Cerca:da x

Zwei wahre cineastische Juwelen auf einer 7"-Single. Eine Auskopplung aus der beliebten Vinyl-Compilation-Reihe "The Tape Masters", die laufend seltene Rare Groove-Schätze und unveröffentlichte Aufnahmen aus den Archiven des Filmkomponisten Peter Thomas zutage fördert. Exklusiv auf dieser Single – und überhaupt zum ersten Mal auf Vinyl erhältlich – ist die rare deutschsprachige Version des Tracks "Black Power", gesungen von einer gewissen Donna Gaines. Später natürlich weltberühmt geworden als Donna Summer, markiert dieser Song ihre allererste Aufnahme als Solokünstlerin im Alter von gerade einmal 20 Jahren. Zugleich war es ihr erster Auftritt vor der Kamera – prominent platziert im ZDF-Krimi-Dreiteiler "11 Uhr 20" (1969). Sowohl der Film als auch bisherige Sampler verwendeten die englischsprachige Version; der Mono-Mix der deutschen Fassung wurde erst vor Kurzem in Peter Thomas’ Bandarchiv wiederentdeckt. Ein weiteres vokales Highlight aus einer deutschen Krimi-Trilogie ist Senta Bergers frech-laszives "Vergiss mich, wenn du kannst" (aus dem ZDF-Krimi-Dreiteiler "Babeck", 1968). Das Lied basiert auf dem Titelthema der Serie und wird von der Sängerin in ihrer Rolle als geheimnisvolle, vamp-artige Barchefin interpretiert. Unter Liebhabern europäischer Filmmusik hat sich der Titel längst zum Kultstück entwickelt und wurde bereits mehrfach gecovert. Das Original feiert nun endlich hier seine Vinyl-Premiere. Achtung: Ein absoluter Doppelseiter!


a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1 | Black Power (German version) [feat Donna Summer]

Uncompromising Italian DJ/producer The Southern makes his vinyl debut on Mutual Rytm's sub-label, Spectra, with remixes from Alarico, Temudo and Sciahri. An EP marking an impressive label debut, Carmine Portarulo, aka The Southern, lands on Mutual Rytm’s sub- label Spectra with a powerful showcase of his much-loved sound. With the lead track featuring as one of label head SHDW's most requested IDs of the year so far, and packaged alongside outstanding remixes by close label associates Alarico, Temudo and Sciahri, the EP comes having established himself with a sound rooted in old school value and pure techno, favouring energy and authenticity over hype. The track’s backstory comes from the moment Carmine and his partner found out they were expecting a child and went for their first ultrasound appointment. Overwhelmed by the emotion of the moment and the beauty of what nature is capable of, he returned home and poured those feelings into the music. The result, ‘Ultrasound’, is an anthemic, punchy techno cut with euphoric energy rising up through the synths and its catchy lead melody. Joyful melodies sparkle amid vocal groans, adding a raw emotional pull as the warm, driving drums march on. Berlin-based artist Alarico is the first to remix on his return to the label, and his ‘Sad Mix’ has a more melancholic mood, with dark chords and tightly programmed drums that bring lo-key funk. Hayes Collective founder Temudo also returns and flips the vibe on his ‘Neuro Interpretation’ with a more psyched-out, twisted tune featuring trippy synths and booming drums for peak-time impact. Italo-Iranian Sublunar Records head Sciahri then drops his trance- inducing, hypotonic ‘Tunnel Vision Mix’, followed by two digital bonuses: ‘The Stripped Mix’, a bouncy workout with futuristic melodies, and Temudo’s ‘Neuro Interpretation 2’, which is raw, textured, and dark.

Japanese crossover and fusion are hot again now. As either an outgrowth of, or a spin-off phenomenon from, the global reappraisal of
city pop, Japanese fusion has been rapidly rising since around last year.
Widely known as a support member for YMO and also popular on the overseas club music scene through Colored Music, her cuttingedge dance-pop unit with Atsuo Fujimoto, keyboardist, composer, and vocalist Ichiko Hashimoto released this, her second solo work, in
1985. Released on DOMO, the label headed by Kazumi Watanabe, and naturally produced by Kazumi Watanabe himself, who also plays
guitar on the album.
A truly crossover work of remarkable freedom, moving across fusion, techno, piano pieces, danceable music, classical, Japanesque
sounds, bossa nova, ambient, and more. Her fleeting singing voice is wonderful as well.

X-Ray Spex was a British punk rock band that emerged in the late 1970s, known for their distinctive sound, socially conscious lyrics, and the dynamic frontwoman Poly Styrene. The band was active during the first wave of punk rock and played a significant role in the punk movement.
Lead vocalist and songwriter Poly Styrene was known for her unique vocal style and often cited as an influential figure in the punk scene.
Other band members on ‘Germfree Adolescents are Jak Airport: Guitarist / Paul Dean: Bassist / Rudi Thompson: Sax / B P Hurding: Drummer.
X-Ray Spex released their debut album, "Germfree Adolescents," in 1978, featuring the title track, "Germfree Adolescents." The album is considered a classic of the punk era.

Poly Styrene's lyrics often addressed social and consumerist issues, and her unconventional fashion sense and energetic stage presence added to the band's overall identity.

Japanese crossover and fusion are hot again now. As either an outgrowth of, or a spin-off phenomenon from, the global reappraisal
of city pop, Japanese fusion has been rapidly rising since around last year.
This is the 1978 debut album by Carioca, one of Japan’s leading Brazilian fusion units of the 1970s and 1980s.
The group began as the backing band for Kiyoshi Hasegawa, and on this debut release they used the name "Samba Calioca." True to that
band name, they were quite unusual at the time for presenting samba and bossa nova with a resort-flavored sound, and they also
produced specialists such as drummer Antonio Ishida and guitarist Masami Sato. This highly club-popular first album also features a
diverse lineup of guest musicians including Masayoshi Takanaka, Ryuichi Sakamoto, Shuichi "Ponta" Murakami, and Shigeharu Mukai.

