Search:dial

Hippotraktor, the progressive metal band from Belgium, combining the best of prog, groove and post-metal return with new album! Wmerging from Mechelen, Belgium, to the joy of ear-splitters and deep-feelers of post rock, Hippotraktor release their third studio album Annihilist. "A good blend between the vibes of Meridian and the technicality of Stasis." (Verheyden), that exhibits once again the band's ability to balance crushing physicality with emotional nuance, whilst pushing further into highly cultivated experimentation. For Hippotraktor, immense sonic weight coexists with remarkable clarity and depth, and through the many shifting passages and moments Annihilist becomes a journey of awe, dissolution, melancholia and rampaging power. At the heart of this album is a sense of collective inspiration. Verheyden's compositional vision provides the framework for music that is both intricate and instinctive, yet Hippotraktor's identity is forged through the dialogue between all five musicians. Although often associated with progressive metal, post-metal and sludge, Hippotraktor resist classification. Their music draws freely from multiple traditions while remaining unmistakably their own, blending rhythmic complexity, cinematic atmosphere and deeply human expression into a sound that feels both expansive and immediate. As an album Annihilist is not only gripping in every moment and turn, but their balance of the intimate and titanic feels deceptively effortless; a testament to their galvanised abilities. FOR FANS OF Psychonaut Mershuggah Dvne Vola The Ocean Hypno5e Sikasa Blackshape

Hippotraktor, the progressive metal band from Belgium, combining the best of prog, groove and post-metal return with new album! Wmerging from Mechelen, Belgium, to the joy of ear-splitters and deep-feelers of post rock, Hippotraktor release their third studio album Annihilist. "A good blend between the vibes of Meridian and the technicality of Stasis." (Verheyden), that exhibits once again the band's ability to balance crushing physicality with emotional nuance, whilst pushing further into highly cultivated experimentation. For Hippotraktor, immense sonic weight coexists with remarkable clarity and depth, and through the many shifting passages and moments Annihilist becomes a journey of awe, dissolution, melancholia and rampaging power. At the heart of this album is a sense of collective inspiration. Verheyden's compositional vision provides the framework for music that is both intricate and instinctive, yet Hippotraktor's identity is forged through the dialogue between all five musicians. Although often associated with progressive metal, post-metal and sludge, Hippotraktor resist classification. Their music draws freely from multiple traditions while remaining unmistakably their own, blending rhythmic complexity, cinematic atmosphere and deeply human expression into a sound that feels both expansive and immediate. As an album Annihilist is not only gripping in every moment and turn, but their balance of the intimate and titanic feels deceptively effortless; a testament to their galvanised abilities. FOR FANS OF Psychonaut Mershuggah Dvne Vola The Ocean Hypno5e Sikasa Blackshape

Ecstatic’s dreamiest cadets bliss out on a new album of acoustic and electric guitar, harmonium and synth tapestries, notably nestling a Romance cameo within a genteel toggle of atmospheric pressure.

Back on (side) road after releasing quietly acclaimed kosmische gem ‘I Had too Much to Dream Last Night’ back in 2021 and the lysergic lushness of ‘Listen to the Sky’ a couple of years later, Celestial suggest a more sublime return to earth with the shine-eyed wonders of ‘I Can Hear the Grass Grow’, an album that soothes to the supine in eight shimmering parts of pearlescent melodic motifs marbling harmonious backdrops intended to tenderly comb nerves straight.

The duo take their role as seductive sandmen with a curious melodic wit that leaves something to the imagination whilst nudging it along the album’s narrative thread. A courtly flamenco lick flickers in opener ‘The Endless Stair’, one of the most restrained recordings we've heard from the childhood friends; blessed with just a little reverb and echo, as if a mic's been lowered into some dimly lit basement while Celestial puzzle out mystifying, interlocking harmonies. It hits a mid-point between John Fahey's raga-inspired Americana and Vini Reilly's rain-soaked Northern blues - the emotion throbs from every note.

Celestial's music is never too polished, giving it the fuzzy, uninhibited flair of a long-lost mail order private press and instilling it with a level of humanity that's rare to discover in the new-new age. Even when mysterious labelmate Romance turns up to ornament 'Mermaid Boulevard' with backmasked electronics, it's their low-slung Ry Cooder-esque guitar/bass that provides the narrative anchor, while the title track and spongiform analog textures of ‘Song For The rainy Season’ dial it right down to a Harmonia-via-BoC pastoral sublime. Vini Reilly and Eno’s influence is most surely felt on the swaying elegance of ‘Sweet Sleep, Angel Mild’, with a central motif that lingers on the mind long after it’s stopped playing, whilst their closing couplet perfectly resolves the cycle with a melancholic kiss-off for the ages.

