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„Rubber Soul“ enthält 14 Original-Titel und wurde im Oktober/November 1965 innerhalb von vier Wochen
aufgenommen und im Dezember desselben Jahres veröffentlicht. Die Aufnahmen fanden im Anschluss an
das rekordverdächtige Konzert der Band vor über 55.000 Zuschauern im Shea Stadium in New York statt.
Mit Titeln wie „In My Life“, „Norwegian Wood (This Bird Has Flown)“, „Drive My Car“ und „Michelle“
experimentierten die Beatles auf dem Album „Rubber Soul“ mit neuen Instrumenten, Klängen und Aufnahmetechniken; das Album gilt oft als Wegbereiter für das lange Popalbum als Kunstform.
Bei der bevorstehenden Neuauflage werden alle 14 neuen Stereo-Mixe erstmals gemeinsam veröffentlicht,
ergänzt durch erweiterte Ausgaben mit Sessions und Demos sowie das Original-Mono-Album und das USAlbum in den Super-Deluxe-Editionen.
Darüber hinaus enthalten die Super-Deluxe-Editionen das gewohnt hochwertige, gründlich recherchierte
und umfassende Hardcover-Buch, das die Geschichte der Entstehung und Veröffentlichung des Albums,
eine detaillierte Beschreibung jedes einzelnen Titels, Fotos sowie Scans der Kassettenhüllen enthält.

Phill Niblock completed BLK+LND in late November 2023. It is one of Phill Niblock's final compositions and was commissioned by bassist Robert Black (who passed away in the summer of 2023). The piece is based on recordings of acoustic bass and bass clarinet performed by Neil Leonard and Robert Black under Niblock's direction in 2021.

Phill Niblock (1933-2024) as an artist whose fifty-year career spanned minimalist and experimental music, film and photography. He has been a maverick presence on the fringes of the avant-garde. In the history books he is the forgotten Minimalist. Since 1985, he served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, his signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. He said: 'What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly.' In 2013, his diverse artistic career was the subject of a retrospective realized in partnership between Circuit (Centre d'art contemporain Lausanne) and Musée de l'Elysée (Paris). The following year he was honored with the prestigious Foundation for Contemporary Arts John Cage Award. Since 1968 he also put on over 1000 concerts in his loft space in New York.

"On January 6, 2024, two days before his passing, Phill called me to discuss the premiere and tour of BLK+LND. To distract him from his rapid decline, I engaged in his touring plan, only for him to reveal that all the details were still in his head and none of the events had been confirmed. He was entrusting the project to me. Phill would have been thrilled and honored by this concert at the Donaueschinger Musiktage. The thought of one more performance with Robert Black, whom he greatly admired, presenting his new work for low-pitched instruments that he was particularly fond of, andreconnecting with old and new friends in Donaueschingen would have meant the world to him." - Neil Leonard, Berklee College of Music, Boston

On Passing Fires, his follow-up to The Weather Up There, drummer and composer Jeremy Cunningham, alongside a tight circle of collaborators, transforms intimate piano sketches, family-room recordings, and richly layered studio performances into a vivid meditation on memory, love, and change. Vibrant, emotional, and full of unexpected turns, the album darts between hypnotic grooves, psychedelic textures, and tender poetic ballads, balancing homemade warmth with striking sonic detail.

Tooloop Records celebrates its tenth release with "Orbis EP", a four-tracker from label affiliate Stab9. The record captures a moment of evolution in both Stab9’s sound and the label’s sonic identity, reflecting a broader vision of the Tooloop universe through expanded arrangements, deeper exploration and a more immersive presentation.

Opening the EP, ‘Source’ establishes its atmosphere through a constantly evolving arrangement, moving through several distinct phases while maintaining a sense of fluid progression. Carefully shifting textures, unexpected bass changes and subtle variations in dynamics reveal new details with each turn. Title track ‘Orbis’ shifts the EP towards warmer tones, built around classic house-inspired sounds, melancholic pads and polyrhythmic bass movement. Its rolling low-end and intricate percussion subtly tilt the track towards techno territory, reflecting the circular motion suggested by the track’s title. ‘Beastro’ gradually ascends through a restrained growling bassline and fractured hi-hats, dropping into an engine-cut moment in the middle of the track - a brief suspension before the groove returns, pulling the track back into motion. ‘True Story’ unfolds through a walking bassline, intricate hi-hats and smeared percussion, creating a sense of movement through a world of morphing textures and atmospheres. Its restrained melody embraces the idea of “less is more”, closing the EP with the bittersweet beauty of mono no aware.

With "Orbis EP", Stab9 presents a deeply personal approach to electronic music, where detailed studio craftsmanship meets the physical energy of the dancefloor - the label completing one full turn, and opening the next.

YARN welcomes René Audiard for its tenth release with "Makes Me Feel", a four-track EP from one of underground electronic music’s most singular voices.

Across years of dub techno, minimal and leftfield electronic experimentation, René has developed an approach to stripped-down music that feels anything but limited. Where minimalism can often become an exercise in taking things away, his work finds possibility in what remains. "Makes Me Feel" is a particularly fitting example: immersive, at times strange, but always full of feeling.

‘Lovin’ opens the EP in familiar Audiard territory: murky low-end, locomotive groove, reduced rhythmic compositions and an understated framework swimming in a pool of detail. 'Possession' lets in more light. Vocal echoes, persistent rhythms and occasional string phrases give it a cinematic quality, while a groove that seems to circle endlessly takes on an almost shamanistic pull. The EP’s 11-minute behemoth, 'Flesh', fills most of the release’s B-side while making a convincing case for patience and sophistication. There are echoes of minimal’s golden age here, but Audiard never mistakes repetition for standing still. Tiny rhythmic fragments sit alongside expansive orchestral gestures, with samples working at every scale of the arrangement. Warmth and cinematic drama run through the track, but it's the playful programming underneath that keeps it moving. 'Night' closes the record on a different note, recalling Audiard’s work with Ali Çakır in Düve. Percussive samples, accordion and Middle Eastern guitar phrases bring a more acoustic character to his reduced 808-infused broken beats, making for a playful, occasionally melancholic ending with a distinctly microtonal feel.

What makes René Audiard’s music so rewarding is how readily you recognize his hand in it. There is a particular grain to the sounds, a way of placing details within a groove, and a willingness to follow an idea wherever it leads. Across “Makes Me Feel”, those instincts give four quite different tracks a shared identity. Even when working within familiar forms, Audiard makes them sound entirely his own. It’s the holy grail of music production: a personal sound signature. And a thoughtful addition to YARN’s growing repertoire of reduced, sophisticated dancefloor music.

TECH043 brings A.B.E.L. and Eluna Vex together through a shared sense of rhythm and purpose.

Both authors have already developed a clear and confident approach, even if wider recognition has yet to catch up. Their music is ready to reach beyond the circles that already know their work.

Across both sides of the record, firm drums, driving percussion and deep atmosphere keep the motion steady. Each track has its own shape and detail, while the shared weight and mood allow the four tracks to be heard as one complete work. DJs get four reliable cuts that can build tension, hold the groove or move a set forward without a break in tone.

The difference between the artists is clear, but never disruptive. Eluna Vex and A.B.E.L. bring separate ideas to the record, yet their tracks feel closely related in character, depth and attitude. This balance gives TECH043 range without losing focus: two artists and one consistent physical drive.