Two-time BRIT Award winner Becky Hill will release her eagerly anticipated third album ‘REBECCA’ on September 25th.

‘REBECCA’ was written during a period of intense personal and artistic reflection and sees Becky exploring ambition, identity, visibility and the contradictions of her life from a place of greater openness and creative freedom. Across the record, she examines the tension between desire and self-preservation with clarity, humour and brutal honesty, resulting in her boldest, emotionally charged body of work to date.

Described by Becky as “curated chaos”, ‘REBECCA’ also marks a significant evolution in her sound. It sees her reconnecting with the wider influences that shaped her early musical identity, pulling inspiration from guitar music alongside the dance and drum & bass foundations that have defined her career. ‘REBECCA’ blends that collision of worlds with heavy electro production, alternative influences and euphoric electronics into an album that feels both expansive and unpredictable.

Two-time BRIT Award winner Becky Hill will release her eagerly anticipated third album ‘REBECCA’ on September 25th.

‘REBECCA’ was written during a period of intense personal and artistic reflection and sees Becky exploring ambition, identity, visibility and the contradictions of her life from a place of greater openness and creative freedom. Across the record, she examines the tension between desire and self-preservation with clarity, humour and brutal honesty, resulting in her boldest, emotionally charged body of work to date.

Described by Becky as “curated chaos”, ‘REBECCA’ also marks a significant evolution in her sound. It sees her reconnecting with the wider influences that shaped her early musical identity, pulling inspiration from guitar music alongside the dance and drum & bass foundations that have defined her career. ‘REBECCA’ blends that collision of worlds with heavy electro production, alternative influences and euphoric electronics into an album that feels both expansive and unpredictable.

There are some first times you never forget. The first time one hears Syd Matters’ captivating voice is one of them.


From “End & Start Again”, his first single in 2003, Jonathan Morali’s warm, soulful vocals and timeless melodies revealed an artist in a league of his own. Success in France and abroad was immediate and has never waned.
Four albums followed between 2004 and 2011, along with a host of unforgettable songs: “Black & White Eyes”, “Obstacles”, “To All Of You” or “I Might Float” left their mark on an entire generation, racking up nearly 200 million streams and 100,000 physical sales. Drawing equally from the songwriting of the 60s, the creativity of the 70s and the modern synthetic era, Syd Matters has developed a unique musical universe, building a loyal and ever-growing audience over the years.


On stage, accompanied by his band, audiences recall intense concerts where the artist and his musicians deliver performances that were at once epic and intimate. Lush and spectacular on stage, their music never lost its center of gravity, gaining even in depth. Syd Matters toured France and Europe (England, Germany, Scandinavia...) for nearly ten years, as well as in the United States and Latin America. In 2011, the tour for his album Brother Ocean culminated in Paris at the mythical venue l’Olympia.
Jonathan Morali then took a step back from the spotlight but remained just as prolific, writing for film, theater, radio, and television and collaborating over the years with directors such Éric Rochant, Rémi Chayé, Thomas Litli, Patrick Mille, and Mélanie Laurent to name but a few. When scoring for films, the musician gives free rein to his desires and intuitions. He works with the very fabric of sounds and their underlying emotions, as if freed from the constraints imposed by the song format.


Between 2015 and 2019, he also composed the soundtracks for the remarkable video games Life Is Strange and Life Is Strange 2, which were massive global hits. Several Syd Matters tracks appeared in the game, and the success was such that it revived the band’s career, introducing their music to a new audience.


After an extended hiatus, Syd Matters will make a major comeback with a new album - their fifth - set for release in September 2026 on Créature - also home to Flora Fishbach and Chassol. They will then tour France and Europe, returning to the legendary stage of the Olympia on November 17, 2026, where they will perform their new songs. And others that we know by heart and haven’t forgotten.

Die Legenden der elektronischen Musik, Soft Cell, bestehend aus Sänger & Frontmann Marc Almond und Multiinstrumentalist & Produzent Dave Ball, veröffentlichen mit "Danceteria" ihr sechstes und letztes Studioalbum - zugleich ein Liebesbrief an das New York der frühen 80er Jahre, wo Soft Cell ihre ersten drei Alben aufnahmen. "Danceteria" ist ein großartiger, stilvoller und verspielter Abschied von 47 Jahren gemeinsamer Musikgeschichte von Marc & Dave als Soft Cell und präsentiert Darbietungen, die für die Karriere dieser Electro-Pop-Legenden prägend sind. Mit Anklängen an Sparks und die Pet Shop Boys sowie Texten, für die Lady Gaga töten würde, nimmt das Album den Hörer mit auf eine lebendige Reise durch einen Tag im New York der frühen 80er Jahre – eine Reise, die rund um die Uhr von der Nacht über den verschwommenen Tagesanbruch bis zum direkten Wiedereintritt in den Club führt.

"Danceteria" ist gleichermaßen eine Hommage an den verstorbenen, großartigen Dave Ball. Dieses letzte Album gehört zu den letzten Werken, an denen Ball als Co-Autor und Produzent mitwirkte, bevor er am 22. Oktober 2025 auf tragische Weise viel zu früh verstarb. Marc Almond führte die Reihe der Nachrufe an und bezeichnete Dave als "geniales musikalisches Genie". Die weltweiten Medien und Musikstars wie Neil Tennant & Chris Lowe (Pet Shop Boys), Daniel Miller (Mute Records), Cabaret Voltaire sowie Richard Norris aus Daves Techno-Duo The Grid würdigten ihn voller Anerkennung und Wehmut als Pionier der elektronischen Musik. Dave stellte "Danceteria" zwei Tage vor seinem Tod fertig, und ganz in seinem Sinne wurde die Veröffentlichung des Albums wie geplant durchgeführt. Auch aufgrund von Daves Tod muss "Danceteria" zwangsläufig das letzte Soft Cell-Album sein, wie Marc erklärt: "Ohne Dave kann es keine weiteren Aufnahmen von Soft Cell geben; das wäre schlichtweg unmöglich. Die traurige Realität ist, dass Dave Ball die eine Hälfte von Soft Cell war, und abgesehen von Live-Auftritten kann ich ohne ihn keine Soft-Cell-Songs schreiben."

