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Elektro Guzzi return with their 11th studio album, Liquid Center - more focused than ever, yet moresonically open. The album presents the trio on a new level: their sense of precision and structuremeets an unexpected depth and warmth.The sound is more restrained, more subtle - and in this way,it gains even more presence. What stands out: this album sounds different. And it feels different too.Over the course of a year, the band developed a recording technique that translates their analog liveenergy into a sonic image that captures both the physicality of a band in space and the coolabstraction of techno.The result is a sound that doesn’t seek loudness, but detail - clear, warm, deep,and with an almost artificial precision. Liquid Center is not a loose collection of tracks but a coherentalbum experience.With every listen, it opens up a little more: a new texture, a shifted perspective,another layer emerging from the space between groove and sound. Maybe it’s the music that’schanging. Or maybe it’s just the way you hear it.

One of the most exciting voices in modern soul returns with Lilly - a deeply personal new album from Amsterdam-born singer, songwriter, and producer Danny Kuttner.

Blending 90s neo-soul, ECM-inspired jazz, and leftfield electronics, Lilly will resonate with fans of Hiatus Kaiyote, James Blake, and Billie Holiday – which Kuttner cites as some of the album’s key influences.

An emotional tour-de-force, the album is shaped by raw introspection and inspired by the passing of her grandmother. A stunning record that invites listeners into a world of vulnerability and sonic depth, and a must-have for vinyl lovers seeking soul, story, and standout production.

For the first time in full, a unique anthology of Hungarian TV and radio recordings by the legendary guitarist Gábor Szabó, captured during his return visits to Budapest in 1974, 1978, and 1981. This historic collection documents the deeply personal reconnection of an exiled artist with his homeland, bridging musical worlds and emotional landscapes.


The first disc features both studio and concert recordings with some of Hungary’s top jazz players of the era, including the legendary double bassist Aladár Pege and renowned vocalist Kati Kovács. The second disc includes a rare televised concert from the Hilton Hotel (1978) and Szabó’s final known performance — a moving rendition of “From a Dream” recorded in 1981.


The music collected here captures a poignant duality: Szabó as both American and Hungarian, outsider and homecomer. This is one of the most intimate and emotionally charged chapters of his career and a musical homecoming, rich in atmosphere and soul.


As always with Ebalunga!!!, Gábor Szabó’s legacy is treated with great care and passion. This edition features a 2LP gatefold vinyl release, complete with an in-depth essay by Szabó’s official biographer Douglas Payne — a fascinating piece of cultural and musical research in its own right.
The visual design is the work of artist and industrial designer Anton Bogdanov. With no use of AI tools — just handwork, imagination, and deep respect for the material — the artwork invites the listener to spend long evenings in its layered atmosphere.


Mastering is by Grammy-nominated engineer Jessica Thompson, whose work has revived dozens of legendary archival recordings — including the previous four Szabó releases on Ebalunga!!!.


This album is also available as a 2CD set in an elegant 6-panel digipak, crafted with the same care and attention as the vinyl edition.


Two hours of sublime music, stunning sound, and timeless packaging — a true gift for fans of Szabó and those who cherish deep, living jazz traditions.

OOOOH! by Alex Bad Baby Lukashevsky with Cocoa Corner (2025)

Celebrated veteran of Toronto’s music scene, known for his boundary-pushing approach to folk and avant-garde music, twists rock music into strange and brilliant new shapes with the help of young jazz players, U.S. Girls, and his own immensely talented son.



OOOOH! is hard on the outside and soft on the inside. Made in the spirit of unity,
humanity, and poetry — disobediently renouncing the glory of personal triumph for the
generosity of an honest experiment. On the last track of the album you’ll hear “Or do you only ever never want to make a single enemy? / That’s not freedom or humility / It’s nothing, honestly.” Oooh, that's a bad baby!

A celebrated Toronto songwriter and performer, Alex Lukashevsky has always been disobedient. Which simply means, nothing is off the table when he’s looking for his
poetic voice; when trying to find the realest I of the teller. As he sings on the lead track “that musician that’s dead” The musician is radical/ it’s the world that’s demented/ listening with their eyes, the music looks dented/ they’re over-represented.
OOOOH! was recorded in January 2024 at Sound Department in Toronto, engineered by Patrick Lefler (ROY), mixed by Grammy-nominated producer Matt Smith. All the songs were tracked live off the floor in two days, with one extra day for recording vocals, to keep the recording fully alive and breathing. As leader of Deep Dark United, as a solo performer, and a sideman in Brodie Wests’ Eucalyptus and Luka Kuplowsky’s Ryokan Band, Alex has been an outsized influence on the Toronto music scene that spawned acts like Broken Social Scene and Owen Pallett. (Pallett, who has toured with Lukashevsky, went so far as to record an entire album’s worth of Alex’s songs, backed
by a full orchestra.)

Lukashevsky has approached each of his albums and projects as something completely new, using only the musical boundaries he creates with each song. Even when he
has recorded songs with nothing but his voice and his own acoustic guitar accompaniment, the results are never “stripped down” or “back to basics,”
Gong! How do you get to heaven / have fun! have fun!
It’s cool to approach music as a game of “spot the influence”; Burt Bacharach-meets-Black Flag; Lana Del Rey-meets-LCD Soundsystem etc. Glorified mash-ups are promising because of their conversational nature. But they can turn us into hyperboreans; blowing cold air beyond ourselves while doing what we can to remain warm. To devise a game or a narrative is to have a winner and a loser, but we all know that just as you win/ so you lose. And does anything really change? Alex Lukashevsky and Cocoa Corner are more at ease drawing blind contours or playing an old game like consequences. They let things add up without knowing particularly how. Cognition is recognition.

Lukashevsky, in addition to writing all the songs, plays guitar and sings on OOOOH!, doing both in ways that are soulful and spikey at the same time. Joining him on guitar and vocals is his oldest child, Charlie Lukashevsky, who, at 23, is already a talented performer and songwriter in his own right. Cocoa Corner also includes Aidan McConnell, an in-demand drummer and composer, Jack Johnston, a jazz bassist and Barry Harris acolyte, and percussionist Evan Cartwright (The Weather Station, U.S. Girls, Cola, Tasseomancy), who plays steel pan and marching drum.

