NEXT WORLD SOUND SERIES vol. 5 continues the line of experimental compilations featuring one side of an artist exploring their individual take on the ambient genre. Pressed in clear green vinyl.
Knox Chandler is an American musician, producer, arranger, and visual artist whose career spans over four decades. He has worked with The Psychedelic Furs, Siouxsie and the Banshees, Cyndi Lauper, R.E.M., Depeche Mode, Grace Jones, and Dave Gahan, among others. After a decade in Berlin, where he developed his layered guitar technique called Soundribbons, he returned to the U.S. and settled on the Connecticut shoreline.
ANNA HOMLER, is a vocal, visual and performance artist based in Los Angeles. She has performed and exhibited her work in venues around the world. With a sensibility that is both ancient and postmodern, Homler sings in an improvised melodic language. Her work explores alternative means of communication and the poetics of ordinary things.
Anna is accompanied by: Jeff Schwartz, a very active Los Angeles-based improvised and experimental double bassist. He leads the Present Quartet, Intangible, and the Soapbox; performs with a variety of ensembles and orchestras; and has written books on music for SUNY Press and Routledge.
David Javelosa a composer, producer, recording artist and technologist based in Mar Vista California. Performing on modular, electronic instruments, he has created soundtracks for many of the major game platforms, and most recently has been performing with Microwave Buddha, a retrospective of his synth pop work in the 1980's.
Originally released in Japan in the early 1990s, "Make Me Know It" offers a glimpse into a moment when reggae and lovers rock were taking root in unexpected places. The record pairs Chieko Beauty's understated vocal style with Miyazaki Izumi aka Dub Master X's production, resulting in a sound that feels equally informed by Jamaican traditions and Tokyo's rapidly expanding musical landscape. Built around a subtle interpolation of Manuel Göttsching's E2-E4 – already immortalised by Sueño Latino – the record brings together musical traditions that, on paper at least, have little reason to meet. Chieko Beauty would go on to become one of the defining voices of Japanese reggae, collaborating with artists including Mad Professor, Yann Tomita and Emerson Kitamura. This 7" revisits an early chapter in that story
In 2001, Shin’ichi Ogawa of Sugar Plant was working for the SAL Disc record label and came up with the idea of doing an E2-E4 tribute album with his friends. This album would come off the back of a Neil Young tribute album which might have seemed odd but these two artists, Neil Young and Ashra (Manuel Göttsching), would be played regularly as equals at after-parties that Shini’ichi would throw at his house. Longtime friend and collaborator, Taro Yoda, noted that the eclecticism of these after-parties were influenced by the variety of parties they were attending at the time, from the legendary Japanese open-air rave party Life Force to Cream at Amnesia in Ibiza. Taro was obsessed with European trance and left-field downtempo while the two members of Sugar Plant were into ’70s soul—especially Marvin Gaye and William DeVaughn and at the same time, they were listening to Phish and the Grateful Dead too. All three of them were of course inspired by the DJ’ing and selections of Larry Levan.
A- Side – Sugar Plant – “Just Be There” – Production began in my home studio. Since I was frequently attending a house party called “Life Force” (with DJ Nick the Record as the resident DJ) at the time, I thought deep house would be the perfect style for a Sugar Plant cover.
I looped a two-chord electric piano track and applied filters using plugins and outboard gear to create a “sound I could listen to forever.” I recorded the bass on guitar and converted it to an analog synth (Doepfer MS-404).
From there, I layered synths improvisationally, listening to the track over and over again to make fine adjustments. I think I worked on it for days, mostly late at night.
I recorded the guitar at the very end of the track. After playing it a few times ad lib without any set plan, I suddenly had the idea to add vocals during the bridge, so I set up a mic in my hallway and recorded them.
I think this track is packed with the emotions I felt when listening to “E2-E4” back then, as well as the vibe I experienced at that party. – Shin’ichi Ogawa
The Comfort enters the double digits of its catalogue with the label’s most ambitious release to date by Saudi Arabian artist Noboot, titled “Call and Pulsate”.
Fluid in genre yet wholeheartedly electro in spirit, Noboot’s creative output shapeshifts across the record: from four-to-the-floor acid-tinged propulsion to time-freezing illuminations, with neon-coloured synths, body-twisting low ends and piercing drum hits mutating throughout the album, and often within the tracks themselves.
Noboot’s capacity for sonic manipulation is on full display here with the pieces moving with a captivating direction and command. Sometimes gentle, sometimes dramatic, but always carried with a particular elegance and poise. To listen to the record from start to finish is to step into Noboot’s own conceptual world, one in which the artist has the confidence to take floor-oriented dance music and elevate it both in spirit and form.
There is composure and ambition in this approach. Tracks move the listener from one emotional state to another in the span of six minutes: not merely teasing transformation, but by fully taking the listener there. To deliver on that ambition requires control and idiosyncratic intuition. If “Desolated Delay” and “Timer Set” are striking examples of Noboot’s capacity for propulsion, “Meter Tired” shows the other side of their talent: the ability to make time feel briefly suspended in a weightless flux of cybernetic psychedelia.
To achieve this once or twice would already be impressive. To sustain it across an album of this scale is rare in electronic dance music, and makes The Comfort’s tenth release a defining moment in the label’s catalogue.
HVS is truly pleased to welcome Cash Kru and Tweeleaf to the label. Two of the hardest working kids in Jungle/Hardcore IMO. With a ton of quality releases under their belts, they just had to get pressed up, because these tunes are absolutely phat!
Cash Kru runs the Asionyta label out of Belgium along with Expo, F.T.C Project & Tweeleaf. Super wicked label putting out digital releases as well as lathe cuts, disks and cassettes. She has loads of top tunes on there, and not strictly Jungle either! She also runs the Devil Dubs label putting out very very quality Jungle. I highly recommend checking both out if you want some gritty, ruthless Drum & Bass.
Tweeleaf out of Pennsylvania (funny enough the same small town the rest of my family is from) also has releases out on both labels as well as his own, Interim Records, focusing on digi singles from him, all currently being sold at “Name Your Own Price” which is insane considering every release is excellent.
These tracks were made with a combo of DAW and emulated Amiga (more info on the center label) and all four are just Heavy as hell. I've been playing them out live a ton and every track crushes the dance floor. Someone always demands the rewind on “Militant Jazz” which is funny because the buildup is so long, but by the time it drops everyone loses it!
A1. starts off the EP on a more mellow tip with a vibey Soul Pride, Think & Amen mashup from CK. The switch up into the 2nd half phased out Amen is so seamless, it's a great way to get the EP going.
A2. goes straight into the ruffness with a relentless amen tune mixed up with some mysterious/jazzy chords/vox all summed together in PT2.
B1. is a remix of a tune of mine that never came out, but CK asked for the stems and did an amazing job with it. I love her choppage on this! Super tight and snappy and hits all the right notes for a destructive tune.
B2. ends the EP with one of the nastiest tunes to come out anywhere this year if I may say so. That Lemon D amen is just crazy, and that S950 time stretch stutter is chef's kiss. But you be the judge!!
Sycophant is the first offering of recorded music from the polymathic Tāmaki artist Hun Lynch.
Recorded almost entirely at her house on a bedroom setup, Hun wrote, played and produced
almost every element on the album (with the exception of one drum track contribution from the
master Cory Champion). Sycophant guides us through lucid cinematic scenes saturated in
hypnotic choral vocals, driving guitar loops and synth-work akin to musique concrète.
Sycophant is a meditation on rediscovering one’s spirituality after both being rejected by and
rejecting organised religion. The processing of these experiences becomes a lamentation of
Christianity’s participation in the colonial rupture across Te Moana-nui-a-Kiwa, from which the
album was born. Grappling with co-existing states of love, guilt, fear, lust, grief and hope.
Pulsing between feelings of grandiosity and insignificance, between the atavistic, animal
experience of being alive and the existential, cerebral confusion of playing a part in the current
world. At the same time, Sycophant is an expression of love and devotion to Hannah’s family
and friends and everyone she knows and doesn’t know.
Created with awhi and guidance of Noa records and Navakatoa Tekela-Pule’s unending support and friendship.
UK underground heavyweight Ploy unleashes his second release on Dekmantel with a brand new four track EP. The release sees the dynamic producer continue to push the envelope with his own flavour of driving, sexy, Ploy house. Putting every ounce of his production prowess on show while proving yet again that Ploy is a force to be reckoned with both in the studio alike. Making tracks for DJs has always been the source of inspiration for Ploy and this is no different with each offering carrying its weight and then some. Straight up, no frills house music that oozes quality by doing the simple things well.
Kicking off the record is title track 'Glizzy', an arpeggiated tech house tool built for the hours that you lose yourself on the dancefloor. From the off Ploy puts his ear for percussive dynamism on show with the understated subtleties of this opener. Thematic sampling, nuanced arrangement and odd ball melodies combine to set Glizzy apart with a gentle nod to hot dog lovers worldwide.
The EP follows suit with A2 'Global Underground'. A contemporary progressive house roller, which rips through the atmosphere with melodic blasts, unrelenting groove, and a powerful bassline.
Offering an equally effective double B-side, B1 is 'Yesterday Now Tomorrow', which sees Ploy lean on his production mastery with entangled percussion and expertly dosed sampling. The result is a swinging heavy house burner that is truly greater than the sum of its parts.
Lastly on the EP is ‘SlowanDip’. A heavily swung, percussive chugger to warm up a dancefloor, paired with a bassline to test the system, this B2 closes out a stellar second showing on Dekmantel for Ploy.
The record arrives at the crest of festival season and is primed to soundtrack dancefloors around the world under the glistening Summer sun. Ploy has quickly carved out a reputation for his unmistakable, drum driven take on house music, and Glizzy only sharpens that identity further. Focused, effective and built with DJs firmly in mind, the EP captures an artist operating with total confidence, delivering four tracks that prove Ploy isn’t just part of the conversation, he’s pushing it forward.
Precious Bloom producer Dea returns on the Rush Hour Store Jams imprint with a fresh four tracker... tip!
The idea for Fairlight began shortly after Aradea Barandana purchased a Yamaha DX1 synthesizer. While exploring its presets, one sound in particular—called Fairlight sparked the initial concept for the EP. From there came the desire to create an Italo wave inspired track that would feel fresh to contemporary ears while still referencing the character of early electronic music.
Rather than following the traditional structure of dance music where drum machines and synthesizers lock into repetitive synchronized patterns the EP approaches composition more like a narrative. The music gradually unfolds, allowing melodies and harmonies to evolve so the listener is encouraged to stay with the piece from beginning to end.
Some of the harmonic ideas draw inspiration from Baroque music, particularly chromatic ascending progressions and voice-leading techniques. In contrast, other moments introduce playful bubblegum-inspired synth lines, adding lightness and color to the overall sound.
The result is a small collection of tracks that sit between nostalgia and experimentation where vintage synthesizers meet a compositional approach that values movement, surprise, and a sense of musical journey.
Planet Trip Records presents Sydney underground heroes Hugh B & Setwun’s first album, 2020’s Yeah Definitely, and its long-awaited follow-up, 2026’s Nah Maybe, as a deluxe vinyl LP package. Underpinned by the low-end heft of dub and soundsystem culture, their albums draw deeply from an expansive array of sensibilities: tones, textures and patterns shaped by post-punk and ambient music dovetail with abstract, sampledelic hip-hop drum loops. Meanwhile, Setwun’s mysterious neo-soul/modern R&B vocals glide on the beat. Punctuated by dialogue snippets, these songs feel like exploring the multiverse with an interdimensional boombox.
Yeah Definitely began as a batch of instrumentals. Having previously worked with an MPC, drum machines, instruments and Logic Audio, Hugh used a borrowed PC and Renoise, a tracker DAW associated with 21st-century jungle/drum & bass production. Afterwards, he sent them over to Setwun, who sketched vocals on top with ease.
If Yeah Definitely came together quickly, Nah Maybe was a longer process. Still inspired, Hugh B knocked out a second folder of beats with neon-lit city-pop references, slow-jam grooves, and elegant guitar figures. This time, however, something wasn’t clicking for Setwun. The only cure here would be the passage of time.
Over the next six years, Hugh and Setwun continued to collaborate while pursuing solo projects. Hugh released jungle, ambient house, dub and post-punk records through Planet Trip Records, Not Not Fun, and his OTIS Records label, while performing live, DJ, and leading the Modern Pop Ensemble. Similarly, Setwun, also a multi-instrumentalist, producer, and DJ, released a series of records that explore jazz, soul, house, and broken-beat electronica, forming a loose constellation for Mandarin Dreams and Extra Soul Perception. Alongside these efforts, he played shows and began performing with his backing band, The Soulstranauts.
Early in 2026, something clicked, and Setwun drafted vocals for the second batch of beats over an evening. Not long after, he invited Hugh to mix Nah Maybe, every bit as special as Yeah Definitely. By waiting for the right moment and putting themselves outside of their comfort zone, Hugh B and Setwun have bottled lightning twice. We’re very pleased to be able to share Yeah Definitely and Nah Maybe with you.
With Parallel Worlds, RFLX opens a new chapter for Eight of Cups Records, delivering a raw and focused statement built around tension and transformation.
“I wanted to avoid any form of release. With Parallel Worlds, tension becomes the language itself. I was drawn to this constant escalation, something that dissolves linear time and locks me into a different state of perception… where the drop never comes. And that’s exactly the point.”
“By removing resolution, I wanted to keep everything open: a space where perception expands and multiple realities can coexist. Parallel Worlds is not about choosing a direction, but about becoming aware that more than one is always there.”
A four-track immersive EP refusing the conventional payoff, Parallel Worlds unfolds as a continuous escalation, creating a suspended space where perception shifts and different realities begin to overlap.
The release features two original cuts alongside exclusive remixes by JOEY BELTRAM and AT-XYA.
Techno pioneer Joey Beltram strips the title track down to its raw essence, transforming it into a relentless dancefloor weapon driven by physical energy, hypnotic grooves and his unmistakable signature sound.
AT-XYA takes the opposite route, deconstructing and reshaping the original into an ethereal, cinematic journey for those fragile moments when night dissolves into morning and everything suddenly makes sense ;)
Completing the EP is Danxome, a deeper tribal-inspired cut reconnecting with the origin of the concept. In the Fon language, Danxomɛ means “in the belly of Dan”, the cosmic serpent and the origin of the world. Before parallel worlds, there was one.
Parallel Worlds started from a simple thought:
Every day, all versions of you exist. You just don’t see them all. You can stay the same, or you can shift.
This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.
Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.
Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."
That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.
Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.
The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.
Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.
As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."
,Orua, Maldiçao (2016-2026)" feiert das zehnjährige Bestehen der brasilianischen Band Orua und versammelt 20 Songs aus unterschiedlichen Schaffensphasen. Angeführt vom Gitarristen und Produzenten Lê Almeida verbindet die Band Lo-Fi-Indie-Rock, Psychedelia, Noise, Krautrock, Afrobeat und brasilianische Rhythmen zu einem hypnotischen, experimentellen Sound. Die Aufnahmen entstanden über viele Jahre hinweg an verschiedenen Orten und spiegeln die kreative Entwicklung der Gruppe wider. Bekannt für ihre energiegeladenen Improvisationen und tranceartigen Grooves, bewegen sich Orua zwischen atmosphärischer Psychedelia und verzerrtem Rock'n'Roll. Ihr internationaler Bekanntheitsgrad wuchs durch die Zusammenarbeit mit Doug Martsch von Built to Spill, mit denen Mitglieder der Band tourten und später auch am Album ,When the Wind Forgets Your Name" mitwirkten. Die Retrospektive zeigt eindrucksvoll, warum Orua zu den spannendsten experimentellen Rockbands Brasiliens zählt.
London-based French artist, composer and vocalist Vanessa Bedoret returns with her second
album, About Time, released via Scenic Route.
