Buscar:duo

Istanbul-based producers Grup Ses and Gökalp K present their collaborative album on SOUK Records, showcasing a distinctive fusion of musical styles such as hip hop, grime, dubstep, and jungle. Two years in the making, their self-titled album features contributions from Cologne-based multi- instrumentalist Elektro Hafız, Marseille-based DJ Syr from Scratch Bandits Duo and Ethnique Punch, a Turkish MC & producer now based in Bremen.

Grup Ses project began in 2007, initially focusing on edits and breakcore mash-ups. By 2008, it evolved into a beatmaking project incorporating elements of humor and local materials such as records, tapes, and radio broadcasts, which have become the signature Grup Ses sound. Grup Ses has previously collaborated with sub-labels of Discrepant, releasing two albums on SOUK and three mixtapes on Sucata Tapes.

Gökalp K, the alias of composer and sound designer Gökalp Kanatsız, has been releasing music since 2011. Under this name, he has released two albums and performed as a DJ. Alongside his beat production, he also composes electro-acoustic music and collaborates with creative studios as a sound artist on various interdisciplinary projects.

Preston duo White Flowers announce new album, Dreams For Somebody Else - due for release 1st May 2026 via The state51 Conspiracy.
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.
On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, channeling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”. Working alongside LCD Soundsystem and Hot Chip’s Al Doyle on production, the album maps out a mosaic of soaring choruses that swirl around imposing arrays of synths, guitars, and percussion.
Through this new lens, the band explore themes of isolation, dissociation and identity - drawing inspiration from Annie Ernaux’s The Years. “Whilst recording the songs for ‘Dreams For Somebody Else’, we really connected with the concept of Annie Ernaux’s book, ‘The Years’ - a ‘collective autobiography’ pieced together from mismatched fragments from her past, conjuring the effect that she’s merely an observer of her own life. This concept merges into the White Flowers world, where time, rather than being restrictive, is fluid and boundless, with our music existing as an endless conversation with versions of ourselves at different stages of our lives.”
“The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”

Das dritte Album von Nick Llobet und Micah Prussack, alias youbet, aus Brooklyn ist ein weitläufiges, warmes Gemisch aus Indie-Rock, Pop und experimentellen Klängen. Es zeigt eine Band, die weit über ihre Bedroom-Pop-Wurzeln hinausgewachsen ist und sich zu einer selbstbewussteren, komplexeren und lauteren Kraft entwickelt hat. Das Album, das in Bewegung entstanden ist und zwischen langen Tourneen Gestalt angenommen hat, spiegelt einen Moment ekstatischer Möglichkeiten und Entschlossenheit wider. Sowohl geschärft als auch expansiv, wächst youbet aus den Grenzen des Heimaufnehmens und des ,Bedroom Pop" zu etwas Robusterem, Lauteren und Unverwechselbarem, das ganz der Band eigen ist. Die vielfältigen Einflüsse des Duos - von den Beatles über Bernard Herrmanns schwindelerregenden Vertigo-Soundtrack bis hin zu Flamenco, den japanischen Noise-Rockern Boris und vielem mehr - legen sich in den Hintergrund, während die Band ihre eigene musikalische Sprache entwickelt. Die Co-Produzenten Katie Von Schleicher und Julian Fader runden das Album ab, wobei erstere glitzernde Synthesizer-Klänge und letzterer ein von Prussacks Bass untermaltes Schlagzeug-Fundament beisteuern. youbet zeigt, wie Llobet und Prussack bezaubernde musikalische und lyrische Ausdrucksformen miteinander verweben und das Ergebnis immer wieder neu formen.

Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über Stems der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

Auf insgesamt 100 Stück limitiert. Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

After their last album six years ago, "Primal Forms," the new album by Phantom Horse, finally arrives. The German duo of Ulf Schütte and Niklas Dommaschk have long established a reputation for expertly crafted, hypnotically slow-burning electronic music, and we do not hesitate to say that "Primal Forms" stands among the epitomes of their discography.

The sequencing of "Primal Forms" cannot be underestimated. It is an album in the classic sense. It demands to be listened to in its entirety, which also points to a closer affinity with Krautrock. Likewise, a touch of dub is perceptible, wafting around the songs, which, as usual, bear clandestine titles. It is not unreasonable to see in these compact compositions a clear statement against multitasking.

Phantom Horse are not trumpeters of dystopia. They present themselves resolutely, almost stoically, turned away from the world. This turning away is clearly a statement that can be contemplated in the Mariana Trench as well as in comet belts. In any case, it is best experienced in a space without any human beings. This does not mean that grumpy hermits are tinkering with synths behind closed shutters, armed with wooden walking sticks. This is still open minded music with a connection to current developments. The approach itself is what is audible, and with it, Phantom Horse proves once again that their main connection to time is timelessness.

In an age of all-encompassing distraction on every sensory, thematic, and semantic level, Phantom Horse explores the possibilities of reduction, searching for simplified melodic arcs without resorting to the vocabulary of classical minimalism. The overall impression is more electronic; the slowly shifting, polyrhythmic compositions repeatedly lead to a peculiar danceability. However, these are perhaps the dances of mechanical birds, undeterred by anything.

Written and produced in Hamburg, Nijmegen and Ojén by Niklas Dommaschk & Ulf Schütte
Mastering by Rafael Anton Irisarri at Black Knoll
Artwork by Daniel Castrejón

For the second time, the Geneva-based duo Cyril Cyril hands the microphone to the Syndicat du Futur. Behind this small group campaigning for a better future are Jeannot and Marilou, Zoé, Marlowe and Lenaïs — the respective children of Cyril (Yeterian) and Cyril (Bondi). Two years after La Météo / Le Monde Embêtant, the crew is back. The voices have grown and changed, but the sharp perspective remains, and the adult world had better watch out.

On Le Petit Bonhomme Orange, a certain D. Trump takes a hit. Seen from a child’s point of view, the war leader and his gesticulations look less like a figure of authority than a ridiculous scarecrow ruling through fear. And when power turns grotesque, it stops being intimidating.

With Le Gros Hit, it’s time for the absurd. A song that builds itself in plain sight, stacking lines with no apparent logic and embracing its own laziness. A reminder that you can make a track with three ideas and a chorus, and sometimes that’s all it takes.

This expanded edition presents the soundtrack with previously unreleased material not included on the original vinyl release, offering a more complete overview of Micalizzi’s work. The package is further enhanced by an 8-page full-color booklet featuring original artwork, extensive liner notes on the film, direction, and score by journalist Fabio Babini, as well as a personal contribution from Franco Micalizzi himself.

Composed by Maestro Franco Micalizzi for the cult 1984 film Non C’è Due Senza Quattro, starring the iconic duo Bud Spencer & Terence Hill in a rare fourfold role, this soundtrack captures the playful spirit and global flair of the film.

Micalizzi delivers a vibrant and rhythm-driven score, infused with warm Latin influences, breezy melodies, and an unmistakable sense of lightness. The result is a richly entertaining listening experience that perfectly mirrors the film’s humor, energy, and escapist charm.

A joyful and sun-soaked addition to any collection, this release stands as both a nostalgic tribute and a testament to Micalizzi’s enduring legacy in Italian cinema soundtracks—best enjoyed, perhaps, with a well-mixed cocktail in hand.

©℗ 1984 – Beat Records Company. Reissued by Holy Basil Records under license by Beat Records.

Repress 2026

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

The next of Toolroom’s 4 track vinyl sampler series kicks off with a bang(er!). Welcoming CHANEY back onto the label with possible his finest release to date in the shape of ‘I Choose You’. On Toolroom alone he has amassed over 40m streams across leading streaming stores in just 3 years and can add massive imprints like Defected, Insomniac and Perfect Havoc to his list of musical successes. Everything in this record is 100% original and written by CHANEY himself from the self-played bass line, lush rhodes chords and distinctive, poignant vocals.

Next up is Gene Farris who has been a mainstay on Toolroom in recent years and is a regular artist at our label events all over the World. ‘In My Heart’ lands as an exciting collab with the Basura Boyz, a duo also hailing from Gene’s hometown of Chicago and the chemistry between the 3 of them is evident from the first beat! A super cool, stripped back vocal tech house track that sits in that sweet spot of club and specialist radio.

Kicking off the B-side is Deeper Purpose who returns to Toolroom alongside Jalja & Lazy Joe, after his debut club weapon ‘Stutter’ dropped on the label last year. He has had success across all the scene’s leading imprints over the past 12 months including Fisher’s Catch n Release, Experts Only and Repopulate Mars and this record is an anthem in the making! Jalja is on vocal duties, the vocalist that shot to fame after her huge ‘Hanging Tree’ record alongside Michael Bibi. She adds her trademark ethereal vibe to the record and delivers a typically killer hook - This is a real EAR WORM!!

Wrapping things up on Sampler 14 is a very exciting collaboration from 2 of the scene’s brightest shining new stars; Tony Romera and Crusy. Having been die-hard Toolroom fans for many years, this record came about during a conversation about old Toolroom records, and how they collectively wanted to emulate that slightly progressive tech house but bring it right up to date. And they have certainly done that! A real peak-time dance floor moment here with insane production and a unique, intense build up that is already causing maximum mayhem!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong

Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

The Eagles’ 1975 studio album, One Of These Nights, was a milestone album for the band, earning them their first GRAMMY® Award and becoming the first of four consecutive #1 albums. Rhino will release a Deluxe Edition of the album on April 10 as the band returns for the final weekend of their historic Sphere residency in Las Vegas.
One Of These Nights (Deluxe Edition) will be available as a a 3LP version, released the same day, will include the new album mix and the full concert recording. The lacquers were cut by Chris Bellman at Bernie Grundman Mastering.
Produced by Don Henley, the CD and vinyl editions include a new mix of the album by Rob Jacobs. Originally produced by Bill Szymczyk and recorded at Criteria Studios in Miami and the Record Plant in Los Angeles, One Of These Nights achieved quadruple Platinum certification and the single “Lyin’ Eyes” won the GRAMMY® Award for Best Pop Performance by a Duo or Group with Vocals.
The unreleased live recording captures the Eagles’ performance at the Sunshine Festival in Anaheim on September 28, 1975. Recorded at the end of the tour for One Of These Nights, it features Henley, Glenn Frey, Randy Meisner, Bernie Leadon, and Don Felder. Their set blends songs from that album (“Lyin’ Eyes,” “Take It To The Limit”) with hits from the group’s first three albums: “Take It Easy,” “Witchy Woman,” “Already Gone,” and “The Best Of My Love.” Joe Walsh also joins the group for the encore, performing his song “Rocky Mountain Way,” a few months before becoming an official member of the band.
The penultimate song is a rosing cover of Chuck Berry’s “Carol,” a live staple of the band at the time, marking the first time a recording of the song has ever been included on an Eagles album.
The Blu-ray that accompanies the CD set presents the album and the live performance in Dolby Atmos and high-resolution stereo. One Of These Nights (Deluxe Edition) and the Atmos mix of the original album will also be available digitally.

1st Album from the Lisbon Portugal duo Jah version - featuring the amazing vocals of Zacky Man. This is future sounding fine contemporary roots flavoured dub from hard steppe beats to heavy roots one-drop styles - made by Jah Version but mixed by Vibronics in his Dub Cupboard Studio in the UK. Played by OBF, Iration Steppas and all the top Dub Soundsystems around the world.

