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Impatience is thrilled to present Leaving Memory, the latest album-length work by Piper Spray and Lena Tsibizova. Leaving Memory is a searing distillation of the duo’s ouevre - it’s eleven prismatic electronic seances combining for a mind warping wormhole with it’s own internal (il)llogic, where pop, ambient, and industrial music convene beneath a rugged HD of digital processing and brain fog. Equally rosy with nostalgia as it is ominously forward looking, Leaving Memory defies easy categorization and makes for an astounding, confounding listen.

By turns violently abrasive and disarmingly touching, Piper and Lena deploy sounds that fracture and disintegrate, burn up and explode, synthetic supernovas that give the record an unmistakable, inimitable texture. Song structures often abide by their own blueprint - heading in one direction before making an abrupt dive elsewhere. Bursts of vibrant colour lurk below layers of grayscale noise. Unidentifiable voices deliver secret messages from the murk. When rhythm’s emerge they ground the tracks to some unknown terrain and invigorate.

Lame Line veers towards the sweeter end of their spectrum, a hazy plaintive repetition increasingly lashed with friction, before Exit erupts with clanging rhythm and shards of distortion. Diagnosis is an almost sweet alt-pop song, Lena’s vocals yearning beneath a dubby shuffle, while Keeper Of The Void’s possessed incantations open up to a ripping, fried climax. Beryl Grey releases the pressure gauge, a gently lilting drift arpeggiating as the sun sets, and Lost Cars sweats through claustrophobic drones and bird song before the clouds part on a serene scene. Leaving Memory closes with Shin, offering a genuinely sweet resolution and a gentle landing back down to earth of either footsteps or fireworks, swelling synthesized horns and woodwinds, a kiss on the cheek for making it out the other side.

On Leaving Memory, Piper Spray & Lena Tsibizova share their uniquely discordant take on freaky music for unsettled minds, an intensely energized set that offers a deeply evocative, unimaginable otherworld for adventurous ears.

Piper Spray and Lena Tsibizova have been producing music together since 2020. Leaving Memory is the first to be presented in the LP format. Piper has previously released music via Orange Milk, Hausu Mountain and Gost Zvuk, as well as his own Singapore Sling Tapes label. Lena works predominantly as a photographer, and together Piper and Lena have released music via radio.syg.ma and Kartaskvazhin. Both make music as part of Air Krew, who have released music on the Echotourist and Motion Ward labels. They’re both currently based nowhere.

Leaving Memory was written, produced and mixed by Piper Spray and Lena Tsibizova, and mastered by Sergey Podluzhniy. Cover photo by Lena Tsibizova, design and layout by Justin Sloane.

From out of nowhere comes a unique collaborative album from Edvard Graham Lewis (WIRE) & Mark Spybey (ZOVIET FRANCE). Mixing lush electronic rhythms, sonic collage, ambient soundscapes and manipulated field recordings, these six compositions form an album with a strong identity. That this is such a vital and fertile partnership should come as no surprise. After all, both men have made careers out of creating confidently questing musics. Lewis with Wire, He Said, Hox, Dome etc. and Spybey with Dead Voices on Air, Beehatch, Altered Statesmen, Zoviet France and so on. This new album however, is something different again: experimental, yet tightly focused, and not averse to the groove or the sly hook. The pair met via an appearance on a podcast in November 2022, hosted by cEvin Key of Skinny Puppy. They hit it off immediately. “We did a live chat with Graham - which I think, went on for about three days” jokes Spybey. It was Spybey who first broached the idea of collaboration. “It was a bit like shy bairns get nowt: I just said ‘maybe we should make something together.’” And so, with no plan other than to see what might develop, the duo began to assemble the compositions at long distance. Indeed, Lewis and Spybey only met in the real world after the album had been completed. “Mark sent half a dozen tracks in a stereo mix,” says Lewis. “And I looked at the ’topography’, to see where the spaces might be. So then I’d add to those areas. But then, when do you take it away? Sometimes you let it drop off a cliff, land in the shingle, and it gets washed out to sea again.” The process moved at a pace. “Almost everything each of us brought, ending up being incorporated in some way.” Says Spybey. “We didn’t really go down any cul-de-sacs.” As Lewis observes “We have such a sympathetic tone.” Full of inventive sonics that draw on both men’s previous work, ‘Lewis/Spybey’ offers up a richly detailed soundworld

Saxophonist and producer Ben Vince announces the release of his sixth album, Street Druid, the first in almost six years via AD 93.

Street Druid merges acoustic, manipulated and electronic sound and it has saxophone, synth, voice, guitars and drum machine, and features drum kit from Moses Boyd. It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.

A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia’s rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.

2026 Repress**

Recording as the Morning Kids, Daniel Wang dropped this classic in 1996 on his own great Balihu Records. Released, produced and engineered by a true DIY disco-punk - the samples are huge and Wang weaves his own playing into the mix with killer effect.

This much sought after EP has been remastered is now available again after a very long time.

HUGE TIP!

WILDSTYLE HOUSE is a new compilation series where Toy Tonics invites producers and DJs that have a very special, funky, unique sound to make one new track. The compilation should show the variability and diversity of house and disco TODAY. Like the wild music mix you can hear at the Toy Tonics events and the way Toy Tonics DJs combine many different styles of "4 to the floor" music into one new soulful, multi-style, and warm-sounding blended "genre." It's about the groove, about a new soul sound, the human feel, the organic and Y2K-inspired dance music that is growing and appeals to a new generation of dance music lovers.

This first part of the compilation includes unreleased music by:

Afro-funk and salsa-house producer talents ELADO, MUSTA, and ALMA NEGRA.

Garage house maestros MELON BOMB and Italian musician DANIEL MONACO (known for his New Wave disco and proto-house releases on Rush Hour and his work for Antal).

MARLA KETHER, the London bass player and DJ, who is known for her work with Little Simz, Oscar Jerome, and Loyle Carner, and has now started to release her own tracks.

Argentinian singer, musician, and DJ ALOT, combining proto-house vibes with Spanish rap.

Funk house producer and edit maestro PAUL OLDER, who is starting to become one of the key names of the new soul house scene (supported by DJs like Folamour, David Penn, Seth Troxler, Kirollus, Breakbot...).

And also Toy Tonics' own GEE LANE, KAPOTE, and ARPY BROWN contributed new tracks.

DJ Support: Eprom, Visages, Gaslamp Killer, Drone and more

Following his last extended body of work ‘Entanglements’, Alix Perez taps into slower tempos for his new mini LP ‘Sabotage’. This record focuses on the 130-140 bpm realm, featuring collaborations with SP:MC, Trim, Cesco & Hijinx. From light to dark, Alix further explores his penchant for that world of music.

On and on, the beat goes on. Sound System culture plays a huge part in the history of House music, shaping Mysticisms, its founders and the music it brings into the spotlight. Continuing the dive into that history, in all its forms and permutations, Tranquil Elephantizer’s 1995 classic Zombie Dawn is reissued here in its original form.

A name that has been getting noticed on recent releases for the likes of legendary San Francisco collective Wicked Records and Manchester’s cult Red Laser label, the project has, in fact, been around for several decades.

Morphing out of the late 80s Acid House revolution, members Alexis Worrall, brothers Caspar and Darius Kedros and focal point, David Jenkins aka DJ Shakra came together in the South London melting pot of free parties and DIY anything is possible ethos.

Born of a collaboration between the short-lived Camberwell Butterflies project – featuring Alexis Worrall and DJ Shakra amongst others – and the Kedros’ bothers downtempo/trip hop forbears Slowly. With a shared label, on the ground-breaking Chill Out Records, and Thursday late-night encounters at London’s legendary Megatripolis club, they decided to pool studio resources and Tranquil Elephantizer was born.

Mixing lo-fi 808 heavy analog jams of the Butterflies, with the studio sophistication from the Slowly crew, sparked something new and Zombie Dawn was the first result. Local producer Crispin J Glover dropped by the studio, riding high with his Caucasian Boy project’s hypnotic Northern Lights (featuring DJ Shakra on Roland 303) – recently out on Strictly Rhythm – he offered to remix both Zombie Dawn and the Slowly album cut No Slo Dub for release on his own Matrix label and an underground hit on the London and West Coast 90s party scene was born.

Coming in the original “Saxmental Mix”, alongside Glover’s storming “Nu Dawn Club Mix” Zombie Dawn was a correlation of the past, present and future in one record. The history of British House can be heard in the bumpin’ nature of the beats, the sharp hats encompassed around dub overtones that give it added warmth. The slightly quirky, left field touches of the tracks, set against the then weekly overload of sharp US imports, brought the mix of influences from the Tonka and Sugarlump Sound Systems they had partied and been involved with, on to vinyl, adding touches of jazz keys and disco’s heritage for good measure.

A bedfellow for the emerging UK House sound coming on the likes of Luxury Service (Rob Mello / Zaki Dee), Other (A Man Called Adam / DJ D) and Nuphonic (Faze Action / Idjut Boys), that shaped and defined London clubs and far beyond. Some 30 years later, with a new album on the way, here is debut Tranquil Elephantizer’s release, remastered especially for this reissue, ready to bring that optimistic thinking back.

Tranquil the Mystery.

2026 Repress

Dasha Rush resurfaces on Sonic Groove, her fourth EP for the label and her hardest offer yet! The Russian born, Berlin based producer drops four fierce tracks decidedly for dancefloor use and abuse. Starting with some enticing meticulous and exciting EBM flavored hard beats “El Kinky” seems poised to be a summer Berlin classic, with Dasha’s haunting vox riding the groove. “Psycho Runner” simply said, is an olympic, punishing piece of acid TB303 techno that will be one of the darkest things recorded this year. Her B-sides take it a little deeper, with the hypnotic, industrial and marching in-your-face flavored sounds on “Gallic Message” and finally ‘Darkness Digital” which presents an , EBM- esque groove, with wild broken hard beats patterned underneath another ear- worm sequence. Another great release added to Dasha’s already prolific discography

Franky Wah returns to Crosstown Rebels and reunites with Kuuda on ‘Light Years’.
Dropping on 13th February 2026, the two-tracker sees the acclaimed UK producer continue his collaborative journey alongside the impressive Brighton-based collective for both his and their second appearance on Damian Lazarus’ revered imprint.

Having made a splash with his impactful label debut last summer, Franky Wah returns to Damian Lazarus’ Crosstown Rebels imprint with ‘Light Years’, a two-track EP that explores emotion and movement with measured confidence. The release sees the Yorkshire-born producer further embed himself within the Crosstown universe, delivering a project built on patience, progression, and feeling, where every moment earns its weight.

The EP opens with the title track, a wide-screen, hypnotic solo burner that balances uplifting melodic energy with weighty, driving grooves. Built for long moments on the floor, the track unfolds, allowing atmosphere and tension to do the heavy lifting while maintaining a clear sense of momentum throughout. On the flip, Franky reunites with longtime collaborators, producer-songwriter-vocalist trio Kuuda, for their second outing alongside him on Crosstown Rebels with ‘House In My Veins’. Continuing a partnership rooted in shared musical language and emotional depth, the Brighton-based trio is central to the track, bringing drive, earworm vocals, and a distinctive identity, woven seamlessly throughout Franky’s cinematic production - grounding expansive moments with human connection.

Following heavy support from Pete Tong on his Crosstown Rebels debut, and a recent invitation to host Tong’s flagship BBC R1 show at the start of 2026, Franky continues to assert himself as an artist equally at home in club culture’s most intimate spaces and its widest-reaching platforms. Meanwhile, Kuuda continue their impressive start to 2026, hot on the heels of their recent collaboration with Hot Since 82 on Bedrock. This latest partnership delivers a focused yet expressive statement, music designed to breathe, to move, and to resonate long after the lights come up.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

West Mineral returns with lushly amorphous actions by Shiner, Pontiac Streator & Ben Bondy aka Shinetiac; together fused for an immersive flux of vapoured dub, chopped and droned Billie Eilish, and fidgety algorithmic jams.