Across 11 tracks, About Time moves between intimate vocal-led songs, glitching electronics haunting soundscapes and moments of catharsis. Bedoret’s classical training remains at the heart of the record, underpinning an approach that brings together spectral vocals, strings, guitar and experimental electronics with a striking sense of compositional clarity.
Written through a period of significant change in Bedoret’s life, the album explores transition and our shifting perception of time - how some moments disappear almost instantly while others seem to stretch indefinitely.
About Time follows Bedoret’s 2024 debut Eyes and marks a significant step forward for an artist whose work moves fluidly between classical composition, experimental electronics and songwriting. Alongside her solo work, Bedoret has collaborated with Astrid Sonne, Blackhaine , Space Afrika and Mark William Lewis.
Irish techno producer, Kerrie, returns to Tresor Records on the 24th of October 2025 with her second EP for the label. Entitled Echoes Of The Live Wire, this collection captures the beauty and essence of live performance; a moment in time never to be repeated.
This fixing of time is also given a different meaning as the EP explores the ways in which intense moments in our lives, both joyful and painful, are crystallised into memory, both beautiful and haunting, lingering long after they've passed.
Layered meanings are employed throughout as Kerrie explores this idea: Live Wire draws connections between circuit boards and the human nervous system, whilst also toying with multiple meanings of the word “live”.
Echoes Of channels classic Detroit techno influences, resonating with the distant hum of memories that refuse to fade, while Moment To Memory is a beatless, floating piece which slowly builds to an ecstatic crescendo.
Digital bonus tracks Recircuit and Reclaim add further depth to the core metaphor: the former a driving, minimal yet building techno work-out, and the latter a cathartic and emotionally open track that delivers intensity with vulnerability.
Echoes Of The Live Wire reflects on memory as a complex, dual-sided force where joy and pain coexist with equal weight. Her creative process becomes a form of meditation and emotional processing, using machines to process, reflect, and let go. The result is a body of work that loops back on itself, telling a story of fleeting moments and their lasting emotional imprints.
In the realm of Swedish melodic rock from Skövde, few bands command the attention and admiration quite like NIVA. With their signature blend of soaring melodies, powerhouse vocals, and infectious hooks, the band has established themselves as a force to be reckoned. Now, with the release of their highly anticipated 7th full-length album ""Stratospheric,"" NIVA once again proves why they are considered among the elite in the genre.
From the opening chords of the title track, it's clear that ""Stratospheric"" is an album that aims for the stars and reaches new heights of sonic excellence. Led by the Swedish powerhouse vocals of frontman Tony Niva, the album is a tour de force of melodic rock anthems that resonate with passion, energy, and raw emotion.
Throughout ""Stratospheric"" NIVA demonstrates their mastery of the melodic rock genre, effortlessly blending elements of classic rock, melodic rock, and AOR to create a Nordic sound that is uniquely their own. With its larger-than-life production and infectious energy, the album is a testament to the band's evolution and growth as artists, while also paying homage to the rich legacy of melodic rock and AOR that has inspired them along the way.
For fans of NIVA and lovers of melodic rock alike, ""Stratospheric"" is a must-listen experience that promises to transport listeners to new heights of musical ecstasy. With its unforgettable hooks, powerhouse vocals, and electrifying performances, the album is a fitting tribute to the band's enduring legacy and a testament to their status as one of Sweden's most beloved rock acts. So, strap in, turn up the volume, and get ready to embark on a journey to the stars with NIVA's new upcoming release ""Stratospheric"".
- Seventh studio album by the Swedish Melodic Rock group
- Feat. members of Master Massive, Lion’s Share, Wolf, Starchaser
- Produced by Tony Niva & Jan Strandh; mixed & mastered by Thomas Plec Johansson.
For fans of: Niva, Lion’s Share, Treat, Imperium, Eclipse
Best known as the longtime DJ for Sugar Ray, DJ Homicide brings decades of turntable experience to this pair of soul-soaked hip-hop instrumentals. 'You're No Good (Flip)' rides a classic boom-bap groove, layering warm samples and heavyweight drums into an effortlessly head-nodding cut, while 'Rich Kind Of Poverty (Flip)' digs even deeper with smoky brass, vintage soul textures and laid-back swing. Unfussy, authentic and built on faultless foundations, both sides underscore Homicide's knack for transforming familiar sounds into grooves that feel fresh.
DIVA AS TECHNOLOGY
Arca announces the details of her highly anticipated new studio album, XXXXX, arriving via XL Recordings. Five years after the twice GRAMMY-nominated KiCk i and subsequent KICK pentalogy, the Venezuelan-born musician, producer, vocalist, and visual artist returns with her first full-length album since concluding one of the most ambitious chapters in contemporary music.
If the KICK era expanded Arca's universe outward, XXXXX turns inward and fractures it apart. Across 16 tracks, the album excavates vastly different emotional landscapes to deliver a body of work that is darker, more aggressive, more experimental, and unwilling to settle into fixed form. Initially conceived as a mixtape before revealing itself as an album, XXXXX embraces contradiction as a core methodology. In the spirit of her previous mixtapes @@@@@ (2020)—released as a 62-minute single—and &&&&& (2013), XXXXX thrives on raw exploration and instinct. It arrives as a deliberate interruption of expectation.
“It seems playful, also mischievous, to interrupt that autopilot,” says Arca.
The album's striking artwork depicts Arca as a biomechanical entity, accompanied by two owls—symbols of protection and the underworld in Greek mythology. Like the music itself, the imagery inhabits a space between worlds where transformation is both terrifying and liberatory. Suspended between posthuman augmentation and raw emotion, XXXXX exposes the mainframe. It is a record born from uncertainty, contradiction, instinct, and surrender—a becoming-machine that continues Arca's lifelong project of redefining what it means to be human both in, and against, the machine.
For Arca, rebirth has never been a metaphor, but a practice. She continues to exist in multiple states simultaneously, collapsing boundaries between human and machine, high and low culture, and experimental noise and pop music. Following her first-ever painting exhibition at London’s ICA earlier this year, XXXXX arrives as the latest transmission from a continuously evolving creative process. Over the last year, Arca has remained prolific: unveiling the double-sided single "Puta" / "Sola"; remixing tracks for Addison Rae, Robyn, and Hikaru Utada; collaborating with Tokischa on “Chama”; and contributing production to Madonna’s CONFESSIONS II. She walked the runways and made appearances at major international fashion weeks, while also composing the original motion picture soundtrack for Stillz’s film, Barrio Triste.
Now, after years of transformation beneath the surface, her next musical evolution reveals itself.
2026 repress
Dino Sabatini welcomes Concrete Records owner Maurizio Cascella to Outis Music.
Together they created their Chiron EP, an important chapter on Outis, bringing Sabatini’s immersive hypno grooves and the captivating sonorities of Cascella together. The duo explores mythological and archetypal themes, intertwining the intensity of mental techno with dark and transcendental atmospheres.
16 scrap-rock sketches straight from the heart to the gut…
Maybe we can keep rock’n’roll alive for one more day?
Who knows? The Joe Glass experience is a telecastered-explosion of hooks and guitar charms
One G chord away from tearing a diamond-shaped hole in the stratosphere.
Originally Released as a Hallogallo Tape January 2026
Sharp Pins Bassists Strides out under his own banner
Trentemøller's new untitled album explodes with the force of a supernova before dissolving into swooning vocals. Across 10 songs, maximalist guitar-noise blowouts collide with some of the most bruising shoegaze you'll hear this year. "The noisy got noisier, the dreamy got dreamier," says Trentemøller. "I was ruthless this time."
Opener "Swerve", recorded with Vienna-based singer Sakura, crashes into searing walls of sound - a stark contrast to 2024's haunting Dreamweaver. The album's radically intuitive energy persists on the anthemic "Visceral" and the industrial fuzz of "Your Love Walks Alone", featuring Sune Rose Wagner of the Raveonettes. "Coyote" deconstructs synths into feedback and brutal guitars, while "To Mist" and "Halved" (featuring Midwife) offer nocturnal respite - nugaze ambience reduced to fractals of fragile beauty. For the first time in Trentemøller's history, vocals appear on every track - contributors include Sakura, German-British singer Anika, Midwife, Tan Cologne, Sune Rose Wagner, Jonas Bjerre of Mew, and Danish singer-songwriter Emma Acs, among others. "I knew early on exactly who I wanted. We never met in the studio; everything was exchanged remotely. I'm pretty shy, and it gave the vocalists the privacy to really open up," he explains. Songwriter, multi-instrumentalist, producer, and mixer - Trentemøller did it all himself. "I don't follow trends or think in algorithms." The reward: playing the album live, start to finish, for the very first time on the upcoming live tour.
Trentemøller's new untitled album explodes with the force of a supernova before dissolving into swooning vocals. Across 10 songs, maximalist guitar-noise blowouts collide with some of the most bruising shoegaze you'll hear this year. "The noisy got noisier, the dreamy got dreamier," says Trentemøller. "I was ruthless this time."
Opener "Swerve", recorded with Vienna-based singer Sakura, crashes into searing walls of sound - a stark contrast to 2024's haunting Dreamweaver. The album's radically intuitive energy persists on the anthemic "Visceral" and the industrial fuzz of "Your Love Walks Alone", featuring Sune Rose Wagner of the Raveonettes. "Coyote" deconstructs synths into feedback and brutal guitars, while "To Mist" and "Halved" (featuring Midwife) offer nocturnal respite - nugaze ambience reduced to fractals of fragile beauty. For the first time in Trentemøller's history, vocals appear on every track - contributors include Sakura, German-British singer Anika, Midwife, Tan Cologne, Sune Rose Wagner, Jonas Bjerre of Mew, and Danish singer-songwriter Emma Acs, among others. "I knew early on exactly who I wanted. We never met in the studio; everything was exchanged remotely. I'm pretty shy, and it gave the vocalists the privacy to really open up," he explains. Songwriter, multi-instrumentalist, producer, and mixer - Trentemøller did it all himself. "I don't follow trends or think in algorithms." The reward: playing the album live, start to finish, for the very first time on the upcoming live tour.
Originally released in 2005 on Playhouse, isolée's second album we are monster received widespread critical acclaim and was featured in numerous year-end lists, including Pitchfork's Best Albums of 2005, where it is praised for breathing "so carefree, years from now crits might accuse it of sounding timeless-- maybe even of being so." (Nick Sylvester in his Pitchfork review in 2005)
While closely associated with the minimal and microhouse movement of the mid-2000s, the sound on we are monster resists categorization; its musical vocabulary is too expansive to be confined to a single genre. Tracks such as schrapnell, mädchen mit hase, my hi-matic and enrico avoid many of the production conventions that define its period, allowing the record to retain a freshness that continues to resonate with listeners and music producers alike.
We are monster proved to be significant in more ways than one. Alongside its musical legacy, the album introduced the first record sleeve by Stefan Marx, whose artwork would become a familiar presence across countless releases on influential labels like Smallville or Mule Musiq, but also fashion labels like Comme des Garçons and many art galleries in the years that followed.
This anniversary edition revisits an album whose influence extends well beyond its original context!
Originally released in 2005 on Playhouse, isolée's second album we are monster received widespread critical acclaim and was featured in numerous year-end lists, including Pitchfork's Best Albums of 2005, where it is praised for breathing "so carefree, years from now crits might accuse it of sounding timeless-- maybe even of being so." (Nick Sylvester in his Pitchfork review in 2005)
While closely associated with the minimal and microhouse movement of the mid-2000s, the sound on we are monster resists categorization; its musical vocabulary is too expansive to be confined to a single genre. Tracks such as schrapnell, mädchen mit hase, my hi-matic and enrico avoid many of the production conventions that define its period, allowing the record to retain a freshness that continues to resonate with listeners and music producers alike.
We are monster proved to be significant in more ways than one. Alongside its musical legacy, the album introduced the first record sleeve by Stefan Marx, whose artwork would become a familiar presence across countless releases on influential labels like Smallville or Mule Musiq, but also fashion labels like Comme des Garçons and many art galleries in the years that followed.
This anniversary edition revisits an album whose influence extends well beyond its original context!
Die in Austin ansässigen Lieblinge der experimentellen Indie-Rock-Szene, Font, haben ihr zweites Album über einen Zeitraum von zwei Jahren geschrieben. Nach ihrem Debüt ,Strange Burden" (2024) wollte die Band ihren Ansatz beim Songwriting neu ausrichten. Der Sound, der Lob von Pitchfork, Rolling Stone und anderen musikkritischen Medien erhielt, kam ihnen allmählich weniger originell vor. Viele der Songs auf diesem neuen Album entstanden aus Aufnahmen von Improvisationssessions im Studio ,Dutch Interiors" ihrer Freunde in Long Beach, Kalifornien, wo sie im Sommer 2025 drei Wochen lang komponierten. Nachdem es der Band gelungen war, aus den durch das erste Album geschaffenen Mustern auszubrechen, fanden sie die Grundzüge dessen, was schließlich zu ,American Bully XL" wurde. ,Wir ließen uns von vielen der gleichen Fragen leiten, die schon unser erstes Album geprägt hatten, zum Beispiel: Wo endet das Akustische und wo beginnt das Elektronische? Wie ist das Verhältnis zwischen Dunkelheit und Licht, Verzweiflung und Euphorie, dem Selbst und dem Anderen?" Obwohl all das für die Band von grundlegender Bedeutung ist, ist ,American Bully XL" das Ergebnis davon, dass die Band diese Fragen von der Live-Bühne ins Studio mitgenommen hat, wo sie lernten, die Musik für noch mehr Fragen zu öffnen: Was ist ein Song? Was ist Texas? Was ist ein Instrument? Was bedeutet es, ein Mann zu sein? Was ist eine Aufnahme? Wie kannst du das nur?
Following her acclaimed 2024 debut Rocky Top Ballads, Fine expands her world on Jazz Dreams, arriving in a fluid, surreal, and expansive place. Over the past sixteen months, the album has gradually taken shape in public. Early versions of songs appeared in live performances, while demos and alternate iterations surfaced through Fine's NTS residency, alongside the release of the singles "I Could," "Run," "Moment," and "Portal."
Self-produced, recorded and mixed by Fine, the album’s thirteen songs unfold as a collage of scenes, stories, and musical ideas stitched together with a logic reminiscent of a dream. At the center of it all is melody. Fine's intricate vocal melodies act as the connective tissue between the album's shifting scenes and moods, guiding the listener through its emotional terrain.
Throughout Jazz Dreams, Fine continues to make the mysterious feel intimate and human. The songs do not search for answers or destinations. They embrace intuition, allowing memory, longing, possibility, and imagination to stir together into something new. Like a jazz improvisation, the album follows instinct wherever it leads, transforming emotional fragments into a real dream.
Following her acclaimed 2024 debut Rocky Top Ballads, Fine expands her world on Jazz Dreams, arriving in a fluid, surreal, and expansive place. Over the past sixteen months, the album has gradually taken shape in public. Early versions of songs appeared in live performances, while demos and alternate iterations surfaced through Fine's NTS residency, alongside the release of the singles "I Could," "Run," "Moment," and "Portal."
Self-produced, recorded and mixed by Fine, the album’s thirteen songs unfold as a collage of scenes, stories, and musical ideas stitched together with a logic reminiscent of a dream. At the center of it all is melody. Fine's intricate vocal melodies act as the connective tissue between the album's shifting scenes and moods, guiding the listener through its emotional terrain.
Throughout Jazz Dreams, Fine continues to make the mysterious feel intimate and human. The songs do not search for answers or destinations. They embrace intuition, allowing memory, longing, possibility, and imagination to stir together into something new. Like a jazz improvisation, the album follows instinct wherever it leads, transforming emotional fragments into a real dream.
A year on from SickElixir - the acclaimed "debut" album that saw him hailed by Pitchfork, The Guardian and The Fader as one of British electronic music's most singular voices - Blawan is back with ‘Gi Mi Keys Back / Auto Fake’. Written in a new city, in a new home studio, the single finds Blawan rediscovering a sense of freedom and leaning back into dancefloor-driven territory after the more experimental, interior world of SickElixir. In signature Blawan style, Gi Mi Keys Back’s warped production constantly wrongfoots you, with its structure refusing to sit still, mutating underneath a vocal that pulls you into a trance-like state.