This is the age of post-factual lies, which is reflected in MESH's album title "The Truth Doesn't Matter" and a dark undertone that occasionally seeps into their new songs. What remains entirely true is the fact that the UK duo has a nearly uncanny knack for writing electronic hits that are as elegant as they are captivating. "The Truth Doesn't Matter" bursts out like a sparkling firework while subtly referencing three decades of electronic music spanning from GIORGIO MORODER, YAZOO, and DEPECHE MODE via GARBAGE and MASSIVE ATTACK to more contemporary artists. At the same time, MESH always maintain their easily recognisable and unique musical identity as well as the trademark sounds that they have cultivated since their beginnings in the early nineties. With "The Truth Doesn't Matter", MESH climb yet another rung on the ladder leading to electronic music heaven. Each song wriggles its way happily into the brain and sticks around leading to spontaneous whistling of melodies and the public singing of extremely catchy chorus lines. You have been warned: "The Truth Doesn't Matter" is highly infectious and leads to a happier life!"

LA-based producer Real Bad Man and Detroit rapper Boldy James return with their third collaborative album, Conversational Pieces, out now via Real Bad Man Records. The project features the singles “Come Back Around” featuring DC polymath dreamcastmoe, and “It Factor” featuring El-P. Their creative chemistry has never been clearer: this new album sees the duo pushing into fresh sonic territory through an expanded production palette that Real Bad Man continues to evolve and experiment with.

Recorded immediately after their 2022 album Killing Nothing and revisited in 2023 following Boldy’s serious car accident, Conversational Pieces is a deliberate, reflective body of work. It captures two distinct periods in the artists’ lives—documenting their growth as musicians, fathers, and long-time collaborators. The album’s artwork, along with the accompanying single art, draws inspiration from Rorschach inkblot tests—abstract visuals that invite interpretation and spark conversation, mirroring the album’s introspective nature.

Jump Source, the Montréal-based duo of Patrick Holland and Francis Latreille, also known as Priori, announce their debut full-length album Fold, due April 30 via NAFF Recordings.

Fold is their most ambitious project yet—echoing the electronic LP boom of the early 2000s while balancing peak-hour club anthems with an everything-goes pop ethos. Featuring collaborators including POiSON GiRL FRiEND, billy woods, and CFCF, the album moves fluidly between candy-glossed hooks, folktronic balladry, and unexpected rap turns, tracing the turbulence of life in music across shifting cities and timezones.

San Francisco style driving techno tinged with dark dubs and disco from two of the town’s most explosive producers.

Brick & Zero Idea represent the same city, blazing their own paths in San Francisco’s heady techno scene. Both manage their own labels / parties, Brick with Perfect Dark and Vitamin1000 a la Zero Idea respectively, but are no strangers in the studio together.

First up, two full-bodied techno timebombs from the duo: a mega sub’n’dubchord special alert on A1’s “West End” paired with a more refined, smoother, slippier companion on the A2 “No Room For Error”. Combined-strengths banger collabs for different moments and moods of a night.

Sticking with the theme, we see contrasting solo tracks on the flip side as well. Brick’s “Sigil” spotlights the producer’s laser focus for darker, hypnotic, full force synths in impeccable arrangement, while “Xhale” ends this release on an upliftingly funky bassline disco tip showcasing Zero Idea’s ease at blending techno sensibilities with French House techniques.

Eco Edizioni debuts in 2025 as an Italian publishing and recording project dedicated to mapping radical sound aesthetics. The label explores the territories of unconventional electronic music, giving space to forgotten productions that outline complex soundscapes through the experience of expert synthesis producers. The first vinyl release embodies this philosophy through a dialogue between different generations of the European industrial and electronic scene. The dark atmospheres of Okиho meet the analytical and methodic techno of Andrew Lagowski, taken from his 1995 album Prismatic.

The album Malnovnova is the culminating synthesis of this synergy, presenting itself as a manifesto of avant-garde sound engineering. The work pushes the Okиho duo’s research towards a totalising and hyper-technical electronic abstraction, where granular signal processing is mitigated by Lagowski’s atmospheric industrial layers.

RIPIT is back with a new LP after 3 years spent mostly on the mesmerizing collaboration between THE ÅNGSTRÖMERS- his duo with FRÉDÉRIC ALSTADT -and the Haitian voodoo ensemble CHOUK BWA.

While Ripit is better known for his radical noisy breakbeat work, "A Church or a Factory" explores a more industrial, power electronic and noise ambient side of his synthesizer lust. The instruments abused on this record are: Serge modular, Knifonium and various eurorack modular. The A-side comes with 5 powerful synthetic industrial songs which feature each one a different guest vocalist. The B-side is a long ambient noise piece that will plunge the listener in an anxious meditation.

Ripit is the project of the French NICOLAS ESTERLE for almost 25 years. He explores electronic instruments thru distortion , ranging from industrial hardcore to breakcore, from doom hiphop to dusty dub. Beside his solo project, he's involved in various bands like SOLAR SKELETONS (with TZII), FUJAKO (with HHY) and more recently The Ångströmers.

On the guest side, there's a wild bunch of Nicolas' friends:
- PAUL-TERGEIST is the galactic moniker of PAUL BEAUCHAMP in his band SPACE ALIENS FROM OUTER SPACE;
- ANDREA EV is the lead member of 1997EV;
- ROBERT IMHUMAN and DIVTECH are members of the REALICIDE COLLECTIVE;
- TZII is a long-time road comrade of Nicolas and a touring freak spreading his music all over the world;
- ANDRÉ COELHO is known as METADEVICE and is the founder of the now-defunct SEKTOR 304.

The title "A Church or A Factory" refers to the Belgian countryside, wherever you are, you are at least surrounded by a church or a factory. As he just left the urban life of Brussels to escape to the French countryside, he is now lost enough not to have neither a factory nor a church in sight.

"What if, alongside the mainstream history of music, with careers and discographies spanning ten or fifty years from album to album, there was an underground, minority history, that of artists and projects with only one record? A flash, a burst of brilliance, a gem, but no follow-up, no repetitions, no decline.
"This will most likely be the case for this album by Amarante-Cerisier, a duo formed by Mauricio Amarante (RadikalSatan, Équipage, travelling companion of Canan Domurcakli and Austin Townsend) and Marine Debilly Cerisier (dancer, performer, writer, co-founder of alternative cultural venues in Marseille and Brussels), with these eight poetic songs in French having more in common with the visionary essence of certain songs from the early 1970s (Brigitte Fontaine-Areski, for example) than with the post-modernism of the ‘nouvelle chanson française’ of the1990s and 2000s.
"But – and this is undoubtedly no coincidence – this is also the case for two unique albums, which had no immediate follow-ups but which, 50 and 20 years after their release, inspired Mauricio and Marine's album and discreetly found their way into it:
"At the very end of the 1960s, Tchékov Minosa (Marine's grandfather) embarked on a journey to the East with his partner Brigitte de Saint-Preux, during which they were married ten times, in ten different traditions (in Kurdistan, among the Kuchi people of northern Afghanistan, among the Kalash people of north-eastern Pakistan, in Rajasthan,etc.). This three-year journey was documented in numerous articles in the European press, in documentaries, in a book... and on a double LP of traditional music recordings released in 1973 by Le Chant du Monde. And sampled today by Mauricio Amarante at the end of the track ‘Parfois’.
"In the early 2000s, Austin Townsend, a tall, bony figure, washed up on the banks of the Garonne River near Bordeaux, arriving from New Zealand. With a voice that was sometimes very Bob Dylan-esque, at other times buried in the gravelly depths of the low frequencies, he strung together contemporary blues songs on his only album, Introvenus (Potagers natures, 2007), beautifully accompanied in subtle tones on banjo and double bass by Mauricio and Cesar Amarante (alias Radikal Satan). Beyond this unique record, Mauricio played extensively with Austin in concert. And when his friend died in the spring of 2024, he received his guitar, used the instrument for some of the tracks on the upcoming Okraïna record, and decided to dedicate the album to him.
"In our conception of music, fleeting appearances, unexpected reunions, and timeless records outside the dictates of current musical trends thrill us more than overly well-planned career paths."

Zero Netcost returns with “Ten Years Later”: an elegant downtempo cut driven by delicate piano and a spellbinding vocal. To beef up the maxi, the legendary duo Bent reunites once again with Zero Netcost, delivering two remixes packed with warm, finely textured detail. And there’s more heavy company: Funki Porcini drops an instrumental version with an oblique, late-night twist. A vinyl made to glide from warm-up to after-hours without losing the thread.

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

Masayoshi Fujita & Jan Jelinek, live in Kyoto, 29th June 2025 at Shimei-Kaikan, Kyoto

The concert took place as part of a Japan tour by the duo in June/July 2025. The show in Kyoto was organised by Tatsuya Shimada (night cruising). After a solo concert by Masayoshi Fujita and Jan Jelinek, the two performed as a duo.

faitiche edition is a series of concerts on tape cassette. The recordings are not available digitally. Buyers/owners of the tape can send a photo of their cassette by email to info@faitiche.de (Subject: »das digitale Konzert«) to receive a Bandcamp download code free of charge.

Sound recording: Kunihito Kizuka
Mastering: Jan Jelinek
Drawings: Vincent Klingelhöfer
Photo: Yoshikazu Inoue
Design: Tim Tetzner

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

Schatterau’s third album, »Wir gingen durch leere Stunden« (We went through empty hours), sees the German duo blossoms with beauty and sophistication through a broad creative language.

This opus, presented in the form of vivid auditory tableaux vivants, explores the topography of memory as a landscape in constant motion – full of loops, feedbacks, and mirage-like distortions. Sounds climbing like vines over old walls, concealing details only to reveal new ones. Some pieces feel like fragments of a dream whose origin has vanished, others like displaced echoes of a day long gone.

Memories create paths that only become visible in retrospect – detours that somehow always lead back to oneself. Each track draws the listener into a different recollection, as if opening an old door. Inside, time behaves strangely: it jumps, stretches, and repeats.

»Wir gingen durch leere Stunden« ultimately presents Schatterau at their most experimental, complex and measured extremes, channelling ambiguous human emotional resonance ranging from melancholy to pure ecstasy.

The Romantic, the new album from Bruno Mars. The fourth studio album from the global superstar and 16 time GRAMMY® Award-winning artist marks Mars' first solo album release since 2017's 24k Magic and follows chart topping collaborations with Anderson .Paak as Silk Sonic, as well as smash hits with Lady Gaga and ROSÉ.

Available for pre-order on the 9th January at 5AM GMT and set for release on the 27th February 2026.

Sixteen-time GRAMMY® Award winner and thirty-three-time GRAMMY® Award nominee Bruno Mars is a celebrated singer, songwriter, producer, and musician who is one of the best-selling artists of all time and now continuously the number-one most listened-to artist on Spotify. With recent hits like “APT.” with ROSÉ and “Die With A Smile” with Lady Gaga—the latter earning him two nominations for “Song Of The Year” and “Best Pop Duo/Group Performance” at the 67th Annual GRAMMY® Awards—Mars has celebrated another extraordinary year in music. Among his robust list of accolades, some of which include “Album of the Year” for 24K Magic at the 60th Annual GRAMMY® Awards and “Record of The Year” for Silk Sonic’s “Leave The Door Open” at the 64th Annual GRAMMY® Awards, Mars has held the number one global song for more weeks than any artist in 2024 with both “APT.” and “Die With A Smile.”

Deaf Center travel through quiet pathways and grand boulevards in their fourth studio album “Through Time”.

Since their last full-length LP, “Low Distance” (2019), the duo has gradually shifted towards a more long-form electroacoustic sound which perhaps makes for their most immersive listening experience so far. Otto A Totland’s piano travels in less frequent rhythms than before, yet is felt even more as a relief in the quieter moments that contrast with Erik K Skodvin’s deep atmospheric worlds. There’s a searching quality within the record which feels like slow movements on the way towards something meaningful, capturing a sense of both peace and awe.