There's not a single, specific sound you can peg to the West Mineral axis at this stage in the label’s evolution - it's rather a set of shared aesthetics that freely bend into various interconnected shapes. Shinetiac's contemptuous, critic-baiting gear is the ideal example; on their last album, 2023's 'Not All Who Wander Are Lost', skittery, ketamized IDM sparkled over Spice Girls samples and the Foo Fighters' 'Everlong' was transmuted into Sneaker Pimps-style trip-hop. 'Infiltrating Roku City' might be a little less blatant with its out-and-out poptimism, but it takes a similarly dim view of conservative "big ambient" snobbishness. Just a few minutes of 'Bluemosa' should be enough to let you know what's up; the overall character of the sound is hazed, with frozen pads and garbled, dubbed-out voices smudged into a mess of effects and samples. But it sups up different nuances as it wriggles, absorbing scampering breaks, dizzy acoustic guitar strums and half-heard wordless vocals, flipping in the third act to emerge from its shell as minimalist balearic folk-pop - something like Bon Iver doing 'Electric Counterpoint'.

Brooklyn's Shiner, Philly's Pontiac Streator and Berlin-based Ben Bondy navigate the labyrinthine streaming landscape, guided by their own private experiences of mindless doom-scrolling and cruising the darkest corners of YouTube. They formulated 'Infiltrating Roku City' while they were rehearsing last year and spent the winter stitching together various recordings and jams into a layered, dry-witted commentary on our algorithmic reality. Laden with inside jokes and refried memes, it's surprisingly elegant gear; handling the most unseemly elements like sonic recyclers, earnestly repurposing pop and nostalgia to create an atmospheric echo of contemporary reality.

Screwing Chief Keef's enduring 'Citgo', 'Clublyfe (hulu)' emphasises the original's AFX-pilled euphoria with Robert Miles-style piano hits, replacing Young Ravisu's brittle 128kbps trap rhythm with a glitchy rattle that picks up dembow spikes as it rolls. 'I Hate Being Sober' vaporises the Chicago drill pioneer's 'Hate Bein' Sober', blocking out his voice with glitchy, downsampled interference and elasticated Rhodes. The trio team up with Orange Milk's goo age on the sublime 'Crisis Angel', catching a ray of Malibu's sunshine in the process, and reduce Billie Eilish's voice to a Romance-does-Celine cinder on 'Billie', stretching it to fit next to gassed Future ad-libs and swooping 808 Mafia sub womps. And although the album takes a murky diversion on 'Roku Axes Ultra’, and a cloud-stepping centrepiece ‘Purelink’ in homage to the eponymous dubbed ambient dynamos, it's back on course with 'Jiafei (NETFLIX)', taking aim at TikTok bot videos and welding screams from Florida metal band Underoath to AI-strength vocal curlicues.

Frequency Response EP marks the second entry on Equal Audio, a Various Artists release embodying the label’s philosophy in its purest form. Varied in mood, unified in simplicity, the record brings together artists with different interpretations while sharing a common focus on reduced arrangements and consistent energy. Pure tools, clear intention, no unnecessary

Alex Rex, the project of acclaimed musician and former Trembling Bells bandleader Alex Neilson, is set to release his fourth and final studio album, The National Trust, on March 28th. Written in the wake of the sudden death of his younger brother, Alastair, the album is a poignant reflection on loss, love, and renewal, deeply rooted in the landscape of Carbeth—a cabin community in the Scottish countryside that Alastair called home. For Neilson, the cabin became both a physical and emotional project, a symbol of restoration and reconnection.

"For the first four years after Alastair died, his cabin lay empty and exposed to the remorseless Scottish weather. It came to look like a rotten tooth in a beautiful mouth. Cladding was dropping off its veneer, the ashen baubles of dead wasps nests clung to the rafters, all his possessions were just as he'd left them but eaten by mice, moths and time. Ashtrays still carried the crushed centimetres of his old tab ends. The cabins are so joyfully animated by their host's specific personality and this one looked like a haunted house. Guilt, unrealised hopes and encroaching nature yoked together in a wandering sadness. Combined with the fact that I didn't know the right way round to hold a hammer made the project of its restoration seem hopeless.”

Neilson, however, gradually began chipping away at the task, determined to transform the cabin into something he hoped would resemble “a National Trust site occupied by a psychopath,” with a little help from some friends, including Lavinia Blackwall and Marco Rea.

“They poured love into the cabin and helped restore Alastair's original vision. The project also helped restore my relationship with Lavinia which had fractured after Trembling Bells broke up in 2017. Alongside long-term Rex lieutenant Rory Haye, we applied the same intensity of dedication that we did in renovating the cabin, into creating The National Trust.”

As with Neilson’s previous albums, the recording process was intentionally unpolished, with songs presented in the studio with no rehearsals and captured in just a few takes. This raw, immediate approach amplifies the emotional weight of the album, which Neilson describes as being at a “personal apex of sour self-reflection, mock misanthropy, and self-exposure.” Longtime collaborators Lavinia Blackwall, Marco Rea, and Rory Haye return, alongside guest musicians like Jill O’Sullivan (Jill Lorean) and Trembling Bells guitarist Mike Hastings, to bring Neilson’s vision to life. The result is a deeply personal and multifaceted work, blending acid wit with haunting introspection.

The songs on The National Trust traverse a wide emotional and thematic range. The title track opens the album with a sharp and confessional edge, exploring love, loathing, and cultural critique with Neilson’s signature wit. “Boss Morris” pays tribute to the all-female Morris dancing troupe that reinvents British folk with vibrant energy, while “Two Kinds of Song” turns self-referential humour into an avalanche of remorse, culminating in the unforgettable chorus: “I’ve got two kinds of song. Which one will it be; one where I hate myself or one where you hate me?” Elsewhere, tracks like “Psychic Rome” draw from the decadence and hysteria of ancient Rome, while “The Coward in the Tower” breaks new ground as the only song Neilson has composed on an instrument before recording.

Throughout the album, Neilson’s lyricism is as vivid as ever, transforming personal tragedy into poignant and often darkly humorous art. Yet, there is a sense of finality to this work. "Songwriting has encouraged me to see the whole world as a resource. The things people say and throw away can be chiselled and polished and plopped into a lyric. It’s the same with building the cabin- scouring the edges of society for pallets, discarded wood, ornaments for the garden. But while song writing brings to life orphaned parts of my personality, the cabin is a synthesis of all my interests – nurturing my emotional health instead of exploiting it. With that in mind, I think this will be my last album as Alex Rex.”

With The National Trust, Neilson closes a significant chapter of his career, blending masterful musicianship with deeply personal storytelling. Known for his collaborations with artists such as Bonnie "Prince" Billy, Shirley Collins, and Current 93, as well as his decade-long tenure leading the psych-folk outfit Trembling Bells, Neilson has long been celebrated for his eclectic and uncompromising vision. This final album serves as a fitting culmination of his journey as Alex Rex, capturing the essence of his artistry while offering a profound exploration of loss, renewal, and the enduring power of love.

Das 2020 erschienene Album ,I Feel Alive" markiert das fulminante Comeback der Indie-Pop-Band TOPS aus Montreal, die ihren charakteristischen weichen Synthesizer-Sound, ihre hellen Gitarrenriffs und Jane Pennys emotional direkten Gesang zu ihrem bisher lebhaftesten Werk verschmelzen. Das Album schafft eine Balance zwischen glänzender Pop-Wärme und introspektiver Lyrik und beschäftigt sich mit Themen wie Sehnsucht, Verwandlung und Selbstverwirklichung. Mit einem Sound, der sowohl nostalgisch als auch erfrischend modern wirkt, zeigt ,I Feel Alive" die Band auf einem neuen kreativen Höhepunkt - üppig, intim und mühelos cool, was TOPS erneut als eine der überzeugendsten Stimmen des zeitgenössischen Dream-Pop bestätigt. ,Die Melodien sind durchweg so sanft und wunderschön wie die Traumschiffe, denen Penny zuzwinkert oder über deren Polaroids sie weint. TOPS sind jetzt zusammen mit Phoenix die Meister des modernen Softrocks." - The Guardian ,TOPS haben mit ihrem bisher klarsten Album ihre Berufung gefunden. Vollgepackt mit glitzernden Melodien, blitzsauberem Vintage-Pop und sehnsüchtigen Texten hält sich das Quartett aus Montreal nicht zurück." - Clash

White Vinyl

Released in 2016, It’s Immaterial found Black Marble refining its coldwave and synth-pop foundations into a warmer, more melodic expression of isolation, longing, and quiet resilience. Guided by Chris Stewart’s unmistakable baritone and a palette of analog synths, pulsing basslines, and minimalist rhythms, the album feels simultaneously nostalgic and forward-leaning. Its songs drift between shadowy introspection and subtle hope, creating a cinematic atmosphere that’s both intimate and hypnotic.
With It’s Immaterial, Black Marble deepened its signature sound, offering a collection that resonates like a faded memory—soft, hazy, and endlessly replayable.

"Melodies twist inward and out of the comfort zone, but never overstep their boundaries or demand extra attention they don’t deserve. The fragments that have been found, from beginning to end, click and fall into place almost effortlessly. It’s surprising how nothing feels forced." - Drowned in Sound

Rough Signal Records steps into 2026 with a fresh release, featuring Bristol’s young lion KaiDub, following their link-up on last year’s “Osaka to Bristol” release.

Built together in Kai Dub’s Bristol studio, this record is a straight-up expression of their shared love forUK Dub. Militant UK stepper drums and powered by Dub Kazman’s signature synth lines, forming a heavy, sound system–minded steppers tune.

Every track comes, Dub Mixed by Dub Kazman, including the ruf and tuf cut he dropped as the final tune at NO LOGO FESTIVAL last year. No frills, just heavyweight, pressure, and sound system vibes

Un-easy listening from »anti-singer« and improviser Sofia Jernberg, a celebration of the voice in its rawest, most malleable form. Jernberg was born in Ethiopia and grew up in Vietnam and Sweden, so one can only imagine these diverse languages opened up a wealth of phonetic possibilities before she entered academia to study jazz and composition. If you dive into her catalogue you’ll clock her startling range – working as a jazz soprano and as an improviser, collaborating with everyone from Stefan Schneider to Mats Gustafsson, as well as appearances on the stage and screen, most notably in Matthew Barney, Erna Ómarsdóttir, and Valdimar Jóhannsson’s »Union of the North«.

On »Voice«, Jernberg provides a ground-level entry point to her work, meticulously running through a litany of unconventional techniques (non-verbal vocalisation, split tones, toneless singing, and distortion) without any effects, just pure batshit sonics designed to show off the voice’s scope as an experimental instrument. On »Mouth Synthesizer« she purses her lips to make ratcheting pops like some analog oscillator, hoarsely mimicking the sort of blustery, Merzbow-coded distortions you might get if you patched a RAT pedal into a broken guitar amp. It isn’t an act of caricature, it’s Jernberg’s way of demonstrating that expensive modular rigs aren’t an essential tool for experimental music, before throwing a side-eye to the field recording industrial complex on »Birds«, transforming her vocal chords into a nightmare aviary. But it’s Jernberg’s startling »multiphonic« experiments that hit hardest. The album opens on »Multiphonic I«, and it’s difficult to tell that you’re listening to a human voice at first – you could just as well be on Colin Stetson’s overblown sax airstreams. Jernberg creates a captivating spiral of crooked, phased tones and hoarse, guttural croaks that she develops over three movements. On »Multiphonic II«, her voice is turned into a storm of pained shrieks, and on the third and final segment, it almost resembles Arve Henriksen or Jon Hassell’s muted brass curlicues. Each track pulls a different musical muscle, whether it’s »One Pitch« with its unsettling yodel-like quivering drones or »Gurgle«, sounding like a close mic-ed recording of a small pot gently simmering.

