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Nonesuch Records releases Let X=X, by Laurie Anderson with Sexmob. This triple-LP/double-CD set was recorded live during a 2023 tour by Anderson and the jazz band Sexmob – Steven Bernstein and Briggan Krauss on brass, Kenny Wollesen on percussion, Douglas Wieselman on winds and guitar, and Tony Scherr on bass. Its cover and interior packaging feature paintings by Anderson. The album features 23 songs, including many favourites from throughout Anderson’s career, performed in new arrangements – plus one by Lou Reed and Metallica, ‘Junior Dad’. Anderson and Sexmob play more US and international dates this spring and summer (details below).

The New York Times said Anderson and Sexmob’s concert at the Brooklyn Academy of Music (BAM) ‘wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening.’

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but... that doesn’t begin to describe what she creates... It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life.’

Anderson released her first album with Nonesuch Records, the critically lauded Life on a String, in 2001. Her subsequent releases on the label include Live in New York (2002); Homeland (2010); the soundtrack to her acclaimed film Heart of a Dog (2015); and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Nonesuch released a re-mastered edition of Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; the album includes Anderson’s beloved, surprise hit, song, ‘O Superman’, which also is featured on Let X=X. Her recent Nonesuch release was 2024’s Amelia, about renowned female aviator Amelia Earhart’s tragic last flight.

Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date. Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date.

Laurie Anderson was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson. That same year, she was awarded a Grammy Lifetime Achievement Award.

Die chinesisch-amerikanische Band Bear kehrt 2026 mit ihrem dritten Album ,Dim Sum & Then Some" zurück, das im Mai 2026 beim britischen Kultlabel Moshi Moshi erscheint. ,Dim Sum & Then Some entstand am Tag nach der Fertigstellung unseres Albums Wah!!! aus dem Jahr 2024. Wir hatten viel Freude und waren noch immer sehr inspiriert. Das Album beschäftigt sich mit Themen, die uns am Herzen liegen - Essen, kleine Freuden, unbeschwerter Spaß, China, Liebe, Hymnen und Märchen. Es ist eine Collage unseres Lebens, destilliert zu Positivität und Unbeschwertheit." Sie werden oft so beschrieben, als hätten The Flaming Lips, Dusty Springfield und The Beach Boys ein Kind mit Care Bear gezeugt. Das Album ist voller Humor, Groove, Skurrilität und Niedlichkeit, mit melodisch reichhaltiger Instrumentierung, einem Hauch von Psychedelia, einer Prise Funk und vielen Texten darüber, sich den Bauch mit Essen zu füllen.

The album is all acoustic and dedicated to John Lee Hooker with the line, "In Memory of John Lee Hooker. You are missed."

Not known for his acoustic work, Buddy Guy unplugs on Blues Singer for a rare album-length excursion into folk blues. The guitarist gets down and dirty with 12 tracks that sound like they were recorded after hours in his living room or on his back porch.

Guy’s stinging leads are still evident as is his emotive voice, but both are less flamboyant in the unplugged setting. Accompanied by spare stand-up bass and brushed drums, Guy sounds nearly supernatural on covers from Skip James ("Hard Time Killing Floor"), Johnny Shines ("Moanin’ and Groanin’"), Son House ("Louise McGhee"), and John Lee Hooker ("Sally Mae") among others. It’s a low-key, low-down affair made for late nights, rainy days, and the saddest of moods.

Buddy Guy is just as convincing here, arguably more so, as on his barnstorming electric albums, making Blues Singer one of the bravest and most poignant albums in his catalogue.

Blues Singer is available as a limited edition of 1500 individually numbered copies on red vinyl and includes a 4-page booklet.

Repress

The Collaboration - Having toured together over the years, Lattimore and Barwick now join forces to co-write and record this full-length album. Their creative synergy brings together harp, voice, and analog synths in a deeply emotional, immersive sound journey. The album was recorded at the Philharmonie de Paris with co-producer Trevor Spencer (Fleet Foxes, Beach House). This album continues a unique series of collaborations between the label and the Musée de la Musique, featuring historical instruments in contemporary composition. Since 2017, InFiné and the Philharmonie de Paris have co-developed a series of albums designed to highlight the extraordinary instrument collection of the Musée de la Musique. Following the albums InBach by Arandel (2020) and Saturn 63 by Seb Martel (2022), this third release is a meeting of two iconic contemporary ambient voices: Mary Lattimore and Julianna Barwick. The project offers the artists full access to the museum’s playable instruments for recording, sound conservation, and creative reinterpretation.