The latter part of the album takes a different turn: fluctuating electronic rhythms over deep strings create an ecstatic yet haunting duality. It is the first time a guest musician appears on a Deaf Center record: British composer and musician Simon Goff joins with violin and viola in the finale, “Further”, a hypnotising piece submerged in layers of strings and drones.

The subject of time is an ambitious one, yet Deaf Center manage to balance the humble with the grand in great warmth as seconds become minutes, hours become days and time seemingly freezes as a still-life moment.

Deaf Center travel through quiet pathways and grand boulevards in their fourth studio album “Through Time”.

Since their last full-length LP, “Low Distance” (2019), the duo has gradually shifted towards a more long-form electroacoustic sound which perhaps makes for their most immersive listening experience so far. Otto A Totland’s piano travels in less frequent rhythms than before, yet is felt even more as a relief in the quieter moments that contrast with Erik K Skodvin’s deep atmospheric worlds. There’s a searching quality within the record which feels like slow movements on the way towards something meaningful, capturing a sense of both peace and awe.

The latter part of the album takes a different turn: fluctuating electronic rhythms over deep strings create an ecstatic yet haunting duality. It is the first time a guest musician appears on a Deaf Center record: British composer and musician Simon Goff joins with violin and viola in the finale, “Further”, a hypnotising piece submerged in layers of strings and drones.

The subject of time is an ambitious one, yet Deaf Center manage to balance the humble with the grand in great warmth as seconds become minutes, hours become days and time seemingly freezes as a still-life moment.

The rap duo By Storm, made up of Injury Reserve emcee RiTchie and producer Parker Corey debut their first album “My Ghosts Go Ghost”.

Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman.

A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post–punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation.

When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen.

The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs.

Up next are Twin Cities, Minnesota–based Feel Free Hi Fi, who take on »Judge Judge.« The duo tighten things up, overlaying weighty vintage string synths and digi–flute melodies. This version feels designed for smoky, late–night dub sound system sessions, harkening back to dub’s foundations.

Last but not least is London’s Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova–esque minimal synth sound. This version’s lo–fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.

Two turntables and a microphone. There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within its confines. Sometimes you gotta get reminded. I Guess U Had To Be There, the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in ’89 and get heads bopping.
There are moments in music when masters of their craft cross paths at the height of their respective powers—records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury—where the result is more than the sum of its parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on I Guess U Had To Be There. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID’s feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. I Guess U Had To Be There is a captivating, convention-defying listen and a high-water mark for two of the best artists in the genre.

2 more dancefloor bombs for your box, this time from one of the biggest duos in hip hop!

妖精の通る道 (The Path Where Fairies Pass) is the debut vinyl release by Reimaki, the duo of Rei Yokoyama (Triggers Flowers, Stakaidan, Lapiz Trio, 新井薬師自警団, and Fujio, Chiko Hige and Rei), and Maki Miura (Tsubamegami, Les Rallizes Dénudés, Shizuka, Fushitsusha, Ohkami No Jikan and Katsurei). The duo has been an understated presence in Tokyo, playing occasional under-the-radar shows and self- releasing a few CD-Rs, but they’ve recently started to break cover, with a recent cassette on UFO Creations, released in support of a late 2024 tour of China. It’s also a welcome reappearance on the scene for both musicians; Miura’s musical history, in particular, is being reevaluated thanks to a recent string of welcome Shizuka reissues.

But the music Reimaki make together is a different thing entirely, much as it shares some psychological and aesthetic interests with both Miura’s and Nokoyama’s other projects. Their sound is split between two main interests – an extension of glacial, deoxygenating psychedelic improvisations, and a deep interest in medieval European music. They’ve also been known to cover compositions by English prog/improv musician Fred Frith. These various elements of the Reimaki aesthetic are all present through 妖精の通る道, from the fragility of the opening “Novel Amor” through to the smeared, hazy textures of the three extended pieces that comprise the album’s flipside.

There’s a beautiful sympathy in these performances, and a generous simplicity, too; you can sense that this music is informed by decades of finding just the right way to say the right thing in the clearest manner possible. Yokoyama and Miura never overstate things; make the statement, play the song, let it hang in the air for a while, and then move on to the next essential expression. The music is unburdened by self- consciousness. Their take on medieval music cuts to the core of melody and melancholy; their psych- improv side is blurred and drifting without ever lapsing into rote generic gestures.

There’s some shared space with other artists who suspend the timeless within the kaleidoscopic possibilities of the psychedelic – Kendra Smith & The Guild of Temporal Adventurers; Emmanuelle Parrenin; Rosina de Peira – and a tangled folksiness that might put listeners in mind of Jan Dukes De Grey, Comus, Current 93, and Tower Recordings. Accompanied by beautiful photography from street photographer Takehiko Nakafuji, who was also personally chosen by Mizutani to document Les Rallizes Dénudés, 妖精の通る道 is a most unique and necessary trip.

Onna Last Live 1983 includes the final performance by the original line-up of Onna, the psych-rock project of revered Japanese manga artist, Keizo Miyanishi. Onna’s legend has largely rested, until now, on one self-released and self-titled seven-inch from 1983. Reissued by Holy Mountain in 2009, its rediscovery, along with several archival live and studio sets that leaked out across the 2000s, signalled to a wider audience the power of Miyanishi’s strikingly hypnotic songwriting. With Onna Last Live 1983, though, we hear the group’s perfect line-up performing at its peak.

While Miyanishi was the core member and conceptualist of Onna, the other members of the group would also go on to make significant contributions to the Japanese underground. Guitarist Michio Kurihara would eventually be known for his membership of YBO2, Ghost and White Heaven, and collaborations with the likes of Boris and Damon & Naomi. Drummer Ken Matsutani formed Marble Sheep & The Run-Down Sun’s Children and The Mickey Guitar Band, while also running the Captain Trip label. Joined by the late bass player Yasui Yutaka, to whom the album is dedicated, this quartet only performed live in 1983; the live set here was recorded at Silver Elephant.

It’s a different line-up to the Onna duo that’s documented on their single. After Miyanishi and fellow manga artist Mafuyu Hiroki recorded that material, Miyanishi decided he wanted to start playing gigs; Hiroki left, and Kurihara, Matsutani and Yutaka joined soon after. This line-up allowed Miyanishi to significantly expand Onna’s powers, leading to a sound that Kurihara once described to Ptolemaic Terrascope magazine as “repetitive and heavy, yet quite orthodox.”

The songs here are simple yet deeply effective in their repetitive power, generally revolving around two or three simply strummed chords for guitar. Bass and drums repeatedly lock into mantra-like grooves as Kurihara’s guitar scales the walls, with Miyanishi’s consumptive moans and sighs sent torquing through FX. The cumulative effect of the seven songs here is very heavy indeed; if the prologue “Always…” drifts beautifully through five minutes of placid, beseeching melancholy, the epilogue, “Never Seen A Light Like This”, spirals out into sixteen minutes of glazed-over psych-rock, completely monomaniacal and thrilling in its slow-motion tumult.

Throughout, you can hear Miyanishi and co. reaching for something ineffable, something beyond and between the notes. It’s a phenomenal performance; it’s also no surprise that the group disintegrated after this show, given its intensity. Matsutani and Yutaka left after the Silver Elephant show, with Miyanishi and Kurihara continuing through the first half of 1984 firstly as a duo, and then a trio with new drummer Yoshiki Ueonyama. Kurihara left soon after. But Onna Last Live 1983 is proof plenty of the powers of the original Onna quartet, sending their Rallizes/Velvets dream-mantras off into darkened, stormy skies.

Jeder Künstler muss seine eigene Stimme finden. Gia Margaret fand sich selbst erst, als sie ihre Stimme verlor. Aufgrund einer Stimmbandverletzung, die sie jahrelang am Singen hinderte, entwickelte sie andere musikalische Ausdrucksformen und meisterte die Grammatik einer komplexen, heimeligen Form der Ambient-Musik, die von Ernest Hood begründet und von The Books perfektioniert wurde. Angeführt von sanften Klaviermelodien, die wie Atem auf Glas hauchen, jetzt, da ihre physische Stimme geheilt und ihre künstlerische Stimme geschliffen ist, schließt sich der Kreis mit Singing, ihrem ersten Gesangsalbum seit There's Always Glimmer aus dem Jahr 2018. Die Musik auf Singing zeugt von derselben Sensibilität für Details, die sie in ihrer Stille entwickelt hat. ,Es gab eine Zeit, in der ich wirklich nicht wusste, ob ich jemals wieder singen würde. Als ich dann geheilt war, stand ich unter großem innerem Druck, stark zurückzukommen", sagt Margaret. ,Ich wusste nicht mehr, wer ich war. Es fühlte sich an, als würde ich neu anfangen und mich wieder mit diesen sehr alten, alten Teilen meiner selbst verbinden." Dieses Gefühl der Vermischung von Entfremdung und Wiederentdeckung ist auf dem gesamten Album spürbar. Im Opener ,Everyone Around Me Dancing" beobachtet sie eine Party von den Seitenlinien aus und ist sich bewusst, wie ihr Körper sie von gemeinschaftlicher Freude abhält, ihr aber gleichzeitig neue Wege der Selbsterkenntnis eröffnet. Ausgeschlossen von der Szene ist sie ,näher am Boden, am Planeten". In ,Alive Inside" ist sie so weit entfernt von der Quelle, dass sie zu jedem betet, der sie hören könnte (,ein Gott, ein verstorbener Freund, ein Geist"). Wenn ihre Stimme anschwillt, scheint sie in einem Netz aus Verzerrungen gefangen zu sein; es ist, als würde sie in ihrem Streben die Grenzen des Sagbaren ausloten. Der Entstehungsprozess von ,Singing" war ein Prozess des Lernens, jedem dieser Gefühle zu vertrauen. Das Album wurde teilweise in London mit Guy Sigsworth von Frou Frou aufgenommen, der Margaret dabei half, die Vielzahl ihrer Ideen für ,Good Friend" zu vereinen, einem Highlight des Albums, das unter anderem gregorianische Gesänge von ILA und Turntable-Scratches enthält . David Bazan und Amy Millan sind ebenfalls zu hören, ebenso wie Kurt Vile und Sean Carey, während Margarets langjähriger Kollaborateur Doug Saltzman einen Großteil des Albums spielt und co-produziert. Deb Talan, ehemals Mitglied von The Weepies, steuert ihre Stimme, ihr Klavier und ihre Gitarre zum abschließenden und definitiven Statement des Albums ,E-Motion" bei. Gia Margaret singt stets. Jede Note dieses Albums singt ein warmes Requiem für ihr vergangenes Ich; jede Ebene singt ihr zukünftiges Ich ins Leben. Auf dem gesamten Album wendet sie die Lektionen der Sprachlosigkeit an - die quasi-rationalen Wege, auf denen wir kommunizieren, ohne zu kommunizieren, die Art und Weise, wie formlose Klänge wie ein Skalpell zum Kern der Dinge vordringen können - auf ihre eigene künstlerische Stimme.

