch in der visuellen Umsetzung wider: Fotograf und Art Director Robert Winter entwickelte eine Bildsprache, die Nostalgie und Zukunftsvision in perfekter Balance hält.
Mit „A Past Sense" positioniert sich Mr. Käfer neu im internationalen Beat-Kosmos. Das Album erscheint am 11. November über Melting Pot Music – digital und auf Vinyl.

In 2023, k.d.b lived in a crumbling farmhouse on the edge of the River Maas. Each morning, he’d wake at 6:00 and walk along the river’s bank with his dogfriend Miemel, pausing at sunrise for a cup of coffee.

It’s 6:34, and a thick rug of mist rolls out across the river. It’s so dense that k.d.b can’t see the water beneath it. Then comes the sun: a single ray cutting through the mist like a tube of light, landing on Miemel’s face. In her mouth is a CD she’s picked up, and on the CD is the title Instrumental Romance.

'What is Instrumental Romance?' thinks k.d.b. 'Romantic instrumentals? Or a romance used instrumentally? As in, a romance used to get something—like love?'

Miemel drops the CD and turns her attention to a stray purple grape on the path. Grapes are poisonous to dogs, and as she bends toward it, k.d.b. shouts, “NO!” At that precise moment, a large fish rises from the mist. It launches into the air, mouth wide open, and hangs there above the clouds. His shout, having traveled across the river, bounces back towards k.d.b with a “NO,” and in perfect synchrony, it appears the fish is also shouting at Miemel. The timing is so perfect, they can’t be sure it isn’t.

The fish falls back down, entering its watery world with an eerie, splashless silence, leaving k.d.b and Miemel standing open-mouthed on the bank. Before they can register the perfection of this duet, another fish (or maybe the same one again) rises from the mist in the exact same spot and launches into the air. Without thinking, k.d.b shouts again. The word “ROMANCE” comes out. This time, however, he is slightly too late, and the word is too long, so “ROMANCE” lingers on after the fish has already fallen back down.

'What even is romance?' thinks k.d.b. 'The construction of mystery or excitement with dead red flowers and timing?'

A foghorn sounds behind him, and k.d.b turns 180 degrees to see a boat moving freight, right to left, along the River Maas. 'That’s strange', he thinks. 'If the river is there, then what’s that behind me, below the mist?'

Staring at the boat and its shipping containers as they float out of sight, k.d.b imagines a man. The man is standing at the bottom of a small valley, holding a fish. 'Who is this man, and what does he want?'

- Jacob Dwyer

Wenn Liebesdramen klingen wie glitzernde Clubnächte und der Schmerz so tanzbar wird, dass er fast schön ist: Austra verwandelt den Moment des völligen Verlusts in eine Partitur aus Verrat, Trost und neonfarbenem Pathos. Katie Stelmanis hat ihre Stimme immer wie ein kostbares Instrument behandelt, klassisch geschult, in Opern getaucht, vier Alben lang getragen von einer Dramatik, die man auf der Bühne so überzeugend spielen kann, wenn sie im echten Leben ausbleibt. Bis der Vorhang im Frühjahr 2020 einfach ohne Ansage fiel: Die Partnerin, viele Jahre an ihrer Seite, wacht eines Morgens auf, sagt, sie sei unglücklich und verschwindet wie eine Figur, die mitten im dritten Akt aus der Inszenierung läuft. Zurück bleibt Stelmanis, umgeben von einer Welt, die plötzlich so wenig Struktur hat wie ein falsch gesetzter Akkord. Der Titel des neuen Albums, Chin Up Buttercup, ist ein feiner Stich ins gesellschaftliche Fleisch: dieses unausgesprochene Gebot, das Herz zu flicken, das Lächeln anzukleben, einfach weiterzutanzen. Gemeinsam mit Co-Produzent Kieran Adams blickt Stelmanis nach Europa, nach 1998, zu Madonnas Ray of Light, zu William Orbits flirrendem, elektronischem Lichtgewebe. Aus der Trümmermasse persönlicher Verluste baut sie tanzbare Hymnen, die zugleich beschwören und beschweren. Math Equation ist dabei die erste Single und das schlagende Herz: eine Gleichung aus Verrat und Witz, in der Zeilen wie „You said I needed my own friends / So I found them / Then you fucked them“ zugleich Klage, Trotz und poetische Ohrfeige sind. Über allem liegt dieser Hauch von sapphischem Chaos, der Austra hier zu einer großen Erzählerin des gebrochenen Takts macht.

Wenn Liebesdramen klingen wie glitzernde Clubnächte und der Schmerz so tanzbar wird, dass er fast schön ist: Austra verwandelt den Moment des völligen Verlusts in eine Partitur aus Verrat, Trost und neonfarbenem Pathos. Katie Stelmanis hat ihre Stimme immer wie ein kostbares Instrument behandelt, klassisch geschult, in Opern getaucht, vier Alben lang getragen von einer Dramatik, die man auf der Bühne so überzeugend spielen kann, wenn sie im echten Leben ausbleibt. Bis der Vorhang im Frühjahr 2020 einfach ohne Ansage fiel: Die Partnerin, viele Jahre an ihrer Seite, wacht eines Morgens auf, sagt, sie sei unglücklich und verschwindet wie eine Figur, die mitten im dritten Akt aus der Inszenierung läuft. Zurück bleibt Stelmanis, umgeben von einer Welt, die plötzlich so wenig Struktur hat wie ein falsch gesetzter Akkord. Der Titel des neuen Albums, Chin Up Buttercup, ist ein feiner Stich ins gesellschaftliche Fleisch: dieses unausgesprochene Gebot, das Herz zu flicken, das Lächeln anzukleben, einfach weiterzutanzen. Gemeinsam mit Co-Produzent Kieran Adams blickt Stelmanis nach Europa, nach 1998, zu Madonnas Ray of Light, zu William Orbits flirrendem, elektronischem Lichtgewebe. Aus der Trümmermasse persönlicher Verluste baut sie tanzbare Hymnen, die zugleich beschwören und beschweren. Math Equation ist dabei die erste Single und das schlagende Herz: eine Gleichung aus Verrat und Witz, in der Zeilen wie „You said I needed my own friends / So I found them / Then you fucked them“ zugleich Klage, Trotz und poetische Ohrfeige sind. Über allem liegt dieser Hauch von sapphischem Chaos, der Austra hier zu einer großen Erzählerin des gebrochenen Takts macht.

2005...it"s 20 years since already? We can still feel the sensuous tickle of the wind at our back during that marvelous time. It was, as the Scorps promised, a wind of change, and we were drawn to a number of like-minded birds floating in that breeze! Today, we salute Six Organs of Admittance; their School of the Flower was just the record we"d never dreamed of when we asked them if they wanted to do one with us. Turned out their pronoun of choice was "him." "He" was Ben Chasny and we"ve been happy collaborating with him ever since. Coming on the heels of records like Dark Noontide and Compathia, School of the Flower found Six Organs riding high. Having achieved much in his traditional home-recorded kingdom, he too was looking for something different. What our Ben recalls: "It was the first time Six Organs was in a studio, so that"s cool. I wanted to play with Chris Corsano to expand on some of the rhythms in my playing, to kind of suggest some different forms for the way the folk-psych/folk music were being played at the time. The title track was inspired by John Cale and Terry Riley"s Church of Anthrax - I remember we had a big tape loop stretched around the whole studio to form the basis of that. I was taking a lot of cold medicine that week - not the coolest drugs to be on, but, you know..." School of the Flower was indeed a whole new thing - containing enduring fan favorites like "All You"ve Left," "Words for Two," Ben"s revelatory take on Gary Higgins" "Thicker Than a Smokey" (pointing the way for our reissue of Red Hash later that year) and a deep vibe of spiritual folk-jazz throughout. And best of all? It was just the beginning of twenty years of sending the inspiration of Six Organs of Admittance out into the world! But today, we"re happy to send you back to School of the Flower. There"s nothing like it.

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

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

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

NYC electronic music collective P.E. return with their third and final album Oh!, due October 3 on Wharf Cat Records. Oh! Is the sound of a startled exclamation punctuating an exit, and the embodiment of the music within: fun and fluorescent, fluid and flirty, dirty and a little dangerous. From their conception in 2017 through the NOPE Tape series, P.E. existed as an experiment in co-conspirited collaboration. Oh! continues to cast a wide net, featuring an expanded lineup from their original formation, including Eleanor Friedberger of The Fiery Furnaces on the lead single "Color Coordinator". The resulting music ranges wide as ever, from the jubilant grooves of the title track and "Color Coordinator" to "The Fiction Writer" - a tender duet between Veronica Torres and Jonny Campolo - through the city pop sounds of "(Do You Like) So So?" and "Purple On Time", and into the abstracted beyond. This isn't a goodbye, but a "see you around". A tear falls down the cheek of a stranger, dancing as they catch your smile in the reflection of a glass building. Ceremoniously, serendipitously, they sidewalk surf away, stepping on something sharp - "Oh!" - leaving a teardrop on the city pavement. Following the last P.E. show, Jonny Campolo fully embraced his persona of The Grayscale Clown. You can hear him crooning in pets (along with Nick Campolo and Chase Ceglie) and droning in Microfibers (featuring Keegan & Eugene of Decor). His brother Nick Campolo successfully uploaded his consciousness to the cloud. He & his simulacrum perform in the aforementioned pets and solo as Nick Nun Ca. Ben Jaffe was in a freak nuclear waste accident when his DNA merged with a puma - he is now known as The Puma Man. You can catch him prowling around NYC with Sleaze Generator and as a sax beast for hire. Bob Jones went on a silent meditation and forgot how to speak. He now quietly releases music under the name R.A. Jones (as on his recently released Whispered to A Child), and as Scythe with David West (on A Colourful Storm). Jonathan Schenke disappeared for six months without a trace; when he returned he had developed a nervous tic anytime he heard a 909 rimshot or a saxophone. His recent solo album Passages (on No Gold) features neither of the above, nor does his project Gift Horse with Matthew Hord. Veronica Torres headed west to pursue her studies, developing a ceramic polymer whose beauty has caused madness in certain individuals. Her band Cha Cha 9 is a darling of the Minneapolis scene. P.E. would like to say thank you from the bottom of our hearts to everyone who listened to our records and danced at our shows - your love is felt. Thank you so much to Wharf Cat Records for all of the support over the years. Thank you to the fans. Thank you Pill and Eaters. Mitwirkende

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

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

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

Wahnsinnig authentischer 90er-Jahre-Vaporware-Jazz, kreiert für den Weather Channel von Paul Coleman, einem Chicagoer Bandleader der 60er und 70er Jahre der Bands Fabulous Epics, Rasputin's Stash und Crystal Winds. Es existieren nur 500 Exemplare auf Cloud Coloured Vinyl weltweit.

""Ein Manager des Weather Channel war mit Corky Browns Tochter unterwegs und versprach mir eine Menge Geld, wenn ich Originalmaterial schreiben und dem Weather Channel vorlegen würde. Ich schaltete sofort in Superman-Modus und begann, jeden Tag einen Song zu schreiben und zu programmieren. Ich arbeitete Tag und Nacht daran, diese Songs so schnell wie möglich zu kreieren. Sie wurden ein paar Mal gespielt, bevor der Weather Channel aufgekauft wurde. Aber wir wurden nie bezahlt."" – Paul Coleman 2025

Broken District presents Theoric Proximity, the debut album from French producer and label co-founder Jus Jam. Known for his blend of dreamy atmospheres and groove-driven productions, Jus Jam delivers a 12-track journey exploring the subtle balance between introspection and the dancefloor.

