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Released in 1983, "En la guía, en el listín" remains a permanent anomaly in the history of Spanish pop music, with few clear predecessors and even fewer descendants. It is an imperfect yet fascinating catalog of the many faces Derribos Arias could reveal. Its sound combines odd electric rock, leftfield proto-hip-hop, and dark, immersive songs that simply defy categorization. An essential album. Includes liner notes and the artwork of the original insert. By late 1981, the San Sebastián-based group La Banda sin Futuro had already transformed into Derribos Arias. Their first two singles dazzled critics eager for new ideas capable of placing Spanish pop alongside the contemporary music increasingly arriving from abroad in real time. 'Branquias bajo el agua', the standout track from the band's debut single, topped the list of Best Songs of 1982 as voted by listeners of Diario Pop on Radio 3 (Spanish National Radio). With an expanded four-piece lineup and a larger budget than they had enjoyed for their earlier singles, the band entered the prestigious Kirios Studios to record their album, with Paco Trinidad serving as producer. The electric intensity of 'Intima decoración' and 'Crematorio' -angular, off-kilter reinterpretations of a strain of rock descended from The Velvet Underground and The Stooges, a style with virtually no precedent in Spain-are excellent examples of the band's sound. To aberrate was the key term Poch used to describe his ineffable working method: a fearless creative freedom without which songs such as 'Lo que hay' could never have existed. The track stands as a leftfield proto-hip-hop number, later reworked as 'Disco pocho,' demonstrating both his admirable lack of prejudice and his complete disregard for any commercial ambitions the album might have had.Unfortunately, this album would never have a follow-up.

After nearly two years, Okonski returns with Entrance Music — an album that finds the trio at the height of their improvisational prowess and celebrating the spontaneous and meditative. On the heels of 2023’s debut Magnolia, pianist and leader Steve Okonski has reconvened long-time musical collaborators (Durand Jones and the Indications bandmate Aaron Frazer on drums and bassist Michael Isvara “Ish” Montgomery) for another session in the spirit of artists like the Bad Plus, Gerald Clayton, and The Breathing Effect. Ultimately Entrance Music serves as an invitation to early hours, where songs linger in the doorway, announcing their presence before returning to the air, in a meticulous drift into the next.
Recorded over a five day session, Entrance Music was one of the first albums committed to tape at Portage Lounge, Terry Cole’s studio in Loveland, OH. “It was a new setup, but with Terry behind the dials it was very familiar,” says Okonski. “I can’t emphasize enough how much Terry feels like a fourth member of the band because of the space he’s curating, the energy he is bringing, and the production ideas.” The energy and sound created with the Colemine labelhead at the helm makes for a listening experience equally at home with ECM or Stones Throw catalogs.
From the rippling notes of the pastoral opener, “October,” Entrance Music is lush with anticipation, both band and listener feeling the tension in the tranquility — where the interplay of jazz improvisation and boom bap beats never shortchanges the musicianship but the talent is ever in service of the song.
While the band does not play together as often as they would like, not much time is needed for the three to lock in. Montgomery’s bass opening to “Passing Through” bends and moves with a singular meditative grace before piano and percussion joins the daylight filling a room with breath and light. If Magnolia resonated with last calls and late nights, Entrance Music counters with early mornings and first cups of coffee.
Whereas much of the debut resonates with his time in New York, Entrance Music “feels a little less ‘on the streets at 2 A.M.’ and a little more nature-based…a little more ethereal,” says Okonski. “It’s definitely age, environment, and family — all of that does come through in the music.”

"Emergence of Shadow" (Mint Condition Records / Self Distribuzione)—the new album by Davide
Ghidoni, produced by Gianluca Pighi—is arriving: its digital release is set for Friday, September 11,
while the vinyl will be available starting Friday, September 18.
A trumpeter with a career marked by international collaborations, Ghidoni here signs his most
personal project to date. It is a predominantly instrumental record in which the trumpet becomes a
voice, a narrative, and an emotion. The only vocal track is "Come On Closer," performed by Heidi
Vogel (The Cinematic Orchestra), creating a moment of suspension and intensity within the project.
Davide Ghidoni’s passion for music and the trumpet was born in his childhood around the age of ten,
fueled also by Western films and Ennio Morricone’s soundtracks: those melodies, where the trumpet
played a central role in the duels of The Good, the Bad and the Ugly, deeply shaped the artist's
imagination and sound.
Ghidoni has always maintained an open and curious approach, letting himself be inspired by different
genres, artists, and musical cultures. His projects naturally coexist with influences ranging from rock
to soul, jazz to blues, and other languages that have left a mark on his path. Rather than identifying
with a single genre, he prefers to view music as a guiding thread capable of uniting different styles
through emotion, sensitivity, and respect for artistic identity.
"Emergence of Shadow" represents a new chapter in his journey. After numerous collaborations with
various artists, the musician felt the urge to undertake a completely his own project, giving shape to
ideas he had nurtured for a long time.
The record is inspired by the 1970s soul, rock, and blues sounds, but the goal is not to faithfully
reproduce or imitate those genres: the atmospheres, themes, and arrangements recall that sonic
world, yet are reinterpreted through a personal and original sensibility. The trumpet remains the
primary narrative element, supported by meticulous arrangements and a solid rhythm section that
enhance its character and expressive intensity.
Alongside the sounds that distinguish his path, the album also explores deeper emotional
dimensions. Some tracks are fluid and atmospheric, born from the desire to recount vibrations
without rigid schemes, letting melodies and dynamics guide the listener on an inner journey. The aim
is to offer an engaging listening experience in which music communicates directly, beyond words.
The album encapsulates everything Davide Ghidoni wanted to express and fully represents his
artistic identity: a timeless instrument to communicate emotions and engage in dialogue with different
musical traditions, always keeping the pursuit of musical quality and sharing with the public at its
core.