Jeder Künstler muss seine eigene Stimme finden. Gia Margaret fand sich selbst erst, als sie ihre Stimme verlor. Aufgrund einer Stimmbandverletzung, die sie jahrelang am Singen hinderte, entwickelte sie andere musikalische Ausdrucksformen und meisterte die Grammatik einer komplexen, heimeligen Form der Ambient-Musik, die von Ernest Hood begründet und von The Books perfektioniert wurde. Angeführt von sanften Klaviermelodien, die wie Atem auf Glas hauchen, jetzt, da ihre physische Stimme geheilt und ihre künstlerische Stimme geschliffen ist, schließt sich der Kreis mit Singing, ihrem ersten Gesangsalbum seit There's Always Glimmer aus dem Jahr 2018. Die Musik auf Singing zeugt von derselben Sensibilität für Details, die sie in ihrer Stille entwickelt hat. ,Es gab eine Zeit, in der ich wirklich nicht wusste, ob ich jemals wieder singen würde. Als ich dann geheilt war, stand ich unter großem innerem Druck, stark zurückzukommen", sagt Margaret. ,Ich wusste nicht mehr, wer ich war. Es fühlte sich an, als würde ich neu anfangen und mich wieder mit diesen sehr alten, alten Teilen meiner selbst verbinden." Dieses Gefühl der Vermischung von Entfremdung und Wiederentdeckung ist auf dem gesamten Album spürbar. Im Opener ,Everyone Around Me Dancing" beobachtet sie eine Party von den Seitenlinien aus und ist sich bewusst, wie ihr Körper sie von gemeinschaftlicher Freude abhält, ihr aber gleichzeitig neue Wege der Selbsterkenntnis eröffnet. Ausgeschlossen von der Szene ist sie ,näher am Boden, am Planeten". In ,Alive Inside" ist sie so weit entfernt von der Quelle, dass sie zu jedem betet, der sie hören könnte (,ein Gott, ein verstorbener Freund, ein Geist"). Wenn ihre Stimme anschwillt, scheint sie in einem Netz aus Verzerrungen gefangen zu sein; es ist, als würde sie in ihrem Streben die Grenzen des Sagbaren ausloten. Der Entstehungsprozess von ,Singing" war ein Prozess des Lernens, jedem dieser Gefühle zu vertrauen. Das Album wurde teilweise in London mit Guy Sigsworth von Frou Frou aufgenommen, der Margaret dabei half, die Vielzahl ihrer Ideen für ,Good Friend" zu vereinen, einem Highlight des Albums, das unter anderem gregorianische Gesänge von ILA und Turntable-Scratches enthält . David Bazan und Amy Millan sind ebenfalls zu hören, ebenso wie Kurt Vile und Sean Carey, während Margarets langjähriger Kollaborateur Doug Saltzman einen Großteil des Albums spielt und co-produziert. Deb Talan, ehemals Mitglied von The Weepies, steuert ihre Stimme, ihr Klavier und ihre Gitarre zum abschließenden und definitiven Statement des Albums ,E-Motion" bei. Gia Margaret singt stets. Jede Note dieses Albums singt ein warmes Requiem für ihr vergangenes Ich; jede Ebene singt ihr zukünftiges Ich ins Leben. Auf dem gesamten Album wendet sie die Lektionen der Sprachlosigkeit an - die quasi-rationalen Wege, auf denen wir kommunizieren, ohne zu kommunizieren, die Art und Weise, wie formlose Klänge wie ein Skalpell zum Kern der Dinge vordringen können - auf ihre eigene künstlerische Stimme.

After their recent LP Mirages (Kraak Records, 2025) with French turntablist Guilhem’All, the group continues to explore collaborations with artists and instruments from diverse musical traditions. Building on decades of uncompromising acoustic exploration, Razen delves deeper into their practice with five improvisational pieces that unfold slowly in time and space. The duo’s radical core - Brecht Ameel and Kim Delcour - finds in Van der Harst a longtime kindred spirit, united by the impact of sound, intonation, and the sheer joy of playing.

To be released on April 24 via VIERNULVIER Records, the artwork for Stained Glass Starling was created by American visual artist Robert Beatty (Oneohtrix Point Never, Christina Vantzou, The Weeknd, Tame Impala). The physical release comes with a 16-page booklet including artwork and an interview.

A long-standing artistic kinship lies at the heart of this project, with first encounters dating back to the early 2000s in Belgian musical improv theatre. Van der Harst’s lifelong experience in improvised music and music theatre, spanning back to the 1980s, combined with a vast arsenal of rare and historical instruments, opens new tonal territories within the Razen universe.

These explorations are not incidental: his family roots in the former Dutch East Indies — through his great-grandfather — provide a quiet backdrop to his enduring affinity for Asian musical traditions. Instruments such as erhu, Javanese kacapi, and others introduce timbres
that bring the music its most pronounced Asian inflections to date.

Yet despite this shift in colour, the underlying ethos remains unmistakably Razen. Working from sound rather than form, the ensemble approaches music as painters approach a canvas: adding layers, contrasts and shades with care. There is no soloist’s ego here; all voices are equal, echoing principles found in gamelan traditions.

Over the decades, Razen and Dick Van der Harst have crossed paths repeatedly, notably through cult theatre productions by Belgian theatre maker Eric De Volder, including Zwarte vogels in de bomen (2002) and Huis der Verborgen Muziekjes I–II (2000–2006). Recording an albumtogether had long been a shared aspiration — a wish that crystallised after a 2024 concert at Concertzaal Miry in Ghent, part of the Ruiskamer series by VIERNULVIER Art Centre.

long content, you may need to expand row to see all... Das Warten hat ein Ende: 18 Jahre nach ihrem letzten gemeinsamen Projekt haben Gnarls Barkley mit ihrem neuen Album Atlanta ihr finales musikalisches Kapitel vorgelegt. Das mit Spannung erwartete Werk von CeeLo Green und Danger Mouse markiert den krönenden Abschluss einer der einflussreichsten Kollaborationen der modernen Musikgeschichte. Mit der Single-Auskopplung „Pictures“ bewies das Duo bereits pünktlich zum Release, dass ihre Chemie aus souligen Gospel-Vocals und vielschichtiger Produktion nichts von ihrer Magie verloren hat. Atlanta ist dabei weit mehr als eine nostalgische Reunion; es ist die Vollendung einer Geschichte, die 2006 mit dem Welthit „Crazy“ begann. Die beiden gebürtigen New Yorker kehren mit diesem Album zu ihren Wurzeln zurück und vereinen erneut Soul, Hip-Hop und Psychedelia zu einem einzigartigen Sound. Für Fans markiert diese Veröffentlichung einen „Full Circle Moment“, der den Geist der Selbsterfahrung und künstlerischen Freiheit feiert, für den Gnarls Barkley seit jeher stehen.

Fresh from releasing projects on Method 808 and Future Classic, landing a huge collaboration with Chloé Caillet, and delivering an official remix for Fatboy Slim, PPJ are entering a new chapter in full force. Their expansive take on global street sounds, ranging from neoperreo to Miami bass, gets a cool re-coating.

Led by the magnetic vocalist Páula, with production from Povoa (individually supported by Four Tet, Ben UFO, and Barry Can't Swim, with recent releases on Live From Earth), the duo operates in maximalist mode: playful, sensual, and slightly unhinged.PPJ’s new era, JOKER, embraces a figure that appears everywhere from card decks to carnival culture as a symbol that mirrors their own DNA: funny, eerie, seductive, unpredictable. The EP leans further into club territory, but rather than polishing their edges, PPJ amplify them.

At the emotional core of the record sits “Coeur,” co-produced with Chloé Caillet. It begins with an MPB-tinged foundation flirting with bossa nova. It’s unmistakably Brazilian, bathed in sunset hues before being sped up and twisted into a dance-floor-ready electronic form. The groove shimmers with tension: warm percussion, elastic basslines, and Páula’s voice hovering between intimacy and tease. It feels like a remix of itself, romantic, but slightly untrustworthy.

If “Coeur” glows, “To Nem Ai” is a slow burner. A very deep and downtempo house cut, it unfolds slowly, almost luxuriously, guided by sensual vocals that feel whispered directly into the ear of the listener. A hypnotizing piano sample that feels like a late-night confession. It’s the kind of record that transforms a dancefloor into something tactile.

Elsewhere, “Me Pega” is a high-energy reinterpretation of the tech-house sounds from Santa Catarina, one of southern Brazil’s most feverish party states, twisted and accelerated for ferocious impact. Drawing direct inspiration from Sarro, a raw and vibrant Brazilian street dance, the track captures physical intensity in its purest form: sweat, bass pressure, collective release.

Its counterpart, “Tem Carnaval” channels Páula’s vivid storytelling into a thunderous ode to Rio’s carnival spirit, euphoric, chaotic, cinematic landed just in time for this year’s celebrations.

On “Sexy Doce,” rugged electroclash melodies collide with unexpected references. “It was inspired by Budots, which is dance music from the streets in the Philippines,” Povoa explains. “Then we mixed it with Páula’s Brazilian vocals. Baile funk is similarly from the streets, so there is a connection.” The result is raw yet futuristic, a cross-continental flirtation that feels both underground and explosive.

With this new EP, PPJ make music like they’re tuning into a dozen pirate frequencies at once. Pirate radio from Rio to Berlin to Manila intercepting fragments of street culture, sensuality, and chaos, and stitching them into something deliriously cohesive.
JOKER doesn’t just nod to club culture. It challenges it, twists expectation and leaves a lasting impression.

Iris Paralysis are a London / Bielefeld based synth duo. Recorded 2025 at Psyche Simulator, Bielefeld & Terminated Envy, London.

File under Boy Harsher Jae Matthews lends her unmistakable voice to a striking reinterpretation of Buzz Kull’s cult classic “Man On The Beat.” Built for midnight drives and neon-lit highways, Matthews’ version transforms the track into a dark, hypnotic pulse of tension and atmosphere, carried by her haunting, commanding vocal. Released as a special limited-edition 12" by Heartworm Press, the single reimagines the underground favorite with a colder, more cinematic edge.

On the B-side, Los Angeles duo Spike Hellis deliver an extended remix, stretching the track into a dancefloor-ready transmission of ecstatic synth and rhythm. Matthews is widely known as the vocalist of the dark electronic project Boy Harsher, but here she steps into a different light, channeling the nocturnal spirit of the original while making the song unmistakably her own.

Seit nunmehr über zwanzig Jahren als Duo zusammen, setzen Hammock ihre bemerkenswerte Reihe klanglicher Entdeckungsreisen mit The Second Coming Was A Moonrise" fort. Der Titel fängt einen Moment der Entdeckung ein, als Byrd und ein Freund in seinen späten Teenagerjahren unter dem Einfluss von Psychedelika den Mondaufgang für die Wiederkunft Christi hielten. Byrd und Thompson, beide in erster Linie Gitarristen, haben festgestellt, dass ihre musikalische Verbundenheit immer stärker wird, während ihre gemeinsame Arbeit im Laufe der Jahre noch dramatischer und reichhaltiger wird, auf der Suche nach einem Gefühl von mitreißender, schimmernder klanglicher Ehrfurcht, das sich niemals einfach als etwas anderes als sich selbst zusammenfassen lässt. The Second Coming Was A Moonrise" setzt diese Empfindungen der Entdeckung fort und fühlt sich gleichzeitig wie eines ihrer intimsten Alben an, während es das reiche Gefühl von Erhabenheit erforscht, das sie im Gegenzug erschaffen können. Ein Großteil von The Second Coming" ist instrumental oder fügt nur wortlose Gesangssenken und Texturen hinzu, wenn auch immer mit Titeln, die bewusst gewählt wurden. Byrd greift mit Chemicals Make You Small" erneut auf seine drogenbefeuerten Fluchtversuche zurück, wobei zwei namhafte Gäste mitwirken: Wayne Coyne und Steven Drozd von The Flaming Lips, die Gesang und Keyboards beisteuern. Zu den weiteren wiederkehrenden Gastmusikern gehören der regelmäßige Mitstreiter Matt Kidd von Slow Meadow, der Streicher und Gitarre beisteuert, Matthew Doty von Deserta an Synthesizern und Gitarre, Christine Byrd von Lumenette mit engelsgleichem Gesang, Chad Howat am Keyboard und Bass sowie Jake Finch mit bemerkenswertem Schlagzeugspiel.

