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A new album from Ye, the artist formerly known as Kanye West, is set to arrive on March 20.

The rapper has inked a partnership deal with the independent music company gamma. for the release of BULLY, his 12th studio album.

Bristol duo Pume Orenge unspool a world of spectral electronica from cassette loops and instrumental improvisation on their debut album Angel By Milo for Odda Recordings.

It is a world that opens draped in ferric hiss. A fog of sound, dense and yet not quite there, catching the light in strange shades and ambient drifts. Looping and receding, looping and receding, as pucks of static burst like faraway fireworks on a cold winter’s night. Sound sources obscured, ambiguous, not quite what they seem.

Angel By Milo takes its lead from the analogue process and textures by which it was made. Percussive and melodic loops were established, manipulated and responded to with instrumental improvisation, in a give-and-take with the materiality of the medium.

Across these seven intricately developed tracks, the sound fluctuates between the cinematic and the introspective, at times melancholy, at others verging on a kind of restrained anger, before the calm sets in once more. It is music for the small hours, awash with the grainy stuff of memory.

Embedded within Bristol’s independent scene, Pume Orenge’s quiet debut also speaks to the duo’s shared roots in the area, and like many of Odda’s previous releases, contains a sensitivity to place and atmosphere, even when these are no more than implied.

Angel By Milo builds on the DIY ethos of Pume Orenge's 2023 self-titled debut EP, whose tracks were recorded live in single takes, now honing a more intentional, purposeful approach to music making. It is one in which layers of meaning are allowed to reveal themselves, a way of composing that makes a virtue of its labour and the chance occurrences that can arise in the process.

This is music in praise of shadows. Of the things we can’t quite see, the feelings we can’t quite grasp. Heard through the haze, or maybe not at all.

Bruno Silva, operating here under his restless Serpente alias, returns with Visita do Fogo — a sharp, stripped-back and incendiary counterpoint to the drifting, dream-jazz abstractions of Dias da Aranha. If that record floated like smoke, this one crackles and snaps like dry wood.

Visita do Fogo finds Silva stepping back into the heat of his beat-driven origins, embracing a raw, forward-leaning approach that feels closer to his live detonation than a studio construction. The record is built on stark materials — drum fragments, percussive jolts, scorched-earth loops — all manipulated with his unmistakable “screw” instincts: micro-cuts, sudden pivots, rhythmic false floors and the sense that the track might turn itself inside-out at any moment.
Rather than smoothing edges or leaning into atmospherics, Serpente doubles down on urgency. Each piece moves through the record with a chop-and-go physicality, a kind of ritual propulsion that never settles into comfort. Silva’s rhythmic language remains entirely his own: crooked but precise, feral yet meticulous, rooted in dance structures but constantly mutating away from them.

Visita do Fogo is less a sequel to Dias da Aranha than a flare shot into the same night sky — brighter, hotter, and designed to leave afterimages. It captures an artist burning forward, shedding everything unnecessary, trusting the flame.

Death Is Not The End present a further volume of Arja Kastinen's eerie amalgamations of 110 year old wax cylinders with her own meticulously transcribed takes, this time focussing in on Armas Otto Väisänen's field recordings of kantele player Iivana Mišukka (b. 1861 d.1919).

"Ivana Mišukka (1861–1919) was one of the Karelian kantele players recorded by the folk music researcher Armas Otto Väisänen on wax cylinders in 1916 and 1917. In the early 20th century, the remote areas of Border Karelia were undergoing the final phase of a transformation in musical culture, with the ancient runo song tradition giving way to newer forms of music. This transition is reflected in Mišukka's repertoire and choice of instrument. The ancient small kantele, hollowed out of a single piece of wood, was already rare at the turn of the century. Mišukka's kantele was a new type of instrument with 26 strings, constructed of several parts, but he played it using the traditional plucking technique. Like other Border Karelian kantele players, his repertoire consisted of music rooted in runosong culture, as well as newer dances and songs from the east and west. Most of the recorded material falls into the latter category.