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Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music’s most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique’s instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit – intimate, grounded in friendship, both earthly and cosmic – and part of a greater continuum, reflecting the solace and transformative power of artistry across generations.

Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the “musical telepathy” that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument’s evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience.

The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present.
Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach – transforming life into music, observing, feeling, and creating – continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

Evergreen In Your Mind, the new and third album from Norwegian singer-songwriter Juni Habel, exists in two worlds at the same time. Songs were recorded in quiet corners of her home, on the piano in the school where she works, and it uses the physical world around her to provide percussion. It also takes place, as she herself attests, within a dream; an imagined place in which her desire for oneness with each other and the world around us is finally realised.

Evergreen In Your Mind was recorded with co-producer Stian Skaaden, it’s Habel’s first album in three-years, following the breakthrough success of 2023’s Carvings LP. Formed of eleven new recordings, the songs here remain delicate, Habel’s voice playing an elegant lead role – but there are fluctuations too.

These small shifts in Habel’s sound result in a notable stride forward. More focus went into the groove of these songs. Playfulness was embraced and, perhaps most importantly, patience played a fundamental role in shaping the album with time and care given to every element of these songs. “We always aim to capture effortlessness - but the way of getting there is anything but effortless,” Habel reveals.

This extra time that was given to the project gave Juni the space to nurture her creativity. She would read and listen to music, hike into the hills, place herself within nature and seek out stillness. Not as a deviation from her work but as a fundamental part of the process. It’s a search for connection, and it’s a recurring theme across Evergreen In Your Mind; the polarity between stillness and passion, also our resistance to these desires, and the things we want to live and experience.

The album’s title-track and fist single feels indicative of this narrative. A gorgeous, delicate folk song, it finds Habel out in the woods, hiding from real life, caught in the space between the natural world and the pull of modernity. “It’s nostalgic. It’s about looking back and realizing things will be different,” Habel says. “Its about visualizing something beautiful in your head that you keep clinging onto.”

The album cover for Evergreen In Your Mind also adds shimmer. A striking photograph of Juni among the mountains, it was taken on a day trip to Rondane, a five-hour drive each way from her home. Habel explains. “It was awe-inspiring to drive all the way up into the high mountains, with its wide plains and intense colours. For an album with music that at times likes to hide itself, I think it fitted nicely with such an epic, grand, and powerful landscape.”

"Fans of Nick Drake, Karen Dalton and Neil Young will find much to enjoy in this musical equivalent of an evening spent alone by the fireside.” The Times

On Dreams ’24 / ’25, Scottish composer Bill Wells turns his nocturnal imagination into a sequence of delicate musical miniatures. The album brings together 24 short pieces, most of them under two minutes, unfolding in just under half an hour like a quietly drifting dream diary.

The album is split into two parts. On the Dreams 2024 side, Norman Blake lends his voice to Wells’ dream-born melodies. Blake, best known as a founding member of Teenage Fanclub, recorded the songs with Wells in a single afternoon at his home, capturing their fragile immediacy in direct and unadorned performances.

For Dreams 2025, Aby Vulliamy — one of Yorkshire’s best kept musical secrets — takes over vocal duties. In mid 2025, Wells sent her a batch of demos; Vulliamy recorded them at home and sent them back to him. The result is a second chapter that feels more introspective, intimate and gently surreal.

The songs themselves are born directly from dreams. Wells wakes from the dream, records it on his mobile and later shapes it into a brief, lyrical composition. One piece, Mackenzie’s Return, was inspired by a dream in which Elvis Costello marched through the streets of a suburban town complaining that he had run out of song ideas, a detail that perfectly captures the album’s blend of humour, strangeness and quiet melancholy.