Michael Nau und Whitney McGraw haben große, fragende Herzen voller Musik, die Elemente aus Soul, Rock und Gospel in einen weichen Kokon aus Kleinstadtsound einhüllt. Das begann vor einigen Jahren als BASKET RIDE und wurde ganz zufällig zu COTTON JONES. Ein neuer Name verspricht neue Flexibilität. Nau schreibt nun ganz andere Musik, als er das für PAGE FRANCE tat; die ursprüngliche Paranoia, die ihn trieb, hat er abgeschüttelt. "Paranoid Cocoon" ist das Debüt für Suicide Squeeze, das in seiner ruhigen, holzigen Psychedelia die Suche des Duos nach Trost und Freiheit unter den Bergen von Maryland widerspiegelt. Zwischen der einsamen Dunkelheit des Waldes und dem Licht des roten Mondes versammeln COTTON JONES Songs des Verlassens und guten und schlechten Träumen, die sich aus der Umgebung speisen, in der beide ihren Ursprung haben. In "By Morning Light" ziehen sich die Stimmen der beiden gegenseitig aus ihrer Melancholie in einen Zustand erstaunter Genugtuung. Die Musik auf "Paranoid Cocoon" glitzert. Die Snaredrum und der sanfte Anschlag der Gitarre erreichen den himmlischen Eindruck von YO LA TENGOs "And Then Nothing Turned Itself Inside Out". Einfache, bescheidene Perfektion.

On their seventh studio album, Lost Cause Lover Fool (due April 24th on Far Cry/Thirty Tigers), The Milk Carton Kids deliver 9 songs that, more than ever, invite listeners to lean in close and hover in the small moments the album magnifies. Much has changed since The Milk Carton Kids — Los Angeles-based singer-songwriters Kenneth Pattengale and Joey Ryan — burst on the Folk scene in 2011. And The Milk Carton Kids have changed too. But at least one constant remains. Pattengale and Ryan continue to make music that entices us turn down the volume on a chaotic world and dwell as long as possible on what matters most. With rootsy arrangements, Lost Cause Lover Fool expands on the duo’s signature minimalist sound their fans love while also, somehow, making it even smaller. Lost Cause Lover Fool begins with the lonesome pluck and strum of the banjo on “Blue Water.”

Often employed either for lightning-speed or rhythm, here the banjo is handled carefully, with reticence, so that it feels more like light cast across a stretch of grass than a whole bluegrass instrument. Lyrically, this album-opener zooms in on a snapshot of a man walking along a riverside, remembering the child that used to lay on his chest who has now grown to share his worried mind. It’s a moment so small it might easily have been dismissed, except that it holds an emotion as universal as it is fleeting. Lost Cause Lover Fool magnifies many such small moments, turns them into mesmerizing worlds, and reminds us — pleads with us — to pay attention to them as they go by.

Old Skool Hip Hop,Electro & Funk compilation.

Originally released on vinyl in 2012, H2DAIZZO quickly became one of the NYC duo’s most sought-after records, with original copies fetching over $100 on Discogs. Now widely considered a timeless club essential, this deep, minimal house cut returns via a long-awaited repress on Defected Records.

The release is further elevated by three standout remixes, each bringing a distinct perspective: Peggy Gou delivers a signature 2017 rework, slicing and reshaping the groove with her unmistakable flair; Butch injects his 2018 remix with driving, dancefloor-focused energy; and Josh Baker offers a fresh, contemporary take, rounding out the package with a modern club sensibility.

Venturing into “a limbo world between medieval tropes and modern-day decay”, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric.

The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project’s identity, an attempt to collapse history into a single, uneasy present.

Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices’ Bee Thousand looms large as an influence, particularly its ability to build an entire world through unpolished, first-take recordings. Robert Pollard’s idea of the “four P’s” (psych, punk, prog, and pop) serves as a neat summary of the artist’s musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk’s so-called “Calgary Sound,” a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos.

The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a dream only half-remembered.

Music To Watch Seeds Grow By continues its second season with Seoul-based left of centre ambient duo Salamanda - Uman Therma (Sala) and Yetsuby (Manda) - and their meditation on the inner life of a basil plant. Seeds 008 is an ambient composition born from quiet domestic observation: a single basil on a windowsill, its days shaped by light, warmth, and the slow passage of time.

The album moves through a full day in the plant's life opening with ‘introduce my atom which is my favorite one’, an act of quiet self-declaration in morning light, before settling into the unhurried rhythmic pulse of ‘to to ki toki tok’- the drip of water, the tick of a clock, the slow beat of photosynthesis. ‘allez, pousse!’ - one of the standouts in this journey - carries the basil's gentle will to grow, to push, to tilt toward the sun, while ‘hungry snail’ captures a moment of creaturely encounter on the glass: an uninvited visitor, moving slowly, wanting. As the afternoon deepens, 'Basil's Ritual' traces the daily ceremony of light and warmth, repeated with calm devotion from root to leaf. Night falls across 'Basil's Dream', and in the stillness something like sleep arrives - the plant resting, imagining tomorrow's sun. The album closes with ‘the blue wine’, a final mysterious reverie in which the basil seems to contemplate its own fate, somewhere between acceptance and wonder.

El Pulso del Acero: Shinkansen is Esplendor Geométrico's electrifying new album, blending trance-inducing industrial rhythms with bold voice and noise collages. Featuring 16 tracks, it revisits the raw power of their 80s classics while exploring futuristic industrial sounds, with recordings from Tokyo (2025) and a rare previously limited tracks now on vinyl for the first time. After over 40 years of continuous innovation, the influential Spanish duo continues to shape industrial, techno, and experimental noise music worldwide. Available on double vinyl and CD digipack. The raw power of their early work is also present here in some brilliant reconstructions of 80s tracks turning out very different from the originals (Rotorama, Trybuna V, Shinkansen, Héroe del Trabajo 2025, or Introspectivo). Songs such as Auto Reverse will be especially appreciated by the most avid fans of EG's early sound. Other tunes of futuristic industrial music closer to their previous album, Strepitus Rhythmicus, are also included (Experiencia AV, Isla, Por un Perro_) Ten tracks were recorded in 2025 in Tokyo, where Arturo Lanz (founding member of E.G.) currently resides. The other six were released, only on CD,in an ultra-limited edition shared with the group De Fabriek in 2023, long sold out, now finally on vinyl for the first time. Born in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international electronic cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion or trends, in spite of being often classified as industrial music. Their career for more than four decades hasn't had interruptions. They haven't stopped composing, releasing albums or playing live.Their influence has marked many later artists, usually classified in the so-called industrial music or rhythm & noise, as well as artists from current techno and certain types of experimental noise music.

For its third release, Honey Trap turns toward the instinctual. Ritmo Animal is a record driven by body memory, where rhythm becomes language and movement becomes communion. Vancouver- and Colombian-rooted duo Dosis weave club music with lived histories, drawing from punk ethics, soundsystem culture, and a deep commitment to collaboration.

Formed by Daniel Rincon and Zachary Treble, Dosis operates in the space between structure and looseness, where grooves feel hand-built and edges remain intentionally rough. Across five tracks, Ritmo Animal resists clean categorization. House mutates into dub-soaked psychedelia, vocals surface and dissolve, and percussion swings between discipline and abandon.

The A-side opens with “I Want To Be Your Dog”, a low-slung, hypnotic burner featuring Alien D, setting the tone through repetition and restraint. The title track, “Ritmo Animal,” anchors the record in motion, with saxophone lines from Dave Biddle threading through percussive momentum and grounding the track in something tactile and human.

On the flip, “Malibu” offers a softer pull, with Hannah Acton’s vocals drifting through warm, unhurried rhythm. “Humo,” featuring Hashman Deejay, leans deeper into smoke and sway, while closer “Sancocho” stretches time entirely, favoring communal simmer over destination.

Ritmo Animal is music made for shared space. It is not concerned with polish or purity, but with connection, between scenes, cities, and bodies on a floor. Another chapter in Honey Trap’s ongoing exploration of intimacy, pleasure, and rhythm as refuge.

The second album from the New Orleans country-punk-garage duo.

MM/KM is German producers Kassem Mosse and Mix Mup who make experimental house and techno fusions that are frayed and rough, lo-fi but high class. It has been quite some time since we heard from the pair so this release on Chicago's Kimochi Sound is a real treat. 'Ford Sierra In Dub' is a flickering late-night dub with loosely outlined rhythms and melancholic sine waves tumbling through the mix. 'Gedanken' is a lone, rugged synth that sounds lost and curious, then 'Velours is perfectly weighted, well swung dub minimalism for heady backrooms. 'Delphinpanik' pairs jazzy cymbals and scattered synth daubs to make for a sparse ambient sound. Typically unique from this duo.

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus.

Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trancelike spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album.

Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band’s fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release’s inner panels.

Channels Of Love, the collaboration between Italian duo's Dirty Channels and Eternal Love present their first original release from Dirty Channels featuring Ethiopian-Dutch singer Minyeshu and a remix from Dionisos...

With Harmony, Dirty Channels mark the first official original release on their new imprint Channels Of Love, founded together with Italian duo Eternal Love. Born as a platform for edits and reworks, the label now evolves into a broader vision rooted in global grooves and club energy.

Featuring Ethiopian-Dutch singer Minyeshu, whose spiritual and emotive voice bridges African traditions with contemporary sounds, Harmony blends percussive drive, warm basslines and hypnotic arrangements into a powerful yet soulful peak-time record built for connection.

The release also includes a soulful remix by Dutch producer Dionisos, delivering a deeper, housy reinterpretation while preserving the essence of the original vocal.

With this debut, Channels Of Love sets the tone for its future direction: alternative club music rooted in authenticity, where edits evolve into original productions and the dancefloor becomes a space for shared energy and unity.

Belgian minimalist, Dutch-language new wave/synth pop, since 1981! The historic album ‘Jonge Helden’ (1981) brought them instant eternal fame, the single ‘Lekker Westers’ (1983) a Belpop classic & the line-up changed wildly with icons such as Luc Van Acker (Revolting Cocks), Dani Klein (Vaya Con Dios), Willy Willy (The Scabs) or Andrew Chi Claes (Stuff) ...

However, MARCEL VANTHILT (lyrics & music) continues to rock the anarcho-Dadaist-electro-super-tronica scene to this day. Side note: Vanthilt often strayed into TV land (BRT, VPRO, MTV-EUROPE, BBC) and is now a DJ at Radio WILLY with the alternative ‘De M-Show’.

AA! is once again performing frequently in the best clubs (Depot, Casino, Macca) and on major stages (Pukkelpop, Villa Pace, Paulus Oostende). This will also be the case in 2026! This is due to the fresh and spicy new album ‘AA!PKPP’ in collaboration with PARKAPARAPLU.

PARKAPARAPLU: New dark wave duo from Antwerp. With ...

> EMMA ROTSAERT, singer and actress. She plays the lead role in the Ensor-nominated TV drama series ‘How To Kill Your Sister’ (2025). And comes from the same absurd planet as Vanthilt.
> GEERT VANBEVER, veteran of Wizards Of Ooze, Rudy Trouvé Septet, Dead Man Ray, Tuff Guac, among others... worked with Hugh Cornwell (The Stranglers) and Budgie (The Banshees), among others. Together, Emma & Geert also have a Sisters Of Mercy tribute band: Body Electric.

Krystian Shek & Milly James return with Never Ending on Cinta Gara, and it feels like a natural next step after the beautiful impact they made with their standout Greyscale release, a record that firmly positioned them in the deeper, more immersive corner of dub-driven electronic music. With Never Ending, the duo continue to refine that signature feeling: warm, hypnotic, deeply musical, and full of emotion. This is music that moves with patience and confidence, rooted in dub house, but carried by a timeless house sensibility that makes it equally powerful at home, in the club, or in those early-morning moments when everything locks in.