The record flows between ambient textures, deep and leftfield house, broken beat, hip-hop, and jazz influences, creating a cohesive yet versatile soundscape. From late-night moods to club-ready moments, Theoric Proximity reflects the artist’s unique approach: instinctive, emotional, and personal.

A milestone release for both the artist and the Bordeaux-based label, Theoric Proximity positions Broken District among today’s forward-thinking electronic imprints.

Peace and love in late 60s America did not come without parallel feelings of fear and confusion about the social situation – specifically about Vietnam. “Safe In My Garden” is the latest Ace compilation in an acclaimed series compiled by Bob Stanley – it’s a companion piece to the much-praised “State Of The Union (The American Dream In Crisis 1967 – 1973)” Ace CDCHD 1533/XXQLP2 057 2018).

The music on “Safe In My Garden” is harmony-laden, beautifully produced soft rock. Sunshine pop, even - a melodic, innovative style of American music that grew in the mid-60s out of the folk and surf scenes, exemplified by the Beach Boys and the Mamas and Papas. You will hear orchestral arrangements, and soft boy-girl vocals. But it wasn’t made in isolation from what was going on in the outside world. There are clouds and minor chords, plenty of melancholy in those harmonies.

“Safe In My Garden” includes songs of escape (Mark Eric’s ‘Move With The Dawn’, the Groop’s ‘A Famous Myth’), loss (the Eighth Day’s ‘How Can I Stop Loving You’, the New Colony Six’s ‘Prairie Grey’), dreamscapes (Tommy James and the Shondells’ ‘She’, Nancy Priddy’s ‘Christina’s World’), rebirth (Smokey and his Sister’s ‘Creators Of Rain’), a simpler world (the Free Design’s ‘My Brother Woody’) and a philosophically sounder future (Chad & Jeremy’s ‘The Ark’, Best of Friends’ ‘Summer Sound’).

It contains some surprisingly dark messages paired with beautiful melodies, as well as songs of hope. Thousands of young musicians in cities, suburbs and small towns across the States from the mid to late 60s spent their mornings hiding from the mailman, dreading the draft. This is the Sound of Young America in the late 60s, keeping its fingers crossed.

At last cv313's magnum opus comes to life in the form of a 3X12" LP set pressed on crystal clear virgin wax with art direction and design by the legendary House Of Traps crew in Edinburgh, Scotland. The original recordings were engineered and mixed down from 1/4" analog tape, then cut and Remastered by Stefan Betke (POLE) at ~Scape Mastering, Berlin, DE. Stefan's sonic wizardry focused on enriching every finite detail and bringing these recordings into a widescreen panoramic audio experience like no other. This edition features never before heard songs emitted from the CD and made exclusively for the LP set including the lost treasure that is: "Beyond The Clouds" (Seconds To Forever Live Mix) culled from the limited Japan edition back in 2011. With the vinyl edition of "Dimensional Space," we embark on a new project for higher understanding into anomalous familiarity. The flow journey in space, through time, combines unconstrained consciousness and uninhibited feeling for evolutionary experiences. The beginning...(Luna Petra") offers a glimpse into the origin of organic nature beyond the cosmos - a land of angel's dreams. Furthermore, "Clouds Beyond (remastered)," consists of unstoppable energy met by "Beyond the Clouds (reprise)," for a descent and deep dive into the sonic abyss. One can venture further towards the seduction of "ISIS," (Reference to NASA's ISIS Satellite Program) breaking through rules and boundaries; sonic art without limits. As we drift closer "Beyond Starlit Skies (re-imagined)," the exploration ceases upon discovery of tropical rhythms and dub-orient mysticism discovered, and once seen before via L'Astrolabe vessel with "Sella Bay." Provocative, enthralling of life form, may this meditative masterpiece bring solace and peace to all those who believe. Timeless in every sense of the word.

Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solar- powered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!

Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.

Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.

Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

Originally released on Mon 22 August 2005, the Furries’ third and final album to be recorded by Epic Records, Love Kraft is to be reissued on double vinyl, 2CDs, including the 22-track bonus CD, Kiss Me With Apocalypse and digital formats on Fri 24 October 2025 via the Cardiff-based independent label, Strangetown Records. Four previously unheard tracks are drawn from the vaults, including the squidgy ELO-stomp of drummer, Daf Ieuan-led Rock ‘N’ Roll Flu, plus the distorted space-jam of Cae Marw, the band’s deep-bass sketch of Palo Alto and ghostly, percussive morsel of Bedw Arian.

The album followed six previous albums by the band, including their statement debut album, Fuzzy Logic in 1996, melding an attention-demanding mix of literary, narcotic and musical influences. Maintaining a shape that was ill-fitting in the jigsaw of other 90’s guitar bands, their follow-up, UK Top Ten album, Radiator brought the hooky squelch of the bona fide indie dancefloor classic, The International Language of Screaming. The next decade saw the release of the first Top 20-charting, Welsh language album, Mwng (2000), followed by further experimentation and commercial success with Rings Around The World (2001) and Phantom Power (2003).

Love Kraft’s sense of cohesion, collaboration and free-flow of rich harmony has been credited to the five-piece escaping Wales to record in the shimmering heat of Figueres, Catalunya. Bringing famed Beastie Boys producer, Mario Caldato Jr along with them for the ride, the travelling band’s stay in the Catalonian hometown of Salvador Dali included found sounds, boozy petrol stations, gastronomic revelations and, finally, a rich album of strings, synths and opulent vocal harmonies.

While eventually finding their way to Baha, near to Rio di Janeiro to mix the album Love Kraft’s story began in Wales and Pleasure Foxxx Studios, where the band began to craft the album’s songs. Embracing the landmark of a seventh album, notably coming after the 2004 release of their first ‘best of…’ package, Songbook: The Singles, Vol. 1, Super Furry Animals pooled ideas and affected further democracy in their songwriting, taking a load off traditional lead-writer and front man, Gruff Rhys, and sharing in lead vocal duties (aside from the microphone-averse bassist, Guto Pryce).

Love Kraft was the first Super Furry Animals album recorded to hard disc instead of multi-track tape, and found the band typically explorative and open to happenstance. Zoom’s opening splash into the recording studio’s swimming pool is accompanied by the on-location, pool table samples found elsewhere on the album.

Updated packaging features the original, meticulously built diorama design by long-time collaborator Pete Fowler. Constructed by hand in his studio, complete with bulb-lit illumination, then photographed, the sleeve’s depiction of a monolith-rich desert landscape reflects the sense of other space and time depicted by Love Kraft’s woozy songs. The final sleeve design again comes courtesy of Mark James.

Modern ambient minimalism with early music/baroque influences. Minimal and nuanced, Diary of a Candle is a consoling, melodic suite from acclaimed experimental composer, musician, and producer Faten Kanaan. On this album Faten uses counterpoint as a narrative tool to create music that is mysterious, smudgy, and deeply melodic. From the repetitive structures of modern minimalism and early music/baroque influences - to more languid textural ebbs and tides, there's a warmth in her use of synthesizers that gives her work a curiously timeless feel. Composing intuitively, her music creates its own world - one that isn't easily categorised. Diary of a Candle is punctuated with tender woodwinds and richly-layered strings, touched by the hazy atmospheres of 1970s/1980s films. Its understated heart-on sleeve romanticism follows the rhythm of nature: it bends in the breeze, drifts through the air, and settles on the ground. The ambiance is not an escapism, but the re-focusing of a lens through which humans are no longer the protagonists. Instead, a landscape's intimate details become the central figures. With the sparseness of Hiroshi Yoshimura's 1982 album 'Music for Nine Post Cards' as a starting-point influence, Faten's music exudes a wistful yet hopeful sentiment, honouring moments of beauty in the world around us. Some of the album titles are inspired by East-Asian rites and folkloric superstitions, often related to nature. All music written performed and mixed by Faten Kanaan. Mastered by Heba Kadry(Björk, Bon Iver, John Cale, Ryuichi Sakamoto, Deerhunter, Cate Le Bon, & many more). For fans of Kali Malone, Steve Reich, William Basinski, Sarah Davachi, Stars Of The Lid, , Mary Lattimore and Oneohtrix Point Never.

With Michaela Melián's LP "music for a while", a-Musik is releasing the first album by the visual artist, co-founder of F.S.K., and solo musician since "Monaco", which appeared on Monika Enterprise in 2013. While her last releases, Electric Ladyland (2016), Music from a Frontier Town (2018), and Tania (2022) were created as part of exhibitions and sound installations, "music for a while" is Melián's fourth autonomous LP, characterized on the one hand by her unmistakable dreamlike sound along the interfaces between dark chamber music, solemn ambient techno, and cinematic sound art.

As with her previous albums, there is also a wonderful avant-pop cover version—this time of the track “My Other Voice” (1979) by the Sparks. On the other hand, music for while, whose cover is adorned with Melián's photographs of the clouds above her new home of Marseille, spreads a comparatively ominous mood – one that is nevertheless appropriate given the circumstances in 2025 – thanks in part to the sedate, almost ticking drum sounds of co-producer Felix Raethel. Once again, the multi-instrumentalist, supported by Ruth May on violin and Elen Harutyunyan on viola, weaves her recordings of various string instruments — cello, guitar, bass, and zither — into fascinating, lurching, looping, and almost hypnotic soundscapes, but atonal synthesizer sounds in tracks such as “traverse benjamin” and “märchenwald” open up the music to electroacoustic and experimental music. The concluding cover version of Irving Berlin's “they say it's wonderful” (1946) rounds off one of this year's most impressive releases in an incomparably groovy and melancholic way.

In March 2024, Jim White released his first-ever solo album, All Hits: Memories. Coming forty years into his career, it felt like some kind of breakthrough happening. His second solo album confirms it: Jim"s deep percussive intuition is fueling a new musical vehicle in his life. Inner Day finds him dancing ever more deftly with himself on an expressionistic set of drum kit and keyboard duets. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim takes another big step on Inner Day, singing on two standout tracks, "Inner Day" and "I Don"t Do / Grand Central," his words and voice in the mix for the first time. A drummer of exquisite powers, great and small - his Dirty Three compatriot Warren Ellis contends his playing long ago "split the atom" - Jim"s capable of driving a band one minute, then slipping past accompaniment and into the cracks of the subliminal in the next breath. He"s got qualities - deep pockets, a lovely sense of the moment - that serve him and those he drums with well. His collaborators include Bill Callahan, Cat Power, Marisa Anderson, Daniel Blumberg, T. Griffin, Phosphorescent, Jess Ribeiro, Ed Kuepper and Mess Esque, alongside communal experiences in Xylouris White, The Double, Beings, The Hard Quartet and Dirty Three. And all that"s just in the past five years!

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

Vakula invites us on a sonic journey with his latest album titled “Cloud Bloom.” Composed of four tracks, this album explores the depths of deep and dub techno, creating atmospheres that envelop the listener in a unique experience. Most of the instruments are organic, complemented by analog synthesizers, giving it a warm and authentic touch. Each track is an exploration of sonic textures that evoke dreamlike landscapes and moments of introspection. It’s an ideal offering for those who appreciate immersive sounds and a hypnotic vibe.

First time on vinyl reissue of this indiepop classic, 15 years after its original release.

Living & Growing was the debut album from The Felt Tips, a Glasgow-based indiepop band that gloriously combined gritty lyrics with sublime jangly guitars. Set For October 17th Vinyl-Only Reissue On Unspun Heroes.

• A band synonymous with the 2010’s indiepop renaissance
• Ten melodious, infectious and utterly unforgettable songs
• Reissued for the first time on EcoVin™ Bio Vinyl

October might not appear to be the ideal time to release a bright and sunny set of songs, but autumnal days bring a mix of dark and light that perfectly matches the overall vibe of the debut album by the jangly indiepop band, The Felt Tips.
 
