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Germany's iconic deep funk collective digs into a new soundscape: "A Higher Frequency" was recorded with a nine-piece live to tape at legendary MPS studio in the Black Forest, adding an airy, jazzy flavour to their trademark raw and breaks-heavy funk. Ten tracks full of spiritual grooves, soulful themes, loose funkiness and organic interplay, captured with state-of-the-art 1960s gear in a super-vibey room - but the title A Higher Frequency is not just about the pristine analogue sound quality of the recording, it is also a reference to a trancendant wavelength where minds meet and music connects.

Together with long-time friends and collaborators Daniel Kimaz on flute and Guillame Métenier, who worked his magic on the studio's historic Bösendörfer grand piano and Hammond organ, the group spent a week in the Black Forest, with full focus on the mission to capture the live energy and togetherness of the ensemble.

The result is an album bursting with positive energy and power, rooted in a universal funk groove with excursions into many colourful branches like outernational, cinematic, soulful jazz, psychedelic & disco.

The common thread is a propulsive, driving-forward feel: "Open The Gate" welcomes us with hard-hitting breakbeats and dramatic crime brass, followed by the cool groovin' piano-led soul jazz of "Get Loose", while "Spinning" takes us on a ride through cinematic horn choruses and folky-psych flute and guitars. "Back And Better" is Nichola Richards' time to shine, laying her sweet vocals over the sparse hiphop-infused soul beat to tell a comeback story. "Sweet Company" is a lighthearted uptempo tune inspired by TV and library themes of the 1960s. The swampy groove of "Sparks Of Joy" best reflects the fun of the band playing together and "Phantom Power" combines a trademark Mocambo breakin' theme with an unusual instrument, an electric phin from Thailand – a nod to the many so-called "world music jazz" recordings that the MPS studio gave birth to. On "Can't Stop This Fire", soul singer Carlton Jumel Smith from New York City takes over the mic as a special guest and brings the house down with a heavy funk delivery. "When We Roll" builds another highlight where bouncy drums play off disco-jazz horn themes and finally, the gospel-flavoured cine-soul epic "Homebound" drives it all home.

The vinyl record comes in a limited first edition in hand-made tip-on sleeve.

Am 6. Juni veröffentlichen Lifeguard aus Chicago ihr Debütalbum "Ripped and Torn" auf Matador Records. Das junge Trio, bestehend aus Asher Case (Bass, Baritongitarre, Gesang), Isaac Lowenstein (Schlagzeug, Synthesizer) und Kai Slater (Gitarre, Gesang), macht seit seiner Highschool-Zeit zusammen Musik, also fast ein Viertel ihres Lebens. Laut und direkt, kryptisch, aber mit Herz, lassen sie sich in ihren Songs von Punk, Dub, Power-Pop und experimentellen Klängen inspirieren und bringen alles in einem explosiven Sound of Now zusammen Das Album, das letztes Jahr in Chicago mit dem Produzenten Randy Randall (No Age) aufgenommen wurde, fängt eine klaustrophobische Verschrobenheit ein, die das Gefühl und die Energie von Hauspartys und dicht gedrängten Räumen heraufbeschwört, wo die Ohren leicht überwältigt werden und zerlumpte Improvisationen sich mit der gleichen Kraft verbinden wie melodische Hooks. Schon beim 2023er SWSW gehörte die Band zu den absoluten Geheimtipps und überzeugte mit ihren mitreißenden Live-Shows, von denen man sich letztes Jahr auch hierzulande ein Bild machen konnte. Im Zuge der Album-Veröffentlichung kehrt die Band für zwei Shows nach Deutschland zurück und spielt am Release-Tag in Berlin! Lifeguard gehören zur Speerspitze neuer Bands, deren kreativer Schmelztiegel sich in und um Chicago herum befindet und jüngst auch die Band Horsegirl hervorbrachte. Die Szene besteht aus Musikern, Fanzine-Machern und Konzertveranstaltern und ist inspiriert von der DIY-Indie-Bewegung der 90er.

Es hat sich angedeutet, seit vor ein paar Tagen große Billboards in L.A. aufgetaucht sind, jetzt ist es amtlich: TURNSTILE sind zurück! Am 6. Juni erscheint NEVER ENOUGH, das sehnlich erwartete neue Album der Band und ihr erstes seit vier Jahren.

