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Die Adult-Punks von DEBT RAG beweisen einmal mehr das explosive Potenzial gemeinschaftlicher Zusammenarbeit. ,It Is Clear What's Going On" gewährt uns einen Einblick in ihr gemeinsames Gedankengut, das auf Band als ein pulsierendes, funkelndes Ganzes festgehalten ist. Diese Platte anzuhören ist, als würde man durch das Schlüsselloch in den Proberaum spähen und auf ein Feuerwerk aus Farben und Experimenten stoßen, gespickt mit schallendem Gelächter. DEBT RAG lachen - nein, nicht über dich, aber auch nicht mit dir. DEBT RAG kümmern sich nur um DEBT RAG und den freudigen Lärm, der entsteht, wenn man mit seinen kreativsten Mitstreitern Musik macht. Diese Songs bergen Möglichkeiten, und zwar nicht im Abstrakten. Was ist der Tonumfang eines einzelnen Beckens? Wie viele verschiedene Lautäußerungen können drei Menschen hervorbringen? Was ist das emotionale Potenzial einer Trompete? DEBT RAG stellt diese Fragen und gibt gleichzeitig die Antworten. Ihre Musik ist weitreichend, völlig frei, aber niemals selbstverliebt. Ob sie nun die langjährige Tradition des Trios mit Anti-Gesellschafts-Hymnen (,Gary's World", ,Syzygy") fortsetzen oder die Überreste einer Bandprobe collagieren (,Drumbo 2", ,Smartest Musicians") - es sind sorgfältige Kompositionen mit einer spannenden Logik, die sie selbst erfunden haben. Jeder Song ist eine kleine Welt, resonant, messerscharf, mit absoluter Klarheit der Vision. DEBT RAG ist, wie DEBT RAG eben ist. Wir könnten alle das eine oder andere davon lernen. - Grace Ambrose

,Enigma" ist das zweite Studioalbum von Kira Roessler (Black Flag, dos). Nach ihrem Solo-Debüt von 2021 baut das Album ihren minimalistischen, bassbetonten Sound weiter aus und verbindet karge Arrangements mit einer zurückhaltenden emotionalen Intensität. Co-produziert mit ihrem Bruder Paul (Screamers) und mit Backing-Vocals von Petra Haden entfaltet sich ,Enigma" mit einer ruhigen Präzision, die Kiras einzigartige Stimme und ihre kompositorische Zurückhaltung hervorhebt.

In Ensenada, Mexiko, wo der Horizont des Pazifiks eine klare, unveränderliche Linie zieht, nahmen HOLY WAVE ihr neues Album "i'm DADA" auf - ein Werk, das für die Band weitläufig und neu fokussiert wirkt. Der Schritt außerhalb ihrer Heimat USA war weniger ein Rückzug als vielmehr ein Perspektivwechsel, der Abstand schuf, um einen neuen Sound zu erkennen, der sich langsam unter ihnen herausgebildet hatte. "i'm DADA" offenbarte schnell seinen Charakter: treibender, offener Underground-Lofi-Rock und ihr bisher strukturell durchdachtestes Werk. Durch die Zusammenarbeit mit dem experimentellen Duo Lorelle Meets the Obsolete in deren Studio floss das Gemeinschaftsgefühl in das Album ein, obwohl dessen emotionaler Kern bereits in den monatelangen Vorbereitungen entstanden war. Die Hälfte von HOLY WAVE ist mexikanischer Herkunft und hat ihre Wurzeln in der Grenzregion um El Paso, sodass sich die Aufnahmen in Ensenada intuitiv und entspannt anfühlten. Die Songs spiegelten Gespräche über Vaterschaft und Partnerschaft, Trennungen und Entfremdung, die beunruhigende Beschleunigung der KI und darüber wider, was es bedeutet, präsent und prinzipientreu zu bleiben, während die Welt unvorhersehbar voranschreitet. Diese Spannung wird nicht explizit hervorgehoben, sondern geht in der Musik auf. Die Band dehnt ihr bekanntes Gespür für eine schwindelerregende Atmosphäre zu etwas Schlankerem und Direkterem aus. Es sind mehr Loops und Samples eingewoben als zuvor, Grooves, die konstruiert, zyklisch und hypnotisch wirken. Manche Tracks driften in Richtung der elastischen Weite des Dub; andere pulsieren mit filmischer Downtempo-Schwere. Das gesamte Album ist von einem frischen Schwung geprägt, von Rhythmen, die vorantreiben, von traumgetränkten Texturen, Fuzz-Gitarren und sanft schwebenden Vocals. "dewey's dirge" entfaltet sich geduldig: Verschwommene Gitarrenklänge erblühen, während darunter ein gmotorischer Puls stetig voranschreitet. Der Gesang bleibt im Hintergrund, breitet sich eher aus, als dass er explodiert. Es wirkt weitläufig und nachdenklich, eine Hymne des Abklingens, die Drama gegen Eintauchen eintauscht. "i'm DADA" hingegen findet seinen Rhythmus in einem schlanken, kreisenden Groove. Eine straffe Drum-Figur, eine Basslinie und eine abgehackte Gitarrenphrase wiederholen sich, bis sie lebendig wirken. Textlich kreist der Song um die komplizierte Hingabe ein Eltern-Teil zu sein. "s33.u.in/HAL" klingt wie eine Übertragung, die mitten in der Luft abgefangen wurde, leicht mechanisch, immersiv, ohne sich jemals vollständig aufzulösen, und fängt das zentrale Gefühl des Albums ein: den Versuch, trotz Störgeräuschen klar zu kommunizieren. Während frühere Alben von HOLY WAVE oft durch ein Gefühl des Dahintreibens geprägt waren, wirkt diese Platte nun neu geerdet. Das Album verzichtet nicht auf das Eintauchen in die Musik, sondern zügelt es. Die Grooves setzen sich fest, Wiederholungen gewinnen an Gewicht, und die Musik bleibt trotz ihrer schwereren Themen gefasst und unerschütterlich. Was dabei entsteht, ist keine Neuerfindung, sondern eine Schärfung: Holy Wave klingen weniger wie eine Band, die durch die Atmosphäre treibt, sondern eher wie eine, die diese inmitten des Chaos bewusst gestaltet.

After appearing on Kulture Galerie Volume 4 alongise Uncanny Valley and fellow North Marcedonian Herzel, L.O.V.D joins the Digital Artefacts series with 'Dive'.

L.O.V.D is a doctor by day, synth geek by night, set between North Macedonia and Berlin. The title track of this new EP on Kulture Galerie was being picked for a mixed comp by Voltage Lab and his sound is started to being recognised internationally with appearances at many music festivals with his live set as well as international hotspots like Kiosk Radio.

This brand new 4 tracker is a personal journey that Ljuben describes like this:

'Dive is a collection of songs that embody my perception of the complex emotions experienced between two people in love. Sometimes beautiful, sometimes sad, always heavily emotionally charged, never perfect.'

40 years after its creation, MOß GARTEN – Sekvensstyrd 1981–1986 arrives as a compelling double vinyl LP, diving deep into the early Swedish DIY electronic scene. Inspired by pioneers such as Kraftwerk, Cabaret Voltaire, John Foxx, and The Human League, Mikael Isaksson developed a distinct sound situated between minimal electronics, industrial, synth wave, and experimental sound art. At its core was the sequencer: pulsing, programmed structures forming the backbone of dense, often hypnotic compositions.

Working initially with his cousin Jan or friend Thomas and later evolving into a largely one-man project, recordings were made on cassette tapes and in improvised studios—often under time pressure, frequently recorded and mixed within just a few hours. These very limitations gave the tracks their raw and immediate character. Pieces like “Moderna Kvinnor,” “Soon Soon,” “Ensam,” and “Music From The Border” exemplify the uncompromising, sequence-driven (“sekvensstyrd”) approach that defined this era.

Using an arsenal of analog synthesizers, early sequencers, and drum machines, the project created music that feels at once cold, mechanical, and deeply emotional. Sekvenssytrd 1981–1986 is more than a collection of archival recordings—it is a vivid document of a time when electronic music was conceived as a radical and deeply personal form of expression.

Mastered by Martin Bowes. Graphic design by Steve Lippert.

2LP features: limited to approx. 200 copies, solid moss green vinyl, gatefold outer sleeve gloss lamination, polylined inner sleeves, hand-numbered silver foil paper insert with lyrics, download coupon)

Booker Stardrum und Evan Shornstein sind beide Künstler mit einer ganz eigenen Stimme. Als Schlagzeuger hat sich Booker den Ruf erarbeitet, einer der originellsten Groove-Drummer der experimentellen Jazzszene zu sein. Er verbindet sein melodisches Gespür mit perkussiven Instrumenten und schafft so einen ganz eigenen Sound. Evan Shornstein, alias Photay, hat sich eine Nische in der elektronischen Musikszene erobert, in der er sich sowohl als Meister der Synthesizer als auch des Schlagzeugs präsentiert. Wenn man die beiden zusammenbringt, erschaffen Booker und Evan eine explosive Welt aus Beats, Elektronik und Melodie. Ihre Musik wirkt frisch und doch vertraut, groovig und emotional.

"Adam Lambert’s new era carves a bold hybrid world, blending analogue grit with sleek electronic production. Distorted synths, live bass, electric guitar, and raw drums create a tactile yet futuristic soundscape where his voice soars and twists through dynamic melodies. Lyrically, the album explores longing, identity, and the tension between hope and cynicism; layered, symbolic, and emotionally charged. Dark, stylish, and intoxicating, it’s a strikingly elevated sonic evolution."

Scritti Polittis modernes Meisterwerk Cupid & Psyche 85 erscheint in einer neuen, liebevoll kuratierten Edition - eine Hommage an ein Album, das bis heute nichts von seiner Strahlkraft verloren hat. Die Deluxe-Version vereint die begehrte erweiterte Fassung des Albums mit ausgewählten Raritäten aus dem Bandarchiv und bietet so einen neuen, vielschichtigen Zugang zu diesem Klassiker. Zum ersten Mal überhaupt wird die ursprünglich für das damals revolutionäre CD-Format konzipierte 13-Track-Version aus dem Jahr 1985 auch auf Vinyl veröffentlicht. Die klangliche Aufbereitung übernahm Chris Athens - bekannt für seine Arbeit mit Künstlern wie Drake und den Beastie Boys - unter der Leitung von Frontmann Green Gartside. Ergänzt wird die Veröffentlichung durch drei bislang unveröffentlichte Stücke: Perfect Way (Version), Lover To Fall (12" Dance Mix) und Perfect Way (Perfect Way Mix). Diese Tracks öffnen ein Fenster in die kreative Werkstatt der Band und zeigen, wie selbstverständlich Scritti Politti Einflüsse jenseits der Indie-Wurzeln integrierten. Auch inhaltlich wird die Edition vertieft: Green Gartside und David Gamson, maßgeblich an der Entstehung des Albums beteiligt, steuern persönliche Linernotes bei, die Einblicke in den künstlerischen Prozess geben. Cupid & Psyche 85 gilt als visionär und stilprägend - ein Album, das Pop neu dachte. Mit seiner Mischung aus eingängigen Melodien, anspruchsvollen Arrangements und innovativer Studiotechnik überschritt es die Grenzen der damaligen Produktionsmöglichkeiten. Gleichzeitig nahm es Entwicklungen vorweg, die heute das Fundament moderner Pop- und Hip-Hop-Produktionen bilden. Wo bereits das Debüt Songs To Remember erste Pop-Akzente setzte, entfaltete sich Cupid & Psyche 85 in voller Farbigkeit: ein kunstvoll komponiertes Klangbild, das emotionale Tiefe mit technischer Raffinesse verbindet - und damit bis heute als eines der großen Statements in der Popgeschichte gilt.

French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis

French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis

Zum 20-jährigen Jubiläum von "The Greatest" erscheint das legendäre Album von Cat Power erstmals als pink farbene Vinyl-Edition - inklusive einer streng limitierten Neuauflage des ikonischen rosa Foliencovers. Eine Veröffentlichung, die nicht nur Sammlerherzen höherschlagen lässt, sondern auch die zeitlose Magie dieses außergewöhnlichen Albums neu aufleben lässt. Für die Aufnahmen kehrte Chan Marshall damals nach Memphis zurück - direkt an die Quelle des warmen, sinnlichen Hi-Records-Sounds der 70er-Jahre. Gemeinsam mit Soul-Legende Mabon "Teenie" Hodges, Gitarrist und kreativer Partner von Al Green, entstand ein Sound voller Tiefe, Gefühl und musikalischer Eleganz. Hodges, Mitautor von Klassikern wie "Love and Happiness" und "Take Me to the River", prägte mit seinem unverwechselbaren Gitarrenspiel das gesamte Album. Unterstützt wurde er von seinem Bruder Leroy "Flick" Hodges sowie weiteren Größen der legendären Memphis-Szene. Zusammen erschufen sie einen Klangkosmos aus samtigen Bläsern, funkigen Streicherarrangements, sanften Background-Vocals und tief verwurzeltem Southern Soul. Das Ergebnis ist ein Album, das sich jeder Zeitströmung entzieht und bis heute nichts von seiner emotionalen Kraft verloren hat. Songs wie "Willie" wirken zunächst schlicht, offenbaren jedoch bei jedem Hören neue Facetten. "Where Is My Love" klingt zugleich zerbrechlich und zeitlos - wie ein Lied, auf das Cat Power ihr ganzes Leben hingearbeitet hat. Mit "Living Proof" öffnet sich das Album schließlich in einen zurückhaltenden Gospel- und Country-Soul-Swing, der den ruhigen Momenten eine neue Intensität entgegensetzt. "The Greatest" ist weit mehr als nur ein Album - es ist eine musikalische Reise voller Melancholie, Wärme und Schönheit. Zwei Jahrzehnte nach seiner Veröffentlichung gilt es längst als moderner Klassiker und als eines der eindrucksvollsten Werke im außergewöhnlichen Schaffen von Cat Power.

2026 Repress

A (new) vinyl version for one of our favourite Mika Vainio (Pan Sonic) albums; originally recorded between 1999–2004 and issued on CD only under his revered Ø alias for Finland’s Sähkö Recordings in 2005.

»Kantamoinen« is perhaps the most intimately beautiful yet little-known LP in the Ø canon, bridging the gap between his classic ’90s minimal techno productions and the project’s subsequent turn to more ambient, kosmic, and dubwise dimensions in the coolly brilliant »Oleva« and »Konstellaatio« albums.

Dedicated to Mika’s grandma, Laina Vainio (1913–1991), and adorned with a cover image of her garden in Artjärvi, Finland, the 16-part 2LP is the closest you’ll get to a type of nostalgia in Mika’s catalogue.

Whilst recorded 1999–2004 at an early crest of his game-changing work with Pan Sonic, the album clearly manifests a quieter space for Mika to emote far more nuanced feels, from the wide-eyed vastness of »Galaxy« to a breathtaking »Sound Picture«, transitioning from Hans-Ulrich Obrist’s snippet of Oskar Sala into icy bliss, and the rosy warmth of »Summerland« clearly dedicated to his nan’s garden. The rest is better defined as ephemeral snapshots adding up to a broader picture, like a mind’s eye filling gaps in the memory from illusive vapours and sensations, generating all-time gems in the steepled choral synth voice of »In Wind«, or a sense of magic realism in the swaying organ of »Antenna-ant«, with the blooz folk wheeze of closer »To Home« that could feasibly score the most haunting moments of a Béla Tarr flick.

At once scathing and stirring, the sharp, insistent riffs go hand in hand with elegant melodies that never outstay their welcome. The aggression and poignancy is beautifully managed with plenty of variations provided to highlight those emotions at the right times. After experiencing the turmoil of life, the aching pain in the melodies is all too palpable. "No Plenitude Without Suffering" is a heartfelt, meticulously put together, pristinesounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.

Melchior Productions Ltd. returns to his own My King Is Light imprint with a brand-new 12″—this time alongside Romanian-Russian pianist-producer Mischa Blanos, one third of the acclaimed Amorf trio, Jupiter Tracks pt. 1 is a beautiful record, deep and emotional, as if beamed in from another world—yes, Jupiter.

Across “Push,” “First Eva,” and “Spirit Of 23,” the pair interlace meticulous programming and crystalline sound design into an ever-shifting strain of minimal house. Dispensing with overt drama, the EP zooms in on nuance: textures flicker between digital shimmer and tactile grit, while Melchior’s trademark restraint leaves ample space for Blanos’s melodic Midas touch to radiate quietly.

The scope, variety and ambition of Ebbb’s debut album Shallow Hits is clear from the off. “Come Alive” whirs into being quietly before morphing into a sun-kissed, radiant piece of calypso-esque electronic pop; the Latin-flavoured “Now You Know” feels destined to soundtrack sun-drenched festivals this summer; “Shallow Hits” is as deft and detailed as it is big, bold and euphoric; while the wonky yet propulsive charge of “Side On” sounds like a drum ‘n’ bass club and church choir combined. A fervent eclecticism and unpredictable restlessness underpins the album. Latterly the record dives into the moody technoid textures and multi-layered harmonies that characterised their debut EP All At Once - exemplified by ‘Youth’ and the closing track “I’m Not Enough” that lands an emotional gut punch to an album that is already littered with them. However there’s a remarkable coherence and identity that underpins the album. Ebbb are exploring far and wide, deep and vast, yet they do so via an approach that remains unmistakably them.

Damian’s Ghost materialises from the shadows on Astrophonica with another collection of outstanding, heartfelt, and authentically deep jungle music. Universalis showcases four tracks that further define what is fast becoming the unmistakable Damian’s Ghost sound: a perfect blend of rawness and attention to detail, underpinned by a constant focus on emotion and mood. No fanfare, no lyric videos—just music.

Fracture:
“Lots of people are making Jungle music, but only Damian’s Ghost makes Damian’s Ghost”

"It began somewhere between sleep and memory.
After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs.

What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely.

‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own."

Supported by the only man with a copy the one and only DJ Harvey, so you know what to expect.

The concept remains simple — extend what already works. With the second chapter of MAXI MAXIMAL, Leicht Matrose SIRS continues a DJ focused approach to reconstruction, taking timeless disco, synth pop and balearic moments and reshaping them into extended, more playable versions built for flow, space, and long-form mixing. This is not about rarity or obscurity, it’s about clarity. Not digging for forgotten gems here but refining familiar material into its most functional, immersive form. Each track is treated with a clear intention: to open up space, deepen the arrangement, and allow the original emotion to unfold over a longer timeline made for modern use, without losing its core feeling. you dig it .

LOWERCASE sits in the darker progressive lane — trance-informed, disciplined and hard-edged. Militant pacing with low-end intent, built on pressure and control: long blends, transitions, and that slow-burn momentum that holds the floor without raising its voice.

Progressive motion with a trance backbone — patient, driving, and engineered for fully dialled-in rooms. Three tracks. No excess. Straight function: cycle.
A1 return – A ripping progressive scorcher, primed for larger-floor impact and long-form hypnosis.
B1 cause – An emotional progger: two-tone movement harmonised into break that blooms just to drop back to stride.
B2 way – Rooted in dub culture, a deep trance exploration — spacious, weighty, and quietly consuming.
All tracks written and produced by Boris Salimkhan

[k] C3 | DJ Hooligan– Sueno Futuro (Wake Up And Dream) [pink Clouds Mix]

Ellen Allien, die Matriarchin der Berliner Techno-Szene, präsentiert im Juli 2026 ihr neuestes Album 'New Life' auf BPitch.
Das Album ist ein kraftvolles Statement für persönliche Autonomie, gemeinschaftliche Verantwortung und gegen die zerstörerischen Kräfte, die die Schönheit unseres Planeten bedrohen. Aufgenommen in den vergangenen Wintern in Berlin, Miami und Ibiza, greift das Album Themen wie Empowerment, Anarchie und kollektives Handeln auf; ein Aufruf, versagende Systeme abzubauen und gleichzeitig Regeneration, Wachstum und neue Hoffnung durch Selbstbestimmung zu begrüßen.
Mit ihrem charakteristischen, zukunftsweisenden Techno erkundet Ellen die Schönheit des Ozeans und den Einfluss des Menschen auf ihn. Dabei schafft sie Klanglandschaften, die darauf abzielen, auf den Tanzflächen zu vereinen und Gemeinschaft zu stiften, und so Licht in die Dunkelheit zu bringen. Ellens gesprochene Worte wirken wie Signale von einem anderen Planeten, und ihre unverwechselbare Stimme schafft ein jenseitiges Klangerlebnis. Das ist emotionale Rave-Musik, die Elemente aus Minimal, Darkwave und hypnotischer Euphorie zu einer pulsierenden Reise verwebt. Vielschichtige Klanglandschaften durchziehen das gesamte Album, in denen Vögel singen, Wellen brechen und Raumschiffe durch den Berliner Nachthimmel fliegen. Die Dunkelheit bietet Raum, die Schönheit der Welt zu erkunden, die von der Dämmerung bis zum Sonnenaufgang existiert.

Am 10.07.2026 veröffentlicht die legendäre Emo-Band "My Chemical Romance" ihr 15 Jahre altes Album "Danger Days: The True Lives of the Fabulous Killjoys" als Reissue.


Das Doppel-LP-Deluxe-Edition-Set von My Chemical Romances „Danger Days: The True Lives of the Fabulous Killjoys“ enthält ein remastertes Album sowie neun unveröffentlichte und seltene Bonustracks, darunter die „Mad Gear & Missile Kid“-EP, „Zero Percent“ und die Coverversion der Band von „Common People“. Diese Edition ist ab jetzt zum ersten Mal als physische Version erhältlich, gepresst auf „Green Sludge“-Vinyl (schlammgrünem Vinyl).

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

Seit etwas mehr als einem Jahrzehnt hat sich EXEK ganz leise zu einer der faszinierendsten Bands der Welt entwickelt, die sich von Album zu Album verändert und weiterentwickelt und sich nach und nach geöffnet hat, ohne jemals diese seltsame, unergründliche und insgesamt essentielle Eigenschaft zu verlieren, die sie so großartig gemacht hat - so EXEK-mäßig. Nun bringt die Post-Punk-Band aus Melbourne - Sänger und Chefarchitekt Albert Wolski, Gitarrist Jai Morris-Smith, Schlagzeuger Chris Stephenson, Synthesizer-Spezialist Andrew Brocchi, Trompeterin und Sängerin Valya YL Hooi und Bassist Ben Hepworth - ihr siebtes Album und erstes für DFA raus: ,Prove The Mountains Move". Es ist, wie Wolski sagt, ,ein bisschen epischer" als alles, was er bisher aufgenommen hat, ein üppiges und unverhohlen melodisches Set surrealistischer Popmusik, das sich in Widersprüchen suhlt. ,Dieses Album ist in seiner Machart experimentell", sagt Wolski, ,aber es klingt nicht unbedingt experimentell." Dafür gibt es einen guten Grund. Die Arbeit begann an einem kalten Nachmittag im Juni 2023, als Wolski und Stephenson sich in den Pelican Refill Studios in Melbourne trafen, um die Drums aufzunehmen - das erste, was sie immer machen. Danach ging Wolski alleine nach Hause und fing an, die aufgenommenen Beats und Breaks durchzugehen, wobei er sich von den Drum-Sounds zu Melodien und Basslines leiten ließ, Loops und Layers erstellte und so die Grundlage für ,Prove The Mountains Move" schuf. ,Ich fühle mich wohl dabei, alleine wie ein verrückter Wissenschaftler herumzutüfteln", sagt er. ,Ich habe es auch genossen, ohne klare Absicht auf Aufnahme zu drücken. Meistens führte mich das in eine interessante Richtung, die mein Bewusstsein wahrscheinlich nicht gesucht hätte." Und doch gelangte Wolski irgendwie zu seinem direktesten Werk seit Beginn des Projekts, neu inspiriert von der Klarheit und Prägnanz des Mainstream-Pop, der starken und unbestreitbaren Anziehungskraft einer einfachen Gesangsmelodie. Nachdem die berühmt-berüchtigten strengen COVID-Lockdowns in Melbourne beendet waren, wollte er einfach draußen bleiben. ,Die Arbeit an neuer Musik trat gegenüber dem Feiern mit Freunden in den Hintergrund", sagt er. ,Und diese Partys waren voller großer Hits als Soundtrack - Sachen, die ich selbst nicht wirklich hörte, Sachen, denen ich seit meiner Jugend nicht mehr begegnet war. Aber in den frühen Morgenstunden des Sonntags klingt ,Alive" von Pearl Jam, als würde man mit Gott sprechen. Genauso wie ,All I Wanna Do" von Sheryl Crow und ,Feel" von Robbie Williams. Krautrock und Dub waren immer noch in meiner DNA, aber die Musik, die ich zu machen begann, war vielleicht etwas unbeschwerter und vielleicht auch etwas emotionaler." Das heißt nicht, dass man hier Spuren von Eddie Vedder in Wolskis Gesang erwarten sollte, aber die Einsätze fühlen sich auf ihre eigene Weise ähnlich an - so klingt es, wenn EXEK wirklich alles geben. Nimm zum Beispiel die schwebenden Synthesizer des Openers ,Sidestepping" oder die gewaltigen Gitarren von ,Arriverderci Back Pain", die pyrotechnischen Klavierklänge von ,Don't Answer (When They Call)" oder die Bowie-artige Melancholie von ,You Have Been Blessed". Die Arrangements wirken offener, der Sound fokussierter. Es fällt nicht schwer, Wolski zu glauben, wenn er sagt, dass er viel Zeit damit verbracht hat, seine Mixe von ,Prove The Mountains Move" mit einigen der wichtigsten Alben, die je aufgenommen wurden, darunter ,Abbey Road", zu vergleichen. Aber alles ist relativ. Und textlich bleibt Wolski weiterhin verschlüsselt. ,Jeder Song ist eine Vignette in einem abstrakten Milieu, sei es ein experimentelles Chiropraktik-Geschäft am Flughafen oder spärlich bekleidete Kreaturen aus Staub in einem Food Court. Egal wie verrückt das auch sein mag, es gibt Themen und Motive auf dem gesamten Album, sowohl textlich als auch musikalisch, die sich in verschiedenen Songs widerspiegeln und aufeinander Bezug nehmen." Diese Dissonanz zwischen direkt und indirekt, glatt und strukturiert, schattig und glühend, verrückt und ausdruckslos ist die treibende Kraft im Herzen dieser Songs, seiner bisher besten.

Mit II Reworked öffnen Kiasmos - Olafur Arnalds und Janus Rasmussen - ihr gefeiertes Comeback-Album II für neue Perspektiven. Fünf handverlesene Künstler:innen interpretieren das Werk in voller Sequenz neu und formen eine schimmernde, traumartige Reise, die den Moment nach dem Dancefloor einfängt. Elektronische Experimente von Rachika Nayar & Nina Keith (Disiniblud) legen verborgene Emotionen frei, während die Isländer Kjartan Holm und Sin Fang die fragile Schönheit der Kompositionen betonen. Alex Somers verlangsamt und verfremdet mit analogen Methoden - für eindringliche, neue Tiefen.

Die US-Kultband veröffentlicht ihr viertes Album.

Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).

Mr Bongo are thrilled to have one of the leading lights in contemporary soul joining the label. Melbourne-based vocalist, musician, and songwriter Ella Thompson is an artist whose name is being championed by some of the best in the business. She’s been building a reputation as one to watch, with two standout releases on Hopestreet Recordings, Domino EP in 2023 and Ripple On The Wing LP in 2024, alongside a heavy touring schedule and a stacked list of support slots and collaborations.

For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.

Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.

‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.

The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.

Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise to Keep’ and ‘Change of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.

The follow up to 2022’s ‘Return to the Island’ LP is a new 6 track EP influenced heavily by the evocative powers of incense and a deep sense of escapism. The EP has a more organic sound palette than its predecessor, from both the use of samples and appearance of various guest musicians. Lead track ‘Morning Star’ features long standing collaborator Mike Burn (Udaberri Blues & Mama Capes) who adds his trademark liquid gold lead and rhythm guitar lines with live bass from Fernando Pulichino.

The guest on ‘Savanna’ is frequent Jack J collaborator Linda Fox, who provides emotive and melancholy sax over a Dub House backing track with a particularly dreamy chord progression. The EP features Instrumental Dubs of both tracks, alongside two other new productions, the 80s leaning ‘Hands Across the Sea’ and ‘Wah Fix’, which rounds off the more Dub influenced B side with a 125 BPM bouncy Dub House excursion.

In 2026 the Jura Soundsystem project enters its 10th year and is the creative musical outlet of Isle of Jura founder Kevin Griffiths. All tracks produced at IOJ HQ in Moana, Adelaide between 2022 and 2025 with support from the incense gods of Cedarwood, Jasmine and Sandalwood. The 12” is housed in a 3mm spine full sleeve designed by Bradley Pinkerton.

“Interstate” is the latest EP by Melchior Sultana, a six-track journey through deep house, soulful grooves, and atmospheric electronic textures. Released on his own label, Profound Sound Music, the project blends warm analog sounds, hypnotic rhythms, jazzy influences, and emotional melodies that reflect Sultana’s signature organic approach to house music. From the uplifting energy of “The Definition” and “Life Piano” to the reflective moods of “Cold Outside” and “Other Side,” Interstate captures the feeling of movement, introspection, and late-night escape. Rich in groove and musical depth, the EP delivers a timeless listening experience designed for both the dancefloor and immersive personal listening.

In Loving Memory of Thomas Thierry, aka Kartell

InnerFaces is the project Kartell was working on for summer 2025, just before he left us.


A return to his electronic and club roots, shaped by the more recent direction of Daybreak and Everything Is Here.



After completing the most defining work of his career with his first album, he felt the need to return to a more intuitive kind of music: guided by momentum, groove, and immediate emotion. This new chapter deeply excited him. He still had so much to explore, so much to share.



InnerFaces is also an introspective project. A look back toward childhood, spontaneity, and lightness. This sense of nostalgia has always run through his music, like an invitation to reconnect with who we truly are, deep down.

We chose to preserve the original demos to ensure that Kartell’s artistic vision remained untouched. With the exception of Katu’s contribution to their collaborative track Augustine’s Rave, it was important to keep the raw energy that shaped these compositions.



With his family’s blessing, we decided to make this project public so that Kartell’s music can continue to live on. InnerFaces remains true to his vision: free, vibrant, driven by groove and luminous melodies.
InnerFaces is a celebration of life, of Kartell, of you who supported him throughout his career.

Parisian label Chuwanaga announces the upcoming release of Inner Circle Vol. 1, the first installment in a series of house music releases bringing together artists from the label’s close circle. Available on limited 12" vinyl (300 copies) and digital.

The VA opens with “We All Got To Feel” by Argentine producer J. Koen (Nervous Records / Nite Grooves), a track that encapsulates the essence of deep house. Classy, colorful stabs, refined melodies, and a warm, funky bassline come together in a club-ready cut. It's exactly what you expect when you need a track that delivers — just drop it.

It is followed by “Sunny California” from French producer Kaffe Crème (Floors Records), an ode to the sun — both a celebration and a form of incantation recalling the spiritual energy of Ron Trent and Joe Claussell. The track builds toward a break filled with deep, jazz-inflected harmonies before returning with an electrifying melody carried by layered percussion, leading to an emotional climax.

