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The series, written and directed by Flo Van Deuren and Kato De Boeck, tells the story of Bibi and Ama, two lesbian girlfriends in their twenties.

Hoping to become a better version of themselves, they move in together at a flat in Brussels. Each in their own way, but under the same roof, they come to new insights: life has no manual, love even less and themselves even less so. The result is an intimate series full of humour and familiarity.

Musically the series is coloured by an exclusive soundtrack and homegrown songs: 7 female or non-binary artists from Belgium were asked to write a song. Lara Chedraoui & Patrix, Juicy, Miss Angel, Tessa Dixson, Oriana Ikoma, Ana Diaz, SPACEBABYMADCHA and Mick Lemaire crept into their musical pen. The series also features existing songs by artists such as Martha Da’ro, Aili, B1980 and Fatal Error to showcase a maximum of local musical talent.

Mantra is the first single from The Bluebeaters' upcoming album, due for release in 2026. It is an unusual track in the band's discography, reminiscent more of The Clash's Rock The Casbah than Jamaica. It is a track with a 4/4 beat without the classic Jamaican syncopation typical of The Bluebeaters.

"It's a challenge to the background that has always driven the band. The album will not be entirely in this direction, but we decided to release this single to broaden our range of expression."

Produced by singer Patrick Benifei, aka Pat Cosmo, together with the solid rhythm section of The Bluebeaters, Count Ferdi on drums, Cato Senatore on guitar, Danilo Scuccimarra on piano and organ, and Paolo Parpaglione on saxophone.

It is the first in a series of singles that will form the backbone of the album.

Sung in Italian, Mantra is an original song written by Pat Cosmo.

The B-side is a dub, an instrumental version mixed by Ezra, producer, artist and our co-producer for all the tracks that will be released on the new album.

He has collaborated on many productions that are part of the Caribb Roots world, including Casino Royale and The Uppertones, as well as his own Dub Pigeons.

His studio is the NoMad Studio, located in the San Salvario area of Turin.

"Wer hätte gewollt, dass wir eine neue Extrem-Metal-Band gründen? Nun, vielleicht tatsächlich jemand, aber das ist diesmal nicht der Fall, denn wir haben etwas ganz anderes auf dem Teller..." Die nachdenkliche Stimme gehört dem außergewöhnlichen Gitarristen Markus Vanhala (Insomnium, Omnium Gatherum). In der neuen düsteren Band CEMETERY SKYLINE wird Vanhala von Keyboarder Santeri Kallio (Amorphis), Schlagzeuger Vesa Ranta (Sentenced, The Abbey), Bassist Victor Brandt (Dimmu Borgir und viele mehr) und Sänger Mikael Stanne (Dark Tranquillity, The Halo Effect) verstärkt. "Mit CEMETERY SKYLINE begeben wir uns in bisher unbetretene musikalische Richtungen - in jene dunkleren Gassen, die uns am Herzen liegen, die wir aber bisher nicht wirklich durchwandert haben. Und wir sind kollektiv sehr begeistert!" Eines der Schlüsselwörter, Gothic, wurde bereits erwähnt. "Wir alle teilen eine tiefe Liebe für den Goth-Rock der 80er und 90er Jahre - egal, ob es sich um eher synthiegetriebene oder härtere, gitarrenlastige Sachen handelt. Du kennst das mit den besten Bands von The Sisters of Mercy bis Type O Negative", sagt Santeri Kallio, der sich das Songwriting mit Vanhala teilt. "Aber ist CEMETERY SKYLINE eine Gothic-Band? Vielleicht bis zu einem gewissen Grad, aber das ist sicherlich nicht die ganze Geschichte. Wenn ihr die vielfältige Musik von CEMETERY SKYLINE irgendwie beschreiben müsst, tut uns einen Gefallen und nennt uns Botschafter des melodischen, melancholischen und dunklen Rock. Danke." Der Inhalt der Texte ist tief in eine düstere Gothic-Atmosphäre eingebettet. Das von Stanne geschriebene Konzept - zum ersten Mal in seiner bemerkenswerten Karriere verwendet Mikael während des gesamten Albums Clean Vocals - taucht unwiderstehlich in die paradoxe Welt der "nördlichen Einsamkeit" ein. "Die Texte sind tief verwurzelt in der selbstgewählten Einsamkeit der nordischen Menschen, ihrem anti-sozialen Verhalten und ihrem düsteren Sinn für Humor... Beim Schreiben der Texte habe ich mir diese Besonderheit zu Nutze gemacht, die man als den skandinavischen Gothic-Lifestyle bezeichnen könnte", sagt Stanne. "Nordic Gothic" ist erhältlich als: Ltd. CD Digipak, als 180g LP sowie als digitales Album.