From Berlin to Lagos: Jembaa Groove expand their sound on "Be A Lover"

Berlin-based outfit Jembaa Groove return with "Be A Lover", a four-track EP set for full release on 18 September via global soul imprint Agogo Records. Following two critically acclaimed albums and an intensive period of touring across Europe and the US — including a SXSW showcase and a widely acclaimed KEXP session — this latest release marks a new chapter in the band’s trajectory. Built around highlife rhythms and shaped by Afro-jazz and the more organic edges of Afrobeats, "Be A Lover" unfolds with a warm, languid and deeply soulful feel, capturing different strands of today’s multifaceted Afrofusion scene.

Here, the band strips back from a seven-piece ensemble to its two founding members, while at the same time opening outward into a deeply collaborative space. At its centre is a close creative partnership with celebrated Nigerian highlife revivalists The Cavemen., alongside contributions from London-based, Nigerian born soul artist Azekel, Lagos vocalist Tim Lyre, and Malian icon Fatoumata Diawara.

“This record has a different flavour,” says Owusu. “It’s really about collaboration — different feelings, different thoughts, different energies coming together.” While centred around the Lagos contemporary scene, the record is shaped by a wider diasporic network stretching across London, Lagos, Berlin and Amsterdam, cities producer and bass player Yannick Nolting describes as “the pillars where everything that is happening in today’s highlife and Afro-fusion scene.”

Formed in Berlin in 2020, Jembaa Groove began after a chance meeting between bassist, producer and composer Yannick Nolting and percussionist, vocalist and songwriter Eric Owusu. Drawing on their respective musical journeys — Nolting’s years working with Lusophone artists in Lisbon and Owusu’s deep roots in Ghana’s highlife tradition, including work with Pat Thomas and late highlife legend Ebo Taylor — the project quickly took shape: their debut album Susuma established a powerful, poly-rhythmic sound grounded in highlife, jazz and soul, while 2024’s "Ye Ankasa | We Ourselves" expanded that vision through collaborations with artists across Ghana and its diaspora, including UK based Ghanaian singer, rapper, percussionist, and arranger K.O.G and legendary Ghanaian highlife musician Gyedu-Blay Ambolley.

The collaborative spirit continues on "Be A Lover", most of which grew out of a meeting with sibling duo The Cavemen. at Supersonic Jazz Festival in Amsterdam in 2023, leading to a sustained exchange of ideas between Berlin and Lagos. With two acclaimed albums behind them, The Cavemen. have emerged as central figures in both Lagos’ alternative music scene and the wider contemporary highlife revival, bringing the genre to a new generation through a stripped-back, melody-driven sound. “There was some kind of magnetism towards Lagos,” says Nolting; for Owusu, who is Ghanaian but spent much of his life in Nigeria, the connection runs even deeper. “I feel lucky to be able to bring different cultures together and make something really beautiful,” he says. A key part of that process was a close working exchange between Nolting and The Cavemen.’s Kingsley Okorie, who effectively stepped into a co-producing role on three out of four of the tracks.

The one exception is opener No Pain No Gain, which features Nigerian-born, East London-based Azekel, whose smooth, R&B-leaning vocal moves through a slow-burning arrangement of bright keys, gently rising horns and atmospheric synths, anchored by Owusu’s organic percussion.

The title track Be A Lover, featuring Afro-fusion Lagos artist Tim Lyre, distills the EP’s central message into its most immediate form. Backed by syncopated percussion and a gently smouldering arrangement, Lyre’s voice moves with a laid-back, melodic ease, delivering a simple refrain: “be a lover, not a fighter.” “It’s a very simple message,” says Nolting, “It’s about showing more love, on a personal level but also more broadly… just show love.” That same sense of warmth runs throughout the record, reflecting its core idea.

On Obi, The Cavemen. take centre stage, with Kingsley Okorie leading through melancholic, plaintive vocals rooted in classic highlife. In contrast, his brother Benjamin James punctuates the track with high-pitched vocal interjections, heightening the emotional tension against a backdrop of slow, restrained instrumentation.

Waka follows with a more melodic, hook-led refrain from Eric Owusu, whose loose, almost conversational delivery creates a striking contrast with Fatoumata Diawara’s unmistakably powerful, raspy vocal. The collaboration grew out of a chance meeting while Owusu was on tour, with ideas exchanged quickly and Diawara returning a finished vocal within days. “We are so proud to have her. It’s a privilege” says Owusu. "Be A Lover" is a record shaped by connections like these — between people, scenes, and cities. “It was partly intention, partly destiny,” says Nolting. “We met these people along the way, and somehow Lagos was meant to come into our path.”

Desire erschien 1976 zu Beginn von Bob Dylans Rolling Thunder-Tour-Ära, die ihn in den folgenden Jahren buchstäblich mehrfach um den Erdball führte. Die Platte tänzelt virtuos zwischen den Stilen, die von Dylans herausragenden Lyrics zusammen gehalten werden. Die bemerkenswertesten Songs des Nr.1-Albums sind zweifellos die Boxer-Tragödie 'Hurricane', 'Sara', 'Mozambique' und ganz besonders 'Isis', der als Dylans beste Komposition der 70er Jahre gilt.

Sarah de Scisciolo, known as the Brutalist Poet, presents a new project born from her collabora%on with
Alex Neri, long%me member of Planet Funk and a leading figure in the Italian electronic music scene.
Produced by Alex Neri and released on vinyl, the single emerges from the encounter between Sarah’s
poetry and performa%ve dimension and Neri’s electronic research. The project blends spoken word, vocals
and electronic music, transforming words into sound and crea%ng an original dialogue between
performance and club culture.