Aufgenommen zwischen Los Angeles und dem heimischen Baltimore wurde, wurde NEVER ENOUGH von TURNSTILE-Frontmann Brendan Yates produziert. Das Ergebnis: ein wuchtiges, ruheloses Album, das den unverwechselbaren, genreübergreifenden Sound der Band weiterdenkt – energiegeladen, unerschrocken und voller Leben. Eine musikalische Metamorphose von einer der spannendsten und einflussreichsten Bands ihrer Generation.

NEVER ENOUGH folgt auf das gefeierte Vorgängeralbum GLOW ON, das TURNSTILE vier Grammy-Nominierungen einbrachte und in Deutschland die Top 10 der offiziellen Charts erreichte.

Diese Ausgabe des bereits traditionellen Begleitalbums zur Redux-Veröffentlichung strotzt nur so vor faszinierenden Künstlern und spannenden Kollaborationen, die allesamt den Punkgöttern RAMONES huldigen. Möglich wird diese kunterbunte Versammlung durch die kurzen Punk-Tracks der Amerikaner. Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musikern und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Diese Ausgabe des bereits traditionellen Begleitalbums zur Redux-Veröffentlichung strotzt nur so vor faszinierenden Künstlern und spannenden Kollaborationen, die allesamt den Punkgöttern RAMONES huldigen. Möglich wird diese kunterbunte Versammlung durch die kurzen Punk-Tracks der Amerikaner. Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musikern und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musiker und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musiker und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Ambre Ciel is a composer, violinist, pianist and singer who hails from Montreal, Canada and is a purveyor of dreamy, expansive, spacious pop music that draws influence from the contemporary classical influenced artists such as Agnes Obel, Patrick Watson, Sufjan Stevens and Thom Yorke. As well as the impressionist world of Debussy and American minimalists such as Phillip Glass and Steve Reich and in addition mentions "music that breathes" from such artists as Gyoa Valtysdottir, JFDR, or the collaborative work of Jónsi and Alex Somers.

"Evil is very real and having its way, and love is also real and hasn't lost yet." That's how Activity's Travis Johnson described their third album, A Thousand Years In Another Way. A friend had asked why these songs seemed to capture the strange, heavy feeling of being alive right now better than anything else_and that was his answer. The album doesn't try to explain this time we're living in; it simply feels like it. It's a mix of violence, alienation, and tenderness_reflecting the surreal, dreamlike (or nightmarish) rhythm of daily life. Across ten songs, Activity blends experimental rock, electronics, and found sounds with a sense of paranoia, flickers of hope, and a warped reality. Working with producer Jeff Berner (of Psychic TV), the band manipulated sounds and played with room acoustics to create a feeling that's disorienting_like the air is thick and the walls are listening. Coming out of a period of uncertainty, the Brooklyn-based quartet_Travis Johnson, Jess Rees, Bri DiGioia, and Steven Levine_pieced the album together from fragments: clipped samples, looping guitar lines, ghostly melodies. Rees, DiGioia, and Johnson share vocal and writing duties, shaping a record that feels both deeply personal and strangely alien. There's a constant sense that things could shift or fall apart at any second_nothing stays one thing for long. A Thousand Years In Another Way might not offer answers, but it captures the feeling of right now better than most. And maybe, it sounds a bit like your world too.

