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"Murk Patterns" is eighth album by Mexican producer Rainforest featuring three talented collaborators - Homemade Weapons (Samurai Music, Weaponry), David Louis (Repertoire) and Heatwave (Onset Audio, AGN7).

Rooted in jungle pressure and expanding into halftime and atmospheric drum & bass, the release unfolds as a dynamic exploration of rhythm, weight, and space. Side A presents Rainforest’s solo work, including material released under his second alias Bwoykah, while side B is dedicated to showcasing collaborative tracks.

Repress on purple vinyl. Limited to 250 copies. "Our upcoming album, titled "Helichrysum," delves deep into the human experience, exploring the wounds we carry and the transformative power that lies within us. It serves as a culmination of the countless creative and personal choices we have made, leading us to a place of greater harmony within ourselves, with each other, and with our collective intentions. Musically speaking, the new album is a testament to our commitment to delivering a sonic experience that is unapologetically raw, adventurous, heavy, groovy and psychedelic. The choice to name the album after the Helichrysum plant, holds a significance as the plant symbolizes endurance, healing, immortality, and the power to overcome adversity, which mirror many of the themes throughout the record."

COLLECTING ORDERS FOR REPRESS

With a name that evokes experimentation and defiance of the mainstream, Laboratoire Obsolète is more than just a record label it´s a creative laboratory where sounds alchemist can craft groundbreaking compositions, redefining the very essence of music.

Repress on neon magenta vinyl, limited to 200 copies. Portland, Oregon based quartet Hippie Death Cult present their sophomore album "Circle Of Days". An album that serves as a musical bridge to their critically acclaimed debut "111", while being a fresh exploration of sound and vision. "Circle Of Days" is a pensive reflection of frustration and hope, experienced as we evolve from the confinements of self indulgence and into a more altruistic mindset. Listeners new to HDC can expect to hear a band that feels familiar yet also unique. Hippie Death Cult are a group with their own musical identity. One that manages to be influenced by great rock and metal bands of the past while not becoming a blueprint of them.

Limited to 300 copies. Yellow Vinyl. Approaching Doom is the third album by Monsternaut, a darker and heavier representation of the band's established devotion to groovy riffs and to the point compositions. The songs took shape over several years, during which the arrival of a new drummer opened the door to more adventurous rhythms and riff ideas, pushing the band into new territory while staying true to their roots. Sonically, the album leans toward the grit and weight of early 90s metal rather than polished modern production, giving it a raw and immediate edge. Its lyrics and atmosphere follow a naturally darker direction as well, adding an extra layer of tension beneath the grooves. Recorded entirely the old fashioned way, straight to analog tape with no digital editing, it captures the band playing as they are, relying on performance, chemistry, and feel rather than correction. The result is a record that hits harder, feels more focused, and marks a confident new chapter in Monsternaut's evolution.

Repress on black vinyl. A longtime dream has been to capture YAWNING MAN performing in the very environment that so inspired their music. The opportunity arose in 2020 from the challenges artists and musicians faced during the Covid 19 Pandemic, social distancing forcing artists to creatively adapt to alternatives to express themselves musically and visually. Yawning Man 's answer to this calling is "Live at Giant Rock". This cinematic concert experience is intimately and beautifully captured by videographer Sam Grant in the environment that inspires Yawning Man's spacious, expansive and cinematic music. Filmed live in the early morning hours of May 18th, 2020 in the visually stunning and mysterious landscape of Giant Rock. In the spirit of Pink Floyd's "Live at Pompeii" the performance is shot on location with no audience, just the band performing their instrumental meditations in the rugged beauty of the Mojave Desert. Giant Rock in Landers California has attracted Native American Nomads, Scientists, UFO Researchers, and travelers from all over the world, drawn by its magnetic spiritual energy