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’

Bunny ‘Striker’ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby
purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home-made mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

Originally dropped in 1980 as part of Taking Care of Business, The Ted Coleman Band's only album, this 7" captures that sweet spot where jazz-funk meets rare groove perfection. 'If We Took the Time' is pure sunshine - think Roy Ayers on a slow afternoon, Billy Wooten in full cosmic flow, with shimmering vibraphones, velvet basslines and vocals that radiate soul from the Garden State to the cosmos. On the flip is the liquid and lively smooth and sexy delight 'Can You Feel It ' with buttery vocals and more cosmic bliss. Two glorious sounds.

“Short Story” is the new album by Restive Plaggona. Eight new tracks of industrial techno beats and raw atmospheres. Over the course of 40 minutes the album takes us through different territories and landscapes of immense bass weight sound, sometimes dark and raw, sometimes droning and minimal, always energic.

Restive Plaggona is the music project of the Corfu-based artist Dimitris Doukas, known for his heavy and deep industrial soundscapes with subtle traces of darker forms of techno music. Dimitris is a particularly productive musician, having released more than a dozen records including his own imprint Several Minor Promises.

In 1999, on December 23 to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album “Yesterday Was Dramatic – Today Is OK”. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn’t pay attention to some kids selling records on Reykjavík’s high street. Little did those shoppers know.

Thankfully, those 10 tracks weren’t overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: A note-for-note representation of “Smell Memory“ by Kronos Quartet (with additional drums by múm’s Samuli Kosminen), a gentle reinterpretation of “Random Summer” by acclaimed pianist and composer Hauschka and an otherworldly new version of “Ballad Of The Broken String” recorded by label mate Sóley. Additionally, four remixes produced in the early 2000s are made available for the first time ever on vinyl here.

In 1999, electronic music was in full bloom. The dance floors were thriving worldwide.Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random and forgettable. New ideas require new mindsets after all. With “Yesterday Was Dramatic – Today Is OK”, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Listening to the album in 2019 still makes every music lover’s heart jump. Combining Drill-and-Bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock’s boominess, folk music’s soulful brittleness and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize.

Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. How these ideas really came about, though, is not known – the dynamics, the struggles, the qualms, the sudden realization of having achieved something which might actually stick. Maybe that is a good thing. Örvar Smárason remembers that most of the album “was recorded in a tiny, sweaty room in the summer of 1999 with carpenters banging nails around us, but sometimes we put on headphones so we couldn’t hear them.” It is a good thing they did. As is often the case with classics, all one can do is listen closely and let the magic sink in – again and again.

Editions Mego welcomes KMRU back to the fold. Kin is Kenyan born, Berlin based, sonic wizard Joseph Kamaru’s second release on Editions Mego, following on from the classic 2020 release Peel. Since the release and subsequent praise for Peel, the artist has been a staple on the electronic scene performing on numerous stages and festivals worldwide in tandem with a flood of media recognition. Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. Kamaru is quick to clarify that Kin is not that record; “I'll know when that record will come and when I'll make it. It's already happening... or maybe it lives within both of these Mego records”.

It is this deft ambiguity and vague tiptoeing around the concrete that encapsulates the ambiguous sound world of Kamaru’s vision.

Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his youth when playing guitar. He paused making this record for a year as soon as Peter died, then slowly returned to it through 2022 resulting in the immense new work we have here.

The charms within Kin lay as Easter eggs revealing the true identity behind the colourful sonics only after multiple deep listens. With Trees Where We Can See sets the tone by way of a warm swaying melody inviting the listener in for further investigation. In 2022 KMRU and Mego stalwart Fennesz toured the USA together resulting in a strong friendship and also, the second track here, Blurred. A neat Mego/Editions Mego loop as such. Blurred arranges twangy guitar strums alongside glistening glaciers of shimmering drones. They Are Here represents a darker hue as melancholic clouds of shadowy noir tap directly into the listener's nerve stream. Maybe takes a detour into a bristling euphoric electronic storm whilst We Are screeches in a pattern formation not unlike a highly abstracted Aphex Twin forcing its way out of a hard drive. By Absence concludes proceedings, operating as both exit music and a portal to further sonic investigation with acoustic bellowing residing amongst a kaleidoscopic backdrop.

Kin is a trip that rewards close repeated listens as all the colours and textures, nuance and narratives unveil themselves. This isn’t a record to be glossed over, magic rewards concentration.

Kin is a record to be Played slow and LOUD.

For Pita.

All tracks written, produced, mixed by Joseph Kamaru
Blurred co-written & produced with Christian Fennesz
Mastered by Stephan Mathieu at Schwebung Mastering
Photography: Joseph Kamaru
Layout & Design: Nik Void
Cut by Andreas Kauffelt at Schnittstelle, Berlin

Explicit isolation is the third album by the international collective E/I, led by composer and percussionist Szymon Pimpon Gąsiorek. The group’s seven core members came together while studying at Copenhagen’s Rhythmic Music Conservatory and the Royal Danish Academy of Music. For this latest release, they are joined by Slovenian musicians Samo Kutin (hurdy-gurdy) and Kaja Draksler (organ), alongside Danish tuba player Rasmus Svale.

The three compositions distill sound down to its essential elements, drifting freely through space. The material is minimal, moving in the geological rhythm of endless cycles of tension and release, formation and dissolution, density and lightness. Pimpon acts here more as a guide than a creator with a master plan. He is a navigator, leading us to the most crucial moments where sonic emissions merge into vibrating drones, building to an inevitable leap—an explosion after which the particles rearrange themselves once again. It feels like futuristic temple music infused with intergalactic spiritual jazz, the extensions of drone music, and acoustic ambient textures, all highlighted by the jolly grin of the navigator.

“I wrote the scores and asked each of the musicians to record their parts individually. What’s interesting for me about doing it this way is that it removes the element of immediate interaction and introduces a factor of randomness. I then edited and mixed it myself, also adding my own parts. Previously, it was strictly acoustic music, and the recordings were ‘live,’ meaning they were captured in one room at the same time, with no subsequent edits.” Pimpon has also incorporated electronics, which make the album even more airy and organically complement the sounds of the hurdy-gurdy and organ, recorded in Trboje, the small Slovenian village.

Allowing yourself to find meaning or beauty in the mundane is an act of generosity, Whether it’s seeing a smiling face in an electrical outlet socket, or discerning cosmic design amidst the forest floor detritus, it comes from a place of kindness to yourself and senses – and openness to hidden spirit of the world. These tracks came together during a period of intense personal change for adaa, rooted in a fruitful reflection on the connections between spirit and body, “feeling my flesh so I can feel and understand my spirit,” as adaa puts it. The sense of a crossover and clash of multiple connected realities – on-screens, on-line, on-earth, off-world, after-life – unites adaa’s multifaceted productions.

Ostensibly an assemblage of found sounds. scribbled thoughts and poems from diaries, and musial snippets, the album's scattered production reflects adaa’s own many mirror worlds. Field recording sit behind most tracks, alongside VST synths, guitars, and a variety of voices, from adaa’s own mangled vox to EVP samples taken from YouTube (recorded sounds believed to be spirits or paranormal activity), all processed to varying degrees.

While the music was mostly produced either in adaa’s studio in Providence, Rhode Island, or in bed, the field recordings bring the outside world in. The result of walks in the woods, hum of roads and highways, hiss of beaches, warmth of walks with friends and past lovers “around the East Coast”. It sits behind tracks like ‘sight’ where a lilting piano lin bobs atop a pond of rustling and distant whistles. Is that birdsong? Or ghosts? Saccharine hyperpop arpeggiation crossfades sharply into noise guitar squall. Angelic demon voices yawn into a hefty crescendo. Pure drones duet with gales of undefinable field sounds.

“Sometimes I feel like a seed in frosted soil,” says adaa. “If i choose to be optimistic.”

Inspired by witnessing the broken tension and renewed possibilities of a laptop breaking down at a gig – not to mention the void left behind by the sudden end of a relationship – Pentu’s latest release is a jump-cut menagerie of musical moments. Sewn together into ‘And I Saw My Devil And I Saw My Deep Blue Sea’, these fifteen tracks continue the London-based producer’s active departure from the soundscapes and song structures that dominated their previous writing style. These disparate pieces slice themselves off into sudden silence, or veer into unpredictable sidebars, hopping from hyperactive instrumentals to beautifully deconstructed YouTube samples. Described by Pentu as “emotionally intuitive to write”, this is music by and for the endlessly scrolling modern mind – “navigating the world alongside the splintered, interruptive emotional hyper realities of social media.”

The sudden silences, drones, and interruptions are perhaps less surprising than the guitar-based textures of metal & shoegaze woven into several vital passages by Pentu. The result is a collage that encapsulates the erratic feeling, not only of a relationship’s end, but simply of navigating online mediascapes.”I found myself realising that my phone, the constant interrupter of nothingness and silence, was both a cause of depression (reliving memories, dating apps) and a relief from it (creating new friendships, distractions, also dating apps)”, says Pentu.

Pentu’s attempt to overcome content overload by actively curbing his setup of laptop-guitar--synth does little to reduce the scope of this album’s sonic palette. YouTube vlog samples (from videos with next-to-no views) are an attempt to recontextualise and dramatise material that “would have otherwise been throwaway moments lost in the internet”, adding staccato moments of reality to Pentu’s beautiful and jarring album-length paean to overstimulation.

Andrew Weatherall never wakes up in the morning and decides to start a new album that day. Instead, recording music is a continuous process usually working with different collaborators and seeing where the muse takes him. Somewhere down the line the rewards of a collaboration will coalesce into a body of work between thirty minutes and an hour long and he will put a call into the Rotters' team to say he has a new release ready to go.

We were visiting the studio catching up on new tracks in various states of readiness when he offered up some remixes of tracks from his recent "Ruled by Passion…" he'd been sent by fellow musicians. Tim Fairplay, Andrew's partner in The Asphodells, Sean Johnston from A Love From Outer Space and Scott Fraser live and work in the area and all popped in at various points.

Andrew's black book reads like the who's who of contemporary music but rather than plunder it for remixers he'd let drop the idea of a remix with friends and neighbours. These plus a couple a swaps with musical friends who were new to the concept of remixing, gave Andrew an hour of music he thoroughly enjoyed listening to.

It goes without saying none of the tracks are duds but our ears always prick up when Justin Robertson's take on "Beglammered" ups the heart rate or Daniel Avery's own unscrewing of "… the Axis" ruffles the neck hairs. We've stopped arguing in the office about which is the best track. They all are.

Iconic hip-hop duo The High & Mighty, composed of rapper Mr. Eon and producer DJ Mighty Mi, make their long-awaited return with Sound of Market, their first studio album in over twenty years. The release marks a powerful comeback for one of underground hip-hop’s most celebrated duos — a project steeped in nostalgia, boom-bap grit, and the timeless energy of East Coast rap.

Named in honor of Sound of Market Street, the legendary Philadelphia record store that served as a hub for crate diggers, DJs, and hip-hop heads for decades, the album pays homage to the culture that shaped The High & Mighty’s sound and identity. Much like the store itself, the record celebrates deep cuts, rare finds, and the shared love of vinyl that connects generations of hip-hop fans.

Across 17 tracks, Sound of Market revives the duo’s trademark wit and sharp lyricism while showcasing an impressive lineup of collaborators, including Kool Keith, The Alchemist, Your Old Droog, Large Professor, O.C., Chubb Rock, King T, Skillz, and many more. The result is a cohesive, sample-driven experience that bridges the classic and contemporary — reaffirming The High & Mighty’s status as true architects of independent hip-hop.

From the opening anthem “Two Man Crew” and the surreal swagger of “Pinky Tuskadero” with Kool Keith, to the cinematic boom of “Mighty’s Big 5 (Live from The Palestra)”, the record moves effortlessly through sharp lyricism, layered production, and a shared reverence for the foundations of the genre. Sound of Market is both a return and a reminder — a record that feels timeless in its authenticity.

2026 Repress

We trying hard to keep things real here with a new vinyl drop pulling out a a limited series for the crate diggers.

From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.

ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.

Two of the most respected voices in the underground connect for a heavyweight collaboration that's been a long time coming — BULLETPROOF CHICKEN is out now!