This is the age of post-factual lies, which is reflected in MESH's album title "The Truth Doesn't Matter" and a dark undertone that occasionally seeps into their new songs. What remains entirely true is the fact that the UK duo has a nearly uncanny knack for writing electronic hits that are as elegant as they are captivating. "The Truth Doesn't Matter" bursts out like a sparkling firework while subtly referencing three decades of electronic music spanning from GIORGIO MORODER, YAZOO, and DEPECHE MODE via GARBAGE and MASSIVE ATTACK to more contemporary artists. At the same time, MESH always maintain their easily recognisable and unique musical identity as well as the trademark sounds that they have cultivated since their beginnings in the early nineties. With "The Truth Doesn't Matter", MESH climb yet another rung on the ladder leading to electronic music heaven. Each song wriggles its way happily into the brain and sticks around leading to spontaneous whistling of melodies and the public singing of extremely catchy chorus lines. You have been warned: "The Truth Doesn't Matter" is highly infectious and leads to a happier life!"

POISON IDEA’s momentum hasn’t slowed down one bit; this is still their brand of loud, potent powerthrash. Slightly more metal than in the past but the accent here is on the force and fury. Scorching. Each song on War All the Time flows into the other in a natural sequence for maximum impact and the whole thing blows over before you know it, but everything stays in your head, banging against the walls of your frontal bone. All this makes a good album, but what turns War All the Time into an amazing album are the lyrics and their delivery. Jerry A took the negative side of the world around him and expressed it in detail, rendered with words that can be read in a universal manner, expressing everything trivial and worthy of our puke in a language better suited to talk about the beauty of life. And those words remain as true to this day as the band’s riffs are brutal.

""Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you."

Critically acclaimed American producer Tomu DJ (Pitchfork, Dazed, NPR++) debuts on sound as language with her fourth album, 'antagonist.' Recorded in the artist’s Oakland, California home throughout 2025 using only a digital piano, her intention for the album was to “free myself from conventional notions of electronic music”. This is perhaps seen clearly on standout tracks “loose interpretation” and “careful deliberation”, which in their cinematic splendor evoke the beauty and thoughtfulness of classical music. Even so, 'antagonist' is “not intended to be like classical music, rather a stream of consciousness akin to spoken word poetry”. It is easy to see what she means on tracks like “antagonist” and “dance” which weave familiar elements into personal narratives of loneliness, perseverance and redemption. Despite its specific sonic palette, 'antagonist' fits right in with Tomu DJ’s discography, continuing to build on the musical ecosystem she has thoughtfully tended to over the course of the last decade.

Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. “I’m always watching the dancefloor and making sure everybody’s being respectful.” Or, as she sings on the supremely funky title track to her new album Movin’ Shoes, “Here’s where you dress for you and dance the way that you want to.”

Movin’ Shoes is an album about how we treat each other and how we treat ourselves. Confident in its touchstones and compassionate in its insights, Movin’ Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. Making Movin’ Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. “We should at all times acknowledge and accept the fact that we’re imperfect people,” she explains. “We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that’s not a bad thing. It just means we’re all human. This album is about making mistakes and learning from them. I’m always trying to put that into my songs.”

Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. “I’m always watching the dancefloor and making sure everybody’s being respectful.” Or, as she sings on the supremely funky title track to her new album Movin’ Shoes, “Here’s where you dress for you and dance the way that you want to.”

Movin’ Shoes is an album about how we treat each other and how we treat ourselves. Confident in its touchstones and compassionate in its insights, Movin’ Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. Making Movin’ Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. “We should at all times acknowledge and accept the fact that we’re imperfect people,” she explains. “We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that’s not a bad thing. It just means we’re all human. This album is about making mistakes and learning from them. I’m always trying to put that into my songs.”

Barely six months after the debut, the paths of the label and the artist converge once more — at their intersection, TECH039 emerges. This work significantly expands the musical language of Andy Martin: evolution is audible within every single recording. Tonally, rhythmically, and accent-wise, the release becomes a deep exploration of how personal experience transforms artistic signature, turning it into a new legacy for the local and global scene.

We see the author in a moment of artistic self-determination, on his path to international recognition. This is the sound of a master who cares about context, yet fundamentally refuses to meet outside expectations. At the core of TECH039 lies the concept of techno-futurism — sound projected forward, yet anchored in the fundamental laws of nature.