Portuguese experimental musician António Feiteira returns to Perf with Amuleto Apotropaico’s sophomore album. Língua Espúria (Spurious Tongue) withdraws from the guitar-and-drums interplay that anchored the self-titled debut, moving toward fully electronic arrangements of concrète mechanics. What was once shaped through shared physical gesture now condenses into a singular current: a hermetic pulse carving its own labyrinth through the pandemonium.
The album draws inspiration from Milford Graves's visionary mapping of the body's secret rhythms into function generators. Amuleto Apotropaico has engineered a system that emulates Feiteira's own improvisational drumming language such that muscle memory becomes stochastic digital precision.
Língua Espúria opens with 'Abafador'. A track relishing in burnt afterimages as it patiently leads the listener into Amuleto Apotropaico’s new sound world. Its insistent double-tapped rhythm splinters into four cascading versions of itself, a pulse folding & refolding until it becomes its own perforated haze.
'Carpideira' follows as an algorithmic lamentation set in motion by shimmering temporal reversals: motion-captures of cyclic grief. The track persistently builds until only a few pure tones remainder.
The album's most pared-down moment is 'Espinha de Vidro'. It is the clearest statement of the system underlying Língua Espúria. Here, Feiteira's rhythmic concern is laid bare, every detail exposed in a distilled form, its melodic thread emerging with equal exactness.
'Apotropia III' begins as a subtle hinge in the catalogue, its brutalist‑liturgical atmosphere recast in a divined, techgnostic register. A narrative, gestural drift threads through the piece that connects it to Feiteira’s 'Killswitch Counterpoint', which appeared on his Eastern Nurseries release Performing the Heimlich on an Ouroboros. Shared samples cross-feed his parallel projects, letting them momentarily run on the same signal path. Stuttering percussion, flickers of glitched air & a brooding bass melodic line fill out the margins before the track finally shears off into harsh, serrated noise.
Tectonic Recordings presents Tectonic Sound: Vol. 2, the second instalment of the various artists series curated by label founder Pinch. Following the first Tectonic Sound collection, released in 2025 to mark the twentieth anniversary of the label, the series continues Tectonic’s forward-facing approach; bringing together artists from their wider family and connecting dots across the underground.
Longstanding figures of the UK Bass scene such as J:Kenzo and Roska sit alongside a new gen of artists including Ehua, Manami, Cimm, Denham Audio, Henry Greenleaf and SHXCXCHCXSH. Beatrice M. also returns following the release of their acclaimed debut album Sinking earlier this year, while Jay Carder and Sir Hiss make their first outings as solo artists on the label, after both appearing as collaborators on Sinking.
Pinch says: ““As Tectonic enters its third decade, the spirit and passion behind the music hold true to its roots. I love every single track on this compilation and how it shows off the various corners of the label's sound. Each artist has delivered something truly special!”
Each artist arrives with a distinct sound and history of their own, but across these twelve original tracks there’s a shared understanding of what Tectonic represents. Different strains of the UK bass continuum come together, creating a space where sounds collide, and new forms take shape.
Pinch leads the charge with ‘Hold On!’, an upfront, high-definition 4x4 propulsion tool that pairs rolling momentum with seismic bass pulses. Manami enters with ‘Turning Point’, further solidifying her newer direction, leaning into deep, dubbed-out territory with a sound that feels both vast and exploratory, while remaining heads-down and locked in. Henry Greenleaf steps in with ‘Whist’, an ominous and otherworldly offering, reminiscent of early dubstep productions that fell somewhere between the lines of dark garage, 2-step and grime.
Elsewhere, SHXCXCHCXSH’s ‘NexxxD’ and Sir Hiss’s ‘2TUFF’ form a middle climatic point of pure chaos, with Sir Hiss serving up a raw slab of gnarled grime waveforms and cascading claps. Beatrice M. & Cimm bring things back down with ‘Pad City’, a cool, meandering cut of shuffling house, while Lorem closes the compilation with ‘Console Corners’, exploring the outer rims of sound manipulation and deconstruction before tying it all together.
Since its formation in 2005, Tectonic has been a trailblazing force in electronic music, helping to define and continually redraw the boundaries of dubstep and its surrounding sounds. The compilation arrives in the middle of a serious run for the label. Earlier this year, Tectonic released Beatrice M.’s debut album Sinking, a major moment for the label that was embraced across the electronic music community. Pinch has also continued his long-running creative relationship with legendary grime MC Trim this year, following their joint 2025 EP No Caller ID, with recent single Striker.
Across Tectonic Sound Vol. 2, those different strands of Tectonic’s history and present day meet head-on. The music moves between familiar forms and stranger territory, with rhythms and frequencies refracting across the collection. It’s a record that feels cohesive without being uniform, reflecting a label whose sound has always been defined by forward movement.
Ohio’s 156/Silence return with From a Distance, their crushing new full-length and first release for Pure Noise Records, arriving September 4. Produced by Josh Schroeder (King 810, Lorna Shore, The Plot In You), the album expands on the breakout success of People Watching with a darker, more cinematic approach that balances punishing heaviness, eerie atmosphere, and emotional depth. Featuring guest appearances from Mike Hranica (The Devil Wears Prada) and Alex Reade (Make Them Suffer), From a Distance pulls influence from horror, prestige television, and retro game soundtracks while moving seamlessly between hard rock, experimental textures, and the band’s chaotic mathcore roots. Atmospheric, unpredictable, and unbound by genre, From a Distance pushes 156/Silence further into their own lane while cementing them as one of heavy music’s most fearless rising acts.
Nearly three decades after first forging one of underground hip-hop's most enduring creative partnerships, Aesop Rock and Blockhead reunite for Trouble Mountain, a new full-length meditation on escape, survival, and the strange terrain of everyday life. Inspired by the nostalgic promise of Poconos resort commercials that blanketed New York airwaves during their childhoods, the album imagines a fictional getaway where the search for reinvention proves just as disorienting as the reality left behind. Arriving as Aesop Rock's 13th studio album, Trouble Mountain finds his writing as inventive as ever—transforming family history, work, memory, and the absurd mechanics of modern life into vivid, deeply human reflections. Blockhead's production is equally vital, pairing the duo's unmistakable chemistry with lean, evolving soundscapes that feel both familiar and newly exploratory.
Together, they revisit the themes that have connected their work since Labor Days: labor, alienation, and the enduring hope that there's somewhere else we'd rather be. Rather than offering an escape, Trouble Mountain asks why we're always searching for one—delivering one of the duo's most imaginative and resonant collaborations to date.
Nearly three decades after first forging one of underground hip-hop's most enduring creative partnerships, Aesop Rock and Blockhead reunite for Trouble Mountain, a new full-length meditation on escape, survival, and the strange terrain of everyday life. Inspired by the nostalgic promise of Poconos resort commercials that blanketed New York airwaves during their childhoods, the album imagines a fictional getaway where the search for reinvention proves just as disorienting as the reality left behind. Arriving as Aesop Rock's 13th studio album, Trouble Mountain finds his writing as inventive as ever—transforming family history, work, memory, and the absurd mechanics of modern life into vivid, deeply human reflections. Blockhead's production is equally vital, pairing the duo's unmistakable chemistry with lean, evolving soundscapes that feel both familiar and newly exploratory.
Together, they revisit the themes that have connected their work since Labor Days: labor, alienation, and the enduring hope that there's somewhere else we'd rather be. Rather than offering an escape, Trouble Mountain asks why we're always searching for one—delivering one of the duo's most imaginative and resonant collaborations to date.
Maryos Syawish (b. 1993, Iraq) is a Chaldean Iraqi artist and musician based in Naarm/Melbourne working fluidly across visual art, sound and curatorial practice. His creative work spans more than 15 years and is defined by a lawless, unorthodox approach that resists traditional genre boundaries.
His Research Records debut is an introspective and meandering exploration of place, legacy and personal history. It’s a marked change of pace for the Melbourne-based producer, who has carved his name into the Australian underground as one half of Sleep D and Butter Sessions Records, but his first full length under his own name feels like an extension rather than a departure from what those attuned to his productions will already know.
Qurmami – which translates to “my roots” – functions as an audio collage that bridges the artist’s dual experiences of growing up in Australia and his heritage as a Chaldean Assyrian. Developed over the course of eight years, the record is anchored by field recordings captured during a pivotal trip to Iraq which are sewn into lush ambient electronics over two sides.
Over 42 minutes the production swells and grows; a delicate and mind-transporting beginning gives way to a more rhythmic, body-moving tail end, drawing subtle influences from dub, ambient, and traditional music from the Northern Iraq region along the way. Syawish’s contemporary, friend and fellow Research artist Khaled Kurbeh features, as does Melbourne-based cellist Abby Sundborn, while Sarah Ujmaia – Maryos’ cousin – contributed the album art and a familial through line that rounds out a cohesive, evocative exploration of identity, memory and the spaces that shape who we are.
Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.
Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.
ORUMA is a trio formed by Ola Rzepka (drums, zither, percussion), Artur Rumiński (electric guitar) and Mat Barski (electric guitar). At its foundation is the musical dialogue previously developed by Rumiński and Barski as a guitar duo and documented on the albums “On the Margin” and “At the Junction”. Their encounter with Ola Rzepka during Kraków’s Kakofonie series opened this music to a new sense of dynamics, pulse and
collective form.
ORUMA’s music exists at the intersection of free improvisation, noise, experimental postrock and post-kraut repetition. It avoids the conventional division between soloist and accompaniment. Instead, two electric guitars and drums gradually abandon their individual roles to form a single, constantly shifting sound organism — moving from silence, open space and isolated gestures towards dense masses of sound.
The trio’s debut album consists of five pieces: “Satellites”, “Stranger”, “This Mountain Is Alive”, “A Rough Plan For Nostalgia” and “Hyperborea”. Together, they form a coherent journey: from distant signals and the first moment of contact, through friction and increasing physical intensity, to an expansive fourteen-minute finale.
Ola Rzepka
Drummer, pianist, composer and performer. She graduated from the Karol Szymanowski Academy of Music in Katowice, where she studied at the Faculty of Composition, Interpretation, Education and Jazz. She was also a scholarship student at the Rhythmic Music Conservatory in Copenhagen, studying piano and percussion. She teaches piano improvisation at the Wojciech Kilar State Music School Complex in Katowice and runs her own music lessons and workshops. As a composer, she collaborates with acclaimed theatre directors in Poland, Germany and Switzerland. Her musical collaborators have included Raphael Rogiński and Antoni “Ziut” Gralak. She has performed her original music at numerous avant-garde, popular, jazz, improvised and contemporary music festivals across Poland and Europe. In Jazz Forum magazine’s 2024 Jazz Top critics’ poll, she was named among Poland’s leading drummers.
Artur Rumiński
Guitarist and member of bands including Furia, Thaw and ARRM. He also composes and improvises under his own name and performs in the experimental duo Marmur, which he co-founded with Macio Moretti. He has released several solo albums on labels including Antenna Non Grata, Gusstaff Records, Zoharum and Szara Reneta.
Mat Barski
Guitarist associated with the Kraków and Tricity music scenes. His projects include the duo Ekotonika, the Rumiński / Barski duo. He has released albums through Gusstaff Records and Antenna Non Grata. Alongside music, he works in motion design and visual postproduction. He is a member of the Kraków-based Skład Solny Association, where he coorganises concerts and exhibitions.
Sean Thompson hat mehr als ein Jahrzehnt damit verbracht, sich zu einem der vielseitigsten Gitarristen in Nashville zu entwickeln. Derzeit ist er als Gitarrist für Margo Price auf Tour, und sein flinkes, lyrisches Spiel hat Bands unter der Leitung von Erin Rae sowie einer ganzen Reihe von Größen der ,Music City" geprägt. Außerdem ist er neben Rich Ruth und Spencer Cullum ein Drittel des kosmischen Trios Shrunken Elvis, dessen gefeiertes, selbstbetiteltes Debütalbum 2025 bei Western Vinyl erschien. Mit ,Inner Principles", seinem ersten rein instrumentalen Album, bündelt Thompson all diese Instinkte zu etwas, das sich wie ein echtes neues Kapitel anfühlt. Es ist ein Jazz-Fusion-Album im reichhaltigsten Sinne des Wortes: virtuos, aber schnörkellos, experimentierfreudig und stilistisch von einem Titel zum nächsten unruhig. Die acht Stücke bewegen sich mühelos zwischen ECM-artiger Weite im Geiste von John Abercrombie, rauchigem Akustik-Picking, lockeren Late-Night-Boogies und eleganten Post-Rock-Abenteuern, mit Synthesizern, die hin und wieder in Richtung Jan-Hammer-Territorium blitzen. Man könnte meinen, ein Großteil dieser Musik stamme aus dem Jahr 1978 oder 1983, und genau diese Zeitlosigkeit ist der springende Punkt. Thompson spielt ein rasantes Spiel namens ,Finde den Einfluss" und zieht dann weiter, ohne sich jemals lange genug an einem Ort niederzulassen, um wie eine Hommage zu klingen. Im Kern ist das Album ein Trio aus Thompson, Eric Slick am Schlagzeug und Alec Newman am Bass, ergänzt durch eine Handvoll bewährter Mitstreiter: Jake Davis, der produzierte, als Tontechniker fungierte, abmischte und Synthesizer beisteuerte; sein ,Shrunken Elvis"-Bandkollege Rich Ruth an der Gitarre; sowie Jo Schornikow am Keyboard. Dieses Zusammenspiel des Ensembles ist das Herzstück der Platte, und trotz aller technischen Meisterschaft ruht sich ,Inner Principles" nie auf seinem Können aus. Jeder Track strahlt echtes Gefühl aus, vom weitläufigen, treibenden ,Underwater Way" bis zum zarten ,Waltz For Mama". Thompson hat ,Inner Principles" digital in Eigenregie veröffentlicht und das Material live beim BigEars-Festival vorgestellt. Western Vinyl presst es nun zum ersten Mal auf Vinyl und verschafft damit einem der stillen, aber unverzichtbaren Musiker Nashvilles sein bisher umfassendstes Statement.
,Concern and Simplicity Volume 1: Original Recordings, 1981-1986" versammelt zentrale Aufnahmen der Schweizer Pianistin und Komponistin Lotti Tauber, die in den 1980er Jahren in Eigenregie veröffentlicht wurden. Trotz schwerer körperlicher Einschränkungen entwickelte Tauber eine einzigartige minimalistische Klaviersprache, in der sich Intuition, Improvisation und spirituelle Konzepte miteinander verbinden. Geprägt von ihren Interessen an Jungscher Psychologie, Musiktherapie und Mystik schuf sie ebenso persönliche wie experimentelle Kompositionen, die an Künstler wie Arvo Pärt oder Philip Glass erinnern, dabei aber eine ganz eigene Stimme bewahren. Die Sammlung dokumentiert die kreative Hochphase ihres Schaffens und zeigt, wie Tauber mit einfachen musikalischen Mitteln intensive emotionale und klangliche Welten erschuf.
On the Ifness ist das gemeinsame Projekt von Sean McGuinness (Pissed Jeans) und Mike Petillo (Protect-U, Geo Rip). Auf ihrem zweiten Album verbindet das Duo experimentelle Elektronik, psychedelische Klanglandschaften und hypnotische Rhythmen zu einem atmosphärischen, nächtlichen Sound. Musikalisch bewegt sich ,On the Ifness" zwischen Ambient, Jazz-Fusion, Dub, elektronischer Clubmusik und den sogenannten ,Fourth World"-Klängen von Jon Hassell. Organische Percussion, Synthesizer, Drones und improvisatorische Elemente verschmelzen zu vielschichtigen Kompositionen, die zugleich rhythmisch, meditativ und futuristisch wirken. Unterstützt wird das Album unter anderem von Geologist (Animal Collective) sowie weiteren Gästen aus der experimentellen Musikszene.