CRIMEAPPLE, the bilingual New Jersey spitter known for razor-sharp wordplay and a steady run of cult-favorite projects like Aguardiente and his collaborations with DJ Muggs, cementing his spot as a force in modern hip-hop.

On the boards, V DON has become a staple for his signature dark, cinematic production style. From Harlem to the world, he’s laced tracks for the likes of Boldy James, Estee Nack, A$AP Rocky, Dave East, Benny The Butcher among several otehrs, while also building his own lane with the underground classics like Omerta and his Deutsche Marks and Blue Note series with Willie The Kid. His beats balance grit and atmosphere, making him one of the most sought-after producers in the underground and beyond.

With BULLETPROOF CHICKEN, the two bring their worlds together — sharp rhymes, moody textures, and guest appearances from T.F, Bruiser Wolf, and Primo Profit only add more weight. This album is a testament to where both artists are right now, rising higher with every drop, carrying the underground to new levels.

'Flowers', the new EP from Elizabeth Davis, finds itself at the cross-section of many factors. In part, it’s the result of Davis’ obsession with a seminal folk song. But it also coincides with her rediscovery of the voice and language as an instrument. It was recorded during an autumn residency at Sternhagen Gut, the cultural refuge run by Gudrun Gut and Thomas Fehlmann, located deep in the Uckermark countryside halfway between Berlin and the Baltic coast.

The six tracks on 'Flowers' all take Pete Seeger’s ‘60s protest-folk song 'Where Have All The Flowers Gone' as their starting point. However, they veer off in different directions, from vocal loops and deconstructed lyrics, to instrumental drones and glitchy, manipulated rhythm tracks. Like many musicians, Davis has learnt composition by a process of disassembly, analyzing musical works piece by piece, and 'Flowers' began as one such forensic exercise. “But sometimes,” says Davis, “a source is so loaded up on meaning that the studies and experiments can become worthwhile and meaningful works in their own right.” 'Flowers' began to take on a life of its own, raising renewed questions about age-old themes such as war, authorship, translation and historical structures.

Davis is no stranger to cover versions. From studying violin to playing in free jazz and punk bands, interpreting other artists’ works has long been a key part of her musical approach. And since her radio show 'Deep Puddle' recently drew to a close after seven years, her experiments with narration and sound collage have found their way into her musical work once again. For 'Flowers', she cut up the source material (with a nod to Gysin and Burroughs), and reassembled the lyrics, the musical notes, and recordings by different performers, to create uncanny new forms.

But perhaps the biggest influence on 'Flowers' was conversations about music, art and pop subcultures with Gut. These dialogues helped Davis find a balance between far-out sound design experiments and catchy melodies, combining a certain avant-garde element and modern day songcraft. And it’s this sense of conversation, this revisiting of topics and renewal of ideas, that will keep us coming back to 'Flowers' long into the future.

Much more than just another punk band, Ideal Victim is a wildfire fueled by fury, grit, and defiance. Formed in Porto in 2022, this young outfit proposes a seemingly improbable formula that proves to be both unique and cohesive: over the raw, unyielding energy of 1980’s British hardcore, they layer the hypnotic vibes of surf rock and the nervous tension of rockabilly—crafting a taut and irresistible balance between atmosphere and aggression.​
At the forefront stands the fierce and outspoken roar of vocalist Mariana, supported by the driving cadence of drums and bass, and by a guitar that writhes as it drowns in distortion.​

Ideal Victim belong to a lineage of bands that never asked for permission to exist: from Discharge to Bikini Kill, from The Cramps to Dead Kennedys, their influences are undeniable. Yet, Ideal Victim refuse to echo them in exercises of nostalgia. Their music is urgent, combative, and strikingly current—a visceral response to the shackles of patriarchy and the open wounds of a world in accelerated collapse.​

Propelled by the impact of their demo Diary of a Pig and a considerable amount of stage experience, Ideal Victim now presents Rage Letters, a debut album that reflects the band's evolution through a set of six brief tracks—where nothing is left unsaid, nor unshouted.​
With Rage Letters, Ideal Victim extend us an invitation to insubordination—and it's one we can't help but accept.

Temple Balls, the high-octane hard rock band from Finland, is back with a brand-new self-titled album. Over the past few years, the band has kept busy both in the studio and on the road, solidifying their reputation as one of the most exciting live acts in the genre. Having opened for legendary acts such as Sonata Arctica, Queen, Deep Purple, and Uriah Heep, Temple Balls have proven they can command any stage—whether it’s a massive festival or an intimate club. Their live shows are explosive, turning skeptics into die-hard fans with their raw energy and undeniable charisma. The journey began with their official debut single, “Hell and Feelin’ Fine,” released in September 2016, which gained heavy rotation on Finnish Radio Rock. Their debut album, recorded in May 2016 at Karma Sound Studios in Thailand, was released on February 24, 2017. Produced by Tobias Lindell (Europe, Mustasch, H.E.A.T.), the album marked the band’s bold entrance into the international rock scene. In the fall of 2017, Temple Balls embarked on a sold-out Finnish tour with Battle Beast, made their live debut in Japan, and completed a five-day tour across Ukraine. Their popularity soared in Japan, where readers of the country’s biggest rock magazine Burrn! voted them the “Second Brightest Hope,” and they were named “Newcomer of the Year” on Masa Ito’s Rock TV. Their sophomore effort, Untamed, released on March 8, 2019, received rave reviews from major music outlets including Soundi and Burrn!. A European tour alongside Sonata Arctica further cemented their reputation as a world-class live band. Their third album, Pyromide, marked their debut with Frontiers Records and was a melodic hard rock tour de force produced by Jona Tee (H.E.A.T.), packed with powerful riffs, massive hooks, and arena-sized choruses. In May 2022, Temple Balls toured Europe with Swedish melodic metal giants H.E.A.T., followed by a busy summer festival season across Finland. The lead single from their fourth album, Strike Like a Cobra, was released in March 2022 to widespread acclaim. That same year, they completed work on their next full-length, Avalanche, released in fall 2023, featuring the single “No Reason,” which dropped globally on June 22. Now, with their new self-titled album, Temple Balls continue the sonic evolution started with Avalanche, delivering an even more personal and refined sound.

ONĒK’s self-titled album is a bold statement of identity, blending cultural heritage, personal struggle, and self-discovery while showcasing his versatility as an artist. Rooted in seven languages carrying universal themes, ONEK by Anik Khan is a bridge between past and future, tradition and innovation. It reflects ONĒK’s deep connection to his roots while pushing boundaries musically, weaving together influences from around the world into a singular, powerful voice. 12 SONGS. 12 STORIES. 7 LANGUAGES. The album will be released in two phases, beginning with Pack 1, which lays the foundation for ONĒK’s journey, followed by the full album release, expanding into themes of personal evolution, confidence, and legacy.

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

Sabine McCalla creates her own version of multi-cultural American roots music. It's a sound that crosses borderlines, pulling everything from Brazilian samba to southern soul to British rock & roll into its orbit. On Don't Call Me Baby, Sabine filters those influences through the lens of her Haitian heritage and her music community of New Orleans, creating a debut album that's every bit as multi-faceted as the woman who wrote its songs.

The daughter of first-generation Haitian immigrants, Sabine was raised in the suburbs of New York City, where she grew up alongside her sister Leyla McCalla (Sons of Our Native Daughters, Carolina Chocolate Drops). Introduced to chamber music at an early age, Sabine began playing classical violin in orchestras, music camps, and conservatory classes as an 8 year old. Back at home, she filled her head with Motown classics, girl group hits, Bob Marley albums, Beatles standards, and Haitian folk music. It was a wide constellation of sound that spanned more than a half century, and Sabine made it all her own, drawn to the connections binding everything together.

Don't Call Me Baby shines a light on those connections. The follow-up to her critically-acclaimed Folk EP, whose pre-war sound earned her a slot at the Newport Folk Festival in 2019, the album transcends genre and generation, creating a raw, rich mix of country, R&B, folk, and soul that exists on its own timeline. Co-produced by Sam Doores of the Deslondes and featuring a cast of New Orleans’ most spirited and gifted (including guest vocals from Riley Downing, Leyla McCalla, and The Lostines), Sabine McCalla reaches beyond her beloved New Orleans Americana scene with Don't Call Me Baby, building a bridge between the world-spanning sounds that have captured her attention.

(make of that what you will). FIG DISH were four high school friends: guitarists/ vocalists Rick Ness and Blake Smith, bassist/ vocalist Mike Willison, and drummer Andy Hamilton. In their day (a day that began in the late Winter of 1991 and ended in the early summer of 1998), they were known for catchy songs, memorable (often booze-fueled) live shows, and self-sabotage. In July 1995, FIG DISH's debut That's What Love Songs Often Do was released. And just like that, the band was catapulted from regional obscurity into national obscurity. MTV played the video for the band's first single, "Seeds" and FIG DISH toured the U.S. and Canada relentlessly with bands like Veruca Salt, The Muffs, Letters to Cleo, Juliana Hatfield, Local H, and The Rentals. In 1997, their sophomore album When Shove Goes Back To Push , was sunk by a risque music video for the single "When Shirts Get Tight" Featuring adult film stars that MTV refused to play and the band was dropped by an indifferent Polygram Records in the summer of 1998. FIG DISH returned from hibernation in 2024 with two sold out shows in Chicago and the release of Feels Like The Very First Two Times, the band's first "new" release in 27 years, collecting unreleased tracks recorded in the late 90s. On August 1, 2025, Forge Again Records reissued That's What Love Songs Often Do on vinyl for the first time, 30 years after the original CD release. The officially licensed 2xLP features white vinyl, reworked gatefold jacket art by Wall of Youth and vinyl mastering by Carl Saff. FIG DISH celebrated the 2025 re-release with live shows in Chicago and Milwaukee with old tour-mates Letters to Cleo and capped off the year with shows in Kenosha and Chicago with Local H and Fountains of Wayne.

Die legendäre Trance-Hymne „Traumwelten“ kehrt zurück – kraftvoll neu interpretiert von Talla 2XLC und Das Licht (aka DJ Dean). Diese farbige Maxi-Vinyl liefert zwei kompromisslose Club-Versionen eines absoluten Kulttracks.

Side A – Traumwelten (Recreate Mix): Mit einem pulsierenden Tempo von 140 BPM entfacht der Recreate Mix ein wahres Feuerwerk aus tiefen Basslines, treibenden Drums und schimmernden Melodien. Die gewagten Breakdowns steigern die Spannung und treiben die Energie bis zum Höhepunkt. Eine hypnotische, gesprochene weibliche Stimme sorgt für mystische Vibes, bevor er in einen euphorischen Rausch aus aufsteigenden, mitreißenden Melodien übergeht.

Side B – Traumwelten (RRAW! Mix): Dunkler, härter, kompromisslos: Der RRAW! Mix startet als druckvolle TechnoTrance-Fusion, die mit massiven Basslines und satten Techno-Kicks beginnt. Dunkle, deutschsprachige Vocals und atmosphärische Effekte fügen dem Track eine immersive, mystische Tiefe hinzu. Der zweite Drop überrascht mit einer euphorischen Melodie, die von technoiden Rhythmen in ekstatische Trance-Elemente übergeht. Dieser Mix glänzt durchseine Vielseitigkeit und eignet sich sowohl für Techno-DJs als auch für Trance-Crowds.

Ein starkes Comeback eines Klassikers – zeitgemäß, druckvoll und ein Must-Have für alle Vinyl-Liebhaber.

You‘re feeling great, just bought new records and you’re ready to toss ‘em on the decks and let ‘em spin. Nevermind your bank account has you on a strict diet of yum yum noodles instead of that expensive, slow, regional stuff you normally get. „Anyway it was a good choice, I love records. It’s an investment..“ you are telling yourself while sliding the record out of its sleeve. „Cheap Fast Worldwide“ — black letters on a white background. You put the needle on the disc.