Dreams ’24 / ’25 is not a collection of fully formed pop songs, but rather a series of fleeting emotional snapshots: soft voices, simple motifs, and melodies that appear and vanish before they can fully settle. It is an album that rewards close listening, inviting the listener into a private, half-lit space somewhere between memory and imagination.

The album is accompanied by a striking cover artwork by Annabel Wright.

Intimacy is manifested in every moment of Radiator, the debut album from Philadelphia's Sadurn. This feeling of closeness, of being able to lend your every sense to one's confessions of internal conflict, is due in large part to the circumstances under which this album was created. Much of the world fell apart in 2020, but Sadurn tucked themselves away in a Pocono's cabin, creating and recording what would become their first full-length. Within the confines of their close quarters, passing animals as the only auditory witness to a makeshift recording studio created by moving furniture, Sadurn created an album that will break your heart and then slowly piece it back together.Sadurn started as the solo project of Genevieve ??DeGroot. Picking up guitar in 2015, DeGroot started writing songs, eventually playing DIY shows throughout the city of Philadelphia. With time, the direction, sound, and members of Sadurn changed. The beginning of 2020 was meant to serve as their debut as a four member band (Jon Cox on guitar/tenor guitar, Tabita Ahnert on bass, and Amelia Swan on drums), but the world had other plans and the group adapted.Taking influence from artists like Gillian Welch, Alex G, and Jason Molina, Sadurn's emotive indie rock explores the struggles and eventual beauty of grappling with multiple emotional realities, particularly when it comes to relationships. That conflict, the idea of being forced to choose, even when terrified, is present on singles like "Radiator" and "Golden Arm." The latter is an unhurried ballad that shows its truest colors with time, eventually blossoming with unexpected admissions of desire and uncertainty. Indecision, heartbreak, and attempting to live out your days against the actual backdrop of a gradually worsening hellscape is a shared commonality among us all, but on Radiator Sadurn breaks down walls that others so often put up. It's a fleeting, impactful glimpse at one's whole heart, and its sweeping, special nature is evident from the moment the album opens.

Mighty Theodore and The Custodian Of Records have crafted the quintessential soundtrack for the bleakest of snow days with their new collaborative album, "The Colder It Gets". Bookended by the sound of howling winds, the project offers a hypnotic listening experience where the temperature seems to drop with every track. While the production is immersive, the only warmth to be found radiates from the crackle of Custodian’s vinyl samples. Theodore matches this atmosphere with layered lyricism that explores deep isolation and the struggle to trust that things can improve, though a faint sense of hope remains buried beneath the metaphorical drifts.
Releasing via URBNET this winter, the album invites listeners to bundle up and embrace the chill. The project is bolstered by an impressive lineup of guest features, including Lee Scott, Fat Ray, Thirstin' Howl The 3rd, and Farma G. Additionally, the release includes a thematic bonus track titled "Christmas Missed Us" featuring Von Pea. As the winter solstice arrives, prepare to get lost in a hip-hop experience that proves the music only gets better The Colder It Gets.

Redux, an ambient-folk album from Portland, Oregon musician, poet, and multimedia artist Dao Strom, is a collection of nine resurrected pieces. Reimagining songs she initially composed as a member of the Austin, Texas alt-country and singer-songwriter scenes of the early 2000s, Strom reworks these lost songs into ambient-folk mini-epics—part grounded and earthly, part ethereal and otherworldly. Drawing on an intimate yet spacious palette of folk, ambient, and experimental textures, woven through with a poetics of vulnerability and quiet emotion, Redux explores song as gently reverberant fields of layered vocals over finger-picked guitars with touches of electronics and sampling. Strom’s musical journey initially began in a roots and acoustic vein, simultaneously with her career as a fiction writer. In the years since, she has moved from Austin, Texas to Juneau, Alaska to Portland, Oregon; her work too has expanded across genres into more experimental formats of poetry, music, and multidisciplinary art. In returning to these earlier songs, Strom reclaims and revives them, exploring her relationships to time, voice, and the continuances of emotion and memory. The word redux means “brought back; revived”; a sense of something restored—earlier renditions of some of the Redux songs were recorded with Austin-based collaborators and producers; some songs were written in that time period but never recorded. Produced, performed, and recorded by Strom alone in her home studio, Redux is a return and reemergence of the artist to her own most personal, intuitive structures and atmospheres of voice, sound, and song. Released on cassette by Antiquated Future Records, and reissued on vinyl in 2026 by Disasters By Choice.