Papooz & Friends ! is a collaborative album where French duo Papooz gather a constellation of kindred artists, including Molly Lewis, Erlend Øye (Kings of Convenience / Whitest Boy Alive), Arto Lindsay, Oracle Sisters, Sacha Got (La Femme), Zé Ibarra and Hugo Hamlet, to create original songs born from true artistic encounters.



Blending elegant indie pop, modern folk and sun-soaked experimentation, the project unfolds as a collective musical journey celebrating friendship and creative dialogue.

Alisha's Attic were one of the defining English pop duos of the late 1990s and early 2000s. Formed by sisters Shelly and Karen Poole, the pair first appeared in 1988 under the name Keren & Chelle, releasing their single "Sugar Daddy". In 1996 Alisha's Attic released their debut single "I Am, I Feel" which reached the #14 in the UK Singles Charts. Their debut album, Alisha Rules the World was released in November 1996, produced by Dave Stewart of Eurythmics. The album became a major success, achieving Platinum in the UK and generated a string of single "Alisha Rules The World", "Indestructible" and "Air We Breathe" all of which reached the UK Top 15.

Mit "Alles und Nichts" veröffentlichen Eckstein am 17. April ihre erste EP - eine Sammlung, die das bisherige Schaffen des Wiener Duos bündelt und zugleich neue Kapitel aufschlägt. Die EP vereint die vier bereits erschienenen Singles "Einbruch","Reigen", "Ein Ganzes Leben" und "Zinnober" sowie die bisher unveröffentlichten Songs "Tyrann" und"Kirchenglocken". Ergänzt wird das Werk durch eine intime Akustik-Live-Session des Stücks "Hund". "Alles und Nichts" zeigt Eckstein in ihrer ganzen Spannweite: existenzielle Dringlichkeit, zarte Melancholie, eruptive Emotionalität. Sänger Hagen Eckstein verbindet poetische Bildsprache mit einer Stimme, die zwischen Verletzlichkeit und Wucht changiert. Multiinstrumentalist Jannik Rieß erschafft detailreiche Klangräume, die organisch, atmosphärisch und zugleich präzise komponiert sind. Eckstein stehen für eine spezielle Form deutschsprachiger Musik, die Ambiguität nicht auflöst, sondern zelebriert. "Alles und Nichts" ist mehr als eine EP - es ist ein Manifest ihres künstlerischen Selbstverständnisses und ein eindrucksvoller Beweis dafür, dass dieses Duo zu den aufregendsten neuen Projekten im deutschsprachigen Raum zählt.

Wired was an ephemeral improvisational music project formed by Michael Ranta, Karl-Heinz Böttner, and Mike Lewis. On 28 April 1970, the trio recorded an extended studio session of approximately 140 minutes, in collaboration with Conny Plank, who engineered and mixed the recording in real time, incorporating elements of live electronics. This session was subsequently edited to album length and released in 1974 as part of the Free Improvisation 3LP box set issued by Deutsche Grammophon, alongside recordings by Iskra and New Phonic Art.

Owing to its exploratory electric sound world and Plank’s distinctive spatial production techniques, the Wired recording acquired a degree of underground cult status, particularly among listeners associated with krautrock and psychedelic improvisation.

Shortly after the studio session, Ranta and Böttner travelled to Japan, where they spent approximately six months performing with Karlheinz Stockhausen at Expo ’70 in Osaka. In addition to these activities, they engaged in various independent musical projects and performances.

The present release, sourced from the personal archive of Michael Ranta, documents a live duo performance by Ranta and Böttner, recorded on 27 July 1970 in an outdoor setting in Kyoto (the exact location remains unknown), before an audience of approximately 200 music teachers. The recording exhibits sonic and aesthetic characteristics closely aligned with the previously recorded studio material, retaining the distinctive “Wired” sound while situating it within a live, site-specific context.

Michael Ranta: percussion, voice, home-made instruments, tapes, tape delay, effects Karl-Heinz Böttner: guitar, organ, ocarina, voice, effects

»Vents d’aether« is the first collaborative album by sound artist Jérôme Bouve and composer-performer Delphine Dora. The six pieces are based on live improvisations on organ and harmonium. They were recorded in different churches on the Cotentin peninsula in France’s Normandy region and later enriched with additional field recordings by SA~RA. This adds an extra layer to compositions which were created both in and out of the moment and which quite literally resonate with the histories of the instruments and the buildings that were so integral to their emergence. »Vents d’aether« is to be understood as a dialogue between sound and space that takes place across time and place.

Bouve carried the idea of working with the organs and harmoniums that can be found in the churches and chapels in the Val de Saire in the Northeast of Cotentin around with him for years. When he got to know Dora, he found the perfect musical partner with whom to finally make a record »about the wind, the wood, the stones of the Val de Saire.« In September 2024, the duo embarked on a short but fruitful journey during which they stopped by at several different churches. They recorded hours-long improvised sessions dedicated to »capturing the moment, letting space and time shape gestures and sound, seizing fleeting epiphanies in their greatest simplicity,« as Dora notes in the album’s linernotes.

She took the lead behind the instruments, however Bouve assisted her on drawbars for the last two pieces on »Vents d’aether,« thus adding an even more unusual touch to the recordings. They formed the basis for an album that Dora calls »the testimony of a sensory quest, a collection of memories suspended in time.« Indeed, starting with the epic 20-minute-long titular piece up until the ringing of church bells near the end of the closing piece »Montfarville V,« this overwhelming yet intimate record blurs the boundaries between different times and spaces altogether.

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

Sasha's collaborative hot streak continues with Manchester-based duo Cortese. The pair were last on Last Night On Earth in 2024.

A big 2025 saw electronic titan Sasha linking up with a mix of fellow pioneers and next-generation stars. He collaborated with the likes of Artche, Henry Saiz, and Joseph Ashworth, always pushing forward his signature sound, steeped in meticulous synth craft, built on transportive grooves, and packed with rare levels of universal emotion.

Cortese are new school artists with an emotionally rich mix of garage, breaks, and house. They head up their own Plaza Recordings and, as well as appearing on Sasha’s LUZoSCURA compilation, they dropped their 'All U Do' EP here in December 2024. Following gigs in support of mainstays like Bicep and Mike Skinner, they now hook up with one of dance music's most recognisable names.
The result is 'One', a deep and heavenly odyssey with warm, supple drums infused with subtle garage swing. Wordless vocals bleed into the mix, heightening the sensuality, as the majestic arps and shimmering chords light up the airwaves. It's an irresistible invitation for the dance floor to take off on a wave of cautious hope and optimism without ever losing sight of the grounding groove.

On the flip and the fantastic 'U Disappear' is an Ibiza anthem in the making - the synths are widescreen and sun-kissed, while the bass is dark and transportive. Balearic piano chords ripple through the mix alongside arching pads and soft, wordless vocals, lending a dreamy edge to what is a powerful track, both physically and spiritually.

French duo Froid Dub keeps twisting its slow-motion dub DNA and hits hard with the release of Positive and Natural on Delodio— instant classic that grabs you from the very first spin with its “minimal maximal” drive. Hypnotic and raw, this eight-track manifesto glides across the holy trinity: 808, 303 and tape delays—colliding true-school dub synths, club culture and experimental twists. A masterclass of a record that flaunts its roots and stays deeply personal. Froid Dub once again proves its singular talent for pumping up a dance floor at an average of 85 BPM.

Top Tier Contemporary Analog Disco Boogie. Powered by a stellar array of vintage gear and a shared fascination with the grooves of yesteryear, the L.A.-based, cross-Californian duo Introverted Funk have returned to the Windy City's Star Creature Label for "Body's Groove," an airtight 12" EP that unifies a variety of global influences into one forward-thinking, hybrid slab of soul. Their debut two-sided 7" Tell You / Fan Out quickly sold out last year and the follow up continues the ride with a fresh flow of funk that draws on smooth downtempo R&B, cosmic, breezy synths and masterfully-executed disco with expert authentic studio wizardry, all urging you to take that first step into their Groove.

Seit fast 30 Jahren erweitern SUNN O))) - Stephen O'Malley und Greg Anderson - die Grenzen der Heavy-Musik und verbinden die Welten der Avantgarde und des Rock, um einen Stil zu schaffen, der sofort als ihr eigener erkennbar ist. Jetzt melden sich SUNN O))) mit ihrem ersten Album mit neuem Material seit dem gefeierten Pyroclasts aus dem Jahr 2019 zurück. Ihr zehntes Album - ihr Debüt bei Sub Pop - zeigt, wie gut das Duo mit Zeit und Raum, Licht und Dunkelheit umgehen kann und dass sie bereit sind, ihren unverwechselbaren Sound zu neuen, mutigen Formen weiterzuentwickeln. Das gleichnamige Album ,SUNN O)))" wurde in den Bear Creek Studios in Woodinville, Washington, mit Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair) aufgenommen. Dieser Ort erwies sich als entscheidend für den Aufnahmeprozess. ,Der riesige Aufnahmeraum hatte große Fenster mit Blick auf Bäume", sagt O'Malley. ,Wir konnten wandern gehen und draußen im Wald sein, Zeit im Freien verbringen. Das war ein wichtiger Teil davon." SUNN O))) haben schon lange Mitwirkende in ihre eigenständige Welt aufgenommen: In früheren Werken waren Attila Csihar (Mayhem), die Komponistin Hildur Gudnadóttir, der Multi-Instrumentalist Steve Moore, der Universalgelehrte Mark Deutrom, Tim Midyett von Silkworm und der legendäre Singer-Songwriter Scott Walker zu hören. Auf diesem Album haben O'Malley und Anderson jedoch neue Möglichkeiten im ursprünglichen Format des Duos entdeckt und alle Instrumente selbst gespielt. ,Was in den letzten Jahren mit unseren Auftritten zu zweit und ohne weitere Mitwirkende passiert ist, war wirklich neu und aufregend", sagt Anderson. Die Kompositionen auf SUNN O))) sind weitläufig und panoramisch, aber dennoch detailreich und spiegeln die baumreiche Umgebung wider, in der sie aufgenommen wurden. Inmitten von heulendem Feedback und eisigem Knirschen findet man überraschend zarte Momente: eine Feldaufnahme von plätscherndem Wasser im Hintergrund, Klavierzwischenspiele, die eine gedämpfte, feierliche Stimmung erzeugen. Dabei erreicht das Duo neue Höhen telepathischer Intensität, während es Musik formt, die die belebende, erdige Luft des pazifischen Nordwestens atmet. Visuell wird das Album von zwei Gemälden des verstorbenen amerikanischen Künstlers Mark Rothko eingerahmt. Die Liner Notes stammen vom preisgekrönten britischen Schriftsteller Robert Macfarlane, der für seine Werke über Landschaft und die Beziehung zwischen Mensch und Natur bekannt ist. Durch die Arbeit der Band, Macfarlane und Rothko verbinden sich Klang, Wort und Bild zu einem umfassenden Erlebnis, das unbestreitbar ganz und gar SUNN O))) ist.

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world.

Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths.

Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

Das zweite Album des Duos aus Denver, Colorado! Shores of Scorpio fordert Sie nicht nur zum Zuhören auf - es fordert Sie dazu auf, sich mit dem auseinanderzusetzen, was Sie zu wissen glaubten. Das mit Spannung erwartete zweite Album des Duos Volores aus Colorado - Shelby und Nathen Maxwell (Bassist von Flogging Molly) - ist ein sehr persönliches Konzeptalbum, das Shelbys Entdeckung nachzeichnet, dass ihr leiblicher Vater nicht der Mann war, für den sie ihn gehalten hatte. Das Album wurde im legendären Sonic Ranch aufgenommen und markiert eine mutige emotionale und klangliche Weiterentwicklung der Band.