The Felt Tips debut album was originally released by Peruvian label Plastilina Records in 2010 to much acclaim in the international indiepop scene. The ten songs are crammed full of catchy melodies and chiming guitar riffs, with memorable lyrics covering everything from religious hypocrisy (Boyfriend Devoted) to what teenagers get up to in the park after dark (Lifeskills).
 
It’s clear that these four lads grew up listening to The Smiths – not only name-checking the 80’s indie darling’s frontman and his ever-expanding girth but also deftly leaning into similar unconventional lyrical themes. And while there’s an obvious Belle and Sebastian comparison being Scottish, musically the enigmatic and skillful guitar playing from Miguel Navarro owes more to Bernard Butler and Johnny Marr – and his talents learning flamenco guitar in his native Spain. The weaving of the guitar’s melodic musical backdrop, alongside the pulse of Kevin Carroll’s inventive drumming and Neil Masson’s intricate bass playing, is what truly elevates The Felt Tips.

 And it’s this juxtaposition of bright melodic tunes from the band and the exploration of the darker side of human nature conjured by Andrew Paterson’s lyrics makes The Felt Tips such a noteworthy addition to the indiepop scene.

Originally recorded at CaVa Sound in Glasgow, the album has been remastered and cut for vinyl by Guy Davie at Electric Mastering, and pressed on INEOS EcoVin™ Bio Vinyl at Press On Vinyl in Middlesbrough. New liner notes have been written by Roque Ruiz, the owner of legendary US-based indiepop label, Cloudberry Records. An extremely limited selection of the reissued albums will ship alongside a make-your-own cardboard rose sculpture created by London-based indie illustrator and maker, Hey Kids Rock ‘n Roll.

Debuting on Curvature with an impressively deep EP, Reviver delivers a sound that aligns perfectly with the core ethos of the Spatial family - incredible atmospherics and classic breakbeats.

A1 - Call From Space
Opening the EP we are treated to a DJ-friendly intro with thick breaks and crackly backdrops reminiscent of classic sci-fi movies with a slightly oppressive aura. A tapestry of melodies created from intertwining synths and samples follows, as Reviver tells a story of intrigue and redemption through this wonderful medium - a
stunning, rousing melody soon develops and elevates things to otherworldly levels for the latter stages. Quite simply, you've got to hear this.

A2 - Way Of Paradox
Old-school, finely edited breaks open a DJ-friendly intro to Way Of Paradox, a track which quickly builds a darkly suspenseful vibe through synths and pads, rising and swirling across the soundscape with mystique and a sullen vigor, before a mournfully intense earworm melody joins the proceedings. The atmosphere builds and envelops the listener like gathering storm clouds leaving this one etched firmly in the memory.

B1 - Define Or Destroy
Strap in as there is no let up with the intensity - Reviver unleashes Define or Destroy which sees that classic amen break deftly programmed with a variety of filtering and editing techniques on show, while sumptuous operatic female vocals add further depth along with melodic keys. This track rolls and rolls with the best of
them as you appreciate the subtleties of Reviver's varied edits with each listen.

B2 - Journey Alone
Generating an immediate sense of unease straight out of The X Files with delicate pads and synths, Reviver closes the EP in style, serving up a track dripping with atmosphere and intrigue. A wonderfully old-school breakbeat drives proceedings along with sparse kicks and excitable snares, patterns filtered to perfection with swirling micro melodies adding layer upon layer to an already impressive piece. A fitting end to an incredibly intense EP.

An exclusive collaboration lands on Drumcode, with Bart Skils linking up with rising German artist A.D.H.S for the divine ‘Can’t Hear You’. Fresh off the excellent ‘Torn Clouds’ single with Weska on Drumcode, Bart Skils is on-point as ever with his production output. The Dutchman has enjoyed a strong summer highlighted by Awakenings and a sunrise set at the iconic Fusion Festival. Meanwhile A.D.H.S is no stranger to Drumcode, having shared slick contributions to past A-Sides compilations including ‘Razor’ and ‘2Step’. He’s otherwise dropped strong releases on Exhale, Spannung and Electric Ballroom. “Can’t Hear You” was born during a Sri Lanka holiday after A.D.H.S injured his back and spent time sketching ideas on his phone. “I started playing around with samples on my phone and found this beautiful vocal and just started sketching some ideas. No pressure, just emotions,” A.D.H.S explains. “Back at the little jungle studio I had set up, I kept working on it – really taking the time to find the right chords to match what I was feeling at that moment. It’s a bit of an unusual track, and I had no intention of ever releasing it. It was just for this moment,” he shares. A.D.H.S begun testing an early version at open airs and festival, later uploading a teaser clip onto Instagram. When Skils heard the track’s unique vocal line, he was hooked. “It was a no-brainer for me to decide to work on the track with Bart, I’d been a big fan of his for years. He brought in his ideas, worked on the mix and arrangement, and together we shaped it into a version that we both absolutely love.

It’s one of those rare tracks that just capture a moment.” Indeed ‘Can’t Hear You’ is an emotional behemoth; one of those rare tracks that sounds genuinely unique and is simultaneously a banger and tear-jerker in one. “When I first heard the clip Michael (A.D.H.S.) shared of ‘Can’t Hear You,’ I was hooked by the infectious vocal. We decided to craft a full collab blending both our signature sounds, and the result is a rolling party weapon that’s become my go-to closing track,” shares Bart Skills.

"Nu Vintage returns with his highly anticipated new album, The Beat Bodega, a follow-up to his acclaimed 2023 release Vibrations In Color.

Like a crate-digger’s dream corner shop, The Beat Bodega offers a vibrant assortment of beats and textures, stacked high with dusty samples, laid-back rhythms, and head-nodding vibes. Adding to the flavor are collaborations with fellow beat luminaries Pat Van Dyke, Emapea, and MichRyc, each bringing their own distinct flair to Nu Vintage’s finely tuned production.

True to Cold Busted’s dedication to high-quality physical editions, The Beat Bodega will be available in carefully crafted formats: a limited run of 500 copies on 180-gram white vinyl and 100 copies on baby blue cassette tape, alongside its digital release.

With The Beat Bodega, Nu Vintage reaffirms his place in the modern instrumental hip hop movement while pushing his artistry forward, offering listeners a richly detailed soundtrack that feels both rooted and refreshingly new."

"Nu Vintage returns with his highly anticipated new album, The Beat Bodega, a follow-up to his acclaimed 2023 release Vibrations In Color.

Like a crate-digger’s dream corner shop, The Beat Bodega offers a vibrant assortment of beats and textures, stacked high with dusty samples, laid-back rhythms, and head-nodding vibes. Adding to the flavor are collaborations with fellow beat luminaries Pat Van Dyke, Emapea, and MichRyc, each bringing their own distinct flair to Nu Vintage’s finely tuned production.

True to Cold Busted’s dedication to high-quality physical editions, The Beat Bodega will be available in carefully crafted formats: a limited run of 500 copies on 180-gram white vinyl and 100 copies on baby blue cassette tape, alongside its digital release.

With The Beat Bodega, Nu Vintage reaffirms his place in the modern instrumental hip hop movement while pushing his artistry forward, offering listeners a richly detailed soundtrack that feels both rooted and refreshingly new."

The Soft Apocalypse ist ein Triumph der Selbstfindung. Das Debüt von Henry J. Star entstand aus einer Mischung aus Aufrichtigkeit, Absicht und einem breiten Spektrum an musikalischen und nicht-musikalischen Interessen, darunter Cloud Rap, japanische Abenteuerspiele und Literatur. Das Album wurde vollständig von dem Multi-Instrumentalisten Devin Badgett geschrieben, produziert und eingespielt, der bereits durch frühere Projekte als Performer und Songwriter bekannt ist. The Soft Apocalypse ist eine Geschichte vom Ende der Welt am Ende der Welt und eine Anerkennung der überwältigenden Schönheit und unerträglichen Gewalt, die das Anthropozän vorantreibt. Eine detaillierte Schilderung des Pessimisten und Optimisten, die auf eine katastrophale Evolution zusteuern. Jeder Song ist ein lebhafter Blick nach innen auf eine zerbrochene Psyche, die unter der unermüdlichen Belagerung einer zusammenbrechenden Welt versucht, sich wieder zu einem Ganzen zusammenzufügen. Mit tränenüberströmtem Gesicht lag ein junger Künstler auf den abgenutzten, mit Teppich ausgelegten Stufen seines Elternhauses und machte sich an seinen sisyphushaften Kampf, sich selbst zu entkommen. Als seine Mutter sich zu ihm hinunterbeugte, um ihn von den Stufen zu ziehen, die er so oft zuvor erklommen hatte, begann eine neue Reise und eine archetypische neue Persönlichkeit wurde geboren. Devin Javon Badgett ist ,Henry J. Star" und der Autor dieser Geschichte.

Im Sommer 1968 traf sich der 18-jährige Genesis P-Orridge (damals Neil Andrew Megson) mit Freunden in einem bescheidenen Dachgeschoss, um mit Klängen zu experimentieren. Das Ergebnis war "Early Worm", eine Sammlung von Aufnahmen, die die aufkeimende Kreativität eines Künstlers einfing, der später eine Schlüsselfigur der Avantgarde-Musik werden sollte. Diese Sessions, die 1969 auf ein einziges Acetat gepresst wurden, zeigen eine furchtlose Erforschung von Geräuschen, Improvisationen und Tonbandexperimenten, die Einflüsse von Psychedelia, Fluxus, John Cage und Beatnik Bohemia widerspiegeln. "Early Worm" ist ein Zeugnis für P-Orridges frühes Engagement, musikalische Grenzen zu überschreiten. Die rohen und ungefilterten Klanglandschaften des Albums bieten dem Hörer einen seltenen Einblick in die Gründungsmomente, die schließlich zur Gründung von COUM Transmissions, Throbbing Gristle und Psychic TV führen sollten. Remastered und in einer limitierten Vinyl-Pressung, mit Linernotes geschrieben von Genesis Breyer P-Orridge, die den Zeitgeist des UK Undergrounds der späten 60er Jahre in Erinnerung rufen. "If nothing else, (Early Worm) revealed that P-Orridge's approach to music was defiantly left-field from the start: noise, improvisations and tape experiments that sounded a little like a more chaotic version psychedelic folkies the Incredible String Band." . The Guardian

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by."

Young Gun Silver Fox are the captains of AM Waves, setting sail towards an isle where melodies soak the shoreline and grooves sway like palm trees. Their route traces a natural progression fromWest End Coast, an album that cast Andy Platts (Young Gun) and Shawn Lee (Silver Fox) as musical virtuosos of SoCal-infused pop. AM Waves does more than duplicate the perfection of West End Coast. It improves it.

Recorded at The Shop in London and Roffey Hall in the English countryside, AM Waves burnishes the blend between the duo's modern aesthetic and their sumptuously crafted homage to '70s-styled pop, rock, and soul. "This music hits a certain spot for me personally that nothing else quite does," says Shawn, who produced the album amidst his projects for Saint Etienne, Shawn Lee's Ping Pong Orchestra, and several other acts. "It's real high-caliber music. It's easy and breezy to listen to but it's really hard to make. Every aspect is A game."

The A game behind AM Waves fuels 43 minutes of Young Gun Silver Fox in peak form. "AM Waves is much more instinctive," says Andy, whose penchant for writing irresistible hooks and melodies also shapes his role as lead singer and lyricist/composer for the band Mamas Gun. "It's more vivid. You can see the clarity to the colors of AM Waves whereas West End Coast is slightly more impressionist, as it were."