Repress on blue jay vinyl, limited to 200 copies. A longtime dream has been to capture YAWNING MAN performing in the very environment that so inspired their music. The opportunity arose in 2020 from the challenges artists and musicians faced during the Covid 19 Pandemic, social distancing forcing artists to creatively adapt to alternatives to express themselves musically and visually. Yawning Man 's answer to this calling is "Live at Giant Rock". This cinematic concert experience is intimately and beautifully captured by videographer Sam Grant in the environment that inspires Yawning Man's spacious, expansive and cinematic music. Filmed live in the early morning hours of May 18th, 2020 in the visually stunning and mysterious landscape of Giant Rock. In the spirit of Pink Floyd's "Live at Pompeii" the performance is shot on location with no audience, just the band performing their instrumental meditations in the rugged beauty of the Mojave Desert. Giant Rock in Landers California has attracted Native American Nomads, Scientists, UFO Researchers, and travelers from all over the world, drawn by its magnetic spiritual energy

Nachauflage auf senfgelbem Vinyl. Limitiert auf 300 Exemplare. 22 Jahre nach ihrer ersten Veröffentlichung und 10 Jahre nach ihrem letzten Album sind Nebula wieder da. Wenn du jetzt "Holy Shit!" denkst hast du es ziemlich genau getroffen. "Holy Shit" ist Nebulas erste LP seit "Heavy Psych" (2009), und beantwortet schnell die Frage die sich stellte, seitdem Gitarrist/Sänger Eddie Glass, Bassist Tom Davies und Schlagzeuger Michael Amster 2017 die Reformierung der Band angekündigt haben: Nebula sind immer noch Nebula. Seit den Tagen der 1998er Let it Burn EP und dem mittlerweile klassischen To the Center Debütalbum waren Nebula immer nur ein wenig gefährlicher. Nur etwas mehr aus den Angeln gehoben. Holy Shit zeigt diesen von vorne nach hinten für den wesentlichen Teil ihres Charakters, der er ist, und doch versucht er nicht, etwas zu sein, was sie schon einmal getan haben, sei es bei diesen frühen Ausflügen oder Heavy Psych or Charged (2001), Apollo (2003) oder Atomic Ritual (2005). Es ist ein sechstes Nebula-Album - etwas, worauf selbst die leidenschaftlichsten Fans kaum gehofft hätten. Die Grundtracks wurden in zwei Tagen aufgenommen, aufgenommen in den Mysterious Mammal Studios in L.A. mit Matt Lynch (ebenfalls von Snail) am Steuer. Leads und Loops und Feedback-Effekte wurden von Glass and Davies live aufgenommen, als sie die Basic-Tracks aufnahmen, genau so, wie sie es auf der Bühne tun würden, und Overdubs folgten bei Bedarf. Eine Fülle von Material wurde produziert und auf den Kern dessen, was man hier hört, reduziert. Ein sechstes Nebelalbum. Und wenn du es hörst, wirst du feststellen, dass du diesen Titel immer wieder sagst. Cover Art von ROBIN GNISTA

Wild Oats proudly presents a new record by Byron the Aquarius, Gone Today Here Tomorrow. The 6-track EP explores the nature of reality and being, the pursuit of ecstasy and bliss, and embracing the ephemeral.

Scopeotaku’s latest is a continuation of themes he explored in System Failure. Mutating into darker dimensions, influenced by recent world events. reality error is steeped in strangled synths, tape hiss and distorted echoes. Featuring crushed low-tech rhythms and recordings inspired by science fiction B-movies. Scopeotaku seizes the means of production with full on DiY approach. Setting out to soundtrack a dystopian society that has lost touch with the soul of humanity. A world where corporate greed and disruptive extremist views amplified by echo chambers soaked in misinformation drown the voices of reason and compassion. Within this murky swamp however lies a glimmer of light and hope for us all to not accept the future but to shape it.

50 DiY tapes with download code included.

Recorded in Glasgow

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

We’re excited to present the second chapter of our debut series:
Various Artists – Circuiti Sonori #2

This edition is strictly limited to 300 vinyl copies.