A1. “Unsafe Road” opens the record by setting its rules: full pressure, forward drive and several lines developing at once. It tests the listener’s attention, offering a choice between following the whole structure or focusing on one thread within it.

A2. “Getting Away” works like a spell that pulls the dancefloor together. It follows one clear narrative and a direct sequence of events, building towards a climax where every element lands as one shared impulse.

B1. “Test And Run” opens a more exploratory side of the record. It moves through changing forms and gradually reveals its language, without showing the full picture at once. Structurally complete on its own, the track invites the listener into less predictable territory.

B2. “Subconscious” is built on balance, giving equal weight to every part of the sound without allowing one element to take control. It makes no loud statement, but closes the record with a complete and carefully held form.

2026 Repress

SHDW presents 'Federation Of Rytm IV': a bumper 30-track collection spanning the past, present, and future of techno.

Offering powerful standalone club cuts and a cohesive deep-dive, the expansive VA lands on 24th October 2025.

The fourth edition of SHDW's flagship 'Federation Of Rytm' VA series has been carefully curated by the DJ/ producer and head honcho over more than a year, with close attention to detail given to sequencing. It is a balance of label regulars and debutants that represents the past, present, and future, both sonically and through the generational diversity of the artists involved. There are plenty of surprises along the way while always remaining true to the Mutual Rytm ethos and reflecting the journey of the night from start to finish, whether that's in intimate, sweaty clubs or on big festival stages.

Across 30 tracks in the digital collection and 24 on four sides of wax, the release explores the full breadth of the Mutual Rytm sound. Driving grooves and relentless percussion set the pace, gradually unfolding into hypnotic and atmospheric passages that invite deeper immersion. Pulsating low-end power alternates with eerie minimalism, while bursts of futuristic energy and cavernous kick drums keep the tension high. Elsewhere, dub textures and moments of introspection provide balance, creating a narrative arc that moves fluidly between intensity and release, atmosphere and tension, darkness and light.

The story of each re-release begins with the original. In the late 90s, Uwe Zahn (Arovane), along with Robert Henke (Monolake) and Stefan Betke (Pole), began releasing music on Torsten Pröfrock’s (Dynamo) newly launched DIN label. This was a very inconspicuous undertaking, but fans of the flourishing IDM, glitch, and constantly evolving abstract techno genres quickly picked up on the quality of sound coming out of Germany. After a few successful EPs, Zahn began working on his debut full-length, Atol Scrap. The release was a success, at least in the underground circles, where followers of the melodic harmonies, stuttering off-beat rhythms, and, most importantly, advanced sound design feverishly consumed the imprint’s output. There was only one thing missing – the album was never pressed on vinyl, and for decades remained in the digital domain. The fans, of course, inquired. There were multiple offers on the table, but Zahn retained control until he was assured that it was properly attained. “I thought of taking everything into my own hands and releasing the record myself,” says Zahn, “but at the end of last year, Matthias from Keplar asked me to re-release Atol Scrap on vinyl.” The label and its owner revolve in the Morr Music universe, and so it made sense for Zahn to trust the platform to treat the record right.

Listening to Atol Scrap over twenty years later it is inane not to admit how well it has held up. Where other genres clearly aged, becoming stale, bland, and dull, the music on eleven tasty tracks still keeps the neurons tickled with each note. More than an echo of the past, the bottled sound truly has matured. Many of the newly evolving techniques are recognizable on the album. “I created the digital artifacts with a digital multi-track recorder, the Fostex D80,” recalls Zahn. “The thing had a scrub wheel with which I could achieve wonderful glitch effects by winding through the audio data. I have sampled and further processed these artifacts.” And this approach is still embedded in Zahn’s sound design. “I still use my 24-track analog desk from Tascam to mix my audio. I love to use hardware synths and samplers. I’ve definitely built upon my studio experience in the 90s.” From this debut to the most recent output, Arovane’s sound has evolved to become more intricate, detailed, and pronounced. “My music has become much quieter and much slower. But that’s probably also due to the noise in the world.” And just as Atol Scrap reminds Zahn of the past, retaining charm preserved in a container traveling through time, it also jitters memories of long ago, when we were twenty years younger, less experienced, and bold. For me, among the many records of the time, this album held a special place in life, my heart, and many CD boxes moved across the world. And now I’m only happy to restock the vinyl space, where Atol Scrap belongs among the beloved records. Welcome home. - Mike Lazarev

Remastered and cut to vinyl by Kassian Troyer @ D&M. Cover art by Jim Kühnel based on a photograph by Uwe Zahn.

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic. Album opener "Low Times" sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of "After All", the haunting ambience and buried heartbeat throb of "Soft Collapse", and the noirish atmospherics of "Blackout Dust", which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on "Bombed Suburbs", where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove. Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track "Almost a Structure", obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. "Second album from electronic producer Michael Fiedler's GHOST DUBS project. "Follows up from the highly-acclaimed 'Implosion' album with The Bug from 2025. "Debut album 'Damaged' sold out its three initial pressings and has just been repressed "Michael Fiedler recently scored 'Sound of Falling' which won a Cannes award in 2025 and made the shortlist for an Oscar, too.