The sibling duo behind the music on Graceful Degradation — organ and drums, nothing more, nothing less — carve out a sound that feels unmistakably organic in a world drifting steadily toward the synthetic. Their interplay is entirely live, subtle in its details yet dynamic in its momentum, built on the kind of instinctive communication only brothers can share.
The music is fully instrumental, unfolding in a borderland where dreamy retro pop dissolves into the hazy textures of shoegaze and the unruly pulse of noisy, electronic leaning jazz. It’s a sonic world that feels both familiar and elusive, nostalgic yet inherently restless. Melodies shimmer and blur, rhythms swell and contract, and the space between the notes becomes as expressive as the notes themselves.
What emerges is a sound that resists easy categorization: warm but unpredictable, intimate yet expansive, grounded in the physicality of two musicians performing in real time. The organ breathes like a living organism, shifting from soft focus ambience to swirling, saturated harmonics, while the drums move with a fluid, human elasticity — sometimes whisper quiet, sometimes erupting with raw, kinetic force.
In this in between terrain, the duo has always found its identity and its freedom. Their music doesn’t chase perfection; it chases presence. It embraces imperfection, celebrates spontaneity, and insists on staying alive in a landscape where so much is becoming weightless and automated.
This is instrumental music with a pulse: subtle, dynamic, and unmistakably human.

Wir denken gerne, dass unser Leben zu Geschichten geformt werden kann - klare Bögen, verständliche Bedeutungen, aber das Leben lässt sich nicht in Schubladen stecken. Stattdessen geht es unverblümt und ohne Entschuldigung weiter, ohne Rücksicht auf unser Ordnungsgefühl. El Ten Elevens ,Nowhere Faster", das 16. Album des Duos, entstand in diesem Unbehagen. In acht Tracks geht es nicht nur um das Nichts, sondern auch um Geschwindigkeit - diese seltsame Dringlichkeit, die uns vorantreibt, auch wenn das Ziel unklar bleibt. Das 33-minütige Album verlangsamt sich gerade so lange, um die schwierigen Fragen zu stellen: Wovor laufen wir weg und was glauben wir, überholen zu können? ,Nowhere Faster" entstand während der längsten Pause, die Kristian Dunn und Tim Fogarty in ihren 23 gemeinsamen Jahren von Tourneen und Aufnahmen gemacht haben, obwohl ,Pause" eigentlich nicht ganz richtig ist. Dunn ist bekannt dafür, dass er immer kreativ am Werk ist, und das hat er auch hier nicht aufgegeben. Stattdessen fing er an, nicht nur für einen, sondern für zwei Schlagzeuger zu schreiben, was Fogarty vor eine der größten Herausforderungen seiner Karriere stellte. Das Album ist auch eine Premiere für die Band, da es durchgehend echte Streicher und Klavier einbindet und damit die Klangpalette eines ihrer vielschichtigsten Werke noch erweitert. Nowhere Faster ist kein Rückzug in Nostalgie. El Ten Eleven setzt weiterhin auf Risiko und Neuerfindung. Das Album konzentriert sich weiterhin auf Fogartys treibendes Schlagzeugspiel und Dunn's bassgetriebene Experimente: Die ersten vier Tracks (,Seite A") zeichnen sich durch E-Bass aus, während die zweite Hälfte (,Seite B") zu akustischem Bass wechselt, der durch Pedale verarbeitet wird und so die emotionale Schwere des Albums subtil verändert. Letztendlich ist ,Nowhere Faster" ein Album über das Abrechnen - über Zeit, Ausdauer und die Ungewissheit, wie lange eine Band oder ein Leben dauern kann. Wir alle tasten uns an die Endlichkeit heran. Die Frage ist nicht, ob wir dort ankommen, sondern was wir auf dem Weg dorthin hören wollen. Zu welcher Musik werden wir tanzen, wenn sich der Boden unter uns zu verschieben beginnt? Wenn schon nichts anderes, dann vielleicht zu etwas, das wie ,Nowhere Faster" klingt.

Pariah’s cult debut re-issued! “The Kindred” brings you pure old school Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. Satan’s evolution for the time being came to an end here with this band, Pariah, in 1988. What Satan were going for with “Suspended Sentence”, could definitely be seen as a hint to the direction they would take as Pariah. That raspy, ill-tempered, aggressive Michael Jackson (indeed) is still here on vocals and these guys really wanted to tear things apart with this album. The main lineup here is entirely the same from Satan and Blind Fury (vocalists aside).

Simply put, one could easily say they took “Suspended Sentence”’s interesting idea of “NWOBHM meets Thrash Metal” and basically focused on being even more aggressive this time. We might be throwing out the obvious here again, but if you are new to Pariah or perhaps Satan, familiarize yourself with the fact that guitarists Russ Tippins and Steve Ramsey are truly an insane duo. For the most part with “The Kindred” their guitar work is pretty thrashy and extremely melodic. Then out of nowhere those classic NWOBHM solo’s, dual harmonies, and majestic melodies come into play all over the place and they manage to make it work incredibly well in between the thrashy antics. The production and mix seems to be an improvement over “Suspended Sentence” and here the guitars tend to have more of a sharper edge, Jackson’s vocals are constantly in the clear and never overpowered by anything else, and overall there is a tougher vibe surrounding this.

Everything here is pretty damn heavy. While Tippins and Ramsey are really out there in a realm of their own, there’s great performances again by Graeme English on bass and Sean Taylor on drums. Overall you’ve got a whole package of virtuous musicians here that really mastered the beauty of balance. All in all “The Kindred” goes all the way with every track being fast and aggressive. Satan and Pariah are all typically made up of the same core members and definitely created some timeless and unique Heavy Metal.

Nora Steiner und Madlaina Pollina malen das Bild einer Welt, die wir schon lange nicht mehr so eindrücklich und reflektiert wahrgenommen haben. Aufbruch, Licht und Schatten und die Bedrängnis der Gegenwart, ausgedrückt in bezauberndem Indie-Folk-Pop, der Zähne zeigt und enorme Dynamik entwickelt. Mal erinnert ihr zweistimmiger Gesang an First Aid Kit, ihre kompositorische Zugänglichkeit lässt an den perlenden Pop von Boy denken, dann wieder geleitet uns das Duo an düstere Abgründe, wie sie auch Emily Jane White beschreibt. Allerdings sind dies nur ungefähre Orientierungspunkte. Dass die beiden aus der Schweiz kommen, ist grundlegend für deren Debütalbum "Cheers", denn "Cheers" heißt nicht nur Prost, "Cheers" kann ein Anfang und ein Ende sein, eine Begrüßung und auch ein Abschied. Dabei spielen Steiner & Madlaina gekonnt mit Ambivalenzen. Mal fließen ihre Songs lieblich daher, dann türmen sich die Instrumente walzenartig auf. Durch die analogen Sounds und teils surfigen Gitarrenklänge gewinnt "Cheers" an Wärme und transportiert einen unterschwelligen 60er-Jahre-Charme. Im Zentrum des Ganzen stehen aber immer die Stimmen von Steiner & Madlaina, die so perfekt harmonieren, dass man die Vertrautheit und langjährige Freundschaft der beiden herauszuhören meint.

HYPER GAL are restless. Since 2019, Kansai’s minimalist duo has been in persistent, perpetual motion.

In January of 2024, SKiN GRAFT Records introduced HYPER GAL to western audiences, giving the previously self-released album “Pure” a worldwide release. It was followed by “After Image”; a new full-length record; in September of that same year. In short order HYPER GAL left Japan to embark on a month-long European tour, performing at festivals such as Left of the Dial in Rotterdam and Le Guess Who? in Utrecht.

Consisting of Koharu Ishida (vocals) and Kurumi Kadoya (drums), HYPER GAL craft a sound all their own, characterized by avant-garde rhythms, looping landscapes, and hypnotic vocals. Their music resists traditional genre boundaries to carve out a truly singular sonic space.

With their fourth album “Our Hyper”, HYPER GAL thrust their sound into a deeper, harder core. Songs unfold into surprising shapes, embracing shadowy turns emboldened by a heavier low-end, while unearthing sharp takes on Japan’s harsh noise roots. The drums have grown even more acrobatic and unorthodox, while the vocals take on new colors, shifting from mesmerizing repetition to melodic, pop-tinged expression.

The album’s artwork is no less adventurous and features masks created by contemporary artist Tokiyoshi Akina and photographed in the band’s own hands, signaling resistance to the performative dualities of social media and a commitment to authenticity.
Despite the lean, unadorned two-piece setup, HYPER GAL’s music attains an intense and unmistakable presence - an unwavering momentum driven by an unrelenting intent. “Our Hyper” is HYPER GAL amplified.

"With each release they appear as mirage sculptors, using simple tools (drums, keyboards, vocals) in craft of multi-genre spanning work which only becomes more captivating the simpler their execution becomes...”
– MYSTIFICATION

Some years ago, Kjell Bjørgeengen and Keith Rowe attempted to convert video signals into sound by setting up Rowe’s pickups next to an old CRT monitor, turning its magnetic field into a sound generator. Rowe further developed the system with David Jones at Alfred University, slimming down the setup using a copper coil, a circuit board, a video input, and a telephone pickup. Jones named it the »Flood Coil«, and it’s that instrument you can see on the album’s front cover and that lies at the core of these recordings, made without any physical live input from the artists themselves. In essence, it’s generative music in its purest form.

Bjørgeengen’s video feed is generated by oscillators, then routed into Marhaug’s pedals and then back into the Flood Coil, so any visual shifts alter the sound, and any modification to the sound changes the video. The duo have played this setup live many times, but for this studio version they left the system to do its thing without any intervention for two minutes at a time before moving onto the next idea. They recorded hours and hours using this process and then selected 18 highlights for this album, extracting harsh noise, power electronics, lulling feedback drone, and peculiar rhythmic snippets to show the scope of their technique.

A wall of growling, hi-octane Pulse Demon-style noise opens the set, gradually exposing us to more asymmetric textures, shifting through unstable repetitions that transform Merzbow’s metal-inspired screams into »Aaltopiiri«-era rhythmic noise. It’s remarkable, actually, how much Marhaug and Bjørgeengen can squeeze from the system, chancing on shivering, lower-case chugs and pops, galloping drums, soundsystem subs, and grinding blast beats that sound like Napalm Death’s »Scum« piped through a broken amp stack. It ain’t pretty, but noise/industrial freaks will revel in the fierce delights inside.

ZENA, the contemporary ethio-jazz duo from London comprised of producer, keyboardist

and synth player Yohan Kebede and bassist/producer Menelik, have announced the forthcoming release of their debut EP ‘TEMESGEN’; is a six-track aural odyssey that balances uncompromising experimentation with a deep sense of home, comfort, and exploration. In accordance with the duo’s mission, the project is seeking to redefine and reimagine Ethiopian music for a new generation.

Speaking on the inspiration behind the EP’s title, Yohan said: “‘TEMESGEN’ means “Thank God” in Amharic, and for me, I never heard my mother receive good news without saying it aloud. After the first couple gigs we did as ZENA, we saw how people reacted to our music and how it resonated with them. It spurred in us a feeling of overwhelming gratitude, after which the EP kind of named itself”

Born out of a mutual love and respect for the music of their shared Ethiopian heritage, ZENA are charting a new endeavour where Ethiopian musical traditions meet the future. Building upon the roots and foundations laid by legendary Ethiopian musicians Haliu Mergia, Alemayehu Eshete and Mulatu Astatke, ZENA fuses the haunting spirituality and earthiness of the ethio-jazz tradition with a modernity, sensuality and sense of disruption that is distinctly London.