Modern Apartments arrive on Dark Entries, with Light on Water, an LP featuring 8 cuts of instrumental cosmic-kosmische analog synth workouts. Modern Apartments is Ryan Ambridge, the musician and producer best known for his work with dark synth projects Linea Aspera and Lust Pattern. While both of those outlets lean towards the greyscale and robotic, Ambridge wanted to explore a more colorful palette with Modern Apartments, a livelier, looser sound. The medium of film plays a major role here; Ambridge works as a projectionist, screening archival prints of 35mm and 16mm films, and the textures and temporality of the medium fed directly into the Modern Apartments aesthetic. But it isn’t all blurry edges and fuzzy optimism on Light on Water. Says Ambridge, “Regular beats from old rhythm boxes and the sharp angles of post-punk found their way in. The contrasting imagery from those old film prints, of dense cities and open countryside, is reflected back in the dialog between looser sounds and rigid stylistic choices.” This tension shines through on tracks like album opener “Completely,” which pairs the icy minimalism of John Foxx with the meandering grooves of Cluster, or the eponymous “Light on Water” which leans even further into the sun-bleached vibes of Roedelius. Artwork for this record was designed by Eloise Shir-Juen Leigh. Light on Water is perfect late-summer listening, as the last gasps of seasonal radiance fade into autumnal splendor.

The mastering was done from the master tapes from the studio recording of the album. The cover is a reproduction of the original. The LP includes a printed sleeve. The cover includes a Glossy finish in order to respect the original edition as much as possible.

Released in 1981, "Sibou Odja" is Orchestra Baobab's second studio album produced at the Golden Baobab in Dakar by the young producer Ibrahima Sylla. After their masterpiece "Mouhamadou Bamba" recorded the same year, "Sibou Odja" would once again mark the history of Senegalese music by propelling the group's success into a new musical decade. Under the direction of the hard-hitting saxophonist Issa Sissokho and the irremovable guitarist Barthélémy Attiso, it is notably the young singer future icon of Senegalese salsa Médoune Diallo who will deliver one of his masterpieces with the irresistible "Autorail", song locomotive which celebrates the opening of the railway line connecting Dakar to Niamey. The Baobab symbolizing both rooting in traditional Senegalese values ​​and the tree's ability to reach new heights, the group's sound is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and the Vocal improvisations in the Wolof language subtly blend with the rhythms of Cuban sound and other boleros.

Jason Dungan (aka Blue Lake) and Johan Carøe find beauty in the rhythms
and repetitions of domestic life for collaborative album, 'Routine' - out September 25

Copenhagen-based multi-instrumentalists Jason Dungan and Johan Carøe didn't set out to make an album. Instead, as the title 'Routine' suggests, they found their way there through a process of habitual making and listening, developing an intuitive musical language to reflect the dreamlike meanderings and creative play of life's quiet moments. 'Routine' blends pop orientated sounds, Avant-garde minimalism, folk and new age with the emotive depth of film-score.

Their meeting was not entirely coincidental. Previously in bands such as Squares and Triangles, Jason Dungan has since recorded multiple albums under the moniker Blue Lake, including the lauded 'Sun Arcs', pursuing his passion for self-built percussion and multi-string instruments. Johan Carøe meanwhile is a composer whose film soundtrack work has seen him collaborate with Angelo Badalamenti, Arp, and Sofie Birch, at whose Andersabo residency (curated by Dungan) the pair first met, resulting in the highly praised album 'Repair Techniques' written by Birch and Carøe.

'Routine' emerged organically over many years against the backdrop of great personal change. As Carøe said goodbye to his father and welcomed his first child, the pair sent each other fragments of melodies and patterns, working up responses when time allowed to assemble a sonic palette that combined acoustic instrumentation of zither, clarinet, cello, saxophone (among others) with the textures of tape, drum machine and Yamaha DX7 synth. Inspired by the vulnerability and DIY ethos of Arthur Russell's home recordings, the vision of labels like Disques de Crepescule, and the art pop, experimentation inherent to late '70s and early '80s recordings from NYC and Japan alike, Dungan and Carøe conjured new forms for their folk, leftfield pop and avant garde influences from the low-lit living rooms of Copenhagen and rural Sweden. "I'm very interested in the ways in which music and art emerge from our wider experiences as people, workers, parents and in the daydreaming activity of making music," Dungan explains of a process which allowed the duo's individual styles to drift apart and merge together seamlessly. "I think the process was definitely capturing moments in time, but over a long time," Carøe adds. "It was a bit like improvisation, but with time stretched."