This collabora%on brings Sarah de Scisciolo’s poe%c language into the world of electronic music and vinyl,
shaping a release conceived for both audiences and professionals within the contemporary music scene.
PRODUCED BY ALEX NERI AND MANNIE FOR TENAX RECORDINGS

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

After meeting and working with Janko Nilovic - the extraordinary French library maestro - on a new album, while traveling and performing together around the world for almost 10 years, Igor Zhukovsky & Romeo Miussky - the multi-instrumentalist production duo, and rhythm core of The Soul Surfers - were inspired to make a record of free, spiritual, esoteric sounds which blended together on tape and made Sound Excitement happen.Drawing on their experience as soundtrack composers and using heavyweight Soviet analog equipment, including a few vintage personal instruments belonging to some legends of the Soviet leftfield music scene, Igor & Romeo started experimenting with genre-blending music. The outcome of their recordings are a mixed bag of different moods and genres."It's something similar to a library record or more like a compilation of many different library records on one LP for a good decade if you know what I mean? It's the work which we're really excited about and excited to share with you! ...oh that's hell of a wordplay!"

When a British alt-soul and art-pop duo collaborates with Filipino musical royalty, the result is a blinding flash of artistic spirit that transcends geographical andgenerational barriers.

For Margate-based act Thandii, a chaotic whirlwind of a trip to Manila allowed Graham Godfrey and Jess Berry to explore a new cultural context of song- writing. After several prolific years of self-released albums together, they took the opportunity to channel Graham’s Filipino heritage through an ambitious project proposed by the label Sama Sama Records: for Thandii to make their next album with the most recorded drummer in the Philippines, Jun Regalado.

Now in his late 70s, Regalado has recently gained more recognition internationally after the reissue of his track ‘Pinoy Funk’ (from the Soundway compilation Ayo Ke Disco in 2024), along with the discovery of nearly 500 album appearances that are now finding themselves in the collections of younger generations. And on Coco Okayo - the first time he has collaborated outside of his contemporaries - Regalado effectively passes the torch.

In exploring a sound born of the diaspora with roots in British soul music, Coco Okayo makes full use of the polymath abilities of Thandii. While they provide vocals, percussion, flutes and production, they still manage to carve out space for regular Margate collaborators (including keyboardist Steve Pringle, Graham’s bandmate in Pigeon), as well as tapping Filipino connections in the United States such as Wyn Avillas and Ian Santillano.

“It’s a new genre coming from Filipino diaspora artists paying tribute to the Manila sound of the 70s,” say Thandii, “but combining it with modern day post-punk- disco, beat-driven-art-pop music coming from the small seaside town of Margate”. However the listener might interpret it, it’s clear that Coco Okayo is not stuck between worlds, but rather, has built a utopian world of its own.

Music From Memory presents ‘Miraggi’, the debut release by Argento, a new project conceived by composer and producer David August. Written between Berlin and the Tuscan coast, the record unfolds as an imagined soundtrack to the Mediterranean, shaped by memory, longing and a profound connection to landscape.

The earliest sketches emerged during extended periods spent along Italy’s Tyrrhenian coast, where the shifting light, vegetation and ever-changing presence of the sea became lasting creative impulses. At the same time, an immersion in Italian library music of the 1970s and ‘80s quietly informed the project’s tonal language, while traces of jazz fusion and Balearic ambience surfaced not as direct references but as distant echoes.

Built around a dialogue between synthesizers, electronics, acoustic percussion and environmental recordings, ‘Miraggi’ balances rhythmic movement with spacious, cinematic composition. During the recording process, August was joined by drummer and percussionist Lorenzo Setti, whose performances and co-writing became an integral part of the album’s evolving rhythmic language. Across extended improvisations and recording sessions, August and Setti gradually shaped a musical language that feels both deeply personal and quietly transportive, allowing atmosphere and place to become as important as melody or rhythm.

The title ‘Miraggi’ (‘Mirages’) emerged organically, evoking a longing for something that remains just out of reach — something that cannot fully be grasped or lived. It suggests a suspended state between perception and imagination, akin to a hallucination or a dream. In this sense, ‘Miraggi’ reflects the project’s inner narrative: an imagined soundtrack shaped by desire, memory and the spiritual abundance of the Mediterranean Sea.

‘Miraggi’ will be released on vinyl and digitally via Music From Memory on September 10th 2026.

One of the biggest electronic tracks of 2001, "Diabla" was championed by some of the world's most influential DJs, including Pete Tong, Dave Clarke, Sven Väth, and many more. Widely regarded as a true classic and a genre-defining record, Diabla successfully bridged the gap between house and techno, earning its place as a timeless dancefloor anthem.

This fully licensed reissue arrives courtesy of Armada and the original label, Soma Quality Recordings. The package features a brand-new interpretation from Joris Voorn alongside the much-loved Heavenly Mix and Revisited versions, rounded off with the legendary remix from Kevin Saunderson.

Lars Sandberg, better known as Funk D'Void, has been at the forefront of the global electronic music scene since the mid-1990s. Beginning his DJ career at just 15 years old, Lars discovered his passion for music early in life. Raised by his mother, a professional concert pianist, he always knew music would define his future. Over the decades, Funk D'Void has built a reputation as one of electronic music's most respected DJs and producers, consistently delivering innovative productions and unforgettable sets around the world.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Geoff Farina’s Southern Records tenure was not just about Karate. His late-90s guitar-and-vocal solo output included
the bedroom-recorded Usonian Dream Sequence that echoed The Secret Stars’ intimate lo-fi sentiments, Reverse Eclipse that rode the more delicate fringes of Unsolved-era Karate, and the single Steely Dan, a paean to a contemporaneous guilty pleasure. FFF collects all three long-out- of-print releases here on vinyl for the first time, fastidiously packaged and punctu- ated with Farina’s written reflections on their making.

Geoff Farina’s Southern Records tenure was not just about Karate. His late-90s guitar-and-vocal solo output included
the bedroom-recorded Usonian Dream Sequence that echoed The Secret Stars’ intimate lo-fi sentiments, Reverse Eclipse that rode the more delicate fringes of Unsolved-era Karate, and the single Steely Dan, a paean to a contemporaneous guilty pleasure. FFF collects all three long-out- of-print releases here on vinyl for the first time, fastidiously packaged and punctu- ated with Farina’s written reflections on their making.

Erin LeCount returns with the release of EP PAREIDOLIA, now on limited edition transparent glitter vinyl and with the addition of hotly-anticipated track THE CINEMA.