Originally issued as a single in September 2017, "Midnight in Richmond" is the anchor of AM Waves. "I hit one chord, which I'd never played before, and the song sort of wrote itself," notes Shawn. "It was intuitive. In many ways, the primary function of what I'm doing is trying to find that chord that opens a door and takes you someplace else. Those chords have magic." Andy embellishes the song's appeal by nimbly juxtaposing wistful emotions with a sun-kissed melody, his voice evoking richly drawn memories. The qualities that make "Midnight in Richmond" an instant classic abound throughout the album.

"Lenny" and "Take It or Leave It" spotlight Andy's versatility as a songwriter. The former was inspired by a dream he had where Lenny Kravitz owned a bar. "It was surreal," he says. "He was polishing the glasses and just serving me hit after hit." Like swimming through moonshine, Andy languorously savors every syllable in the song. "Take It or Leave It" is pure pop bliss. "That was one of those songs that fell out in half an hour," he says. "I had everything and it was done." Shawn adds, "It's such a perfect song in itself. When I listen to it, it's like you've created a record that already existed."

Young Gun Silver Fox introduce a five-piece horn section on "Underdog" that literally trumpets the song's protagonist. Shawn affectionately dubbed them the "Seaweed Horns" in honor of the Seawind Horns, an LA-based unit that recorded with powerhouses like Michael Jackson,Rufus & Chaka Khan,and Earth, Wind & Fire during the late-'70s. Andy explains, "The horns grab another hue of the west coast sound, which is the starting point, but it's also maybe the point where we're injecting a little bit more of ourselves and some outside colors into the familiar west coast palette."

A bounty of treasures course through AM Waves' ebb and flow. "Mojo Rising," which the duo penned with Rob Johnson, is a veritable retreat to paradise. "Sky-bound, heaven sent / Way above the clouds watching shootingstars descend," Andy sings, mirroring the music's celestial undertones. Sensuality contours the notes on "Just a Man," a song that basks in the allure of a woman who leaves "footprints on the water" while "Love Guarantee" is festooned with the Seaweed Horns. "I wanted to bring more of that R&B slickness into the mix," Shawn notes about the latter track. "We hadn't done a tune with that sort of groove." Similar to his work on "Underdog," Nichol Thomson's intricate horn arrangement on "LoveGuarantee"exemplifies another distinction between AM Waves and its predecessor.

"Caroline" occupies a special place on AM Waves, beyond spawning the album title. It tells the story of Radio Caroline, a pirate radio station that broadcast from an offshore vessel during the '60s and '70s. "They played the music that kids wanted to hear, whether it was the old stuff or cutting edge stuff," says Andy. "'Caroline' is about Radio Caroline's eventual capture." Complementing Andy Platts' deft wordplay, which draws parallels between radio airwaves and the station's literal home on the ocean, Shawn Lee layers nearly a dozen different parts on "Caroline," showcasing the vastness of his musicality. "I loved that track as soon as I heard it," Andy continues. "It's a beautiful fusion of me and Shawn."

The Seaweed Horns joinYoung Gun Silver Foxas they detour to the dance floor on "Kingston Boogie." Shawn explains the track's genesis, "I was thinking, what have we not done yet We definitely should get an AOR disco thing happening. I quite like disco. The beat is so metronomic that it allows you to be really sophisticated on top. 'Kingston Boogie' just laid itself out. I call it 'midnight disco.'" With a nod to "Lenny," Andy Platts sets "Kingston Boogie" back at Lenny's Bar, this time revealing a detail or two about its mysterious proprietor as he pours sweet wine and moonshine.

In a sense, AM Waves ends with the beginning. Even before there was Young Gun Silver Fox, there was "Lolita," the first song Andy Platts and Shawn Lee wrote together and a crowd-pleasing staple of the duo's live sets. The tale of a femme fatale who harbors a secret was recorded for West End Coast but instead furnished the B-side to "Long Way Back" as well as a bonus track on the North American edition of the album. Despite the song's checkered trajectory, its infectious chorus sparked the brighter, more buoyant orientation of AM Waves.

Like the moon pulling the tide, Young Gun Silver Fox are a magnet for good songs. "We're both so obsessed and constantly interested in music-making," says Andy. "We're both thinking about it all the time. When you know you have an accomplice with you that's the same as you, it's very liberating. Suddenly, worlds of color start to appear." Indeed, AM Waves is elemental in its power to induce pleasure. Dive right in.

Christian John Wikane

(New York City / February 2018)

Two of Lamp's masterpieces will be released on vinyl at the same time! Two of Lamp's masterpieces from the 2010s, "Tokyo Utopia Tsuushin" and "Yume",
will be reissued on vinyl! After becoming a viral hit on TikTok in the 2020s, Lamp now has over 2.1 million monthly listeners on Spotify.
In addition to his deep-rooted popularity in Asia (China, Taiwan, Hong Kong, Korea, Indonesia, etc.), he was selected as a support act for Mitski last year
and accompanied them on their North American tour. At the same time, his solo tour "FUTURE BEHIND ME" North America 2024, which visited 17 locations
in North America, was all sold out. This summer's solo show at LINE CUBE SHIBUYA was also sold out immediately, and Lamp's two masterpieces,
which are currently gaining worldwide acclaim, will be released on vinyl at the same time!

This is the sixth album by Lamp, a mixed-gender trio that has inherited the Japanese pop music of each era and sublimated it into new pop music by sprinkling
elements of 70's pop and Brazilian music throughout.
This album depicts the mental landscape of a man and woman passing each other in a certain place in a city.
It suddenly reminds us of the cold and warmth of winter, a nostalgic feeling that everyone has experienced at least once.
The jacket features many illustrations by Suzuki Oji, who was active in the manga magazine "Garo," which had a great influence on young artists in the 70s and
produced many geniuses in the manga world, and is known for his representative work "Motorcycle Girl."
The unique, fantastical illustrations resonate with Lamp's music to create a fantastical world.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

Perfect Location Records in partnership with the one and only Ear Candy Music is proud to announce 00-04, a compilation of early works by Bevan Smith aka Signer, New Zealand’s most prominent name in ambient electronica and dub techno.

Smith has been producing emotive chords, pop ambience, and thick dub-ospheres since before the turn of the century. His output is prolific, ranging from various solo monikers (Aspen, Introverted Dancefloor) and collaborations (Skallander, Feeling Flying) to unique projects (Touching the Void soundtrack, Isolated Dreams’ 24 EPs and counting). A rare artist with indie crossover appeal thanks to the 2004 Signer album The New Face of Smiling released on Carpark Records (Toro Y Moi, Beach House, Dan Deacon, Montag), Smith has played as a member of bands such as The Ruby Suns (Sub Pop), Over the Atlantic (Involve), and Glass Vaults (JUKBOXR).

Encompassing field recordings and evoking a cloudy coastal sky, 00-04 is a collection of mostly unheard material written in the early 2000s as Smith navigated the chaos and stress of living in London just after 9/11. A portion of this release may be recognisable to those familiar with the Involve catalog––“Drone Early,” for example, is an alternative version to the dub giant “1201A”––and to those acquainted with Signer’s 2002 Low Light Dreams (Carpark/Involve), an iconic album composed of processed guitar, dub-influenced bass, and synth drones; as if that doesn’t sound appealing enough, Low Light Dreams is home to “Building Memories Without You,” an unforgettably engulfing track featured on Fact Magazine’s 25 Best Dub Techno Tracks of All Time.

00-04 is a (re)issue both nostalgic and new, familiar yet unknown, fresh out of the archive. It possesses the Low Light Dreams aural palette while offering a carefully curated array of never before heard icy-cold moods, soothing minimalism, and shyly optimistic melodies, all glazed with recently finalized additions.

Gone to Earth ist das dritte Soloalbum von David Sylvian, ursprünglich erschienen am 1. September 1986. Das Doppelalbum folgte auf Brilliant Trees und erreichte Platz 24 der UK Album Charts.

Die zwei LPs bieten einen besonderen Kontrast: Eine Seite mit experimentellen Rock-Songs und Gesang, die andere rein instrumental und ambient. Gastmusiker sind u. a. Robert Fripp (Co-Autor von drei Songs) und Bill Nelson (Co-Autor von einem Song).

Diese Neuauflage erscheint als Corona White, Brown Opaque Black Vinyl und basiert auf dem neuesten Remaster.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by." Emily A. Sprague's Cloud Time will be released Friday, October 10th in vinyl, Japanese import CD (via Plancha), and digital editions.

Adhémar’s first solo release on Oslated drives us into the geological matter of the mountains. Composed of an ecosystem of the artist’s own sounds, which unfold organically, “Mountain View” reveals the life of these alpine spaces. Between panoramic views, melting snow, birds chattering the pine trees and the rolling of stones, each detail places us in a different point of view.

On paths, valleys and ridges, a trail through the sounds and memories of the mountains.

12″, 140g, Black Vinyl Limited Edition 200 copies Full Color Printed Sleeve

Produced by Clément Davout aka Adhémar Additional Production by Night Sea Mastered by Mattias Fridell, Sweden Artwork by Clément Davout

Curated by Jongmin Lee
Released by Oslated from Jeju Island, South Korea Distributed by Ready Made, Berlin, Germany Release

Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

Reconfiguring the notion of bridge building on a multitude of terms, it feels fitting that the tenth and final installment of Die Schachtel’s Decay Music series, Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, was co-created by an artist whose work featured in the first suite of LPs issued by Brian Eno’s Obscure Records in 1975, the groundwork toward which Decay Music’s own efforts nod. Since that auspicious debut, “New and Rediscovered Musical Instruments” — his split with Max Eastley — David Toop has been regarded as a pioneer in British experimental and improvised music: a sonic voyager who has continuously challenged the sources and materiality of sound through rigorously thoughtful performances, a vast catalog of recordings, and a steady flow of highly influential texts. Be it as a member of Alterations, his group breaking group with Peter Cusack, Terry Day, and Steve Beresford that ran between 1977 to 1986, or through is noteworthy work with artists like Rie Nakajima, Thurston Moore, Paul Burwell, Rhodri Davies, Lee Patterson, Ryuichi Sakamoto, Akio Suzuki, Elaine Mitchener, and numerous others, collaboration has always played a central role within Toop’s singular practice, but few can claim the sprawling sense of beauty and intimacy that’s achieved by “And I Entered Into Sleep”, his first recorded outing with Sergio Armaroli.

A composer, percussionist, vibraphonist, and multidisciplinary artist, Armaroli has been issuing radical and forward-thinking musical gestures for decades, working as one of Italy’s most noteworthy interpreters of composer’s like Giacinto Scelsi, John Cage, Franco Evangelisti, Giancarlo Schiaffini, and Walter Branchi, as both a solo performer and member of the highly regarded Rib Trio, as well as forging a singular practice as a composer, intertwining his efforts as a painter, concrete percussionist, fragmentary poet and sound artist, within a total art, rooted “within the language of jazz and improvisation” as an “extension of the concept of art”. Like Toop, Armaroli’s career has been populated by many collaborators, notably with Riccardo Sinigaglia, Alvin Curran, and Walter Prati, among others, setting the stage for a remarkable meeting between the pair.

Featuring Armaroli on vibraphone and prepared vibraphone and Toop on electronics, “And I Entered Into Sleep” is “a sonic journey, a Proustian suggestion à la Recherche, into the unconscious between electronic and acoustic sounds”. Using a bell that sounds at the beginning of Proust’s “À la Recherché du Temps Perdu”, which reappears more than 3,000 pages later — signaling a transition of phases, as well an auditory trigger of memory — as a departure point, as an association to the percussive vibraphone pulses that thread the album’s two sides, the pair weave a striking interior world of immersive psychological depth. Feeling almost subaquatic at times, like captured glimpses of rumbling, shadowy ecosystems lost within murky ambiences, before washing ashore in a series of pointillistic, highly detailed alien landscapes of the mind, each artist’s markedly different sound-sources, and treatment of the subsequent material elements, dance in abstract grace, incorporating subtle nods to minimalism, free jazz, and musique concrète within its seamless total form of sparse texture and tone.