Tresor resident DJs LNS and DJ Sotofett have for some years been developing a style at the club‘s Globus floor, and their new EP is a die cut of exactly the classic techno, electro, and house music they play.
Here are no productions drenched in reverb, no hi-fi obsessions or generic algorithmic patterns – this is Globus Trax, the duo's third release on Tresor Records, four tracks consisting of real TR-909 workouts, rude and driving basslines, live runs through the mixing desk, and a Blake Baxter cover version with LNS on vocals.
LNS & DJ Sotofett programmed an EP to perfectly fit their warehouse style of DJing, bringing out colour and variation in a spectrum more similar to a club compilation than a dogmatically reduced concept. With a single repeated vocal sample, Globus Trax opens bombastically with ClickClickClick, a dub -infused UK garage house track anyone in the world can easily describe in the course of a second.
Following this comes Gearbox which is a hefty slab of big room electro featuring a centerpiece arpeggio and the warmest harmonic pads on the EP's four tracks, which not-so-subtly makes reference to the pioneering band that shares a name with Globus and Tresor's home, the Kraftwerk.
The house vibe returns on Destination 909, which is nothing but a manifesto for the TR-909, where the beloved drum machine's jacking beats meet galactic strings and synthetic bass, only to be ripped apart in a slamming break that sees the machine take centre stage as it cuts in-and-out of the mix, again a clear nod to the duo’s sets in the club.
LNS steps up on vocal duties and DJ Sotofett keeps the 909 running for their final cut, taking a deeper dive into the realms of classic techno and paying tribute to “The Prince of Techno” Blake Baxter by covering his Reach Out originally released on Tresor Records in 1995.
The 12” was cut by DJ Sotofett himself at Manmade Mastering, where he resurrects the lost art of late-90s loud cuts with sonic presence and punch, optimal for the club-focused 12” format, and is the first to come in the new Tresor Sleeve, boasting an embossed logo on either side.

Divine Dances. In plural form.
The fourth album from DjeuhDjoah & Lieutenant Nicholson couldn't have a more explicit title.


Masters of emotions and feelings, the duo has always known how to express melancholy and nostalgia with precision. Yet this time, all their efforts have concentrated on a single goal: taking listeners by the hand—no, by the ear, obviously!—to bring everyone back to the dance floor and explore a variety of atmospheres together.


And naturally, a variety of styles. Funk, ndombolo, electro, hip hop or zouk, each new vibration discovered carries away the previous one to form a dancefloor where all eventually come together.
Divinely light.


The body, surrendered to this call to dance in all its forms, has been so caught up in the whirlwind of groove that the mind has fallen in behind it to continue as one. Words explode into syllables that metamorphose into notes, then perfectly align with those from the score.


One second. A bit of attention. Caught by an irrepressible groove, then comes the moment to slalom through melodies to discover, at the turn of a rhyme, a new meaning. Approached head-on, certain overly serious themes would empty the room and bring the atmosphere down to lead levels. The diagonal approach, humor, and apparent nonchalance of the two men are the best weapons at their disposal. Their Trojan horse to put substance into their form(s). To evoke transidentity, consent, economic malaise as well as the spiritual, or to tell little stories of frustrated loves, seemingly insoluble but which will end well.


Anthony Hilaire for Creole words, Sarah Solo for hip-swiveling soukous, Patrick Bebey for pygmy flute notes, and Grégoire Mahé to bring electricity to DjeuhDjoah & Lieutenant Nicholson's songs; styles blend in a musicality worked into its smallest interstices.


Gathered on this dance floor illuminated with 80s disco brilliance, you observe brassy notes slithering under the electronic veneer, synthesizer keys splashed by furious hip movements. To raise your eyes to connect with the spiritual is to watch the sky become constellated with crystalline Fender Rhodes notes, destined to fall like rain on the heavy bass of afrobeat groove.
Smiles attached to faces, no one should think they can get through the ten tracks of Divine Dances while remaining seated : he's doomed to fail.


OUT MAY 2025 DELUXE WHITE VINYL 180 G /CD / DIGITAL

OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.

Die britische Autorin, Produzentin, Sängerin und Schauspielerin Cynthia Erivo veröffentlicht am 06.06.25 ihr zweites Album „I Forgive You“.

Nachdem die Grammy-,Emmy- und Tony Award - Gewinnerin zuletzt durch ihre Rolle als „Elphaba“ an der Seite von Ariana Grande im Film „Wicked“ weltweit für Furore sorgte, widmet sie sich nun wieder voll und ganz der Musik.

„I Forgive You“ ist als eine Geschichte in vier Kapiteln aufgebaut, dreht sich rund um das Thema Vergebung und gewährt tiefe Einblicke in die Gefühlswelt der Sängerin und Schauspielerin, die spätestens seit ihren Bühnenauftritten bei „The Color Purple“ im Westend und am Broadway in aller Munde ist. Alle Songs sind in Co-Produktion mit dem Produzenten Will Wells entstanden.

With Street Funk, Mofak delivers a tight blend of G-Funk and modern funk, fusing West Coast vibes with French groove.