,Splendor & Misery (Anniversary X)" ist die Jubiläumsausgabe zum zehnjährigen Bestehen des für den Hugo Award nominierten Science-Fiction-Opus des experimentellen Rap-Trios Clipping. Diese Deluxe-Ausgabe enthält ein überarbeitetes Cover, das Originalalbum sowie acht bisher unveröffentlichte Songs und alternative Takes. ,Splendor & Misery" ist ein afrofuturistisches, dystopisches Konzeptalbum, das die Geschichte des einzigen Überlebenden eines Sklavenaufstands auf einem interstellaren Frachtschiff sowie des Bordcomputers erzählt, der sich in ihn verliebt. In der Annahme, allein und im Weltraum verloren zu sein, entdeckt die Figur Musik im bebenden Rumpf des Schiffes und in den zwitschernden Instrumententafeln. Die Musik von Clipping zeichnet eine imaginäre Klanglandkarte der Decks, Gänge und Quartiere des Schiffes, während Daveed Diggs' Texte auf den Rhythmen reiten, die von dessen Triebwerken und Maschinen erzeugt werden. ,Splendor & Misery" ist eine der beliebtesten Veröffentlichungen von Clipping. Es schaffte es in zahlreiche Jahresrückblicke und wurde von der ,New York Times", Bandcamp Daily, CLASH, The Line Of Best Fit, The Needle Drop, Uproxx, The Observer und Stereogum gelobt. Im Jahr 2019 stufte Pitchfork ,Splendor & Misery" als eines der 33 besten Industrial-Alben aller Zeiten ein. Clipping feierte das Album im August 2026 mit dem ,Splendor & Misery Fest" im Knockdown Center in New York City, mit den Vorgruppen SPELLLING, Shabazz Palaces, ELUCID, Fatboi Sharif, evicshen und Maria Chavez.
Originally created in 1987 as an image album for a luxury Sanyo air-conditioner, Get at the Wave stands as one of the most surprising and enduring works of Japanese ambient music. Recorded using synthesizers and natural field recordings, the album was designed to transport listeners far from the heat and noise of urban life — into open water, gentle wind, and unhurried space. Takashi Kokubo's mastery as an acoustic environment designer is present in every texture, blending electronic composition with an almost physical sense of atmosphere and place. Intimate, expansive, and quietly radical, Get at the Wave is an essential document of kankyō ongaku - and one that sounds more necessary than ever. The remaster and artwork of this vinyl edition were made by the artist. Takashi Kokubo (born 1956) is one of Japan's most influential ambient composers and acoustic environment designers. A pioneer of kankyō ongaku since the mid-1980s, his sound design work has reached virtually every corner of Japanese daily life - from the national mobile phone earthquake alert to the sign tone for iD e-money and the melody call tone for NTT DoCoMo. In 2020, he was included in the Grammy-nominated compilation Kankyo Ongaku (Best Historical Album), cementing his place as a foundational figure in environmental music worldwide.
Tara Cunningham’s guitar glitch miniatures draw patterns in negative space on new mini-album Warm Ground. Operating predominantly within improvisational and experimental music, guitarist Tara Cunningham has developed a discrete sonic language that reveals the full textural and timbral range of her instrument.
Marking a new chapter for Cunningham that builds on her solo debut, Almost – Not Exactly, released on Non Classical in 2025, Warm Ground unfolds across seven compelling instrumental dialogues - each a conversation of rhythms and found sounds, syncopated and juxtaposed, open to encounter.
Implied by the title of first single ‘Following a Thought’, Cunningham weaves an exploratory melody into the spaces between field recordings. At once introspective and highly relational, each track ushers the listener into a world of different scales, seeking beauty and meaning in the everyday, from the discrete mechanisms of ‘Fridgelight’ to the delicately unhinged organism of ‘Flying Ant Day’.
Cunningham finds a natural home on Odda’s roster of artists sensitive to the details of their materials and surroundings, finding kinship alongside the intimate songcraft of Kirk Barley and Fohn in the gaps between composition and improvisation.
In 2026 she released a self-titled LP as The Sleeves with Jack Cooper, performing at Cafe Oto ahead of a US tour in the autumn. She continues to pursue a range of projects as collaborator and side person with Modern Nature, Sebastian Rochford, Red Snapper, Liam Noble, Laura Jurd and Caius Williams.
Spring Back, Ball Forward is the Soda Gong debut from Jung dj, nom de plume of shapeshifting multi-instrumentalist Randy Riback. Following a series of uniformly great self-releases and cassettes on the dearly missed Lillerne Tapes, this collection observes the spacious and angular dynamics of 1990s Midwestern post-rock through the lens of the bedroom electronic music producer.
Perhaps surprisingly, amp worship lies at the center of the album: a fascination with the grain, pressure, and emotional charge of amplification and gain, refracted through the strange remove of digital amp modeling. Tubes, speakers, sag, and in-the-red textures are a critical part of the album’s expressive vocabulary, imparting density and colorful saturation while lending even its most weightless passages a vital sense of physical presence. Over the course of twelve tracks, wistful ambience gives way to blunt heaviness and roiling catharsis, underpinned by a palpable sense of loss and grief.
The album’s auspicious cast of collaborators further complicates its emotional terrain. Spoken contributions from Natalia Panzer and Angelina Nonaj occupy strikingly different registers: Panzer’s diffuse and oblique, drifting in and out of the music’s contours; Nonaj’s a vivid travelogue, grounding the record in place and lived experience. Elsewhere, Soda Gong veteran Mister Water Wet joins a small constellation of guests whose playing folds naturally into Riback’s arrangements, blurring the boundaries between computer and ensemble music.
For all of its attention to texture, process, and the material qualities of sound, Spring Back, Ball Forward is first and foremost an emotionally potent work, possessed of a directness that can feel rare within experimental electronic music. Riback draws from a rich and idiosyncratic musical vernacular, arriving at something deeply felt and difficult to place: a singular statement whose pathos exceeds the sum of its references.
Mohammad Syfkhan is back with his second album for Nyahh Records. This collection of new recordings marks a hug milestone in Mohammad’s career as it’s the first album that features all original compositions. And with a full band! We had the great help of Syrian Cellist and composer Naseem Alatrash to help with the string arrangements. The resulting record is a beautiful journey into a timeless Middle Eastern and North African sound akin to the likes of Fairuz or Umm Kulthum with a fast Kurdish Dabke tempo.
I Love You Ireland is an incredibly personal album for Mohammad. The title alone, much like his debut ‘I Am Kurdish’ is as personal as it it’s political. To express such love for a place in music is saying, thank you for making me and family feel safe. Thank you for taking us in. A stand out track titled ‘Ah Yu Donia’ is Mohammad’s first real public moment of grieving for the loss of his son at the murderous hands of Isis. In this song he asks God why he was taken. Trying to figure the sense in the actions of fundamentalists. The strings sections are sad, but not morbid. Acting like a release or companion to the horrific reality of losing a child.
‘Al Huriya’ is Mohammad’s first attempt at using an Irish rhythm known as a Reel, as appose to his usual Middle Eastern rhythms. Again, this is a beautiful way for Mohammad to give thanks to all the musicians and supportive people his has met in Ireland since 2011.
WHO IS MOHAMMAD SYFKHAN
Mohammad Syfkhan is a Kurdish/Syrian Singer and Bouzouki player. He began
playing music in 1980 while he was in college studying nursing. When he got
his degree in 1983, Mohammad moved to the city of Raqqa, Syria where he
began working as a professional singer and started his own band, The Al-Rabie
Band which played concerts, parties, weddings and festivals all over Syria. The
Al-Rabie Band were a much sought-after group. Their live sets included Kurdish, Arabic, Turkish and some Western songs as well as Mohammad’s own original material.
Mohammad continued to play with his band while also working as a surgical
nurse until the war broke out in 2011. This unfortunately brought tragedy to
Mohammad’s family when one of his sons was killed by Isis thus threatening
the lives of the rest of his family. His family had no choice but to leave their
home and seek safety in Europe. Three of Mohammad’s sons were resettled in
Germany while Mohammad, his young daughter and wife were taken in by
Ireland. Mohammad has spoken at length of his confusion and despair with
fundamentalists and how their message is a far cry from the teachings of love
and understanding that he considers the true message of Islam.
Soul Jazz Records’ new ‘Inner Space’ collection is a mixture of Cosmic electronic music and proto-New Age sounds. The album features a wide range of European, British and American auteur electronic artists, including Hans-Joachim Roedelius, Steven Halpern, Michael Garrison, Ose, Klaus Schønning, Bernard Xolotl and others.
Their cosmic, exploratory music sits somewhere between the worlds of personal, inner space and galactic outer space. All of the music featured here was recorded in the 1970s and 1980s, much of it released on small bespoke private-press record labels, often owned by the artists themselves.
The album also features rare tracks from a number of Library Music artists, all of whom used electronic music to explore a variety of common celestial or Gaian themes – cosmology, spirituality, science, mother earth, wellness, technology, consciousness, exploration, healing and harmony – in their work. These include pieces by Sauveur Mallia, Keith Mansfield and Sven Torstenson.
Here on this album you will find the Sun Ra’s of New Age, the Picassos of Library Music and the Burroughs of space-related electronic music. Away from contemporary music fashions, these unique and highly individual artists remained free in their music to explore new ideas of sound and technological experimentation – together with the larger concepts of time, space and matter – a freedom rarely granted, and one that we celebrate here.
Dajusch brings his distinctive sound to Backspin Records with 'Oracle', a five-track EP that showcases his instinct for powerful grooves, deep low end and carefully selected synth work, rounded out by a remix from Dutch techno veteran Sterac. Another strong addition to Regal's Backspin Records, this EP balances Dajusch's musical sensibility with his feel for high impact club music, keeping the focus firmly on club functionality.
Opening with 'Boxer', Dajusch immediately strips things down to their essential elements. A buzzing deep bassline provides the foundation while a repeated vocal hook becomes the central motif, surrounded entirely by percussion including a punchy kick, heavy toms and crisp hats. 'Narrow' introduces a saw wave synth that functions simultaneously as bassline and lead, gradually building tension through repetition and a slowly opening filter before a droning pad leads into the return of the drums. Closing the A-side, 'Reeses Piece' is built around a wide gliding Reese bass moving across di?erent notes. A heavy breakbeat, clean claps and hats provide the framework while a high-pitched vocal brings a distinct 90s rave energy, with swinging toms adding movement to an already groovy production.
On the flip side, the title track 'Oracle' shifts the focus towards melody, with Detroit-influenced synth work taking centre stage. A classy melodic motive is complemented by heavily processed vocals transformed into euphoric, drone-like elements, adding another dimension without losing the track's directness. 'Strings' closes the original material with a hefty saturated kick while string synths carry the main theme. Drums straight out of a classic drumcomputer and warm chords build into a more expansive breakdown before returning to the groove. Closing the EP, Sterac's remix of 'Narrow' takes the original saw synth motive into a more hypnotic direction, playing with its pitch and arrangement while reducing the percussion and pushing an already deeper kick further into the mix, giving the synth work more space to breathe.
With 'Oracle', Dajusch delivers a focused statement rooted in classic Techno while remaining connected to a modern sound. Another strong addition to Regal's Backspin Records, this EP balances Dajusch's musical sensibility with his feel for high impact club music', reinforcing the label's dedication to forward-thinking techno with a clear respect for where techno came from.
Born in West Palm Beach, Florida, to a mother of Indian and Congolese heritage and a father of Slovak and Belgian descent, Siân grew up between Belgium and New York before finally letting her travelling wings come to rest in Paris. What could have become a story of fragmentation instead became a source of creative strength. Singer, songwriter, composer and photographer, Siân has always turned borders into bridges.
She first honed her voice in the jazz clubs of Paris and New York, performing alongside renowned artists such as Richard Bona, Jon Batiste and Mike Stern. Yet her path has always extended far beyond the stage. For nearly a decade, she led cultural initiatives with women and children living through exile, violence and poverty across India and Southern Africa, weaving together music, photography and artistic transmission as tools for dialogue and empowerment.
The true turning point came when she discovered the kamele ngoni, the West African harp whose ethereal sound seemed to echo something long buried within her. The instrument became her musical alter ego—the invisible thread binding together her many inheritances. Guided by Malian master Abou Diarra, Siân embarked on an inward journey towards her African roots. Yet this return to her origins was never an act of retreat into identity. Instead, it gave rise to a body of work that remains profoundly open to the world, where Africa enters into conversation with jazz, folk, soul, alternative pop and the rhythms of Brazil.
Along the way, she has crossed paths with remarkable artists including Rogê, Chico César, Fatoumata Diawara, Lokua Kanza, Flavia Coelho, Thomas de Pourquery and Philippe Baden Powell. On stage and in the studio, Siân continues to shape a musical universe that refuses labels. Like artists such as Björk, Joni Mitchell and Laura Mvula, she moves forward as an explorer, guided not by genre but by intuition.
Today, Siân stands as one of the most distinctive voices of the new Francophone music scene an artist capable of uniting musical sophistication with emotional power, introspection with collective celebration, depth with an irresistible urge to dance.
Animal — The New Album
With Animal, produced by British musician Tom Excell (Nubiyan Twist, Africa Express...), Siân delivers her most intimate and assured work to date. Every song feels like a shedding of skin, a quiet metamorphosis, exploring self-acceptance, femininity, the freedom to be oneself, cultural heritage, and the reconciliation of one's own imperfections.
From Stereotype, a fearless manifesto against the expectations imposed on women, to the title track Animal, an anthem celebrating the beauty of imperfection ("I've turned my cracks into a crown"), the album gives a voice to everyone who refuses to fit into predefined boxes. In Terre, je danse sur toi, featuring Fatoumata Diawara, Siân pays tribute to Mother Earth and to the roots that unite us all. Oh! Congo, recorded with Lokua Kanza, reconciles her cultural heritage with an ancestral homeland that feels both distant and intimately familiar. En équilibre, with Flavia Coelho, embraces the exhilaration of risk and the courage to leap, while Put a Mask and I Could Kill confront hidden wounds and the invisible violences that quietly shape who we become.
In ADé, Siân addresses Adenomyosis as though speaking to an unwanted housemate. "My body is your battlefield," she sings, giving voice to an intimate shadow lodged deep within herself. This bittersweet lullaby transforms a pain so often left unspoken into an act of profound tenderness towards oneself.
The album also holds a rare treasure: Reste tel(le), an unpublished text by Pierre Barouh, the founder of the Saravah label. Never before set to music or performed, this elusive poem of free love finds new life through Siân's voice, becoming a dialogue across time between two artists united by the same devotion to freedom, métissage and openness to the world.
Driven by Tom Excell's vibrant Afro-pop pulse, the spiritual breath of the kamele ngoni, organic arrangements and deeply personal songwriting, Animal is an album of liberation. It invites us to lay down our masks, embrace our contradictions and reconnect with the free, instinctive and powerful animal that lies dormant within us all. More than a collection of songs, it is a radiant manifesto for the richness of identity, the passing on of memory, and reconciliation with oneself.
Animal is not simply the title of an album, it is a declaration of independence. An invitation to live fully, unapologetically, and without instructions.
A citizen of the world, travelling freely between continents, languages and memories, Siân Pottok delivers with Animal her most personal, and perhaps her most universal work to date: an album that reminds us that our fragilities, our roots and our differences are, beyond doubt, our greatest strength.
— Christophe Tison
**BenArt Ensemble ft. Baptiste Herbin** unveil a distinctive debut album at the crossroads of jazz, world music and groove. Led by bassist and producer Ben Artuphel, this eight-piece ensemble brings together musicians from diverse backgrounds and with a wide range of influences: Baptiste Herbin (saxophones), Amina Mezaache (flute), Céline Bonacina (baritone saxophone), Ben Artuphel (bass), Antoine Banville (drums), Alexis Bajot-Nercessian (keyboards), Laurent Avenard-Kohler (guitar) and Nils Wekstein (percussion).