Working with his son and with other younger musicians is central to the album’s
unpredictable aesthetic. It reinvigorated the sound in unexpected ways. Lukashevsky says, “I had to reconsider my own instincts. I had to deal with being 99 years old.”
In addition to these performers, the album includes a tasty contribution from Meg
Remy, the visionary musician and producer who is the leader of the critically acclaimed
project U.S. Girls. Remy duets with Lukashevsky on the imagistic and sprawling album
closer “things keep happening.”
About that album title: OOOOH! is taken straight from “that musician that’s dead” an
arch and unhinged comment on the exertion required to navigate a lifetime of music making.
Lukashevsky’s delivery of that one emotive word is a kind of cultural posture, but also a
hundred percent primitive expression. The impact is never less than visceral. His vocal
delivery ranges through rich baritone blues to keening falsettos to a kind of sprechstimme that periodically steps out from the music to grab the listener’s shirt. He
doesn’t sound too nice, but he is sincere. When life gives you lemons lament.
For OOOOH! his first official full-length album since 2012’s Too Late Blues, (a collection of knotty-yet-effervescent tunes built upon the enchantingly serpentine harmonies of Lukashevsky and his vocal collaborators, Felicity Williams (Bahamas, Bernice) and Daniela Gesundheit (Snowblink, HYDRA)), Alex has once again broken apart and rebuilt his own approach to music. Or rather (because that sounds too over-determined), he
has allowed his music to build itself into strange new shapes that only fleetingly and
coincidentally, but happily, resemble anything that might be called rock and roll. There is some editorializing within the song’s lyrics— Lukashevsky even cheekily contributes to the “spot the influence” game with the line “Muddy Waters, Rite of Spring!” a funny preemptive strike against anyone already reaching for some variation of avant-blues to describe what the song is up to here. In fact there are many names checked on this record (literally and in spirit); they are the lily pads that trace the path of this expression! Palestrina, Peter Pears and Benjamin Brittain, Andrés Segovia, Stravinsky, Lotte Lenya, Alice Coltrane, Skip James, Chuck Berry, D’Gary, Betty Carter, Mukhtiyar Ali, Chuck D, Yoko Ono, Hailu Mergia, David Bowie, Jane Siberry. rhythm is a skeleton mansion / haunted by melody / feckless prodigy / the world is under a spell / cast by some demon angel / Practice day and night / Try as hard as hell / no one can sing that well Musicians are often worried by the way in which they are prepared to fail rather
than how they would like to succeed; it’s such a deep concern that it tempers their creativity and shackles their process. Current cultural proclivities, tend to comfort a certain kind of artistic failure and abnegate another kind. How many testimonials, full of heartfelt care and investment, have you heard for Taylor Swift, and yet a craftsman like Chris Weisman is often dismissed easily as though he’s doing something anti-social. what’s throwing itself in my ears and my eyes / arrogant devil ad hominem christ.
The music you will hear on this recording veers off in multiple directions at once,
and features a rock and roll spirit with a divergent heart. This is no sclerotic clomp of the Average Rock Song, but in fact a flood of humanity in all its darkness and moodiness and unpredictability. If most performers make songs that are like sports cars or pickup trucks to drive around, Lukashevsky has built something more akin to a rowboat in a tree: it’s weird and beautiful.

Devianza, leading artist and owner of the label, returns to production by launching a new series of single-sided vinyl releases, each featuring only two tracks. The first instalment is a sonic catharsis rising from the very depths of a generous land, abundant with new seeds ready to sprout.

‘Le Piante di Elena’ is a dreamlike homage to a primordial world — untouched, pure, and still fertile. A tribute to a newborn bearer of the most radical values of a necessary humanism: a call to return to nature in its most spiritual and purest form. Devianza appears to be evolving into a higher, more spiritual dimension, where spirituality itself becomes the guiding force behind his musical production.

The single side opens with ‘Betullae’, a hypnotic ride between deep and leftfield, characteristic of Devianza’s sound, but this time enriched with an Indian tonal and modal flavour. Forest landscapes are traced by piano motifs that evoke interstellar journeys among endless birch trees.

‘Sunflower Sunset’ continues the hypnotic drift with a melodic crescendo that conjures the image of a sunflower field bathed in the warm glow of a summer sunset without wind. Here, where everything stands still yet everything is, this eight-minute piece becomes proof of the rarefaction of time — an instant that, though fleeting, feels infinite.

For fans of: Donato Dozzy, Voices From The Lake, Luigi Tozzi, Claudio PRC.
Related labels: Spazio Disponibile, Hypnus, Semantica, Silent Season.

Heavyweight Dub album by Alien Trackers, a new project by cosmic trumpet specialist Pablo Volt (STA) and Jahtari space ship mechanic disrupt, landing right in the sweet spot between soulful Black Ark-warmth, digital Firehouse dancehall hitters and Jahtarian Dub psychedelics.

A lazy day at a beach, in a galaxy far, far away... Feel the sand between your tentacles and splash in the emerald acid sea. Snorkel with plasma squids and shock eels. Marvel at the double suns during the magic twilight cycle and bask in their glorious gamma rays. Gaze into the depths of the local Vortex...

Coming on alien-green vinyl, with hand drawn art by David 8000 Farris, additional bass & guitars from Dubsworth, and an all four thumbs up-rating, 'Dubs from Vortex Beach' is landing in your orbit right now!
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Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

Originally released in 2009, Céu"s Vagarosa is a landmark of 21st-century Brazilian musicc- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound cboth timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu"s ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben"s "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album"s closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu"s ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album"s rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.

Originally released on Mon 22 August 2005, the Furries’ third and final album to be recorded by Epic Records, Love Kraft is to be reissued on double vinyl, 2CDs, including the 22-track bonus CD, Kiss Me With Apocalypse and digital formats on Fri 24 October 2025 via the Cardiff-based independent label, Strangetown Records. Four previously unheard tracks are drawn from the vaults, including the squidgy ELO-stomp of drummer, Daf Ieuan-led Rock ‘N’ Roll Flu, plus the distorted space-jam of Cae Marw, the band’s deep-bass sketch of Palo Alto and ghostly, percussive morsel of Bedw Arian.

The album followed six previous albums by the band, including their statement debut album, Fuzzy Logic in 1996, melding an attention-demanding mix of literary, narcotic and musical influences. Maintaining a shape that was ill-fitting in the jigsaw of other 90’s guitar bands, their follow-up, UK Top Ten album, Radiator brought the hooky squelch of the bona fide indie dancefloor classic, The International Language of Screaming. The next decade saw the release of the first Top 20-charting, Welsh language album, Mwng (2000), followed by further experimentation and commercial success with Rings Around The World (2001) and Phantom Power (2003).

Love Kraft’s sense of cohesion, collaboration and free-flow of rich harmony has been credited to the five-piece escaping Wales to record in the shimmering heat of Figueres, Catalunya. Bringing famed Beastie Boys producer, Mario Caldato Jr along with them for the ride, the travelling band’s stay in the Catalonian hometown of Salvador Dali included found sounds, boozy petrol stations, gastronomic revelations and, finally, a rich album of strings, synths and opulent vocal harmonies.