Punchy drums bathe in lush chords and you’re pulled into a smooth, lounge vibe. Tonight it’s caviar, not yum yum noodles. A playful bassline bounces in, with a nod towards disco roots and a modern twist. An unmistakable cheesy 90s melody is the cherry on top.

Aptly named, the inner track on this side greets you when a „One, two, three, quattro“ rings out over a tight, breaky groove. Meanwhile, rather deep, monotonous pads carve out space for your mind to wander…

As you flip it over, things start to shift. Strange melodies and dirty drums tease the unknown. Out of nowhere, the pitch drops, and a low, driving bassline takes hold. It pushes forward with a relentless energy that keeps you on the edge, unsure of what’s coming next.

A highly sophisticated fade out leads you to the last track — a raw and infectious drum groove laced with choppy vocal snippets and warm crackles. Stripped back, yet the beautiful chords slice through, adding depth and the right sense of movement, taking you deeper into the night.

Dear friends, What’s left of a genre when you drop the posturing and keep nothing but feeling, space and rhythm? Freudenthaler answers that question straight up with a stripped-back, no-nonsense take on UK garage. With a sharp ear for space, swing and restraint, he boils the sound down to its core — nodding to the golden age of sound system culture while lacing it with the jazz-tinged touches that run through his productions. The result is a record that feels both timeless and personal. Freudenthaler plays with expectations, flips them neatly, and leaves just enough room between the beats for the atmosphere to breathe and the dancefloor to lock in. One for lovers of vinyl, heavy sub and subtle moves. Sincerly yours, Brombért P.S.: The physical release comes with handcrafted, screen-printed artwork by the fabulous graphic artist Zatina Kessl

Modeight proudly adds another chapter to its vinyl legacy with Fedo - a Ukrainian artist with deep Greek roots, known for his meditative groove architecture, percussive depth, and the raw spirit of live music. On Nuke Hook EP, Fedo delivers four deep and dynamic cuts that strike a perfect balance between minimalistic precision and emotional richness.

Each track feels lived-in - jammed rather than programmed - crafted to resonate both on the dancefloor and in the mind. "Life is Life" opens with a thick, dubby beat and a jagged, growling bassline.
Midrange sequences curl around the low-end like vapor trails, creating a shadowy, hypnotic space built for late hours and strobe-lit intimacy. "Madam from Athens" pays homage to his Hellenic roots - dipping into dreamy chords, textured atmospheres, and modular motifs wrapped in velvety vocals. Warm and transportive, it's a love letter to place and memory.

On the flip, "After Out" hits hard. Sub-heavy, percussive, and driven by acidic synth lines, it's a peak-time weapon that doesn't ask - it commands.
Rounding off the EP is the cerebral yet groovy "Nuke Hook," where crisp percussion dances around mysterious piano phrases and immersive textures. A subtle but magnetic closer that lingers long after the drop.

Fedo joins the Modeight family with a statement of intent - deep, expressive, and forged in the heart of the underground. The journey continues.

Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.

A rising and genre-defying figure in the French electronic scene, Goldie B continues her ascent with Who Says Night’s For Sleeping?, a five-track EP that asserts her distinctive signature: an instinctive blend of club energy, cinematic storytelling and UK rave influences. Conceived as the soundtrack to a night lived in full intensity, the record moves through the fire of the dancefloor, the collective trance, and those suspended moments where one floats between dream and wakefulness.

“I imagined this EP as the soundtrack to a night experienced in its entirety. From the first rush of adrenaline on the dancefloor to that floating walk home, still carried by the music. My influences range from Moby and Air to Floating Points and Joy Orbison, artists who know how to combine power and emotion. I love connecting the raw energy of the club with more dreamlike textures, because you can absolutely dream while dancing. Each track is an instinctive snapshot of my inner world.” Goldie B The EP’s opening act, “The Space Between” blends ethereal pads, organic strings and a steady crescendo, recalling the elegance of Air or Moby. It opens a suspended space, equally suited to inner drift or physical release. “I wanted it to feel like a threshold, a gentle hand pulling you into a trance state.”

On “U Make Me Feel So Good”, a sensual and narrative breakbeat track, a flowing bassline gradually tightens into trancier energy. Seductive female vocals weave through broken rhythms, creating a piece that is as tactile as it is hypnotic. “It’s about contrast, the softness and caress at the start, then a tension that rises and electrifies.”
Instagram | Youtube | TikTok | SoundCloudAt the heart of the project, “Rêve de Rave” channels 90’s breakbeat spirit with old-school samples, an euphoric central break and voices urging to move your feet. Urgent and liberating, it embodies the dreamlike essence of the rave. “It’s how I imagine the rave: a lucid dream where joy and collective energy feel almost unreal.”

Next comes the most incisive cut of the EP, “Purple FX”, driven by a grating central bassline that evolves relentlessly until its explosive drop. Minimalist yet implacable, it captures the sheer force of a peak-time track. “I wanted a track purely designed for the club, where the tension just keeps rising until it explodes.”

Closing in chiaroscuro, “Snake Waves” shifts from breakbeat into a half-house, half-techno 4/4 groove, carried by a sinuous, hypnotic bassline. The track plays on tension and release, with a rich harmonic break before fading like a suspended farewell, where the party recedes but the energy lingers. “It’s a farewell piece that keeps the intoxication alive, like a final vertigo before slipping back into the night.”

Goldie B is a multifaceted force on the French electronic scene. A producer, multi-instrumentalist, singer, MC, DJ, and co-founder of the label Omakase Recordings, her sets blend bass, jungle, UKG, and breakbeat, captivating audiences with their contagious energy. Based in Marseille, she has released music on renowned labels such as D.KO, Banoffee Pies, and YUKU, and has performed on some of the biggest French stages and festivals: Peacock Society, Astropolis, NDK, Marsatac, Delta, Le Bon Air, and even the Festival d’Avignon. In 2024, she was selected by Apple Music for its Women In Electronic series. Her new Who Says Night’s For Sleeping? EP confirms her status as an instinctive and distinctive artist to watch on the French electronic scene.

Echonomist drops debut Rekids EP with ‘My Religion’. He follows his recent remix for Frankey & Sandrino on the label with collaborations with OVEOUS and Ede.

Greece’s Echonomist, aka Petros Manganaris, returns to Rekids with the ‘My Religion’ EP, arriving 30th January 2026 and featuring collaborations with OVEOUS and Ede. It follows his 2025 remix for Frankey & Sandrino, which won plays from HAAi, John Digweed, Auntie Flo, and more, alongside recent music on labels like Habitat, Innervisions, and its sublabel, Exit Strategy.

Echonomist’s ‘My Religion’ EP opens with the title track, where he teams up with Hyper Soul founder OVEOUS for a loopy, hypnotic cut driven by an alarm-like sequence and tripped-out spoken word vocal. OVEOUS returns on ‘We Surrender’, adding psychedelic, warped phrases over deep bass and an infectious clap-led groove. On the fl ip, Echonomist joins fellow Innervisions artist Ede for ‘The Heat’, a heavy-hitting, party-starter packed with larger-than-life
sirens, big snare rolls, and funky sample work. Petros closes the EP solo with ‘Master Groove’, pairing the drums back while echoing spoken lines ride above an irresistible bassline, rounding off a versatile release built to land with adventurous listeners and on peak-time fl oors alike.
Greek DJ, producer, and live performer Petros Manganaris became Echonomist in 2008 and has since become known for his prolifi c output on labels Innervisions, Afterlife, Kompakt, TAU, and more, alongside collaborations with the likes of WhoMadeWho and numerous top-tier remix projects for Âme, Ry X, and Stephan Bodzin.

Colombian-born, Buenos Aires-based DFRA is much loved by real house heads. Quite often, whatever he drops on wax sells out fast, and this one via People Of Earth is likely to follow suit. 'Dreamscape' opens with subtle synth swirls injecting joy into the deep, languid drums as muted chords bring the heat. 'Hold Home' is a comforting hug that locks you in the groove with nimble chords and smeared pads, and injections of aching soul vocals. 'The Free Spirit Of House Music' is a loopy number that taps into the sort of tracky-ness that Rick Wade has made a career of. Canadian legend Abacus steps up with a dreamy, zoned-out remix to close.

Monsieur Van Pratt is one of the leaders of the edit game and his Illegal Disco is all the proof you need. This latest drop finds him tap into vintage Japanese rare grooves and flip them with his signature style. 'Space Scrapper' is up first and is the sort of comic cut that will have you wide-eyed as it reworks a celebrated Japanese musician and vocalist. 'Time Machine' is a big, stomping disco cut with rubbery bass riffs and Japanese city pop vocals riding next to cursing synths. It's a bright but steamy sound for when things really heat up. Last but not least is another showstopper with 'Feel So Fine' layering wispy cosmic melodies with cool-as-you-like disco drums and carefree vocals. Lovely stuff.

Bombastic yet delicate, crushing yet ethereal, driving yet dark, Temptress fuse drone, doom, grunge and hardcore into an obliterating molten blend. Temptress are a jigsaw of sonic touchstones with no audible seams. Bombastic yet delicate, crushing yet ethereal, driving yet dark, the trio fuse drone, doom, post-rock, grunge and hardcore into a molten blend that creeps and obliterates like a liquid metal assassin. With 200+ shows played in their relatively short tenure, Temptress' endless ideas and nuances slide perfectly into place thanks to its members' vast live experience. New album hear churns with searing hooks and dissonant grooves in an irresistible confluence of ideas, and fans of multi-voiced, genre-tag resistant bands like Heavy Temple, The Well and Hippie Death Cult should prepare to be drawn in by Temptress' unyielding allure. Multicolored LP (Molten Smoke Ed., pressed on transparent sepia, clear and black marbled vinyl, w/ lyrics sheet) & digipaked CD on offer!

2024 repress

In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

,Dirt Buyer III" fängt mit einem Song über Sport an. "Baseball/ Is somethin'/ I'll never get, but I/Sleep on it/ Wake up/ And try again", singt Joe Sutkowski zu einer zunächst langsamen, dann dröhnenden verzerrten Gitarre. Aber natürlich weiß jeder, der mit der emotionalen Tiefe der Musik von Dirt Buyer vertraut ist, dass Sutkowski nicht einfach nur über Amerikas Lieblingsfreizeitbeschäftigung singt. ,Es geht darum, mit bestimmten Erwartungen aufzuwachsen und sich an sie zu halten, nur weil man gesagt bekommt, dass man das tun soll", erklärt Sutkowski. ,Der Song handelt davon, Autonomie und Unabhängigkeit zu erlangen." Gleich zu Beginn kehrt Dirt Buyer III zu den Ursprüngen zurück, zu den in der Kindheit fest verankerten Brüchen, um ein Album zu schaffen, das von da an ein viszerales Dokument der Bewältigung derselben Prüfungen im Erwachsenenalter ist. Als ,Dirt Buyer II" 2023 erschien, hatte es bereits drei Jahre lang in der Schublade gelegen. Zu diesem Zeitpunkt hatte Sutkowski bereits alle Songs für ,Dirt Buyer III" geschrieben, während einer besonders turbulenten Phase seines Lebens. Anstatt wie früher die für ein Album notwendige Anzahl an Songs zu schreiben und dann direkt ins Studio zu gehen, hatte er hier mehr als zwei Dutzend Tracks angesammelt. Nur wenige Wochen, nachdem "II" veröffentlicht worden war, nahm Sutkowski "III" auf. ,Ich war so bereit, etwas anderes zu machen", erklärt er. Er war bereit, diese Jahre hinter sich zu lassen. Genauso wie es einen klanglichen Sprung von den selbstgemachten Aufnahmen von "Dirt Buyer" zum moderaten Studio-Polish von "Dirt Buyer II" gab, hat Sutkowskis Musik zwischen den Alben wieder eine logische, aber substanzielle Entwicklung durchlaufen. Das Grundgerüst ist dasselbe: zerklüftete Akustikgitarren, elektrische Riffs, die mal herbstlich, mal bissig und übersteuert klingen, Schlagzeug, das mit dem selben verzweifelten Tempo vorwärts taumelt, mit dem Sutkowski diese Jahre durchlebt hat. Und dann seine Stimme über allem: klagend, sich windend, manchmal brüchig und manchmal voller neuer Kraft. Getragen von den soliden Strukturen dieser Songs und einer kraftvolleren Produktion präsentiert Dirt Buyer III die bisher vollendetste und eindringlichste Version von Sutkowskis Sound. Im Oktober 2023 traf sich Sutkowski mit seinen Freunden Hayden Ticehurst und Chris Cubeta im Brooklyn Studio G. Er zeigte ihnen alle Demos, und gemeinsam wählte das Trio die ,stärksten Stücke aus der Reihe" aus, wobei sie sich auf die 11 Kompositionen konzentrierten, die auf "III" zu hören sind. ,Wir wussten, welche Songs es werden würden, und haben uns direkt an die Arbeit gemacht", sagt Sutkowski. Trotzdem nahmen sie sich Zeit, um alles genau richtig hinzubekommen, und verteilten die Aufnahmen, das Abmischen und die letzten Feinheiten über ein ganzes Jahr. Das Ergebnis ist ein Dirt Buyer-Album, auf das Sutkowski so stolz ist wie nie zuvor. Er sagt: ,Es spiegelt am besten wider, wo ich als Songwriter gerade stehe ."