Born from a musical encounter in 2023, the band has developed a unique sound in which intricate bop-inspired writing meets 1970s funk, Afro and Creole rhythms, and the vibrant energy of samba. The album features 13 original compositions, the result of a deeply collaborative process and an exceptional musical chemistry between the eight musicians.
At the heart of the project, saxophonist **Baptiste Herbin** brings his virtuosic playing and extensive international experience. Nominated for the Victoires du Jazz in 2013 for his debut album *Brother Stoon*, he went on to receive the Django Reinhardt Prize and was named Musician of the Year by the Académie du Jazz in 2019. He has released four albums under his own name and has appeared on around fifty recordings alongside some of the leading figures in jazz.
With its finely crafted arrangements, rich melodies and irresistibly groove-driven rhythm section, **BenArt Ensemble ft. Baptiste Herbin** delivers a vibrant and generous take on jazz, where each musician's individual voice shines through while serving the collective. Balancing heritage and modernity, this album is an invitation to dance, dream and travel.
The Tango N'Vectif: Sessions 2LP contains tracks from the original CD version, the 2001 2CD reissue, remixes and alternate versions of album tracks, music from the Phi*1700 u/v EP on R&S and other exclusives, selected by Mike, completely remastered from DATs by Beau Thomas. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.
,Great Sounds Great", ,Good Sounds Good", ,So-So Sounds So-So", ,Bad Sounds Bad", ,Rotten Sounds Rotten!!" 2026 legt Merge Records zwei frühe Veröffentlichungen von 1982 der neuseeländischen Indie-Pioniere The Clean neu auf: die EP ,Great Sounds Great" und die Single ,Getting Older". Beide erscheinen erstmals seit ihrer ursprünglichen Veröffentlichung wieder auf Vinyl. Nach dem Erfolg ihrer Debüt-EP ,Boodle Boodle Boodle" wollte die Band neue musikalische Wege einschlagen. ,Great Sounds Great" zeigt The Clean experimentierfreudiger und vielschichtiger, mit stärkerem Einsatz von Orgelklängen, minimalistischen Aufnahmetechniken und dem späteren Klassiker ,Beatnik". Trotz anfänglich gemischter Kritiken wurde die EP ein weiterer großer Erfolg in Neuseeland.
RADYO BOMBERO - ABOUT THE LABEL
Radyo Bombero is the record label founded by acclaimed filmmaker, author, DJ and record collector Fatih Akin. Born out of his personal passion for vinyl and film music, the label will initially focus on soundtracks from his films: previously unavailable works will be released on vinyl for the first time, while out-of-print titles will return as carefully produced reissues. Its inaugural release is the soundtrack to Akin's new film Geister, scheduled for release in November 2026. Further projects are already in development.
ABOUT THE RELEASE
MALAKOFF KOWALSKI - GEISTER
ORIGINAL MOTION PICTURE SOUNDTRACK
Composed by Malakoff Kowalski, the soundtrack to Fatih Akin's Geister is the inaugural release on Radyo Bombero.
Born in the United States, raised in Hamburg and now based in Berlin, Kowalski is a composer, pianist and multi-instrumentalist whose work moves between film music, contemporary classical composition, theatre and pop. He composed the music for eleven films by Klaus Lemke, as well as for productions including Schweigend steht der Wald and Stasikomödie. His solo work has been released by MPS and Sony Classical, and he has collaborated with artists including 2raumwohnung, Igor Levit, Chilly Gonzales and Nils Frahm. His sound combines elegiac melodies with a warm, cinematic atmosphere and a subtle sense of unrest beneath the surface.
For Geister, this distinctive musical language meets Fatih Akin's vision of a deliberately anachronistic and romantic score: a tribute to Ennio Morricone's great love themes that plays a defining role in the film's tragic love story and atmosphere.
LP 1 contains Kowalski's complete original film score.
LP by JUGGLERZ opens up a second musical world, bringing together four productions by the internationally successful Jugglerz on a four-track 12-inch disc at 45 RPM: the film's title song Ya Mami, performed by Aya Samra; Mood by Cloudee, Milaa and Jugglerz; Tip by Jugglerz, Limitlezz, Maureen and Demarco; and Beirut Nights Riddim. The four tracks bring Arabic tarab and contemporary Levantine pop together with hip-hop, urban beats and dancehall rhythms.
FATIH AKIN ON RADYO BOMBERO
"Radyo Bombero is on the air. Don't miss a tune!
"
Music is - alongside cinema and literature - a fundamental source of inspiration for me. Having grown up in the 1980s, the way I listen to music has hardly changed: I buy records, listen to them carefully and then copy them onto a portable device. It used to be a Walkman, then an iPod - today it is my smartphone with my playlists.
I do not use Spotify or any other streaming services. Why that is, I do not know. In most other areas, I try to keep up with technological developments. Not with music. I like unpacking a record, cleaning it before listening, holding the sleeve in my hands and reading who worked in the studio, who wrote the music and where the record was made. These things interest me. And they lower my cortisol levels.
Music plays a major role in my films. It is not that, as a director, I want to impose my favourite music on the audience. The music must always serve the story. In Head-On, for example, it tells us something about the characters and their biographies. Crossing the Bridge - The Sound of Istanbul is the musical portrait of a city. Its music tells us about the people who live there: where they come from, the cultures they brought with them and how those cultures have merged with local traditions. The Cut was conceived as a Western, and the music had to help reinforce that idea.
Geister tells a tragic love story. The music was meant to be gloriously anachronistic. And romantic. Just like the light and colours, it had to shape the atmosphere of the film. My films are often about cinema itself, and Geister is no exception. Its music is a tribute to Ennio Morricone's great love themes.
In Malakoff Kowalski, I found the perfect creative partner. He immediately understood my idea and realised it brilliantly. That made it all the more painful when I was told by the music industry that there could be no soundtrack release for Geister because soundtracks were too expensive to produce and would simply sit on the shelves.
It is not as though I am a spoiled child who absolutely has to have a lollipop. But this music is simply too good to withhold from the audience. The idea that there would be no soundtrack release felt like a great injustice.
Then several friends and collaborators advised me to release the record myself. No sooner said than done. But Radyo Bombero is not a one-off project. Geister is only the beginning.
Finally, I have the opportunity to gradually release all the soundtracks from my films that have remained unavailable. Soundtracks that were previously released but have since gone out of print will also return as reissues.
Hainbach's soundtrack to Amrum is already in development, as is a double album featuring the unforgettable German pop songs from The Golden Glove. And, finally, a vinyl soundtrack to Head-On.
Fatih Akin
Revelling in adventurous, malleable synthesis and a strong melodic instinct, long-standing techno heavyweight Oscar Mulero brings his Trolley Route alias to Dekmantel. Across four rush-inducing cuts of studio exploration the Spanish veteran showcases a lighter side to his muse without sacrificing maximal dancefloor impact.
Oscar Mulero first debuted Trolley Route back in the early 00s through albums and EPs for Pure Plastic, Minuendo and others, offering a more playful strain of machine music to contrast with the steely output under his own name. Embracing dub textures and Detroit-coded synth leads, the recently-revived alias has become a haven for the looser styles that spill out of his studio. It just so happens these outliers are as crucial as any of Mulero's primary club smashers.
From the swampy chord sequence that dominates 'New Visual Order' to the meaty sub-bass and delay-soaked synth sweeps of 'Relativity Of The Vision', the whole EP is spilling over with madcap charm and a casual boss-level quality that can only come from a true legend letting their hair down.
In April 1963, The Beatles stepped into a formal lunchtime ceremony at EMI Studios, where they were honoured with their first silver disc, for Please Please Me. This event, attended by EMI staff and the press, was likely recorded for Radio Luxembourg’s Friday Spectacular. Just one month later, the raw energy of Beatlemania exploded at the Walthamstow Granada. The 9-minute newsreel from this show is a time capsule of wild, full-throated screaming—a stark contrast to the relaxed EMI ceremony.
Fast-forward to 1964 and we feature TV performances from Shindig & Blackpool Night Out plus a Tyne Tees TV Interview where the interviewer tried—and failed—to pin down the band’s voting intentions on 15th October 1964, the day of the UK General Election. Whether you’re a longtime fan or a newcomer, these performances offer a unique lens into the group’s early years.
¡NO PASARAN! is the extension to Extrawelt's DYSTORTION, from brooding tension to playful relief, the album took listeners on a six-year-crafted exploration. Their next EP picks up where this epic chapter left off and is clearly related. It's a hypnotic dive into shadow and dream, darkness and melancholy with subtle flashes of light.
The title track of the EP, already known from the album (D1 - Extrawelt - ¡No Pasaran!) carries a commanding presence, pulses with a rolling, insistent bassline that anchors shifting rhythmic currents and evolving sonic layers. Between tension and release, shadows and melody, it's a track that moves like a living entity.
Arctic Dead Run hits like a surge of raw energy. Acid lines roll relentlessly, building tension that feels alive. Then a melody sneaks in - soft, almost fragile - cutting through the intensity, until hi-hats erupt and the groove snaps into full focus. Maximal yet controlled, every element finds its place.
Clipping Me Softly dissolves the pressure with a dark, playful groove. Precise rhythms meet spacious pads, opening into a dreamlike state where night slowly gives way to warmth and light.
A focused and uncompromising continuation of Extrawelt's sonic language: Dense grooves, acid pressure, and dreamlike relief collide in a release built for deep listening and late-night floors.
What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.
“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.
Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.
All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.
Sentimental Ultra marks DJ HEARTSTRING’s debut proper on Steel City Dance Discs, and their first album project, releasing November 13th 2026. Starting life as a mixtape before a happy accident or two took it down a different path, the 15-track album finds the pair chasing not just peak-time euphoria and what they can conjure in a club setting, but everything around it, too. The befores and the afters. The soft and the supercharged. What life felt like when they were young. Featuring collaborations with SWIM, Spriitzz, BAUGRUPPE90, Sam Gellaitry, Saidah, DMA’S, KennyHoopla, Monk, 3NDLES5, David Jackson and secret act, they fold formative years influences such as indie rock, rap, ambient and breakbeat into their sought-after sound, and balance them with contemporary-coded ideas.
This blend of worlds is at the crux of the album’s concept visually as well. Sentimental Ultra is an exploration blurring the lines of hard and soft, taking inspiration from subculture communities around football hooliganism and skateboarding. The cover is shot by iconic British photographer Ewen Spencer, renowned for his work around Skins, The Streets and more. The collaboration has seen DJ HEARTSTRING land features in Numero Berlin, Notion Mag and other cross-cultural editorial platforms ahead of the album announcement.
To date, the project has already received various milestones across international radio, including Arielle Free’s Big Whopper for third single ‘Another Year Alone’ and DJ HEARTSTRING landing a coveted BBC R1 Residency in November. Adding to this is the slew of digital looks and accolades for DJ HEARTSTRING’s set recordings including their closing set at Soenda Festival earlier this year which is on 115k views since being published in May 2026, their Melbourne Boiler Room published in 2025 with +1 million views and their Belfast Boiler Room published in 2023 with +1.1 million views.
Since DJ HEARTSTRING’s 2021 debut, when they rollicked through the club door with their Destiny of the Moment and Eternal Euphoria EPs, alongside a slew of self-released, pop-and-R&B-indebted edits, DJ HEARTSTRING have followed their hearts and won over legions more with an emotional dance music style that’s fast become synonymous with their name.
There’ve been big releases such as 2025’s You Are The Sun, I Am The Sky EP, and buzzy collaborations with fellow synapse-igniters like SWIM, Narciss, southstar and S.C.D.D.’s KETTAMA. The past few years have also seen remixes for Charli XCX and Sam Smith, Romy, Sugababes and Empire of the Sun, sets everywhere from Berghain to London’s 3000-capacity Roundhouse, their own Teenage Dream parties and a must-listen contribution to the BBC Radio 1’s Essential Mix series, which showcased just some of the sonic inspirations behind their signature, like Eurodance and trance, plus heaps of DJ HEARTSTRING material.
And now, Sentimental Ultra arrives off the back of DJ HEARTSTRING’s busiest summer to date with landmark festival plays at Awakenings in the Netherlands, Lost Village and Maiden Voyage in the UK, We Love Green in France, Lost Paradise in Belgium, Movement Festival in Detroit and Arc Festival in Chicago. Hot off the heels of their festival run, the Berlin duo show no signs of slowing down with a 3-date Australia tour at the end of September whereby they sold a cumulative 15,500 tickets across Melbourne, Sydney and Perth shows, all on presales. In addition to some pop-up in key markets around album release including Ireland, Scotland, Berlin and London, the Sentimental Ultra official tour also encompasses a European hard ticket run including Belfast’s Telegraph Building (2,000 cap), Brussels’ Braindance (2,000 cap), Paris Phantom (3,400) and DJ HEARTSTRING’s biggest London show to date - Brixton Academy (5,000) - an apt follow-up after selling out Magazine (4,000 cap) weeks in advance in February 2026.
There’s plenty still in store, and plenty of places to catch them throughout the rest of what’s set to be a landmark year. Shows from Miami to Manchester (for the sold-out KETTAMA presents Steel City Dance Discs WHP takeover) to Dublin’s District X, a hometown Teenage Dreams event and 2 colossal ADE headlines at Dockyard and Sugar Factory - with more plans bubbling behind the scenes. DJ HEARTSTRING season is well and truly upon us.
Recorded in 1988 and originally released in 1992 by Discos Musart on cassette, this landmark album by Chalino Sánchez, the King of Corridos, makes its long-awaited vinyl debut. Backed by the powerful tambora sound of Los Guamuchileños, its ten tracks—six written by Chalino—blend heartfelt love songs and vivid corridos inspired by life in Sinaloa. AAA lacquers cut from the original master tapes deliver the definitive listening experience.
Dutch-born and Singapore-based, Mike Risk has spent more than three decades immersed in house music. As a DJ, producer, promoter and agent, he has experienced the culture from multiple angles, building relationships and sharing dancefloors across Amsterdam, London, Ibiza, New York, Chicago, Singapore and beyond.
Now Is Forever is a full-circle moment. A statement. A celebration of a lifelong relationship with house music.
Mike first made his mark in the Dutch underground through Club Risk and later RiskSoundSystem, two platforms that helped shape nightlife culture in the Netherlands throughout the 1990s and 2000s. After decades spent championing the music of others, Now Is Forever is Mike adding his own chapter to the culture that shaped his life.
Created with longtime collaborator Greg van Bueren (Hardsoul) between Amsterdam and Singapore, the album is a deeply personal tribute to the music, people and places that shaped him. From the clubs of Amsterdam and London to the sounds of Chicago, New York and Detroit, it distils decades of dancefloors, record stores, studios and late-night conversations into one body of work.
From deep and soulful grooves to raw house cuts and acid-tinged late-night moments, Now Is Forever explores house music in its full spectrum. It reflects the way Mike has always approached a dancefloor as a DJ: not as a collection of tracks, but as a journey through the many moods and moments that make a greatnight unforgettable.
Featuring Mike Dunn, Bluey Robinson, Marc Evans and John Agesilas, the album brings together years of experience, inspiration and dedication. Crafted not out of commercial pressure but out of creative necessity, it is the product of pure love-for the culture, for the craft, for the music.
Now Is Forever is a past-forward record: rooted in the music, dancefloors and relationships that shaped Mike, while carrying their spirit firmly into the present. At its heart, it is about honouring the kid who first fell in love with house music-and never let go.
Because when you are truly lost in music, there is no past and no future. There is only now.
With 108, Nathan Melja shapes a world built around movement, repetition and presence.
Across four tracks, rhythms unfold with patience. The record opens with “Joe’s Muse”, a playful and deep energetic track, before “Les Planètes” expands into something wider, with the help from New York vocalist Joiah, and more suspended. At the centre, eponymous track “108” draws you into a more hypnotic, ethereal space. “Trippin’” closes the EP with a sharper physical pull, bringing the record back toward the dancefloor without breaking its internal spell.