On the record: a transit from atmospheric harmonies and complex percussive structures to near-ambient variations, followed by gripping, mind-piercing sounds set against a functional bassline. This is a story of five distinct states, conceptually unified by a shared relation to the outer world, rather than the rigid boundaries of style.

- Mechanical Vals — fully positions the spirit of the record, referencing the incomparable signature of Andy Martin.
- The Paths of Rhythm — creates a rhythmic hypnotic structure, inviting DJs to uncover additional layers.
- Toltequidad – serves as a reminder that even the darkest night has its limits, and lighter hours inevitably arrive.

The integrity of the statement is completed by two interpretations:
- Vardae Reinterpretation — a reinterpretation deepening the original's hypnotic component.- Feral Reshape — a structural transformation emphasizing natural, organic power.

A substantial record for the collector’s archive and home listening, as well as a functional tool for the club night.

Necropalace ist eine düstere, doomlastige Reise ins Schreckliche und Romantische, heraufbeschworen vom sich ständig weiterentwickelnden vampirischen Wesen WORM. WORM schrieb sein erstes Kapitel mit Veröffentlichungen wie "Foreverglade" aus dem Jahr 2021 und dem Split-Album "Starpath" mit Dream Unending aus dem Jahr 2023 (beide erschienen bei 20 Buck Spin). Diese Vision erweckte WORM zusammen mit Hulder, Devil Master, Gatecreeper und Frozen Soul auf der Decibel Tour 2023 auf der Bühne zum Leben. Dabei verkörperte WORM den Sound der Dunkelheit mit einem außergewöhnlichen Sinn für Ambition.
Gemischt von Arthur Rizk (Blood Incantation, Power Trip) und mit dem gefeierten Gitarrenvirtuosen Marty Friedman auf dem letzten Track des Albums "Witchmoon" ist "Necropalace" die bisher reinste Destillation von WORMs selbsternanntem "Nekromantic Black Doom", dargestellt in blutbeflecktem Technicolor. Ein cineastisches, unvergessliches Meisterwerk des modernen Metal.

Stay True Sounds presents ‘Stay True Cutz Vol. 9’, the ninth vinyl edition in the label’s ‘Cutz’ series, curated by Kid Fonque. Drawn from the label’s most recent catalogue, this selection brings together four essential South African house cuts for discerning ears and dancefloors.

Side A opens with beatsbyhand ft. Sio – ‘Trick Me’, a deep house reinterpretation of Kelis’ classic, reshaped into a soulful, floor-ready anthem carried by Sio’s assured vocal. It’s followed by Tea White’s ‘Earth Over Us’, a textured and emotive 3-step instrumental that leans into a more ambient, introspective space.

On the flip, Thabo Tonick’s ‘The Source’ delivers forward-facing 3-step with signature sampling and tight, purposeful builds. Closing the release, Nutty Nys offers ‘Never’ - a low-slung, heavyweight deep house cut layered with blues-tinged soul and unmistakable South African groove.

Humanity from Japanese saxophonist and composer Kazuki Yamanaka contains both turbulence and tranquillity, freedom and discipline, an embracing of uncertainty with a deeply spiritual sense of resolution. The recordings were made in a single day in New York City with a team of extraordinary musicians. He"d already established a firm creative partnership with bass legend Cameron Brown and award-winning pianist Russ Lossing over the past year during their time as recording artists in NYC, and he renewed his fruitful association with outstanding drummer Billy Mintz (Lee Konitz, Charles Lloyd, Alan Broadbent) to complete the quartet. These three have been vital to Kazuki"s compositions that tell the story of his enforced absence from the scene during the pandemic and how he sought to centre himself in the midst of the disruption through contemplation and the development of an inward strength.

After years of dormancy, Stilove4music is back with a brand-new 12” from label boss Jerome Derradji — the 52nd release since the label’s creation in 2005. You know the drill: Midwest disco floor bangers made strictly for discerning DJs.

Titled “Do or Don’t”, the EP delivers three essential joints:

“Disco Don’t” is a fast-paced, floor-destroying monster built for peak-time damage.

“Jazz Do” shifts gears into a mellower, psychedelic jazz disco zone, featuring Jerome on live piano, Fender Rhodes, and Korg DV800, with additional programming for good measure.

Closing things out is “Never”, a lovely, groove-heavy floor filler bursting with Brazilian love — again elevated with extra programming from Jerome.

All tracks were produced by Jerome Derradji at the Hirsch Society For Togetherness in Chicago circa 2025.