Available for pre-order on the 1st July at 5PM BST and set for release on 11th September 2026.

Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop. At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.

Faith and Fate, Destiny and Devotion, Dark Nights and Dazed Illuminations. Josephine raises a stained-glass lamp and shepherds us spelunking the depths of spirit in this four-part double album. Following the fame of her voice are choruses of winged entities (and a space shuttle) that ascend and descend a maze of spirituals: ritual prayers, blues laments, vestal hymns and jubilant benedictions. The edges of the natural world are revolving backdrops from which our narrator perches upon symbolic precipice or saunters desolate snow-blanched forest, exploring eternal themes of mortality and morality, beneath the moon and in occasional dialogue with a mysterious lord of love, an ambiguous mystical figure. Accompanying herself on guitar, piano, organ, harp & autoharp, this cycle of 18 new songs hearken back to various facets of Foster's anachronic oeuvre (the esoteric balladry of This Coming Gladness, native rhythms of Blood Rushing, somnambulist waltzes of I'm a Dreamer, the Shaker primitivism of Hazel Eyes, I Will Lead you). Celestial humor and devastating innocence are delivered with contributions from Victor Herrero (lead guitars), Gyða Valtýsdóttir (cello), Chris Scruggs (pedal steel), Jon Estes (bass), as well as cameos by members of The Cherry Blossoms and others. Recorded, engineered and mixed by Andrija Tokic at his Nashville Bomb Shelter Studio, mastered by John Baldwin, and produced by Josephine herself.

Faith and Fate, Destiny and Devotion, Dark Nights and Dazed Illuminations. Josephine raises a stained-glass lamp and shepherds us spelunking the depths of spirit in this four-part double album. Following the fame of her voice are choruses of winged entities (and a space shuttle) that ascend and descend a maze of spirituals: ritual prayers, blues laments, vestal hymns and jubilant benedictions. The edges of the natural world are revolving backdrops from which our narrator perches upon symbolic precipice or saunters desolate snow-blanched forest, exploring eternal themes of mortality and morality, beneath the moon and in occasional dialogue with a mysterious lord of love, an ambiguous mystical figure. Accompanying herself on guitar, piano, organ, harp & autoharp, this cycle of 18 new songs hearken back to various facets of Foster's anachronic oeuvre (the esoteric balladry of This Coming Gladness, native rhythms of Blood Rushing, somnambulist waltzes of I'm a Dreamer, the Shaker primitivism of Hazel Eyes, I Will Lead you). Celestial humor and devastating innocence are delivered with contributions from Victor Herrero (lead guitars), Gyða Valtýsdóttir (cello), Chris Scruggs (pedal steel), Jon Estes (bass), as well as cameos by members of The Cherry Blossoms and others. Recorded, engineered and mixed by Andrija Tokic at his Nashville Bomb Shelter Studio, mastered by John Baldwin, and produced by Josephine herself.

If you’re as obsessed with unfairly unheralded bands as we are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot Records proudly announce GANDALF’s 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of THE LEFT BANKE, KALEIDOSCOPE, THE MILLENNIUM, and THE ZOMBIES, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond’s “Sweet Caroline” and Van Morrison’s “Brown Eyed Girl”), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band’s PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you’ve got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: “Put the needle in the groove, sit back, and take the trip with GANDALF.” Enough said.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

WRWTFWW Records is very excited to announce the first ever release for the Cyberpunk 2077: Future Sound of Night City soundtrack - atmospheric music from one of the most celebrated video games of the decade! The compilation, showcasing a who's who of Polish electronic underground, is available as a limited edition 45rpm-cut yellow vinyl 3LP in heavyweight 3-panel gatefold with a sticker sheet. The album is also available on CD with super jewel case, and in digital formats.

Dive deep into the pulsating world of Cyberpunk 2077 with an immersive soundscape perfectly capturing the gritty and neon-soaked streets of Night City. Curated by Rafa? Grobel and Wojtek Sokó? of Most Records, the epic 15-track compilation features a diverse offering of electrifying Polish beats, cohesively flowing between techno, ambient, synthwave, bass music, industrial, and IDM. Ominous, powerful, evocative, and filled with futuristic nostalgia, the music of Night City is a thrill ride in a dystopian urban landscape, heavy hearts riding through the night, menacing streets surrounded by infinite skyscrapers. The music transports you, soul-stirring, cinematic, and timeless, the most beautiful kind of escapism.

The award-winning Cyberpunk 2077 action role-playing game was developed by CD Projekt Red and published in 2020 and has since become one of the most recognized and best selling video games of all time. With a cast including Keanu Reeves and Idris Elba, unmistakable visuals, music, and atmosphere, CP77 has earned a spot in the pantheon of 2020s pop culture.


Points of interests

- For fans of video game soundtracks, ambient, techno, synthwave, vaporwave, industrial, dark electronic music, retro-futuristic moods, neon lights, Tech Noir, Keanu Reeves, bass music, All Foods, cities by night, skycrapers, urban adventures, dystopian universes.

- The soundtrack for Cyberpunk 2077: Future Sound of Night City available for the first time everrrr !

There is an important difference between "mature" club vibes (leather porkpie hats) and "adult" club vibes (a post-ego-death experience of the world through the eyes of an Eames chair). Extrawelt's Jamborghini EP exemplifies the latter in ways that extend beyond sophisticated wordplay*. Well beyond.

Sophisticated electro-techno hybrids occupy an incredibly dangerous space. One false move and you corner listeners into an unsolicited conversation about "gain staging." The four tracks on the vinyl EP thread the needle in thrilling fashion, and then use that needle to stab at the sweet spot between sentient cell tower admin software vibes and the kind of architecture hot people like.

And with the digital exclusives, we've once again saved you from the depths of "bonus beats" hell by supplying three tracks that are as good as anything that has ever been pressed to vinyl. If your knee-jerk reaction is to doubt this, we would simply point out you haven't even heard them yet, and here you are talking shit. Go push your hateful agenda somewhere else.