Mastered by Francesco Salvadori at Sweepaudio Mastering
Artwork by Andrea Sbardella

Singularidad Emocional Cuántica explores the intersection of rhythm, data, and memory. Three tracks where Dark Vektor bends the electro form into something deeply human. Teslasonic closes the cycle with a precise and atmospheric rework.

Roman Khropko delivers four cuts balancing precision club mechanics with flashes of emotion. The record moves between stripped minimal techno and warmer electro, designed to unfold gradually.
The A side opens with Glimpse, a straight-forward roller driven by tight drums and a suspenseful build. Piece of Truth follows with a funkier swing, blending elastic basslines with subtle tech house inflections that keep things in motion.
On the B side, Fractum settles into a hypnotic minimal tech mood, laying steady groundwork for an extended club stretch. The closing track, Among The Machines, shifts into emotional electro territory, carrying melodic tension that leaves a melancholic aftertaste.
A concise and functional toolset for the dancefloor. This is one to stay in your bag for a long time.

Daskal debuts on DJ Tennis’s Life and Death label today with the release of “Changes,” the first single from his forthcoming album OD, out March 6. The release marks a defining moment for the producer and composer, whose work moves fluidly between contemporary dance, film, and electronic music, and represents his first full-length statement reconnecting his compositional practice with the dancefloor.

“Changes” arrives alongside a striking accompanying video directed by award-winning filmmaker Tamir Faingold, featuring dancers from the world-renowned Batsheva Dance Company. Rather than functioning as a traditional music video, the piece uses contemporary dance as its primary language, translating the emotional charge and magnetism of nightlife into movement. Together, the single and visual introduction frame OD as a bridge between club culture and the expressive traditions of modern dance and composition.

A classically trained composer with deep ties to the world of choreography, Daskal has spent recent years creating original scores for institutions including Los Angeles Dance Project and the Royal Danish Ballet, while simultaneously developing a parallel body of work across ambient and experimental electronic music. OD emerges as a convergence of those paths: a ten-track album shaped as much by physical movement and spatial awareness as by club tradition, positioning Daskal between concert hall, black box theater, and late-night club environments.

Recorded and mixed primarily using vintage hardware — including a rare 1980s German mixer in a high-end Tel Aviv jazz studio — OD reflects a deliberate shift away from purely atmospheric writing toward rhythm, repetition, and physicality, while retaining the precision and restraint of his compositional background.

Industrial experimental noise dub movie atmospheric soundtrack - words that define this album by J.K. He found his true calling here in the perfect medium of the Chrome Type 2 tape for an analog sound. Accompanied by the gesture and noises of removing the tape, inserting it into the deck and pressing play, the experience is complete while watching the tape spin. Just 20 copies so very limited stock!

Freiburgs DAS BLANKE EXTREM meldet sich nach 5 Jahren mit dem dritten Album zurück. Darauf lädt die Band zum wilden Ritt auf dem Dachfirst und zum Wände einreißen im Keller. Bis die Statik bedenklich wankt. PREKÄR ist kein Protestalbum, sondern die in Marmor gemeißelte Einladung zum Untergang. Es ist die Erkenntnis, dass Überfluss und Abgrund die besten Freunde sind. PREKÄR ist durch und durch Post-Punk. Auf ihrem dritten Album folgt DAS BLANKE EXTREM aber der konsequenten Weiterentwicklung ihres individuellen Stils, der so manche Schublade öffnet, ohne jedoch hineinzufallen. Von verträumt-verspielt bis schnörkellos-direkt treffen kantige Basslinien, flirrende Gitarren und ein stoisches Schlagzeug auf Texte, die mal schonungslos persönlich, mal hoffnungslos prophetisch sind. Und trotzdem: Wer sich nach dem Hören von PREKÄR beim Blick in den Spiegel erschrocken wiedererkennt, ist geneigt, die Verzweiflung doch noch einmal an den Nagel zu hängen.