"Ich möchte lieben und geliebt werden, aber ich will mich auch frei fühlen. Die Spannung zwischen diesen beiden Dingen ist die zentrale Frage meines Lebens", sagt Julia Jacklin - und genau diese Ambivalenz durchzieht ihr viertes Album The Gem. Nach ihrem Umzug nach Melbourne 2017 fand Jacklin in einer kleinen Bar namens The Gem einen Ort der Selbstfindung - ein Sinnbild, das dem neuen Album seinen Namen gibt. Acht Jahre später, nach den hochgelobten Erfolgen ihrer ersten drei Platten - Don"t Let the Kids Win (2016), Crushing (2019) und PRE PLEASURE (2022) - schlägt sie ein neues Kapitel auf: Erstmals veröffentlicht sie bei dem renommierten, stilprägenden Label 4AD, das seit Jahrzehnten für künstlerische Vision und ikonische Indie-Veröffentlichungen steht. Ohne äußeren Druck und frei von Erwartungen schuf Jacklin in Melbourne ihr bislang persönlichstes Werk. The Gem entstand im engen Kreis vertrauter Musiker:innen und entwickelte sich über Monate hinweg - ein intensiver Prozess, geprägt von Selbstreflexion, Zweifel und dem Mut, eigene Entscheidungen kompromisslos zu vertreten. Songs wie "Brand New" oder "Real Life" wurden dabei grundlegend neu gestaltet, bis sie sich ehrlich und richtig anfühlten. Der eröffnende Track "Brand New" setzt ein elektrisches Statement zwischen Aufbruch und Selbsttäuschung, während Stücke wie "God Sometimes" oder "The Hardest Thing" von Selbstbestimmung, Verlust und innerem Wachstum erzählen. Klanglich erweitert Jacklin ihre bisherigen Indie- und Folk-Ansätze um kraftvollere, teils nahezu hymnische Momente. Auch die besondere Aufnahmeumgebung - ein Studio über einer lebhaften Kneipe - prägt den Sound: roh, direkt und atmosphärisch dicht. Mit The Gem gelingt Julia Jacklin eine eindringliche Rückkehr zu sich selbst. Zugleich knüpft sie an die Stärke ihrer bisherigen Alben an und entwickelt ihren Sound konsequent weiter - ein weiterer Beweis dafür, warum sie zu den prägendsten Stimmen des modernen Indies zählt.

"Ich möchte lieben und geliebt werden, aber ich will mich auch frei fühlen. Die Spannung zwischen diesen beiden Dingen ist die zentrale Frage meines Lebens", sagt Julia Jacklin - und genau diese Ambivalenz durchzieht ihr viertes Album The Gem. Nach ihrem Umzug nach Melbourne 2017 fand Jacklin in einer kleinen Bar namens The Gem einen Ort der Selbstfindung - ein Sinnbild, das dem neuen Album seinen Namen gibt. Acht Jahre später, nach den hochgelobten Erfolgen ihrer ersten drei Platten - Don"t Let the Kids Win (2016), Crushing (2019) und PRE PLEASURE (2022) - schlägt sie ein neues Kapitel auf: Erstmals veröffentlicht sie bei dem renommierten, stilprägenden Label 4AD, das seit Jahrzehnten für künstlerische Vision und ikonische Indie-Veröffentlichungen steht. Ohne äußeren Druck und frei von Erwartungen schuf Jacklin in Melbourne ihr bislang persönlichstes Werk. The Gem entstand im engen Kreis vertrauter Musiker:innen und entwickelte sich über Monate hinweg - ein intensiver Prozess, geprägt von Selbstreflexion, Zweifel und dem Mut, eigene Entscheidungen kompromisslos zu vertreten. Songs wie "Brand New" oder "Real Life" wurden dabei grundlegend neu gestaltet, bis sie sich ehrlich und richtig anfühlten. Der eröffnende Track "Brand New" setzt ein elektrisches Statement zwischen Aufbruch und Selbsttäuschung, während Stücke wie "God Sometimes" oder "The Hardest Thing" von Selbstbestimmung, Verlust und innerem Wachstum erzählen. Klanglich erweitert Jacklin ihre bisherigen Indie- und Folk-Ansätze um kraftvollere, teils nahezu hymnische Momente. Auch die besondere Aufnahmeumgebung - ein Studio über einer lebhaften Kneipe - prägt den Sound: roh, direkt und atmosphärisch dicht. Mit The Gem gelingt Julia Jacklin eine eindringliche Rückkehr zu sich selbst. Zugleich knüpft sie an die Stärke ihrer bisherigen Alben an und entwickelt ihren Sound konsequent weiter - ein weiterer Beweis dafür, warum sie zu den prägendsten Stimmen des modernen Indies zählt.

Kosuke Mine’s electric album, with a strong rock and funk flavor, is set for reissue as part of "Spin This Now!" Vol. 9. This classic album shines with the outstanding combination of Mine’s saxophone with a wah-wah pedal and Mikio Masuda’s psychedelic keyboards.

East Wind was a groundbreaking jazz label established in 1974 through the full cooperation of Ai Music, as it was then known, and Nippon Phonogram, as it was then known. Over a period of about five years, the label produced albums not only by Japanese musicians such as Masabumi Kikuchi, Sadao Watanabe, and Terumasa Hino, but also by musicians who were engaged in creative activity on the global jazz scene at the time. In addition to the quality of the performances, the artwork, created with leading designers and photographers, brought a fresh new image to jazz albums and had a major influence on later record production.