The music floats with grace and humility, remaining sophisticated yet acutely introverted.
Whether on 'Clouds', where soft layers of zither and clarinet are moved along by a featherlight bass riff and the hypnotic clip-clop of the primitive groovebox, or the gentle grandeur of cello rising and falling through 'Routine 1', the album reveals itself over 10 instrumental tracks, evoking the ineffable calm that descends when the light changes and the world turns inwards. The act of time passing became a key creative ingredient to the evolution of the album, enriched with the exciting challenge to transform their passing rounds of home recordings via a slow release musical dialogue. Jason found creative moments in the twilight hours to lay down zither, melodica, acoustic guitar to name but few, while Johan utilising "line-in and headphones" would manipulate, stretch and pitch Jason's melodic pathways during newly born naptimes.

Carøe rhythmically plucks and slides the stringed cello instrument, leaving palpable foundations on 'Hymn' and 'Chords', in a treated, stylistic approach akin to Mabe Fratti, while 'Silence' draws to a close with a gospel touch. Dungan's harp-motion zither flourishes reveal more classical connotations on 'Reunion' with inspiration of Bedroom Community's Nico Muhly as organs rise with Moogs, culminating with a climatic choral outro from friend, mezzo-soprano Anna Caroline Olesen.

'Routine' then is their first collaboration, an album of deep and sincere reflection with inviting overtones that gesture with unrushed authenticity. A document of a new-found friendship that opens a window into the most personal of spaces, where the daily practices of music and life exist side-by-side to wondrous effect.

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg’s experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its “grittily iridescent ambient billow rendering maximalist panoramas” and by Backseat Mafia as “extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power.” Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album’s coherence as a seamless work. “I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn’t able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder.” Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album’s cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates’ “idea of slowly scanning a radio dial” with a soundworld of recurring timbral and textural touchstones that forge an integrated whole.

The album’s 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener “Pink pink pink pink…pink pink” drifts gently toward submerged ambience, darkened by the noised rumble and static interference of “Green as a ghost”, which introduces broken beats and piano chords in its denouement. Tracks like “Battles and sieges and street trees” and “Easier sad than done” work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. “Waste, songs of the world” and “Disaster loans” are among the album’s most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track “Swamps and factories”, the album’s longest piece, is perhaps most reminiscent of Bates’ previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening.

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg's experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its "grittily iridescent ambient billow rendering maximalist panoramas" and by Backseat Mafia as "extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power." Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album's coherence as a seamless work. "I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn't able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder." Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album's cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates' "idea of slowly scanning a radio dial" with a soundworld of recurring timbral and textural touchstones that forge an integrated whole. The album's 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener 'Pink pink pink pink_pink pink' drifts gently toward submerged ambience, darkened by the noised rumble and static interference of 'Green as a ghost', which introduces broken beats and piano chords in its denouement. Tracks like 'Battles and sieges and street trees' and 'Easier sad than done' work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. 'Waste, songs of the world' and 'Disaster loans' are among the album's most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track 'Swamps and factories,' the album's longest piece, is perhaps most reminiscent of Bates' previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening

It pairs Virelles - who is known for his all-encompassing approach to creativity that is deeply-rooted in the Cuban influences of his upbringing - with two towering figures of creative music, whose individual work have helped shape the evolution of modern jazz for more than six decades. Together, they create music that is spacious, lyrical, and uncompromisingly inventive, grounded in profound listening and collective imagination. The group evolved out of Trio 3 , which featured saxophonist Oliver Lake alongside Cyrille and Workman. Following Lake's retirement, the remaining members invited David Virelles to help continue the group's legacy. Recorded at the legendary Van Gelder Studio , the album captures three master improvisers in an intimate, deeply expressive dialogue that unfolds through shared intuition, revealing an ensemble whose interplay is marked by subtlety, trust, and fearless exploration.

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.