Dao Strom is an artist who works with three “voices”—written, sung, visual—to explore hybridity and contemplate the intersection of personal and collective histories. Her music releases move between “song-poem” cycles and ambient-folk albums. She is the author/composer of several hybrid projects that blend poetry, music, and visual art into unique multimodal experiences, including Tender Revolutions/Yellow Songs, a song-cycle with set of four chapbooks, jointly released by Beacon Sound, Antiquated Future Records, and The 3rd Thing Press (2025), and Instrument/Traveler’s Ode, a poetry-art collection and song-cycle released by Fonograf Editions and Antiquated Future Records (2020). Born in Vietnam and based in Portland, Oregon, Strom began her musical journey in the early 2000s, when she first began infusing into the context of “Americana” folk/roots music her own diasporic Vietnamese experience and stories. Her music has since moved in more experimental directions, resisting easy categorization, yet still maintaining tendrils of folk ethos. She also writes songs about the ineffable nuances of emotion, memory, and connection, as captured on the album, Redux, which gathers songs from across her songwriting years into an ambient-folk setting, self-produced and recorded by Strom, released on cassette in 2022 by Antiquated Future Records, and reissued on vinyl in 2026 by Disasters By Choice. As a multidisciplinary artist, Strom has presented performance and installations at venues such as the Time Based Art Festival (Portland Institute for Contemporary Art) and Moving Poets Novilla in Berlin, Germany, and has received awards from the Creative Capital Foundation, Spark Artist Award, and others. Strom is also a founding member of She Who Has No Master(s), a collective of Vietnamese women writers and artists making polyvocal poetry-art works as a means of reaching across borders.

Marcos Valle is one of those artists you simply can’t overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you.

By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn’t stop there. He has continued recording fabulous albums over the following decades, right up to the present day.

This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside his brother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs.

The arrangements were co-written with Eumir Deodato, with the participation of other renowned Brazilian musicians, and they surround Valle’s compositions with elegant string orchestrations, bossa rhythms, and jazzy touches of swing. Highlights include the sophisticated beauty of songs like ‘Preciso Aprender a Ser Só,’ the rhythmic 3/4 feel of tracks such as ‘Seu Encanto,’ and the powerful ‘Deus Brasileiro.’

First vinyl reissue in over 50 years!

Die aus Las Vegas und Orange County stammende Hardcore-/Punk-Band M.I.A. spielte 1987 ihr letztes Konzertund löste sich auf. Mitte 1988 gründete Sänger Mike Conley die Band Naked Soul zusammen mit dem ehemaligen M.I.A.-Mitglied LarzPearson am Schlagzeug und seinem langjährigen Freund Jeff Sewell am Bass. Inspiriert von Bands wie The Replacements, den kanadischen The Doughboys oder The Nils, begann Mike, Songs zu schreiben, die den poppigen und doch kantigen Sound, der auf M.I.A.s ,After The Fact" seinen Anfang genommen hatte, mit vielschichtigen Arrangements und Gesangsharmonien weiterzuentwickelten. Diese erste Besetzung löste sich bald auf, doch Mike gab nicht auf und stellte eine neue Band zusammen mi tMike Brown am Schlagzeug und Carlos Soria von The Nils an der zweiten Gitarre. Die Band ging dann mit Richard Andrews (Big Drill Car, All, Jawbreaker usw.) ins Studio und nahm die drei sorgfältig ausgearbeiteten Popsongs auf, die hier zu hören sind, darunter der Naked Soul-Klassiker, ,Lonely Me, Lonely You", der ihnen schließlich einen Vertrag bei einem Major-Label einbrachte. Unterdessen begann der ehemalige M.I.A.-Gitarrist Nick Adams, mit dem Schlagzeuger Miles Gillettvon El Grupo Sexo am Schlagzeug und Bob Gnarly von Plain Warp am Bass zu spielen. Sie nannten das Projekt Flatbed und machten sich daran, einfach nur Spaß zu haben und rohen, harten und melodischen Rock'n'Roll zu spielen. Danny Wallis von Don't No übernahm bald den Bass und die Band ging ins Studio, um ein paar Eigenkompositionen und ein Tom-Waits-Cover aufzunehmen. Diese Veröffentlichung fängt einen Ausschnitt aus der Zeit Ende 1989 ein, als zwei Bands mit gemeinsamer musikalischer Vergangenheit unterschiedliche Wege einschlugen. Limitiert auf 300 Exemplare in handgestempeltem Cover und auf farbigem Vinyl.