While eventually finding their way to Baha, near to Rio di Janeiro to mix the album Love Kraft’s story began in Wales and Pleasure Foxxx Studios, where the band began to craft the album’s songs. Embracing the landmark of a seventh album, notably coming after the 2004 release of their first ‘best of…’ package, Songbook: The Singles, Vol. 1, Super Furry Animals pooled ideas and affected further democracy in their songwriting, taking a load off traditional lead-writer and front man, Gruff Rhys, and sharing in lead vocal duties (aside from the microphone-averse bassist, Guto Pryce).

Love Kraft was the first Super Furry Animals album recorded to hard disc instead of multi-track tape, and found the band typically explorative and open to happenstance. Zoom’s opening splash into the recording studio’s swimming pool is accompanied by the on-location, pool table samples found elsewhere on the album.

Updated packaging features the original, meticulously built diorama design by long-time collaborator Pete Fowler. Constructed by hand in his studio, complete with bulb-lit illumination, then photographed, the sleeve’s depiction of a monolith-rich desert landscape reflects the sense of other space and time depicted by Love Kraft’s woozy songs. The final sleeve design again comes courtesy of Mark James.

Returning after four years, Los Angeles indie-pop band Massage unveil Coaster, a luminous 10-track album steeped in melodic depth and emotional honesty. Widely recognized for their infectious pop sensibility, the five-piece approach the turbulence of adulthood through shimmering pop songs that capture both nostalgia and growth. Drawing inspiration from The Cure, Big Star, Echo and the Bunnymen, and The Go- Betweens, Massage now transcend their influences, offering a sound that's uniquely their own. Coaster is a testament to the band's evolution-embracing the "inbetween," writing pop songs that linger. What makes compelling is how three musicians take on writing and vocal duties, leading to stylistic shifts between tracks while maintaining a cohesive, signature sound. Across the record, the band's lyricism explores the messiness and resilience of adulthood-resolving to keep moving forward, even when life is uncertain. The recording process mirrored these themes: a willingness to make mistakes, hit reset, and chase down the unique world within each song. This is the soundtrack of five friends navigating life's unpredictability together. Their chemistry and shared history create moments of spontaneous brilliance- whether in the driving interplay between guitars, the pulse of vintage effects, or the heartfelt harmonies threading the album. Coaster is more than a collection of standout pop songs; it documents growth and camaraderie, bridging nostalgia with honest self-reflection and crafting melodies that linger long after the final note.

'HAPPY HOUSE' by St. Petersburg's very own DJ Stonik1917 became an instant underground hit, defining a specific raw and energetic sound within the Russian electronic and hip-hop scene, breaking genre borders and infecting crowds with its vibes and attitude, punchlines and baselines. With 'GoodDayFlopTray' and 'Kurtochka Stonik' having gone viral on social media, the sound of DJ Stonik1917 became a soundtrack for a whole generation of youth. The album's unique blend of hard-hitting beats, delayed vocals and unapologetic DIY ethos captured a moment in time, making it a sought-after title for physical media enthusiasts. The release will be a limited run, featuring the original tracklist spread across a 12-inch vinyl 180 gr. record, complete with original artwork. Poster included.

'HAPPY HOUSE' by St. Petersburg's very own DJ Stonik1917 became an instant underground hit, defining a specific raw and energetic sound within the Russian electronic and hip-hop scene, breaking genre borders and infecting crowds with its vibes and attitude, punchlines and baselines. With 'GoodDayFlopTray' and 'Kurtochka Stonik' having gone viral on social media, the sound of DJ Stonik1917 became a soundtrack for a whole generation of youth. The album's unique blend of hard-hitting beats, delayed vocals and unapologetic DIY ethos captured a moment in time, making it a sought-after title for physical media enthusiasts. The release will be a limited run, featuring the original tracklist spread across a 12-inch vinyl 180 gr. record, complete with original artwork. Poster included.

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

A decade after its release, A Fragile Geography returns transformed. This limited edition cassette accompanies the AFG10 anniversary reissue, offering an inspired re-envisioning of Rafael Anton Irisarri’s landmark compositions. Reworks presents distinctive readings of these pieces, with each artist leaving their personal mark on the material. The titles remain unchanged, with the sole exception of “Hiatus,” reborn here as “Ausencia.” Together, these reimaginings extend the emotional cartography of the album into new terrains.

KMRU reframes “Displacement” with expansive, glimmering layers that open into meditative ambient landscapes. Nairobi born and Berlin based, he is known for morphing field recordings into vivid aural experiences, often capturing the texture of footsteps, foliage, and distant city life and weaving them into contemplative soundscapes. In this version he introduces subtle new sounds, including stringlike synths that trace and heighten the piece’s emotional arc. The result invites close listening, offering enveloping tones where the organic and the synthetic gently collide and flow.

Penelope Trappes renders “Reprisal” as a voice-led invocation of the delicate and the intimate. Her wistful vocals bloom with fragile sorrow, rising over shimmering strands of strings to create a sound world at once sacred and shadowed. She is adept at channeling inherited grief into music that is transcendent and otherworldly. The interplay of her voice, the strings, and her use of space and depth draws those qualities into Irisarri’s orbit, imbuing “Reprisal” with the same spiritual weight and clarity that define her most powerful work.

Kevin Richard Martin (a.k.a. The Bug) transforms “Empire Systems” into a cavernous “Iced Mix,” driven by polyrhythmic double bass motifs and sculpted from subterranean pressure and negative space. Known for pushing sound to its physical limits, Martin brings the stark intensity of his dub and noise infused practice into Irisarri’s architecture. The track seethes with harmonic distortion and erupts in white noise rhythms, its brooding low end depth and icy reverberant textures amplifying the tension. Vulnerability and force are set in stark relief, as silences feel as heavy as the bursts of sound themselves. The result is a stark study in atmosphere, restraint and impact, reframed through Martin’s singular lens of sonic mass and low end intensity.

On Side B, Mabe Fratti opens with a cinematic, dreamlike, Lynchian reimagining of “Hiatus” in her native Spanish (“Ausencia”). She threads cello and voice so wondrously that her rendering feels at once hauntingly beautiful and disquieting. Emotionally charged melodies shift in unexpected directions, while her soft, intimate vocals hover above Irisarri’s brooding synth textures. Fratti’s gift for blending experimental and avant pop sensibilities with visceral, emotionally powerful expression shines resplendently here. She gives voice to Irisarri’s reflections on the passage of time and his growing desire to reconnect with his familial roots.