Ivan Bogdanov Mišukka was born out of wedlock in Suursara village, Suistamo, on 1 May 1861. He began playing the kantele at the age of five or six, quickly mastering the instrument. In adulthood, he was considered one of the area's best master players. Mišukka was landless for most of his life and lived in different parts of the Suistamo parish. His first wife, Tekla Markintytär, died in 1897 at the age of 40, and his second wife, Jevdokia Filipintytär Jeminen, died in 1907 at the age of 50. Seven children were born from the first marriage, two of whom died young. The third wife, Maria Ignatintytär Gurnan (Kuurnanen), was a well-known master of lamentations. Together with Maria, Iivana Mišukka worked as a tenant farmer in the village of Suursara. Mišukka suffered from rheumatism, which prevented him from participating in physical work like Maria. This was apparently partly the reason why Iivana Mišukka went to earn extra money by playing the kantele on gig trips. He often had other traditional artists from Suistamo as his travelling companions, such as the runosingers Konstantin Kuokka and Iivana Onoila. Iivana Mišukka died in Leppäsyrjä village, Suistamo, on 18 May 1919 at the age of 58, and his kantele was donated to Teppana Jänis.

Mišukka only used 14 of the 26 strings on his kantele, playing the same tunes either a fourth higher or lower. He tuned his kantele to the major scale using fifths, except for a low seventh scale degree on the upper strings, but not below the fundamental. Since he did not use the seventh note of the scale on the upper strings at all, he could use the major scale both lower and a fourth higher with this tuning. According to Mišukka, the sound of higher, or 'finer', strings is 'more beautiful', while that of lower ones is 'greater'. Among runosingers, the size of the thirds varied, ranging from major to minor to neutral. A similar phenomenon can be observed in kantele tunings, where the third, sixth and seventh scale degrees vary in a comparable way.

During a meeting, Väisänen suggested that Mišukka play the smaller kantele belonging to Konstantin Kuokka. The idea was to bring it closer to the horn to improve the recording quality. However, the kantele was completely out of tune, and now Mišukka tuned it to the Lydian scale (track 18).

Using the old plucking technique, Mišukka placed his right middle finger on the fundamental tone, his right index finger on the second scale degree, his left middle finger on the third scale degree and his left index finger on the fourth scale degree, and his right thumb on the fifth. The thumb also played the notes above the fifth note of the scale. As Mišukka remarked to Väisänen: 'Peigaloll' tuloo enemb ruadoa' (the thumb has to do more work). However, he did not use the seventh note of the scale on the upper strings at all. Below the fundamental note, he played the seventh and sixth notes of the scale with his right middle finger of and the fifth note of the scale with his right ring finger. This fifth scale degree below the fundamental is almost always used as a drone. Sometimes, when the melody required it, Mišukka, like other players, also varied the fingering. He would also occasionally strike the same string with the side of his fingernail after plucking it.

The wax cylinder recordings of Karelian kantele players are kept in the archives of the Finnish Literature Society in Helsinki, Finland. Copies were made of them onto reel-to-reel tapes in both the 1960s and 1980s. The 1960s copies are mono and the 1980s copies are stereo. However, not all kantele recordings from these decades have survived.

The sound of the kantele is difficult to hear in wax cylinder recordings due to its low volume, and it occasionally becomes completely obscured by noise. During the copying process, the cylinder sometimes rotates unevenly, resulting in breaks or jumps in the music. Additionally, the rotation speed of the cylinder in the copies does not correspond to the performance speed of the original music, which alters the pitch. However, since Väisänen's precise notes are available in the archive, it is possible to deduce the melodies, their speed, and the tuning level of the kantele in the recordings. Of the copies of the original recordings from the 1960s and 1980s, I have selected the one that best met the requirements of this publication and adjusted the speed of the recording to align with Väisänen's notes. To enhance the listening experience, I have replayed the songs, which now partly overlap the old recordings on this release."