Easily one of the most striking and memorable releases by either artist to appear in recent years, Sergio Armaroli and David Toop’s “And I Entered Into Sleep” traverses uncharted realms at the borders of literary reference, sound art, ambience and abstraction through delicately musical sounds, revealing new depths at every turn. Issued as the tenth and final album in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

“Is all that we see or seem but a dream within a dream?” This quote from a poem by Edgar Allan Poe sums up the lamenting, primal work that is "All That We See or Seem"; a project conceived between Finland, England and Brazil. The self-titled album consists of two long-form pieces of droning mysticism hailing from the trio of Gruth (concept, production, electronics), Ellen Southern (vocals, field recordings, percussion) and Johanna Puuperä (violin, modular synthesizer, additional vocals).

The album opens straight into a thousand yard stare with “Myrskymielellä", adapted from a 1891 poem by the Finnish national poet, Eino Leino, who wrote it at the tender age of 13. Here a blank distant droning of synths and the sounds of flowing water hover underneath like a dark river observed from the air. This is a sound and feeling that will stay constant for the entirety of the piece´s thirty minute duration. It is a trance-inducing composition that slowly unfolds elements of pagan ancestry into its own life. At first, faint female vocals are introduced as distant spatial elements, which gradually advance into waves of cries and anguish as the piece progresses and moves further into the storm. The tranquility of the first half is slowly morphed into a full blown ceremony as driving ritualistic percussion and a foreboding witch-like presence shifts the piece into a Dead Can Dance-like territory. Here a constant enveloping mixture of violins, modular synths, field recordings and vocal screams creates the feeling of a grande finale. It is an astounding piece of music that develops like a drone symphony for the beginning of time.

With the second piece, “A Dream Within A Dream”, from Edgar Allan Poe´s 1849 poem, you are transported to the shores of an undisclosed island; a place where it´s only you, your thoughts and the endless emptiness. The continual sound of waves is soon brought together with a cloud of synths and mourning violins that will keep a steady dreamlike state during most of the piece´s duration. This time the wordless vocals feel almost angelic in their pageantry. The composition flows like a slow caress of the soul and feels like the spirit twin of Gavin Bryars' “The Sinking of the Titanic” with its lamenting slow movements towards the unknown.

Truly a ghost of a record, “All That We See or Seem” is an experience hard to shake and feels like entering sacred ground. We are in a place surrounded by earth, both ancient and present. "Let loose, Vanha, the rage of an earthly storm! Detach the elements, completely open the sky! In the Earth, let an incessant storm prevail, so that in my chest I would not feel the miserable pain” - Eino Leino

At the end of 2024, Elder looked back on an unusual period in their now near 20-year career. A few years ago, the band had dropped their most progressive record yet, 2022"s highly acclaimed Innate Passage, followed by the usual heavy touring schedule (including a 24-show arena tour supporting Tool). The band had then taken a year long sabbatical to recharge their creative batteries, which instead of rest culminated in the release of multiple albums by side-projects. Convening in winter of that year for a 2 week songwriting session at Big Snuff Studio in Berlin, the band set a goal of knocking off the rust and putting together some ideas for the next record. While combing through an archive of old sketches, they hit upon an outline of a song from somewhere between 2020"s Omens and its successor Innate Passage, abandoned then for reasons now inscrutable. Picking up the pieces with fresh ears, Elder fleshed out a new version of the track, which is firmly rooted between those two albums but with an identity of its own. Building on the song"s ending, a swirling tower of synthesizers, chugging guitars and almost tribal drumming was constructed in the course of lengthy in-studio jams. Liminality/Dream State Return can be seen as a bridge between eras in Elder"s creative universe; one foot is planted in the highly melodic and sometimes alternative/grunge tinged riffing of Omens, the other in Innate Passage"s dreamy prog soundscapes, and its head in the clouds looking toward Elder"s upcoming LP 7. The vinyl version comes as a one-sided, 180 gr. translucent LP with etching on the B side (including download).

In syrupy slow pursuit of a strong 2023 debut, Yungwebster's somnolent sequel is bolstered by pitch-perfect production from Space Afrika and Nathan Melja, who vaporise the rapper's auto-tuned post-Future drawl with euphoric orchestral drones, brittle micro-trap beats and weightless pads.

Over a decade ago at this point, Future released 'Codeine Crazy', the decelerated finale of 'Monster', one of his best-loved mixtapes. The track neatly summarised themes the Atlanta rapper had been circling for years at that point, layering his slurred, lean-dizzy rhymes over producer TM88's rubbery, melancholy synths. "Take all my problems and drink out the bottle," he moaned robotically, using the track's minor key bounce to represent the crushing delirium that followed fame and its tasting menu of intoxicants. It's still Future's high water mark creatively, and its traces can be observed in a full spectrum of contemporary sounds, from 6LACK's downtrodden, self-aware R&B to Lil Uzi Vert's feverish trap. But it's Yungwebster who's taken the haze to its logical conclusion, reimagining the Magic City-sculpted bumps as hypnagogic Actavis- 'n Xanax-hued ambient music. You could argue it was bound to happen - the more you sip, the slower it gets - and plays as a cracked mirror to cloud rap's long-smoked hybrid of Southern psychedelia and post-OutKast eccentricity.

Webster's opiated POV is clearer than ever before on 'II'. Just peep the cracks in his voice on the Space Afrika-produced opener 'Skyfall' as he coughs and splutters over watery samples, booming subs and SA's patented collage of soundtrack-ready strings and sirens. Presented at regular speed and in chipmunked form, it sets the pace for an album that, like its predecessor, constantly fucks with the timeline, pitching the whole master into doubletime or slowing it down to a crawl to present a curved, inebriated narrative rather than a straight line. Even without the tempo switches, Webster singles out beats that accent his warbled rhymes that sound as if they'll fall apart at any moment. French DJ and producer Nathan Melja backs 'Disheveled' with Black Ark-styled oscillations and airlock'd echoes, filtering the bassline until it almost disappears entirely; with room to breathe, Webster's able to take the lead - you might not be able to pick out the words, not entirely at least, but you get the message.

In fact it's Webster's voice that's the revelation on 'II' - with a coherent mix from producer tnotsobad, the nuances and fluttering tonalities emerge more vividly than they have before. It makes the flip between the regular speed and fast on 'Txts Red on iMessage' a textural decision, the different pace shifting the warbled cadences so Webster's voice becomes far more important than the additional elements. And on the album's Space Afrika-produced eight-minute centerpiece 'Crochet / I Swear', Webster's mumbled bio-mechanical whines create a much-needed foil for the decelerated boom-clack and suspended save room ambience. We get to encounter a personality here, not just an aesthetic, so as the album moves into its twilit fourth side, the beatless, voice-led somniferousness of 'YA SA' and ululating 'Phone' come off like a descent into tranquillised sedation. Rap has rarely sounded so chimeric.

Cloudy Gold Vinyl. This 10 Year Anniversary Edition features new, gatefold packaging with updated photos, lyrics and liner notes. Disc one incldues the originial album in full and the brand new second disc features rare b-side "Nail In Your Hand," a re-done version of "Heaviside" with artist Wisp performing vocals on the song, and seven never-before heard demo versions of songs from Citizen's second album. Ten years ago, Citizen released Everybody Is Going to Heaven _ a record that marked a bold turning point in their career. Following the breakout success of Youth, the band could have stayed the course. Instead, they doubled down on darker textures, heavier moods, and a fearless sense of experimentation. Released in 2015, Everybody Is Going to Heaven expanded Citizen's sound beyond their emo and post-hardcore roots, weaving in elements of grunge, and alternative rock. Tracks like "Cement" and "Stain" captured a raw, unsettled energy that explored mortality, depression, and identity with an honesty that still resonates today. It wasn't a record built for easy listens _ it was built to last. Now, a decade later, Everybody Is Going to Heaven stands as a defining moment in Citizen's evolution _ a record that challenged both the band and their audience, and helped shape the fearless, genre-blurring artists they've become. As they celebrate its 10th anniversary, Citizen remains a band deeply committed to growth, refusing to be tied to a single sound or era. Everybody Is Going to Heaven didn't just mark where they were; it lit the way for everything that came next.

Auf 500 Stück limitierte 2025er Nachpressung vom 2024er La Luz Album auf gelbgrünem Vinyl. LA LUZ aus Kalifornien wird von Fans und der Presse gleichermaßen seit ihrem Gründungsjahr 2012 geliebt, da sie den Spagat zwischen Chaos und Bittersüße schaffen. Jede neue Platte ist ein weiterer Feinschliff an der Mischung aus schwülstigen Riffs und engelsgleichem Gesang, der an Pop und Folk angelehnt ist; eine Band, die so verlässlich großartig ist, dass sie den gewaltigen Schritt nach vorne in Sachen Selbstvertrauen und schierer Musikalität, den "News of the Universe" macht, umso beeindruckender macht. Cleveland, die auch schreibt und malt, hat sich zu einer wahrhaft originellen Songwriterin mit einem eigenen Kanon geisterhafter Psychedelik entwickelt, die sich in den letzten Jahren von der sich wandelnden Landschaft rund um ihr ländliches Zuhause in Kalifornien hat inspirieren lassen, vor allem auf dem von der Kritik gefeierten Soloalbum Manzanita, einer magisch-realistischen Dokumentation ihrer Schwangerschaft und frühen Mutterschaft, die auf vielen Jahresendlisten stand. Selbst wenn Cleveland jahrelang Songs über Geister geschrieben hat, so ist das, was in den Schatten von "News of the Universe" lauert, nichts weniger als der Tod selbst: "There are moments on this album that sound to me like the last frantic confession before an asteroid destroys the earth." Klanglich ist die Platte voller Dringlichkeit. Die Songs stolpern über sich selbst, als würden sie versuchen, der Apokalypse zu entkommen: das atemlose Prasseln der Toms in "Strange World", das fingerfertige Eröffnungsriff des Titeltracks, getränkt in Verzerrungen. Eine Atmosphäre des Untergangs schwebt über dem Sgt. Pepper-esken Barock-Pop-Song "Poppies", in dem Cleveland von einer schwankenden orangefarbenen Idylle singt, die von der Spätsommersonne in Flammen aufgehen wird. In dem ähnlich kaleidoskopischen "Dandelions" hält sie die gelben Blumen für ahnungslose "kleine Sonnen", die sich im Laufe der Saison in "Monde" verwandeln werden. Die synthetischen Klänge, die auf dem letzten Album "La Luz" von 2021, verwendet wurden, um das träge Summen und Knistern eines Sommertages auf dem Lande zu imitieren, wurden im Weltraum verstreut. Düster, verletzlich, weiblich und unbestreitbar triumphierend ist "News of the Universe" eine weitere umwerfende Platte einer Band, die so verlässlich gut ist, dass die Leute vielleicht übersehen haben, wie bahnbrechend LA LUZ wirklich sind: farbige Frauen in der Indie-Musik, die ihren eigenen Weg gehen, indem sie ihrem eigenen künstlerischen Stern in Galaxien jenseits der aktuellen musikalischen Trends folgen - immer geleitet von einem aufrichtigen Glauben an die kosmische Kraft der Liebe und eines großartigen Riffs. Niemals trifft das mehr zu als auf "News of the Universe", dem vielleicht brutalsten Album von LA LUZ, das aber auch das glücklichste ist.