Das neue EUROTEURO Album "Magic" stellt eine musikalische Neuorientierung dar, bewegt sich zwischen New Wave, Art Pop und Neuer Deutscher Welle. Ein Sound, der sich nicht festlegen will aber trotzdem seine klare Form nicht verliert. Das Wiener Projekt um Peter T. präsentiert sich von der düsteren Seite. Die Texte sind teils in Deutsch, teils auf Englisch gehalten, Englisch erlaubt abstrakter zu bleiben, weil es nicht Muttersprache ist und dadurch etwas Fantastischeres behält. Deutsch hingegen eignet sich im Euroteuro Kosmos besser für klare Aussagen, direkte Botschaften, Slogans der Subversion. Nach ihren bisherigen "Volume"-Veröffentlichungen, die eher als Singles-Collections fungierten, steht "Magic" als das erste geschlossene Album da. Entstanden in einem gemeinsamen Prozess, an dem Musiker*innen wie Alexander Kranabetter, Topsy Turvy, Katarina Maria Trenk, Soap&Skin, Farce, Voodoo Jürgens und Elisa Mory beteiligt sind. Magic ist ein Nachtalbum. Es führt an einen inneren Ort, der sich im Laufe der Songs verändert. Am Anfang steht ein eher karger Raum, ein Ich, das sich umsieht und eine Bestandsaufnahme macht. Mit der Zeit wandelt sich dieser Raum, wird dichter, vielschichtiger. Der Hedonismus ist Draußen. Die Verweigerung von Selbstoptimierung auch. Euroteuro wird 10 und im Zentrum steht die Frage warum wir sterben müssen und was dann sein wird. Der Blick ist nach innen gerichtet. Euroteuro ist unterwegs zwischen Orientierungslosigkeit und Euphorie, durch eine Nacht, die nicht endet. "Magic" der Soundtrack dieser nächtlichen Odyssee ist schön und unheimlich zugleich. Das Albumartwork folgt dem, ist psychedelisch, zugleich schön und bedrohlich, trägt Trauer in sich und verweist auf den Kreislauf von Werden und Vergehen. Das Ölbild existierte bereits, die Künstlerin Ramsko brachte es ins Studio, wo es sofort mit der Musik resonierte. 180g schweres, klassisch schwarzes Vinyl oder CD im 6seitigen Digisleeve erhältlich

"Polyrhythms, fiddle drones, and acid melodies are once again on display under a kaleidoscopic sun, where high voltage is never far away, celebrating an incantatory Occitan prose.


La Raive is a path between dream and reality, memory and imagination, where dance becomes a space of vivid memory. In this workshop, Brama seizes the pulse to build an architecture where each motif is a door, each variation a secret passage."

Jason Dungan (aka Blue Lake) and Johan Carøe find beauty in the rhythms
and repetitions of domestic life for collaborative album, 'Routine' - out September 25

Copenhagen-based multi-instrumentalists Jason Dungan and Johan Carøe didn't set out to make an album. Instead, as the title 'Routine' suggests, they found their way there through a process of habitual making and listening, developing an intuitive musical language to reflect the dreamlike meanderings and creative play of life's quiet moments. 'Routine' blends pop orientated sounds, Avant-garde minimalism, folk and new age with the emotive depth of film-score.

Their meeting was not entirely coincidental. Previously in bands such as Squares and Triangles, Jason Dungan has since recorded multiple albums under the moniker Blue Lake, including the lauded 'Sun Arcs', pursuing his passion for self-built percussion and multi-string instruments. Johan Carøe meanwhile is a composer whose film soundtrack work has seen him collaborate with Angelo Badalamenti, Arp, and Sofie Birch, at whose Andersabo residency (curated by Dungan) the pair first met, resulting in the highly praised album 'Repair Techniques' written by Birch and Carøe.

'Routine' emerged organically over many years against the backdrop of great personal change. As Carøe said goodbye to his father and welcomed his first child, the pair sent each other fragments of melodies and patterns, working up responses when time allowed to assemble a sonic palette that combined acoustic instrumentation of zither, clarinet, cello, saxophone (among others) with the textures of tape, drum machine and Yamaha DX7 synth. Inspired by the vulnerability and DIY ethos of Arthur Russell's home recordings, the vision of labels like Disques de Crepescule, and the art pop, experimentation inherent to late '70s and early '80s recordings from NYC and Japan alike, Dungan and Carøe conjured new forms for their folk, leftfield pop and avant garde influences from the low-lit living rooms of Copenhagen and rural Sweden. "I'm very interested in the ways in which music and art emerge from our wider experiences as people, workers, parents and in the daydreaming activity of making music," Dungan explains of a process which allowed the duo's individual styles to drift apart and merge together seamlessly. "I think the process was definitely capturing moments in time, but over a long time," Carøe adds. "It was a bit like improvisation, but with time stretched."

The music floats with grace and humility, remaining sophisticated yet acutely introverted.
Whether on 'Clouds', where soft layers of zither and clarinet are moved along by a featherlight bass riff and the hypnotic clip-clop of the primitive groovebox, or the gentle grandeur of cello rising and falling through 'Routine 1', the album reveals itself over 10 instrumental tracks, evoking the ineffable calm that descends when the light changes and the world turns inwards. The act of time passing became a key creative ingredient to the evolution of the album, enriched with the exciting challenge to transform their passing rounds of home recordings via a slow release musical dialogue. Jason found creative moments in the twilight hours to lay down zither, melodica, acoustic guitar to name but few, while Johan utilising "line-in and headphones" would manipulate, stretch and pitch Jason's melodic pathways during newly born naptimes.