DJ Support: DJ Spen, Honey Dijon, Tedd Patterson, Mousse T, Terry Hunter, The Shapeshifters, Groovy P and more

I Feel The Love" is a vibrant 4-track EP from the Serbian duo Mirko & Meex, Known for their high-energy blend of funky house and nu-disco, the duo delivers a cohesive package designed for peak-time dancefloors. Expect heavy, driving basslines paired with shimmering disco strings and infectious vocal loops that lean into the classic "Groove Culture" sound championed by label heads Micky More & Andy Tee. Each track is built for utility, featuring extended arrangements that allow DJs to bridge the gap between soulful house and more aggressive disco-house sets. The EP oscillates between sun-drenched daytime energy and sweatier, club-focused grooves, cementing the duo's reputation for "feel-good" house music.

Test press approved.
Dancefloor certified.

This album features reggae legend Monty Neysmith: co-founder and composer for Symarip. The Symarip debut album is one of the best-selling albums on Trojan Records.

Songs by Monty Neysmith have been covered by Bad Manners, Judge Dread and The Specials, among others.

The Upsessions will promote the album by touring all over Europe with The Pioneers.

The Eagles’ 1975 studio album, One Of These Nights, was a milestone album for the band, earning them their first GRAMMY® Award and becoming the first of four consecutive #1 albums. Rhino will release a Deluxe Edition of the album on April 10 as the band returns for the final weekend of their historic Sphere residency in Las Vegas.
One Of These Nights (Deluxe Edition) will be available as a a 3LP version, released the same day, will include the new album mix and the full concert recording. The lacquers were cut by Chris Bellman at Bernie Grundman Mastering.
Produced by Don Henley, the CD and vinyl editions include a new mix of the album by Rob Jacobs. Originally produced by Bill Szymczyk and recorded at Criteria Studios in Miami and the Record Plant in Los Angeles, One Of These Nights achieved quadruple Platinum certification and the single “Lyin’ Eyes” won the GRAMMY® Award for Best Pop Performance by a Duo or Group with Vocals.
The unreleased live recording captures the Eagles’ performance at the Sunshine Festival in Anaheim on September 28, 1975. Recorded at the end of the tour for One Of These Nights, it features Henley, Glenn Frey, Randy Meisner, Bernie Leadon, and Don Felder. Their set blends songs from that album (“Lyin’ Eyes,” “Take It To The Limit”) with hits from the group’s first three albums: “Take It Easy,” “Witchy Woman,” “Already Gone,” and “The Best Of My Love.” Joe Walsh also joins the group for the encore, performing his song “Rocky Mountain Way,” a few months before becoming an official member of the band.
The penultimate song is a rosing cover of Chuck Berry’s “Carol,” a live staple of the band at the time, marking the first time a recording of the song has ever been included on an Eagles album.
The Blu-ray that accompanies the CD set presents the album and the live performance in Dolby Atmos and high-resolution stereo. One Of These Nights (Deluxe Edition) and the Atmos mix of the original album will also be available digitally.

Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.

Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.

Certain paths necessitate and call for one singular long sequence in order to arrive at a fully formed conversation or reasoning. Nothing seems to broadcast it more clearly than the trajectory Brussels based Italo-Vietnamese artist Nguyễn Zen Mỹ embarked on during the last decade as Radio Hito.

After a string of highly cherished and sought out tape releases, Radio Hito’s new album ‘L’uso e gli attributi del cuore’, co-released by Maple Death & Meakusma, unfolds with devastating
clarity, a profound balance of depth, minimalism and emotional grounding. A ten-sequence song cycle for voice and MIDI soundfonts adapted from the 2021 book by French poet Claude
Royet-Journoud.

Written and recorded between January 2023 and August 2025, the cycle evolved through nearly 80 live performances from Galicia to Kazakhstan before arriving at its recorded form. Set to an Italian libretto adapted from Royet-Journoud’s text ‘L'usage et les attributs du cœur’ (POL, 2021), the work revisits the tradition of the 19th-century Lied — art song built on existing poetry— transposed into a radically economical contemporary setting: voice and Casio CTK workstations.

"I was interested by this incompleteness CRJ mentions - by the ‘suspension’ of meaning questioning readability and intelligibility. I ‘resisted’ to CRJ’s texts since I met him and got to know his work. … It seems to me that when playing the songs, I submit an object to be completed by the audience."