Erik K Skodvin's feature-length score to Thomas Roth's thriller "Schächten" feels like the epitome of all his musical projects, conjuring a dark cinematic trip through 1960's post-WWII Vienna in a film that touches on topics such as law, justice & revenge.

Releasing a soundtrack as a stand-alone album can be challenging; and "Schächten" is by no means a typical listening experience. The record contains 24 more or less short pieces evolving through dramatic movements, underlaying menace and deep emotive scenes. One thing that stands out is the linear atmosphere throughout the story which creates a wholeness that keeps your attention to the very end. Set in wintery Austrian landscapes in dimly saturated colours, the film's dramatic events with dark political undertones feels like a perfect situation for Skodvin's atmospheric collages - perhaps sounding closer than ever to his early works as Svarte Greiner or Deaf Center. Cello, violin, piano, analogue synth and plenty of hardly recognizable instrumentation come together in a record that feels very organic in its subdued tones. The score also features percussion by Andrea Belfi as well as a Chopin piano interpretation by Kelly Wyse to the bizarrely schizophrenic piece "Judenfreund".

With the contemporary world sliding into darkness again, listening to the soundtrack feels like coming to terms with ones own anxieties - something that in the end comes through as a cleansing experience. As quoted in the film "Everyone is their own devil. And we make this world our hell".

Short synopsis : "Vienna 1960s - The young Jewish business man Victor has to witness how the prosecution of a Nazi crime against his family fails. The political and legal system is still virtually run by former Nazis with large parts of society being entangled in the past. When Victor also loses his grief ridden father and his girlfriend’s family opposes their relationship and his identity, Victor begins to loose faith in formal justice and takes matters in his own hands."

On their new album The Besnard Lakes are the Ghost Nation, Montreal’s The Besnard Lakes return with their post-rock psych; but this time around, with a lightness and optimism at play.

Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies; a melodic yet mountainous sound world.

In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most.

On their new album The Besnard Lakes are the Ghost Nation, Montreal’s The Besnard Lakes return with their post-rock psych; but this time around, with a lightness and optimism at play.

Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies; a melodic yet mountainous sound world.

In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

The Modulator, AKA Freddy Fresh is back in town !

LTD 100 COPIES !!!


To share this event in the best way i asked him a few questions...
Official Interview now begins :)

Tool : The last Analog Records USA was in 2000... Why did you stop it and why do you wish to realese vinyls again ?


Mr Fresh : Ii actually never stopped I just made alot of other styles of music that I do not think were proper for my Analog and E.M.F. labels (Analog is now run by Mike McLure of SAuto Kinetic we work together on that label and Electric Music Foundation is all my label.. we did some great digital releases on E.M.F. recently with ADSX / Scott Radke/Dave Olson / Poor Boy Rich etc.. and can be found here

for me my last Techno Analog vinyl 12” Release was in 1997 Quiver 12"


But I did release a few Techno/Electro style tracks on my Electric Music Foundation labels as 12” singles
in 2003 I made these
Black Out

Orange Krush


I always continue to make music and have hundreds of unreleased songs that I think some are not worth putting on 12” single as I fear to weird, experimental etc.. I try to isolate myself and make unique music hopefully not sounding like what others are making but try to be my own self




Tool : What are you favourite machines or software to make music these days ?


Mr Fresh : I still use many vintage synths like my Jupiter 8, Arp 2600, Roland System 100M, 303’s etc.. but now I also use some Eurorack Modules E950, Clouds, Metropolis Sequencer etc.. also TR8, Twisted Electrons Acid 8, Teenage Engineering Factory, PO Calculators, Korg Volca Sampler, Electrix Filter Factory, Space Echo (Boss) and MPC 4000 controlling Hardware and I usually record random ideas to a flash recorder and sometimes import into ableton tracks etc.. then use Reaktor or some other soft synths but I always start Analog. I also use Critter and Guitari Looper to record organic sounds to use for percussion.




Tool : What are your forthcoming projects on vinyl in the near future ?


Mr Fresh : I have a remix electro style for New Zealand Independent Cardboard and Computers soon on 12” single

I have COMACID EP coming out of Belgium on 12” single very soon which features some older tracks (Binder, Scared, Slow Death, Spacefunk) mainly re-release of Techno/Acid stuff all analog of course

Then I have two releases with Toolbox Records and possible new stuff with Acid.Paris and hopefully we start a nice relationship with Toolbox for a long term ha ha! My daughters start school next month so I am preparing new Eurorack Modules and getting Syncussion to really hit it and spend some serious time in the studios. I am really inspired to do the more electronic vibes now and feeling the A.C.I.D. alot lately with the newer technology

For our fourth release, we welcome Basel-based producer Ben Kaczor. ‘To Baby Bones’ showcases the tracks produced as part of Ben’s first live set presented at Above Below Festival in 2024.

Written as a homage to a loved one, the title track of the EP is a gentle soundscape traveling through memories and subtle body shivers, far away yet never out of heart’s reach. ‘Bridge’, as if hung high above, suffuses the air with a thick emotional haze, lifting slowly as a walk along a fragile structure ends. Wistfully transforming present into past, ‘This Blue Light’ melds with the orange glow of the sun and dissolves into a white cloud. Driving and fizzy ‘Punchbag’ brings all the dreamers down to earth. Immersing them straight into the buzzing front left, it buoyantly concludes an ode to the melody of life and the joy of a loving heart — To Baby Bones.

15 Years Of Dame-Music Vol. 3 marks the final chapter in a celebratory trilogy from the label, closing out a decade and a half of fearless sonic exploration.

True to form, Vol. 3 delivers a curated cross-section of techno, electro, and acidic dancefloor pressure, each track a statement, each artist a pillar of the underground.
From outer space techno to basement electro, this record is a testament to the label’s enduring influence and unrelenting spirit, with six standout cuts from across the techno and electro spectrum which inc. artists such as Dr Smoke (aka Oscar Mulero), DJ MELL G, Millimetric, Alienata, Delectro and label head Bloody Mary.

Melanie Martinez’s 2015 release, ‘Cry Baby’. To celebrate the 10th Anniversary of ‘Cry Baby’, this Special Edition 3LP version is now available with a new Cloudy Pink & Coke Bottle Clear pressing of Cry Baby. As a special addition to the package, a strictly limited Bubble Gum Clear pressing of the Dollhouse EP is included in the Cry Baby Slipcase - repressed for the first time since its original release.

It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex's fifth album, DSU. Recorded prior to DSU and previously only available via Alex's Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Trick features many of the fan favourites that Alex has been playing at shows recently, including the infectious off-kilter anthem 'Forever', the dreamy and surreal 'Animals' and the charmingly lo-fi 'Change'. Trick is soaked in the distinctive personality that is Alex G, the professionally mastered versions of these tracks affirming that underneath all the unconventional guitar lines and scrawls of fuzz, Alex has a serious knack for melodic songwriting.

Trick continues to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.

Indie exclusive Peak Edition on Orange & Black Swirl Vinyl, in a gatefold cover + poster.



It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

When NYC-based experimental dance punks Guerilla Toss, active since 2011, were in Vermont recording their new full-length album You're Weird Now, frontwoman Kassie Carlson would prepare what she called 'punk lunch': a communal meal made by raiding the studio fridge for whatever was left and assembling a sandwich from the most random ingredients imaginable. Regularly joining punk lunch were two legends from their own corners of the weird music world: Stephen Malkmus (Pavement, The Jicks) and Trey Anastasio, Phish guitarist and owner of The Barn; the recording studio where Guerilla Toss were making You're Weird Now, with Malkmus in the producer's seat. Engineer Bryce Goggin, who has worked with Malkmus since Crooked Rain, Crooked Rain, and Ben Collette, Phish's longtime engineer at The Barn, were also part of the crew. While the idea of the guy from Phish and the guy from Pavement sitting around with Guerilla Toss, congenially assembling sandwiches from random foodstuffs dug up from the depths of a studio fridge, might seem absurd, it also makes total sense. Because really, if there's any band that serves as the natural bridge between slacker punks who saw Pavement way before you did, wild-eyed wooks who've seen Phish more times than you ever will, and even the eccentrics in '90s drip following former GT tourmates Primus-it's Guerilla Toss. A band so imaginative and unapologetically themselves, they're basically the real-life manifestation of a utopian, post-snob world where all musical ideas are worthy of expression and everyone is welcome. You're Weird Now powers this message. Guerilla Toss' fifth album and second for Sub Pop is a hugely creative and joyful statement about the joy of creativity. With You're Weird Now Guerilla Toss reclaim the word "weird" for everyone brave enough to let their freak flag fly and stay true to their artistic vision no matter what-a way riskier act than it's ever given credit for, and one that requires a certain amount of serene self-confidence that it takes time and effort to cultivate and sustain. And they do so with the enthusiastic support of their musical predecessors: a standout moment arrives with "Red Flag to Angry Bull," which builds to a campfire sing-along-worthy outro featuring Malkmus and Carlson duetting over a chatty, classically Phish-y (there's really no better word for it) solo from Anastasio. The band hopes the message of You're Weird Now will resonate not only with music heads but anyone who struggles with feeling weird in a world where it will always be hard to be different. At the end of the day, it's all about the spirit of punk lunch: there's room for everyone because music is for everyone. "Everyone loves and appreciates music," says Carlson. "If you don't like music, you're kind of an asshole." That's not weird-that's just true.

"The Golden Age of Wireless is the debut album by English musician Thomas Dolby. The album was originally released in May 1982. Several tracks have a submerged, barely audible layer of almost random sound that serves as a constant (and disturbing) subtext, occasionally erupting into a song. This sonic underworld is all part of Dolby's mechanical wizardry. Rolling Stone magazine awarded The Golden Age of Wireless four stars out of five, calling it ""one of the most impressive debuts"" of 1982. They compared the album's melodicism to the works of Paul McCartney and concluded that ""unlike many synthesizer bands from England, Dolby eschews morbid, droogy drones."" Musician magazine said the album was ""the best damned record to come out of Europe's current fascination with synth-pop. Period."" Theye added, ""Dolby is purely amazing. And best of all, he writes songs.""

The Golden Age Of Wireless is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert. "

NEW RELEASE FROM THE TRIP 'CLUBDANCE 2025'

The Trip return for their first solo release of the year with four brand new summer tracks. As always they take inspiration from 90's and 00's house music, with each track covering a different corner of the dance floor. The new EP launches on their in-house label Tessellate in September 2025.

With Generation Of The Void, NAILED TO OBSCURITY have crafted their most mature and expansive album to date. Set for release on September 5th, 2025, the album reflects the turmoil of the post-pandemic era, the shadows of war in Europe, and the relentless changes affecting all of humanity. Beyond its political and social commentary, the album also dives deep into personal struggles, confronting themes of dark emotions, depression, and fear. Every note, every lyric carries the weight of uncertainty and disillusionment, while no one knows what one will find within the void or beyond. After the success of 2019’s ‘Black Frost’, Germany’s doom/death metal veterans return with their new album ‘Generation of the Void’. First single ‘Overcast’ drips with a brutal, melancholic, apocalyptic intensity which the band have perfected over their 25 years together. After sharing the stage with legends Dark Tranquillity, Amorphis, Jinjer, Arch Enemy and At the Gates, Nailed To Obscurity will embark on their first EU headline tour at the end of this year.

Marja Ahti is a Swedish artist living in Turku, Finland. She works with found sounds, objects and electronics, creating auditory assemblages that reveal a profound sensitivity to sound’s tactile potential. This new record sees her palette expand to include more recognisable acoustic instrumentation, albeit working in collaboration with musicians who are already reconfiguring how those instruments can sound.

