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Extra Stars is Gregory Uhlmann"s solo debut on International Anthem. It"s a deep and gorgeous expansion of the LA-based multi-instrumentalist producer / composer"s rhythmic ambient side, as nascently explored in his much-lauded duo with Meg Duffy, his trio work with Josh Johnson and Sam Wilkes, and in the gentler of SML (the improvising trance-jazz unit of which he is a member).

In collaboration with EIoper Music, Impressed is proud to press the 10-Year Anniversary Edition of Szymon's debut album, Tigersapp, on limited edition vinyl.

Szymon was a multi-instrumentalist from Newcastle, Australia, with a deep love for jazz and production, building rich sonic worlds in his bedroom studio. Tigersapp stands as his creative legacy—a beautifully curated and emotionally layered collection that blends influences from folk, ambient, electronic, and indie pop.

These songs were mostly recorded in 2008–2009 in his home studio. After his death, his family and supporters enlisted producers like Rusty Santos (Animal Collective, Grizzly Bear) and Ian Pritchett (Angus & Julia Stone) to complete the mixes.

Tigersapp has earned both public and critical recognition in Australia and beyond. It debuted at #21 on the ARIA Albums Chart, and earned a nomination for the 2015 ARIA Award for Best Adult Contemporary Album.

DELUXE 4LP-SET IN SLIPCASE WITH GLOSS FINISH/4 PRINTED INNERSLEEVES/12 PAGE BOOKLET/40 TRACKS/COLOURED VINYL

Norwegian hard rock band Gjenferd returns with their second album, Black Smoke Rising. Black Smoke Rising takes the band to a new level, building on the strengths of their debut while pushing the sound in a more direct and accessible direction. The album delivers stronger songs, sharper hooks and a tighter overall approach, without losing the darker edge that has defined Gjenferd from the start. Guitars and organ are at the core of the sound, driving solid riffs and catchy vocal lines with a clear pop sensibility beneath the heaviness. The band's debut album received strong reviews both nationally and internationally, including 4. place on Doom Charts in May 2024. Gjenferd draws inspiration from classic heavy rock acts such as Black Sabbath and Deep Purple, combined with a modern hard rock approach influenced by Ghost and Hällas. They're known for energetic live performances, including appearances at festivals such as Desertfest Oslo.

Thelonious Monk, considered one of the greatest Jazz pianists of all time, recorded Underground in '67-'68. It's the last recording with the Thelonious Monk Quartet (Larry Gales on bass, Charlie Rouse on tenor sax, and Ben Riley on drums) and one of the last album he made for Columbia.

What makes Underground special is that unlike his other Columbia recordings, four out of the seven songs were newly composed and recorded. The album cover depicts Monk as a member of the French Resistance and is meant as an homage to Pannonica "Nica" de Koenigswarter. She was a member of the aristocratic Rothschild family and became a patron of leading jazz musicians, hosting jam sessions, driving them to gigs and sometimes even help out with paying the rent. In 1969 the cover won a Grammy for Best Recording Package.
Underground is available as a limited edition of 2000 individually numbered copies on orange vinyl and comes in a deluxe, heavy duty sleeve.

Das bisschen Totschlag’s new LP 0dB Headroom drifts through a cathartic kind of vulnerability—telling stories of losing, larking, and feeling everything all at once. Its soundscape echoes the act of remembering: manipulated samples and floating guitars bent through distorted electronics embody memory not as a fixed archive, but as something alive: tender, fractured, shifting. Moments come back in flashes—sometimes radiant, sometimes aching, always familiar, yet blurred and distorted. A beautiful mess that you can’t ever fully capture.
(FFO: Alex G, Wednesday, Maria Somerville)

Luciano Cilio was born in Naples, Italy, in 1950. He studied music and architecture and, in the late '60s, collaborated with local artist Alan Sorrenti, American expat Shawn Phillips and various avant-garde theater groups. A virtuoso guitarist and self-taught composer, Cilio released only one LP before his untimely death at the age of 33.

Dialoghi Del Presente (1977) is a work like no other, one that sounds both ancient and ahead of its time. Produced by Renato Marengo, it features a series of muted tableaux for strings, woodwinds, guitar, chorus, piano and percussion. Cilio carves out a space where subtle, repetitive phrases yield – almost imperceptibly – to breathtaking silence.