On the flip side, “It’s A Feeling (House Music)” by the French duo Milk & Honey (Chuwanaga) draws clear inspiration from the Chicago lineage, in the vein of Boo Williams. A looping bassline, deep silky chords, and steady drums create a hypnotic, flowing texture with a myriad of ear candy. It's a feeling, it's a vibe!

The record closes with “The Gatekeeper” by French producers Saint-James (Chuwanaga) & KX9000 (Pont-Neuf Records), a track influenced by the London boogie sound and its broken beat scene. Fans of Dego and Kaidi Tatham will recognize its syncopated grooves and percussive depth, bridging house and broken beat aesthetics.

Danish quintet David Miilmann Group return with You Belong, their third album and a vibrant, uplifting statement built around guitarist David Miilmann"s distinctive slide guitar voice. Rooted in soul and blues but shaped within a genre-defying jazz context, the band brings a life-affirming energy to music that moves between groove, melody, and open improvisation with ease. Set for release on April Records on June 12th, 2026, You Belong centres on Miilmann"s approach to the guitar, drawing on the phrasing of singers like Curtis Mayfield, Freddie King and Aretha Franklin. His slide playing - developed as a way of emulating the human voice - sits at the core of the group"s sound, cutting through a warm, rhythmically grounded backdrop that blends jazz, rock, and Brazilian influences. At its core, the album captures a working band in motion. The five musicians move fluidly between composed material and looser, more exploratory sections, guided by close listening and a shared sense of direction. That chemistry comes into focus on "It"s Happening Again," a groove-led track steeped in a warm, 1970s-inspired production style. Built on a relaxed but propulsive feel, it captures the simple joy of time spent with close friends - familiar, unforced, and full of possibility. "The Day After" offers a more spacious counterpoint. Written as a reflection on those rare, quiet mornings following a meaningful moment - a concert, a celebration - it unfolds with a sense of ease and openness, led by Miilmann"s melodic slide guitar and supported by a restrained, attentive rhythm section. The band"s take on "My Favorite Things" reshapes the well-known material through their own ensemble sound, acknowledging the influence of John Coltrane while carving out a more textural, guitar-led approach. The album"s title, You Belong, points to the group"s broader outlook: an inclusive, community-driven approach to making music. That idea runs through both the compositions and the band"s dynamic - less about spotlighting individuals, more about building a collective sound. Since their debut Waiting for Myself (2021), David Miilmann Group have carved out a space with their emotionally direct, genre-fluid approach - earning two DMA Blues nominations, reaching the finals of the Jazz Competition, and receiving regular airplay on P8 Jazz. With You Belong, they refine that approach into something more defined: a warm, groove-driven sound shaped by song, feel, and the unmistakable voice of Miilmann"s slide guitar.

For fans of Dokken, Lynch Mob, and 80’s Metal! Dokken is one of the defining bands of the 1980s hard rock and heavy metal scene, known for blending melodic hooks with powerful guitar work and emotionally charged vocals.
Formed in Los Angeles in the late 1970s, the band was led by vocalist Don Dokken and featured the virtuosic guitar playing of George Lynch, alongside bassist Jeff Pilson and drummer Mick Brown. Dokken rose to prominence during the peak of the MTV era with a string of platinum-selling albums, including Breaking the Chains (1983), Tooth and Nail (1984), and Under Lock
and Key (1985) racking up sales of more than 10 million albums. Their sound struck a balance between radio friendly melodies and aggressive metal, producing hits like “Alone Again,” “In My Dreams,” and “It’s Not Love.” Their 1987 release Back for the Attack further cemented their legacy, showcasing both commercial success and musical complexity. Released in 1999, Erase the Slate marked a fresh chapter for Dokken, introducing Reb Beach (best known for Winger and later Whitesnake) as the band’s lead guitarist. Erase the Slate blends Dokken’s classic melodic metal roots with a more modern, late-'90s hard rock edge. Reb Beach brought a technically sharp yet fluid guitar style that differed from the flashier, more aggressive approach of former guitarist George Lynch. His playing added a polished, groove-oriented feel while still delivering strong solos and riffs. Remastered and Repackaged on 180g green smoke vinyl.

For some time now, followers of Field Medic have been piecing together clues about Floral Prince. The name has been mentioned in late night Twitter hints, secret YouTube leaks, teaser riddles, Instagram live sets, and standalone single drops. This unconventional approach paints a bigger picture for the 11-track project as a whole, set for release October 2nd from Run For Cover Records. Part mixtape, part album, part collection, part musical patchwork quilt, Floral Prince is the latest offering from Field Medic, aka the preeminent Bay Area freak folk artist Kevin Patrick Sullivan. It’s a reflection of his unique approach to songwriting and a creative drive that can’t be contained to the traditional album format. Field Medic’s songwriting rarely slows down; even after the release of his 2019 full-length fade into the dawn and the busy touring schedule that followed, Sullivan still found himself flush with new songs and ideas. As he attempted to earmark certain songs for his next release Sullivan began to chafe at the pressures of a follow-up album. Longing for the spontaneity of Field Medic’s earlier work, Sullivan found inspiration in what he calls the “full-time freestyle” mindset where he writes and records songs on the fly with a four-track, usually with a self-imposed limit of three takes. “This style lends itself to more off-the-cuff lyrics and recordings that communicate their point much clearer to my ears,” he explains. “It’s also fun.”