Carøe rhythmically plucks and slides the stringed cello instrument, leaving palpable foundations on 'Hymn' and 'Chords', in a treated, stylistic approach akin to Mabe Fratti, while 'Silence' draws to a close with a gospel touch. Dungan's harp-motion zither flourishes reveal more classical connotations on 'Reunion' with inspiration of Bedroom Community's Nico Muhly as organs rise with Moogs, culminating with a climatic choral outro from friend, mezzo-soprano Anna Caroline Olesen.

'Routine' then is their first collaboration, an album of deep and sincere reflection with inviting overtones that gesture with unrushed authenticity. A document of a new-found friendship that opens a window into the most personal of spaces, where the daily practices of music and life exist side-by-side to wondrous effect.

"Solaris", das zwölfte Studioalbum von The Ocean, würdigt die bisherige Entwicklung der Band und verleiht ihr eine neue, intensive Note. Mit Mitgliedern aus sechs verschiedenen Ländern im Kern-Line-up kehrt The Ocean zu einer kollektiven Besetzung zurück und schöpft aus dem Erfahrungsschatz und Talent eines Pools außergewöhnlicher Musiker. Nachdem man mit dem Vorgängeralbum "Holocene" einen anderen Weg eingeschlagen hatte, zeichnet für den weitläufigen, organischen Klang von "Solaris" erneut der schwedische Produzent Jens Bogren verantwortlich, der bereits die beliebtesten Alben der Band - "Pelagial" sowie "Phanerozoic I" und "II" - abgemischt hat. Das neue Album stellt die Sänger*innen Lane Shi und Enrico Tiberi sowie die Gitarristen Emmanuel Jessua und Marco Gennaro vor; sie ergänzen den Gründungs-Gitarristen Robin Staps, den langjährigen Bassisten Mattias Hägerstrand und Schlagzeuger Jordi Farré. Jeder von ihnen bringt seine ganz eigene Note ein, um dieses fast 70-minütige Opus zum Leben zu erwecken - ein Werk, das für The Ocean hinsichtlich Ambition und erzählerischer Tiefe einen neuen Höhepunkt darstellt. Für die Aufnahmen wurde der Kreis der Mitwirkenden noch weiter gefasst: Thorsten Quaeschning (Tangerine Dream) steuerte modulare Synthesizer bei, der griechische Komponist Orestis Zafiriou (Playgrounded) lieferte ebenfalls Elektronik- und Synthie-Elemente, und Simen Eifring von der norwegischen Post-Rock-Band Spurv übernahm den Posaunenpart. Aufgenommen wurde das Album in den legendären Berliner Hansa Studios, wo bereits Klassiker wie David Bowies Low und Heroes, Iggy Pops Lust For Life und Depeche Modes Construction Time Again entstanden. Innerhalb dieser Studiowände entwickelte sich "Solaris" zu einem lebendigen Zeugnis für die Kraft von Entdeckergeist und Teamarbeit. Da der neue Sänger Tiberi zudem ein versierter Pianist und Multiinstrumentalist ist, wurden Klänge von Celesta, Flügel, Rhodes-Piano und Hammond-Orgel zu einem integralen und unverwechselbaren Bestandteil des Solaris-Sounds. Der für The Ocean typische, atmosphärische Post-Metal wird durch den experimentierfreudigen Geist der neuen Mitglieder sowie die Beiträge der exzellenten Gastmusiker bereichert. Die CD und 2LP Gatefold-Sleeves sind jeweils auf 360g Spezial-Karton gefertigt und auf Vorder- wie Rückseite mit roter Metallic-Heißfolien-Prägung veredelt. Die CD mit 6seitigem Fold-Out-Booklet, die 2LP in bedruckten Innenhüllen kommt zusätzlich mit A2-Poster.

*Re-release of Holy Fuck’s 5th album originally released in 2020, now on clear vinyl limited to 500 copies*
Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

Starcleaner Reunion ist eine schnell aufstrebende neue Band aus alten Freunden, die in NYC leben. Sängerin Jo Roman, die Gitarristen Pat Drummond und Neil Torman sowie Bassist Adam Kenter machen schon seit ihrer gemeinsamen Highschool-Zeit in New Jersey in verschiedenen Besetzungen gemeinsam Musik. Im Jahr 2022 fand die Band in NYC zusammen und hat seitdem eine Reihe von ausverkauften Konzerten in NY gespielt, die begeistert aufgenommen wurden, sowie landesweite Tourneen mit TOPS, This is Lorelei und anderen absolviert. Ihre erste Vinyl-Veröffentlichung, eine 10"-EP bei Take Care Records, erschien im Jahr 2025 und war sofort ausverkauft. Die Vorfreude auf ihr Debütalbum ,Umbrella" ist groß, da sie für 2026 noch bedeutendere Auftritte und Tourneen planen, darunter das Psychfest in Austin, das Total Bummer Fest in Brooklyn und Termine an der Westküste mit Blondshell.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Starcleaner Reunion ist eine schnell aufstrebende neue Band aus alten Freunden, die in NYC leben. Sängerin Jo Roman, die Gitarristen Pat Drummond und Neil Torman sowie Bassist Adam Kenter machen schon seit ihrer gemeinsamen Highschool-Zeit in New Jersey in verschiedenen Besetzungen gemeinsam Musik. Im Jahr 2022 fand die Band in NYC zusammen und hat seitdem eine Reihe von ausverkauften Konzerten in NY gespielt, die begeistert aufgenommen wurden, sowie landesweite Tourneen mit TOPS, This is Lorelei und anderen absolviert. Ihre erste Vinyl-Veröffentlichung, eine 10"-EP bei Take Care Records, erschien im Jahr 2025 und war sofort ausverkauft. Die Vorfreude auf ihr Debütalbum ,Umbrella" ist groß, da sie für 2026 noch bedeutendere Auftritte und Tourneen planen, darunter das Psychfest in Austin, das Total Bummer Fest in Brooklyn und Termine an der Westküste mit Blondshell.