Abul Mogard stretches “Persistence” into a vast drone elegy. A master of patient sound sculpting, Mogard layers evolving waves of analog synths into a dense shroud that radiates its own internal light. Gradual surges of tone and subtle harmonic shifts emphasize the piece’s endurance and inevitability. Irisarri’s original composition, in Mogard's hands, becomes a rumination on time’s unrelenting flow. Melancholy and transcendence coexist in equal measure in this engulfing, cathartic rework.

William Basinski and Gary Thomas Wright close the cycle with a spectral version of “Secretly Wishing for Rain.” Basinski’s field recordings of Reseda rainfall and birdsong, which open and close the rework, add a personal touch and evoke the imagined sound of a grainy film reel flickering to life. The piece suspends Irisarri’s yearning for the Pacific Northwest, lodging it hazily between memory, place and an unreachable dream. It feels like a fading recollection, half forgotten and half felt. A final gesture that dissolves the album into vapor, leaving the listener adrift in its lingering afterglow.

Mastered with great care by Stephan Mathieu and featuring a remixed version of the original artwork by Daniel Castrejón, this edition refracts the language of the original through new prisms. Less a return than a passage, across time, across interpretation, into uncharted emotional realms.

A – Raise & Risk – The Itch

A tiny camel keyring tossed around on a contact mic and run through an ancient plate reverb makes up most of the percussions, odd ad-libs and wooshes in "The Itch". A 60 ton bass growl of mesozoic depth and some messed up hihats nicked from a previously discarded track round things off. Unfolds particularly well at high volume with ample Waterhouse-level low end.

B1 – Raise & Risk – Anthistamine
The initial minimalist groove of "Antihistamine" had already been in place for a while. But it was the log drums we added after a long night spent in a dark room surrounded by and partaking in mayhem that really tied it all together. Overall a moody and somewhat dissonant affair, the track breathes and oozes in unexpected ways, like we've never managed before.

B2 – Raise & Risk – Screwfix E17

Sirens wail, shouts compete for attention, a gnarly bassline tests your speakers and the drums switch between half- and doubletime 165 business. "Screwfix E17" is a rowdy loveletter to everyone's fav retailer of cheap tools and ambivalent service.

Blazing onto ICONYC for its 21st release, Swiss sonic alchemist Shiffer makes a striking debut with the magnetic All I’ve Been EP. Celebrated for his emotional finesse and innate ability to connect with unexplored corners, Shiffer’s latest creation, including a lucious collaboration with Paul Brenning and capped off by Jonathan Kaspar’s trademark rework, is a tantalizing suite designed to echo in our timeless halls.

The journey begins with Shiffer & Paul Brenning’s opening manifesto, “All I’ve Been”, a track that unfurls with both confidence and caution, as if self-aware from its very first beat. Mechanical whirs and fractured frames give way to low-end swells that drive forward with an unrelenting undertow. Brenning’s unmistakable vocals start to break a warmer ground as they linger in the liminal space between today and tomorrow before slowly growing in gravitas. Suddenly, the piece begins to contort, drawing spellbinding figures as arresting arrangements and melodic flourishes allow for decompression. Imbued with a tantalizing breakdown that amplifies their exquisite use of negative space, “All I’ve Been” is a fascinating and intimate take that feels as expansive as it ever could.

The follow-up, “Urban Legends”, takes a bolder stance. Anchored by heavy drum programming that carves its place with deliberate force, the track is haunted by ghostlike vocal fragments that lend an unsettling, cinematic edge.. Out from the left field, Shiffer deploys undulating synthetics that intertwine with consummate ease as they glide under the spotlight. An alluring act that treads unhurried and unconcerned, “Urban Legends” operates at its own pace, far from the demands of a world lost in the metropolitan hustle, allowing us to bask in a lore of things that might or might never have happened.

Closing the release, ICONYC calls upon Cologne innovator Jonathan Kaspar, who delivers a singular reinterpretation of “All I’ve Been”. Immersed in iridescent textures, Kaspar layers lush, swelling pads over pulsing low frequencies, their ebb and flow punctured by flashes of distortion that spark like electric currents.. Reflective and equally immersive, Jonathan Kaspar’s take on “All I’ve Been” pushes the collaboration into a brash new terrain while retaining the spiritual ethos intact

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left. So everybody, don't sleep, be critical.

2024 Repress
If anyone in the reggae circles could be described as having their own sound it would have to be Mr Augustus Pablo, born Horace Swaby 1954 St Andrew Jamaica. He took the humble melodica a wind blown mouth keyboard and made it shine.

His musical journey started one sunny day in 1969. Walking into Herman Chin- loy's Aquarius Records shop and on playing his melodica so impressed its owner that he was taken off to Randy's Studio 17, the very next day to cut his first record 'Iggy Iggy'. But it was his second tune under the guidance of Clive Chin again cut at Randy's, the seminal 'Java ' that put the young Augustus Pablo on the map. Clive Chin continued his work producing Pablo's debut album 'THIS IS AUGUSTUS PABLO' . An instrumental affair on which the neo-mystical ''Far East'' sound synonymous with Pablo's work emerged.

Having worked with most of the top producers of the time,Lee Perry,Keith Hudson, Bunny Lee, Augustus decided to set up his own label "Rockers", named after his brothers sound system. Where many of his tunes would first be heard.The label came to define a new and exciting chapter in reggae history.Even when versioning acknowledged classic Studio One rhythms there was a precious maturity and depth to Pablo's productions that kept him at the top throughout the late 1970s and into the 1980s. His 'King Tubby meets the Rockers Uptown' set which featured some of these rhythms reworked; Swing EasySkanking Easy, Frozen SoulFrozen Dub, stands as one of the true dub classic albums of any reggae education.

This set of dubs are taken from his classic 70's period.All rare dubs straight from the masters. You may have heard the tune, but not these versions. So sit back and enjoy the Original Rocker..... STILL SOUNDS SWEET.

RESPECT....JAH FLOYD.

Returning to Curvature for his eagerly awaited second EP, Senses brings an impressively varied array of atmospheric jungle to the table, drawing from a multitude of influences across the musical spectrum with Convex Reflex.

A1 - Ratio
A break-laden intro lays the groundwork for a considered foray into the old-school - Senses flecking the mix liberally with synths and female vocal hits of yesteryear, before the welcome crunch of thunderous amens takes over. A cascade of rip-roaring edits
floods the track taking you on an epic ride through the ages, breaks chopped with riotous energy confirming this track as a perfect DJ tool for the dancefloor.

A2 - Sun Runner
Beautifully crisp drums open a DJ-friendly intro to Sun Runner, delightfully clear sounding with distinctive cymbals, a thick snare and subtle bongos. An airy soundscape soon washes into the mix with calming synths and flutes, creating a delicately jazzy blend of styles with soothing melodies contrasting perfectly with the breaks. More pronounced synthwork follows to spice things up as the bassline rumbles along below.