,Memoria", das neueste Album von Carmen Villain auf Smalltown Supersound, beginnt wie ein geöffnetes Ventil; ausatmende Flötenakkorde füllen langsam eine weite Klanglandschaft und laden den Zuhörer dazu ein, das Tempo zu drosseln und in einen Zustand des tiefen Zuhörens einzutreten. Es ist eine Einleitung, die gekonnt in ein Album aus verlangsamten, spektralen Dub-Klängen führt, die schimmern, knurren und über die narrativ geordneten sieben Titel hinweg ausklingen. In dieser Hinsicht knüpft ,Memoria" dort an, wo Villain mit ihrem 2022 erschienenen Album ,Only Love from Now On" aufgehört hatte, auch wenn der Schwerpunkt des aktuellen Albums auf Klang als Erinnerung liegt - und auf Erinnerungen als sich wandelnde, nicht statische Unvollkommenheiten. Wiederholung fungiert als neu erzählte Erinnerung; die Bearbeitung zersetzt und formt den Klang neu, und Abstraktion ermöglicht eine Art Freiheit von Linearität. Inspiriert von Pauline Oliveros' Schriften über innerlich abrufbare Klänge, die für andere unhörbar sind, sowie von Apichatpong Weerasethakuls Film ,Memoria" aus dem Jahr 2021, betrachtet Villain die Erinnerung sowohl als kognitive Fähigkeit als auch als Form der Komposition und formt Samples aus ihrem eigenen Archiv zu einer kosmischen Selbstbeobachtung - wenn auch zu einer, die das Gegenteil von Solipsismus ist. Der nach innen gerichtete Blick des Albums lässt sich vom tiefen Zuhören als Form der Empathie inspirieren, das uns gleichzeitig mit uns selbst und unserer Umgebung verbindet. Die Arbeit der letzten Jahre an Kompositionen für zeitgenössischen Tanz und Installationen - darunter Kooperationen mit der Choreografin Eszter Salamon und ein Aufenthalt am IRCAM, bei dem sie erstmals ambisonische Räumlichmachung erforschte - prägt ebenfalls die verstärkte Aufmerksamkeit, die ,Memoria" dem Klang als physischem Raum und immersiver Umgebung widmet. Ein Großteil von ,Memoria" basiert auf einer Kombination aus neuen Aufnahmen und älterem Archivmaterial: Aufnahmesessions mit der häufigen Mitwirkenden Johanna Orellana (Flöten) sowie Eivind Lonning (Trompete) werden neben Villains eigenen Klarinettenaufnahmen zerlegt und zu einer dichten, aber luftigen Sample-Bank neu zusammengesetzt. Die viszerale menschliche Präsenz (Atem, Wind, die Körperlichkeit der Luft, die durch Instrumente strömt) und harmonische Stränge des Free Jazz treten durch mehrere Bearbeitungsschichten hindurch zutage, als hörte man sie aus der Ferne - oder durch die Zeit hindurch. Rhythmen und Texturen lösen sich auf. Der Klang erodiert. Erinnerungen werden neu gestaltet. Und Melodien sind, anders als auf Villains früheren Veröffentlichungen, weniger deutlich und weichen anderen musikalischen Leitmotiven. Es lässt sich eine Tradition zurückverfolgen, die zu Rhythm & Sound, Clicks-and-Cuts, Pharoah Sanders, Jon Hassell, Actress und Ricardo Villalobos führt - wenn auch oft in abstrakten Formen: Kleine Klänge werden groß, während große in einen feinkörnigen Rhythmus zurücktreten. Minimalismus ist der Schlüssel, um die Details wahrzunehmen: knisternde Elektronik, Einatmen und Seufzer hallen in weiten Räumen nach und ruhen auf einem Fundament aus Rhythmus. Diese Zurückhaltung unterstreicht Villains Neigung, Klänge und ihre geisterhaften Klanggedächtnis-Doppelgänger nach Frequenzen chirurgisch voneinander zu trennen. Paradoxerweise lässt sich jedes Artefakt als Annäherung an eine Erinnerung mit äußerster Präzision hören. Für Villain scheint die Erinnerung im Klang bequem hinter dem Mischpult eines Dub-Labors Platz zu nehmen und dort gekonnt und unvorhersehbar Lautstärken, Texturen, Filter und alle anderen Parameter - bekannte wie unbekannte - in einer sich ständig wandelnden Erinnerung zu steuern.

This VA release brings together four producers who share a common language: hypnosis, movement, and an obsessive attention to sound design. Across two sides of vinyl, the record moves through different shades of deep and mental techno, held together by a sense of restraint and clarity rather than force.

Na Nich opens the A-side with a mental yet groove-driven piece, where impeccable sound quality meets a clean, deliberate design. LFO-driven elements float underneath the surface, almost speaking, giving the track a voice of its own without ever breaking its hypnotic hold.

Forest On Stasys follows with a tribal and deep approach that still hits with weight. Shakers and layered percussion drive the movement forward, building a rhythmic body that feels both organic and controlled.
On the B-side, Translate stays true to a purely mental identity: repeating LFOs and speaking tones that fold in on themselves, always kept clean and precise, letting the repetition do the work.

Save Your Atoll & Gabriele Santucci close the record with a deep, tribal-leaning cut full of groove and motion. Bongos, shakers, and background percussion build a danceable hypnosis, where every element serves the movement.

Four tracks, four voices, one shared sense of direction — a record built for the floor, but never at the expense of detail.

Following a strong debut, the Uruguayan label EviternoRecords returns with its second release, Teknovela, bringing together Molen and Nico Lampariello, two of the most talented poducers from the new generation of Uruguay’s electronic scene. Across four carefully crafted cuts, the EP expands the label’s vision through music that is equally instinctive and deliberate. Built around hypnotic movement, subtle tension and refined groove, Teknovela unfolds with patience, inviting listeners into an evolving journey where every detail serves the dancefloor without sacrificing depth or personality. The A-side finds Nico Lampariello exploring darker and more introspective terrain, weaving resonant basslines, shifting atmospheres and understated melodic touches into compositions that gradually reveal their emotional weight.

At The B-side Molen delivers two tracks driven by fluid rhythms, intricate spooky melodies and mysterious textures with a constant sense of forward motion. Rather than contrasting one another, both artists meet at the same destination from different directions. Together, the four tracks form a cohesive statement that captures the spirit of contemporary underground house and techno: immersive and built to leave a lasting impression.

The fifth LP in the long history of the label comes from another Belgian producer who is ready to fly high. After San Soda, Metrobox, Uni Son and label boss Red D it is now time for Tom Smeyers to step up and take us into his universe of warm grooves and sweet house music…with a twist.

Taking in influences from around the full spectrum of electronic music these six tracks represent what Tom is about at the moment. From deepest old school inspired house to more broken beat action right into drum’n’bass territory, with an attention to detail and experienced sound design.

As if that wasn’t enough Tom also took care of the artwork to match his music. We here at WPH call that a 360 artist. Welcome to the family Tom Smeyers!

DTM Funk: Super Dope!

DJ Bone: Really great release. I love every track!

Owain K: Classy grooves for dancefloor moves.

Séa: Lovely!

Simon Caldwell: Beautiful machine house music. Takes me back and takes me forward.

Satoshi Fumi: Really love all!

Severino Panzetta: Great sound.

Ame: Thanks for these.

DJ Merci: Top release!

Red D: So good I just had to release these J

Gnod's now twenty year journey through spiritual and audial exploration has been driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external. The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but in true Gnod fashion by, what began as a trip into a residential studio setup in Hellfire Studios with producer John `Spud' Murphy (Lankum, Black MIDI, Caroline) for six days, resulted in more potent material than anyone bargained for. The end result has been three studio albums to be released over the next year. "This trilogy revealed itself to us in the studio" says Paddy. "We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It's interesting that we did pretty much capture the full spectrum of the Gnod sound across all three". In fact, this intrepid first instalment of the `Chronicles Of Gnowt' trilogy covers an alarming amount of sonic territory all on its own. Driven as always by the power of repetition as well as Gnod's alchemical marriage of the maximal and the minimal, this album is imbued with a vivid focus that's testimony to the chemistry of the sessions, coupled with a detailed and spacious production from Murphy that brings out the psychedelic sound worlds of the band in vivid colour. This is a travelogue which delves into pastoral tranquillity (as on `Three Trees Parts 1&2') just as adeptly as expansive Earth-tinged riff monoliths (`All Tunnel No Light') and just as formidably as the closing epic `Ekstasis' - a hallucinatory vista where kraut-tinged experimentalism meets Swans-style intensity. Yet all the while, truly sounding like no one but Gnod.