Touch This Fragrant Surface of Earth has its roots in a tape piece presented at Lampo in Chicago. Ahti then started working with Isak Hedtjärn (clarinet), Ryan Packard (percussion) and My Hellgren (cello) at the electronic music studios (EMS) in Stockholm. Incorporating recordings from those sessions, Ahti presented a new iteration of the work at the Seventh Edition Festival for Other Music in February 2024 with the trio performing live on stage whilst Ahti helmed the mixing desk, spatialising a specially made tape part through the INA GRM’s Acousmonium speaker orchestra. The piece has since gone through several further iterations before arriving at the version we have here on the LP's B-side where immense bass pressure and high frequency tones buffer restless amplified breath and scrape that folds over itself with extraordinary dynamics and subterranean activity before giving way to gorgeous resonant forms and passages of ritual purpose and sheer, unmistakeable beauty.

The A-side is Touch This Fragrant Surface of Earth’s gentle double. Still Life with Poppies, Mirror and Two Clouds offers a companion reconfiguration of Ahti’s resynthesised percussion sustain and the same recordings of Hedtjärn and Hellgren from EMS, but here they’re nestled in a sonic landscape of calm and restraint that gives them a wholly other character. Ahti also draws on older recordings she’d made of Sholto Dobie’s diy pipe organs and uses these to create repeating patterns and flourishes of sliding pitches that emerge unexpected out of cycling passages of Ahti’s clear struck metal, destabilising electronic interventions and minimal piano figures.

Marja Ahti: “I’ve been fascinated with the kind of elemental quality the sounds I'm using have such as airy sounds or earthy, wooden sounds. These qualities can also be found in wind instruments and percussion and the musicians I worked with on Touch This Fragrant Surface of Earth are really good at enhancing these qualities in their playing. I wanted to have this connection between found sounds, field recordings, or pre-recorded sounds, objects, and material, and see where these sounds might meet each other, and hopefully blend is a natural way without a divide between instrumental music, or acoustic music, or electronic music. But also, when you bring in people they come with their personalities and their ideas which is also energizing and brings surprising things into the collaboration that I couldn't come up with myself. I was really interested in making this a proper collaboration and not just coming up with the piece and giving it to them. We had the sessions at EMS where we could share ideas and Isak, Ryan and My could bring in their own ideas. Making recordings there gave me time to process these ideas and to also approach them in the same way that I would work with any other sound.”

This is the second pressing of the highly sought after debut LP from dutch synth funk wizard Shook.

The special edition reissue is dedicated to Shook’s fans and special fan Nasa Astronaut Christina Koch who played the song ‘Always’ to her husband while she was in space during her ISS mission. In Koch’s words the song was “one of the most memorable anthems” of her mission.

To celebrate this achievement it was the right time to repress this masterpiece of exploratory electronic music with a special variant cover made by Marvel comics artist Stefan Tosheff based on the story of Koch.

Back in 2013 Harder Blogger Faster said: This debut album showcases Shook’s talents in a multitude of sonic intensities, emotions and styles without it ever being too show-y.

The album manages to find a perfect blend between nostalgic love letters and Shook’s need to combine cutting edge electronic instrumentation with his virtuoso abilities on the piano.

Collecting Orders for 2025 Repress

Takafumi Noda aka Mystica Tribe and Legowelt with their second Noda & Wolfers album on Nightwind Records

Once more, Japanese digital dub legend Takafumi Noda, aka Mystica Tribe, and Dutch synth wizard Danny Wolfers aka Legowelt reunite for their highly anticipated second album under the Noda & Wolfers project on Nightwind Records. EVIL FADES IN ECHO offers a unique concoction of digital dub, raw lo-fi electro and acid hall influences, creating a deviant captivating sound. Wild untamed synths clash with raw sloppy rhythm boxes. Seductive spring reverbs dissolve into clouds of space echo. Heavy intense bass crumbles on decaying fuzzy tapes while Noda's haunting melodica melodies elevate this LP to new heights!

Saxophonist, flautist and producer Chip Wickham casts a formidable shadow across the worldwide jazz landscape. Originally from Brighton, but now dividing his time between the UK, Spain and the Middle-East, he has made a name for himself with a series of beautifully crafted solo albums that draw equally on the hard swinging spiritual jazz of Roland Kirk, Yusef Lateef and Sahih Shihab, alongside the music of British jazz legends such as Tubby Hayes and Harold McNair and the more contemporary sounds of Jazzanova, Kyoto Jazz Massive and Robert Glasper. His close working relationship with Matthew Halsall’s Gondwana Records has spanned close to two decades (since he played on Halsall’s 2008 debut ‘Sending My Love’) and has since released three standout releases on the label (the ‘Cloud 10’ LP, and the ‘Astral Travelling’ and ‘Love & Life’ EP’s). Once again returning to the heralded label, he now prepares to release his elegant fifth studio album ‘The Eternal Now’. Further exploring his penchant for hard-hitting soulful, spiritual jazz and modal hard-bop, it denotes an exciting new chapter in his much- revered discography, once which sees his unbridled artist flourish into new and fruitful pastures.

A beautifully crafted record, ‘The Eternal Now’ is a heartfelt ode to submitting oneself to the practice of creating art, and the freedom that’s derived from letting go. Speaking on his journey to bringing it into the world, Chip explains “The Eternal Now is a creative place where time has no purpose. A place where the past and the future don’t exist. A place where an artist can create something that is timeless and relevant. Writing this album has been a deliberate journey of exploration and drive into the furthest reaches of creativity. An attempt to push myself artistically into new spaces using new colours and new energy”. On how he approached this record in comparison to his previous offerings, he divulges ‘I had to be playful and take risks. It has taken longer than any other album to make and it has been so worth it. I have been drifting and taking the road less travelled as well as not looking back. I’ve enjoyed being on the outside and the freedom it has brought me to create something new and fresh and relevant and timeless.’

Bart Skils and Weska extend their musical partnership, linking for the superb ‘Torn Clouds’. The duo shares a special sonic kinship, collaborating regularly for outstanding results. From ‘Shades of Summer’, to ‘Polarize’ and ‘Something More’, the duo balance rhythmic flair with timeless melodies for euphoric results. Their fourth offering is no less memorable. ‘Torn Clouds’ rides on a wave of rolling grooves and uplifting melodic tension, capturing the moment the storm clears and euphoria rushes in. It’s accompaniment ‘Dusk till Dawn’ is a late-night anthem built for the long haul — hypnotic, wandering, and made to move the night into light. Together, the tracks showcase the duo’s unmistakable synergy: plump, percussive foundations wrapped in crisp synthwork and immersive vocal layers that have ignited dancefloors including Awakenings, Ultra Resistance, Space Miami, Avant Gardner, Amnesia, Factory93.

Recorded as part of the same daydreaming puzzle as Unwishing Well, Still Clouds at Noon brings out the slowcore/sadcore elements that drift through The Reds, Pinks & Purples' melancholy catalog. Donaldson names '90s hometown San Francisco acts such as American Music Club and the more obscure Timco as pivotal to his guitar playing and development as a songwriter, both of which shine bright here. The slower tempo ballads on Still Clouds_ often culminate in heavy fuzz drenched codas and showcase the more abstract poetic side of Donaldson's lyricism. There's an inherent pop-sensibility always at work though, with ear-worm melodies appearing over intoxicating circular riffs. Formerly a Bandcamp only digital release, this white vinyl version is remastered and adds two unreleased tracks, one featuring Mark Monnone from Australian pop-legends The Lucksmiths on bass. Strictly limited edition of 500 ww.

"Astral Americana hymns hovering somewhere between the dirt and the stars" Pitchfork

"Mood music for moments of solitude, best experienced without distraction" The Times

"Overwhelmingly effective and ravishingly beautiful" The Wire

American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams’ characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains.

The high desert of California is a vast and confounding place. Equally inspiring as it is punishing, it’s a landscape that carries magic in its deep dark nights, holding stories both tender and stark in the coarse layer of dust that settles upon everything. It’s long been a source of inspiration for musicians, writers, and painters, each of them adding to the same current, carried forward over time, through hope and hardship and the passing years.

Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021’s Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Hollywood’s golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives.

Adams writes from within. A few years ago she moved out there, to “the middle of nowhere”, finding a slowness that didn’t exist in the city, and she knows only too well about the mystical nature of the land and those who live within it. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. “There’s something very radical about domestic life,” Adams says of this thread. “So many women live their entire lives behind closed doors, completely in the shadows. Within those lives is such sacrifice, devotion, and love. I wanted to honor that: the poetry in the mundane, the longing in the repetition. The way love survives boredom and dust and time.”

Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it’s an ambitious and detailed stride forward from what’s come before, the scope of the LP’s narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline’s Oliver Hamilton (Violin).

For all the drama that’s coiled around these songs, it’s the recurring notion of love and hope fighting against everything that holds true throughout American Dust. Musically it’s lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it’s what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they’re bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter right in front of our eyes.

“The same swirling dust that clung to the covered wagons of my ancestors as they crossed the Great American Desert is the same dust my great-great-grandmother swept off her porch during the Dust Bowl of 1936 in Oklahoma, is the same dust that blows in through the cracks in my windows here in the desert, carrying stories from a time long gone,” Eve says, reflecting on the personal narrative that runs through her new album.

“It’s not just dust—it’s American Dust, the kind that settles into the bones of a family and never leaves. I think about that dust as a symbol of the passage of time. I hope this album will be part of that same current, carrying forward for the next generations of my family to find. I’ve been lucky enough to have journals and poetry from my ancestors that documents their lives during times of pure hope and pure hardship. I’d like to think of this album as a contribution to that family history.”

Grey October Sound has gained widespread popularity not only in Japan but also around the world through their series of cover albums, including Lo-fi Ghibli,
a collection of Ghibli film music covers; Lo-fi City Pop, featuring covers of classic and beloved City Pop songs; and Lo-fi Anime, which reimagines popular anime
theme songs in their signature style.

Amid the success of their original compilation series Timeless Lo-fi, they are now launching a brand-new series titled Late Night Lo-fi.
This new album, composed entirely of newly recorded tracks, continues to reflect Grey October Sound’s distinctive style while offering mellow and chill tunes that
evoke the atmosphere of late-night hours, just as the title suggests.

"We are Honeypuppy. Your worst nightmare. Sleep tight." Born from the liminal space between the head and pillow of Songwriter Josie Callahan, Athens Georgia's Honeypuppy interrupts your regularly scheduled programming with an exciting and fresh one-time TV offer: a sparkly new album for your listening pleasure. Experience the bliss and despair, anxiety and indifference, and present yet absent-minded glee of this episodic saga in Honeypuppy's glowing new sonic collection, DIRTY TV. A nostalgic and poppy delight complete with twists, turns, and plenty of surprises, don't miss a second of DIRTY TV. Honeypuppy formed in 2020 as Callahan (lead vocals, guitar) recruited friends and roommates Adam Wayton (bass, vocals), and Will Wise (lead guitar) to help bring her songs to life. The group released "Nymphet", their soft and brutal debut EP, in January of 2024.