The process proved surprisingly satisfying, often capturing the diary-like nature of Sullivan’s songwriting more accurately than some of the music he’d been poring over. “The songs born from this method aren’t always ‘hits,’ he says. “But they feel much more important to me…closer to how I really feel.” Some of these charming homespun missives made their way onto the internet, spurring fans to follow the breadcrumbs towards these first glimpses into Floral Prince and the ever-expanding Field Medic mythology. “I realized the songs I was saving for another album were much less focused and effective than some of the freestyles I had been creating and subsequently leaking,” Sullivan says. “I think that’s because I really enjoyed the process of writing and recording the freestyles, whereas the ‘hits’ I was attempting to make were being approached as more of a chore.” Floral Prince officially began to see the light of day through a series of stand-alone singles released throughout early 2020 in tandem with episodes of Sullivan’s homemade webseries, the field medic show. To invite fans further into Field Medic’s unique world of achingly beautiful melodies and conversational lyricism, songs like the atmospheric ballad “better way” and the Alex Menne (pickleboy/Great Grandpa) collaboration “talkin johnny & june (your arms around me)” were shared alongside the YouTube show’s accompanying live versions. Other tracks—like rousing opener “-h-o-u-s-e-k-e-y-z-” and the longing “i want you so bad it hurts”—were repurposed from the fade into the dawn sessions to finally find a home on Floral Prince. Elsewhere “it’s so lonely being sober” exemplifies the unvarnished appeal of the full-time freestyle attitude. The song’s direct lyrics and single-take phone recording preserve the deeply personal storytelling, relatable details, and palpable emotions that make Field Medic’s work so intimate and enthralling.

Although Floral Prince is culled from several years of Field Medic songs, its 11 tracks have a sense of cohesion that can be attributed to Sullivan’s singular vision and willingness to allow the listener into his life. “These songs were written through different seasons of my life but they all share a common theme of quiet, nagging, yet somehow defiant insecurity,” he explains. “To hear them all grouped together reminds me that I’ve always felt more or less the same way, and have had the same obsessive tendencies my whole life that have often led to self-destructive behavior. Maybe this is catharsis.” In the end Floral Prince is actually many things at once: a snapshot of an artist shaking off the perceived boundaries of his medium; a document of years of Sullivan’s life preserved in musical form; the closing of one songwriting chapter and the start of another. Or perhaps as Sullivan puts it, “All songs have their day…”

The album takes its name from the seaside neighbourhood of Havana, Cuba, where Maza was born. Written and composed by the Maza, Alamar unfolds through a singular dialogue between voice and cello, blending musical traditions from the Americas with a refined, modern sensibility. The album tells a coherent story - an artistic journey shaped by roots, departure, healing and joy. Sung in Spanish, French, Portuguese and English, Alamar reflects the international path of a world-class independent artist capable of transforming intimate history into a shared emotional experience.

Limited edition 10th anniversary 2LP Picture Disc!

When Dope Lemon – the moniker of acclaimed Australia artist Angus Stone – released Honey Bones in 2016, it didn’t arrive with the noise of a blockbuster debut - it drifted in effortlessly, all hazy grooves and sun-faded introspection, and in doing so laid the foundation for something far more enduring. Over the past decade, the album has grown into a cult touchstone, defining a signature sound that fans have come to associate with escapism, nostalgia, and emotional ease.

For listeners, Honey Bones has become more than a record, it’s a feeling they return to, a constant companion through road trips, long summers, and reflective moments. But just as importantly, it was the catalyst that transformed Dope Lemon from a side project into a fully realised creative force. The album established a distinct identity and unlocked a new global audience, driving consistent streaming growth, and creating the platform for sold-out tours and subsequent releases that could confidently build on its world. In essence, Honey Bones didn’t just resonate—it set the trajectory, turning Dope Lemon into a lasting brand with both cultural credibility and commercial momentum.

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
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2025 Fresh Meat Records

NU-S3RVO Vol. 2 is the second compilation released by NU-S3RVO. In this release, we continue our exploration of the sounds of modern East Asia, shifting our focus toward female creators within the local scene. This album features works from seven producers based in Beijing, Shanghai, Hong Kong, Guangzhou, and Chengdu, spanning genres from Ambient and Bass to IDM and Techno.

The juxtaposition of “Eastern” and “Female” is not intended to annotate a specific identity, but rather to present an entirely autonomous field. For too long, the “East” has been constructed as a feminine, mysterious, and sensory-indulgent mirror of the “Other.” Such aesthetic norms act not only as gendered shackles but as extensions of colonial logic, forcing both women and the East to share a fate of being “spectacularized” for the gaze. Electronic music, as a creative medium, derives its radical freedom precisely from its departure from this destiny of “spectacle.” It represents the oscillator’s transcendence of physical acoustics and functions as a liberatory technology, offering creators a sanctuary to dismantle traditional constraints and reconstruct the self. In fact, since the inception of modern sound, women have been at the very core of inventing and defining the technologies, interfaces, and expressive techniques of the craft.

Stripping away the romanticized and semioticized cultural shells, each local artist in this compilation is a master of diverse technical crafts. Through their unique logic and emotional resonance, we aim to establish a decentralized acoustic language within the fissures of modern civilization.