B1 - Spirit Vector
Dense atmospherics are the order of the day as Senses deploys Spirit Vector, opening with an array of synths and strings to create an intro reminiscent of Intense's work in the late 90's. Soon we are treated to a paradoxical assortment of heavy amens that work impeccably in the mix - thundering forth with pads soaring high and a heavy sub bass below. Various instrument samples litter the breakdown before a vocal sample declares "Yes". Yes indeed.

B2 - Still
Closing the EP in style, Still opens with sparse breaks, lightly building with extremely subtle apache breaks in the backdrop with sporadic keys and smooth pads. The drop arrives with warm, room-filling basslines and synths to elevate the atmosphere alongside luscious flute samples.Layers are added to the excellent breaks as Senses sprinkles instrument samples, keys and a classic female vocal, completing a joyous composition for Curvature.

Words by Chris Hayes (Spatial / Red Mist)

Debuting on Curvature with an impressively deep EP, Reviver delivers a sound that aligns perfectly with the core ethos of the Spatial family - incredible atmospherics and classic breakbeats.

A1 - Call From Space
Opening the EP we are treated to a DJ-friendly intro with thick breaks and crackly backdrops reminiscent of classic sci-fi movies with a slightly oppressive aura. A tapestry of melodies created from intertwining synths and samples follows, as Reviver tells a story of intrigue and redemption through this wonderful medium - a
stunning, rousing melody soon develops and elevates things to otherworldly levels for the latter stages. Quite simply, you've got to hear this.

A2 - Way Of Paradox
Old-school, finely edited breaks open a DJ-friendly intro to Way Of Paradox, a track which quickly builds a darkly suspenseful vibe through synths and pads, rising and swirling across the soundscape with mystique and a sullen vigor, before a mournfully intense earworm melody joins the proceedings. The atmosphere builds and envelops the listener like gathering storm clouds leaving this one etched firmly in the memory.

B1 - Define Or Destroy
Strap in as there is no let up with the intensity - Reviver unleashes Define or Destroy which sees that classic amen break deftly programmed with a variety of filtering and editing techniques on show, while sumptuous operatic female vocals add further depth along with melodic keys. This track rolls and rolls with the best of
them as you appreciate the subtleties of Reviver's varied edits with each listen.

B2 - Journey Alone
Generating an immediate sense of unease straight out of The X Files with delicate pads and synths, Reviver closes the EP in style, serving up a track dripping with atmosphere and intrigue. A wonderfully old-school breakbeat drives proceedings along with sparse kicks and excitable snares, patterns filtered to perfection with swirling micro melodies adding layer upon layer to an already impressive piece. A fitting end to an incredibly intense EP.

We're proud to announce the upcoming second vinyl release from Black Teeth Records, and it's a serious one - courtesy of none other than ARtroniks, a Ghent-based producer who's been crafting heavyweight dub-infused pressure since the late nillies. No small name in the game - his work has long resonated in the deeper corners of the bass music world. This new four-tracker is a bold evolution of his sound: a stripped-down, technoid dubstep blend steeped in cyberpunk atmospheres, engineered for proper sound system deployment.

Transit - hauntingly dystopian and beautifully cinematic. A perfect intro, interlude, or ender. Backlash - pure weaponry: sharp, relentless, and built for dancefloor impact. L121 - deconstructed minimalism that cuts deep; skeletal but heavy. Vitamin - hypnotic low-end movement with tight percussive tension.

dxrvo, hailing from Hannover, Germany, has made a name for himself in the electronic music scene by creating hypnotic, minimalist, and atmospheric techno sets. His music takes the dance floor on a captivating journey, characterized by driving beats, rhythmic basslines and repetitive sounds. With performances at renowned venues such as Tresor Berlin, PAL Hamburg, Doka Amsterdam, Watergate Berlin, and Terminal Lyon, he showcases his presence in theinternational techno landscape. As a founder of the Kollektiv Synergie, dxrvo is committed to inclusive events and the promotion of diverse artists. His production skills are evidenced by successful releases on labels like SYXT, Room Trax, Modern Minimal, and NYXII. More than just a DJ, dxrvo is an architect of sonic experiences, continuously redefining the boundaries of electronic music.


Linear Phase
With a two-decade career in music production, Carlos, better known as Linear Phase, has become an established artist in the global techno scene. His eclectic sound proposal, ranging from ambient / drone, through minimal / deep / hypnotic, to raw techno, has earned him the recognition of both critics and the public. His prolific career is reflected in the more than 50 releases under his belt in the last 5 years on several internationally renowned labels such as Molecular, Planet Rhythm, Newrhytmic, Drumcode LTD or Edit Select, to name a few, thus consolidating his presence in the global scene. His 5 years of experience in the world of modular eurorack has allowed him to develop a unique and personal sound, characterized by its depth, textures and enveloping atmospheres. In addition to his role as a producer, Linear Phase is co-creator of the Barcelona Modular Society, a space dedicated to the exploration and dissemination of experimental electronic music. Linear Phase is currently developing the creation of both its own label and its new studio, which will become a creative hub oriented to host all kinds of activities related to techno production. This space will feature the participation of renowned national and international producers, consolidating his commitment to the scene and his vision for the future.

Innmenal
Innmenal is a DJ and producer from Pinamar, Argentina. Resident from FAS Producciones he focuses into hypnotic sounds and chaotic rhythms. He has been playing across the Argentinian coastline spreading his sounds characteristics. With continous work and dedication Innmenal's tracks can be found in labels such as Concepto Hipnotico, Apical Records and Diffuse Reality. His first album called Metatron's Cube was released this year on the Diffuse Reality's Label. Another album is planned over this year along other releases on other labels. His last track Winds Of change was released on the label Modern Minimal with some support coming from Rødhad, Svreca, Developer, Richie Hawtin, Slam, Justine Perry, Arnaud Le Texier, Distant Echoes, Dax J, Hugo Rolan and more. He has shared the decks with Mariano DC doing warm up during last year. With more than 10 years behind the decks he's still digging into the deep hypnotic sounds with some agressive percussions to give the listener a journey through his cosmic sounds. So far Innmenal has been active in various labels like Diffuse Reality, Modern Minimal, KPLR, Space Travel, Rowan Underground and Habitat Musical.