Josiah and the Bonnevilles is the band name for singer-songwriter Josiah Leming, a powerful acoustic performer and prolific singer-songwriter amassing attention from millions across the globe Described as "self-taught," Leming has been traveling across the United States since he was 17 years old, and even had a brief stint on American Idol in 2007. Lemings' Country Covers I & II and Endurance are among his most popular self-released albums. Following the release of these 3 titles, in 2024 he completed his first ever sold out headlining tour. As Is, produced by Konrad Snyder and Josiah Leming features co-writes with Marc Scibilia, Colin Pastore, Jake Finch, Natalie Hemby, Todd Clark and more. As Is is an album full of reflection, resilience, heartbreak and love.

The complete album + 2 bonus tracks - limited edition pressing on 180g crystal clear vinyl While the 1953 Bud Shank/Laurindo Almeida recordings were the precursors of bossa nova-jazz fusion, the 1962 Stan Getz / Charlie Byrd LP Jazz Samba was the album that started the world-wide craze for this exotic genre of Brazilian jazz. Other producers and artists were quick to exploit the Bossa Nova craze in the first half of the '60s, and whilst no longer considered a craze, the genre remains an important part of today's popular jazz scene. "A revelatory classic.

Absolutely essential for any jazz collection." - ***** Steve Huey, AllMusic Includes the bonus tracks 'O Pato (The Duck)' & 'So Danco Samba'.





[e] O Pato (The Duck) [Charlie Byrd Version]

To celebrate the 30th anniversary of its release, Happening Songs, the debut album by Dionysos, is finally being issued on vinyl for the very first time.

Recorded in 1996, the record captures the early days of a band still in its rawest form, already driven by a singular stage energy and a boundless imagination. Entirely sung in English, Happening Songs unfolds a free and inventive sonic universe where indie rock, dark humor, and surreal visions intertwine. Tracks such as "Wet," "Polar Girl," and "Screamin' Like an Egg" sketch the foundations of a poetic, strange, and deeply endearing artistic world that would become Dionysos' signature.
Long regarded as a cult album, passed from stage to stage and through word of mouth, it now returns in a brand-new vinyl edition, faithful to its original spirit.
This anniversary release is presented by EGGMAN RECORDS, the label founded by Mathias Malzieu, giving new life to this foundational work and inviting listeners to rediscover the initial spark of a project that has since become essential.
Thirty years on, Happening Songs remains the opening chapter of a unique artistic journey: inhabited, unruly, and profoundly free rock.

Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 2 compilation featuring a further selection of iconic hits that have shaped the global electronic music scene.

Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.

This edition of Spinnin' 25 Years...Chapter 2 double vinyl LP collection includes the hits "Lay Low" by Tiësto, "Turn Up The Speakers" by Afrojack & Martin Garrix, "Satisfaction" by David Guetta & Benni Benassi, "Intoxicated" by Martin Solveig & GTA, "Gecko" by Oliver Heldens, "Sex" by Cheat Codes x Kris Kross Amsterdam and 25 more tracks showcasing their signature sound and major contributions to the label.

Spinnin' 25 Years...Chapter 2 is available as a limited edition on blue vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.

Dam Swindle tap Kerri Chandler, Louie Vega, Folamour, Cinthie & more on 100th Heist release.

The ‘House of House’ V/a takes in nineteen all-new tracks from some of house music’s most revered names and new-school talent.

Dam Swindle present ‘House of House’, a triple vinyl V/a compilation marking the one-hundredth release milestone on Heist Recordings, landing on 8th May 2026. Across nineteen all-new tracks, ‘House of House’ reads like a roll call of modern house royalty.
The compilation features contributions from scene legends and contemporary torchbearers alike, including Kerri Chandler, Two Soul Fusion (AKA Louie Vega & Josh Milan), Folamour, Cinthie, Kolter, DJ Sneak, and Supershy, the dance music alias of Tom Misch, alongside rising talents like Papa Nugs, Lolu Menayed, and many more.