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms & Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album was an extraordinary time for the band. The song writing became an unfolding narrative as the world got stranger and more disturbing every day. With people’s freedoms being pushed to the brink, the suffering Covid caused and the terrible events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a strange kind of inspiration that was at times unsettling. It really made us appreciate the power of music and how lucky we are to be able to express our feelings in this way.

 “It seems there is light at the end of the tunnel, but there are always shadows within that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’ bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

Colton Bowlin grew up in the hills of Albany, Kentucky, where hard work and family shaped everything he knew. He grew up working six days a week at his late grandfather’s feed mill, grounding his songwriting in genuine small-town values and working-class experiences. On his new album Grandpa’s Mill, Bowlin traces memory, legacy, and the passing of time with the same quiet honesty that’s always been at the heart of his work, blending songs about his real life experiences with hard lessons learned and tales of rural life in Appalachia. The album was recorded and produced in Athens, Georgia with David Ferguson (Sturgill Simpson, Tyler Childers, Johnny Cash).

Making his debut on Gated, Sweden’s Sean Dixon serves up four deep and spacey – but always warm and funky – house tracks.

The Final Chapter label boss kicks off the Detroit-influenced EP with title track The Clock, which partners driving bass with a touch of detuned piano and well-timed drops to ignite any dancefloor.

A2 track Resistance takes things in a heads-down direction, with subtle Eastern influences in the melodies and breathy vocal samples.

The B-side’s Kairo Express combines bleep influences with piano loops and that ever-present bumping bass to cosmic effect, while closer When Dawn Breaks sees Dixon collaborate with Bohm for an emotive Mr. Fingers-infuenced end-of-the-night breakbeat roller.

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf

The “5” Royales were the most enduring and influential of all the 1950s proto-soul groups. In a very crowded market, their success was remarkable. The Royales were the first African American group to introduce gospel based vocal styles into the rhythm and blues format. This gave an intensity to their recordings and live performances that no other combo could get near, thanks to the passion and power that lead singer Johnny Tanner generated. Furthermore, the group possessed in Lowman Pauling a songwriter of genius and a guitarist, who invented an exciting style of playing that linked stinging solos with rhythmic accompaniment. The Harbingers Of Soul is a mouth-watering overview featuring the best of the King era and the most soulful sides from their stay at Home Of The Blues. 180gsm vinyl. Sleeve notes by John Ridley.

In 1962, Black Music was making its transition from R&B to soul and the Chicago music industry was exploding, producing thousands of records and dozens of new labels. The two biggest black labels Vee-Jay and Chess led in the creation of the distinctive, smooth, Chicago soul brand with names familiar and not so familiar: the former with Curtis Mayfield and Jerry Butler and the latter with Mitty Collier, Etta James and Billy Stewart. And yet it's the smaller labels that make up the bulk of the Chicago story: Hawk with Geraldine Taylor, Lu-Cee with Roberta, M-Pac with Dorothy Prince and it's here that we explore some of the finest sounds of the era in this collection. Extensive liner notes written by Robert Pruter, author of the acclaimed 'Chicago Soul'. Side One. 1. The Town I Live In - McKinley Mitchell 2. I'm The One Who Loves You - The Impressions 3. Shake A Tail Feather - The Five Du-Tones 4. Mama Didn't Lie - Jan Bradley 5. Make It Easy On Yourself - Jerry Butler 6. Seven Day Fool - Etta James 7. The Blues Don't Like Nobody - Tony Adams 8. I've Got To Get Away From It All - Mitty Collier 9. How Much Longer - Geraldine Taylor 10. I'm On The Prowl - Roberta. Side Two: 1. Fat Boy - Billy Stewart 2. Can't Take No More - Ted Taylor 3. I Don't Want To Suffer - Walter Jackson 4. Open Your Heart - Sugar Pie DeSanto 5. Shook Up Over You - Dee Clark 6. Something's Got A Hold On Me - Etta James 7. Why Not Tonight - Dorothy Prince 8. Delilah - Major Lance 9. Money In My Pocket - Moss Tolbert