Radio Hito’s distinctive approach to setting poetry to music — spare arrangements, strophic repetition, and a voice suspended between recital, fm transmission and canzone — creates a language of its own, reaching new heights on ‘L’uso e gli attributi del cuore’, songs that are formally rigorous, emotionally restrained, and shaped by the discipline of sustained live performance, interlocking into a coherent cycle.

Rather than illustrating the poem, Radio Hito approaches it as a space of suspension. Royet-Journoud described poetry as a “profession of ignorance” where meaning remains incomplete; these songs extend that trembling state, allowing repetition, digital timbre, and restraint to hold the text open.

Often misread as minimal synth or romantic chanson, Radio Hito’s practice is rooted instead in the lineage of the art song and song cycle: open structures, close attention to language, and a live performance economy that pushes the voice at the heart of the stage. The choice of accessible keyboard workstations — light, portable, and embedded in contemporary popular culture — replaces the historical piano.

Radio Hito creates fantastical, mirage-like songs, intimate yet elusive. Her music is forlorn chanson for the digital age; bringing her haunting and beautiful vocalisations into conversation with MIDI soundfonts and humble-yet-deep casio compositions. Music that strides for simplicity, yet lands miraculously within an entire new universe, a uniqueness achieved from like-minded spirits such as Ghedalia Tazartès, Savina Yannatou & Lena Platonos, Dorothy Carter, cycles that trickle down into estuaries.

“Radio Hito's set is superb. Sitting on the altar steps with a synth, her fabulously expressive vocals colour sparse, pensive compositions.” The Wire

Call it soulful dream pop, proto-trip hop or downtempo jazz - "Tender Rain" is the follow-up LP to the successful "This Is" album and continues to deliver Ghia's unmistakable sonic magic. On this release, the band shares a selection of previously unreleased vocal songs alongside instrumental pieces, all carried by their trademark chilled and almost meditative atmosphere. Most of the recordings date from the early 1990s, while early demo versions of "New Love" and "Teardrops in Your Eyes" may reach back as far as the late 1980s.

The album opens with the title track "Tender Rain," where smooth vocal jazz harmonies merge effortlessly with soulful pop elements. The track originally appeared only on CD in 1993 on the small Mikado label run by renowned German guitarist Ulli Bögershausen. The band recalls that the piece was first pre-recorded using MIDI equipment and a Tascam 16-track recorder before being completed in the studio with drums by legendary drummer Mickie Stickdorn (Carsten Bohn's Bandstand, Cyklus, Elephant, Lake), percussion by Corinna Ludzuweit, and the final touch-Lisa Ohm's remarkable vocals.

At the time, Mikado was also looking for instrumental material for radio and synchronization use. They selected the track "Tropfstein" for a sampler CD and requested more pieces. In response, "und recken ihre schlanken Glieder" (roughly translated as "and stretching their slender limbs") was composed especially for the project, as Frank Simon remembers. Both tracks appeared on the now rare Mikado sampler CD under the alias z. Zt., short for "zur Zeit" ("at present" or "these days").

Several further pieces in a similar vein were created during this period, including the previously unissued "Auf unserm grünen Sofa," "Reise bei Nacht," and "Was ich Dir noch sagen wollte." These tracks are beautifully crafted downtempo pieces featuring smooth, jazzy piano lines combined with touches of ambient and New Age aesthetics. "Auf unserm grünen Sofa" stands out in particular and will likely resonate with all downtempo enthusiasts. Lutz Boberg recalls that many of these recordings were captured during a single afternoon in the studio, fueled by spontaneous ideas and creative momentum.

On tracks such as "Teardrops in Your Eyes," "New Love," and the haunting Dark Spirits Mix of Ghia's song "What's Your Voodoo?", singer Lisa Ohm delivers soulful pop performances with her clear and captivating voice. "Change Your Sex," the third track previously featured on the Mikado sampler, leans more toward late-1980s funk and was aimed at radio and DJs at the time. Its subject matter was relatively daring for the period, telling the story of someone contemplating a change of sex "to get rid of the troubles."

Together with "This Is" and "Curacao Blue", "Tender Rain" forms another essential chapter in the rediscovery of the band's work. More than thirty years after their creation, these recordings still sound strikingly fresh, reflecting a unique style that in many ways anticipated the rise of trip-hop in the early to mid-1990s.

Sergeant ventures deeper into the chaos, occasionally emerging with something dangerously close to catchiness.