Packed with smooth talkbox, heavy basslines, and standout features (Dezzy Hollow, Jayson Cash), this EP is a sun-drenched gem for fans of urban funk. Turn it up loud.

Behind the pseudonym INVIGO lies Venceslas Catz. In 2016, he caught the attention of Les Inrocks with his electro-pop single "Gravity," then in 2018, he conquered the Parisian public with his track "LAtely." He then performed in several Parisian venues for a few concerts (Silencio, Glazart, etc.).



Since 2019, he has composed for film, television, and advertising. In September 2020, he launched his neo-classical project, under his name Venceslas Catz, blending classical and electro influences. A new signing to Partyfine, INVIGO returns with a debut album with Latin sounds on May 16, 2025. INVIGO works in his Paris studio, where he composes and records his projects.

2 x orange-marbled vinyl im Gatefold, 19 songs inkl. Live tracks & Remixen

Ein neues musikalisches Projekt des renommierten, französischen Studio-Cracks Renaud Letang mit Freunden & Familie: Feist - Connan Mockasin - Benny Sings - Chilly Gonzales - Jamie Lidell - Saul Williams - Vladimir Cosma - Philippe Katerine - Infinite Bisous - Jerry Paper - Chuuwee - Mel D. Produziert Von Renaud Letang + Chilly Gonzales. Aufgenommen In Den Studios Ferber.

Das Album eines Lebens. Oder besser gesagt eines halben Lebens, das er seit seinem 18. Lebensjahr im Schatten der Aufnahmestudios verbracht hat. Unter dem facettenreichen Pseudonym DRIFT ist 'At The Party' ein Album von Renaud Letang, einem der weltweit renommiertesten und gefragtesten französischen Toningenieure und Produzenten der letzten drei Jahrzehnte. ManuChao, Chilly Gonzales, Feist, Mathieu Booagerts, Lianne La Havas, Philippe Katerine, Saul Williams, Jane Birkin, Seu Jorge, Micky Green, Connan Mockasin und Amadou & Mariam zählen zu seinen Klienten.
Seit Jahren bereitet der Victoires de la Musique-Preisträger und Grammy-nominierte Letang heimlich mit all seinen Künstlerfreunden im Keller der Studios Ferber ein Albumprojekt vor.
Sein kanadischer Komplize Chilly Gonzales, mit dem er in den 2000er Jahren das erfolgreiche Produzenten-Tandem VV bildete, hat ihn ermutigt, seine Songs zu veröffentlichen. Renaud Letang versteht seine Kompositionen als "Driftmusik" mit einer breiten stilistischen Palette - von sonnigem Disco-Pop (At the Party, Working on Me) bis hin zu Jazz-lastigen Sounds ('Papaya', 'A Night In Waimea'), von futuristischem Hip-Hop ('Cosmic Drift', 'That's All') bis hin zu traumhaften Tracks ('Très Gentiment In Waimea'). Das Wort DRIFT, das facettenreiche Pseudonym, das Renaud Letang gewählt hat, beschreibt genau diese ständige Bewegung, die sich wunderbar in dieses kollegiale Album einfügt: Feist, Chilly Gonzales, Connan Mockasin, Benny Sings, Philippe Katerine, Jamie Lidell, Saul Williams, Infinite Bisous, Jerry Paper, Chuuwee, Mel D und Vladimir Cosma sind alle in den Credits des Albums zu finden. Eine faszinierende musikalische Reise, die sowohl an einem sonnigen Tag als auch nach Einbruch der Dunkelheit zu hören ist. Der Soundtrack des Sommers mit der Besetzung des Jahres.
Erhältlich als Digisleeve und Doppel-LP (Black Vinyl).

You've heard it in many of Bukkha's, Mysticwood's and King Original's sessions, and it made you dance and prance.
The moment you have all been waiting for is here!
BUKKHA003 features grime king, Footsie, pon the mic over a nice rockers style riddim built by the original US dub/steppas king, Bukkha.
Footsie come through and provides a deep meditative vocal flow.
Joining us on the vocal mix and horn cut is trumpet badman, Aba Ariginal.
You already know these are guaranteed ANTHEM vibes!
To close the A side, Bukkha dubs the riddim in his unique style and fashion.
On the flip, man like Charlie Mystic steps up to the plate, and brings new life to the vocals by putting them on a heavy steppas riddim.
Mysticwood takes you on a journey with this one by showing you his versatile style.
All of Mysticwood's cuts are certified bangers to take your session/set to the next level.