Trusted Rhythm Records seeks to live up to its name right from the off with a debut vinyl compilation that explores deep house from multiple angles. Yuu Udagawa first comes at things from a soulful perspective, with diffuse pads and jazzy melodies heating up a nice soft groove. DFRA's 'Give Me' (Masaki Morii remix) is a playful, musical sunset sound for when you're dancing by the Med somewhere and the flipside begins with a tropical deep house heater that is organic and baked in sunlight. Trinidadian Deep keeps things dialled in and spiritual with his mix of Jean-Jez and a Coflo remix closes with more bold rhythms but no lesser depth. Sophisticated stylings all round.

Four years after Les Mystères de Lorient, Il Est Vilaine returns with Best Service, a rich and cosmopolitan album that broadens horizons in a bleak era.
Twelve tracks and interludes crafted with the aesthetic the duo has been refining since its inception: a blend of analog electronics, techno, vintage rock, and synth-pop.
Tailor-made atmospheres, oscillating between raw energy, groove, and dark romanticism, provide perfect spaces for unexpected guests.

,Teranga", das letzte Album der Wau Wau Collectif-Trilogie - dieser verträumten, kulturübergreifenden Zusammenarbeit -, zeigt, wie die Band endlich zu einer Einheit zusammenwächst. Der Name leitet sich vom Wolof-Wort ,Teranga" ab, das für Herzlichkeit, Gastfreundschaft gegenüber anderen und - ganz allgemein - für ein gemeinsames Zusammentreffen steht - ein passender Titel für das Album, das selbst Ausdruck einer solchen Begegnung ist. Das Projekt begann 2018 im Dorf Toubab Dialaw, wo die beiden Musiker Arouna Kane und Karl-Jonas Winquist die Idee erstmals hatten. In den folgenden Jahren entwickelte sich das Projekt weiter: Die beiden Produzenten tauschten über WhatsApp Dateien aus und bezogen ihr Netzwerk aus Freunden und Kollegen in das ein, was später zum Wau Wau Collectif werden sollte - was schließlich in ihren ersten Alben ,Yaral Sa Doom" (2021) und ,Mariage" (2022) gipfelte. Ihr neuestes Album, ,Teranga", ist der dritte und letzte Teil dieser Trilogie, der während der ersten Live-Tour der Band fertiggestellt und abgemischt wurde - eine fünfwöchige, weitreichende Reise quer durch Europa mit ,drei Schweden, drei Senegalesinnen und einem französischen Fahrer, ein herrliches Sprachengewirr", wie Karl-Jonas erklärt. Das Herzstück von Wau Wau Collectif ist ein starkes musikalisches Fundament, das nicht nur auf dem breiten kulturellen Spektrum beruht, aus dem sich das Kollektiv inspirieren lässt, sondern auch auf den äußerst talentierten Musikern - komponiert und eingespielt von sage und schreibe 26 verschiedenen Songwritern und Musikern, die eine beeindruckende Bandbreite an Instrumenten spielen, darunter Balfon, Ngoni, Calabasse, Violine, Cello, Saxophon und Omnicord. Der daraus resultierende Sound lässt sich nur schwer einordnen, hat aber klanglich zweifellos seinen Platz in Teranga gefunden. Mal verträumt und meditativ, aber durchdrungen von einer organischen Seele - ein völlig einzigartiger Sound, der zugleich anachronistisch und zukunftsweisend ist. ,Oh, Africa" könnte auf einer klassischen Neuauflage zu Hause sein, mit einem fast türkisch anmutenden Gitarrenriff, während ,100 ans" (ihre erste Live-Studioaufnahme) an Amadou et Mariam aus den frühen 2000er Jahren erinnert. Mit Wurzeln in der Avantgarde (Karl-Jonas hat Barney Wilens ,Moshi" als Inspiration genannt), während Wau Wau sich von diesen Experimenten inspirieren lässt, auch wenn sie in ihrem Bekenntnis zum Gemeinschaftsgeist davon abweichen - ein Projekt, das durch Handys, WhatsApp und im Internet kursierende MP3s ermöglicht wird -, was leicht ironisch wirkt, wenn man bedenkt, wie akustisch, bodenständig und menschlich es sich anfühlt. Während wir das Kapitel der Trilogie abschließen, betont Karl-Jonas, dass dies vielleicht erst der Anfang ist: ,In gewisser Weise haben wir gerade erst angefangen", sagt er. Für das nächste Jahr zeichnen sich Pläne ab, die ganze Band zusammenzubringen, und es stehen weitere Tourneen bevor - mehr Hoffnung, mehr Menschlichkeit und mehr Zusammenhalt.