Courant Zéro is the new moniker of Montréal multi-media installation artist and Kohlenstoff label co-founder Maxime Corbeil-Perron, signalling his return to purely recording-based electronic music production following several years focused on award-winning experimental film and audio-visual works. Solari channels his cinematic sensibility and decade-long exploration of sound art and electroacoustic counterpoint into deep cuts of maximalist ambient electronica. Drawing on his early background as a pianist and jazz drummer, Corbeil-Perron weaves a fabric of melodic and rhythmic vectors with his unique timbral palette, intersecting modern composition, IDM, ambient, glitch, and noise on a debut album brimming with sonic detail and emotive resonance. A fixture of Montréal’s sound art community as both creator and curator since the early 2010s, Corbeil-Perron’s work has ranged from “hypnotic A/V onslaught” (FACT Magazine) to the “richly nuanced acousmatic journey” of his 2018 EP Polychrome (Bandcamp Best Contemporary Classical Of The Month), with earlier electronic and techno-adjacent projects like Political Ritual, Dresden, and Le poisson d’argent garnering accolades from avant-music outlets A Closer Listen, Silence and Sound, and Musicworks, among others. Courant Zéro mobilizes this cumulative wealth of explorative sonic experience in the service of distinctive compositional architectures and electronic music pathways that fans of Floating Points, Jan Jelinek, Squarepusher, Tim Hecker, and Oneohtrix Point Never should find compelling.


Courant Zéro’s debut is a vibrant sonic rebus at the junction of electronic, electroacoustic, noise and ambient music that resists easy categorisation. Solari strikes a compelling balance of unsettled disorientation and hospitable warmth, teeming with real feeling throughout. The album’s cover art painting Cryptography I by Yen-Chao Lin represents this prevailing sensibility, its mazelike circuitry distinctly carved and crisply rendered, while filigreed with handmade detail and artisanal patina. Thanks for listening.

Courant Zéro is the new moniker of Montréal multi-media installation artist and Kohlenstoff label co-founder Maxime Corbeil-Perron, signalling his return to purely recording-based electronic music production following several years focused on award-winning experimental film and audio-visual works. Solari channels his cinematic sensibility and decade-long exploration of sound art and electroacoustic counterpoint into deep cuts of maximalist ambient electronica. Drawing on his early background as a pianist and jazz drummer, Corbeil-Perron weaves a fabric of melodic and rhythmic vectors with his unique timbral palette, intersecting modern composition, IDM, ambient, glitch, and noise on a debut album brimming with sonic detail and emotive resonance. A fixture of Montréal's sound art community as both creator and curator since the early 2010s, Corbeil-Perron's work has ranged from "hypnotic A/V onslaught" (FACT Magazine) to the "richly nuanced acousmatic journey" of his 2018 EP Polychrome (Bandcamp Best Contemporary Classical Of The Month), with earlier electronic and techno-adjacent projects like Political Ritual, Dresden, and Le poisson d'argent garnering accolades from avant-music outlets A Closer Listen, Silence and Sound, and Musicworks, among others. Courant Zéro mobilizes this cumulative wealth of explorative sonic experience in the service of distinctive compositional architectures and electronic music pathways that fans of Floating Points, Jan Jelinek, Squarepusher, Tim Hecker, and Oneohtrix Point Never should find compelling. Title track "Solari" opens the album with a cavernous ambient glitch-drone soundscape that envelops ever-shifting timbres of modular arpeggiation, serving as introduction to the clarion call of "En deçà du réel", an homage to video artist Manon Labrecque, where layers of interweaving melodic counterpoint played on Buchla and other synths slowly build to widescreen immersive intensities; "I have this vision of Labreque vibrating eternally between two frames of magnetic VHS tape_ the slow pace of the piece also inspired by Tarkovsky's approach to scenography" says Corbeil-Perron. "Strange Aorta" is ectoplasmic ambient with wistful melody lines transmuting along a central filament, awash in shifting waves of low-end and ricocheting tonal glitch, the title a reference to "the thumping rhythm beating around the main melody_and the heavy remnants of grief related to my father's passing and a brutal confrontation with my own mortality a few years back." Tracks like "La peau des dents" and "Eroding Us" are more firmly rooted in electroacoustic and aleatory systems music, where colliding loops are shaped into unstable flows of deconstructed slippage and reconvergence. Those two pieces bookend the album's pivotal center: the gorgeous piano digitalia of "Horizon n'arrête" and the skittering electronica of 9-minute opus "Unyeldd", its loping broken beat and cascading melodic glitter like a cluster of wind-up music boxes in a dappled forest _ and for Corbeil- Perron also partly inspired by now fellow Constellation labelmates Do Make Say Think: "I spent a lot of time rediscovering their records after seeing them last September 2024 which definitely influenced this piece." Courant Zéro's debut is a vibrant sonic rebus at the junction of electronic, electroacoustic, noise and ambient music that resists easy categorisation. Solari strikes a compelling balance of unsettled disorientation and hospitable warmth, teeming with real feeling throughout. The album's cover art painting Cryptography I by Yen-Chao Lin represents this prevailing sensibility, its mazelike circuitry distinctly carved and crisply rendered, while filigreed with handmade detail and artisanal patina. Thanks for listening.

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

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

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

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

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

The Go-Betweens zählen zu den beliebtesten und einflussreichsten australischen Bands aller Zeiten und galten als die Kultband schlechthin. Während ihrer vielfach gefeierten Karriere bewahrten sie eine außergewöhnliche künstlerische Konstanz und schufen Jahr für Jahr Musik auf dem Niveau der besten zeitgenössischen Künstler. Gegründet wurde die Band 1978 in Brisbane von Grant McLennan und Robert Forster, zwei Studenten der University of Queensland mit einer Leidenschaft für Filme, Bob Dylan der mittleren Sechzigerjahre und die New Yorker Punk-Szene. Beide sangen, spielten Gitarre und schrieben Songs. Die Konstellation mit zwei eigenständigen Singer-Songwritern an der Spitze war ungewöhnlich, funktionierte hier jedoch hervorragend. Roberts kantige, düster-romantische Kompositionen wurden perfekt ergänzt durch Grants hochmelodische, poetische Popsongs. Für ihr fünftes Album holte die Band die Multiinstrumentalistin Amanda Brown hinzu, die den Klang der Gruppe erweiterte und ihm mehr Dramatik verlieh. Das Album nimmt eine Schlüsselstellung in ihrer Diskografie ein und bildet die Brücke zwischen ihrer frühen Phase und den opulenter arrangierten späteren Werken. Das Paste Magazine führte das Album in seiner Liste der besten New-Wave-Alben und hob hervor, dass es "mehrere Schlüsselwerke der beiden Hauptsongwriter enthält, insbesondere McLennans mitreißende, zu Unrecht unterschätzte Songs 'Right Here" und 'Bye Bye Pride" sowie charakteristisch kantige Forster-Kompositionen wie 'House That Jack Kerouac Built" und 'The Clarke Sisters", eine eindringliche Charakterstudie über unverheiratete Schwestern, die den Blick ihres Autors für Details perfekt einfängt."