From the old-school magic of tracks like Dam Swindle’s ‘Back to the Old School’ feat. DJ Minx and Kolter’s ‘Need U, Want U’, to the jazzy, soulful depths of Kerri Chandler’s ‘Kerriousity’ and Superhy’s ‘Pyrenees’, to the peak-time energy of Papa Nugs & Mixolydian’s ‘Let Go’ and Elisa Elisa’s ‘Coco Coco’, the compilation captures the full spectrum of house sounds that have shaped the world of Heist Recordings over the past 13 years.

Launched in 2013, Heist Recordings has become a high benchmark for quality house music – a home for legendary artists like Cinthie and DJ Sneak, and a breeding ground for new talent from Kassian to Make`z. Dam Swindle have cemented their place among the upper echelons of modern house, with three critically acclaimed LPs, collaborations with the likes of Kerri Chandler, Tom Misch, and a relentless tour diary.

‘House of House’ reflects the ethos that has defined our label since day one: a home for house heads who bring genuine soul to club music, whether they’re legendary originators or new-school up-and-comers. Heist’s one-hundredth release is more than just a number – it’s a testament to the community, creativity, and legacy we’ve built, release after release.

As always enjoy the music and play it loud.

Much love, Heist HQ

Dive into the depths of the SUNKEN SCORES which is the new concept album by Japanese Rare Groove trio Nautilus from Toyko. What is called lost themes and jazzy seaquences from the cinematic coastlines ends in a journey through different eras of film and television music.
It's their fourth album release on Oonops Drops besides several limited 7inch releases. Like all other releases on the label, this LP is also pressed on recycled vinyl . There will be an extended Germany tour by Nautilus from 8th May to 4th June from the North Sea Coast to the mountains in the Allgäu. / Promo: feature in Jazzthing magazine at the end of May.

It would be easy to pigeonhole Footballhead’s unapologetically-buttrock-inspired record Weight of The Truth as simple nostalgia bait. Why wouldn’t millennials lust for the days of Halo and energy drinks in carpeted basements they’re not convinced they’ll ever be able to afford for themselves? Beyond that, why would the zoomers that now intently follow not try and chase the high of hyperreality in a bygone world that looks, to them, downright utopian when compared to the present?

What sets Footballhead’s capital-R Rock sound apart from contemporaries is - in addition to just sounding better - a desire and an ability to thread the needle between paying homage to a quasi-idyllic past and pursuing an earnest future. Footballhead wears their 2000s-era influences on their waffle-knit longsleeves, with power chord drives and pummeling choruses, all sequenced together like the teeth of a skeleton key able to unlock core memories for people who’ve either been there or people who simply wonder what being there was like. Both the anthems and ballads on Weight of The Truth are waxed and polished to perfection like the lip of a favored skatepark ledge.

But underlying all that, even more impressively, is a grit and substance derived from years spent in the Chicago DIY scene, exposing themselves to different styles and influences equally out of necessity as out of interest. It bleeds through on every track. You can bullshit your way into a vibe but, as the band shows on any number of recent releases, including singles off their upcoming second LP: you can’t fake heart. With an ear to the past but an eye to the present, Footballhead invites you to remember what it meant to give a shit back when the world felt simpler - and what it might feel like to do so again.

It would be easy to pigeonhole Footballhead’s unapologetically-buttrock-inspired record Weight of The Truth as simple nostalgia bait. Why wouldn’t millennials lust for the days of Halo and energy drinks in carpeted basements they’re not convinced they’ll ever be able to afford for themselves? Beyond that, why would the zoomers that now intently follow not try and chase the high of hyperreality in a bygone world that looks, to them, downright utopian when compared to the present?