Mit dem Original Soundtrack zu Star Trek: Insurrection erscheint eines der letzten großen Werke des legendären Filmkomponisten Jerry Goldsmith in einer hochwertigen, limitierten Vinyl-Ausgabe. Die Musik kombiniert klassische orchestrale Star-Trek-Themen mit neuen, emotionalen und abenteuerlichen Klangwelten, die die Atmosphäre des neunten Star-Trek-Kinofilms eindrucksvoll widerspiegeln.

Diese LP richtet sich nicht nur an eingefleischte Star-TrekFans, sondern auch an Liebhaber hochwertiger Filmmusik und Vinyl-Sammler. Die warmen, detailreichen Klangfarben des Orchesters kommen auf Vinyl besonders zur Geltung und machen diese Veröffentlichung zu einem echten Highlight jeder Soundtrack-Sammlung.

Bellbird hat seinen Namen und seine musikalische Inspiration von dem Vogel, der für einen der lautesten und markantesten Rufe im Tierreich bekannt ist. Die Band beschäftigt sich mit Themen wie der Verbundenheit zwischen Musikern, Genres und der Natur. Ihr zweites Album und erstes für Constellation, The Call, ist direkt vom Weißglockenvogel inspiriert, dessen extremer, unverwechselbarer Ruf analysiert und direkt in den explosiv schönen Titeltrack des Albums eingewoben wurde. Das in Montréal ansässige Quartett bestehend aus Claire Devlin (Tenorsaxophon), Allison Burik (Altsaxophon, Bassklarinette), Eli Davidovici (Bass) und Mili Hong (Schlagzeug) begann während der Pandemie bei Park-Jams zusammen zu spielen, inspiriert von der Jazz- und Free-Improvisationsszene, die sich um das Café Résonance gebildet hatte. Aber die vier Montrealer Neuzuzügler fanden erst nach einer Einladung zum Ottawa Jazz Festival 2021 als Bellbird zusammen und haben seitdem ihre Harmonie und ihren gemeinsamen Sound durch jahrelanges Touren und Zusammenspiel verfeinert. Das Quartett geht über sein gefeiertes, 2023 selbst veröffentlichtes Debütalbum ,Root in Tandem" hinaus und setzt auf einen stark kollaborativen Kompositionsprozess. Nachdem sie zuvor die Kompositionsaufgaben aufgeteilt hatten, entstanden die acht Songs auf The Call aus musikalischen Workshops und Improvisationsspielen, wobei sie sich auf Gedichte und Gespräche stützten, die sie während ihrer Aufenthalte außerhalb der Stadt ausgetauscht hatten. Das Ergebnis ist ein kraftvolles, stimmiges Statement, das ihre jazzzentrierte Instrumentierung mit Einflüssen aus Rock, Fusion und Folk verbindet, von Mingus und Eric Dolphy bis hin zu Ornette Colemans Prime Time und Indie-Rock. Ein wesentliches Merkmal ihres Sounds ist, wie sie die üblichen Rollen ihrer Instrumente umkehren, wobei die Blasinstrumente rhythmische Muster und unterstützende Texturen einsetzen, während Akustikbass und Schlagzeug die Form bestimmen. Dieser Ansatz ist ein Mikrokosmos der egalitären Ethik der Band: Sie agieren als echtes Kollektiv, ohne ihre individuellen Stimmen zu opfern. Das Album schafft einen Ausgleich zwischen kraftvollen Kompositionen wie dem Titelsong ,The Call" und Momenten, in denen die Band das Tempo drosselt, um sich der thematischen Einfachheit hinzugeben, wie in ,Soft Animal" und ,Phthalo Green". Im Gegensatz zu ihrem Debütalbum, das in der Stadt erarbeitet, aber auf dem Land aufgenommen wurde, wurde ,The Call" im legendären Hotel2Tango in Montréal von der Toningenieurin Sylvaine Arnaud aufgenommen, die die rohe Energie der Live-Auftritte der Band einfängt. Die Produktion verzichtet weitgehend auf eine traditionelle Ästhetik und setzt stattdessen auf kraftvolle Drums und einfallsreiche analoge Bearbeitung, die die viszerale Wirkung der Musik unterstreichen. Obwohl die Musik oft melodisch reichhaltig und zugänglich ist, scheut sich die Band auch nicht vor ,hässlichen" Klängen und nutzt Multiphonics, gestrichenen Bass und metallische Texturen, um eine Klangpalette zu schaffen, die ebenso eindringlich und naturalistisch wie explosiv ist. Das Album ist sozial und politisch engagiert und ein Beweis für die tiefgründige Musik, die nicht von einem einzelnen Leader, sondern von einem zutiefst einfühlsamen Quartett geschaffen wurde, das als Einheit zuhört, reagiert und kreiert. The Call vermittelt die Gefühle der Band zur Klimakrise und zur globalen Solidarität, wobei einer der zentralen Titel des Albums, ,Blowing on Embers", ausdrücklich einem freien Palästina gewidmet ist. The Call ist ein entscheidender Schritt nach vorne, ein einheitlicher Aufschrei einer Band, die ihre kraftvolle kollektive Stimme voll und ganz gefunden hat.

Active for 40 years, Nurse with wound is one of the projects of Steven Stapleton, materialized in a very wide range of hysterical noise over sound collages and cut ups, abstract music, soothing drones and surreal sound paintings, and more rhythmical and mechanical pieces, always inspired by Dadaism and Futurism, Krautrock, jazz improvisation, surrealism, never losing his main goal, that is having fun and enjoying himself.He has had many collaborators, a recurrent one in the 80s and 90’s being Current 93’s David Tibet, another noticeable one still at work with him is Andrew Liles.The main line of this unpredictable sound builder is hectic and uncompromised, his point of view is that everything is possible and applies it to himself. As a youngster he wanted to be an artist so decided he was one . He is not a musician, and says he has no interest in becoming one. Surprisingly, (or not!), the love of his life is building sculptures out of recycled and reclaimed materials, building things with anything, even junk. And sounds, we are a witness to it.With these very strange juxtapositions of styles and manners, female rap music and 50s and 60s lounge music having a special top priority in Steven’s tastes, and a creativity that has no bounds no taboos, with a taste of novelty every time, Nurse with wound will no doubt continue to surprise people listening to his works, and himself, as he wants to keep it fresh every time, mostly for him.

Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate.

The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs".

It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

Brooklyn based baritone saxophonist Jonah Parzen-Johnson presents his new work "Imagine Giving Up" on Helsinki's We Jazz Records. The album, to be released on 17th January of 2020 sees Parzen-Johnson move into new domains of sound as he uncovers newfound energy and pulse in his music.

In addition to the sonically rich analog synth elements that accompany his earlier solo saxophone work, Jonah has layered heavily sound designed samples of his own saxophone to create truly one of a kind percussive snaps, reverberant basses, and warbling leads. At it's core, the music remains deeply devoted to almost vocal sounding melodic lines and patiently developed compositional ideas.

A compact set of 6 originals, "Imagine Giving Up" is Jonah Parzen-Johnson's most ambitious album yet. While taking a step away from the previous world of "ambient jazz", his new music stems from the use of drone-like sounds for baritone saxophone, a style which is uniquely his own. Electronics are blended in for good measure, creating a coherent vision of abstract jazz with depth. As with all of Parzen-Johnson's releases, the music comes with a deeper narrative which he will continually explore in live performance.

The manifesto for the album reads as follows: "Only a few people can really start over. Everyone else is left to struggle down the path they were assigned. The option to give up, to choose your own path, is power, and, hopefully, a call to action: take a risk to help someone." "Imagine Giving Up" by Jonah Parzen-Johnson, will be available via 'We Jazz Records' on violet and black vinyl versions, CD and digitally.

LP, Opaque Pink Vinyl, w/ download card

Mexico City’s Sunset Images emerge with their most daring and immersive work to date, Oscilador, arriving January 23 on Dedstrange. Known for pushing the boundaries of noise rock and psychedelic experimentation, the band plunges deeper into their raw, unrelenting sound—crafting an album that thrives in chaos, distortion, and hypnotic repetition.
Oscilador captures Sunset Images at a new creative peak: jagged guitars dissolve into swirling feedback, fractured rhythms pulse like machinery on the brink, and vocals echo through layers of reverb as if channeled from another dimension. The record balances intensity and atmosphere, offering both catharsis and transcendence. It’s a sonic free fall that feels at once destructive and redemptive—like watching a city crumble only to find strange beauty in the ruins.
The album title reflects the band’s fascination with constant motion and instability, the oscillations of sound and life itself. Across the record, Sunset Images embrace the extremes: minimal passages expand into walls of noise, meditative drones are shattered by bursts of primal energy, and every song teeters on the edge of collapse. This restless spirit makes Oscilador not just a collection of songs, but a visceral experience—one that mirrors the tension and electricity of Mexico City’s underground scene.
Joining forces with Dedstrange, Sunset Images step onto a global stage while staying true to their uncompromising vision. For fans of A Place To Bury Strangers, Sonic Youth, or My Bloody Valentine, Oscilador delivers the thrill of pure immersion—music that doesn’t just demand to be heard, but to be felt in the chest, the bones, and the subconscious.
With Oscilador, Sunset Images invite listeners to lose themselves in noise, distortion, and dissonance—and to find clarity within the chaos.

7", Transparent Royal Blue Vinyl
The track ‘Atrium’ was born during the Dream 3 sessions, on a day where it was just Claire and I in the studio. It wasn’t rehearsed at all before we started recording it. All I really had was the main guitar riff in drop D, inspired by the Rob Crow stylings of Heavy Vegetable and Thingy. The lyrics came quickly and received almost no editing. They circled around feelings of resentment, heartbreak and the idea that a sturdy love for oneself is necessary before you can truly love others. This release includes 2 B Sides from GOON’s critically acclaimed Dream 3 LP available on 7” vinyl for the first time.

Dubcore 27 features DJ Badshape from Leipzig’s vibrant breaks and bass scene with her full vinyl debut. She already made her solo debut with Hurrican Kick on Defrostatica Records and dropped some tunes on some compilations like Bassmæssage Second Drop as well as on cassette on human togetherness. While producing tunes she dj and regularly uploads her Temper mixes on SoundCloud.

The first two tracks, “Facebreaker” and “Entitled,” were produced shortly after Bangface. Hours of waiting at Humberside Airport turned into long talks about music — the festival's energy and conversations inspired this creation. The tune “Spring Bird Symphony” is the first track I produced with the KO2 media sampler from Teenage Engineering. It was the best birthday present my boyfriend could have given me! You hear the spring fever in it? ;) Finally, “Der Fallende Bach” is an ode to the flora and fauna of the Austrian Alps, imagining the joy a drop of water must feel as it rushes down a waterfall, riding nature’s own rollercoaster.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

Bristol based artist 'Unkey' drops his debut EP on Artikal in fine style.