Seit 1989 liefert Desaster ihren eigenen unheiligen Mix aus extremem Metal ab - 2025 kehren sie mit Kill All Idols zurück. "Churches Without Saints war ein typisches Desaster-Black-Death-Thrash-Album, Kill All Idols etwas vielfältiger", erklärt Gitarrist und Gründungsmitglied Infernal. "Natürlich steht es für unseren klassischen Black/Thrash-Stil, aber diesmal hört man auch unsere Punk-Wurzeln deutlicher."Kill All Idols ist das zweite Album mit derselben Besetzung - live und im Studio zeigt sich, wie gut die Chemie stimmt. "Unser Drummer Hont ist live ein Wahnsinniger, privat ein ruhiger Typ. Technisch ist er uns fast überlegen - wir haben überlegt, ihm die Finger zu brechen, damit er sich anpasst!", witzelt Sänger Sataniac. Zum Albumtitel sagt Sataniac: "Alle 'Vorbilder' - ob politisch, religiös oder wirtschaftlich - verfolgen nur ihre eigenen Machtinteressen. Der Titel ist eine Einladung, selbst zu denken. Aufgenommen wurde wieder im eigenen Proberaum mit ihrem Live-Mischer Janosch Gensheimer. Gemischt und gemastert hat Greg Wilkinson (Autopsy) in Kalifornien. Infernal: "Wir wollten testen, wer unseren Sound 2025 am besten umsetzt. Greg hat uns einen neuen Klang gegeben, der zwar etwas untypisch ist, aber perfekt passt. Mit dem Ergebnis sind wir selten so zufrieden gewesen.

Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

Linda Smith and The Smashing Times are the best of friends. They are both currently based in Baltimore, USA. This split 7” EP celebrates that friendship with two new tracks by each act; united by DIY spirit, a bedroom-pop sensibility and now a puddle of black vinyl.

Songwriter Linda Smith has a gentle but unconventional experimental style that continues to evolve as she adds new entries to her storied catalogue. Smith’s pioneering work with four-track production in the '80s found her at the beginning of a home-recording movement that would set the pace for the decades of indie rock that followed. During this most active period, Smith's music was limited mostly to obscure cassette and 7" releases. This trailblazing time was recently revisited on Captured Tracks’ compilation ‘Till Another Time: 1988-1996’. Shortly after Smith’s retrospective, she teamed up with like-mind and collaborator Nancy Andrews to release an album of beguiling pop entitled ‘A Passing Cloud’ (2023). The duo performed songs from that record at Upset The Rhythm’s 20th anniversary party at Café OTO that same year. 2024 saw further reissues of Smith’s music including Nothing Else Matters (1995) and I So Liked Spring (1996).

The Smashing Times are a premier East Coast Pop Experimental Group. They have also gleefully performed in London for Upset The Rhythm twice in quick succession. Known for their dogtooth style, waggish mod attitude and tumbledown sound, The Smashing Times have holes in their socks and sit idly between The Kinks and Tori Kudo. Their previous albums on K Records, Perennial and Meritorio are a cherished commodity steeped in Paisley psyche and slapdash panache.

CANDLEMASS - a name forged in darkness; a legacy built on doom. Born from the cold shadows of Stockholm in 1985, this Swedish titan of epic doom metal has stood as a monolithic force for nearly four decades. In 2025, CANDLEMASS marks 40 years of sorrow-laden grandeur, a testament to their unwavering reign over the genre they helped shape. Their journey began with the seismic release of “Epicus Doomicus Metallicus” (1986), a requiem that redefined heavy music, followed by the monumental “Nightfall” - both now sacred texts in the annals of doom. These albums remain cornerstones of a genre that thrives in the echoes of CANDLEMASS somber majesty. Despite doom’s reputation for slow, crushing weight, CANDLEMASS themselves show no signs of slowing down. Relentless and untamed, they continue to storm stages worldwide, bringing their towering hymns to devoted Candlemaniacs from Tokyo to Los Angeles. With Grammy win in Sweden and a U.S. Grammy nomination in 2019, the band’s fire still burns with undiminished intensity. Originally released in 2009, “Death Magic Doom” is the tenth studio album from CANDLEMASS.

Ken Muramatsu's debut album, released in 1983 when he was only 21 years old at the time.

From mellow songs to groove-heavy songs that would later be called British JAZZ FUNK, Ken Muramatsu's piano plays melodies against the backdrop of perfect arrangements.

This is a rare J-FUSION masterpiece, which is also highly acclaimed because the CD was out of print for a long time.

Suzzallo (pronounced Süe-zahh-Lōw) is a new Seattle based rock band fronted by Rocky Votolato. After the devastating loss of his child in a tragic car accident, Votolato created an entire new world inside of aggressive anthemic rock songs to transmute extreme grief and loss into something healing and beautiful. This is a return to form for Votolato, who for the past 2 decades has had a successful career as an Indie-rock solo artist, but who started out playing in heavier bands - most well known for his work in Waxwing.

With Rudy Gajadhar on drums (ex-Waxwing), Steve Bonnell on bass (ex-Schoolyard Heroes) and teaming up with legendary producer John Goodmanson, Suzzallo recently finished recording their debut album “The Quiet Year” at Robert Lang Studios in Seattle, WA. Ben Gibbard (Death Cab For Cutie / The Postal Service) is featured on several tracks on the album, adding some levity to the songs with beautifully placed backing vocals, electric guitar, bass 6, and piano.
Funded via a crowdsourcing campaign that raised over 100K dollars, Suzzallo’s highly anticipated debut is due to be released on Thirty Something Records in the spring of 2025.

Friends since the age of six, most of the album was written and recorded by the pair when they were nineteen. The songs possess all the singular magic of a duo writing and playing together while sounding like a full, sonically charged band. Their debut E.P. track 'Two Monkeys', included here, has a level of shoegazey dirt that will leave many distortion freaks reeling. `Every Word Said' is prog-pop perfection. The title track is as moody as anything by Flying Saucer Attack. 'Another One Making Clouds' evolves over 35 minutes and doesn't stop elevating and surprising. A founding notion of our label was to release recordings made as the musicians' first intended. No `notes' and no re-recording with a `proper' producer in a `real' studio. A noble preference we saw labels like Rough Trade pursuing with The Strokes, The Smiths, The Fall et al.This album is a proud example. And captures something you can't fake. A young band finding an epic, emotional, cinematic sound in their bedroom. Using it in that peculiarly British way to express the wonder, confusion and heartache of being nineteen. Of wanting to be seen and not seen. It's a kind of British `soul' music with ancestors like The Cure, Echo & The Bunnymen, The Jesus & Mary Chain and the original shoegaze bands. Progressive guitar music, channeling deep emotion, a desire to hear something that sounds like how you feel inside. The stuff nobody talks about. Everything Else.

Friends since the age of six, most of the album was written and recorded by the pair when they were nineteen. The songs possess all the singular magic of a duo writing and playing together while sounding like a full, sonically charged band. Their debut E.P. track 'Two Monkeys', included here, has a level of shoegazey dirt that will leave many distortion freaks reeling. `Every Word Said' is prog-pop perfection. The title track is as moody as anything by Flying Saucer Attack. 'Another One Making Clouds' evolves over 35 minutes and doesn't stop elevating and surprising. A founding notion of our label was to release recordings made as the musicians' first intended. No `notes' and no re-recording with a `proper' producer in a `real' studio. A noble preference we saw labels like Rough Trade pursuing with The Strokes, The Smiths, The Fall et al.This album is a proud example. And captures something you can't fake. A young band finding an epic, emotional, cinematic sound in their bedroom. Using it in that peculiarly British way to express the wonder, confusion and heartache of being nineteen. Of wanting to be seen and not seen. It's a kind of British `soul' music with ancestors like The Cure, Echo & The Bunnymen, The Jesus & Mary Chain and the original shoegaze bands. Progressive guitar music, channeling deep emotion, a desire to hear something that sounds like how you feel inside. The stuff nobody talks about. Everything Else.

Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP Set Plays with Authoritative Tonality, Airiness, and Clarity:
Pressed on MoFi SuperVinyl and Strictly Limited to
3,000 Numbered Copies
1/4” / 15 IPS Dolby A analogue master to DSD 256 to analogue console to lathe

Joni Mitchell is the only artist who could’ve made Hejira. The legendary singer-songwriter said as much when discussing the album decades after its release. Yet that fact seemed obvious from the moment the gold-certified effort streeted in fall 1976. An adventurous travelogue, probing narrative, and offbeat homage to freedom, Hejira remains an inimitable entry in the catalog of recorded music — a spare, gorgeous, meditative series of sonic vignettes comprised of floating harmonic pop, cool jazz, soft rock, and sensitive vocal elements that beckon feelings of motion, discovery, and self-examination.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set presents the record ranked the 133rd Greatest of All Time by Rolling Stone with definitive detail, richness, accuracy, and directness. Marking the first time the revered LP has received audiophile treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD.

Playing with a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible reissue reproduces in enveloping fashion the tones, textures, and craftsmanship that help Hejira function as the equivalent of a liberating trip down an open road with nothing but blue sky, natural landscape, and fresh air in the immediate vicinity. Passages bloom, carry, decay as they do amid an acoustically optimized environment. Soundstages extend far, wide, and deep, with black backgrounds and pinpoint images adding to the realism.

The reference-grade immediacy, airiness, and presence put in transparent perspective Mitchell’s dense strings of words, stream-of-conscious-like phrasing, and unhurried albeit forward momentum. Likewise, the instrumental contributions of her A-list support musicians — a cast that includes L.A. Express members John Guerin, Max Bennett and Tom Scott, plus Neil Young, Victor Feldman, and Abe Most — emerges with breathtaking clarity and dimensionality.

While Mitchell, whose intimate vocals and abstract guitar parts center everything, Mobile Fidelity's restoration of Hejira further reveals the visionary breadth of guitarist Larry Carlton and bassist Jaco Pastorius. Though heard on only four tracks, Pastorius' fretless bass epitomizes the fluid, subtle, flexible, roomy, and shape-shifting characteristics of songs that often appear to transpire out of nowhere akin to the formation of a puffy cumulus cloud overhead. In sync with Mitchell’s voice, Pastorius’ fusion hovers and floats, suspended in a fog you want to deeply inhale. The "grace notes" Mitchell desired on Hejira can now be heard in full. Ditto the luxurious tapestries of alinear lines, fills, and supplements unreeled on Carlton’s six-string.

Visually, the packaging of this UD1S set complements its identity as the copy to own. Housed in a deluxe slipcase, the LPs come in foil-stamped jackets with faithful-to-the-original graphics. This version is for listeners who desire to become immersed in everything about Hejira, including the unforgettable album cover — a pastiche of 14 different photos Mitchell used a Camera Lucida to assemble into one image that’s anchored by a portrait of her in a stoic pose — and the interior shots of Mitchell skating on a frozen Wisconsin lake wearing a pair of black skates, black shirt, and fur cape.

The notion of skating, feeling an awakening wind whipping against your face, and losing yourself to the surroundings are extremely apt for Hejira, which Mitchell wrote after a sequence of trips and relationships prompted her to reflect on the complicated conflicts between independence and marriage, success and satisfaction, duty and desire — and, more specifically, “the cost of being a woman.” The Canadian native delved into such themes before. But never as she does on Hejira, whose liberating, running-away aura doubles as another of Mitchell’s rejections of tradition as well as a suggestion of a better alternative.

At once observational and personal, expansive and insular, cheerful and poignant, Hejira spans a sea of human conditions, emotions, and circumstances. It addresses drifting, isolation, pleasure, place, time, and surroundings with strikingly poetic discourse matched with music that, save for the crooned ballad “Blue Motel Room,” forgoes conventional structures and choruses.

The jazz-based arrangements, marked by scaled-down percussion and all manner of bent, rounded, and unsettled notes, hint that Mitchell has no exact destination in mind. Excursions such as the moody “Furry Sings the Blues,” funky “Coyote” and edgy “Black Crow” throw open previously locked doors to possibility and journey. They signal it’s time for a welcome departure from norms and the past, one that leads to a heightened sense of clarity and perspective. Or, as Mitchell said upon choosing the album title, it’s time for “leaving the dream, no blame.”