Rotating Irish/international collective United Bible Studies (UBS) releases its 28th album, Strange is the Coastline, this Autumn (CD on Talking Elephant Records / LP on Hobby- Horse).
The album is preceded by the single ‘In The Arms of Lewes’ which was available on all digital platforms from 14th August.
'Strange Is The Coastline' is a collection of original folk-rock songs written by current core members David Colohan (co-founder of UBS) and Alison O’Donnell (Mellow Candle) in the company of multi-instrumentalist Steven Collins (The Owl Service). Melding and meshing classic folk, contemporary pop, and passionate tune-smithery in an inspiringly complementary way; disparate, yet delightfully cohesive, with themes of Albion myth and legend to Victorian-era murder ballads via tales of chilling contemporary stalkerss, and climate chaos.
United Bible Studies was formed in 2001 and over the last couple of decades has been home to a head-spinning array of performers in an ever-evolving merry-go-round of studio and live personnel. Drawing on the broadest community of musicians, the band have created an impressive catalogue of 28 albums of studio and live recordings.
Standard weight black vinyl LP in picture sleeve with lyric booklet. 300 copies for the World.

“...teems with bushy-tailed folk-rock about Albion and Ireland, as well as brutal, bracing songs about singer Alison O’Donnell’s experiences with a former stalker, such as the startling You Often Hid”. (THE GUARDIAN)

MF Robots return with a euphoric blend of Afro-soul-funk, delivering a release brimming with optimism, tight vocals, and the inescapable grooves that have become their signature. This album is a celebration of life, love, and musical joy, radiating positivity from start to finish.


Co-founder Jan Kincaid describes the track Glide as “a celebration of the unfolding of a love story.” From its romantic, reflective instrumental introduction to the soulfully upbeat opening bars, the listener is immediately swept into a journey.

True to MF Robots’ style, the track is joyful and celebratory, yet it pushes further—exploring the path love takes over time, and how, when it works, we can glide through life’s challenges with the right person by our side.


The album’s vibe is exuberant and full of energy, paying homage to soulful greats while adding a modern twist. There’s a subtle nod to legends like Earth, Wind & Fire, but what truly shines through is the sense of fun—the feeling that MF Robots are having an absolute ball singing, playing, and creating music that moves both body and soul.

MF Robots return with a euphoric blend of Afro-soul-funk, delivering a release brimming with optimism, tight vocals, and the inescapable grooves that have become their signature. This album is a celebration of life, love, and musical joy, radiating positivity from start to finish.


Co-founder Jan Kincaid describes the track Glide as “a celebration of the unfolding of a love story.” From its romantic, reflective instrumental introduction to the soulfully upbeat opening bars, the listener is immediately swept into a journey.

True to MF Robots’ style, the track is joyful and celebratory, yet it pushes further—exploring the path love takes over time, and how, when it works, we can glide through life’s challenges with the right person by our side.


The album’s vibe is exuberant and full of energy, paying homage to soulful greats while adding a modern twist. There’s a subtle nod to legends like Earth, Wind & Fire, but what truly shines through is the sense of fun—the feeling that MF Robots are having an absolute ball singing, playing, and creating music that moves both body and soul.