Extrawelt are fast becoming a Turbo Recordings staple, and don't think the globalist EDM cabal hasn't taken notice. Jamborghini has already received heavy DJ support from Jumpin' Josh Junior, Monoburglar, Now or Never, Tiga, Never Say Never, Rumpled Glory, Moment of Truth, and the Hamburg Chamber of Commerce.

*Our best guess is that the title is meant to evoke a Lamborghini you can have a musical "jam session" in, and not the striking metallic purple Diablo SE30 driven by Jamiroquai frontman Jay Kay in the 1996 video for "Cosmic Girl."

Sekouba Bambino’s ‘Sebema’ first time on vinyl (previously CD / cassette only) with edit treatment from frequent collaborators Pete Blaker & Dionisos on the A-side and the original on the flip.

Originally released in 2004 by the Guinean multi-instrumentalist and singer-songwriter, this cut was taken from his Ambiance Ballon album. Real name Sékouba Diabaté, he was previously a member of Bembeya Jazz National, who are regarded as one of the most significant jazz groups to emerge from Guinea as well as joining Africando All Stars in the late 90’s. Bambino went on to pursue a solo career and released projects throughout the early 2000’s on Syllart Productions.

The edit by Pete Blaker and Dionisos overdubs sound effects, additional percussion and guitar licks to build tension throughout the track and emphasises that hypnotic chorus.

Coming as transparent vinyl in a screenprinted limited edition of 200 pieces. This release contains 7 tracks by grmmsk from helsinki / finland. stretched in time haunted voices from the caribbian diaspora tumbling through misty and wet streets of baltic shores. drones of wire spring reverbs meet halftimed doom dub. beside unreleased tracks there are some versions of tracks released before on grmmsk own imprint totes format on cassette. Pressed on transparent vinyl in a hand printed translucent cover, it conceptualizes the album's title 'ONE WORLD - nowhere to hide'. When the idea of UNITY has failed with the result of a world that is increasingly ruled by a hegemony of fear and control, escape into something J.G. Ballard has been calling INNER SPACE, seems imminent. But what happens there Here's what: DOOMDUB! Dystopian versions of a sound, that has been associated with glaring sunshine of the caribbean before, is now dragged through the dirty snow flanking the ring-highway circling hellsinki.

The Go’s Free Electricity, the group’s storied, long-lost album, finally gets a proper release! The Go appeared in Detroit in 1996, led by Bobby Harlow and featuring Dave Buick on bass and Jack White on guitar. Following the release of their 1999 debut, Whatcha Doin’, and a few lineup changes, the band hit the studio with Dion Fischer on lead guitar, John Olson (of Wolf Eyes) on saxophone, and Cary Loren (of Destroy All Monsters) to record their sophomore effort. The session found the band and their producer, Matthew Smith (Outrageous Cherry), exploring the outer edges of rock and roll, with blaring lead guitars, copious amounts of reverb, and a heavy jazz influence thanks to a heavy diet of ‘60s free jazz. The results erupt from the speakers with a cavernous sound, like some haunted frequency beamed across the time barrier from the Grande Ballroom circa 1968, often sounding more like records by Pharoah Sanders and Sun Ra than the records being made by The Go’s peers in the ‘00s rock and roll scene.

Free Electricity was written, composed, and arranged by Bobby Harlow (except track one, which was written by Harlow and Dion Fischer; and track five, written by Harlow and Cary Loren). Free Electricity was mixed and produced by Matthew Smith, engineered by Jim Diamond at Ghetto Recorders, and mastered by Jim Kissling at Jim Kissling Mastering in Detroit, Michigan. Guest appearances by folks from Destroy All Monsters and Wolf Eyes only reinforced the album's musical direction. Weird or not, this was an inspired recording made by an inspired group of musicians. There was a feeling of excitement and adventure happening at these sessions, it shines through mightily on this album.

Shadows & Light - The Spirit of Mozart (limited Red Gold colour Vinly) Vom spritzigen Witz der Wiener Bühne bis hin zur stillen Zuflucht seiner intimsten Sonaten – diese Sammlung fängt das facettenreiche Genie von Wolfgang Amadeus Mozart ein. Begeben Sie sich auf eine Reise durch die pulsierende Energie von Die Hochzeit des Figaro, den ätherischen Dialog des Flöten- und Harfenkonzerts und die herzzerreißende Feierlichkeit seines Requiems. Ob es nun der verspielte Charme von Papagenos Arie oder die erhabene Ruhe des Klavierkonzerts Nr. 23 ist – jeder Titel wurde sorgfältig ausgewählt, um ein Vermächtnis zu präsentieren, das heute noch genauso lebendig ist wie vor über zwei Jahrhunderten.

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

The live EP arrives on vinyl via a collaboration between boutique label Crafting Room Recordings (Maximilian, Soft Top) and indie festival Left of the Dial. The live record follows a massive 2025 where a limited vinyl run of the Spill EP and debut EP 'Hullo, Reality!' both sold out soon after their releases. With champions already found at BBC Radio 6Music (Steve Lamacq, Emily Pilbeam) and earning a spot on the 2026 artists to watch lists for DIY, DORK, and Far Out, ELLiS.D is rapidly cementing his status as one of Europe's most striking, tireless and "sought after live acts" (Far Out Magazine). "As our first sold- out headline show outside of the UK, it felt like a real milestone for myself and the band. We wanted to capture the amazing connection we've felt playing to European audiences, with nowhere better to do it than the basement of a boat in Rotterdam. Each of the tracks on the EP have been staples of our live set for a long time but switching into the mindset of performing and recording for the EP gave us a fair few jitters pre-show. Once we crashed into 'Chasing The Blue' that all melted away. Elmo on sound did a brilliant job capturing the energy of the performance and the audience gave us the response we were hoping for!"

Across two song cycles separated by nearly four decades – Richard Wagner’s »Fünf Gedichte für eine Frauenstimme« (the »Wesendonck Lieder«) and Johannes Brahms’ late »Vier ernste Gesänge« (»Four Serious Songs«) – Wagner’s songs, written under the spell of his relationship with Mathilde Wesendonck and already pointing towards »Tristan und Isolde«, and Brahms’ final composition, which gives the album its name and was shaped by grief, illness, and meditations on biblical texts, circle the same existential questions.