As Jim O'Rourke writes, "These recordings sound as if they were to please no one but himself; they feel self-contained, introspective, and determined ... You can feel in the music a sort of necessity that can be rarely found, like in This Heat's debut or Nick Drake's Pink Moon."

While each subsequent "quadro" grows slightly more abstract, Cilio draws the listener into an expansive, pastoral soundscape. The closing piece, "Interludio," begins with a plaintive guitar, which is joined by haunting strings and woodwinds before concluding, poignantly, as the album began, with Cilio and his guitar, alone once more.

Superior Viaduct's edition reproduces the original sleeve design. Recommended for fans of Johann Johannsson, Talk Talk's Spirit of Eden, Arvo Part and Popol Vuh.

Released in February 2002 on PlayStation 2, Xenosaga Episode I marked the beginning of an unforgettable video game saga created by Tetsuya Takahashi, accompanied by a majestic soundtrack composed by Yasunori Mitsuda.

The latter is still considered an essential milestone in video game music. We wanted to pay tribute to these cult classics with Across the Kosmos ~ Xenosaga Piano Collection and Jazz in Kosmos, two albums of officially licensed arrangements featuring the best tracks from the game.



This album was created in collaboration with some of the most talented figures in Japanese video game music. It includes 17 piano tracks arranged by Mariam Abounnasr, Akio Noguchi, Hiroyuki Nakayama, and Benyamin Nuss, carefully recorded on a Steinway D Grand Piano.

Bryce Dessners Original-Soundtrack auf einem dunklen, dämmerungsblauen Vinyl gepresst.

One of the UK’s most singular voices, Murkage Dave has spent the last decade crafting a body of work that refuses to fit neatly into any genre box. His music, loosely pop but informed by indie, outsider art, and an instinct for storytelling, is built on honesty, empathy, and fearless social commentary. Across his career, he has earned a cult following and praise from Pharrel Williams, Iggy Pop, BBC Radio 6 Music, The Guardian, Rolling Stone, Pitchfork, Clash, Complex, Highsnobiety, and Vogue. His debut album Murkage Dave Changed My Life (2018) amassed over 12 million Spotify streams, while follow-up The City Needs A Hero (2022) reached #10 on the UK iTunes Chart and #15 on the UK Independent Chart.

On his new album, the Ivorian balafon virtuoso Aly Keïta explores new horizons for his instrument in improvised music. Together with his Berlin-based trio, he conquers the peaks of balafon possibilities one by one, wandering between groovy African rhythms, spectacular polyphony and elements of jazz, and combining them into a fusion that is both futuristic and deeply in roots. In Balafon Evolution, Keïta establishes a new level of balafon artistry, creating universal, contemporary soundscapes that transcend cultural boundaries. The Aly Keïta Trio embodies the pulsating spirit of the Berlin jazz scene. Coming from different cultural backgrounds, the three musicians found a common language on stage as they explored the metropole, one of the most active, buzzing jazz hubs of Europe. Aly Keïta and the Dutch drummer Marcel van Cleef, began playing together in 2008, forming the core of the trio"s future "groove machine". As a part of the "Aly Keïta and Magic Balafon" formation, they shared a prize of the Global music contest "Creole" in 2009. Recognised as one of the most intriguing and innovative bass players among the new generation, the Italian bass player Roberto Badoglio, joined trio in 2014, becoming a true "fusion reactor" of the band.

On the release of his debut EP, aldn shares, “‘greenhouse’ represents my mind and thoughts. The individual songs represent the different plants within that greenhouse. Each song gets its own special attention and dedication just like a plant would. Everything on this EP was written and produced by me which makes them extremely personal to me, I’ve grown them all from a simple melody into what they are today. I want all of these songs to be put into your own interpretations to make them more personal to you.”

Through the interwoven storylines and soundscapes of greenhouse, aldn’s experimentation with a broadly sculptured experimental palette shares a snapshot into the worldbuilding he has created over the past two years, an honest representation of the thoughts you only feel comfortable sharing through the lens of your phone, and a therapeutic diary entry set to the dim lights of the corners of the club. As the world moved online in the past year, this new music became even more of a crucial component as a direct means of communication where crossed wires connect the dots more than ever.