What sets Footballhead’s capital-R Rock sound apart from contemporaries is - in addition to just sounding better - a desire and an ability to thread the needle between paying homage to a quasi-idyllic past and pursuing an earnest future. Footballhead wears their 2000s-era influences on their waffle-knit longsleeves, with power chord drives and pummeling choruses, all sequenced together like the teeth of a skeleton key able to unlock core memories for people who’ve either been there or people who simply wonder what being there was like. Both the anthems and ballads on Weight of The Truth are waxed and polished to perfection like the lip of a favored skatepark ledge.

But underlying all that, even more impressively, is a grit and substance derived from years spent in the Chicago DIY scene, exposing themselves to different styles and influences equally out of necessity as out of interest. It bleeds through on every track. You can bullshit your way into a vibe but, as the band shows on any number of recent releases, including singles off their upcoming second LP: you can’t fake heart. With an ear to the past but an eye to the present, Footballhead invites you to remember what it meant to give a shit back when the world felt simpler - and what it might feel like to do so again.

Every mother has a unique story. One thing is true for every mother, though: There’s no deadline quite like a pregnancy.

Award-winning Toronto singer-songwriter Abigail Lapell was pregnant with her first child when she booked studio time on Vancouver Island to make an album about motherhood. The nine songs on Shadow Child — one for each month of gestation — had to be ready before then, and her return flight was booked on the last day she could safely fly in her third trimester.

Working with producer Colin Stewart (Dan Mangan, Black Mountain), Lapell finished her songs in the studio and on rural walks beside the Pacific Ocean. She enlisted some of her favourite singers, all British Columbians, all mothers: Frazey Ford, Jill Barber, Pharis Romero. “They’re all people with unique, distinctive voices,” she says, “which is what I’m drawn to.”

Musically, Lapell was looking for a stark, acoustic sound, as opposed to 2024’s Juno Award-nominated Anniversary (recorded in Niagara with Great Lake Swimmers’ Tony Dekker) and 2022’s acclaimed Stolen Time (recorded in Montreal with Howard Bilerman, featuring E Street Band saxophonist Jake Clemons).

Lapell’s road to motherhood was fraught, involving years of IVF and a 2023 miscarriage — that she experienced on stage while on tour. (She finished her set.) Her son was born in November 2024. The song cycle of Shadow Child covers joy and loss, using metaphors from Maritime tragedy, “little cannibals,” reproductive health, acquiring language, and lives altered by the arrival of a newborn. The title track refers to ultrasound imaging of “a liminal person that doesn’t quite exist yet,” says Lapell. “Their status is ontologically blurry.”

Budapest-based concept label, Blue Sun is launching their new line of vinyl focused releases, aimed primarily on DJs and collectors: the Blue Series. A counterpart to the Orange Series launched last year that showcases a more upbeat side of the label, the new collection presents a darker, more experimental, and introspective musical vision.

The first release in the Blue Series is a six-track EP by Budapest based multimedia artist, Virág Réti. Choosing her legal name as her artist persona (“Flower of the Meadow" in Hungarian) also with the track titles capturing the folk names of local fauna, Peremidő evokes the artist's innate connection to nature as a place of refuge from the noise of Eastern European urban life.

The EP’s motifs point back to early memories of sitting by a river, simply observing time flowing by. The arc of the songs follow the passage of a day, beginning with the hesitant sounds of early morning, gradually moving on toward more defined, rhythm-driven forms. As the airy textures slowly give way to structure and percussion comes to the forefront, the sense of direction becomes clearer, letting moments of gentle disorder and unexpected sounds to surface.

Virág previously appeared on the label’s Blue Sun VA II compilation with her track Bíbic. Since launching her ambient music project in the fall of 2024, she has become one of the promising newcomers in the Hungarian experimental electronic music scene. Her debut EP, Minden Ami Megmaradt (All That Remains), was released last November as the final offering of temporary nites label (2023–2025). She is also the founder and organizer of the Budapest-based experimental electronic event series Still Places.

7 Inch Vinyl in Picture Sleeve

Two cross-cultural jazz treasures from the late ‘50s, reissued together for the first time. Lonnie Sattin’s deep, percussive takes on Duke Ellington’s “Caravan” and the Middle Eastern melodies of “Uska Dara” prefigure the global jazz movement by decades. Remastered and pressed on 45rpm vinyl, this PANORAMA release highlights the spirit of exploration and connection that the label is famous for and Record Store Day celebrates — a stunning bridge between swing, world rhythm, and jazz adventure. Remastered and Redesigned labels and sleeve, First time on 45.