Hikari to Kage is the next chapter in the story of Wabi Sabi Audio Imprint, diving into the experimental and ambient realms of electronic music.

This beautiful album comes from the hands of Sarah Wreath, a German artist whose unique approach to sound exploration captured our hearts the moment we saw her live at Monument.

The album It's a narrative, an introspective journey that doesn't tell you what to feel but gently guides you toward your own perspective.

Three incredible remixes by DJ Hi-C, Pianeti Sintetici, and Jorge Fons bring their own vision of Sarah's music, each artist weaving their own story within Sarah's framework. Like Yin and Yang, light and shadow exist in balance, defining the beauty of the other-this is Hikari to Kage.

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

An album announcement that was fifteen years in the making, GRAMMY®-winning, progressive music titans Dream Theater return in 2025 with their sixteenth studio album, “Parasomnia”. The album marks the first album featuring the iconic lineup of vocalist James LaBrie, guitarist John Petrucci, bassist John Myung, keyboardist Jordan Rudess and drummer Mike Portnoy since 2009’s “Black Clouds & Silver Linings”. “Parasomnia” was produced by Petrucci, engineered by James ‘Jimmy T’ Meslin, and mixed by Andy Sneap. Hugh Syme returns once again to lend his creative vision to the cover art. From the opening track “In The Arms Of Morpheus” to the closer of “The Shadow Man Incident,” Dream Theater returns with a collection of songs that showcase what has earned the band a loyal following for four decades. Clocking in at 71 minutes, “Parasomnia” takes the listener on a musical journey that has become synonymous with the band since the beginning of their career.

As several limited vinyl versions are already sold out, the album is now being released as a black and white marbled 2LP in a gatefold cover with LP booklet.

The long-anticipated debut LP from Atlantik has finally arrived on Feines Tier. Hailing from Cologne, childhood friends Georg and Clemens have spent over a decade refining their passion for hardware-driven live techno.
Whether as a regular touring act, resident duo at Berlin’s legendary Sisyphos, or an opening act on Fusion’s Turmbühne, Atlantik has captivated audiences with their high-energy approach to techno.
While their sound continues to evolve, its roots remain in Cologne’s minimal techno golden era. Atlantik blends glitchy percussion, delicate melodies, and hypnotic atmospheres—always maintaining the precision and restraint of minimalism. Enjoy the journey!

The latest transmission on Samurai tunes into half-time intensity with a psychedelic edge courtesy of leading French practitioner Vardae. Applying techno hypnotism and cinematic atmospheres to his snaking beat constructions, the Lyon-based artist delivers a pitch-perfect exercise in mystical meditation that follows a natural path from the Ancestral Voices LP.

Since first emerging around 2017, Vardae has been determined to establish a sound unbound by genre restrictions. To date he's successfully moved between cult labels such as Non Series and Ooda while pivoting from linear 4/4 to crooked broken beat without disrupting his immersive, finely sculpted production style.
Alongside his releases, Vardae is also responsible for the ouroboros festival that takes place every year in central France. Last summer, after the dancefloor closed on the final night of the the event, fabled Dutch transcendental ambient group Son Of Chi made an acoustic concert around the campfire that cast a spell over everyone present. This experience formed the inspirational basis for Vardae's new EP, drawing on the instinctive power of insistent rhythm and the spiritual intrigue that lies behind subtly dissonant tones - shadows cast by refined, restrained synthesis flickering in the imagined light of the flames.

From the rattle of timbale on 'The Light Motion' to the laser-focused ripples that charge through 'Voices Of Dispossession', Vardae bends and shapes his drum work with exacting intention across this EP. Treading the line between 85 and 170BPM, he approaches fierce peaks in his tracks with an exacting patience, building to the arp-soaked climax of 'Flaming As A Cloud' and its ecstatic, melodic crescendo.
Proudly individual and drawing from the deepest of musical experiences, Vardae's latest statement promises similarly profound moments when these pieces come into contact with the right souls and the right sound in the right setting.

Félicité Thösz is the eleventh studio album by French band Magma, and was originally released on the 3th of July 2012.