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

Mit "Almost There", liefert der Pianist und Komponist ESPEN ERIKSEN nach einer äußerst erfolgreichen Reihe von sieben Alben in 16 Jahren, darunter zwei mit dem bekannten britischen Saxophonisten ANDY SHEPPARD, ein weiteres melodisches Meisterwerk ab. Fesselnd und lyrisch, stets melodisch, aber gleichzeitig auch melancholisch und erhebend, handelt es sich um wahrlich ergreifende Kompositionen. "Music with a rich sense of melody coupled with a poignant lyricism that is infectious". - All About Jazz "A wonderfully plaintive jazz record, abandoned to the lost art of melodic minimalism, stripped back and beautifully near bare. No smoke and mirrors, just the graceful chemistry of superb musicians at the top of their game". - BBC Erwähnt werden muss die atemberaubende Klangqualität des Albums. "Almost There" überzeugt mit einem detailreichen und dynamischen Klang, der insbesondere durch seine organische Natürlichkeit hervorsticht. Die Kompositionen wurden in ESPENs bevorzugtem Studio Propeller Music in Oslo aufgenommen und abgemischt. Dort hatte er sich bereits für seine letzten fünf Alben eingefunden, welche aufgrund ihrer außerordentlichen Aufnahmequalität auch häufig in Tests verwendet und in HiFi-Kreisen hervorgehoben werden. Das ESPEN ERIKSEN TRIO wurde im Jahr 2007 gegründet und veröffentlichte 2010 sein Debüt-Album. Als zunehmend beliebte Live-Band tourte das Trio, bestehend aus ESPEN ERIKSEN (Klavier), LARS TORMOD JENSET (Kontrabass) und ANDREAS BYE (Schlagzeug), bereits auf vier Kontinenten und verfügt über ein reichhaltiges Repertoire. Die Musik zeichnet sich durch äußerst melodische und lyrische Instrumentalstücke aus, manchmal versehen mit nordischem Einschlag, sowie durch einen "Weniger ist mehr"-Ansatz, der von der internationalen Presse oft als einzigartiger Beitrag zur heutigen Jazzszene gewürdigt wird. Alle drei Musiker verfügen über einen vielseitigen musikalischen Hintergrund, der von Pop bis Jazz reicht, und haben bereits mit Musikern wie Bugge Wesseltoft, John Scofield, Joshua Redman, Dhafer Yousef, John Taylor, Vince Mendoza, Eivind Aarset, Knut Reisersrud, Mathias Eick, Nils Petter Molvær, Thomas Stronen, Odd Nordstoga, Håkon Kornstad, Jarle Bernhoft und Bendik Hofseth zusammengearbeitet.

Die Neuauflagen von The Runaway Found (2004), Nux Vomica (2006) und Sun Gangs (2009) geben Fans und Sammlern die seltene Gelegenheit, diese einflussreichen Alben in hochwertiger Vinyl-Qualität neu zu entdecken. Die Re-Releases sind besonders bemerkenswert, da die Originalausgaben auf Schallplatte in den 2000er-Jahren nur in begrenzter Stückzahl erschienen. Zu einer Zeit, als Vinyl kommerziell noch eine untergeordnete Rolle spielte, waren die Veröffentlichungen nur schwer erhältlich. Die neuen Pressungen ermöglichen nun ein Hörerlebnis mit der Klangtiefe, Detailtreue und dem Artwork, die den atmosphärischen Kompositionen von The Veils besonders gerecht werden. Unter der Führung von Sänger und Songwriter Finn Andrews, der die Band bereits als Teenager gründete, entwickelten The Veils mit ihren ersten drei Alben einen unverwechselbaren Stil. Zwischen üppigem Indie-Rock, romantischer Melancholie und filmischer Dramatik schufen sie einen Sound, der von orchestralen Arrangements, eindringlichen Rhythmen und emotionaler Intensität geprägt ist. Mit The Runaway Found, Nux Vomica und Sun Gangs etablierte sich die neuseeländische Band als eine der eigenständigsten Stimmen der internationalen Indie-Szene. Die Alben verbinden weitläufige, cineastische Klanglandschaften mit intimen, persönlichen Momenten und zeigen eine beeindruckende kreative Entwicklung während der frühen Bandjahre. Finn Andrews freut sich über die Wiederveröffentlichungen: "Es ist eine große Freude zu sehen, dass diese Alben, die uns und vielen anderen so viel bedeuten, von dem Label, das uns von Anfang an unterstützt hat, erneut auf Vinyl veröffentlicht werden. Ich bin Rough Trade und den Songs dieser leidenschaftlichen, suchenden und wunderbar jugendlichen ersten Jahre sehr dankbar."

Die Neuauflagen von The Runaway Found (2004), Nux Vomica (2006) und Sun Gangs (2009) geben Fans und Sammlern die seltene Gelegenheit, diese einflussreichen Alben in hochwertiger Vinyl-Qualitat neu zu entdecken. Die Re-Releases sind besonders bemerkenswert, da die Originalausgaben auf Schallplatte in den 2000er-Jahren nur in begrenzter Stuckzahl erschienen. Zu einer Zeit, als Vinyl kommerziell noch eine untergeordnete Rolle spielte, waren die Veroffentlichungen nur schwer erhaltlich. Die neuen Pressungen ermoglichen nun ein Horerlebnis mit der Klangtiefe, Detailtreue und dem Artwork, die den atmospharischen Kompositionen von The Veils besonders gerecht werden. Unter der Fuhrung von Sanger und Songwriter Finn Andrews, der die Band bereits als Teenager grundete, entwickelten The Veils mit ihren ersten drei Alben einen unverwechselbaren Stil. Zwischen uppigem Indie-Rock, romantischer Melancholie und filmischer Dramatik schufen sie einen Sound, der von orchestralen Arrangements, eindringlichen Rhythmen und emotionaler Intensitat gepragt ist. Mit The Runaway Found, Nux Vomica und Sun Gangs etablierte sich die neuseelandische Band als eine der eigenstandigsten Stimmen der internationalen Indie-Szene. Die Alben verbinden weitlaufige, cineastische Klanglandschaften mit intimen, personlichen Momenten und zeigen eine beeindruckende kreative Entwicklung wahrend der fruhen Bandjahre. Finn Andrews freut sich uber die Wiederveroffentlichungen: "Es ist eine große Freude zu sehen, dass diese Alben, die uns und vielen anderen so viel bedeuten, von dem Label, das uns von Anfang an unterstutzt hat, erneut auf Vinyl veroffentlicht werden. Ich bin Rough Trade und den Songs dieser leidenschaftlichen, suchenden und wunderbar jugendlichen ersten Jahre sehr dankbar."

Errands is the first duo recording from Marja Ahti, Swedish-Finnish sound artist and electroacoustic composer, and John McCowen, a native of Southern Illinois, now residing in Iceland, whose work centres on a radical exploration of clarinet multiphonics. Working without the aid of electronics, McCowen has spent years finessing performance techniques that allow him to layer beating patterns and split tones that belie their source in a monophonic instrument. Ahti, in contrast, has built up a stunning body of work in recent years using a classic electroacoustic palette of electronic, field recordings and instrumental sounds. Sharing a bill at the 2024 iteration of Stockholm’s Edition Festival, the pair discovered a sensibility shared across their different sonic means, beginning the collaborative process that would eventually result in the mercurial side-long pieces heard on Errands.

The word ‘errand’ suggests something purposeful but routine, and Ahti’s and McCowen’s work is suffused with the everyday. Meeting with McCowen to record in Iceland, Ahti used the opportunity to gather field recordings, capturing not the natural sublimity often associated with the country—think Chris Watson’s shifting glaciers—but everyday life in Reykjavik. Snatches of bustling streets and what could be humming engines thread between static sinewaves, stretches of clarinet resonances and fleeting textures, the latter often at once visceral and impossible to identify. Errands: we are a long way from the grandiose framing devices favoured by the pioneers of electroacoustic music, yet many of their principles are at work here. The gradual metamorphosis of one sound into another, the carefully achieved ambiguity between the acoustic and electronic, the treatment of the stereo field as a compositional element: all of these link Ahti and McCowen’s music to the electroacoustic tradition, yet their sensibility is radically different. The overall effect is a kind of stillness, but one at peace with continuous change. Like the unwieldy but somehow stylish everyday forms captured in the Hertta Kiiski photographs that adorn the record's sleeve, the music seems to prize a kind of deliberate awkwardness, interrupting static held textures not with an abrupt cut, but with a quick fade, suddenly revealing background as foreground.