Zuhause ist kein fester Ort. Es ist ein sich wandelnder Begriff, der in der Geborgenheit des Mutterleibs beginnt und sich dann in die Sicherheit der elterlichen Arme verlagert. In der Kindheit erweitert er sich auf Klassenzimmer und Freundschaften. Im frühen Erwachsenenalter entdecken wir unsere Unabhängigkeit und fangen an, Räume zu schaffen, die nur uns selbst gehören. Bei der Vorstellung eines ,Zuhauses für immer" geht es weniger um Beständigkeit als vielmehr um einen Rückzugsort. Dort fallen alle Masken ab, und wir finden zu unserem wahren Selbst. HOME ist ein Album, das auf der einzigartigen Chemie zwischen den Outer-World-Mitgliedern Kenneth Close (Positive No) und Tracy Wilson (Dahlia Seed, Ringfinger, Positive No) basiert - eine farbenprächtige Liebessprache, die synthetische Klänge und Samples mit Schlagzeug, Gitarre, Bass, Keyboards und Gesang überlagert und so die Grenze zwischen moderner Technologie, einer gemeinsamen Geschichte und einer einheitlichen emotionalen Wahrheit verschwimmen lässt. Zwei Jahre nach der Veröffentlichung ihres Albums ,Who Does the Music Love?" hat sich Outer World von einem Duo zu einer sechsköpfigen Band entwickelt, wobei ,HOME" sich wie der Soundtrack zu einem imaginären Spionagefilm anhört: hochdramatisch und spannungsgeladen, mit verhedderten Bettlaken als Höhepunkt. Hier gibt es keine Grenzen zwischen den Genres, es findet ein Dialog statt zwischen: ,Outernational"-Grooves, italienischen Western-Soundtrack-Komponisten, Hazlewoods Twang-Gitarren, Spectropop-Beat-Girls der 60er, Lagos-Highlife, zeitgenössischen klassischen Chorarrangements, isländischer Avantgarde, Bond-Bösewichten, Kunstobjekten aus der ersten Punk-Ära, östlicher Philosophie und der Kunstschule in Athens, Georgia, in den 80ern - all das ist darin enthalten, verwoben zu einer einzigartigen Stimme.

Nicole McCabe und Savannah Harris tun sich für ihre allererste Zusammenarbeit bei "All Together Now" zusammen. Ihr Album im Vollformat ist eine raffinierte, kraftvolle Interpretation des modernen Jazz im Jahr 2026. Das Album wurde über einen Zeitraum von zwei Monaten im Sommer 2025 aufgenommen und entstand sowohl in Los Angeles als auch in Brooklyn beide Orte haben die allgemeine Stimmung und den Sound der Musik geprägt. McCabe und Harris haben sich stetig einen Ruf als zwei der besten Musikerinnen auf ihren jeweiligen Instrumenten erarbeitet. McCabe am Altsaxophon und Harris am Schlagzeug werden in der Jazzwelt gleichermaßen als virtuose Instrumentalistinnen und Komponistinnen gefeiert. All Together Now" bringt diese Elemente besonders gut zur Geltung. Jeder ihrer musikalischen Stimmen ist unverwechselbar individuell und ergänzt dennoch die musikalische Gesamtrichtung des Albums. Beide finden ihre Momente, in denen sie die Führung übernehmen, während sie sich zu anderen Zeiten gegenseitig unterstützen, um einen wirklich bemerkenswerten Einblick in das Schaffen dieser beiden Künstler zu schaffen. Der Eröffnungstrack des Albums, Monstera", entführt den Hörer in eine Welt aus wirbelnden Saxophonmelodien und hellen, akzentuierenden Schlagzeugklängen. McCabe und Harris legen sofort den Grundstein für das, was auf dem Album noch kommen wird. Im Verlauf des ersten Songs offenbart sich immer mehr von jedem der Künstler als würde man in einer Kunstgalerie von Raum zu Raum schlendern. Textur, Farbe und die gesamte Ästhetik der Welt dieses Albums nehmen Gestalt an. Wenn der zweite Song All Together Now" einsetzt, steigt die Energie und der Dialog zwischen den beiden Musikern erreicht seinen Höhepunkt. Lonely People" zeigt McCabes unglaubliches Gespür für Melodien, während Harris den dynamischen Bogen des Stücks prägt und vorantreibt. Jeder Song auf All Together Now" hat seine ganz eigene Persönlichkeit, was insgesamt zu einem wunderschön intimen und ungemein kraftvollen Album führt.