Symbols further explores the technique the band calls “dj-shadow-in-reverse”. Instead of digging for samples, they dig through themselves. Things are cut apart and glued back together: kraut drums, plunderphonics fragments, dance floor killers and dub chambers. This time, the wreckage has rhythm and the rhythm has an opinion. Ferre sings through the songs like he’s looking for an exit and having a great time not finding it. Somewhere in there, a flute appears: it sounds slightly worried about the bassline. But the band is more in charge of its plot than ever before. Sergeant finds bliss in losing it over and over again.

This new Mysteries drop is pure Mental Neo Hard Trance! Bringing you 4 producers that at the moment are pushing their own style thereby referencing oldschool HardTrance and PsyTrance - in a good way minus the cringy cheese. Gateway tunnel vision stuff, mental in the true sense.
A: Eat Your Mind & L'Enfant D'La Plèbe – Up Into The Ether, 33 rpm; Pulse 160
A 15 Minute epic journey into the upper spheres of the ether with a superb break and a completely new track beginning, screams of ecstasy guaranteed. Sublime!
B1: Neurotribe – Thetra 6:41 Pulse 165
A driver to push the crowd forward, pure dancefloor energy! Stripped down for efficiency the track is building the tension and ascending the stairway to full Noom. Commander Tom would approve.
B2: Pneumatix – The Return Of Mich 7:05 Pulse 170
A driving minimal workout, heavily tinted with Psytrance swirls. Focusing on a few outstanding sound sculptures, bringing them to the front, holographic and vivid. A finely calibrated system will drive the audience crazy. Be careful with the minds of other people, license required.
12“ Vinyl release is limited to 300 copies, includes digi-codes and comes in a unique full cover artwork with 2 sided inlay /poster and sticker by Darkam and TDSiGNZ,
Mastering Stefan ZMK. Transparent blue vinyl.
Mastering: Stefan ZMK
Artwork: Darkam

“Estonian cultural theoretic Tõnis Kahu once said that Black Metal is men seeking for masculinity while their bodies lack the capacity to catch up and are lagging behind. In the age of microplastics and low-testosterone, Tapetud Rott is asking for ancestral guidance from George Michael. Each day with the growing pains of maturity they can only dream about living somewhere so happy-go-lucky and tranquill as the city that once provided the suitable breeding ground for giving birth to such an agressive and theatrical expression that could mark its cadaverous polar opposite. The mask they now so falsely wear is one seeking for Vitamin D inside the heart of a deceased Rat.”

Limited Black 7-inch Vinyl

Music by Robert Nikolajev & Mikk Madisson
Recorded in Tallinn

Mastered By The Bastard

"What if, alongside the mainstream history of music, with careers and discographies spanning ten or fifty years from album to album, there was an underground, minority history, that of artists and projects with only one record? A flash, a burst of brilliance, a gem, but no follow-up, no repetitions, no decline.
"This will most likely be the case for this album by Amarante-Cerisier, a duo formed by Mauricio Amarante (RadikalSatan, Équipage, travelling companion of Canan Domurcakli and Austin Townsend) and Marine Debilly Cerisier (dancer, performer, writer, co-founder of alternative cultural venues in Marseille and Brussels), with these eight poetic songs in French having more in common with the visionary essence of certain songs from the early 1970s (Brigitte Fontaine-Areski, for example) than with the post-modernism of the ‘nouvelle chanson française’ of the1990s and 2000s.
"But – and this is undoubtedly no coincidence – this is also the case for two unique albums, which had no immediate follow-ups but which, 50 and 20 years after their release, inspired Mauricio and Marine's album and discreetly found their way into it:
"At the very end of the 1960s, Tchékov Minosa (Marine's grandfather) embarked on a journey to the East with his partner Brigitte de Saint-Preux, during which they were married ten times, in ten different traditions (in Kurdistan, among the Kuchi people of northern Afghanistan, among the Kalash people of north-eastern Pakistan, in Rajasthan,etc.). This three-year journey was documented in numerous articles in the European press, in documentaries, in a book... and on a double LP of traditional music recordings released in 1973 by Le Chant du Monde. And sampled today by Mauricio Amarante at the end of the track ‘Parfois’.
"In the early 2000s, Austin Townsend, a tall, bony figure, washed up on the banks of the Garonne River near Bordeaux, arriving from New Zealand. With a voice that was sometimes very Bob Dylan-esque, at other times buried in the gravelly depths of the low frequencies, he strung together contemporary blues songs on his only album, Introvenus (Potagers natures, 2007), beautifully accompanied in subtle tones on banjo and double bass by Mauricio and Cesar Amarante (alias Radikal Satan). Beyond this unique record, Mauricio played extensively with Austin in concert. And when his friend died in the spring of 2024, he received his guitar, used the instrument for some of the tracks on the upcoming Okraïna record, and decided to dedicate the album to him.
"In our conception of music, fleeting appearances, unexpected reunions, and timeless records outside the dictates of current musical trends thrill us more than overly well-planned career paths."