The release is completed by “Strategic Patterns” as digital bonus, an additional exploration of sounds, repetition and subtle displacement.
108 is a record for the space between attention and abandon, precise in its construction, but always open to wonder. It also offers a faithful portrait of the broad panorama of influences that Nathan Melja incorporates into his music, a sound that can be equally appreciated on the dancefloor and through attentive listening.
Tony Price returns with NAME?, a new LP on his Maximum Exposure label delivering 10 tracks of red-hot house music realness.
Following two releases in 2025, the brutalist cybernetic jazz reveries of Requiem for the Ontario Science Centre and the ferocious machine funk of Street Theatre, NAME? keeps its crosshairs aimed straight at the dancefloor.
NAME? showcases Tony’s undying affinity for the sound of New York City and New Jersey house: Tony Humphries’ cybernetic gospel dubs, the crude, Todd Terry-style 12-bit hip-hop explosives, the cracking garage swing of early Strictly Rhythm, Mood II Swing and Masters At Work, the psychotic bleep-funk bombast of the Bomb Squad, and the deep, ecstatic machine soul pioneered by the likes of Blaze and the Burrell Brothers.
Produced in his Greektown studio in Toronto using an array of drum machines and samplers, these recordings are pure Tony: rude, crude and elemental. House music stripped down to its core principles and defining primordial textures. No nonsense, no junk, no varnish, no nothing. Just the funk.
La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sounds, La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnected stories. La Dispute has developed a devoted fanbase and is known for their powerful, unforgettable live performances.
With »The Future Is Futuristic«, the fifth album for Haleiwa (and third with Morr Music), Stockholm’s Mikko Singh draws from a deep well of nostalgic feeling, while making music that feels razor-sharp, on point, and full of hazy dream-pop pleasure. After 2019’s »Cloud Formations« and 2022’s »Hallway Waverider«, which imagined psychedelic post-shoegaze and mantric pop songs into being, »The Future Is Futuristic« feels like both consolidation and magnification; the noise-drenched songs feel thicker, heftier; the electronic interludes playful and kinetic; the rhythms boundless. It’s as though Singh has truly found his metier, his voice, a place from which he’s comfortable to indulge in the kind of home-recorded worldmaking that has always marked Haleiwa out as something special.
»The Future Is Futuristic« passes by in a rush of whiteout tones and scurrilous energy; the whole thing is over within half an hour, Singh ensuring his songs say exactly what they need to say – no more, no less – before bustling through into the next ecstatic pop moment, pushing the music further into the zone. While his music often has a similar, drenched quality to shoegaze, on »The Future Is Futuristic«, Singh seems to be settling in alongside other spirits – there are touches of the experimentation of both A.R. Kane and Flying Saucer Attack here; the more motoric tunes recall New Zealand’s Snapper; the glitchtronics have a City Centre Offices sensibility, while the sparkling folksiness of the melodies can recall Bristol bands like Light or AMP.
But it’s ultimately not about influence, beyond perhaps Haleiwa nestling alongside some like-minded souls in perceptive listeners’ minds. Instead, thrill to the rush of rhythms that float between jungle and punk on »Flourishing« and »96«, the latter a reference, from Singh, to moments of early revelation – »it’s about being thankful for having found punk rock and skateboarding at a young age, in 1996.« There’s also the hypnotic dream-rush of the opening »Smoke Will Rise«, the beautiful Cure-esque guitars swimming through »Sunset Street« and »Strange Notes«, the tumbling rhythms and heady, elated chord changes that grant lift-off to »Wave Chaos«… A real panoply of pleasures, in fact.
»The Future Is Futuristic« was recorded solely by Singh on four- and eight-track in his home studio, with a quick trip to Telefonstudion to record drums. Recording at home grants a certain intimacy to »The Future Is Futuristic«, even as the songs, at times, bliss their way off into the skies; there’s something both expansive and intimate about the music here, as though Singh is grappling immensities into intimacies. It also feels deeply personal for Singh, a summation of much of what he’s done over the years; as he says, simply and clearly, »The album is in my interpretation a mix between punk, electronic music, and dream pop.« The threads that connect these creative phenomena? Energy, texture, melody, tone, sensuality; pure pop pleasure.
Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.
Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.
There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.
Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.
Today we are happy to announce that we are reissuing Merucry Rev’s 1993 album Boces in the UK & EU! Available from the 13th of November, Boces has been newly remastered by Henry Rudkins at Air Studios and is available on black vinyl and CD.
Hailing from Buffalo New York, Mercury Rev are one of the US’s most well-respected bands, always experimenting and continually reinventing. The Guardian called them “a rarity in indie rock: a band who have continually evolved their sound, pushing at the boundaries of what rock music actually means…borrowing from jazz, funk, doo-wop, techno, folk and more along the way.”
Boces is such an important record in their discography, a grand and epic part of their story. The songs on the album came from the whole band. Everyone contributed and the recording process really allowed everyone’s freak flags to fly – partly thanks to their first ever major label recording budget. The opening 10-minute epic track “Meth of a Rockette’s Kick” really let’s you know that this album will be like nothing you have ever heard before.
Unfurling dank forest-floor minimalism straight out of the early-’00s Scandi prog playbook. Unhurried, groove-fwd and made of moss and mist. Deft precision and insectoid detail skitter underfoot.
Channelling the Swedish-Danish axis of Spiral Trax and Creamcrop Records like a true disciple. Pared right back and wound tight, the tension doesn’t let up for a second. Heavy on the low end and properly gloomy with it.
Disembodied vocals summon haunted spirits and divine feminine frequencies. Eerie and levitational, with plenty of late-nite throb.
Elsewhere, it evokes intrepid interstellar exploration and early synth experiments – one track sports a synth line that wouldn’t be out of place on a BBC Radiophonic Workshop retrospective. Gazing out at the infinite scale of the universe, cosmic dread melts into melancholy.
Deep under the canopy, where daylight daren’t follow.
credits
DJ, model, artist and selector Yuka Mizuhara steps forward with her standout 12-inch release 'Moon Dust' on Rush Hour. For her debut release, she joins forces with producers Benedek and Mickey de Grand IV (Psychic Mirrors), delivering a vibrant boogie and city pop-influenced transmission that bridges contemporary rhythm with classic, sun-drenched grooves.
Having spent formative years immersed in the underground music scene in Tokyo, with extended stays in Los Angeles and London, Mizuhara channels a rich blend of influences into her work. Known widely for her encyclopedic all-vinyl DJ sets, her residency on NTS Radio (Wave Flower), and high-profile collaborations with legends like Haruomi Hosono, Yukihiro Takahashi and Towa Tei, her musical output reflects a deep appreciation for groove, melody, and rhythm, carrying the torch of foundational Japanese techno-pop, experimental, and dance music forward.
On Moon Dust, Benedek returns fully to his signature West Coast boogie roots, laying down rolling, intricate synth basslines and melty chord progressions that form the heavy-grooving backbone of the record. Around this foundation, Mickey de Grand IV and Yuka Mizuhara write and weave extraordinarily catchy, endearing vocal melodies and hook-laden arrangements. Across its three distinct mixes, the track radiates Yuka's cute spirit—evoking a bubbly, high-spirited aesthetic reminiscent of classic 80’s RAH Band productions while blending sophisticated electronic arrangement with warm, organic dance floor vitality.
Fully stepping into her own as a recording artist following recent debut performances at major festivals like RDC and Rally, Yuka Mizuhara invites listeners into a romantic, synth-laden world built on pure groove and creative freedom.
For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.
Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.
Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.
Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.
It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.
My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.
My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.
Following the critically acclaimed Fantômes… Futurs, praised by FIP, France Inter, Radio Nova, ARTE and International jazz press, double bassist and composer Kham Meslien returns with Vévés électriques, a deeply immersive second album where memory, landscape and improvisation merge into a singular sonic journey. Joined by Laurent Bardainne, Roger Raspail, Naïssam Jalal and David Neerman, Meslien expands the intimate language of his double bass with subtle loops and organic textures, weaving together echoes of Iceland, the Caribbean and imagined territories. Blending spiritual jazz, contemporary classical influences and ambient soundscapes, Vévés électriques is an invitation to drift beyond geography and into a profoundly personal exploration of emotion, identity and freedom.
Set upon an oil-smooth sea, an immense range of directions opens up before Kham Meslien for “Vévés Électriques”, his second album after “Fantômes… Futurs.”
With only his double bass and bow as vessel and sextant, a distant journey nevertheless begins to take shape. Vibrations and the striking of strings against wood quickly trace lines and winding paths across the surface of the water—so many routes to follow before leaving them behind, allowing the outward journey to become an inward voyage as well.
After an improvisation intended to shed light on the course ahead, isolated lands came into view: the shores of Iceland, the lands of the far north, places cut off from the rest of the world by vast expanses of water. Islands battered by a harsh climate that can only be endured by drawing warmth from deep within oneself.
Then the Caribbean arc appeared. The archipelago, a setting for joyful and unsettling experiences, takes Kham back to a childhood from which the passing years have carried him away. Rather than following the conventional channel of the music of these places, the West Indies emerge through memories whose colors are still vivid.
Through the morning mist, Roger Raspail’s percussion locks into the same frequencies of the groove. Double bass and struck skins then become companions on a road that intersects with Laurent Bardainne’s saxophone. Carrying a dreamlike message, David Neerman’s vibraphone also joins the narrative to write a few chapters of its own, while others are enchanted by the flute and voice of Naïssam Jalal, or struck by the metaphorical rhymes of rapper Rocé.
On the surface, through the themes along which the pieces navigate, landscapes slowly reveal themselves and change shape as the shore draws nearer or recedes. Straying from the marked course and allowing oneself to drift, breaking free from pure acoustic sound by adding loops first played live and then sampled, allows Kham to explore the depths. The depths of the ocean, as well as those of his soul. To enter a world of improvisation that reveals itself even as he explores it. Examined up close, feelings become shells to pick up and hold to one’s ear, so that they can be felt intensely until they take material form.
This sea, which had appeared peaceful, became the stage for a succession of stories and images, which then accumulated to give birth to a larger narrative.
Mercury Prize-shortlisted, MOBO Award-winning drummer, composer and producer Moses Boyd returns with his first album in six years. Since the release of his critically acclaimed album, Dark Matter, Boyd has continued to push at the boundaries of contemporary jazz. Songs For Sinners is a deeply personal body of work that explores the push and pull of faith as something profoundly human – a force capable of comforting, dividing, unsettling and restoring in equal measure. Across an ambitious, vocal-led collection that fuses gospel, jazz, soundsystem culture, Caribbean rhythms, 808s and soaring choir harmonies, Boyd expands the language of contemporary jazz into something entirely his own. It’s a record that draws from the church he grew up in, the London soundsystem culture that shaped him, and the freedom of improvisation, asking what sacred music can sound like when it’s no longer confined by convention.
Mercury Prize-shortlisted, MOBO Award-winning drummer, composer and producer Moses Boyd returns with his first album in six years. Since the release of his critically acclaimed album, Dark Matter, Boyd has continued to push at the boundaries of contemporary jazz. Songs For Sinners is a deeply personal body of work that explores the push and pull of faith as something profoundly human – a force capable of comforting, dividing, unsettling and restoring in equal measure. Across an ambitious, vocal-led collection that fuses gospel, jazz, soundsystem culture, Caribbean rhythms, 808s and soaring choir harmonies, Boyd expands the language of contemporary jazz into something entirely his own. It’s a record that draws from the church he grew up in, the London soundsystem culture that shaped him, and the freedom of improvisation, asking what sacred music can sound like when it’s no longer confined by convention.
“Interpretation”
The act of explaining, reframing, or otherwise showing your own understanding of something. This captured me. We can all look at the same thing but what we see, hear or experience may differ. This word ended up being the title of my new album. I want to share my interpretation of music with listeners and take them on a musical journey. Through my music, I hope to bring about many interpretations. Your interpretation.
With great joy and pride we announce that The Night Service Commute second album Interpretation is a fact. The release is set for November 13th. You can expect cinematic vibes driven by breakbeats, bass, rhodes, violin, poetry, trumpet and field recordings. This turned out fantastic, and gave the album the groove, feel and vibe I was looking for. During the making, It was so great to learn how to capture the sound and get it to sit well in the mix.
The cover was made by my dear friend Saša Ostoja. His illustrations resonate greatly with me and put a smile on my face. The setting of the cover artwork is urban with hints of forest. Behind the windows, you can see the characters playing music and doing studio stuff. It has loads of hidden jokes and details. I can look at it again and again and discover new things every time.
Nearly a decade after their debut album featuring the underground hits 'Die Gestalten' and 'Kommando Limmerstrasse', Der Nachtportier return with their new record, 'Gespenst'. While the debut was firmly rooted in Minimal Wave, this new chapter marks a bold sonic evolution, infusing those foundations with experimental elements of Noise and Jazz. The album is a deeply personal journey back into the artist’s childhood fears, weaving in original tape recordings from his own youth. Drawing inspiration from eerie nursery rhymes and his time as a forensic psychologist, 'Gespenst' manifests as a haunting concept album.
Land of Talk is still here. That wasn’t always a guarantee. Over the multi-faceted twenty year history of their project, Lizzie Powell has drifted from and back to music, always interrogating their role as an artist. In the time since 2023’s Performances, they found themselves utterly worn down by the vicissitudes of the music industry and wracked with worry around their aging parents. Yet the music didn’t stop: Powell heard songs in traffic and in birds chirping, in their downstairs neighbor’s daily prayers and in the babble of children on the street. Melodies slowly cohered over time. “Life can become so unbearable, and music is where I go to metabolize it,” they explain. “I know the music was the only thing that was going to help me.” Soon Powell reemerged with the sixth Land of Talk album, LASTS.
LASTS is full of double meanings — both resilience and finality, acting as a noun and a verb. Though LASTS is haunted by crises including climate collapse, political upheaval, and genocide, the mangitude of global turmoil led Powell towards smaller, humane depictions of suffering and grief. As both their parents became ill, Powell reflected on the last time a person might walk, might talk to a loved one. Yet watching their parents near the other side of life’s arc also made Powell consider all they had survived across their own decades on this earth, their new songs channeling both gratitude and rage. LASTS became a phrase, honoring Land of Talk’s circuitous route and all Powell’s reckoned with through the years. “I think of this record as a love letter to life,” they say.
The end result is an album both lean and winding, allowing Powell’s words and melodies to take centerstage, uncrowded in visceral, shot-no-chaser arrangements. LASTS jumps right in with “Broken Tongue,” a wiry track built on thrumming electric guitar and ghostly synths as Powell rails against the lack of justice for victims of abuse. The trio’s interplay is readily evident in “Saffron” and “4:44,” two earworm songs that also allow themselves to unspool into extended instrumental codas. Early in the record, there are seething tracks like “Dogs” — “Just your basic instinct / Even dogs know better,” Powell growls in the chorus, before the song quiets into a plaintive plea of “Leave us alone now” — and later there are more vulnerable, wandering moments. In “Projections” and “Cedars,” Powell ventures deep into their head, inviting their co-conspirators and listeners alike to follow the songs wherever they meander.
Across To Remind Myself I Have Lived, aquatic sounds drift through hazy electronics and lush bedroom textures, before giving way to harsher, more industrial British landscapes. Voices appear and disappear. Loops seem to circle memories rather than rhythms. Guitar fragments become dream sequences. Domestic spaces open onto something colder and more distant.
The new album by London-based Michele Tellarini under the Catholic Block moniker gathers works made across five years, moving between composition, improvisation and a more instinctive form of sound collage. Known for his work with concrete punks Qlowski (Feel It Records/Maple Death) and goth-punks Secrecy (La Vida Es Un Mus), Tellarini approaches this material without the conventions of a traditional song cycle, allowing disparate pieces to find their own connections.