Ahti and McCowen’s world is everyday and unornamented, but also shadowed by the numinous. Halfway through 'Chorales', we hear an arrangement for overdubbed recorders of an early motet of Messiaen’s, O sacrum convivium! Played on recorders, the piece shrinks into delicacy and dim memories of childhood music lessons, while at the same time its harmonies retain the grandeur of their liturgical origin. This double quality inflects much of what follows on Errands, including snatches of field-recorded water or air, which seem at once elemental and domestic. Enlivened with countless details that repay repeated relistening, Errands is a record that leaves the listener ready to open their ears anew to their own sound environment.

By 2004, dub had a history stretching back more than thirty years. This remarkable longevity can easily be explained by the evolving nature of this musical genre, which is constantly changing both artistically and technically, from Kingston to London, New York, and more recently Berlin, Paris, Lyon and Saint-Étienne. For example, it is worth noting that for some years now, in France and elsewhere, a good number of artists have been thinking in terms of dub from the outset, breaking free from the original Jamaican model, which involved drawing inspiration almost systematically from an existing vocal track. Thirty years on, with the release of their second album, Brain Damage aim to reconnect with this tradition. Recent collaborations with the two vocalists, Learoy Green and Black Sifichi, have indeed provided the ideal source material for the creation of five tracks, each rendered in their respective dub versions, thus forming an album with a symmetrical, even geometric character - from its very structure right down to its title: 'Ashes to ashes / Dub to dub'. At the heart of the project lies the astute choice of two guests, each operating in diametrically opposed spheres yet brought together for the occasion, thereby emphasising a certain 'unity of the circle': 'the unity of the circle'. Born of a genuine artistic vision, this geometric, symmetrical aesthetic-omnipresent in every detail of the album, both auditory and visual-complements Brain Damage's 'square' and robotic side, with its three-dimensional evocations. Always working in close collaboration with the very latest digital technologies. This brings to mind 'the balance of the cube'. Finally, the title itself, 'Ashes to ashes / Dub to dub', should be understood as a reference to the transience of all things in this world, against a backdrop of widespread, globalised, international, national and local crises_

"The grass is greener_ elsewhere_" Brain Damage told us with their debut album, released in 2002. Yet here, they've reached full maturity. Rarely has a "made in France" dub album strayed so far from the Jamaican model while still harboring, in every detail, so many references and tributes to the inventors of the style (King Tubby / Lee Perry), as well as to many of the key figures in its evolution (Tikiman / Rhythm & Sound, Dub Syndicate, etc.). The recording studio, 7/11 Laboratory, is used here as a true musical instrument. The optimal use of three-dimensional stereo effects will immerse the listener in soundscapes ranging from classic space echoes and Mont Blanc tunnel-style reverberations to crackles, electronic interference, exogenous samples, and other parasitic noises coming straight from Babylon. For this album, continuing in the vein of his previous collaborations with the international dub scene (Zion Train, Alpha & Omega, Disciples, Spectre, Lab°_), Brain Damage traveled to London to record two tracks at Conscious Sounds Studio with Jamaican-born singer Tena Stelin. With the melancholic "Spirit World," one is reminded of the fruitful collaborations between Massive Attack and Horace Andy, while on "Genetic Weapon," the tone becomes more overtly assertive. Two vocal tracks, then, woven into these ten compositions, where the emotional moods and atmospheres will shift with each listen. "Always Greener (On the Other Side)" emerges as the manifesto of music conceived as cinema for the ear...

First up in the series - Heavy Salsa and Latin Soul from Puerto Rico-born pianist Eddie Lebron and Orquesta Suave, the album that kickstarted Ghetto Records. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

L’Eclisse is the third studio album by Garden City Movement. Drawing from psychedelia, alternative R&B, leftfield electronic music and lo-fi indie songcraft, the album weaves together guitars, synthesizers, layered vocal arrangements and groove driven rhythms into a richly detailed collection of songs. Bringing together different facets of the band's sound into a cohesive body of work, the album reflects a decade of musical exploration while further developing Garden City Movement's distinctive musical language.

Garden City Movement are the duo of Roy Avital and Johnny Sharoni. Over the past decade, they have built an international audience through a distinctive blend of dream pop, electronic music and immersive production. Their releases have received support from Pitchfork, The FADER, Clash, Stereogum and KCRW, while their music has appeared in FIFA 22 and major television productions. Alongside extensive international touring, the band has performed at festivals including Glastonbury, Primavera Sound, Pukkelpop and Lollapalooza India, and shared stages with artists such as Alt J, RÜFÜS DU SOL, SOHN and Cults.

Sciahri and Sublunar are proud to introduce the German duo Disguised and their new EP, Carcosa. Founders of INHERIT and fresh from the success of their recent release on Mutual Rytm, Disguised make their Sublunar debut with a seven-track journey that effortlessly bridges modern and classic techno, combining powerful club energy with a refined and deeply personal approach to sound. While producing the EP and shaping its titles, Disguised drew strong inspiration from the legendary and unforgettable first season of True Detective. The record opens with “Rust Never Sleeps”, a memorable and powerful cut built around an instantly recognizable melody, before moving into “Carcosa”, a tense and explosive track designed around constant anticipation and release. On the B-side, “Time Is A Flat Circle” delivers a highly infectious groove through captivating textures and subtle details, followed by “The Taxman”, where raw energy meets a sophisticated and carefully crafted production. Closing the vinyl is “Looking For Dora”, a deeply emotional and atmospheric piece that reveals a softer and more introspective side of the duo. With "Carcosa", Disguised demonstrate an impressive ability to move between different shades of techno without ever losing their identity, establishing themselves as one of the most exciting and distinctive duos emerging from the current scene.