Ora Cogans Musik ist wie Alchemie: teils Instinkt, teils Ritual und immer aus den Ecken entstanden, wo das Leben am intensivsten ist. ,Hard Hearted Woman", ihr Debüt bei Sacred Bones, ist wie ein Zauber für alle, die in einer immer härter werdenden Welt wild bleiben wollen. Mit einer Mischung aus eindringlichem Folk, Psych Rock und einem Hauch von Country schafft Cogan eine Welt, in der Katharsis üppig, geheimnisvoll und lebenswichtig ist. Geschrieben im ,Twin Peaks"-ähnlichen Nanaimo, British Columbia, entstand ,Hard Hearted Woman" aus einer Mischung aus kalten Wasserbädern, langen Schwimmrunden im Fluss, nächtlichen Gesprächen mit Freunden über Kunst und Politik und langen Autofahrten durch die ländliche Landschaft von Lillooet, um ihre Patin zu besuchen. Sie nahm das Album mit ihrer geliebten Band und Gästen aus der Country- und Experimentalmusikszene zusammen mit David Parry (Loving) im Dream Club in Victoria, British Columbia, sowie in ihrem Studio in Nanaimo und aus der Ferne mit Tom Deis auf. Das Ergebnis ist ein Album, das wie etwas aus Rauch und Meerwasser geglänzt ist - intim, schimmernd und ebenso von Witz wie von Trauer geprägt. Es ist eine wirbelnde, juwelenfarbene Ode an alle Engel und Dämonen. Das Album beginnt mit ,Honey", einem langsam aufblühenden, brennenden Song, der auf warmen Streichern und lockeren, treibenden Percussions aufgebaut ist. Cogans Stimme ist ruhig, rauchig und tröstlich und richtet sich an die ,hartgesottene Frau", die das Album prägt. Der Song, der als Reaktion auf die Anti-Trans-Gesetzgebung geschrieben wurde, strahlt Widerstandsfähigkeit aus, ohne jemals seine Zärtlichkeit zu verlieren. ,The Smoke" steigt auf einem hypnotischen Rhythmus empor, der an JJ Cale erinnert, während er die Form auseinanderzieht. Es ist ein Groove für die Endzeit, in dem Congas, Shaker, geknackte Gitarren und geisterhaft verwitterte Texturen aufeinanderprallen, während Cogan die dunkleren Ecken unserer gemeinsamen Menschlichkeit durchforstet. In ,Division" hallt ihre Stimme durch eine karge, hallende Landschaft. Der Song baut sich auf wie eine Leuchtrakete in der Nacht, ein Plädoyer gegen die betäubende Grausamkeit, die heutzutage zur Routine geworden ist. ,Hard Hearted Woman" ist ein Werk der Hingabe an das Geheimnisvolle, an die Gemeinschaft, an die seltsame Kraft, in einer zerbrochenen Welt Kunst zu schaffen. ,Das ist der wichtigste Teil, die Magie", sagt Cogan. Trotz seines Titels geht es in Hard Hearted Woman nicht darum, sich zu verschließen, sondern um Härte als Widerstandsfähigkeit. Es ist die Hülle, die wir uns zulegen, damit unser menschlichstes, zerbrechlichstes Selbst überleben kann. Es ist ein Album für alle, die versuchen, offen zu bleiben, auch wenn die Welt das unmöglich erscheinen lässt.

With Figures of Glass (Piano Etudes – Edits), Vanessa Wagner offers a new listening perspective on Philip Glass’s Piano Études, shaping a curated selection of edited versions drawn from her acclaimed recording of the complete cycle. These edits do not alter the substance of the works; rather, they refine their temporal focus, revealing their emotional force with renewed clarity.

Conceived in parallel with Figures of Glass, a hybrid project developed with visual arts collective Scale, the release extends a dialogue between piano and light, sound and space. Between piano and light, Vanessa Wagner interprets Glass’s Études at the heart of a scenographic installation, exploring the visual imagination embedded in the composer’s music. Minimal structures become spatial gestures; repetition opens onto perception, colour, and resonance. Taken together, these edits form a coherent arc through Glass’s language: from tension and propulsion to suspension and introspection, from rhythmic urgency to contemplative stillness. Wagner’s approach is marked by precision, restraint, and a deep attention to resonance, allowing each piece to unfold with an assumed expressive sobriety.