“Man has such a predilection for systems and abstract deductions that he is ready to distort the truth intentionally, he is ready to deny the evidence of his senses only to justify his logic”
Fyodor Dostoevsky - Notes from Underground (1864)

The Intermittent Signal is the sound of resistance.

In the year since The Sick Man Of Europe’s debut album was released, the world has moved on. Steady hands have slipped from the levers of power, logic has shifted underground and the message grows more urgent with every passing day.

Repetition has been relearned and the machine rhythms repurposed, this time with increased intensity. Arrangements have moved beyond the bare bones economy of the first record and there’s a newfound melodicism in places. Clarity and conviction ring true through the static and noise, while utopian ideas to remodel a broken system gain traction. This is a rejection of the attention economy and a call to reconnect through community and organisation. Those simple acts that were once commonplace have become increasingly radical as new fractures emerge.

“Through repetition the message has gained weight and become something more urgent,” The Sick Man Of Europe explains. “The vehicle for this message needed to evolve, grow to gain the strength to carry it. We’ve landed on something more expansive, immediate and immersive. Less is more. Until it isn't.”

“Man has such a predilection for systems and abstract deductions that he is ready to distort the truth intentionally, he is ready to deny the evidence of his senses only to justify his logic”
Fyodor Dostoevsky - Notes from Underground (1864)

The Intermittent Signal is the sound of resistance.

In the year since The Sick Man Of Europe’s debut album was released, the world has moved on. Steady hands have slipped from the levers of power, logic has shifted underground and the message grows more urgent with every passing day.

Repetition has been relearned and the machine rhythms repurposed, this time with increased intensity. Arrangements have moved beyond the bare bones economy of the first record and there’s a newfound melodicism in places. Clarity and conviction ring true through the static and noise, while utopian ideas to remodel a broken system gain traction. This is a rejection of the attention economy and a call to reconnect through community and organisation. Those simple acts that were once commonplace have become increasingly radical as new fractures emerge.

“Through repetition the message has gained weight and become something more urgent,” The Sick Man Of Europe explains. “The vehicle for this message needed to evolve, grow to gain the strength to carry it. We’ve landed on something more expansive, immediate and immersive. Less is more. Until it isn't.”

Pressure is the medium of wind players. Wind instruments all sound thanks to pressure differentials, whether that’s the rush of wind over a lip plate or a steady, buzzing exhalation through pursed lips. Ka Baird and Chris Ryan Williams (HxH) are wind players well- schooled in the power of using pressure and movement to amplify the mystery of an invisible force animating a metal tube. They augment their instruments, flute and trumpet respectively, with electronics, sometimes obscuring the acoustic sound source, sometimes making it hyperreal. Flutters of lip and tongue slither over the listener’s ear, and sustained tones become a dense fog, pushing on other kinds of visceral, emotional pressure points.

On Enthalpy, Baird and Williams’ first album as a duo, the energy they conjure feels barely contained, the pressure built up to a breaking point before spilling out in multiple directions at various speeds. They borrow the title from thermodynamics, referring to the total energy of a system based on its pressure and volume. The music flies out in bursts; it seeps and oozes, flows with intention. It is an incredibly rhythmic work without any hint of meter, full of sounds that punctuate with the thud of a dart hitting a bullseye. Williams’ capability to conjure swirling atmospherics, as well as his remarkable ability to pull fragments of melody from the haze, fit puzzle-like into Baird’s exclamations and the eruption of electronics that often dovetail them. The duo draws on tones from nearly the entire range of human hearing, from nimble but bulbous throbs of sub-bass to pinprick flickers of ultra-high end.

The sessions that produced Enthalpy were completely improvised, showcasing a degree of mind-meld that belies each participant’s thrill at approaching the unknown. This isn’t a casual conversation, but an omnidirectional tangle that ties and reties itself into new knots as the album progresses. Williams and Baird have both become ubiquitous presences throughout the New York City experimental music communities, collaborating with innumerable others and learning how their unique approaches work in tandem with similarly expansive thinkers and players. Even in the album’s most spacious moments, there’s a tension between the feeling of being unmoored and yet completely locked in, like the abyss is just one more river to cross. They ford it together before moving on to the next idea in lock step.

For the listener, Enthalpy is often felt in the body as much as it reverberates within the ears. We’re tossed from side to side, made to shoulder the impact of detonating electronics, absorbing these sounds with the feet, gut, and crown. Baird reaches into the back of their throat for guttural growls, and we can almost feel the scratch. As we tread the border of the synthesthetic, it's a reminder of the physical nature of sound, that the space between our ears and the speakers is its own enthalpic system of energy conduction. Move with it, let it move you, and see how it feels.

the iconic project returns late September with its milestone 10th studio album, ‘I Wrote You A Letter’.

Twenty-five years after his debut, M83 (Anthony Gonzalez) stands as a genuinely era-defining electronic act, renowned for pushing indie-electronic into the mainstream while maintaining absolute critical credibility. With a massive catalog compounding billions of streams—anchored by the timeless “MIDNIGHT CITY” (1.5B streams)—the iconic project returns late September with its milestone 10th studio album, I WROTE YOU A LETTER’.
Recorded between Los Angeles and Paris alongside BENOIT DE VILLENEUVE, this new record follows the highly acclaimed ‘FANTASY’ (2023) and features striking artwork by celebrated Australian photographer BILL HENSON. This release marks a historic chapter, encapsulating a quarter-century of sonic evolution.
Commercially, M83’s power lies in an unmatched ability to transcend generations. Synonymous with cinematic emotion, nostalgia, and immense scale, M83’s sound is virtually a genre of its own, heavily sought after for film, TV, and sync. Live, the act holds top-tier global status, proven by headlining slots at major festivals like Coachella, Glastonbury, and Primavera.
‘I WROTE YOU A LETTER’ delivers exactly what M83 does best: big emotional scale, breathtaking cinematic atmospheres, and sharp hooks, all pushed into a fresh, modern palette.