Space Afrika, das in Manchester und Berlin ansässige Duo aus Joshua Tarelle Reid und Joshua Inyang, schafft rohe, detailreiche und eindringliche Musik mit Anklängen an Ambient, Trip-Hop, Techno und moderne Klassik, wobei es aus den Konturen seiner Stadt weitläufige urbane Dub-Landschaften entwirft. ,Quiet Storm" erweitert ihren Klang und ihre Bandbreite zu einer weitläufigen, kollaborativen Vision, die mit tiefer Geduld und Absicht geformt wurde und ihre eigene Coming-of-Age-Geschichte in eine bewegende Suite kathartischer Abstraktion einbettet. Die Songs spielen auf Spiritualität und die conditio humana an, auf die Spannung zwischen Kühnheit und Sanftheit, Ehrgeiz und hartnäckigen inneren Dämonen. ,Quiet Storm" ist eine Antwort auf den Werdegang des Duos seit der Veröffentlichung von ,Honest Labour" im Jahr 2021. ,Wir haben uns selbst und unsere eigenen Vorstellungen von Identität herausgefordert, insbesondere in Bezug auf Klasse und Diaspora, und wie dies in verschiedenen Musikgenres dargestellt wird. Wir wollten die Charakteristika unseres Projekts durch die Menschen zeigen, mit denen wir zusammenarbeiten wollten", sagt Reid. Inyang merkt an: ,Bei der Entstehung dieses Albums haben wir keine Kompromisse gemacht. Die Idee begann als eine Hommage an die Kunst der Schwarzen. Unsere Kooperationen waren sehr bewusst gewählt, als wir die Grundpfeiler der Geschichte entdeckten." Von der multidisziplinären Natur des Projekts zeugt die Beteiligung des gefeierten Künstlers Glenn Ligon, dessen Werk sich mit schwarzer Identität und Queerness befasst. Ligon, der zu Beginn der Aufnahmen eine zentrale Inspirationsquelle darstellte, stellte sein Werk ,Figure #30" (2009) für das Cover-Artwork zur Verfügung und erklärte sich nach Abschluss der Aufnahmen bereit, dem Projekt seinen Namen zu geben - eine beispiellose Geste dieses wegweisenden Künstlers. Beim Anhören der endgültigen Fassung dachte Ligon an ,Quiet Storm", das Radioformat der 1970er Jahre, das für seine sanfte Late-Night-Programmgestaltung mit Themen rund um Leben und Liebe bekannt war. ,Quiet Storm" führt den Hörer durch verschiedene Szenen, Zwischenspiele und Handlungsbögen, geprägt von dem Gefühl, dass seine Bewegung fließend und seine Figuren flüchtig sind. Monologe vor dem Spiegel setzen sich mit dem Existentiellen und dem Unmittelbaren auseinander: Überleben, Autonomie, Sinn. Das Album beginnt mit dem explosiven, von Streichern begleiteten ,Vanity", bei dem die Grammy-Preisträgerin Axelle Fanyo zu hören ist. Zunächst auf die Spalten eines stillen Raumes fixiert, entfaltet sich ,Vanity" unter Fanyos ausdrucksstarkem Sopran und durchläuft ein breites emotionales Spektrum von erhabener Kontemplation bis hin zu ergreifendem, herzzerreißendem Schmerz. Auf dem gesamten Album werden gesprochene und gesungene Worte sparsam eingesetzt, um eine kraftvolle Wirkung zu erzielen. Die Schönheit und Katharsis von ,MLN" ist ein kollektiver, langsamer Marsch, bei dem der britisch-nigerianische Künstler Tony Njoku mitwirkt, begleitet von Gabriel Evans an Gitarre und Lead-Bass, PIKE aus London am Schlagzeug und GB aus Kopenhagen an Keyboards und Streichern. Der letzte Satz verleiht ,Quiet Storm" seinen krönenden Höhepunkt. ,If This Is Hell" ist in einem einzigen Take als Bewusstseinsstrom des New Yorkers Deuén aufgenommen, dessen nachvollziehbare Spirale geistiger Aktivität von jazzigen, frenetischen Percussion-Klängen begleitet wird. Das Druckventil öffnet sich, als die phasenverschobenen Drums und die scharf beobachtenden, dialogartigen Phrasen abrupt nach der Zeile ,I wonder if that's what heaven's like?" abbrechen. Wir bleiben in der Behaglichkeit des Album-Closers ,Regards" zurück. Regentropfen treffen auf Orgel, Drone, Streicher und Keyboards, während das Nachladen von Waffen dem ruhigen Summen gegenübergestellt wird. Schwer und doch hoffnungsvoll erinnern Joshua Tarelle Reid und Joshua Inyang an ihre bisherige Reise. Als passend geheimnisvolles und mitreißendes Outro für ihr offenes Opus ist ,Quiet Storm" ein Meilenstein: selbst produziert, selbst finanziert und aus purer Tatkraft und Überzeugung entstanden. Durch verzerrte Zeit und schummrigen Dunst ist Space Afrika zweifellos angekommen

Space Afrika, das in Manchester und Berlin ansässige Duo aus Joshua Tarelle Reid und Joshua Inyang, schafft rohe, detailreiche und eindringliche Musik mit Anklängen an Ambient, Trip-Hop, Techno und moderne Klassik, wobei es aus den Konturen seiner Stadt weitläufige urbane Dub-Landschaften entwirft. ,Quiet Storm" erweitert ihren Klang und ihre Bandbreite zu einer weitläufigen, kollaborativen Vision, die mit tiefer Geduld und Absicht geformt wurde und ihre eigene Coming-of-Age-Geschichte in eine bewegende Suite kathartischer Abstraktion einbettet. Die Songs spielen auf Spiritualität und die conditio humana an, auf die Spannung zwischen Kühnheit und Sanftheit, Ehrgeiz und hartnäckigen inneren Dämonen. ,Quiet Storm" ist eine Antwort auf den Werdegang des Duos seit der Veröffentlichung von ,Honest Labour" im Jahr 2021. ,Wir haben uns selbst und unsere eigenen Vorstellungen von Identität herausgefordert, insbesondere in Bezug auf Klasse und Diaspora, und wie dies in verschiedenen Musikgenres dargestellt wird. Wir wollten die Charakteristika unseres Projekts durch die Menschen zeigen, mit denen wir zusammenarbeiten wollten", sagt Reid. Inyang merkt an: ,Bei der Entstehung dieses Albums haben wir keine Kompromisse gemacht. Die Idee begann als eine Hommage an die Kunst der Schwarzen. Unsere Kooperationen waren sehr bewusst gewählt, als wir die Grundpfeiler der Geschichte entdeckten." Von der multidisziplinären Natur des Projekts zeugt die Beteiligung des gefeierten Künstlers Glenn Ligon, dessen Werk sich mit schwarzer Identität und Queerness befasst. Ligon, der zu Beginn der Aufnahmen eine zentrale Inspirationsquelle darstellte, stellte sein Werk ,Figure #30" (2009) für das Cover-Artwork zur Verfügung und erklärte sich nach Abschluss der Aufnahmen bereit, dem Projekt seinen Namen zu geben - eine beispiellose Geste dieses wegweisenden Künstlers. Beim Anhören der endgültigen Fassung dachte Ligon an ,Quiet Storm", das Radioformat der 1970er Jahre, das für seine sanfte Late-Night-Programmgestaltung mit Themen rund um Leben und Liebe bekannt war. ,Quiet Storm" führt den Hörer durch verschiedene Szenen, Zwischenspiele und Handlungsbögen, geprägt von dem Gefühl, dass seine Bewegung fließend und seine Figuren flüchtig sind. Monologe vor dem Spiegel setzen sich mit dem Existentiellen und dem Unmittelbaren auseinander: Überleben, Autonomie, Sinn. Das Album beginnt mit dem explosiven, von Streichern begleiteten ,Vanity", bei dem die Grammy-Preisträgerin Axelle Fanyo zu hören ist. Zunächst auf die Spalten eines stillen Raumes fixiert, entfaltet sich ,Vanity" unter Fanyos ausdrucksstarkem Sopran und durchläuft ein breites emotionales Spektrum von erhabener Kontemplation bis hin zu ergreifendem, herzzerreißendem Schmerz. Auf dem gesamten Album werden gesprochene und gesungene Worte sparsam eingesetzt, um eine kraftvolle Wirkung zu erzielen. Die Schönheit und Katharsis von ,MLN" ist ein kollektiver, langsamer Marsch, bei dem der britisch-nigerianische Künstler Tony Njoku mitwirkt, begleitet von Gabriel Evans an Gitarre und Lead-Bass, PIKE aus London am Schlagzeug und GB aus Kopenhagen an Keyboards und Streichern. Der letzte Satz verleiht ,Quiet Storm" seinen krönenden Höhepunkt. ,If This Is Hell" ist in einem einzigen Take als Bewusstseinsstrom des New Yorkers Deuén aufgenommen, dessen nachvollziehbare Spirale geistiger Aktivität von jazzigen, frenetischen Percussion-Klängen begleitet wird. Das Druckventil öffnet sich, als die phasenverschobenen Drums und die scharf beobachtenden, dialogartigen Phrasen abrupt nach der Zeile ,I wonder if that's what heaven's like?" abbrechen. Wir bleiben in der Behaglichkeit des Album-Closers ,Regards" zurück. Regentropfen treffen auf Orgel, Drone, Streicher und Keyboards, während das Nachladen von Waffen dem ruhigen Summen gegenübergestellt wird. Schwer und doch hoffnungsvoll erinnern Joshua Tarelle Reid und Joshua Inyang an ihre bisherige Reise. Als passend geheimnisvolles und mitreißendes Outro für ihr offenes Opus ist ,Quiet Storm" ein Meilenstein: selbst produziert, selbst finanziert und aus purer Tatkraft und Überzeugung entstanden. Durch verzerrte Zeit und schummrigen Dunst ist Space Afrika zweifellos angekommen