Following three sold-out London headline shows, plus appearances at We Out Here Festival and on NTS Radio, ZENA arrive on Brownswood Recordings with a bold debut that’s equally at home across jazz-minded selectors and leftfield crate-diggers. The duo’s momentum is fuelled by Yohan Kebede’s landmark year with Kokoroko; from the release of Tuff Times Never Last to an NPR Tiny Desk, a North American tour, and their biggest headline show yet at O2 Academy Brixton, alongside Menelik’s quietly formidable reputation in London’s inner circle, shaped by time on the road and in the studio with Muva Of Earth and Bill Laurance.






d B1 IT'S YOU (ANTE NEH) ft. Meron T




d B1 IT'S YOU (ANTE NEH) ft. Meron T




[d] B1 IT'S YOU (ANTE NEH) [ft. Meron T]

Andy Riley and Laurence Ritchie are Drop Music accomplices; the label is a natural outgrowth of yesterday's Smokescreen Soundsystem, one of the oldest and best-respected UK crews to endorse (sound-) systems thinking. In case you don't know, remember this: they were early 90s stanchions of pressure-dropping UK house heft. This rare new reissue hears their hugely in-demand classic 'Party Criminals' return to fully swung, gatecrashing mode. And boy, weren't they just. Their fourth ever Drop drop, it first surfaced in 1999 and turned instant heads for its crystalline blue inners and jacking, organic sound, not to mention a cameo from fellow duo Freaked on the A2's 'Rhythm By Nature'. But our favourite has to be 'Make Me Feel' with its soft-attack hi-hats, not tapping, more fizzing like metal leaf against the ears.

Xylitol, aka producer and DJ Catherine Backhouse, shifts up the refinement and musical breadth for her second album Blumenfantasie, the follow-up to her Planet Mu debut Anemones.
With Blumenfantasie, Xylitol wanted “to make space and for the music to float and propel at once”, finding routes through the pointillistic figures, cascading synths and the meditative stillness of kosmische musik and bolder breakbeat programming. She reaches this delicate balance through careful subtraction, hoping “to convey a sense of intimacy and sadness but without sentimentality” which she manages with a feel and sound that's raw and intuitive.

Blumenfantasie rolls through detailed jungle workouts that flutter and bleep, through beatless ambience, taking a rare dip below 160 bpm for the elegiac Mirjana, the album’s most explicit nod to Krautrock with a drum break chopped up from Amon Duul II’s anthemic ‘Archangel’s Thunderbird’, through to Halo, a bare bones grime rhythm that calls to mind the missing link between industrial pioneers Nurse With Wound and Wiley's Eskibeat.

Catherine cast her net to draw in experimental audiovisual duo Sculpture and Reading based post-rock band The Leaf Library as collaborators, pulling the former’s whirling eddies of musique concrète into a slice of sublime aquatic jungle, and the latter’s radiophonic folksong into a dark and disorientating breakbeat workout equally indebted to Source Direct as to Broadcast.
Blumenfantasie moves with a confident, self-effacing fluidity which has been informed by DJ Bunnyhausen’s more regular DJ gigs. She speculates ‘if this album feels more cohesive than its predecessor it's likely because I've been DJing a lot more, with Worthing Techno Militia, with central and eastern european electronica collective Slav to the Rhythm, as well as being part of Italo Disco crew Flex. Moving between these zones seemed to open up hidden pathways between the disparate musical trajectories they represent.'
While Anemones contrasted the rough and the delicate, its successor is an album built for the head, hips and heart, with painterly sounds and a sense of intimacy that encourages deep listening while keeping its eyes on the strobelight and its feet on the dancefloor.

Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.

Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.

Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.

Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.

Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.

Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.

On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.

The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.

After delivering a killer track on our Diffraction EP compilation and a series of highlighted projects on Hiver Discs, Iro Aka returns to Polychrome Audio with club-ready 4-tracker Dimensions. We are really proud to release the music of friends who create such quality electronic music. On the A side, Dimensions and Direction 0 original mixes bring a driving and bleepy techno sound shaped by the duo’s characteristic psychedelic design. The B side is a strictly remix affair: Human Space Machine turns Dimensions into deeper techno territory while French duo Atomic Moog presents a slow-burning downtempo take on Direction 0 for early or late into the night. We hope you enjoy this record as much as we do!

Fides Records continues its 10-year anniversary journey with X5. This instalment widens the emotional spectrum while staying locked to the club: dub-soaked pressure, sunrise euphoria, cinematic tension, and leftfield elegance: six tracks that underline the label’s taste for both functionality and narrative depth.

Side A opens with Jon Hester’s “Oblique”, a timeless cut where dubby undertones meet crisp percussion, crowned by a high-pitched saturated motif that results warm, powerful, and sharply functional. “Caballo Azul (Z.I.P.P.O Rework)” follows, reshaping Franzizca’s original through Z.I.P.P.O’s lens into a dub-infused, precise reinterpretation, layered with meticulous sound design and understated force. Closing the side, Pink Concrete’s “Now We Are” keeps the emotional momentum alive with euphoric tones and introspective energy that feel built for sunrise closings.

Flipping to Side B, Tal Fussman’s “Ghost” adds cinematic weight, driven by an organ-inspired chord progression and dynamic percussion showing his bold, colorful, and razor-precise creative process. Aasthma is the project of Swedish heavyweights Peder Mannerfelt and Pär Grindvik and land on FIDES with “The Love Bees”, a genre-defying anthem where disco and house flair shine through a peak-time techno skeleton. The record closes with Hiver’s “Restless”, an IDM-infused finale rich in harmonic complexity and breaky elegance, perfectly capturing the Milan-based duo’s distinctive, emotionally charged signature

LA-based producer Real Bad Man and LA musician Genevieve Artadi announce their new collaborative album Everything Is Under Control, out October 3rd via the producer’s own Real Bad Man Records. Alongside the announcement, the duo are sharing two new singles from the forthcoming album, “Don’t Gotta Think About U” and “Little Claws”. The former is an electro pop banger that propels Artadi’s intoxicating vocals to the forefront and arrives with an accompanying visual. With Everything Is Under Control, Real Bad Man is proving his versatility as a producer, crafting intricate and lively electronic-forward foundations for an old friend in Genevieve to explore an eclectic, funky approach to her vocals.

Speaking about the single, Artadi says, "'Don’t Gotta Think About U' is about a person celebrating the explosion of her most recent unhealthy romantic relationship. Her spitefulness and delusion of freedom indicate she’s still inside the pattern she hasn’t yet realized she keeps signing herself up for. The sound is melancholic pop, the thread that has always tied Adam and me together despite our musical differences."

"I love juxtaposing dense drums and a very pretty voice," Real Bad Man says of collaborating with Artadi. "That’s what 'Don’t Wanna Think About U' is. We’re also trying to make something catchy at the same time, that’s what I’ve always been drawn to musically is blending genres and moods and get them to work together. As well as pulling Genevieve away from what she does with Knower and her solo stuff.

Real Bad Man’s collaboration with Artadi is a radical shift in approach for the producer, whose previous full-length projects this year were rooted in the distinct strain of underground hip-hop that he’s amassed an extensive catalog in. Everything Is Under Control marks an entirely different, and unpredictable, sonic approach for the duo, embracing experimentation and synth-led electronica that’s reminiscent of Artadi’s work as part with Pollyn (her former band with Adam/Real Bad Man) as well as current duo KNOWER with Louis Cole. Real Bad Man’s latest project extends his prolific run of collaborations this year, embarking in a new genre and sound entirely after releasing full-length projects with ZelooperZ (Dear Psilocybin), Boldly James (Conversational Pieces) and Willie The Kid (Midnight) in the first half of 2025.

Known for her complex, yet playful writing style, Genevieve Artadi has made a name for herself through four solo albums that stretch the gambit of jazz, dream pop and dance music. The last three albums were released on iconic label Brainfeeder Records and the fourth (Another Leaf) was made as part of her being a composer-in-residence with Sweden’s Norrbotten Big Band. She’s also been an accomplished collaborator with her bands Expensive Magnets, Pollyn and KNOWER, and performing and recording with the likes of Thundercat and Snarky Puppy.

Check out “Don’t Gotta Think About U” and “Little Claws” above, see below for more details on Everything Is Under Control and stay tuned for more from Real Bad Man coming soon.

DOODSESKADER clearly haven’t had enough of redefining boundaries – they’ve only just gotten started. Tim De Gieter and Sigfried Burroughs return on April 3rd, 2026 with their third full-length album, The Change Is Me, a rollercoaster that can only be described as the unstable lovechild between witch house, hip-hop, industrial dream pop, and stadium rock that can’t decide if it wants to watch the world burn or shout from the rooftops that we need to save it. Their combination of grungy 90s melodies with distorted synths, sludgy bass, hard tuned vocals, rapping, singing, and explosions of undiluted rage at the current state of the world leave you wondering just exactly what it was you smoked last night, and if it was too much or not enough. The Change Is Me is an album that grabs you by the arm and asks if you’re ready to go on a grand adventure, then pulls you into its chaos before you can say “yes” or “no.”

Tim and Sigfried aren’t just breaking the boundaries between genres; they’re breaking out of their own Year cycle, a path they had laid out for themselves at the band’s inception in 2020. Up until now, the duo had set out to document their “journey to getting better” through writing one album each year: Year Zero (2020), Year One (2022), and most recently Year Two (2024). After spending eight months throughout 2024 and 2025 writing, recording, producing and mixing Year Three, the band scrapped the finished record entirely. Playing shows while simultaneously navigating the process of mixing Year Three created a sort of disconnect – the people that they were when they wrote that record and the people that playing shows made them become were no longer one and the same. “We’re people with faults and strengths, and we realized we needed to accept it. That’s equal parts bleak and liberating. If you’re so focused on self-improvement, you can’t even applaud yourself for how far you’ve come,” the band explains. “This project is meant to be a document of us and of the human condition, not a self-improvement handbook designed to keep us all stuck on what may or may not have happened to us or because of us in the past.”

DOODSESKADER chose instead to embark anew on a week-long creative journey in Tim’s own Much Luv Studio with one goal in mind: to make an album that captures who they are right now. Finally writing everything together in the same room for the first time in years, the process of bringing "The Change Is Me" to life was captured by Diana Lungu in their latest documentary, "Now I Know You See Me", out December 2nd, 2025.

"The Change Is Me" marks the beginning of DOODSESKADER’s shift into a more positive era, both musically and conceptually. Over the course of the 40-minute record we hear the two friends unite in a fight against a world that grows more and more disappointing, a concept made crystal clear in tracks like “Celebrity Culture Simp Farm,” “It Keeps On Stinging,” and of course the album’s epic closer “Suffering In Technicolor.” While their previous albums saw them trying to outrun their pasts and arrive at a better version of themselves, here the search for some external or internal revelation that will “make them better” is no more. It’s been replaced by the realization that change isn’t something we force: it’s gradual, and more importantly, it’s something that’s already there – we just need to reach out and accept it.

The band’s live appearances over the last several years have been instrumental in shaping their ideology. On stage is where the duo find connection; not only with the audience, but also with each other. Their sold-out release shows at Ancienne Belgique (2022) and VierNulVier (2024) have proven that they are one of Belgium’s must-see acts. Abroad, their energy has translated into a month-long EU/UK tour with French band Alcest in 2024, as well as appearances at festivals such as Roadburn Festival (NL), Eurosonic (NL), Hellfest (FR), Mystic Fest (PL), Jera On Air (NL), ArcTanGent (UK), Fluff Fest (CZ) and more.

"The Change Is Me" is out April 3rd, 2026 on DOODSESKADER’s own label, 45 Records.