Desire and mortality, ecstasy and resignation appear less as opposites than as mirrored states. The voices of Wesendonck’s poetry seem to answer the solemn reflections of Ecclesiastes and Corinthians, revealing an unexpected dialogue across time.

Without seeking historical authenticity or revisionist spectacle, »Serious Songs« listens for what still resonates beneath these works: the suspended moment where love, loss, and transcendence become indistinguishable. The harp assumes the role of the piano as the foundation, pulse, and emotional compass. The vocal line, liberated from classical convention, inhabits a contemporary expressive space without severing its bond to the original scores. It is Romantic music viewed through the acoustics of the present. The project emerged from a moment of professional disillusionment familiar to many classically trained musicians. This led to a confrontation with some of classical music’s traditional flaws that became an invitation to reimagine it.

Sissi Rada approaches the spinal properties of the Romantic Lieder, fragile enough to transform and resilient enough to survive. Intimate, lucid, and quietly radical.

Radiating Cellular Lime Headlight

Dawuna’s latest mixtape is a muted hypnagogic R&B tour de force, pieced together while recovering from a traumatic head injury.

For »African Family Laptop Musick«, I was healing from a traumatic head injury that gave me a later amnesia diagnosis, so I don’t remember more than a couple small flashes of memory from the recording/construction of this project. I know I wanted to make a low-fidelity concept piece about my family life at the time, compositionally simple, but necessarily abstracted. This is the last lil offering from a very personal side of myself before I give y’all something big. Enjoy. – Dawuna

BUCHLA MEETS ORCHESTRA IN QUADRAPHONIC SPACE ON CIANI/ORKEST

Suzanne Ciani, Metropole Orkest and Simon Dobson release historic immersive performance in multiple immersive formats including quad vinyl.

Silverlake, CA \\ June 4, 2026 – Electronic music pioneer and five-time Grammy nominee Suzanne Ciani joins the internationally acclaimed Metropole Orkest, conducted by Simon Dobson, for the release of CIANI/ORKEST, a landmark live album composed entirely of new work, created specifically for this unprecedented collaboration.

Recorded at Amsterdam Dance Event (ADE) before a rapt audience, CIANI/ORKEST is not a retrospective. It is a bold, immersive meeting of the Buchla electronic instrument and 50-piece orchestral sound. The result is a sweeping sonic landscape, at once intimate and monumental.

Under the direction of the Metropole Orkest, renowned for its genre-defying collaborations with artists from jazz to contemporary classical - strings shimmer, brass swells and woodwinds echo the organic, fluid qualities that have always defined Ciani’s sound. “This project feels like a homecoming,” says Ciani. “The Buchla was always orchestral to me, an instrument capable of infinite color. Hearing those colors unfold through the Metropole Orkest has been profoundly moving.”

At the heart of CIANI/ORKEST lies Ciani’s lifelong commitment to quadraphonic sound. From her early Buchla performances in the late 1960s to her 2018 release LIVE Quadraphonic, Ciani has treated space as a primary compositional parameter. Working alongside immersive producer KamranV, Ciani continues to explore immersive sound as both artistic and human gesture. Kamran’s decades of work in spatial formats, converge here in service of a singular goal: to let sound behave as it does in the physical world. “For both of us, quad is musical,” Kamran notes. “The way Suzanne works, quadraphonic is nested in — not the technology per se — but the intent you bring to the work.”

The recording stands as a meditation on legacy, evolution, and the enduring dialogue between technology and human expression. The live album captures the electricity of performance, the immediacy of touch plates under Ciani’s hands, the collective of musicians responding in real time, and the audience’s shared immersion in quadraphonic-inspired space.

CIANI/ORKEST is released by Atmospheric/AKP Recordings/CyKiK in multiple double-disc quadraphonic 12” Record packages designed by grammy-nominated designer Rebeka Arce. Each pressing is made regionally to minimize carbon emissions and also contributes to nature via Brian Eno's EarthPercent, the music industry's climate and nature foundation.

The release is encoded using the dublab Quadraphonic Universally Accessible Resource Kit (QUARK). QUARK enables binaural listening via standard 2-channel playback or 4-speaker playback via Involve Audio hardware decoders, vintage Regular Matrix quadraphonic receivers, Dolby Pro-Logic II/Dolby Surround Upmixer (DSU) receivers, or any multi-channel audio interface equipped computer. This album is immersive via all formats: digital download, streaming (Qobuz, Spotify, SoundCloud, Bandcamp), radio broadcast, vinyl and high-resolution Dolby Atmos (Apple Music, Tidal, Amazon HD, IIA), Sony 360RA (Nugs, Amazon HD) and Eclipsa Audio (YouTube).

About Suzanne Ciani
Suzanne Ciani is a composer, pianist, sound designer, and electronic music pioneer whose work spans experimental, new age, classical, and cinematic sound. A five-time Grammy nominee and recipient of the Moog Innovation Award, she continues to perform internationally, captivating audiences with immersive modular synthesis performances.

About Metropole Orkest
Based in the Netherlands, the Metropole Orkest is one of the world’s leading genre-crossing orchestras, known for collaborations with artists including Brian Eno, Herbie Hancock, Snarky Puppy, Jacob Collier, and within contemporary classical and electronic spheres.

Manonmars’ 3rd album sees him at his most amorphous and psychedelic, at points sharper and laser focused, and at others more blurred and impressionistic than his previous records. Many of the core players remain the same, all of the production is once again handled by O$VMV$M (the duo of Neek and Amos Childs of Jabu) while Paulina Korobkiewicz (also of Young Echo) makes a return handling both the album’s cover artwork and contributing a series of diaristic field recordings and voice notes.