— Arja Kastinen

Death Is Not The End present a further volume of Arja Kastinen's eerie amalgamations of 110 year old wax cylinders with her own meticulously transcribed takes, this time focussing in on Armas Otto Väisänen's field recordings of kantele player Iivana Mišukka (b. 1861 d.1919).

"Ivana Mišukka (1861–1919) was one of the Karelian kantele players recorded by the folk music researcher Armas Otto Väisänen on wax cylinders in 1916 and 1917. In the early 20th century, the remote areas of Border Karelia were undergoing the final phase of a transformation in musical culture, with the ancient runo song tradition giving way to newer forms of music. This transition is reflected in Mišukka's repertoire and choice of instrument. The ancient small kantele, hollowed out of a single piece of wood, was already rare at the turn of the century. Mišukka's kantele was a new type of instrument with 26 strings, constructed of several parts, but he played it using the traditional plucking technique. Like other Border Karelian kantele players, his repertoire consisted of music rooted in runosong culture, as well as newer dances and songs from the east and west. Most of the recorded material falls into the latter category.

Ivan Bogdanov Mišukka was born out of wedlock in Suursara village, Suistamo, on 1 May 1861. He began playing the kantele at the age of five or six, quickly mastering the instrument. In adulthood, he was considered one of the area's best master players. Mišukka was landless for most of his life and lived in different parts of the Suistamo parish. His first wife, Tekla Markintytär, died in 1897 at the age of 40, and his second wife, Jevdokia Filipintytär Jeminen, died in 1907 at the age of 50. Seven children were born from the first marriage, two of whom died young. The third wife, Maria Ignatintytär Gurnan (Kuurnanen), was a well-known master of lamentations. Together with Maria, Iivana Mišukka worked as a tenant farmer in the village of Suursara. Mišukka suffered from rheumatism, which prevented him from participating in physical work like Maria. This was apparently partly the reason why Iivana Mišukka went to earn extra money by playing the kantele on gig trips. He often had other traditional artists from Suistamo as his travelling companions, such as the runosingers Konstantin Kuokka and Iivana Onoila. Iivana Mišukka died in Leppäsyrjä village, Suistamo, on 18 May 1919 at the age of 58, and his kantele was donated to Teppana Jänis.

Mišukka only used 14 of the 26 strings on his kantele, playing the same tunes either a fourth higher or lower. He tuned his kantele to the major scale using fifths, except for a low seventh scale degree on the upper strings, but not below the fundamental. Since he did not use the seventh note of the scale on the upper strings at all, he could use the major scale both lower and a fourth higher with this tuning. According to Mišukka, the sound of higher, or 'finer', strings is 'more beautiful', while that of lower ones is 'greater'. Among runosingers, the size of the thirds varied, ranging from major to minor to neutral. A similar phenomenon can be observed in kantele tunings, where the third, sixth and seventh scale degrees vary in a comparable way.

During a meeting, Väisänen suggested that Mišukka play the smaller kantele belonging to Konstantin Kuokka. The idea was to bring it closer to the horn to improve the recording quality. However, the kantele was completely out of tune, and now Mišukka tuned it to the Lydian scale (track 18).

Using the old plucking technique, Mišukka placed his right middle finger on the fundamental tone, his right index finger on the second scale degree, his left middle finger on the third scale degree and his left index finger on the fourth scale degree, and his right thumb on the fifth. The thumb also played the notes above the fifth note of the scale. As Mišukka remarked to Väisänen: 'Peigaloll' tuloo enemb ruadoa' (the thumb has to do more work). However, he did not use the seventh note of the scale on the upper strings at all. Below the fundamental note, he played the seventh and sixth notes of the scale with his right middle finger of and the fifth note of the scale with his right ring finger. This fifth scale degree below the fundamental is almost always used as a drone. Sometimes, when the melody required it, Mišukka, like other players, also varied the fingering. He would also occasionally strike the same string with the side of his fingernail after plucking it.