The album was Magma’s first studio release in 27 years to contain new material written after the band’s reformation in 1996.

“Félicité Thösz” was written during 2001-02 by Christian Vander, but only played live by the band from 2009. “Les hommes sont venus”

was written and performed in 1992 by Les Voix De Magma, and again in 1995 for the band’s 25th anniversary, then called “Tous Ensemble”.

Félicité Thösz is sung almost entirely in Magma’s constructed language Kobaïan, apart from a passage in

French named “Seule une fleur est venue au fond des bois en mon cœur (âme)”.

Félicité Thösz is now available as a remastered LP in a 3mm sleeve and contains an insert.

The record is cut at 45rpm for the ultimate audio experience.

Lower Slaughter, die Krawallmacher aus Sussex, haben mehrere Jahre lang hinter verschlossenen Türen gebrodelt und sich neu formiert. Auf ihrem brandneuen Album "Deep Living", aufgenommen/gemischt von Wayne Adams (Petbrick/Big Lad) und gemastert von Sam Grant (Pigsx7/Rubber Oh), läuft die Band auf Hochtouren. Der bisherige "taumelnde Noise-Rock" (The Quietus) steht im Kontrast zu einer selbstbewussteren und raumgreifenderen Dynamik. 10% der gesamten Verkaufserlöse der limitierten "Deluxe Deep Blue EcoMix Vinyl" Auflage gehen an die Wohltätigkeitsorganisation The PANDAs Foundation, einer vertrauenswürdigen Einrichtung zur Unterstützung von Familien mit perinatalen psychischen Erkrankungen.

Der Daniel Pemberton-Score zur RomCom "Fly Me To The Moon" von Regisseur Greg Berlanti mit Scarlett Johansson und Channing Tatum in den Hauptrollen, die im Juli 2024 in die Kinos kam und seit Dezember 2024 auf Apple TV+ läuft. Eine scharfsinnige, stilvolle Dramakomödie vor dem Hintergrund der historischen Mondlandung von Apollo 11 der NASA. Dabei balanciert Daniel Pemberton gekonnt zwischen der enormen Bedeutung der NASA-Mondmission und den komödiantischen und an Raubüberfälle erinnernden Episoden, während er gleichzeitig - mit Verweis auf Quincy Jones und dessen Soundtracks zu "The Italian Job" und "Big Band Bossa Nova" die spielerische Energie und Leichtigkeit der Spät-1960er einfängt.

Continuing in a series of studio albums, Serwed (OL & Flaty) present their new release - "V" (Five).

Stylistically, this album further develops the idea of blending aesthetics, operating at the intersection of post-club, downtempo, digital dub, electro-acoustic, neo-classical, score music, and musique concrete, creating a unique sonic space.
Catching the subtle nuances of self-reflection, this chamber-like, intimate work is primarily directed toward the subconscious and intuitive perception. The structure and form are driven by emotion, while aesthetics take a back seat, giving way to pure sense.
The compositions capture moments of insight, spontaneity, and live improvisation. Delicate yet expressive, carefree yet precise, "V" is a deeply immersive and personal experience.

Reverie is a soundtrack of atmospheric chamber music for violin, cello, and piano by sisters Rebecca Foon and Aliayta Foon-Dancoes, and marks the first full-length album collaboration between the two players/composers. Reverie melds cellist Rebecca's post-rock and semi-improvised sensibility forged from over two decades playing in DIY/indie bands like Esmerine, Thee Silver Mt. Zion, and Set Fire To Flames, with violinist Aliayta's more recent trajectory from award-winning virtuosic performer to academically-shaped explorations of interdisciplinary composition. Following several years in London at the Royal Academy and Royal College of Music, Aliayta's move to Princeton in 2023 for a Composition PhD put the sisters back on the same continent, regularly meeting and collaborating at Rebecca's Lost River studio in Quebec's Laurentian mountains. Working with co-producer Jace Lasek (Godspeed You! Black Emperor, Patrick Watson, The Besnard Lakes), the result is an immersive suite of thematic variations that balances intimacy and detail with wide-spectrum spatial lushness. Subtle electronic interventions and gently blown-out acoustics ebb and flow throughout, further conveying Reverie's overriding mission to weave a meditative pastoralism with the underlying anxiety, sorrow, and tragedy of ecocide.