"In 1910, the illustrator George Herriman created the Krazy Kat comic strip. Ignatz, a vicious mouse, was Krazy Kat’s arch enemy, and his favourite pastime was to throw bricks at Krazy Kat’s head (who misinterpreted the mouse’s actions as declarations of love)
"Ignatz is the alter-ego of Belgian musician Bram Devens. Since 2005, he has released around 20 albums accompanied by guitar, in LP, CD or cassette formats, on labels such as (K-RAA-K)³, Ultra Eczema, Fonal, Mortaux vaches, Okraïna, among others. Ignatz has toured all over the world: Belgium, Germany, the Netherlands, France, Great Britain, Italy, Finland, Greece, Switzerland, Portugal, Lithuania, the United States, Japan, etc.
"Since the beginning of his journey as a singer-songwriter, Ignatz has played wonderfully and mysteriously with the combination of the similar and the unfamiliar, between the repetition and permanent reinvention with slight shift in accents... Now For two decades, when discovering his new songs, whether on record or in concert, his expressive and sonic universe can be recognized in seconds, and at the same time, he surprises every time. This is clearly also the case with ‘I Don't Know’, an album for which (after the cassette ‘Coffee, No Cigarettes’, Taping Policies 2017) he trades his guitar for the piano.
"In the mid-2010s, Ignatz inherited the family piano. As a self-taught musician, he explored the instrument and gave a piano concert in the small Flemish town of Geel, which was filmed by Jef Mertens (who also released the aforementioned cassette) and attended by Beata Szparagowska and Philippe Delvosalle from the label By the Bluest of Seas. After some years, it was in his home in Landen that Bram Devens recorded this haunted piano album, which is unlike any other piano record."

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.

In eine Szene, die häufig von Schein und Dunkelheit dominiert ist, schickten die DESCENDENTS ab Mitte der 80er eine Portion dreckigen Humor, Songs über die junge Liebe und das junge Leben, unverschämt eingängigen Hooks, eine koffein-befeuerte Rhythmusgruppe und natürlich dem legendären Milo am Gesang. Es gab wieder Spaß im Punk. Das erstmals 2004 veröffentlichte Album ,Cool to Be You" zeigte, dass man erwachsen werden und einen ,richtigen" Job machen kann und trotzdem schneller und lauter spielt, als die nachgerückten Kids, die halb so alt sind wie man selbst. Es festigte ihr Vermächtnis als die Band, die den Pop" in den Punk brachte, ohne dabei die Punk-Kante zu verlieren. "Luckily, the only thing that has changed about the band is their switching of record labels from Epitaph to Fat Wreck Chords. Milo Aukerman, Bill Stevenson, Karl Alvarez, and Stephen Egerton continue to spit out hook-laden pop-punk with the energy and humor they have been known for since the early '80s. Like the Ramones before them, the Descendents' overall sound tends to be interchangeable, in the best possible way, with previous efforts. Why mess with a good thing? For instance, among these 14 tracks, "Nothing With You" can be compared to "Clean Sheets," while "Cool to Be You" and "Mass Nerder" are anthems à la "I'm Not a Loser" and "I Don't Want to Grow Up." - Zurück auf schwarzem und limitiertem farbigem Vinyl! Das entscheidenen Verkaufsargument: Jeder liebt die DESCENDENTS! Richtige Annahme, oder?

In eine Szene, die häufig von Schein und Dunkelheit dominiert ist, schickten die DESCENDENTS ab Mitte der 80er eine Portion dreckigen Humor, Songs über die junge Liebe und das junge Leben, unverschämt eingängigen Hooks, eine koffein-befeuerte Rhythmusgruppe und natürlich dem legendären Milo am Gesang. Es gab wieder Spaß im Punk. Das erstmals 2004 veröffentlichte Album ,Cool to Be You" zeigte, dass man erwachsen werden und einen ,richtigen" Job machen kann und trotzdem schneller und lauter spielt, als die nachgerückten Kids, die halb so alt sind wie man selbst. Es festigte ihr Vermächtnis als die Band, die den Pop" in den Punk brachte, ohne dabei die Punk-Kante zu verlieren. "Luckily, the only thing that has changed about the band is their switching of record labels from Epitaph to Fat Wreck Chords. Milo Aukerman, Bill Stevenson, Karl Alvarez, and Stephen Egerton continue to spit out hook-laden pop-punk with the energy and humor they have been known for since the early '80s. Like the Ramones before them, the Descendents' overall sound tends to be interchangeable, in the best possible way, with previous efforts. Why mess with a good thing? For instance, among these 14 tracks, "Nothing With You" can be compared to "Clean Sheets," while "Cool to Be You" and "Mass Nerder" are anthems à la "I'm Not a Loser" and "I Don't Want to Grow Up." - Zurück auf schwarzem und limitiertem farbigem Vinyl! Das entscheidenen Verkaufsargument: Jeder liebt die DESCENDENTS! Richtige Annahme, oder?