The wax cylinder recordings of Karelian kantele players are kept in the archives of the Finnish Literature Society in Helsinki, Finland. Copies were made of them onto reel-to-reel tapes in both the 1960s and 1980s. The 1960s copies are mono and the 1980s copies are stereo. However, not all kantele recordings from these decades have survived.

The sound of the kantele is difficult to hear in wax cylinder recordings due to its low volume, and it occasionally becomes completely obscured by noise. During the copying process, the cylinder sometimes rotates unevenly, resulting in breaks or jumps in the music. Additionally, the rotation speed of the cylinder in the copies does not correspond to the performance speed of the original music, which alters the pitch. However, since Väisänen's precise notes are available in the archive, it is possible to deduce the melodies, their speed, and the tuning level of the kantele in the recordings. Of the copies of the original recordings from the 1960s and 1980s, I have selected the one that best met the requirements of this publication and adjusted the speed of the recording to align with Väisänen's notes. To enhance the listening experience, I have replayed the songs, which now partly overlap the old recordings on this release."

— Arja Kastinen

High-quality FERRO cassette tapes, printed on 160g premium paper.

Release info
XERO marks the beginning of a new series in which Saša Delimar invites artists he has long admired to reinterpret his original works. Each release features original compositions alongside one or two remixes, offering a new perspective on the material.

The first edition welcomes Steve Braam, aka Orca Silent (Canada).

The series focuses on minimalism and explores deeper, more experimental soundscapes beyond conventional dance floor structures

High-quality FERRO cassette tapes, printed on 160g premium paper.

Release info
New release with a remix coming from Mirror Lake (Mexico). His version of the track could easily fit into a drum & bass set, but would work just as well in a classic 4/4 set as a refreshing change of pace. Compared to my original, his version features a shorter bass, making the groove more dance-driven and energetic. Superb control over detail throughout the entire track.

Youth (original Italian title La Giovinezza) is a 2015 comedy-drama film written and directed by Paolo Sorrentino, starring Michael Caine and Harvey Keitel. Set in a luxurious Swiss Alps hotel, the story follows two lifelong friends: Fred Ballinger, a retired composer who has turned his back on performance, and Mick Boyle, an aging film director determined to finish what he hopes will be his final screenplay. While navigating the quirks of hotel life and revisiting the milestones of their own pasts, the film explores themes of nostalgia, personal legacy, affection, and mortality.

The soundtrack of Youth is a blend of original score by David Lang, and a selection of other carefully chosen pieces, ranging from classical works to contemporary songs. The centerpiece, “Simple Song #3,” performed by soprano Sumi Jo, captures the film’s themes of beauty, loss, and reflection. Alongside Lang’s compositions, the music features “Can’t Rely on You” by Paloma Faith, the classical piece Debussy’s “Préludes: Des pas sur la neige”, and “Third and Seneca” by Sun Kil Moon, amongst others, creating a rich, genre-spanning soundtrack that blends contemporary, classical, and indie influences.

The soundtrack of Youth is available as a limited edition on transparent vinyl and includes a 4-page booklet with liner notes.

Yellow Vinyl

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

Singer, songwriter, and producer Absolutely will release her highly anticipated sophomore album Paracosm on February 20, 2026, via Epic Records. A kaleidoscopic mix of pop, electronica, jazz, and R&B, the album features previously released singles “Goodbye Glitter,” “I Just Don’t Know You Yet,” and “No Audience,” each offering a window into the record’s emotional and sonic scope. From the viral, piano-pounding transformative catharsis of “I Just Don’t Know You Yet” — which sparked standing ovations on tour and millions of TikTok views last summer — to the cinematic introspection of recent single “No Audience,” praised by Rolling Stone as “an invitation to create purely for yourself,” Paracosm cements Absolutely as one of the most compelling new voices of her generation and 2026’s de facto artist to watch.