There is something strangely timeless in these works: a quality shared with music that seems to exist slightly outside its own moment, from the intimate, confidential organic realm of Mount Eerie to Bruce Gilbert's more abstract electronic and ambient experiments or the haunting digital world of Holly Herndon. To Remind Myself I Have Lived belongs to that same uncertain space, music that feels both deeply tied to the circumstances of its making and somehow detached from them, music for the lonely that shines with crepuscular clarity.
Hailing straight from Quebec City, Canada, GET THE SHOT is a hardcore band formed in 2009. With their strong work ethic, they quickly established themselves as one of the flag bearers of the Quebec hardcore and metal scene.
Their powerful music incorporates elements of thrash, death metal, and hardcore, creating an intense and brutal sound that captivates fans of the genre. Inspired by iconic bands such as Hatebreed, Obituary, and Slayer, GET THE SHOT has developed a unique style of extreme music.
With an impressive discography including albums such as "Perdition" (2012), "No Peace In Hell" (2014), "Infinite Punishment" (2017), and their latest album "Merciless Destruction" (2022), nominated for a JUNO award, GET THE SHOT has built a solid reputation with impactful tracks and explosive live performances.
“CRUCIFIXION DEPICTION”, marks a shift in attitude and resolve for the band. While celebrating the addition of a new vocalist and the comeback of the original guitar player, the latest EP sees the band undergo a transformation into a new persona and exploring a more visceral sound, while sticking to its hardcore roots.
After more than 700 concerts on three continents, including some on the biggest international stages such as Wacken, Hellfest, FEQ and Resurrection Fest, the six members remain committed to the core values of authenticity, integrity, and equality at the heart of the hardcore movement, while addressing with disillusioned realism the flaws of an era defined by blind individualism.
Hailing straight from Quebec City, Canada, GET THE SHOT is a hardcore band formed in 2009. With their strong work ethic, they quickly established themselves as one of the flag bearers of the Quebec hardcore and metal scene.
Their powerful music incorporates elements of thrash, death metal, and hardcore, creating an intense and brutal sound that captivates fans of the genre. Inspired by iconic bands such as Hatebreed, Obituary, and Slayer, GET THE SHOT has developed a unique style of extreme music.
With an impressive discography including albums such as "Perdition" (2012), "No Peace In Hell" (2014), "Infinite Punishment" (2017), and their latest album "Merciless Destruction" (2022), nominated for a JUNO award, GET THE SHOT has built a solid reputation with impactful tracks and explosive live performances.
“CRUCIFIXION DEPICTION”, marks a shift in attitude and resolve for the band. While celebrating the addition of a new vocalist and the comeback of the original guitar player, the latest EP sees the band undergo a transformation into a new persona and exploring a more visceral sound, while sticking to its hardcore roots.
After more than 700 concerts on three continents, including some on the biggest international stages such as Wacken, Hellfest, FEQ and Resurrection Fest, the six members remain committed to the core values of authenticity, integrity, and equality at the heart of the hardcore movement, while addressing with disillusioned realism the flaws of an era defined by blind individualism.
With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.
Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.
Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.
With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.
With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.
Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.
Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.
With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.
On Beginningless, Anna Butterss, John Raymond, and Ben Lumsdaine combine acoustic instruments and effects to create a nocturnal, neon landscape both grounded and otherworldly. Recorded live over two days in a Los Angeles studio, the album expands the trumpet-bass-drums format through shared intuition, fluid textures, and patient, elastic interplay. The music is entirely improvised, with little overdubbing or post-production: what you hear is essentially the sound of three musicians discovering the music together in the room, using pedals and processing as extensions of their instruments.
Comfort with ambiguity, dynamic experimentation and melancholy are rife throughout Brody Price’s newest record, Leaf Miner’s Daughter. Classic alt-country at its core, this collection meticulously weaves together Americana into sluggish, heavy grooves; overdriven guitars, hook-laden acoustic dissonance - all bolstered by a songwriter full of heart and intention.
An integral member of the Dallas / Texas scene and national DIY touring community, Price has been quietly building a dedicated community of fans across the US since 2017, entirely independent and reliant on each other to build and shape the tours by word of mouth. Following a cassette recorded collection of country songs, ‘What’s The Point In Trying’ (2017), and the gorgeous and chaotic ‘Win A Trip To Palm Springs’ (2022), Price is tracing a sonic and narrative arc that feels specific, earnest and whimsical - not without its dark corners and deep questions.
The innate ability to find beauty among the rubble is rife throughout his newest, revealing an authentically tender desire to dig deeper to find relief and understanding. He invites us to empathize and sit alongside his turmoil in an effort to make ours more bearable. At home in his musicality and the discomfort of living, Price revels in the act of putting the pieces back together, giving us all permission to do the same.
On his sweeping sophomore solo effort, James Felice squares up against cosmic indifference with expansive orchestral production and a depth of writing that makes even visceral Biblical imagery feel effortless. Recorded in Omaha with Nate Walcott (Bright Eyes) at the helm, Homeworld Blue pairs lush horns, intricate strings and pounding piano with Felice's authoritative, plainspoken voice — grand in scope, but never far from the small, everyday moments it's really about. Drawing on twenty years as keyboardist and accordionist of The Felice Brothers, and following his 2025 solo debut The Little Ones, Felice trades the intimacy of home recording for a maximalist, cinematic scope that sits comfortably alongside audacious songwriters like Joanna Newsom, Fiona Apple and Randy Newman — and closes, fittingly, back in the family kitchen.
On his sweeping sophomore solo effort, James Felice squares up against cosmic indifference with expansive orchestral production and a depth of writing that makes even visceral Biblical imagery feel effortless. Recorded in Omaha with Nate Walcott (Bright Eyes) at the helm, Homeworld Blue pairs lush horns, intricate strings and pounding piano with Felice's authoritative, plainspoken voice — grand in scope, but never far from the small, everyday moments it's really about. Drawing on twenty years as keyboardist and accordionist of The Felice Brothers, and following his 2025 solo debut The Little Ones, Felice trades the intimacy of home recording for a maximalist, cinematic scope that sits comfortably alongside audacious songwriters like Joanna Newsom, Fiona Apple and Randy Newman — and closes, fittingly, back in the family kitchen.
When Index moves, it’s in lockstep, as a single, indivisible unit. Alan Creedon and Alex Lichtenauer (both ex-Control Top) started the project in the summer of 2025, and it quickly became clear that its sound would be an outgrowth of their close friendship. Eschewing the densely orchestrated compositions of their previous band, Index would instead focus on sweaty, visceral physicality, with Creedon’s guitar intuitively latched to Lichtenauer’s drum kit, navigating corridors of tricky rhythm as one. Creedon and Lichtenauer recorded Vis Inertiae in NYC with acclaimed producer Arthur Rizk (Power Trip, Show Me The Body). Despite a litany of freak injuries that befell Lichtenauer before and during the band’s studio time, they say it was the best experience they ever had in a recording session, and Creedon concurs. Rizk was brought into the process early on, when the band played him some bare-bones demos that impressed him, and he was critical in helping ferry the songs to their final forms.
n resurrecting the band Krill—declared dead over 10 years ago—Jonah Furman considered the turritopsis nutricula: the “immortal jellyfish” that reverts to juvenile form instead of dying. “I was always afraid of coming home,” he says. “But home is inescapable.” Now living in the same Chicago suburb he grew up in, Furman ponders the passage of time on Secret Language, a nostalgic and cerebral exploration of family, fatherhood, and fated love.
From 2010 to 2015, Krill recorded three LPs and two EPs, growing into a cult project revered for its complex, rapturous compositions. Anxious, anthemic, mathy, propulsive, they were beloved by Frankie Cosmos, Girlpool, Horse Jumper of Love, and countless others. Personal lives took priority and brought the project to an official close, save for two reunion shows and a 2020 album under the name Knot, but that's retroactively a Krill album, “because it's easier that way.”
The project was revived “on a whim” as Furman puts it: “Theo from Ovlov asked if Krill wanted to open a Chicago show. Then I started writing new stuff.” He recruited Krill’s longtime drummer Ian Becker who, too, had just moved back to town. Both had known guitarist Andrew Clinkman (also of Spirits Having Fun and Moontype) during their collective years in Boston and growing up in Chicagoland, and soon he joined the fold. On Secret Language, the trio tap into their reclaimed city’s famed music community, drawing inspiration from current locals the same way Krill were inspired by their Boston contemporaries like Pile and Speedy Ortiz instead of Pixies or Mission of Burma.
On Secret Language, home can be anything: a place, a person, a feeling. But Krill is “very much” a Chicago band now; a new beginning where it all began.
,Evergreen" vereint die musikalischen Welten von Dave Harrington und Kalia Vandever zu einer offenen, improvisationsgetriebenen Klangsprache. Die Einflüsse reichen von Jazzgrößen wie Bill Evans, der melodischen Weite von Bill Frisell, atmosphärischem Ambient, moderner Elektronik und Minimal Music bis hin zu experimenteller Improvisation und zeitgenössischer Kammermusik. Harrington, bekannt durch Darkside, bringt Elemente aus Minimal Techno, Acid Jazz, kosmischer Musik und experimentellem Rock ein, während Vandevers Posaunenspiel zwischen modernem Jazz und avantgardistischen Klangfarben pendelt. Das Ergebnis ist ein vielseitiges Album, das lyrische Jazzharmonien mit elektronischen Texturen, freien Improvisationen und atmosphärischen Klanglandschaften verbindet.
In January of 2004 recording commenced on Loretta Lynn's 42nd solo album. This particular album was poised from the start to be a unique and standalone installment in a long well established, unbelievable, legendary, career already spanning five decades due to the role of producer going to none other than a 28 year old Jack White. White, a long time admirer of Lynn's work, leapt at the chance to conduct this musical experimentation of blended styles and see what fruits the two very separate but cosmically intertwined approaches to writing, playing, and producing music could yield.
The album would go on to win the 2005 Grammy Award for "Country Album Of The Year", with the albums second single "Portland, Oregon" winning "Best Country Collaboration With Vocals". A litany of other accolades were to follow and the record firmly cemented itself in the annals of Country music history as the most successful crossover album of Lorettas historic career. Twenty-two years later, we're still celebrating it.
Third Man Records is proud to announce Van Lear Rose reissued and expanded. Now including the additional track "Just to Have You Back", previously only available to members of The Vault vinyl subscription series, rounding out the already impeccable tracklist. This LP is available in both a standard black and limited edition orange (while supplies last) colorways as well as CD.
In January of 2004 recording commenced on Loretta Lynn's 42nd solo album. This particular album was poised from the start to be a unique and standalone installment in a long well established, unbelievable, legendary, career already spanning five decades due to the role of producer going to none other than a 28 year old Jack White. White, a long time admirer of Lynn's work, leapt at the chance to conduct this musical experimentation of blended styles and see what fruits the two very separate but cosmically intertwined approaches to writing, playing, and producing music could yield.
The album would go on to win the 2005 Grammy Award for "Country Album Of The Year", with the albums second single "Portland, Oregon" winning "Best Country Collaboration With Vocals". A litany of other accolades were to follow and the record firmly cemented itself in the annals of Country music history as the most successful crossover album of Lorettas historic career. Twenty-two years later, we're still celebrating it.
Third Man Records is proud to announce Van Lear Rose reissued and expanded. Now including the additional track "Just to Have You Back", previously only available to members of The Vault vinyl subscription series, rounding out the already impeccable tracklist. This LP is available in both a standard black and limited edition orange (while supplies last) colorways as well as CD.
Neues Livealbum der Indie-Ikone Ed Kuepper, aufgenommen 2023 in Melbourne während seiner erster Tour seit über einem Jahrzehnt, bei der er mit kompletter Band sein Solomaterial in den Mittelpunkt stellte. Ein mitreißender Auftritt mit Musik aus Eds 50-jähriger Karriere in erstklassiger Besetzung (u.a. mit Schlagzeuger Mark Dawson und Bassist Peter Oxley (Sonnyboys). In den 1970ern läutete Kuepper mit The Saints die Punk-Ära ein (noch vor The Clash, The Damned, Sex Pistols), gründetet später die Post-Punk-Formation Laughing Clowns und begann 1985 seine Solokarriere.
10th anniversary, limited Edition pressing of 1000 worldwide, expanded to 2xLP w/ nine demos & live tracks, sleeve jacket art updated with foil elements! Released in 2016, Trophy Eyes' sophomore album, Chemical Miracle, is celebrated as a modern masterpiece for its seamless blend of hardcore grit and pop-punk melody. The record marked a massive evolution for the Australian band, driven by frontman John Floreani's dynamic vocal shifts between raw, gravel -throated screams and soaring clean melodies. The instrumentation perfectly matches this energy, swinging effortlessly from manic, punk-rock aggression to softer, atmospheric alt-rock moments. The album's defining characteristic is its deeply confessional and gut-wrenching lyricism, which offered a mature contrast to a genre typically dominated by simpler themes of heartbreak. Floreani tackles the darkest corners of his life with unflinching honesty, exploring survivor's guilt, suicidal ideation, addiction, and profound loneliness. This emotional weight is best exemplified in the opening track, "Chlorine," which pairs bouncy, energetic instrumentation with the devastating true story of Floreani processing the suicide of the man who saved him from drowning as a child. Culturally, Chemical Miracle elevated the mid-2010s pop-punk scene by proving that catchy music could effectively tackle heavy, complex human experiences. By addressing severe mental health struggles frankly and without glorification, the album fostered a profound connection with fans and provided a vital, relatable outlet for listeners. Furthermore, its massive critical and commercial success helped propel the thriving Australian alternative music scene onto the global stage, cementing Trophy Eyes' legacy in the genre.
Tony Reed is undoubtedly one of those artists whom fans of “heavy music” have, at least unknowingly, encountered on stage or on their turntables at some point. Bands like Pentagram, Mos Generator, Hot Spring Water, and the so-called supergroup Big Scenic Nowhere are just a small part of his discography, which he continues to expand as a producer and mixer.
CONSTANCE TOMB was Tony Reed’s first band, which he founded at age 19 and which was heavily influenced by the gothic movement of the early ’80s. There are recordings online from when they made “boombox recordings” or, later, when he recorded everything “hi-fi” on his own in the garage with just a microphone, preserving it all for posterity on cassettes. You can also find several solo cover versions released under the band’s name. It was a labor of love that Tony Reed never let go of, but there was never a real band that toured or released an album—until now!
Now Tony has breathed new life into his childhood love, CONSTANCE TOMB, and fused his fondness for dark ’80s bands with his heavy metal past. Bands like Southern Cult, Bauhaus, The Cure, Bowie, as well as Black Sabbath and Thin Lizzy have shaped his musical tastes. Now, a mix of old and new songs is being infused with fresh energy, reviving a solo project that had taken on a slightly artificial feel.
With Bo McConaghie on bass and Christian Roney on drums, the band has already played its first concerts in the northwestern United States to find their sound as a group. Joint rehe
Shaken & Stirred by Earl & the Agitators, the blues-rock project featuring Roger Earl, Bryan Bassett, Scott Holt, and Rodney O'Quinn (the current Foghat line-up). Originally released in 2018, explores the band's shared passion for blues, roots rock, and classic American music.