‘The project references movies, cartoons, fictional characters and video games, among other things. The album title is open to interpretation but all of these elements are forms of visual entertainment which have their own unique ability to transcend things like language barriers and cultural divides. The visual element is key because those details bridge the gap on a communicative level.’ - Manonmars

The album blends abstract, blurred braggadocio with more immediate personal details such as on ‘Volcanic Shield’ a posse cut of sorts featuring Bristol improv luminary Dali de Saint Paul and Franco Franco (½ of cyborg rap duo Kinlaw & Franco Franco) - where Mars recalls;

‘Memories of brighter days, happy meal hit the spot
Mum was spinning vinyl playing Super Ape or Pressure Drop
I would spend the weekend with the Turkish mandem on the block
single parent household, mum was studying or on the job
money came and went always was an on and off
made it back from school time to see what’s on the box’


The beat fades away to leave one of Korobkiewicz’s recordings of Mars’ mum talking about her life in London in the 80s, spending her money on reggae records as an ambient chord fades in like an echo of a jungle intro – stretching out as a link between generations of UK music.

The production by and large is brighter and more kinetic than earlier Manonmars records – with O$VMV$M drawing on everything from modern underground rap and drill through to jazz and acid ambient passages.

London is also a central character here, bustling and constantly shifting, either when bleeding in through field recordings, or as an ever-present backdrop in the lyrics;

‘I’m a fusion of Tippa Irie and Topper Harley
Hit the target like the black Atari
I dropped a tab now shit’s A Scanner Darkly
Got the munchies, Imma yam a sarnie
Pour the Wray and Ting like man at Carni
Exit Peckham Rye and turn left, walk past Hannah Barry
Get your (w)raps up like its January’

‘I've always considered London my home, despite spending some time in the South West of England too. My mum had been living in London for 25 years (...) That was a pretty big deal in some ways because it removed us from multicultural society during the period which overlapped with my teenage years. (...) I never got used to how quiet it was in the countryside (...) Bristol was the closest city to where we lived and it was through travelling there and making connections that I became involved in making music and playing gigs.’ - Manonmars

Mars’ practice as a painter (under his given name Jack Martyn Richardson) and photographer also loom heavy over the album, he cites Paul Verhoeven, Abdul Mati Klariwein and H.R Giger as influences – as well as Miles Davis, Drakeo the Ruler and DJ Rashad.

As with much of Richardson’s work the raps at times feel blurred to a point of almost inscrutability, creating a distance between the audience and himself. A process that ties into his visual work and the way he experiences the world as mainly abstract colour without his glasses. He explores this further in an ongoing visual collaboration with Korobkiewicz, ‘Fun and Games’ which serves as a visual archive of one of London's largest and oldest travelling fairgrounds.

‘I was diagnosed with very severe short-sightedness at the age of seven. I remember my early formative years as visually blurred. Some of my photography reflects this experience of partial vision and uncertainty, referencing memory and perception rather than fixed representation.’

Manonmars’ first public outing as a rapper was at a Young Echo radio event, broadcast shambolically from a practice room just off Jamaica street, Bristol in 2011, as much as things have moved on both stylistically and in terms of focus - strong links back to the city remain a key foundation throughout the collaborations and guest appearances.

‘I have no problem with being an outsider looking in. One of the things I enjoy about London is the anonymity (...) it's easy to be a stranger here when so much is happening. I feel like thats more valuable than people may realise.’

OOZ proudly presents the sixth instalment on the label with Nate Oldfield’s inaugural solo EP. Informed by minimalist techno and intuitive modes of machine music – made predominantly with hardware – Nate puts forth a record that feels as though it’s dancing out of the shadows and into the light. Eery chords and vocals are paired with sharp percussive rhythms by a producer that seems to revel in the play of music-making. At points stark and almost plaintive, the depth of feeling throughout the record is contrasted by the playful nature of how sound is manipulated. Grooves plod along to cold, melodic chimes, guitar plucks and a discussion about walking through Danson Park near Nate’s hometown of Abbey Wood, South-east London.

Jodecis zweites Album „Diary Of A Mad Band“ mit Hits wie „Feenin’“, „Cry For You“ und „My Heart
Belongs To U“ erreichte Platz eins der Billboard R&B/Hip-Hop-Charts.
Complex Music beschreibt das Album als „sinnlich … und sexy“ mit Gastauftritten namhafter Hip-Hopund R&B-Künstler wie Timbaland, RedMan und Missy „Misdemeanor“ Elliot.
Dieses Kultalbum wurde auf einer schwarzen Standard-LP neu aufgelegt, deren Trackliste der des Originals
entspricht.

When everything around is racing blindly toward ruin, change direction and spin as fast as you can until you defy gravity and rise above the ground into blissful madness. "K-drone", the debut album by three renegades—Jakub Šimanský, Michal Vaľko, and Ján Podracký—is like a hallucinatory Calvary with five stations. Each station is a time-loop capsule, a tiny utopia sneering at the phantom progress of the world outside.

The opening track, "Speedrone", is pure vertigo; for seven long minutes, there's nothing to hold onto. Šimanský’s banjo cuts through the air, Vaľko’s hurdy-gurdy sounds like someone scraping a rusted sheet of metal with a handful of nails, and Podracký’s bass recorder hums like a slowly intensifying migraine. "Sine" is like a train journey through a barren wasteland, where the images outside the window constantly repeat like a bad trip. "Pro DJ" starts like a gig in a bar at the end of the line—a gig that never actually goes anywhere. It’s as if all three are locked in a spasm, their repeated motifs turning into haunting earworms. "Alien Radigue" shifts into a strange idyll in a clearing in the middle of the forest, where an unknown bird species trills in the background. The end and definitive dissolution come in "Slush", where everything suddenly slows down. Šimanský plucks a simple guitar melody, Podracký’s harmonica drifts from side to side like a boat gently rocking by the shore, and Vaľko’s hurdy-gurdy drones like a drunken mosquito buzzing around.