Following his deadly remix of J:Kenzo's 'Desired State' he brings 4 heavyweight tracks to the label.

Unkey's minimalistic but raw style of production shines throughout, making these tracks instant heaters for the dance floor.

Glade brings Ramiro’s atmospheric touch into sharper focus, presenting a fluid collection built around momentum and understated detail. Across the three tracks, he shapes a patient narrative that rises gradually, guided by crisp percussion and warm tonal shifts that open each track into expansive, late night territory. The result is a cohesive journey that reflects his instinct for movement, letting the melodies and rhythms unfold naturally.

“This EP is made up of three tracks, all designed to resonate on the dancefloor. ‘Glade’, ‘Jebel’, and ‘Norte’ each contain organic nuances, but together with their synthesizers they achieve a main-set feel that works very well at key moments in a set. The drums and percussion play a major role in making this happen, as they ensure the groove never fades or if it does, that its drop is striking.” – Ramiro Drisdale

NRV010 welcomes back Jay Tripwire with a focused, four-track EP that leans into what he does best: groove-led, understated club tools built for long blends and sound systems.

The release is anchored by Tripwire’s signature restraint and flow, alongside a Sublee remix that strips the material back even further, emphasizing hypnosis, reduction, and low-swing momentum.

This is functional, confident material — no excess, no forced moments — designed for selectors who value flow, patience, and control over obvious drops.

For DJs who play: minimal / microhouse / deep tech-influenced selectors who prioritize groove, tension, and longevity over peak-time theatrics.

Detroit’s DJ Minx debuts on Rekids with the ‘Energy’ EP. The First Lady of Wax completed 2025 with a remix for Radio Slave and Kameelah Waheed following her appearance at Rekids’ Panorama Bar takeover. Release Date: 13th February 2026.
Legendary Detroit House and Techno pioneer and Women on Wax founder, DJ Minx, drops her debut ‘Energy’ EP for Rekids 13th February 2026. She follows her 2025 appearance on the House of Rekids mix series, and at the label’s Panorama Bar showcase in Berlin, before closing the year remixing Radio Slave & Kameelah Waheed’s ‘All Rize’. Known for championing women in the music industry, particularly Detroit DJs and producers, Minx recruits Florida-native, two-time Grammy Award-winning singer-songwriter Kendra Foster for a larger-than-life, jacking title cut. Robust drums, bright synth stabs, and Foster’s uplifting vocal bring the energy before Minx’s ‘You Can’ features an inspirational spoken word vocal, while low-slung rhythm and a deep, crawling bassline drive the track forward.
DJ Minx has been a central figure in Detroit’s musical history since the 90s. Minx has hosted radio shows on WGPR and CJAM, held a residency at Club Motor, and performed at every edition of Movement since 2000. Her contributions have been recognized with the Spirit of Detroit Award and honors from Mixmag and Time Out. Recent highlights include her ‘Queendom’ EP on HE.SHE.THEY., a BBC Radio 1 Essential Mix, releases on Planet E and Rules Don’t Apply, collaborations with Kevin and Dantiez Saunderson as e-Dancer, and continued headline performances worldwide.

First-ever vinyl edition of Magic Castles' 2014 cult album The Lore Of Mysticore. A hypnotic blend of shimmering psych pop, hazy drones, and kaleidoscopic guitar textures, this record captures the Minneapolis band at the height of their creative powers. Originally released in 2014, The Lore Of Mysticore stands as one of the most compelling documents of the contemporary psychedelic underground. Minneapolis-based Magic Castles craft a hypnotic and immersive sound that blends shimmering psych-pop, hazy drones, and kaleidoscopic guitar textures into expansive, sun-drenched songs. This first-ever vinyl edition brings the band's beloved debut album to wax for the very first time, offering fans a chance to experience its swirling, cinematic beauty in a format that truly does it justice. Essential listening for fans of The Brian Jonestown Massacre, The Asteroid #4 and Spacemen 3

Hey, Hey! Kicking off the 60th anniversary of The Monkees with a first-ever compilation of all their singles released between 1966-1970. Take a deep dive into The Monkees discography with needle-drops and original artwork from the original 7" singles, along with new liner notes by Andrew Sandoval.

This release resurrects a long-lost cornerstone of Seattle's early grunge history, showcasing Bundle of Hiss, featuring future Mudhoney and TAD guys and singer Jamie lane, one of the genre's missing links. Between 1986 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers and singers, Jack Endino went in to record one of the most solid - and most unfairly invisible - outfits of that scene: BUNDLE OF HISS. Two sessions (1986 at Reciprocal and 1987/88 at Audio Design) fell into limbo, stored in the basement of Mudhoney-Drummer Dan Peters and for years they were a kind of pre-grunge legend, everyone knew they existed, but there was no record, until Loveless Records from NYC released both on CD. The second one, Audio Design Sessions, now sees the light of vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness we'd later hear in Mudhoney, TAD or early Soundgarden. And Jack Endino himself summed up these sessions: "Vintage Seattle grunge from one of the original practitioners_ I always felt sad that this hard-working band never managed to get a record out and was almost lost to history. It was a pleasure -and a technical pain!- to resurrect all this." Kinda key release of the early grunge days, first-generation material, recorded by the scene's producer, at the exact moment Seattle was shifting from noisy punk to that heavy, shadowy rock that later blew up. It sounds raw, young and dangerous: this is not a polished compilation, it's a snapshot of the scene.

Purple vinyl. With Abyss Calls to Abyss, their third full-length album, Skulld bring to completion a path that began in 2019, a journey through old-school death metal, esoteric mysticism, and radical punk-rooted activism. Written and recorded in 2025, the album unfolds as an eight-track odyssey exploring the furthest edges of human and spiritual experience through a feminist, pagan, and anti-authoritarian lens. The abyss evoked by the album is not only an external, cosmic void, but also an inner, personal, and collective chasm, the place where death and rebirth collide, where wounds and healing, desire and destruction intertwine. Each song delves deep into the essence of being, merging ancestral ritualism, female mythology, social critique, and archetypal symbolism into a single, cohesive vision.

XTech solo for Okupe 23rd release part 1 !
Acid newskool style, with that Pumpin slamming kick and crazy drops...

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

Following their successful comeback, they dropped another album featuring a variety of country and pop songs, as well as covers of artists such as Jimmy Cliff and Randy Newman. The album is a stylistic follow- up to No Regrets , where the group blends their pop songs with romantic orchestral arrangements. The singles "Lines" and "We're All Alone" became firm favourites with fans, and the album is widely regarded as a hidden gem among fans of country pop and yacht rock

Una interpretación de Soinuarenbidea II debería partir de esta premisa: todo es posible, nada es aleatorio, y en sí mismo es un imposible de aleatoriedades. El escenario planteado explora la idea de realidad aumentada desde una percepción sonora, ambiental y colectiva. La obra transita hacia adelante y hacia atrás recreando experiencias extintas de porvenir incierto, tratando de facilitar un fin pacificador. Cada pieza sonora se crea, se despliega, se repliega y se destruye, en una torsión permanente de toda la realidad que hace posible cada fragmento musical, cada identidad acústica, cada espacio sonoro. Lo onírico, la ficción, y el viaje están continuamente presentes, y es en el transitar de cada fragmento donde se produce el diálogo de la exposición musical. Los elementos de esta ficción se recrean continuamente, en un continuum donde se entrelazan y se van contorsionando a medida que crecen o decrecen con cada fragmento de síntesis concreta. Los temas explícitamente musicales son el magma que conduce a dar voluptuosidad al disco, siendo la piel un contexto o límite que en sí mismo fluctúa indefinidamente en texturas y configuraciones posibles. Y la urdimbre del silencio es la síntesis que está continuamente presente y que trata de cohesionar los fragmentos en continua colisión expresiva. Las grabaciones de campo proporcionan el material sonoro concreto, y como un fractal sonoro cada una de ellas ofrece diferentes grados de interpretación que a su vez conduce a nuevos fragmentos y nuevas creaciones. Así que se puede pensar que esta es una síntesis de una posible realidad, pero interpretable en infinidad de maneras. Un movimiento y una estaticidad implícitas que generan estructuras y dinámicas acústicas. Lo que se escucha no es real, pero en sí mismo forma parte de la realidad, creando un escenario expectante. Lo cinematográfico, plástico y teatral, danzante y dinámico cobra importancia en este juego, porque se trata de contar una historia, una experiencia recreada desde los puntos de vista del arte visual. Es a su vez hilo conductor y entretenimiento, discurso político y puro divertimento. Es desde este espacio de convivencia artística que tiene sentido la totalidad y justifica el formato sonoro planteado. La contradicción de la obra es patente en el formato, y es a su vez el planteamiento de una accidentalidad en el devenir vital. Contenedor de Ruido recoge todas estas contradicciones y las manifiesta en la obra Soinuarenbidea II. Es una historia sonora, es un cuento acústico. Es un fragmento de vitalidad en imágenes audibles. Es una invitación a la reflexión, a la crítica, al disfrute, a la meditación, a la celebración. Y sobre todo es esperanzadora apreciación de la realidad como algo maleable que confeccionamos colectivamente, que requiere de una paciente observación y la participación colectiva global, en un mundo finito pleno de diversidades y del que ignoramos prácticamente todo, al que deberíamos volver con respeto y devoción.

Soinuarenbidea II-ren interpretazio batek premisa honetatik abiatu beharko luke: dena da posible, ezer ez da ausazkoa, eta, berez, ausazkotasun ezinezko bat da. Planteatutako agertokiak errealitate areagotuaren ideia aztertzen du, soinu-, ingurumen- eta talde-pertzepzio batetik abiatuta. Lanak aurrera eta atzera egiten du, etorkizun zalantzagarriko esperientzia desagertuak birsortuz eta helburu baketsua lortzen saiatuz. Soinu-pieza bakoitza sortu, hedatu, tolestu eta suntsitu egiten da, musika-zati bakoitza, identitate akustiko bakoitza eta soinu-espazio bakoitza ahalbidetzen dituen errealitate osoaren etengabeko bihurdura batean. Onirikoa, fikzioa eta bidaia etengabe daude presente, eta pasarte bakoitzaren joan-etorrian gertatzen da musika-erakusketaren elkarrizketa. Fikzio honen elementuak etengabe birsortzen dira, continuum batean, non sintesi zati zehatz bakoitzarekin hazi edo txikitu ahala elkar lotzen eta bihurritzen diren. Esplizituki musikalak diren gaiak diskoari atsegintasuna ematera eramaten duen magma dira, azala testuingurua edo muga izanik, testura eta konfigurazio posibleetan mugarik gabe aldatzen dena. Eta isiltasunaren irazkia etengabe presente dagoen sintesia da, zatiak etengabeko adierazpen-talkan kohesionatzen saiatzen dena. Landa-grabazioek soinu-material zehatza ematen dute, eta soinu-fraktal batek bezala, horietako bakoitzak interpretazio-maila desberdinak eskaintzen ditu, eta horrek, aldi berean, zati eta sorkuntza berrietara eramaten du. Beraz, pentsa daiteke errealitate posible baten sintesia dela, baina hamaika modutan interpreta daitekeena. Egitura eta dinamika akustikoak sortzen dituzten mugimendu eta estatikotasun inplizitu bat. Entzuten dena ez da erreala, baina, berez, errealitatearen parte da, eta agertoki espektakularra sortzen du. Zinematografikoak, plastikoak eta antzerkikoak, dantzariak eta dinamikoak garrantzia hartzen dute joko honetan, ikusizko artearen ikuspegitik birsortutako istorio bat, esperientzia bat, kontatzea baita helburua. Aldi berean, hari gidaria eta entretenimendua da, diskurtso politikoa eta dibertimendu hutsa. Elkarbizitzarako espazio artistiko honetatik osotasunak zentzua du eta planteatutako soinu-formatua justifikatzen du. Obraren kontraesana nabarmena da formatuan, eta, aldi berean, bizi-bilakaeran istripu-tasa bat planteatzea da. Zarata-edukiontziak kontraesan horiek guztiak jasotzen ditu eta Soinuarenbidea II obran adierazten ditu. Soinu istorio bat da, ipuin akustiko bat. Bizitasun zati bat da, irudi entzungarrietan. Hausnarketarako, kritikarako, gozamenerako, meditaziorako eta ospakizunerako gonbidapena da. Eta, batez ere, itxaropentsua da errealitatea modu kolektiboan egiten dugun gauza xaflakor gisa hautematea, behaketa pazientea eta partaidetza kolektibo globala eskatzen dituena, dibertsitatez betetako mundu mugatu batean, ia guztia kontuan hartzen ez duguna, eta errespetuz eta debozioz itzuli beharko genukeena.