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.

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.

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.

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.

2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

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.

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.

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.

Album #6 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Luigi Nono (1924–1990) genoss während seiner gesamten Karriere große Anerkennung. Als zentrale Figur
des Nachkriegsserialismus trat der venezianische Komponist in den 1950er Jahren als eines der drei Mitglieder der „avant-garde trinity“ neben Karlheinz Stockhausen und Pierre Boulez in Erscheinung.
„Contrappunto“ wurde 1968 für 2-Kanal-Tonband komponiert, in einer Zeit, in der Nono sich intensiv für
die internationalen Studentenbewegungen sowie gegen den Vietnamkrieg engagierte. Nono stützte das
Werk auf eine Madrigal-Komödie von Adriano Banchieri aus dem frühen 17. Jahrhundert und erklärte,
er habe „versucht, die Art des musikalischen Prozesses widerzuspiegeln, den Banchieri verwendete: die
Konzentration auf die Stimme, die Einbeziehung von Klangmaterial der damaligen Zeit, humoristische und
parodistische Verzerrungen, insbesondere in den lyrischen und dramatischen Elementen … aber in der heutigen Aktualität“.
Roland Kayns „Cybernetics III“ nimmt auf beeindruckende Weise die Fortschritte in den Bereichen Synthese, Computer- und Aufnahmetechnik sowie die Entwicklung von Samplern und Sequenzern vorweg. Die
Art und Weise, wie diese Werkzeuge von den Künstlergenerationen, die in Kayns Fußstapfen traten, aufgegriffen wurden, hat die Rahmenbedingungen der elektronischen Musik grundlegend verändert. In diesem
Sinne hat „Cybernetics III“ tiefgreifende Veränderungen im kreativen Denken vorausgesehen.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard
und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einem neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl.

Die Transparent Blue Vinyl-Edition der auf Act Music erschienenen "Endless" LP von Adam Bałdych European Quartet ist erschienen.

Das Album dokumentiert ein kammermusikalisch geprägtes Quartett, das Adam Bałdych mit drei ausgewiesenen Persönlichkeiten der europäischen Improvisationsszene versammelt: Daniele di Bonaventura am Bandoneon, Jacob Karlzon am Klavier und Michel Benita am Kontrabass. Diese Besetzung öffnet einen weiten Klangraum, in dem Streichergesten auf die dunkleren, erzählerischen Farben des Bandoneons und das harmonische Feingefühl des Klaviers treffen. Konzertankündigungen und Pressetexte nennen die beteiligten Musiker und stellen die gemeinsame Arbeit als zentrales Element des Projekts heraus.

Musikalisch führt "Endless" die Ausdrucksformen zusammen, die Baldych über Jahre geprägt haben: die Verschmelzung von jazzimprovisatorischer Freiheit mit Elementen der europäischen klassischen Tradition und Anklängen an Renaissance-Polyphonie. Die Arrangements setzen auf dichte, dialogische Interaktion und erlauben solistischen Entfaltungsraum bei gleichzeitigem Fokus auf feine dynamische Nuancen. Typisch für Baldych ist die Kombination aus virtuoser Artikulation und lyrischem Tonfluss, wodurch der Violinklang zur treibenden Stimme einer kammermusikalischen Erzählung wird.

Originally released in 1992 and long elusive to collectors, this timeless tour-de-force launched the international career of the acclaimed singer- songwriter. Backed by an incredible lineup of musicians assembled by musical director and second guitarist Bruce Dunlap , the album showcases Sara's distinctive voice and unique 4- string acoustic guitar style. While her songwriting seamlessly weaves together elements of jazz and folk, the album poses a brilliant artistic statement: an intuitive, live dialogue that transitions effortlessly from sweet serenity to thunderous emotion. Rather than standard acoustic arrangements, the world- class ensemble treats the material with deep empathy, subtle accents, and constant creative daring

A boundary-pushing musician and multi-media artist from Brooklyn, New York, Frances Chang disrupts accepted reality through her unique and enchanting compositions. Chang’s songs are an exercise in communication, probing the tension between idiosyncratic personal experience and the drive to understand, and be understood, through a collective language.
For “I can feel the waves,” Chang’s new single and debut on RVNG Intl., a piano-centric melody is ornamented with primitive electronics and poetic vocals. The track boldly demonstrates Chang’s strength for unconventional yet contagious songwriting, and pioneers a genre the artist refers to as “slacker prog”: roomy and playful, offbeat and occasionally jarring, brimming with spiritual and emotional resonance.
The b-side, “Marry,” is a rollicking yet laid-back composition, with undaunted wobbly kicks bubbling under pianistic textures until a dialogue, acted out between Chang and Sylvia Gorelick, takes the foreground in the final moments of the track. As the instrumental carries its freewheeling pulse forward, the conversation, inspired by films like Kenneth Lonergan’s Margaret and Catherine Breillat’s Fat Girl!, along with Broken Social Scene’s “Anthems for a Seventeen-Year Old Girl,” turns toward the relationship between internal subjectivity and the external necessity of “staying small.”
Where is Frances headed from here? A piano is at the center, synths and strings swelling around its shoulders. A little less tension, a lot more production. Some shadows will be encountered, some forgotten skeletons unearthed. Music excavated from the subtler, deeper layers of cerebral and shared experiences. Music that is truly its own.

Dialog's ever-evolving take on dubwise electronics returns with Sequence / Structure. A 30-minute study in space and rhythm for immersive soundsystem adventures.

Die späten 1990er Jahre waren eine fruchtbare Zeit in der amerikanischen Elektronik- Underground-Szene. Eine wachsende Zahl von Künstlern, verteilt über das ganze Land, beteiligte sich an der jüngsten Runde eines jahrzehntelangen transatlantischen musikalischen Dialogs. An der Schnittstelle von Hip-Hop, Elektronik und Soul versuchten diese Künstler, ihren eigenen Weg zu gehen. Im September 2001 schlossen sich Telefon Tel Aviv aus New Orleans, die Highschool-Freunde Joshua Eustis und der verstorbene Charles Cooper, schlossen sich diesem Dialog mit ihrem Debütalbum ,Fahrenheit Fair Enough" an, das bei Hefty Records erschien. Als Herzensprojekt war ,Fahrenheit" ein Versuch des Duos, ,etwas Sinnvolles beizutragen ", sagt Eustis heute, ,etwas eindeutig Amerikanisches und irgendwie auch Südstaatliches." Zum fünfzehnten Jahrestag der Veröffentlichung bringt Ghostly International ,Fahrenheit Fair Enough mit einer Vinyl-Ausgabe und zusätzlichem digitalem Bonusmaterial neu auf. Als sie Ende der 1990er Jahre in New Orleans lebten, standen Eustis und Cooper im Bann zweier musikalischer Strömungen: amerikanischer Klassiker - New Orleans' Bounce, Detroits Techno, Chicagos House - und britischer Electronica - Autechre, Aphex Twin, Jega. Aufgenommen im Laufe eines Jahres in Eustis' Kindheitszimmer im Stadtteil Riverbend in New Orleans, lotete ,Fahrenheit" das Potenzial amerikanischer elektronischer Musik in einer Zeit der Hoffnung aus. Die Tracks sollten ,sich ständig weiterentwickelnde Skulpturen" sein. Fasziniert von IDM, wollten die beiden ,etwas Schwung hineinbringen , es ein wenig lockerer gestalten, es aber auch hyperromantisch klingen lassen." Eustis und Cooper hatten sich ursprünglich eine ,harte Club-Platte" vorgestellt, doch stattdessen wurde ,Fahrenheit" von Fans und Kritikern, die seine stilistischen Wurzeln falsch interpretierten, als zartes Stück Electronica wahrgenommen. Die Musik klingt im Jahr 2016 umso relevanter, da der Weg, den Eustis und Cooper damals anstrebten, heute Realität ist. Und weil heute jeder darauf hört, was der Süden zu sagen hat." ,Wir wollten einfach nur sehen, ob wir es hinbekommen", erinnert sich Eustis. ,Wir wussten es nicht. Unser Ziel war es, etwas zu schaffen, auf das wir stolz sein konnten." Zum 25-jährigen Jubiläum dieser bahnbrechenden Elektronik-LP, einem Meilenstein der amerikanischen Elektronikmusik, erscheint eine Deluxe-Obi- Edition als Doppel-Vinyl in einer neuen Watercolor- Variante. Joshua Eustis und der verstorbene Charlie Cooper schufen einen Klassiker, der an der Schnittstelle von IDM, Experimental- und Bass-Musik ansiedelt und eine neue Generation von Künstlern (Loraine James, Kelly Moran u. a.) beeinflusste. Das Album kehrt nun endlich für eine neue Generation zurück.

Elevator Music is the collaborative album from Newport’s own Lord Sko and acclaimed producer Statik Selektah — a smooth, soul-heavy project rooted in classic East Coast hip-hop tradition. With Statik’s signature dusty drums and soulful sample chops setting the tone, Sko delivers sharp storytelling, effortless flows, and downtown NYC swagger across ten standout tracks.

The album features appearances from Dave East, B-Real, Smoke DZA, Ab-Soul, and more, adding extra depth to an already cohesive listen. From introspective cuts like “Better Days” to smoky late-night anthems like “Northern Lights,” Elevator Music captures the feeling of timeless New York rap with a fresh new perspective.

2026 Repress

The latest album in the series of "Beats and Knowledge" from Marc Mac. This episode focusing on the thousands of Black soldiers who fought in the Second World War, their efforts and stories hidden and forgotten for a lifetime. Marc's style of soulful Hip Hop beats are woven through the dialogue setting the scene for this mixtape style long player. Part six in the series of albums and limited to 400 vinyl copies worldwide.

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), The Pleasure Is Yours feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

Pressed on 180g vinyl, the album comes in an embossed sleeve and is avaible in red and black splatter.

Crossing borders between traditions, sonic territories, and instruments, musicians Tomáš Niesner and Aldana Duoraan created their first collaborative album Plot. The sound of khomus meets guitar melodies simplified into pentatonic scales, intertwining in a dialogue that remains playful while moving between meditative passages and bewitching, hypnotic moments. Solid yet ever-changing, these melodies explore a delicate relationship between the present interactions, their past, and possible futures. “I feel that the essence of our collaboration is not to close the songs off, but to leave them open so that they can develop and be interpreted a little differently each time, depending on the circumstances,” Niesner explains when describing the duo’s artistic approach. The recording therefore captures only the most essential moments and ideas, which continue to unfold in new directions during live performances.

Each segment of Plot, word meaning “fence” in Czech, while also referring in English to a narrative structure or hidden plan, represents a different constellation shaped by the pairing of specific khomuses and guitar tuning. The track titles, such as The Key of Radiance or The Key of Humbling, are inspired by the ancient Chinese text I Ching (usually translated as Book of Changes). Like the classical cosmological text itself, the compositions meditate on similar fundamental principles. The ideas explored in the chapters of the I Ching are thus loosely translated into musical language. Themes of Radiance, Attending, or Nearing thus loom over the reflective realm of Aldana and Tomáš.

The two musicians first met in 2021 through a collaboration organized by Konektiv, an event series that aims to create new connections between genres and musicians with diverse backgrounds. Aldana Duoraan is a Prague-based artist born in the Sakha Republic, whose experiments with the khomus (also known as the jaw harp) draw on the traditional music of her homeland. Tomáš Niesner, a sound artist and guitarist based in Brno, navigates the realms of American primitive guitar while incorporating influences ranging from folk to drone. Because the duo rarely finds themselves in the same city, an important moment in the development of Plot was a showcase at Cafe OTO, organized by mappa. The album, capturing the fleeting energy of this encounter and several others, has now been released on the Slovak experimental label, which helped bring the collaboration to life.

Me First and the Gimme Gimmes show that they have truly matured as song-thieves on this album! Running at 45 RPM, the 25th anniversary pressing comes with silver foil and silver 25th anniversary labels. But if you like you can buy the original CD still too. Punk pranksters, Me First and the Gimme Gimmes, came forth with their third full length album, Blow In The Wind. That time around the band pays tribute to the tunes of the late 50s and 60s. Once again Me First and the Gimme Gimmes have woven their punk rock magic into the threads of the classics from the likes of The Beach Boys, The Beatles, Del Shannon, and Cat Stevens, just to name a few. On Blow In The Wind, Me First and the Gimme Gimmes don't simply cover 13 songs whose future was dependent upon the AM dial, they breathe the breath of new life into songs that were on the verge of being forgotten! Me First and the Gimme Gimmes is comprised of the following punk rockers: Spike Slawson (Swingin' Utters), Joey Cape (Lagwagon), Fat Mike (NOFX), Chris Shiflett (ex No Use For A Name, present Foo Fighters), and Dave Raun (Lagwagon)