"K-drone" sounds like an acid anti-western movie recorded in a tucked-away burrow, like smoke-soaked folk and experimental campfire songs echoing through a deep forest. It evokes Third Ear Band's "Alchemy", it screeches and repeats like some of Henry Flynt's experiments, and you could easily imagine hearing it drifting from one of the windows on the cover of Hala Strana's eponymous album.

Jakub Šimanský is the bard of Czechoslovak guitar primitivism, an earthy folk sommelier whose fingerpicking you may also know from the duo Šimanský Niesner. Michal Vaľko, aka Line Gate, needs no introduction to fans. He has released three albums on mappa, and his hurdy-gurdy meditations hold an important place in the drone and minimalist music scene. "Den", "Apex", and "Trap" have become essential listening. Ján Podracký is a self-taught composer and musician whom you might know from various participatory music projects, such as an orchestra where all the players play diatonic harmonicas. Besides harmonicas, he has long explored a wide range of flutes. In short, a pied piper who will guide you through other worlds.

Im Laufe der Zeit haben zahlreiche Musiker - von schnurrbärtigen Partyboot-Troubadouren bis hin zur Jazz-Elite wie Jimmy Smith/McGriff und Shirley Scott - die Kraft der elektrischen Orgel genutzt, um ihre Zuhörer zu hypnotisieren. Nun, indem er alle möglichen Anleihen bei diesen musikalischen Schwergewichten nimmt und die musikalische Schallmauer durchbricht, um deinen Geist zu ,organisieren", tritt Mr. Sophisticated Fingers auf den Plan. Zusammen mit den stets treuen Cold Diamond & Mink interpretiert dieser mystische Tastenkünstler zehn der größten Hits aus Emilia Siscos Debütalbum ,Introducing" in einem einzigartigen lyrischen Stil neu. Auf dem Album ,Slow Dance & Soul" von Organ-ized erreichen diese Songs neue Höhen. Vielleicht hast du sie schon einmal gehört, aber hör sie dir jetzt noch einmal an, denn jetzt wurden sie vom musikalischen Maestro Mr. Sophisticated Fingers neu interpretiert, Baby!

Im Laufe der Zeit haben zahlreiche Musiker - von schnurrbärtigen Partyboot-Troubadouren bis hin zur Jazz-Elite wie Jimmy Smith/McGriff und Shirley Scott - die Kraft der elektrischen Orgel genutzt, um ihre Zuhörer zu hypnotisieren. Nun, indem er alle möglichen Anleihen bei diesen musikalischen Schwergewichten nimmt und die musikalische Schallmauer durchbricht, um deinen Geist zu ,organisieren", tritt Mr. Sophisticated Fingers auf den Plan. Zusammen mit den stets treuen Cold Diamond & Mink interpretiert dieser mystische Tastenkünstler zehn der größten Hits aus Emilia Siscos Debütalbum ,Introducing" in einem einzigartigen lyrischen Stil neu. Auf dem Album ,Slow Dance & Soul" von Organ-ized erreichen diese Songs neue Höhen. Vielleicht hast du sie schon einmal gehört, aber hör sie dir jetzt noch einmal an, denn jetzt wurden sie vom musikalischen Maestro Mr. Sophisticated Fingers neu interpretiert, Baby!

Ein authentischer Geschichtenerzähler der heutigen Indie-Rock-Szene ist der in Tampa geborene und in New Orleans lebende Singer/Songwriter Thomas Dollbaum, und ,Birds of Paradise" ist sein bisher kraftvollstes und dynamischstes Werk. Nach seinen von Kritikern hochgelobten Alben "Wellswood" (Big Legal Mess, 2022) und "Drive All Night EP" (Dear Life Records, 2025) ist "Birds of Paradise" ein Abschiedsbrief an verlorene Liebste und sein früheres Ich. In diesen Songs sucht Dollbaum nach Akzeptanz an vergänglichen Zwischenorten: in den Kiefernwäldern Floridas, auf Nebenstraßen, die zur 1-95 führen, wo Vögel über das Wasser fliegen. Und obwohl die Geister seiner Alt-Country-Vorgänger Townes und Molina definitiv präsent sind, tritt Dollbaum auf Birds of Paradise aus ihrem Schatten heraus - er winkt der Vergangenheit zu und klingt dabei umso mehr wie er selbst. Dieser Moment - dieses Album - ist längst überfällig. Die Aufnahmen zu Dollbaums beiden vorherigen Veröffentlichungen hatten aufgrund von Umständen, die außerhalb seiner Kontrolle lagen, viel zu lange gedauert, was ihn frustriert zurückließ. Nachdem er acht Jahre lang von zu Hause weg war, war der Ort, den er verlassen hatte, nicht mehr der Ort, an den er sich erinnerte, und die Unveränderlichkeit der Natur fühlte sich wie eine Konstante an, über die er schreiben wollte. Mit einem Gefühl der Unmittelbarkeit schrieb er ,Birds of Paradise" in drei Monaten. Er rief die Musiker an, denen er am meisten vertraute und die er am meisten bewunderte - Nick Corson, Josh Halper und Jake Lenderman - und bat sie, sich mit ihm bei Dial Back Sound in Water Valley, Mississippi, mit dem Produzenten/Toningenieur Clay Jones zu treffen. Sie lernten das Album in vier Tagen ein und nahmen es auf, wobei sie einen Blitz in einer Flasche einfingen, eine klangliche Offenbarung, auf die Dollbaums Songwriting schon immer gewartet hatte. Mit der Hilfe von Lenderman, Halper, Corson und Jones ist ,Birds of Paradise" Dollbaums hart erkämpfter Durchbruch. Lebendig und nachhallend wie Gedichte und Kurzgeschichten, die man nicht vergessen kann: Kojoten heulen, Vögel fliegen nach Süden, Kinder jagen Kaninchen durch das Zuckerrohr und Zigaretten kosten vier Dollar pro Packung. Birds of Paradise erinnert uns daran, woher wir kommen - an die Dinge in uns, die wir vergessen haben - wir brauchten nur Dollbaum, um uns das zu zeigen. So blickt man ohne Angst oder Scham zurück. So sieht Authentizität aus.