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.

Es gibt einen wilden Südstaatenmotor im Inneren des Debütalbums von Billy Allen + The Pollies Black Noise, das ein neues Kapitel in der der Entwicklung des ,Muscle Shoals Sound". Wie The Swampers vor ihnen, schöpft die Band aus unzähligen Einflüssen des Rock'n'Roll, klassischem Soul und Psychedelia zu einem um einen ganz eigenen, das Genre sprengenden Sound zu kreieren. Die Band wurde während der Pandemie Pandemie im Jahr 2020, als Billy Allen und Pollies-Frontmann und Haupt-Songwriter Jay Burgess begannen Demos auszutauschen und gemeinsam Songs zu schreiben. Als sich die Abriegelung lockerte, wurden mehr Mitglieder von The Pollies beteiligt, und aus einem lustigen Schreibprojekt entwickelte sich zu einer richtigen Band. Als es an der Zeit war, eine richtige Platte aufzunehmen, holten sie sich ihren Freund und manchmal auch Pollie Ben Tanner (Alabama Shakes) und sein Studio in Florence, Alabama. Das Ergebnis ist ein 11-Song-Klassiker, der stöhnt und jammert und tanzt und feiert, eine großartige Band, angeführt von einer der einer der wirklich großen Stimmen der heutigen Südstaatenmusik.

Es gibt einen wilden Südstaatenmotor im Inneren des Debütalbums von Billy Allen + The Pollies Black Noise, das ein neues Kapitel in der der Entwicklung des ,Muscle Shoals Sound". Wie The Swampers vor ihnen, schöpft die Band aus unzähligen Einflüssen des Rock'n'Roll, klassischem Soul und Psychedelia zu einem um einen ganz eigenen, das Genre sprengenden Sound zu kreieren. Die Band wurde während der Pandemie Pandemie im Jahr 2020, als Billy Allen und Pollies-Frontmann und Haupt-Songwriter Jay Burgess begannen Demos auszutauschen und gemeinsam Songs zu schreiben. Als sich die Abriegelung lockerte, wurden mehr Mitglieder von The Pollies beteiligt, und aus einem lustigen Schreibprojekt entwickelte sich zu einer richtigen Band. Als es an der Zeit war, eine richtige Platte aufzunehmen, holten sie sich ihren Freund und manchmal auch Pollie Ben Tanner (Alabama Shakes) und sein Studio in Florence, Alabama. Das Ergebnis ist ein 11-Song-Klassiker, der stöhnt und jammert und tanzt und feiert, eine großartige Band, angeführt von einer der einer der wirklich großen Stimmen der heutigen Südstaatenmusik.

Limited edition deluxe box featuring the Blu-ray film, 2CD set, 180g 3LP on special crystal-clear vinyl, hardback book and x5 12” art prints. Recorded live on 9th November 2018 (their only UK show of 2018), ‘education entertainment recreation’ is the live album from London’s Alexandra Palace.

This strictly limited and exclusive deluxe box features:

● Blu-ray Film

● 2CDs of the audio

● 180g 3LP Vinyl *

● 48pg Hardback book *

● Five 12” art prints *

* Exclusive to the box

Sonically and visually spectacular, spanning 2 hours 20 minutes, the show joyously mixed New Order classics, their latest acclaimed album ‘Music Complete’ and Joy Division’s finest.

Opening with ‘Singularity’ from ‘Music Complete’, they eased back in time to 1993’s ‘Regret’, to ‘Love Vigilantes’ from 1985’s ‘Low-Life’ to ‘Ultraviolence from 1983's ‘Power, Corruption and Lies’. Later, their power over the dance floor was proven by sublime performances in the manner of the celebrated extended 12-inch remixes they are synonymous with - on ‘True Faith’, ‘Blue Monday’ and ‘Temptation’ before a three song Joy Division mini set to end.