Following his ‘You Are the Music’ EP for Euphoric State, and the reissue of the underground classic ‘Voices’ by Jewellery, David Inglesfield returns with a second EP by PersistentRain – and the first release on his own label, Precipitation.

‘All Time Is One’ is a meditation on the passing – yet continuity – of time, whether across multiple decades, or just in the transition from one day to another.

Opening track ‘Farewell’ brings disparate voices and sounds from the past back to life in an intense, transcendent journey, all driven by a pulsating bassline.

‘The Night Is Done’ features a solid beat and lush array of synths, with the vocal by Bristolian Christine Hulbert the icing on the cake.

On ‘This Place (Displace)’, Inglesfield, a Londoner from birth, but recently moved to South Wales, turns to consider a corner of his beloved native city, where a once-legendary musical theatre was swept away, to become a makeshift car park in the 1960s, then the site of a brutalist block in the 1970s, now torn down yet again. ‘The first place we’re going to stop at … seems to be NOWHERE!’

‘I Remember’ closes the EP, with fragments of Fender Rhodes and strings fluttering like memories over a moody, minimal sub-bass and insistent kick.

Strut proudly presents Nuclear War, a powerful collaboration between UK collective The Heliocentrics, Sun Ra Arkestra legends Marshal Alen and Knoel Scott, and vocalist Bilal - issued on limited-edition “hazardous” orange and yellow vinyl exclusively for Record Store Day 2026.

The Nuclear War recordings stem from a rare session at Malcolm Catto’s Quatermass Sound Lab in January 2015. The group had assembled in London to rehearse for their performance at Giles Peterson’s Worldwide Awards, where Alen received the Lifetime Achievement Award and Catto the John Peel Award. With The Heliocentrics’ trademark raw, psychedelic energy as the backbone, the ensemble captured a series of reimagined Sun Ra classics in a spontaneous, one-off studio moment, and these tapes that have remained unheard in Catto’s archive until now.

The 4-track EP features a sinuous take on Ronnie Boykins’ ‘Angels And Demons At Play’, originally recorded in 1960, a strident version of ‘Where Pathways Meet’ which was originally created for the much-loved Sun Ra Lanquidity album in 1978, and a dense and deep re work of 1972’s ‘Astro Black’ featuring Bilal’s incredible otherworldly vocals. The title track ‘Nuclear War’ is re-worked into a cavernous groove featuring Heliocentrics vocalist Barbora Patkova. Nuclear War is mixed by Malcolm Catto, mastered and cut by Frank Merritt at The Carvery, and designed by Alex Evans of Reason For Being Studio.

“Dance Music That Hurts” — the motto of Work of Intent.
Hurts, because it goes straight to your heart.
There’s no better way to put it.
His productions are rooted in the UK underground,
dripping with both techno and pop sensibilities.
This is “big room” like you’ve never experienced it before—
music you can’t ignore, driven by storytelling and raw emotion.
He’s found a home on labels such as Monkeytown, Turbo, and REKIDS, and continues his relationship with Laurent Garnier’s COD3 QR .
Founder of the clandestine edit factory *Emotional Weaponry*,
he continues to receive support from industry heavyweights.
Former manager of *DAYTIMERS*, the UK-based collective championing
South Asian sounds, stories, and voices,
and a highly sought-after mix engineer for some of the UK’s most exciting prospects.
We’re beyond happy to welcome Roshan Chauhan aka Works Of Intent to the family.
Feels like the beginning of a long, dramatic love story.

Credits:
Written and produced by *Works of Intent*
Distributed by *One Eye Witness*

Synopsis: Tsuna, a shy teenager, learns he is destined to become the next mafia boss. Guided by Reborn, a hitman in baby form, he faces countless enemies to protect his friends. Blending humor, action, and personal growth, Hitman Reborn! delivers a unique and thrilling adventure. This album draws on the musical style of quirky Italian mafia films, and includes the main openings and endings from the series.

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über Stems der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

Auf insgesamt 100 Stück limitiert. Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA