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Teho Teardo & Blixa Bargeld are back with their third album, nearly eight years after "Nerissimo", but time collapses and expands like an accordion. Especially those two stolen years that have disappeared from our accounts without a trace during the pandemic. The new album is titled "Christian & Mauro" and their real names on the header hint to a more personal landscape who allows them to go through elements of the past like "Bisogna Morire", an incredible passacaglia, a dance of death from 1600 that"s been reinvented from a contemporary perspective. Since their musical roots belongs also to the future, another consideration comes after a book by astrophysicist Carlo Rovelli, it opens up for a different look at the universe. It"s not always possible to discover new territories without consenting to lose sight of the shore for quite a good amount of time, so across these new ten songs Teho and Blixa allow themselves various detours playing a large array of instruments, using a mythological keyboard who can play with ciphers, letters, characters, sounds and noises. Using sounds transversely provides the cue to new possibilities to move forward in music. The album has been produced by Teho Teardo, Blixa Bargeld and Boris Wilsdorf both in Roma at Basement Recordings and at andereBaustelle in Berlin. This music joins again the sky between Roma and Berlin and the tour that will follow its release will take place from November 19th right in Roma and will take them all over Europe. Teho and Blixa will tour with Laura Bisceglia on cello and Gabriele Coen on bass clarinet, there will be on stage also a string quartet on each show.

Anthony"s post-Slapp Happy output, for years an underrated-to-outright unknown quantity, achieves a new dimensional plane with this third archival release from his personal tape library. Home of the Demo triangulates upon the art-pop qualities found in his previously unreleased 1976 LP OUT, and "79"s new wave-adjacent Flying Doesn"t Help, finding Anthony"s early/mid-80s home recordings drifting whimsically in and out of the actual mainstream.

The Wild Classical Music Ensemble is a Belgian experimental rock band formed in 2007 by artists with mental disability within the social-artistic non-profit organisation Wit.h in Kortrijk. Their unique sound is a blend of punk/rock riffs, fanatical rhythms and soaring flutes and fiery synths, over which gravitate multiple, multilingual voices that scratch harshly as much as they comfort. There's something very Belgian about this harshness and noisiness. We often think of compadre Arno, from the TC Matic era. During the Covid crisis, the disabled members of the Wild Classical Music Ensemble were undoubtedly subjected more than others to the harsh conditions of confinement, alone in their rooms. Damien Magnette was still able to visit them with sound equipment. This was one of their all-too-few windows onto the world. Forbidden to meet, let alone play together, the members of Wild were nevertheless able to compose songs in tandem with Damien. The tracks were then sent to musician friends - Fabrice Gilbert, Ava Carrère, Wim Opbrouck, Shht, Arthur Satàn, Nathan Roche and Julien ZLDR - who added their artistic touch. Jean Lamoot and Carl Roosens joined the adventure, one as mixer, the other as video director. It's a result of the conditions under which it was created, this is the band's most highly-produced album, and perhaps its most accessible: frankly rock, with a great deal of freedom in production, and sometimes with a certain pop allure. Jean Lamoot's contribution to the mix had a lot to do with it. In addition, the forced slowdown allowed us to devote much more time and attention to writing the lyrics. Leader Damien Magnette says: "For over a year, we were all confined. But what about when you're a mentally handicapped person? Well, it's very different from you and me... We have the right to choose, the luxury of deciding for ourselves what rules we want to follow or not. We have free will. They don't. This series of confined songs is dedicated to all the people who have gone through this crisis, deprived of their free will. We send them our thoughts, hugs and kisses full of true love! The songs respond to a deep desire to look out for each other in adversity (the so obvious "Comment ça va?" by Johan Geenens and Wim Opbrouck, or "Waarom ben je boos" by Sébastien Faidherbe with Wim Decoene, the latter full of empathy). A sense of loneliness is logically present on the album ("Dat is mijn verdriet" by Linh Pham, a very real, very concrete and particularly touching poem, or "Loneliness", whose text was improvised by Wim), if not an understandable rage ("Je ne veux pas" and "My Frustrations"). It worth noting that on "On reste heureux", Sébastien Faidherbe composed all the parts in one go, with an optimism that stands out from the anger expressed in his other songs. Let's make no mistake: none of this is really over. All these emotions, suffering, pain and hope, speak to us far beyond this grim story of covid.

"Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting & beloved artists of the last decade. On Evergreen Allison is again writing about her life, but life’s different these days: Since 2022's Sometimes, Forever Allison experienced a profound & personal loss. New songs emerged, unflinching reflections on what she was feeling. She wanted them to sound that way too, as true to the demos as possible. Nothing overindulgent, everything real.

UK HIGHLIGHTS: BRICKS Magazine cover, DORK Magazine cover, Line of Best Fit Cover, NTS Takeover, features from CRACK, NME, Wonderland, Louder Sound, support from Kerrang!, Rock Sound, CLASH, 6Music, Apple Music 1, Radio 1, Radio X. Recent UK shows: Glastonbury 2024, Outbreak 2024, UK Headline tour in May 2025"

"Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting & beloved artists of the last decade. On Evergreen Allison is again writing about her life, but life’s different these days: Since 2022's Sometimes, Forever Allison experienced a profound & personal loss. New songs emerged, unflinching reflections on what she was feeling. She wanted them to sound that way too, as true to the demos as possible. Nothing overindulgent, everything real.

UK HIGHLIGHTS: BRICKS Magazine cover, DORK Magazine cover, Line of Best Fit Cover, NTS Takeover, features from CRACK, NME, Wonderland, Louder Sound, support from Kerrang!, Rock Sound, CLASH, 6Music, Apple Music 1, Radio 1, Radio X. Recent UK shows: Glastonbury 2024, Outbreak 2024, UK Headline tour in May 2025"

Pia Isa is the solo project of bassist, guitarist and vocalist Pia Isaksen from Norwegian heavy psych/doom rock-band Superlynx. As much as she loves playing with Superlynx (already formed in 2013) and other people, Pia’s ideas for her solo-albums seemed more right to work through on her own mostly. Pia´s music is rooted in slow heavy drones, but also has a lighter, dreamy and hopeful side. She is inspired by massive soundscapes, heavy psych, meditative moods, desert vibes and Eastern scales as well as her Nordic coastal surroundings. Superlynx-listeners may recognize her slow, heavy and minimalistic riffs, and haunting sometimes chanting voice. Pia has an open mind to a lot of different music. Not caring about fitting to any genres but channeling honest and heartfelt music in her own way. The lyrics are deeply personal and stretches from the very inner self and throughout nature. On her new album Pia has worked more with layers of vocal harmonies and has given an old dark sounding nylon acoustic guitar more space in her massive distorted soundscape.

Bobbi Lu is the moniker of Lucy Ryan, born and raised in Oxfordshire in the UK, now living in Bruges after following love a few years ago. As a DIY bedroom producer, she’s released a handful of singles and is now ready with a debut album – ‘Arrow, Four’ – that will be out on 25 October. Drawing inspiration from acts like Radiohead, FKA Twigs, Jockstrap and Saya Grey, Bobbi Lu intertwines piano melodies with deep crunchy bass, electronica and samples, coming together in a dystopian and mysterious sound. As Ryan started gigging, she quickly attracted attention and went from supporting acts like The Haunted Youth and Sylvie Kreusch to playing her own headline shows and amazing festivals like The Great Escape (UK).

‘Arrow, Four’ is a collection of ten songs, written over the course of a few years, the process of each one completely different. “I guess the individual tracks have their own story, but in my head each story is just a symptom of a bigger theme, mostly inspired by the book Future Shock by Alvin Toffler. In it he talks about people’s ability to adapt having essentially a limit, and with growth accelerating could we be overloaded and experience a 'future shock'. And maybe that’s already happening, most notably in the form of mental health struggles.” “It made me think of how progression creates new challenges, an arrow going one way is pulled back by another in the opposite direction. I feel like it’s a topic more relevant than ever, especially with AI most recently. I think I use this topic to fuel my lyrics mainly as a way of forgiving myself and others, in those moments where we struggle and make mistakes, that we're all just doing our best in trying to keep up with a rapidly changing environment.” This is also reflected in the artwork by Maarten Derous. “It ties everything together. He came to me after listening to it and said something that came out for him was fragility, which at the time I completely did not think of. But he nailed it. It’s like, yes do it, be fragile and take it easy, it’s a pretty good answer to stuff being pulled in all directions.”

Limited LEMON Vinyl Edition

Flame is Slow collects together three acclaimed seven-inch EPs (originally released on the Noisebox label in 1996 and 1997) by the mysterious, mercurial Navigator. The post-Loveless UK underground of the early 1990s was a vibrant place, despite what music biographies may tell you. What might now be lumped together as “post-rock” was in fact a varied and forward-thinking group of artists creating inquisitive music in the wake of the grunge goldrush. Contemporaries such as Hood, Flying Saucer Attack, Movietone and – of course – Mogwai and Arab Strap are rightfully seen as timeless nearly thirty years on but they’re really just the tip of the iceberg. Navigator might get mentioned less but their story is every bit as intriguing as any of their peers. Navigator formed in Norwich in 1994. Their music was consistently introspective and melancholic, but their brief existence of five years saw them move rapidly from traditional song structures towards noise, found sound, free improvisation, electronics, primitive instrument building and – ultimately - silence. They were an enigma back then and they remain so now. They released four seven inches before a solitary album Nostalgie (1997, Swarf Finger Records). Each release felt different to the last but always intimate and peculiar. Their use of sound and space is nothing short of magical. Rough and unsettling textures rub against each other, selected and mixed instinctively. Another band’s discarded mistake becomes a key element in their hands. The band received much acclaim and some genuine commercial success when single When the Wires Fall ended up in the indie charts. They shared stages with Low, David Thomas, Aerial M, Stars Of The Lid and Labradford and toured with Mogwai and Arab Strap culminating in the now-notorious, equipment-levelling performance at The Garage in London. The original version of the group played live for the last time in 1999 before quietly disappearing. It was perhaps inevitable that a band so committed to exploring and refining their sound should end by removing themselves from it entirely. Aside from a brief (and excellent) reformation in 2006 and a CDR compilation of those early seven inches, Navigator have been quiet for over 20 years until now. Flame is Slow assembles the blue, red and green Noisebox EPs into one cohesive album-length collection, remastered with care and reassembled by the band. It rightfully places Navigator where they belong – as one of the most curious, adventurous, and beautiful groups this island has ever produced. “Whenever I think of bands that more people should’ve heard than did, I always think about Navigator. It’s great that the music they made is going to be available again as it is truly special and deserves to be heard by more people” – Stuart Braithwaite

Why the Eye is an experimental masked quartet from Brussels that propels bodies into trance during its live performances. All instruments are DIY and played in real time, without loops or sequencers. Fans of The Residents, Société Étrange, Autechre, Boards Of Canada, The Meridian Brothers and Fulu Miziki could easily relate to their sound. Describing their music as "Prehistoric Techno", Why The Eye are set to release their new album ‘Inspirex’ on the 4th of October via Exag Records. Opening with the fidgety JNSP, the vindictive summons La Machine is a brash, abstract experience with a deep yearning to set us free from everyday political confinement while the raw Où cours-je explodes into a wild rage of disorder and mayhem. At the heart of each track are the DIY instruments band member DjP (Jean Paul Domb) has assembled over the years, some of them directly inspired by the African sanzas. With names such as ‘radiocaphone’ and ‘castabignettes’, the instruments are cleverly connected to different effects pedals and are the heartbeat of Why The Eye. Elsewhere, the album title track reveals a snappy rhythmic quality with skittish sounds while Prairies and Animal are tribal-like in delivery with a deep-lying punk ethosele

Artisjok Records is happy to present you the second EP on the label of 'Hyas' - a Lyon based DJ / Producer who knows no bounds in merging different influences. The release kicks off with "Level", a fusion of broken beat and dub techno that creates a deep, textured sound, setting the tone for the entire journey. "Yellow Zushi" follows with a jazzier approach, weaving broken beat drums with smooth, melodic elements. For footwork aficionados, "Dontgiveashit" delivers at 160 BPM, blending a funky, jazzy vibe that captures the producer's energetic yet laid-back style. "In Walked Dub" then introduces the bass-heavy wobble of dubstep, featuring a homemade bassline that will shake any sound system. Finally, "Exclusive" pays homage to the early days of Skream with raw, dubstep-inspired grooves that will resonate with fans of the genre.

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

Orphx, Rrose, SHXCXCHCXSH & kareem remixing SOLARIS from kareems 1997 release CICLOP (Zhark00004)

CICLOP was released in 1997 combining a variety of different approaches ranging from Industrial Hip Hop and cinematic ambience to DubTechno. SOLARIS stood out with brutally stripped down minimalism.

Zhark0040 now assembles 4unique remixes of SOLARIS

Certified Silver by the BPI, Warnings/Promises was the band’s fourth album and their second to break into the Top 10 following the success of their previous album, The Remote Part. After the release of The Remote Part, the band had a change in personnel with Gavin Fox replacing bassist Bob Fairfoull and touring guitarist Allan Stewart became a permanent member.

Warnings/Promises saw them take a different approach to the writing process, involving the whole band for the first time with a sound that marked a shift towards melodic rock as well as contemporary folk. A more stripped back sound than their previous albums, it featured the singles I Understand It, El Capitan and lead single, Love Steals Us From Loneliness.

Certified Silver by the BPI, Warnings/Promises was the band’s fourth album and their second to break into the Top 10 following the success of their previous album, The Remote Part. After the release of The Remote Part, the band had a change in personnel with Gavin Fox replacing bassist Bob Fairfoull and touring guitarist Allan Stewart became a permanent member.

Warnings/Promises saw them take a different approach to the writing process, involving the whole band for the first time with a sound that marked a shift towards melodic rock as well as contemporary folk. A more stripped back sound than their previous albums, it featured the singles I Understand It, El Capitan and lead single, Love Steals Us From Loneliness.

Over the past several years, The Voidz, led by Julian Casablancas, have been releasing various singles and performing unique residencies in different cities, all to critical acclaim. Now, they are returning with their highly anticipated third album, "Like All Before You."



This new release marks a shift back to album mode, showcasing The Voidz's unique sound that blends different styles into an immersive experience. The band will be promoting it in fall 2024 and 2025

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.

So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.

The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence.

With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement.

For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together.

The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work.

In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic.

2024 coloured (violet) vinyl repress for this year's Sonic Cathedral's 20th anniversary! Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album. "A modern day shoegaze classic" - NME "The general roller coaster of being twenty-somethings in post-Brexit England who find themselves awash with a shimmering soundscape that recalls Oshin-era DIIV, Deerhunter's Microcastle, or even The Cure at their most ambiently grandiose" - Under The Radar

Seit seiner Debüt EP „Same Kind Of Different“ im Jahr 2017 hat Dean Lewis weltweit über 13 Milliarden
Streams und Dutzende von Multiplatin-, Platin- und Gold-Zertifizierungen erhalten.
„The Epilogue“ stellt sowohl den Höhepunkt einer unglaublichen bisherigen Reise als auch einen Vorboten dafür dar, wohin er als nächstes gehen könnte. Dean sagte zu diesem Album, “On this record, I
started to get rawer and more acoustic again. I was trying to rekindle the simplicity of why things worked.
I knew what I wanted to hear, so I embraced what made the first Album special”.
Das Album enthält 12 brandneue Tracks, inklusive der gerade veröffentlichten Single “All I Ever Wanted”

If a “sound” is unique, it can often expect a reasonable success. However, it takes a great deal more than just uniqueness to sustain this success. The Fleetwoods did this – and more. They became America’s top teenage vocal trio. Their sound was more than just different and identifiably their own. It was a perfect blend of young voices, just right for so many of the fine ballads they were singing. The Fleetwoods’ secret, if you can call it a secret, was sincerity. They simply gave each lyric they sang its truest and sincerest meaning. Over the years, many others have tried to imitate them, but none have come close to the overwhelming success they had. We hope you will enjoy this album of The Fleetwoods’ very best recordings.