An interpretation of Soinuarenbidea II should start from this premise: everything is possible, nothing is random, and in itself is an impossible randomness. The proposed scenario explores the idea of ​​augmented reality from a sonic, environmental, and collective perception. The work moves back and forth, recreating extinct experiences of an uncertain future, seeking to facilitate a peaceful end. Each sound piece is created, unfolds, retreats, and is destroyed, in a permanent twisting of all reality that makes each musical fragment, each acoustic identity, each sonic space possible. The dreamlike, the fictional, and the journey are continually present, and it is in the transit of each fragment that the dialogue of the musical exposition takes place. The elements of this fiction are continually recreated, in a continuum where they intertwine and contort as they grow or diminish with each fragment of concrete synthesis. The explicitly musical themes are the magma that leads to the work's voluptuousness, the skin being a context or boundary that in itself fluctuates indefinitely in possible textures and configurations. And the warp of silence is the synthesis that is continually present and seeks to unite the fragments in a continuous expressive collision. The field recordings provide the concrete sound material, and like a sonic fractal, each one offers different degrees of interpretation that in turn lead to new fragments and new creations. So one can think of this as a synthesis of a possible reality, but interpretable in an infinite number of ways. An implicit movement and staticity that generate acoustic structures and dynamics. What is heard is not real, but in itself is part of reality, creating an expectant scenario. The cinematic, plastic and theatrical, dance and dynamic aspects take on importance in this game, because it is about telling a story, an experience recreated from the perspective of visual art. It is at once a common thread and entertainment, political discourse and pure entertainment. It is from this space of artistic coexistence that the whole makes sense and justifies the proposed sound format. The contradiction of the work is evident in its format, and it is, in turn, the presentation of an accidentality in the course of life. Noise Container gathers all these contradictions and manifests them in the work Soinuarenbidea II. It is a sound story, an acoustic tale. It is a fragment of vitality in audible images. It is an invitation to reflection, to critique, to enjoyment, to meditation, to celebration. And above all, it is a hopeful appreciation of reality as something malleable that we collectively craft, requiring patient observation and global collective participation, in a finite world full of diversity and of which we know practically nothing, to which we should return with respect and devotion.

Paisajes sonoros, diseño sonoro, drones y música grabada, realizada y arreglada para Contenedor de Ruido por David Aranaz. Coro: Basandere Ahotsak. Producido y mezclado por David Aranaz. Mástering: Estanis Elorza. Fotografía: David Aranaz. Texto: David Aranaz. Traducción: Saioa Aranaz Oreja. Trabajo y Diseño artístico: Cristina Martinez. Edición: Contenedor de Ruido Producciones y Sarbide Music. Distribución: Contenedor de Ruido.

Contenedor de Ruido agradece el apoyo en la realización de Soinuarenbidea II al coro Basandere Ahotsak y en especial a Eva Orbara Goicoa.

Soinuarenbidea II está dedicado al pueblo palestino.

Paisajes y objetos Sonoros, samplers y otras músicas transformadas para Soinuarenbidea II
Burlada: Paseos sonoros matinales por Merindad de Sangüesa, Calle Mayor, Capuchinas, Parque Uranga y varias iglesias y plazas. Pasajes del cotidiano: basura de papel, cristal y plástico.
Pamplona: Cementerio de San José. CEIP Sanduzelai /// Quinto Real: Fábrica de Armas, Puerto de Urkiaga y alrededores. Suite del silencio, bosques en movimiento /// Fábrica de armas de Orbaiceta: regatas, biosques, paseo sonoro hasta regata /// Belate: Puerto de Belate y alrededores. Vacas en pradera junto a las turberas /// Bardenas Reales: Suite de guitarra y Suite del silencio, estepa desértica /// Austria: Tranvías de Graz y Viena. Muchedumbre del metro de Viena.
Voces cinematográficas de: Matanza en Texas, Robocop, Espíritu Sagrado, Solo los Amantes Sobreviven, Voces de Gaza, Yojimbo, Terciopelo Azul, Los 7 Magníficos.
La pista A2 está dedicada a la memoria de David Lynch.
La pista B4 está dedicada a Eva Orbara Goicoa.
Pista A4: Contiene interpretaciones de piano de Three Piano Pieces Op.11 de Arnold Schoenberg.
Pista A5: Es una interpretación expandida con síntesis FM del Concerto Op. 24 - Etwas lebhaft - de Anton Webern.
Pista A7: Contiene la canción Besarkatu ninduzun (Letra de Josune López y música de Josu Elberdin) en interpretación de Basandere Ahotsak en la iglesia de Burutain bajo la tormenta.
Pista B2: Contiene la canción Recuerdos de la Alhambra (Fernando Tárrega) en interpretación torsionada de David Aranaz Sarasa.
Pista B14: Contiene la canción Agur María (Letra y Música de Estíbaliz Robles “Estitxu” y arreglo exclusivo de Alfonso Ortiz para Basandere Ahotsak) en interpretación de Basandere Ahotsak.

Equipamiento para Soinuarenbidea II.
Micros de condensador SE7, configuración XY y ORTF; Micros de cinta ORTIZ LUTHIER configuración XY y Blumlein; Grabadoras MARANTZ y ZOOM; Sintetizadores y samplers Elektron MONOMACHINE SPS-1, MACHINEDRUM SFX6 y MODEL:SAMPLES. Dave Smith MOPHO. Torso Electronics S-4. Sintetizador Modular 333 DIY; Guitarra clásica ALHAMBRA 6P; Esculturas Sonoras tipo Baschet, cristal y metales; Mesa Soundcraft FX16ii; Interface de Audio RME Babyface Pro FS; DAW Logic Pro; Procesamiento de modelado analógico con Acústica Audio, Waves, Softube, Brainworx, Sonible, Analog Obsesion, Tokio Dawn. Metering de Logic y RME DigiCheck . Amplificación Hafler PRO2400. Monitorización BW DM602 S3. Mezcla digital; Mastering híbrido.

'In 2023, sound artist and composer Weston Olencki toured across the American South. Beginning in their hometown in South Carolina, they snaked a circuitous path from the mountains of West Virginia to the banks of the Mississippi River. As the miles accumulated, so did the initial seeds of new work.
'Instruments and artifacts they acquired hitched a ride in the backseat, while songs and sounds filled their portable recorder: water in its various states, the familiar insectoid buzz of those summer nights, trains cutting through the landscape, the traditional music that lived alongside the communities that kept it. Olencki took it all in, and over time, found ways that these experiences coalesced into a bramble-like perspective of time, where past, present, and future intersect in ways both barbed and beautiful.
'Broadsides, Olencki’s newest solo full-length is the multilayered result of this journey. The album follows their landmark release Old Time Music from 2022, which presented radical interpretations of traditional tunes from Appalachia and throughout the South alongside original compositions that drew significantly on archival recordings. On Broadsides, Olencki rejects delineations between the unmoored avant-garde and the rootedness of one’s cultural heritage, revealing their porous and intertwined nature. “My mother was a quilter. Her mother before that,” they write in the album’s liner notes. “Quilting, like music, is a practice of embedding knowledge and remembrance into the very core of the thing you are making. It’s not just about the materials, but how they’re reassembled, recontextualized, stitched, woven to form new patterns - the minutiae of craft holding significance to those looking to find it. Stories woven from stories, never told the same way twice.”
'Like all great road trips, Broadsides unfolds slowly and continuously, with moments of dramatic reverie punctuating the endless melt of highway in the rearview. We’re immediately confronted by the uncanniness of revisiting old haunts, as Southern storms break through the initial churn of the freight locomotives of Alabama. Olencki’s interpretation of the bluegrass standard “Foggy Mountain Breakdown” captures the euphoria of melancholy in motion. The permutational plucks of banjo are bounced around the frame by a computer, its pitches determined within algorithmic sequences and transcriptions of classic three-finger licks. The tonalities of old-time are smeared and stretched until all that’s audible is the insistence that Heaven might be real.
'In the album’s second half, “Omie Wise,” a murder ballad made famous by Doc Watson, follows an interlude recorded on the river in North Carolina in which the titular character’s body was laid. Ghostly echoes of a dozen other renditions float through the substrata as Tongue Depressor’s Henry Birdsey accompanies them on the pedal steel guitar. The album’s central composition, “all my father’s clocks,” is a profound meditation on entropy and impermanence. The sound of their father’s extensive clock collection ticks away as Olencki pulls a bow across the length of an autoharp sourced from a rural strip mall. The instrument was left as detuned as it was found, the resonance of its deep bass drone and clanging high-end the result of years of neglect and the warping effects of Southern humidity.
'Historically, broadsides were an early form of broadcasting, an often- musicalized telling of current news pasted in the public square. The name was later taken up by Sis Cunningham and Gordon Friesen in the 1960s, whose Broadside magazine published songs and social commentary when American folk music resurfaced as an urgent way of communicating the multifaceted politics of its time.
'Olencki borrows the phrase to recall both this old form of songmaking and that later prominent reexamination of traditional music’s role in modern life, but also to draw attention to the fragmented and machine- mediated way heritage is diffused in this very different, but no less pivotal, moment.
'As a sanitized past is used as justification for current violence and domination, we can turn to these artifacts to better understand the history of ourselves, but only if they are consciously pushed to evolve. Broadsides represents one personal, striking vision of what far-flung futurisms could be respun from = these high, lonesome sounds: a reflection of the unbridled joy and deep sorrow inherent to living together through time, and a desire to push further into the untold and unknown.'

Sacramento (CA) Heavyweight Crushers Return! Oromet presents atmospheric funeral doom with a melodic emphasis without surrendering the all-encompassing heaviness that is the genre's hallmark. Where some seek to immiserate and drown the listener, Oromet explores the complete nature of sorrow as the band weaves the choke of despair and the lightness of serenity. The Sinking Isle focuses on the inevitability of collapse and the cycles of ruin and rebirth. Adrift on cataclysmic seas, melody remains the compass—a hopeful light guiding the listener through themes of loss, nostalgia, and pessimism. For fans of Mournful Congregation, Bell Witch & Esoteric. Dan Aguilar: Guitar, Vocals Patrick Hills: Drums, Bass, Synth, Backing Vocals Recorded, Mixed, and Mastered by Patrick Hills at Earthtone Studios Cover Artwork: Ted Nasmith Design, Layout, Illustration: Dan Aguilar Additional Backing Vocals: Chris Lemos

From the visionary minds of Snarky Puppy’s Robert “Sput” Searight and Nate Werth, Ghost-Note’s explosive debut "Fortified" finally arrives on vinyl. This percussive tour de force seamlessly fuses funk, hip-hop, jazz and world rhythms into a captivating journey of rhythm and groove.
Featuring an all-star lineup of iconic players—including Shaun Martin, Mark Lettieri, and the legendary MonoNeon—this album is packed with tight grooves, deep tribal pulses, searing horn lines, and fearless synth wizardry.
More than just an album, Ghost-Note’s debut "Fortified" bridges classic funk traditions with cutting-edge jazz innovation. It’s a celebration of rhythm, culture, and community. Whether you drop the needle to ignite the dance floor or to get lost in its rich, layered textures, this LP is destined to become a crate-digger’s gem and a cornerstone for fans of modern funk-jazz.