Figures of Glass also exists as a live creation, presented for the first time in Paris at the Théâtre du Châtelet on April 7, 2026. In both recorded and staged forms, the project invites contemporary listening contexts — from focused headphone listening to immersive visual environments — while reaffirming the Piano Études as a major landmark of 21st-century repertoire. Bridging modern classical piano, minimalist writing, and spatial listening formats, Figures of Glass (Piano Etudes – Edits) speaks equally to traditional classical audiences and new listeners discovering Philip Glass through curated, editorial-driven experiences.

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we’ve uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack la- bels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre’s frayed edge. Get lost in ecstatic choir funk, pulpit rappin’, direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.

Mononoke is a Berlin band founded by Fabian Rösch and Benjamin Geyer. Their musical passion is improvisation with a sound that moves between experimental electronic music, jazz, beat music and ambient.
This LP combines their two recent EPs which have been released on the Munich based label tunnel.visions,
each on one side.

APARt
APARt was created in the field of tension between spontaneous improvisation and careful studio work, marked
by the lockdowns during covid and social isolation. It was precisely this physical separation that gave rise to a
new experimental approach.
Each track is a puzzle, whose individual pieces were put together, moved around, and placed in new contexts.
Instead of jamming and rehearsing together, musical ideas were exchanged online so that they could be freely
interpreted, altered and redesigned.


modular
Newly found vivid playfulness, fresh approaches and a tilt towards the unexpected marks these songs. Capturing moments in our lives full of challenges, developments and salvation.
The same new and unusual process of working separately, shaped the subsequent second EP modular which
followed the same working structure but with a new component: the modular synthesizer, which decisively reshapes the sound: a collection of analog textures, broken structures and a touch of raw intimacy.
Each song is an episode, each sound a reminder of how music connects us.?
Even when circumstances, such as a pandemic, can threaten to pull us apart.

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
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Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

Representing a more analog sound than before, Itken jos mua huvittaa was recorded in Gothenburg in the autumn of 2025. The album was produced by Gustav Ejstes, known as the leader of the band Dungen, and engineered by Mattias Glavå, renowned for producing Håkan Hellström's albums. Counting among the most popular bands in Finland, Maustetytöt also enjoy international cult fame and have toured extensively across Europe over the past two years, performing headline shows in England, Germany, France, Italy, Spain, Switzerland, the Netherlands, Greece, the Czech Republic, Poland, and throughout Scandinavia.

It will expand your mind into the depths of psychedelic solitude and the haunting chambers of darkness within. If you so dare, mastermind Astral Shadow will be your guide through the untamed worlds of Black Metal and Darkwave. But beware, for if you choose to travel this path you may lose yourself and forever go mad

Die schwedischen Old-School-Death-Metal-Veteranen GLUTTONY kehren mit ihrem vernichtenden vierten Studioalbum ,EULOGY TO BLASPHEMY" zurück - ein gnadenloser Brocken aus Schmutz, Raserei und Brutalität, direkt aus dem kalten, verrotteten Herzen Skandinaviens. Mit 10 brutalen Tracks plus einem finsteren Intro liefert das Album pure, von Kettensägen-Gitarren getriebene Zerstörung, tief verwurzelt in der klassischen schwedischen Death-Metal-Tradition.Als besonderes Bonus für die CD- und LP-Editionen zollt die Band dem König höchstpersönlich Tribut mit einem exklusiven King-Diamond-Cover, das dem ohnehin schon bedrohlichen Release eine dunkle und verdrehte Note verleiht.Aufgenommen in den Studio Blastbeat (Sundsvall), gemischt von Jonas Jönsson im Studio LV5 und gemastert von Henrik Heinrich in den Nevo Studios, ist ,EULOGY TO BLASPHEMY" eine brutal authentische Produktion, die die rohe Kraft und die faulige Atmosphäre der Band in ihrer tödlichsten Form einfängt. Artwork und Layout stammen von Håkan Sjödin.Fans von GRAVE, FACEBREAKER und LIK werden sich in diesem gnadenlosen Angriff auf klassischen schwedischen Death Metal sofort zuhause fühlen.Bereitet euch auf totale klangliche Entweihung vor. Dies ist ein Nachruf - auf Blasphemie.