MYRYRS3 presents a calculated compilation of cuts pulled from a variety of styles and backgrounds for their third and largest release to date. Having been quiet on the release front since 2023, this collection sets a calibrated tone for a label in its growth stage. Comprising present, esoteric, and regional techno expressions. Remaining grounded in their cultivation of a space where dancefloors and artistic endeavours share conversation, this release opens the room to an array of talent who approach the idea from varying angles of the dancefloor.

A Pandora's box of modern and daring ideas awaits inside MYRYRS3.

Repress

Escola Records is very proud to present a refreshing reinterpretation of Uptown Funk Empire’s 2009 cover of Pharoah Sanders’ You’ve Got to Have Freedom. The release features four dancefloor-oriented versions crafted by legendary French DJ and producer Greg Gauthier, alongside talented musician, DJ, and producer Lucas Moinet (half of Groove Boys Project and Keraw). The A-side delivers the smooth and mellow “937” Vocal and Dub versions, where Greg and Lucas offer two uplifting, soul-infused reworks in a groove- heavy ride full of organic grooves and a beautiful xylophone solo, creating the perfect space/beat for some of the most hopeful vocals we could ever dream of. The B-side completes the package with the “Dance Culture” remixes, paying tribute to the legendary party Greg launched over 20 years ago at Paris’ iconic house music mecca, the Djoon club.

Paper Crown release their third album Letters - an ambitious and playful record that marks a clear new chapter for the duo, brimming with confidence, nostalgia and new horizons. Letters is the result of a long and meticulous creative process, with guitarist, producer and songwriter Ornulv Snortheim and vocalist and lyricist Johanne Kippersund (MEER) working closely, patiently and with great attention to detail. The album was recorded and produced at Snortheim's own Dakkota Studio in Hamar, Norway. Drummer Borre Flyen contributes throughout the record, and violinist Aud Ingebjorg Barstad adds beautiful string textures on selected tracks. Musically, Letters draws inspiration from the organic warmth of 1970s recordings - featuring spacious arrangements and live, breathing instrumentation - while also clearly nodding to alternative 1990s pop- rock, with strong melodies, distinctive guitar lines, raw energy and a spirit of exploration. The result is a sound that feels both nostalgic and contemporary, making Letters the duo's most complete release to date.

Aufgenommen 1986, ist das die großartige, verschollene Country-LP von Fred & Toody Cole (Weeds, Lollipop Shoppe, Zipper, Torpedoes, Rats, Western Front, Desperate Edge, Dead Moon, Pierced Arrows usw.)! Alle Songs sind Eigenkompositionen - ein paar traurige, beschwingte Balladen und ein paar richtig punkige Nummern. Bei zwei Songs spielen Fred & Toddy mit ,Rollie", einer klapprigen Roland-Drum-Machine, die den Takt nicht so gut halten konnte. Die restlichen Songs wurden mit einer kleinen, knallharten Band aufgenommen.

Afrikanische Meisterwerke der Akustikgitarre, die auf Mississippis beliebter ,African Guitar Box" aufbauen. 1979 und 1980 machte sich ein junger britisch-kenianischer Musiker namens John Low auf den Weg, um von seinen Helden das Fingerstyle-Gitarrenspiel zu lernen. Er reiste durch Kenia, Tansania, Kongo und Sambia, besuchte Stars wie Jean-Bosco Mwenda, Losta Abelo und Emmanuel Mulemena und wohnte manchmal sogar bei ihnen. Außerdem nahm er brillante, aber bisher wenig bekannte Künstler wie Francis Kitime aus Tansania und Mtonga Wanganangu aus Kenia auf. Unabhängig von ihrem Status ging John jedem Künstler demütig wie ein Schüler entgegen. Er nahm in Häusern, auf Dorfplätzen und an Wasserstellen auf. Die Sessions sind intim und ungezwungen, die Künstler fühlen sich wohl. Johns Kassettendeck nahm einige der größten Künstler des Kontinents auf, zusammen mit dem Klang von Gelächter, spielenden Kindern und klirrenden Gläsern. Fünf Jahrzehnte später bieten diese Bänder einen seltenen Einblick, wie Fingerstyle-Gitarre außerhalb der angespannten Atmosphäre kommerzieller Studios tatsächlich klang. Einige dieser Songs erschienen auf John Storm Roberts' vergriffenen Original Music-Compilations (die Mississippi stark inspirierten). Andere wurden nie öffentlich zugänglich gemacht. Alle wurden von Andrew Walter (Honest Jon's, Abbey Road) fachmännisch restauriert und von den Originalbändern remastert. John Low liefert Notizen und Songtexte, und der tansanische Musikwissenschaftler John Kitime gibt die Perspektive der Musiker wieder. Lizenziert von John Low und den Künstlern, gepresst auf hochwertigem Vinyl bei Smashed Plastic in Chicago.