A noughties classic, an earworming anthem, an eventual schoolyard ringtone favourite; Roman Flügel’s once inescapable ‘Geht’s Noch?’ celebrates turning 21 on Running Back, refreshed and remixed by a scene-spanning set of artists paying keen tribute to its absurdist energy.
Casually released as part of a Cocoon Records compilation in 2004, ‘Geht’s Noch?’ rose from the depths with the support of Sven Väth, becoming an international phenomenon, conquering and uniting the dominant scenes of minimal and electroclash alike. Some have said it laid the foundations for the ‘Dirty Dutch’
house scene, albeit from over the border in Germany.
Well known for injecting much-needed levity into the contemporary club landscape via her Live From Earth parties, DJ Gigola adds additional firepower to ‘Geht’s Noch?’, inducing a planet-shaking kick drum, before sending the track’s signature bleeps into nonsensical Morse code for even greater pleasure. Another rave
culture connoisseur, Luca Lozano, offers two alternate takes; his ‘Technocs’ mix rolls deep with additional cowbells, robotic voice commands and stadium-sized claps. Meanwhile, the ‘Gehts Garage Remix’ draws a savvy connection with the original’s as-yet-untapped UK funky potential.
Peder Mannerfelt, who straddles the line between innovation, functionality, humor and seriousness quite like its original author, takes ‘Geht’s Noch?’ to truly wuthering heights. His remix builds unexpected drama and catharsis around the enduring riff, before a collaboration with studio partner Par Grindvik as Aasthma
spins the club out with a glossy, anime-tinted take, full of whimsy and colour.
And while the digital release of Geht’s Noch? also spans interpretations from Audion, Domnik Eulberg & Moguai, this vinyl release presses Steve Angello vs Who’s Who remix to wax, that which helped take ‘Geht’s Noch?’ out of the underground and into the stratosphere. Twenty years on, and Flügel’s offbeat hit is always ascending. Love it or hate it, ‘Geht’s Noch?' will still get you good.
Words by John Loveless

here may still be electronic music artists in this age of overflow and convenience who follow their own artistic vision regardless of what attention it might bring, if any. With an output that shows individualism, ideas and a signature sound. An ongoing creative process, uncompromising and adventurous, even eccentric, with results of consistent quality and determination. Dennis Busch aka James Din A4 is an archetypical example for this type of artist. He flooded the scene with releases in the 00s with numerous monikers, mostly on his own Esel imprint, and they were all great. On the outside you had his singular artworks (he is also a very accomplished collage artist) and quirkily humorous titles, and on the inside you had his music, also seemingly informed by a collage approach (only with samples), managing to sound focussed and out of focus, often at the same time. If you listen to a James Din A4 track it probably is simultaneously playful and disciplined. Anything can happen, and a lot if it actually does.

For quite some years, music releases by James Din A 4 were scarce. Jan Jelinek, an ardent fan, re-interpreted some of his favourites from the vast back catalogue as an album in 2014, then ten years later the album „Ins Licht“ appeared, and it quite nonchalantly continued what seemed to have stopped, right on the same level of greatness. And now we know that it still continues, as the label Live At Robert Johnson releases the new album „Never Look Back“. Its title should not be taken too literally, as all the trademarks of his musical legacy are perfectly intact. You will find the light and air that seems to seep through the sounds, the frisky structural details, the jolly melodies, the subtle deepness, the minimalistic yet not too strict grooves.

But do not be mistaken, this album is not looking back too much, of course. After all, this is music that is still evolving. Let’s hope for more glimpses of James Din A4‘s special and spacious world, they are ever
needed.

LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.

The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” (ɐstrɐˈnjenjɪj, estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.

“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.”
—Viktor Shklovsky, Theory of Prose (1925)

Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)

This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.

OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.

Yowzers is a new album by Chicago composer, improvisor, and musical folklorist Ben LaMar Gay. Yowzers features Gay"s working quartet with Tommaso Moretti (drums, percussion, voice), Matthew Davis (tuba, piano, bells, voice), and Will Faber (guitar, ngoni, bells, voice), as well as guest instrumentalist Rob Frye and a mini-choir. The album recalls the high-minded freedom of Liberation Music Orchestra, the glitched-out electronic webs of Robert Aiki Aubrey Lowe, the unbridled rhythms and sandpaper bellows of Bukka White, and the harmolodic cartoon glory of Arthur Blythe"s Illusions. It"s all there, filtered through an improvisational approach and a lifetime of secrets embodied. For a man who has inhabited and traveled these continents so extensively, it"s safe to call this work true "Americana", despite what that word might mean to the average person in the United States.