After months of working exclusively on his own repertoire, Matmatah is slowly recovering from his 30th birthday by returning to his first love: covering other people’s songs !
Because Matmatah comes from there, from the steamy atmosphere of bars and clubs.
Back in the day, they played loads of covers. Oh yes, they certainly did.
So why not put a few of them together on an album?
It’s a must, isn’t it?
Except that… There are many ways to record an album of covers.
The band could have taken the easy route and covered the songs they loved in their early days. But that would be to misunderstand these lads. They needed to come up with a proper concept to justify such a project.
They came up with two:
To tackle styles that are diametrically opposed to their own, so they could better make them their own.
To broaden their linguistic repertoire and experiment with different sounds.
The result is a rich, joyful and socially conscious collection of 20 songs, written between the 18th and 21st centuries and performed in no fewer than 10 European languages. A fine tribute to the continent’s diversity.
To spice up this project, they’ve brought in the whirlwind that is Fanny Gillard on vocals for ‘Eisbär’ and ‘Putain Putain’, the powerful voice of Morgane Mercier on the eerie ‘Alison Gross’, mentor Patrick Marie for a space-age ‘Kan Ha Diskan’, and the immense Kevin Camus on the uilleann pipes and whistle for ‘The Winner Takes It All’.
Matmatah takes a wild ride, travelling across Europe and through time, having fun and cheekily reworking songs he never imagined he’d play.
Find the lynx!

King Gizzards 22. Album und geistiger Nachfolger von 'Made In Timeline', 'Laminated Denim' enthält zwei 15-minütige Tracks, darunter den Fan-Favoriten 'Hypertension'. Das Paket enthält eine einzelne Lucky Rainbow-Colored LP aus recyceltem Vinyl in einer geprägten Single-Pocket-Hülle mit Flood Printing. Artwork von Jason Galea.

Die australische Band King Gizzard & The Lizard Wizard hat sich zu Recht den Ruf als eine der produktivsten, abenteuerlichsten und einfallsreichsten Bands aller Zeiten erworben.

Seit 2010 hat die Band 25 Studioalben veröffentlicht, die von ausladendem Jazzrock bis zu Spaghetti-Western-Soundscapes, von halbakustischen kosmischen Balladen bis zu Sci-Fi-Prog, von kaleidoskopischem Garagenrock bis zu Thrash Metal, von Erkundungen mikrotonaler Stimmungen bis zu Krautrock und vielem mehr reichen.

King Gizzards produktiver Charakter hat dazu geführt, dass sie ihre Musik in einem frenetischen Tempo veröffentlichen, und ihr intensiver Wunsch, neue Klänge zu erforschen und neue kreative Wege zu gehen, bedeutet, dass jede ihrer zahlreichen Veröffentlichungen anders klingt als die letzte. Oft erscheinen sie in rascher Folge (so veröffentlichte die Band 2017 fünf Alben und 2022 drei weitere allein im Oktober 2022). King Gizzard haben die traditionellen Regeln der Musikindustrie auf den Kopf gestellt.

- Ltd. Col. LP: (Lucky Rainbow-Colored LP aus recyceltem Vinyl, in einer geprägten Single-Pocket-Hülle mit Flood Printing)

The story continues...Five years after "Twentieth EP," the label bosses return for the label's 31st release.A record comprised of one side each. DJ Steaw on side A and Gunnter on side B. Thisrecord showcases all facets of both artists, 100% in keeping with the label's signaturesound. The record is powerful. Be prepared for the club effect…

Capturing Bubs’ high-energy Italo sound, this EP features a collaboration with iconic Italo master Vanello, alongside progressive house remixes from CLOSE PROXIMITY and Nairless. A bold, high-voltage collision between dancefloor nostalgia and modern club intensity.

Sunny Side of the Stream Vinyl, Version 1, 2025 recordings