For A Dramatic Turn of Events, Dream Theater underwent a self-proclaimed musical change, reevaluating and restructuring themselves. The album has drawn stylistic comparisons to two of the band’s past albums, Images and Words and Metropolis Pt. 2: Scenes from a Memory. Limited edition 2LP release on clear vinyl

2026 Repress

A Detroit compilation compiled by Delano Smith (Mixmode) and Rick Wilhite (Vibes New & Rare Music) Vibes and Visions.

"Nachpressung als limitiertes gelbes Vinyl! Das in Australien gegründete und in LA ansässige Duo VOWWS meldet sich mit „I'll Fill Your House With an Army“ zurück, ihrem bisher ehrgeizigsten und am besten umgesetzten Album.

„I'll Fill Your House With an Army“ (2025) ist der Höhepunkt der kühnsten Ideen der Band und zeigt, wie VOWWS, bestehend aus Rizz und Matt James, ihre charakteristische „Death-Pop“-Ästhetik vertiefen: eine genreübergreifende Mischung aus industrieller Elektronik, alternativem Rock, cineastischer Nostalgie und melancholischer Pop-Sensibilität. Co-produziert von Billy Howerdel (A Perfect Circle) und mit Gastauftritten von Josh Freese (A Perfect Circle, NIN, Devo) und James „Munky“ Shaffer (KORN), ist das Album eine Reise durch Sehnsucht, Entfremdung und die surreale Schönheit des Chaos.

Dieses Album zeigt perfekt die dynamische Bandbreite des Duos: von verzerrter Intimität bis hin zu gewaltigen Klangattacken reflektieren VOWWS ein zerbrochenes Spiegelbild des modernen Zustands - romantisch, aber desillusioniert, viszeral und doch seltsam erhebend.

Nachdem sie sich durch Touren mit den Deftones, Twin Temple und Poppy bereits eine kultige Fangemeinde erspielt haben und gerade einen bahnbrechenden Live-Auftritt im Golden Gate Park neben System of a Down und The Mars Volta absolviert haben, sind VOWWS bereit, ihr Vermächtnis mit dieser Veröffentlichung zu zementieren. Ihr künstlerisches Ethos, unbeugsam in einer Ära der Wegwerfbarkeit, hat sie auch in die Welt der High Fashion geführt, wo sie mit Comme des Garçons, Givenchy und Byredo zusammenarbeiten.

The UK’s Black Metal forerunners, WINTERFYLLETH make a stand with The Unyielding Season, coming March 27, 2026 via Napalm Records. Their ninth album is a social commentary wrapped in meticulously crafted poetry and prose. Where the preceding album, The Imperious Horizon (2024), described an ominous, malevolent force, lurking in the distance, The Unyielding Season now explores said threat becoming a reality. The raging wildfire to its predecessor’s calculating, icy cold, WINTERFYLLETH’s first offering for their new record label is a reflection and a rebellion against the turmoils tearing individuals apart. It is a cry against the unsustainable weight of fear and pressure being pushed into the world, by the agents of a unresting, and unyielding force for evil.