Fünfundzwanzig Jahre nach seinem Debüt gilt M83 (Anthony Gonzalez) als ein wahrhaft epochaler Elektro-Künstler, der dafür bekannt ist, Indie-Elektro in den Mainstream zu bringen. Mit einem riesigen Repertoire, das Milliarden von Streams umfasst – angeführt von dem zeitlosen „MIDNIGHT CITY“ (1,5 Milliarden Streams) – kehrt das ikonische Projekt Ende September mit seinem wegweisenden zehnten Studioalbum „I WROTE YOU A LETTER“ zurück.

Das neue Album, das gemeinsam mit BENOIT DE VILLENEUVE in Los Angeles und Paris aufgenommen wurde, knüpft an das hochgelobte „FANTASY“ (2023) an und besticht durch ein eindrucksvolles Cover des gefeierten australischen Fotografen BILL HENSON.
Diese Veröffentlichung markiert ein historisches Kapitel und fasst ein Vierteljahrhundert klanglicher Entwicklung zusammen.
Kommerziell liegt die Stärke von M83 in der unübertroffenen Fähigkeit, Generationen zu verbinden.
Als Synonym für filmische Emotionen, Nostalgie und immense Größe ist der Sound von M83 praktisch ein eigenes Genre, das für Film, Fernsehen und Synchronisation sehr gefragt ist.
Live genießt die Band weltweit Spitzenstatus, was durch Headliner-Auftritte bei großen Festivals wie Coachella, Glastonbury und Primavera unter Beweis gestellt wird.

„I WROTE YOU A LETTER“ liefert genau das, was M83 am besten kann: große emotionale Bandbreite, atemberaubende filmische Atmosphären und eingängige Hooks, alles verpackt in einer
frischen, modernen Klangpalette.

Across a glitching, glimmering constellation of 10 tracks, the record redraws the boundaries of her own subconscious through daring harmonic modulations, glitchy electronica, and frenetic orchestral sequencing. Deeply informed by Nordic folklore, it moves through a journey confronting body dysmorphia, control, and a staccatoing sense of self - reaching toward creative and emotional liberation through ethereal, amorphous avant-pop.

Within the work, the artist made the deliberate choice to take the focus away from her physical self - a protest, but also a tribute to the countless versions that form one person. "It's not about disappearing or being anonymous," she says, "more about loosening the grip of appearance, and letting the work exist without being defined by it."

Named for Bach's Inventions - played on piano growing up - Inventio carries a Baroque sensibility: trilling polyphonic textures and lush vocal harmonies rising above it all. Sonic touchstones include Björk, Elizabeth Fraser, and the kulning-style singing of Lena Willemark. Made across three years in Sweden, the album was built without Murex knowing it would become one. Collaborators including Pelle Westlin, Isak Hedtjärn, and Elvira Anderfjärd gave the work what Murex calls "extra arms." All music videos are directed by Murex herself.


"Making this album gave me back authority and power. I hope it's just as freeing to listen to."

2026. Die Welt fährt aus der Haut - und FLUTEN schreiben Songs zwischen dunkler Wucht, lyrischer Schärfe und verletzlicher Hoffnung. Seit 2007 entwickelt die Band aus Hamburg ihren eigenen Sound aus krachigen Gitarren, elektronischen Loops, Popfragmenten und melancholischer Poesie. Wo andere Eindeutigkeit suchen, finden FLUTEN ihre Spannung in den Zwischenräumen: zwischen Noise und Groove, Melodie und Lärm, Entfremdung und Sehnsucht. Im Herbst erscheint ihr neues Album "Kalter Stern". Es ist düsterer, dichter und dringlicher geworden als der Vorgänger "Splitter". Die Songs erzählen vom Leben in einer beschädigten Gegenwart und sind zugleich politisch und persönlich. Sie handeln von Sicherheiten, die zerfallen, und Gewissheiten, die nicht mehr tragen - und gleichzeitig von Momenten des Widerstands und Ausbrüchen ins Offene. Zwischen militanten Gedichten und Phantasieuniformen, zwischen offenem Meer und kalten Sternen, entsteht eine Sprache, die keine Parolen braucht, um Widerspruch zu üben. Keine Nostalgie, um zu berühren. FLUTEN klingen wie ein Film, der nicht linear erzählt ist. Wie ein Gefühl, das auf der Haut bleibt. Wie eine Stimme, die sagt: Es wird nicht einfach. Aber wir sind jetzt hier.

Auf ,Nearly" lässt sich Bullion von der Schönheit der Unvollkommenheit verzaubern. Nachdem er jahrelang als Kultproduzent den Sound des zeitgenössischen Avant-Pop mitgeprägt hat (Avalon Emerson, Carly Rae Jepsen, Westerman, Ben Howard und Oliver Sim von The XX), tritt Nathan Jenkins nun hinter dem Mischpult hervor, um sein bisher ausgefeiltestes Album zu präsentieren - eine Sammlung von verträumten, zeitlosen elektronischen Popsongs über Veränderung, Sehnsucht, Verantwortung und Kreativität als unwiderstehliche Kraft. Es ist eine Hommage an das Songwriting und das handwerkliche Können eines Künstlers, dessen unverwechselbare Vision von Pop schon immer Komplexität in der Zurückhaltung gefunden hat.

The Lp is ble marble be released on the 25th September Part celebration, part reflection, THE TIME OF OUR LIVES arrives as both the final release of Lancey’s twenties and the closing chapter of a creative world he has spent the last decade constructing. The most expansive statement of his career to date, moving freely between trap, alternative R&B, dance music, Afro-influenced rhythms and more, Lancey explores triumphant highs and lows of stark vulnerability across the album, interrogating ideas of success, freedom, loneliness and what it truly means to have the time of your life. Lancey Foux stands at the forefront of UK rap’s evolution, blending elements of hip-hop, cloud rap, trap, Jersey club, drill, and more into a sound that’s uniquely his own.