Enabilizer is the second full-length album from The Albinos. It’s a focused and emotionally direct record that examines the space between belief and doubt—what it means to hold on to ideals in a world that often doesn’t reflect them. The songs explore themes of connection, disillusionment, and the fragile narratives people use to make sense of things. Sonically, the album moves fluidly between stripped-down garage rock and layered psychedelic arrangements. Built on live, organic instrumentation and a minimal production approach, the sound is raw but intentional—combining driving rhythms, textured guitars, and unpolished vocal performances to create something that feels both grounded and expansive. Formed in Houston, The Albinos have spent the past few years refining their sound, drawing on psych and garage traditions while keeping their songwriting emotionally grounded. Enabilizer marks a step forward for the band—more confident, more cohesive, and more willing to lean into discomfort in search of something honest.

Critically acclaimed Death Metal force TEMPLE OF VOID return with their new album, The Crawl. The caveman brawn of previous albums, namely Summoning the Slayer (2022), remains, but there’s a wider dynamic on the group’s fifth full-length album at play. Now a quartet—featuring guitarist Alex Awn, drummer Jason Pearce, vocalist/guitarist Mike Erdody, and bassist Justin Malek—the Michiganders aren’t shying away from their non-metal influences, seeking greater integration of grunge and post-punk with their brutish signature. Singles “The Crawl” and “Soulburn” demonstrate the proficiency of TEMPLE OF VOID's death-cloaked, spearheaded attack. From the high intensity of opener “Poison Icon” to the granite wall of “The Twin Stranger,” The Crawl isn’t just TEMPLE OF VOID evolved, it’s a harbinger of death metal to come. “The biggest shift for me on this record was not feeling like we had to fly the ‘death-doom banner’ as part of our identity,” says Alex Awn. “Death-doom, as a genre, gave us something to anchor our sound around when we started. It was always a reference and touchstone. At the same time, we always wanted to make sure we had our own spin on it. We’ve always been adding to the conversation, adding to the genre, giving our point of view. A huge part of what makes a Temple of Void record is the non-death-doom influences that make up our DNA. And on album five we never once asked ourselves, ‘Do we have enough death metal? Do we have enough doom metal?’ We simply wrote a heavy-ass record—let the chips fall where they may.” For lyrics, Erdody built on the psychology and fear themes of Summoning the Slayer. The overarching theme of The Crawl is, put rather simply, an “allegory about life, choices, and consequences.” It’s a qualitative view on the horrors of the human condition and the contemplation of our monstrous capabilities. “The Twin Stranger,” for example, is about being stalked by a person’s doppelganger; “Godless Cynic” draws on a short story by sci-fi author Harlan Ellison; and “Poison Icon” tackles the crushing effects of mankind’s intrinsic nature to deceive and control.

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

On her new album, Land of the Forgotten, Brit Taylor takes us to her much discussed and misunderstood homeland, Appalachia, with songs that reveal the complex heart and complicated people of the place. Taylor is an accomplished singer-songwriter who has been performing professionally since she was a child. She has always taken the bull by the horns; Taylor has spent seven nights a week singing on Broadway, cold-called record execs, and she even formed a cleaning business to help finance her first album, Real Me, on which Dan Auerbach (The Black Keys) co-wrote five of the songs. Only three years later she found herself being produced by two of the most sought-after producers in Nashville: Grammy winners Sturgill Simpson and David Ferguson. Since then she has made her Grand Ole Opry debut, gained a devoted following as she toured the whole country, and garnered praise from the likes of NPR, Billboard, Rolling Stone, and American Songwriter.  Land of the Forgotten will be released March 6th 2026 by RidgeTone Records, LLC Under Exclusive License from Cut A Shine Records, LLC Marketed and Distributed by Thirty Tigers

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

Das 1965 für Blue Note aufgenommene Album gilt als eines der kühnsten musikalischen Statements des
Pianisten und Komponisten Andrew Hill. Auf ihm versuchte Hill, die Avantgarde durch das Prisma der
Wurzeln des Jazz in den afrikanischen Rhythmen zu betrachten. Entsprechend setzte er sein Klavier in
den vier von ihm komponierten Stücken mehr als perkussives und weniger als melodisches Instrument ein.
Begleitet wurde er von einem bis zu achtköpfigen Ensemble mit zwei Bläsern, zwei Perkussionisten, zwei
Bassisten und einem Schlagzeuger.