Qaypz
Qaypz is a DJ and producer hailing from Arlon, Belgium. As a child of the 90s dance music era, his journey into electronic music began in 2000, ignited by his first I Love Techno Festival experience in Belgium and the underground rave scene that was thriving in his hometown Liège, where Jungle and D'n'B from UK were dominating. This era made Qaypz start mixing on turntables and embracing vinyl culture in 2003. Today, he's versatile, seamlessly transitioning between turntables, CDJs and DAW-based setups, incorporating hardware and controllers for a hybrid mix performance style. In his early years, he organized local rave parties and later moved to Eupen, the capital of East Belgium, where he founded the collective Krank'm'Haus. Qaypz's passion for underground sounds is evident in his productions. He crafts dark, industrial tracks characterized by powerful kicks, somber melodies and a driving rhythm. His performances have graced notable locations such as The Ground Club in Luxembourg, The Liquid Club in Malta and The Kulturzentrum Alterschlachthof in Eupen as well as underground events like La Nature, Eupen Musik Marathon Festivals in East Belgium and the Rummelstilzchen’s illegal rave party in Berlin-Rummelsburg just before the building demolition the day after. Qaypz is currently focusing on his label development and continue producing and mainly releasing his music on Krank'm'Haus Records.

Original soundtrack of the film Little Amélie, an adaptation of Amélie Nothomb’s ninth novel The Character of Rain (Métaphysique des tubes), published in 2000 and a major literary success.



From Tokyo, Mari Fukuhara composed an airy and playful score for the film. She blends impressionistic piano (Ravel is never far), childhood timbres (marimba, traditional Japanese songs), and orchestral textures. The shakuhachi (flute) and the koto bring in a Japanese touch, at times lyrical, at times mischievous. The result is a reading and listening experience that is both deeply personal and universal.



The album unfolds like a musical tale in its own right, evocative yet profoundly intimate.



Released in France in June 2025, the film is now campaigning for the Oscars and will premiere in the U.S. in the fall.

The World Is a Beautiful Place & I Am No Longer Afraid to Die return October 17 with Dreams of Being Dust, an album that finds the Connecticut-formed collective plumbing the depths of emotional ruin and emerging with their most scorched, unrelenting work yet. Co-produced by guitarist Chris Teti (Fiddlehead, Anxious) and Greg Thomas (END, Misery Signals), the album exchanges the band"s usual sprawl for something more serrated-folding djent-like heft and post-hardcore volatility into their post-everything DNA. Dreams of Being Dust is the band"s fifth studio album, and follows up their well- received 2021 album, Illusory Walls, which arrived as their "heaviest, proggiest, most audacious release to date" according to Stereogum. Tackling complex social and political themes like religion and capitalism, Pitchfork praised its scathing indictments as "fuming with resentment for the ruthless greed and self-interest fueling societal collapse. If Illusory Walls was their grand reckoning, Dreams Of Being Dust is the aftermath: raw, furious, alive. But even amid the chaos, the band"s core remains intact-a belief in community, resistance, and making sense of the world through sheer volume and vulnerability. TWIABP have always blurred the lines between hope and despair, and here, that duality feels sharper than ever. Now a decade in, the band- David F. Bello (vocals), Chris Teti (guitar/ vocals), Joshua Cyr (bass), Katie Dvorak (synth/vocals), Steven K. Buttery (drums), and Anthony Gesa (guitar/ vocals)-deliver a message that sounds less like a eulogy and more like a rallying cry.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by."

Two of Lamp's masterpieces will be released on vinyl at the same time! Two of Lamp's masterpieces from the 2010s, "Tokyo Utopia Tsuushin" and "Yume",
will be reissued on vinyl! After becoming a viral hit on TikTok in the 2020s, Lamp now has over 2.1 million monthly listeners on Spotify.
In addition to his deep-rooted popularity in Asia (China, Taiwan, Hong Kong, Korea, Indonesia, etc.), he was selected as a support act for Mitski last year
and accompanied them on their North American tour. At the same time, his solo tour "FUTURE BEHIND ME" North America 2024, which visited 17 locations
in North America, was all sold out. This summer's solo show at LINE CUBE SHIBUYA was also sold out immediately, and Lamp's two masterpieces,
which are currently gaining worldwide acclaim, will be released on vinyl at the same time!

This is the sixth album by Lamp, a mixed-gender trio that has inherited the Japanese pop music of each era and sublimated it into new pop music by sprinkling
elements of 70's pop and Brazilian music throughout.
This album depicts the mental landscape of a man and woman passing each other in a certain place in a city.
It suddenly reminds us of the cold and warmth of winter, a nostalgic feeling that everyone has experienced at least once.
The jacket features many illustrations by Suzuki Oji, who was active in the manga magazine "Garo," which had a great influence on young artists in the 70s and
produced many geniuses in the manga world, and is known for his representative work "Motorcycle Girl."
The unique, fantastical illustrations resonate with Lamp's music to create a fantastical world.