Since emerging from Newham, East London in 2015 with a clutch of freestyles and SoundCloud singles, Lancey has occupied a lane entirely of his own making. As he closes out his twenties, Lancey looks ahead to the next decade full of more unpredictable artistry as he continues to break the rules and change the game.

The Go-Betweens zählen zu den beliebtesten und einflussreichsten australischen Bands aller Zeiten und galten als die Kultband schlechthin. Während ihrer vielfach gefeierten Karriere bewahrten sie eine außergewöhnliche künstlerische Konstanz und schufen Jahr für Jahr Musik auf dem Niveau der besten zeitgenössischen Künstler. Gegründet wurde die Band 1978 in Brisbane von Grant McLennan und Robert Forster, zwei Studenten der University of Queensland mit einer Leidenschaft für Filme, Bob Dylan der mittleren Sechzigerjahre und die New Yorker Punk-Szene. Beide sangen, spielten Gitarre und schrieben Songs. Die Konstellation mit zwei eigenständigen Singer-Songwritern an der Spitze war ungewöhnlich, funktionierte hier jedoch hervorragend. Roberts kantige, düster-romantische Kompositionen wurden perfekt ergänzt durch Grants hochmelodische, poetische Popsongs. Dieses beeindruckende Live-Album wurde im Mai 1987 professionell aufgenommen, unmittelbar vor der Veröffentlichung von Tallulah. Uncut schrieb darüber, dass es "detailliert die wachsende Selbstsicherheit der Band und ihr stetig verfeinertes Songwriting dokumentiert".

The Veils' first three albums are returning to vinyl thanks to Rough Trade Records.

The Runaway Found (2004), Nux Vomica (2006) and 2009's Sun Gangs established the New Zealand band as purveyors of lush, romantic indie, able to sweep through cinematic vistas into intimate emotional corners, via gothic orchestration and atmospheric driving rhythms.

Founded and fronted by singer-songwriter Finn Andrews while still a teenager, over their first three albums, The Veils carved out a musical landscape of their own that was in turn deep and enveloping yet emotionally raw and direct.

Having only enjoyed a limited vinyl run on their releases, due to the format's neglected commercial status during the 2000s, the repressing of The Runaway Found, Nux Vomica and Sun Gangs, offers audiences a fresh opportunity to enjoy these records with the full depth, fidelity and artwork they deserve, and reminding listeners of the musical secrets The Veils revealed to the world.

“It is a sincere joy to see these records that are so important to us and to so many others reissued on vinyl by the label that nurtured us right from the start. I remain hugely grateful to them and to all the songs on these searching, impassioned, and magnificently youthful first attempts.” - Finn Andrews, The Veils

Modi Bardo, an alumnus of Moonshine Recordings, is another who on the surface appears to be at the nascent era of their sound experiments, but in truth is a longtime explorer of outer realms of Dub.

There is much to mention here which can be uncovered with the correct keywords, but one of the early bright points would be Spacelings and Bassheads, the Detroit-based Psych duo Modi Bardo was half of, who although seemingly limited in the realms of recorded output (with only a compilation appearance each via the Electro visionaries Interdimensional Transmissions and Booty bass / Techno orientated Intuit-Solar) where in fact not-so-limited in the era in the way of public performance, even performing at the renowned Packard Plant renegades in the 90's with UR on occasion.

Forward to now, and Modi Bardo has created something that reaches for unknown territory in Dub. With an establishing A side that is deep and primordial in tone, a' la Challenger Deep and Babe Roots releases, this proves to be merely a fantastic tone setter for the B side, which seems to find a zone where Dub Techno, Half Time, and Autonomic DnB have not quite gleaned yet. Truly a record unlike any other, while somehow being an invaluable tool for DJ's exploring the links between the aforementioned sounds and even Dancehall and Jungle in the mix.

A must for all those chasing the evolution of dub reflective arts, and the adventurous DJ in general.

Belgian Limburg-based Cold Wavers Siglo XX, were a leading coldwave band, successfully touring around Europe,and active between 1978 and 1989. Often called the Belgian Joy Division with their dark sound they made quite an impression in their heydays. Their backcatalogue and their liveshows still sound today timeless and fresh.

The past year they started touring again and played an impressive and powerful concert on January 17th in Ancienne Belgique, Brussels. On the set list an exquisite selection of their best work. This live album captures that performance as if you were there yourself, and maybe you were!

At the outset of the project, Jupp assembled a palette of instruments and sounds which evoke a moment in musical history when digital studio technology just started to take over from analogue. Eschewing Belbury Poly’s earlier mid 70s obsessions, to focus on that period around 1983, when artists who could afford it started to experiment with samplers. It was a musical moment dominated by the sounds of Prophet 5, DX7 & PPG synthesizers, Fairlight & Synclavier music computers, TR808 drum machine & Simmons Drums (those ubiquitous hexagonal drum pads) and of course the much-maligned fretless bass.

It’s also an era that’s now seen as something of a golden age for fantasy, sci-fi, comics, book, TV, movies and games (particularly in Britain where it was often fuelled by a post punk reaction to Thatcher’s regime). In Jupp’s memory these things go hand in hand; as a child his nerdy fandom was soundtracked not as it was for most by Heavy Metal, but by the electronic pop of Bill Nelson, Yellow Magic Orchestra, Japan, and Frank Chickens. Also, by otherworldly TV soundtracks & production music of the era: Elizabeth Parker and Paddy Kingsland at the BBC, The Parry Music Library, Rod Argent’s new age library albums and even Clannad’s Robin of Sherwood score.