Marcal has emerged as one of the most distinctive voices of a new generation of techno producers, combining rhythmic precision with an instinct for detail, tension and movement. On Four Small Escapes, he delivers four tracks built around subtle shifts and carefully placed moments of surprise, where intricate sound design and groove remain in constant dialogue. Opening with Smoke from Respawn, Marcal immediately establishes the record's character. Syncopated rhythms, intricate percussion work and subtle sound design details unfold within a streamlined framework, creating a groove that feels both spacious and forward-moving. Wooden rimshots and glassy textures interact across an open arrangement, giving the track a fluid and trippy quality. Arapuca shifts into darker territory while maintaining the same sense of control. Organic percussion, rolling low-end momentum and sharply placed accents continuously reshape the groove, creating a track that feels alive through movement rather than dramatic intervention. On Ultimamente, Marcal introduces one of the record's most immersive moments. Fleeting sonic details appear and disappear throughout the arrangement, while a carefully integrated vocal element adds depth and emotional weight without disrupting the flow. The result is a track that invites complete immersion while remaining firmly focused on the dancefloor. Closing the EP, The Surprise Test delivers its most direct statement. Rough and driving without leaning into industrial aesthetics, the track is powered by rolling energy, syncopated claps and a series of subtle electronic details that continuously animate its surface. The contrast between rawness and precision gives the record a powerful closing moment. Across all four tracks, Four Small Escapes highlights Marcal's ability to create tension through detail rather than excess. Reduced yet expressive, the EP balances functionality with a strong sense of character, allowing small gestures and unexpected shifts to leave a lasting impact.

UFO95 returns to TSSRCT with a new four-track EP. Following the same path as his latest release, Dissolution, he delivers four powerful and minimalist tracks, built around a sharp focus on textures, tension and atmosphere. Timeless, contemporary, raw in its impact, subtle in its details, and designed to stand outside trends.

Boulderhead arrives on Haŵs with ‘Sunshine’ — four cuts that blur the line between club functionality and sonic experimentation. Twisting delays, playful FX work and endlessly shifting textures give the record a voice that's unmistakably his, pushing familiar forms into stranger territory without ever losing sight of the dancefloor.

The title track ‘Sunshine’ opens proceedings with a heads-down trip anchored by a cheeky, tongue-in-cheek vocal hook, swung grooves, and hypnotic momentum. Jorg Kuning steps up on remix duties, gently reshaping the original at every turn. His hardware-led approach keeps the groove in constant motion, each subtle shift revealing another layer without ever breaking the spell. Flip the record and ‘Moonshine’ strips things back into classic Boulderhead territory, while ‘Practice’ closes the EP on a deeper note, pairing lush synth work with beautifully detailed percussion for one final slow burn.

Never too serious, always full of character. The kind of record that keeps giving something new back with every listen.

ONE STEP CLOSER TO FULFILLING THE GLOBAL DREAMLAND CONTINUUM. THE RESULTS WILL KEEP YOU MOVING… ALL NIGHT. THE CIA ATTEMPTED TO CONFISCATE OUR TECH BUT HOUSE NATION INTERCEPTED THE CASE. THEY CAN’T STOP US FROM GROOVING. 4TH DIMENSION SONIC ENGINEERING PREVAILS AGAIN.


Label head GD returns to global swing with new EP, "Come Closer."

Following "Gary's Dreamland," his last outing on the label, Garrett continues to refine a sound that's distinctly his own. With "Come Closer," he delivers another confident, fully realized EP. Featuring a collaboration with Shanny Wise of Fcukers, marking a first-time collaboration between the two.

Garrett doesn't cut corners, and it shows. Every track here reflects the same attention to detail that's defined his output for years, pushing his catalog forward while staying true to the underground sensibility he's known for.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

Das in den USA ansässige Trio ist seit 2013 aktiv und besteht aus Ryan Lott, Ian Chang und Rafiq Bhatia. Getragen von Neugier und der Suche nach einem Gleichgewicht zwischen roher emotionaler Intimität und akribischen elektronischen Kompositionen lässt sich Son Lux, wenn nötig, den Genres Experimental Rock, Post-Rock und Electronic Rock zuordnen.

Ihren ersten Durchbruch erlebten sie mit dem Titel „Easy“, einschließlich Alternativversionen von Woodkid (2013) und Lorde (2014). Nominiert für den Oscar® und den BAFTA in der Kategorie „Beste Originalmusik“ für Everything Everywhere All at Once (2022 – Daniel Kwan). Son Lux traten bei den Oscars anlässlich ihrer Nominierung für den besten Song gemeinsam mit David Byrne und Stephanie Hsu auf. Weitere Filmmusiken: „Thunderbolts“ (Marvel).
Im Jahr 2026 arbeitete Son Lux mit Poppy und Harmony Korine an einem neuen Song und Video für Bungie Studios „Marathon“ (Videospiel). Zahlreiche Synchronisierungen, darunter „The Vow“ (HBO), „Skins“ (UK) (E4), „Baby“ (Netflix), „Good Girls“ (NBC) und „American Horror Story“ (FX)...
Lott und seine Bandkollegen – Gitarrist Rafiq Bhatia und Percussionist Ian Chang – stürzten sich in das rhythmisch opulenteste und textlich eindringlichste Son-Lux-Album, das es bisher gab. In fast zwei Jahrzehnten hat sich Son Lux einen Ruf für Pracht und Schwung erworben, doch 'Out Into' ist etwas anderes: eine kraftvolle Suite aus greifbaren, detailverliebten Songs, die aus schillernden Momenten kollektiver Improvisation entstanden sind.

Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.

If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.

While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.

From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.