Unlike anything we have heard from her before, Okkyung Lee returns to Shelter Press with "Just Like Any Other Day: Background Music For Your Mundane Activities", a deeply intimate body of recordings at the juncture of ambient music, minimalism, and the baroque, that stands as radical intervention with what experimental music can be, and the place that organisations of sound occupy in our lives. For more than two decades, Okkyung Lee has stood at the forefront of the most radical trajectories of experimental music: a virtuosic cellist and improviser, renowned for her creative rigour and emotive depth. Particularly noteworthy for her range, dexterity, and adaptability, over the last five years Lee's output has revealed unexpected shifts and developments that move far afield from the realms of free improvisation for which she is most well known. 2020's "Yeo - Neun", a heart-wrenching, ambient chamber work - drawing inspiration from the Korean popular music of her youth - was issued by Shelter Press to great critical response, followed closely by "Teum (The Silvery Slit)" - one of a series engrossing electroacoustic works created at Groupe de Recherches Musicales in Paris - on Portraits GRM, and then "Na-Reul" in 2021, regarded by Lee as a closing statement of more than two decades living in New York, which set the precedent of her allowing her emotions to fully occupy the forefront of the music for the first time. Marking her return to Shelter press, "Just Like Any Other Day": Background Music For Your Mundane Activities", encounters Lee upturning the apple cart once again, weaving a profoundly intimate artistic statement on completely unexpected terms. Like its three aforementioned predecessors, "Just Like Any Other Day" belongs to broadening shift in Lee's approach to composing that roughly aligns with her return to her native South Korea, having lived in the United States since her late teens. Infused with a deep reengagement with her own culture and relationship to memory, it is equally a response to those critical challenges and questions provoked by significant life change. Worked on in isolation, and continuously returned to, over the course of four years, the album's nine pieces began with a simple recognition that experimental music is not always what we imagine it to be. It is a practice and a pursuit - a music for which, at its inception, the outcome is unknown - rather than an idiom defined by certain syntaxes, approaches, and qualities of structure and sound. From this departure point, Lee began to inquire after the utility of music itself: what is it for, what does it do, and what place does it (or can it) occupy in our lives? This solitary and durational journey, each composition gradually moving through different phases and evolutions over years, led Lee toward uncharted ground: a music that is not only playful, introspective, and seductive, but also intended to provoke a relationship to experimental music beyond its normative expectations. Rather active or deep listening, it pursues passive listening. Rather than a grand statement, it is discreet. Rather than virtuosity, it embraces the elegant and direct. Even more strikingly, for the first time, the music of "Just Like Any Other Day" encounters Lee leaving the cello entirely behind. Created at home on keyboard, computer, and an inexpensive cassette recorder, "Just Like Any Other Day" presents a remarkable form of ambient music - organisations of sound that become their own environment, to be occupied - intended, as the album's subheading infers, as Background Music For Your Mundane Activities. An expansion of the creative pathways opened by the Korean pop imbued compositions of Yeo - Neun, aspects of electronic process explored by "Teum (The Silvery Slit)", and the emotive foregrounding of "Na-Reul", each of the pieces presented across the two sides of "Just Like Any Other Day" implies something far greater than the limits of its own temporarily: a mood, provocations of memory and place, mirrors for the solitude within which it was made, and palpable emotion lingering just out of grasp. For Lee, each of the album's compositions could be continued or looped for an indeterminate duration: straddling a ground between the minimal and the baroque, enveloping the listener in endless cycles of appreciating, repetitive and rhythmical notes, flirting with the melodic and implying a disembodied imagism that borders on the profound. Remarkably beautiful and direct, Okkyung Lee's "Just Like Any Other Day: Background Music For Your Mundane Activities" - issued by Shelter Press on vinyl - represents a radical reconfiguration of experiential music, stripped to its bare essence in defiance of the widely presumed aesthetic signifiers. Unlike anything we've heard from her before, this immersive body of intimate recordings not only reveals new dimensions of Lee's striking range as an artist, but also of how we might regard and occupy music itself: an ambience to lived and felt like a second skin.

On September 19, 2025, Mac Declos will release his second album, MTY-013 « Nothing Stands Still », on Mama Told Ya. Following the acclaimed MTY-007 « Hard Work Always Pays Off » and a trilogy of striking EPs : Angel Eyes (2025), Endless Cycle (2024), and Cuir en Cage (2023), as well as countless DJ sets and All Night Longs around the globe, Mac is now ready to unveil a bold new chapter in his musical journey.

Nothing Stands Still is a sonic artefact: a double-vinyl album composed of 12 timeless tracks. Eleven pieces are produced solely by Mac Declos, with one co-produced alongside Anetha. The album also features unique contributions from Mac’s mother, Doona Rolls, and Mac’s dad, Eric Declosmenil, adding emotional
depth to the project. While music is often elusive and ephemeral, with Nothing Stands Still, Mac Declos set out to create an archive of the future that transcends time and trend, an echo meant to endure. Once again, Mama Told Ya reminds us: Music remains.

Scintillating, alchemical kosmische; visionary, deep, and luminous; and beautifully sleeved, with gold foiling and silver ink.

Works In Metal fans out a set of acid treatments and finely sharpened blades — cutting, shaping, suspending form. Sounds are melted down and forged as if liquid metal.
The works are paired. Arc’s Blue Flame previews the smoking volatility at the album’s core. Echoes and resonance soften the dissonant, bright textures; all overlaid with Fofana’s signature, percussive kick drums. Welding drills into the discordant thrills and spills of metamorphosis. Sparks fly and the bittersweet arc of change unfolds.
Fofana discreetly folds in text, poetry, and field recordings, spooring their decomposition and recomposition with a prismatic point of view. The coupling Obscure Light (Decomposition) and Obscure Light (Recomposition) marks something new in his music. The pulse is brightly honed, cascading beyond the dancefloor, exultingly eluding musical genre.
Works in Metal is perhaps Fofana’s most narrative album. At its heart is the killer, extended Lure of the Fragment / So Another Sound Suggests Itself. Melodies circle in call-and-response patterns, balancing proximity and distance, signalling the inward gravity required to work with metal. A nested story-line, with birds flying in; an album within an album. Dredging up memories and associations, Fofana filters in selections from his sound-archives. Layered with synths, field recordings become instruments in their own right. The last three minutes proffer precious clarity — a memory, in miniature, flashed onto molten metal.

In 1943 Suzanne Césaire declared that ‘our surrealism will then supply them the leaven from their very depths. It will be time finally to transcend the sordid contemporary antinomies: Whites-Blacks, Europeans-Africans, civilized-savage: the powerful magic of the mahoulis will be recovered, drawn from the very wellsprings of life. Colonial idiocies will be purified by the welding arc’s blue flame. The mettle of our metal, our cutting edge of steel, our unique communions — all will be recovered’. Works in Metal is a tribute to her prophecy; its enactment, sculpted in sound.

Repress!

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.

‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.

Two sides, two heatwaves pulled from the depths of Afro-diasporic analogue archives and reborn for contemporary dancefloors.

On the A-side, “Chiacchiere di Lavoro” is a razor-sharp re-edit of a Nigerian track, that is just like its new producers: obscure and way ahead of their time. The B-side dives into the Antilles: "Taxi Safari" is a rare tropical gem, reworked with finesse by editing maestros Lance and Disco Strummer.

But what is La Sirenetta?
La Sirenetta – “The Mermaid” in Italian – is a name that evokes memories of a Riviera discotheque, the faded glamour of a beach club, or a fried fish shack glowing in the sunset.

In fact, this La Sirenetta is a sub-label of Maledetta Discoteca Records, dedicated to digging, selecting, and editing analogue World Black Music bangers from the ’80s and giving them a second life.

The formula? High-quality, highly collectible 12” double-siders.
All La Sirenetta records are a limited edition, one-time pressing only. Don't miss them!

Bobby Caldwell is legendary for his blue-eyed soul masterpiece What You Won’t Do For Love but a deeper look into his catalog reveals there’s plenty more where that came from. Danny Krivit heads straight to the source, and uncovers a breezy treat in the form of The House Is Rockin’, Caldwell’s very first single. Kicking his edit off with a highly mixable extended drum break intro, he teases this upbeat mover into the fully extended version it deserves.

From the sunshine of the A-side Krivit pivots to a monster moody groove on the flip, Eddy Grant’s proto-house classic California Style. Leaving just a touch of the soca-fied vocal at the top, Mr. K quickly delves into the depths of the percolating instrumental break, emphasizing all the gloriously quirky synth bloops and relentless bass that made it a favorite of house producers (check Mateo & Matos’s New York Style for proof). We believe this is the first time the extended mix has been available on 7-inch, but we’re absolutely certain it has never sounded so good! Another crate staple in the always excellent Mr. K edit series.