Destruction, killing, is all that’s in sight. Unleashed in 1988 at a time when Death Metal as a genre was still at its infancy and the vast majority of bands were yet to release their first album, BOLT THROWER’s debut In Battle There Is No Law! already hit the nascent underground with full force. Only preceded by a handful albums like DEATH’s Scream Bloody Gore, NAPALM DEATH’s Scum or NECROPHAGIA’s Season of the Dead, In Battle There Is No Law! is widely considered a landmark record and ranks among the very first Death Metal albums ever.

Consisting of 8 tracks and clocking in at just around 28 minutes, the album originally released by Vinyl Solution is arguably BOLT THROWER’s rawest and most primal effort. Despite the uncompromisingly rough sound and their Crust and Punk influences still being rather obvious, the characteristics BOLT THROWER would go on to be hailed for, are already represented albeit in rather crude form, though. Rather than to its detriment, it’s this very unfiltered roughness that`s somewhat missing from their later albums that gives In Battle There Is No Law! its special unmistakable charm. Instead of putting emphasis on distinctive melodies and mid-tempo groove, the songwriting leans more towards all-out attack.

Destruction, killing, is all that’s in sight. Unleashed in 1988 at a time when Death Metal as a genre was still at its infancy and the vast majority of bands were yet to release their first album, BOLT THROWER’s debut In Battle There Is No Law! already hit the nascent underground with full force. Only preceded by a handful albums like DEATH’s Scream Bloody Gore, NAPALM DEATH’s Scum or NECROPHAGIA’s Season of the Dead, In Battle There Is No Law! is widely considered a landmark record and ranks among the very first Death Metal albums ever.

Consisting of 8 tracks and clocking in at just around 28 minutes, the album originally released by Vinyl Solution is arguably BOLT THROWER’s rawest and most primal effort. Despite the uncompromisingly rough sound and their Crust and Punk influences still being rather obvious, the characteristics BOLT THROWER would go on to be hailed for, are already represented albeit in rather crude form, though. Rather than to its detriment, it’s this very unfiltered roughness that`s somewhat missing from their later albums that gives In Battle There Is No Law! its special unmistakable charm. Instead of putting emphasis on distinctive melodies and mid-tempo groove, the songwriting leans more towards all-out attack.

“It’s hard to find your way, following the ghost,” sings Noah Alves on the title track from Middleman’s debut album, as the band explores ideas of how being chained to the past can hinder your forward momentum into the future. This creates a thrilling duality to the debut LP from the London DIY four-piece made up of Alves, Harper Maury, Rory White and Ted Foster. They are all young, in their early-to-mid-twenties, and very much focused in the now, harnessing an energy, urgency and rawness that feels fresh, alive and viscerally present. However, it’s also clear there’s a deep love of music that was made before they were born: the taut, wiry assault of Mission of Burma; the raspy yet melodic charge of The Replacements; the pioneering punk of Wipers, fleshed out via the more restrained and tender moments of Big Star or Neil Young. The result is a beautiful dichotomy of a record that both pays tribute to a rich musical lineage that the band are a part of, while also resisting the urge to get sucked into a dead end of nostalgia, mythology and recycling past glories.

Trio Sfera – Verschwiegene Lieder is a richly atmospheric album that weaves classical melodies, world music influences, and intimate soundscapes into a deeply expressive listening experience. With pieces such as Verschwiegene Liebe, Oblivion, and Assyrian Woman, the trio invites the listener into a world of quiet intensity, emotional depth, and subtle beauty. Each track unfolds with sensitivity and nuance, creating a musical journey that speaks softly yet leaves a lasting impression.

Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.