A Walking Contradiction resurfaces with a new release by their friend & collaborator Katatonic Silentio, channeling a collection of tracks submerged in echoes and pressure-shaped pulses. AWC011 traces fluid architectures built from delay, decay, and deep resonance--each composition unfolding like sediment in motion. Sounds sway with tidal pull, suspended in chambers where space thickens and time refracts. Basslines emerge like sonar beneath shifting layers, while percussive elements flicker at the edges, softened by current and drag. Elastic and disorientated, these underwater constructions are tuned to the language of depth and dissolution.

After his 2024 album The Spirit Continues, Tilman returns with Altered Spaces, a tightly focused four-track EP that distills his signature sound into a concise, club-ready format.

Opening track Make My Body Move sets the tone with soulful vocals, warm piano stabs, a rolling bassline and a breezy Balearic vibe. The Last Resort deepens the mood, layering pads, organ hits and shimmering strings over a steady, driving groove. Rounding out the EP are two reimagined cuts from The Spirit Continues. Dance Department (Spirit Mix) smooths out the rougher edges of the original, adding organ stabs and a more melodic sensibility.

Need It (Dance Dub) transforms the track into a softer, dub-tinged version - hypnotic, restrained and full of subtle movement. Altered Spaces is classic Tilman: warm, understated house music that's rich in detail and groove - made for dancers and deep listeners alike.

Furthering the passionate exploration of cinema that has guided her two previous LPs - 2017’s ‘Fassbinder Wunderkammer’ and 2020’s ‘I Should Have Been a Gardener’ - the Milanese guitarist/composer, Alessandra Novaga, returns to Die Schachtel with ‘The Artistic Image Is Always a Miracle’, two sides off shimmering, tense compositions – culminating as one of her most creatively ambitious and conceptually rich outings to date – freely inspired by the life and work of the Russian director Andrej Tarkovsky and the music of Johann Sebastian Bach.

Classically trained at the Musik Akademie in Basel, Switzerland, over the last decade Alessandra Novaga has emerged as one of the leading figures within northern Italy’s thriving new, experimental, and improvised music scene, rendering striking solo efforts, in addition to collaborations with Loren Connors, Stefano Pilia, Elliott Sharp, Nicola Ratti, Paula Matthusen, Sandro Mussida, Kid Millions, Travis Just, Francesco Gagliardi, and others. Remarkably ambitious and forward thinking, her approach to the guitar embarks upon a relentless deconstruction and rethinking of her instrument’s unique properties through distinct applications of structure, resonance, space, and tone, creating in a deeply personal and emotive music, seeking narrative and meaning within the abstractions of sound.

In 2017, with the LP, ‘Fassbinder Wunderkammer’, issued by Setola Di Maiale, Novaga embarked upon the exploration of her love of film. Having begun with Rainer Werner Fassbinder, this was followed in 2020 by Die Schachtel’s release of ‘I Should Have Been a Gardener’, a deeply intimate mediation on the life and work of Derek Jarman. Rather than focusing on a fixed point of inspiration or a single film to work from, these pieces achieve a form of abstract portraiture, distilling elements drawn from these filmmaker’s life and work into ambient networks of texture and tonality. ‘The Artistic Image Is Always a Miracle”’ freely inspired by the Russian director Andrej Tarkovsky and the music of Johann Sebastian Bach, finds Novaga radically expanding her sonic palette within this approach.

The seeds of ‘The Artistic Image Is Always a Miracle’ can be traced to a conversation that Novaga had with Alan Licht (contained in the highly regarded Common Tones: Selected interviews with artists and musicians 1995–2020, Blank Forms, 2021), relating to the connections between music and cinema, which led her to consider Andrej Tarkovsky’s use of Bach's music within a symbiotic framework: how the music illuminates the imagism of the films, and the film illuminates new dimensions of the music. Slowly developing over the subsequent years, the resulting album comprises six individual works, some of which draw directly upon pieces of Bach’s music that Tarkovsky used in his films – specifically 'Erbarme dich, Mein Gott', 'Das alte Jahr vergangen ist', and 'Ich ruf zu dir, Herr Jesu Christ' - while others draw upon the sensibilities and moods evoked in the imagination by the director’s films.

As a point of departure and illumination into the process and spirit that underscored the creation of the album, Novaga points toward a passage in Tarkovsky’s "Sculpting in Time”:

“Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken a wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for its own sake. What purports to be art begins to look like an eccentric occupation for suspect characters who maintain that any personalized action is of intrinsic value simply as a display of self-will. But in artistic creation the personality does not assert itself, it serves another, higher and communal idea.”

‘The Artistic Image Is Always a Miracle’ can be understood as a realisation of the collectivism of which Tarkovsky speaks, in the service of something far beyond the expression of self. Encountering Novaga moving into fairly uncharted waters, three of the album’s pieces incorporate the human voice we encounter the voices of others: that of the poet Arsenij Tarkovsky, the director’s father; a singer from Bach’s ‘Erbarme dich, Mein Gott’, capturing a broadcast in an underground parking lot, and Novaga’s own, rendering the melody from Bach’s “Ich ruf zu dir, Herr Jesu Christ”. Roughly alternating between solo excursions on guitar and bristling electroacoustic pieces, over the course of the album’s two sides Novaga weaves one of her most abstract and ambitious bodies of recordings to date, shifting between the complex tonal mediations generated by the six strings of her instrument, and phycological densities activated by the expanded pallet of sonority made possible by the tactics and approaches of musique concrète.

An immersive, deeply engaging meeting of beauty and melancholy within a labyrinth of voices and ideas, ‘The Artistic Image Is Always a Miracle’ transfigures the life and work of Andrej Tarkovski – one of the greatest auteurs in the history of cinema – into a singular, experimental statement of collective truth. Belonging to recent, ambitious stream of contemporary new music releases on Die Schachtel that’s already included Novaga’s ‘I Should Have Been a Gardener’, Stefano Pilia’s ‘Spiralis Aurea’, Jim O'Rourke & Giovanni Di Domenico’ ‘Immanent In Nervous Activity’, Claudio Rocchetti’s ‘Labirinto Verticale’, and Damāvand’s ‘As Long As You Come To My Garden’, among others, ‘The Artistic Image Is Always a Miracle’ is available on as a limited edition of 300 dark turquoise vinyl LPs released on June 21, 2024. The LP, designed by Bruno Stucchi / dinamomilano, comes with an 8-pages insert illuminated by Alessandra’s text as well as the lovely and intense photographs of Matilde Piazzi.