What does it mean to actually experience another City, one of such historical and cultural'd'asignificance as Detroit, A city that truly expands the capacity of Human love and resilience. Just to be there…?'d'aWhat sound do the birds make?…? What colour are the buses ? …?. What sounds do we hear in the streets'd'a?…? It's like one step beyond just experiencing a place but truly absorbing it as if it becomes a little piece of'd'aus. That's the only way you really get to understand the groove, the little everyday things that make the'd'apeople tick, their daily grievances and small moments of collective joy culminating over lifetimes. That is'd'awhere you get to the essence, the secret sauce and Lord knows this City is oozing with it.'d'aIn July 2025 Ziggy undertook a 6 week residency in the motor city with no concrete plan other than getting to'd'athe roots of a deeply layered and rich musical culture. One that has been a guiding light for many of us..'d'aWhether you are coming from the generation of Motown through the 1st generation of techno to hip hop'd'arevolutionaries, the city has left an undeniable mark on the history of American Music.'d'aAfter meeting at a weeknight vinyl session at a downtown bar, Ziggy and Malik realised they already knew'd'aeach other's work and immediately made plans to hook up in the studio. Malik being a Lifelong Detroiter with'd'aa background as a Gospel keyboardist and Singer turned House dancer, producer and DJ it was no wonder'd'ahe was a perfect addition to the Label Roster. To accommodate the sessions local turntablist and producer'd'aDJ Moppy kindly offered up his home studio and we shared many great records and vegan hot dogs in his'd'aleafy backyard.The music is primarily inspired by the enduring and charismatic folks we encountered in the city, their stories'd'aand personalities live on through the continued Musical Legacy of the city.'d'aSpecial thanks to Mike Banks, Cornelius, Crystal, John '?Jammin'? Collins (R.I.P) Rick Wilhite, Wajeed and all'd'aof the Underground Resistance family who hosted us. DJ Moppy, Meftah, Badriyyah, Raj Mahal all in the'd'abuilding!'d'aGospel and jazzy infused electro-funk and deep-house, a collaboration between one of Detroit'?s'd'aunderground dons Malik Alston and Ziggy Zeitgeist of EXREC. The result of a six week pilgrimage to Detroit'd'ain 2025, Zeitgeist set up shop in DJ Moppy'?s living room and the results are deep, dark and funky'd'a'd'a.
Royal Blood, eine der wichtigsten britischen Rockbands ihrer Generation, melden sich heute mit der explosiven neuen Single „Ten Over Ten“ zurück und kündigen ihr lang ersehntes fünftes Studioalbum „Dead Company“ an, das am 6. November bei Warner Records erscheint. „Dead Company“ leitet ein kraftvolles neues Kapitel für das Duo ein, das zuletzt 2023 ein Album veröffentlichte. Nach einer Auszeit vom Rampenlicht gingen Mike Kerr und Ben Thatcher 2025 ins Studio – ohne Deadline, ohne Ablenkungen und mit einem einfachen Ziel: herauszufinden, was mit zwei Personen, 12 Tönen und unendlichen Möglichkeiten machbar ist. Von Royal Blood selbst produziert – oder vielmehr „anti-produziert“ – war es ihr Anliegen, ein Album zu schaffen, das so roh, menschlich und gewaltig wie möglich klingt. „Dead Company“ reduziert alles auf den Kern. Unmittelbar und kompromisslos zeigt es Royal Blood von ihrer kraftvollsten Seite. Die Band ergänzt: „Nachdem wir den Motor von Royal Blood für ein paar Jahre im Leerlauf hatten, haben wir die Drehzahl wieder hochgejagt und spielen mit diesem Album schneller und härter denn je. Geschrieben und aufgenommen mit Blick auf die Bühne, können wir es kaum erwarten, die Songs jahrelang live zu spielen.“ Der erste enthüllte Track, „Ten Over Ten“, ist ein bedrohliches Wüstenrock-Monster im Stil von Motörhead. Text und Vibe wurden dadurch inspiriert, dass der Frontmann für einen Marathon trainierte – es dreht sich somit alles um Ausdauer und das Überwinden der eigenen Grenzen.
DJ Support: Kerri Chandler, Chris Stussy, Archie Hamilton, Fabe, Groovesh, Vlad Caia, Andrey P Ush Krav, Thor, Masimillano Pagliara, Dubtil, Reboot, East End Dubs, IULY.B, Josh Wink
Now repressed on Limited Edition green vinyl.
Kerri Chandler’s Kaoz Theory welcomes Amsterdam’s Chris Stussy onto its roster with the ‘A Glimmer Of Hope’ EP.
Amsterdam based producer and DJ Chris Stussy has become one of the most eminent figures in the contemporary house scene of the Netherlands and across the globe over the past five years, racking up releases on the likes of Eastenderz, Moscow, PIV, Contstant Sound and most recently his own Up The Stuss imprint. Here though he delivers his new four-tracker for Kaoz Theory.
Leading the release is ‘Central Frenzy’, laid out across six and a half minutes with skippy percussion, a snaking bass groove, intricate synth sequences and sweeping vocal chants. ‘Riva De Biasio’ follows and tips the focus over to airy atmospherics a jazz-tinged bass groove and squelchy acid licks atop swinging drums.
‘Deviant Shadow’ opens the flip-side and merges an amalgamation of expansive dub chords and bouncy sub bass tones with a robust 4/4 rhythm. Lastly to round things out is title-cut ‘A Glimmer Of Hope’, wrapping up the release on a deeper tip courtesy of ethereal pad swells, metallic synth licks and shuffled drums.
Kennedy John Charles’ forthcoming album tells a story of his life, explained through deep music and his vocal melodies.
It mixes Broken Beat, House and Soul music genres Fluently!
Kennedy met Andy Compton at the Vocal Booth event in Spain in 2024, and they were both surprised to find they only lived a few miles apart near Bristol, UK.
Kennedy came and visited the PENG studio and shared his musical vision, So Andy (The Rurals) assisted to help produce this beautiful album, oozing with Soul & Love!
There’s some HOT players involved in this musical journey, and it’s now ready for your fine tuned ears!
Bonobo alias Simon Green returns with "Distance In Static", his new album, which will be released on September 11, 2026, by Ninja Tune.
On "Distance In Static", Bonobo collaborates with a characteristically impressive lineup of artists, including Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters), and Aanya Martin. The lyrics are written in English, Urdu, and Japanese, while historical Iranian samples and guzheng recordings stand alongside Bonobo's carefully crafted instrumental sounds. These were created during recording sessions in Los Angeles, Tokyo, London, and beyond: a significant part of the album was completed at Neil Young's legendary Broken Arrow Ranch in California, where he had retreated for several weeks earlier this year.
The album's title - "Distance In Static" - aptly describes Bonobo's current situation: it evokes images of distorted transmissions and fleeting frequencies, memory fragments and glimmers of meaning that echo through more than two decades at the forefront of electronic music. He sees the traces of his work reflected in a younger generation rediscovering trip-hop, downtempo, and experimental electronic music of the 1990s from a contemporary perspective. "I think the beginning of my work is relevant to younger people today," he says. "I liked the idea of listening for a distant signal - finding something in the noise," he continues. The entire album conveys the feeling of a search for transcendence: music that hovers between intimacy and vastness, the familiar and the unknown.
Within the universe of "Distance In Static", there is also a sense that this album marks something truly monumental. It is a moment of transition, a celebration of Bonobo's 25th anniversary, but perhaps also his last album in the traditional sense: with numerous guest contributions and a multi-year world tour with a full live band.
Whatever comes next, one thing is certain: "Distance In Static" is arguably Bonobo's best album to date; as ambitious and forward-thinking as ever and a reminder of why he has influenced so many people so strongly for so long.
With Sunrise and the Life We Live, John Beltran returns to his ambient techno roots, the sound that garnered him global appeal in the 1990s.
Through ten tracks, the album journeys through lush, aerated textures and beatless expanse. Hypnotic grooves deepen and bloom in a flow of shapes and colors, creating a sound that is both meditative and full of life.
Thirty years after the release of his seminal Ten Days of Blue, Beltran's musicianship, vision and desire to produce remain at a fever pitch. With Sunrise and the Life We Live his gift of extracting emotion from the universe and turning it into
a unique musical experience puts him in a class of his own.
The tracks on the upcoming Boysonic release are a snapshot of a period largely absent from the discussion around Romanian electronic dance music: the first half of the 1990s.
Boysonic’s music was made in the face of considerable adversity, in a Romania still reeling from the aftermath of the 1989 revolution, spiralling inflation of over 200%, and the violence of the early-1990s Mineriads. In the gatefold photos, one of the band’s members can be seen performing live wearing a miner’s safety helmet, a piece of stagewear, but also a charged symbol of the period.
The original music on Madhouse was made in Bra?ov during 1993–1994. Situated away from Bucharest’s political and cultural centre, Bra?ov gave the project its own slightly detached rhythm. Classically trained in piano and active in local radio, Mihai Barb developed Boysonic as a largely one-man act, often joined live by a changing cast of dancers and vocalists. In the absence of a developed club circuit, early performances took place in pre-1989 concert halls, seaside resorts and local entertainment circuits organised around regional radio stations.
Agnostic in genre and unusually fluid in approach, Madhouse moves through downtempo pop burners, KLF-type UK house, boomy breakbeat, new beat and acid-leaning experiments. The material reflects a short-lived moment before the Romanian mainstream/underground divide had fully taken shape, when electronic music lacked infrastructure but not imagination.
Sampling was used generously, with drum loops, vocal fragments and preset banks repurposed through software such as ProTracker and further processed outboard.
The release comes as a 2xLP gatefold.
Remixes are from Benedikt Frey, Boysonic, Cosmin TRG, Flore of Khidja, Romansoff, and Tankwart.
For the 63rd release on Memoria Recordings, Thessaloniki-based producer and DJ G.rush delivers a deep and hypnotic four-track EP shaped by experience, restraint, and underground club sensibility. With roots tracing back to the early days of his DJ career and a production path that has steadily developed through stripped grooves, subtle atmospheres, and low-end movement, G.rush brings a mature and focused sound to the Memoria catalogue. Across the EP, he moves with patience and control. “Spectra” opens the record with a reduced but magnetic drive, built around rolling pressure and detailed rhythmic tension. “Just Friendz” leans into shuffled swing and understated funk, while “Seduction” takes the B-side into deeper, late-night territory. Closing track “Tus Manos feat. Lucie” adds a warmer vocal touch, balancing intimacy with dancefloor flow. MEM063 is a refined club record for selectors who understand the power of subtle movement. Just deep, functional, emotionally charged grooves built for intimate rooms, warm systems, and long after-hours moments.
The legendary Charlemagne Palestine returns to Black Truffle with KKKAAARRREEENNNIIINNNAAA, capturing a 2025 performance in London alongside two close collaborators of recent years, multi-instrumentalist Daniel O’Sullivan and guitarist Oren Ambarchi. While perhaps still best known for the ecstatic piano clouds of his ‘strumming music’ performances, Palestine’s life-long search for what he calls the ‘golden sound’ has taken in an enormous variety of methods of sound production. Now stretching back an incredible six decades, his exploration of continuous sound forms has led him to mega-instruments from the carillon bells of the Saint Thomas Episcopal Church to the synthesizer armada of the Moog Sound Lab, with stops along the way at many of Europe’s grandest church organs. Just as important, though, has been Palestine’s practice as a singer, beginning with his childhood experience of sacred Jewish music and growing through his studies of Indian and Javanese musical traditions in the 1970s.
KKKAAARRREEENNNIIINNNAAA reimagines a key work showcasing Palestine’s voice, the haunting ‘magic song’ Karenina for falsetto singing and harmonium, recorded in Paris in March 1997 to honour the spirit of Palestine’s recently departed black labrador. In this trio version, which Palestine describes as the ‘karaoke’ version, O’Sullivan controls three cassette machines playing the original recording, their slow drift out of phase creating complex patterns of delays and ricochets as the recorded voice chants the syllables of Karenina’s name and other trance words. Beginning with a held organ tone that gradually expands to fill out the frequency spectrum, the piece soon grows into a dense psychedelic mass, as Palestine’s electric organs and the echoing pre-recorded voices are joined by Ambarchi’s swirling Leslie guitar tones and O’Sullivan’s viola, synthesizer and additional vocals. Atop it all sits Palestine’s live voice, in an extraordinary performance of keening, shamanic intensity, sometimes delivered in melodic unison with his keyboard playing.
Though clearly a work of Palestine’s design that sits squarely within his oeuvre, Ambarchi and O’Sullivan are far from simple accompanists on KKKAAARRREEENNNIIINNNAAA. As the elements of the teeming, emotionally charged stew writhe and twist, different elements come momentarily to the surface, O’Sullivan’s spaced-out viola taking the lead in moments that recall Kosugi’s Catch Wave, Ambarchi’s gliding chords and signature stuttering tones enriching the details of many of the quieter episodes. Throughout all its transformations, the music is buoyed up by a sacred aura, as Palestine intones his hypnotic prayer for the soul of his departed pet. Arriving emblazoned with a striking labrador painting by O’Sullivan on the cover, KKKAAARRREEENNNIIINNNAAA is an essential slice of modern ritual music.
Available again for the first time since 1970, Lobo’s melancholy masterpiece epitomizes the experimental evolution of MPB. With new liner notes by Edu Lobo.
Released in 1970, Cantiga de Longe is a defining record in the career of Brazilian singer, composer, and guitarist Edu Lobo and a significant contribution to Música Popular Brasileira (MPB). Created during Brazil’s military dictatorship, the album reflects the subtle, poetic strategies that artists use to convey meaning while subject to censorship. Rather than overt protest, Lobo expresses longing and introspection through refined musical language and evocative lyrics.
Musically, the album captures the sophistication of MPB at the turn of the decade. A foundation of acoustic guitar blends with jazz-influenced harmonies and elegant arrangements. The sound is both intimate and expansive: delicate vocal lines unfold over complex progressions, supported by understated rhythms, rooted in Brazilian traditions. Lobo’s controlled yet expressive vocal delivery keeps the lyrical nuance at the forefront.
A key element of the album’s texture is the involvement of Hermeto Pascoal. His imaginative instrumental contributions add subtle harmonic color and atmospheric depth, enriching the refined arrangements and enhancing the sense of openness.
Thematically, the album explores memory, distance, solitude, and time—personal reflections that resonate with the broader climate of uncertainty that dominated Brazil in 1970. This remains one of Lobo’s most mature recordings, exemplifying the emotional depth and artistic subtlety of Brazilian popular music in a creatively fertile era.
At the heart of ‘Diese Fragile Praesenz’ lies a melancholic yet propulsive drone, constructed from a field recording and drenched in white noise. Around this softly glowing orb Kelovolt constructs a vast, shifting, sombre soundscape. Lush, magisterial pads, starry-eyed synth work, cold washes of tape hiss and static melt in and out of the mise-en-scène. Crumbling walls of bass and distortion collapse in slow motion even as rich, brasslike harmonies elevate the listening mind. Long keening synth notes emerge from the fog, intertwining with falling tubular figures, a journey through a wormhole of sound both monumental and fragile.
The accompanying reinterpretations approach this deeply rich source material with discerning reverence. Voltmar's version deepens the grain of the original, with sharper percussion and washes of static that blow through the mix like little gales of dust. Anthony Linell's PM and AM remixes delve into a darker emotional core, placing at the centre a low, shadowy synth pulse around which mists of tape hiss and distortion swirl. Black Merlin steers the track down the path of eerie psychedelia, echoing clicks and dubwise space around a groove often found in the deeper chasms of contemporary techno.
Elsewhere, Die Wilde Jagd stretches the original into a mesmeric landscape of drones, occasional distant percussion and heavy fog, punctuated by fleeting moments of melodic clarity and beautifully resonant bell tones. CV313's pair of reworks complete the collection by exploring two complementary dimensions of the original through his signature dub approach. The Gravitational Pull mix feels the most true to the title track, amplifying its starry-eyed, celestial qualities, with a softer, hazier version built around a deep bass groove, while the Dimensional Dub descends into vast caverns of echo, resonance and alien texture - strong dub-techno sensibilities loom large in this mix.
Endlessly contemplative, endlessly exploratory, minimood027 is a trip to its own sonic galaxy that spirals inexorably outward, carrying the mind to ever wider astral planes. But at the core is that ever-pulsing drone, the black abyss that draws consciousness powerlessly back into the great nothingness.
Gyros Heroes is the latest release from Adlibitum Tum Tunes, showcasing the unmistakable synergy between label curator Kirill Matveev and trusted maestro Nicolas Barnes, a resident artist renowned for his consistently refined and emotive sound.
The EP unfolds as a sophisticated blend of deep- and tech-house aesthetics, designed to uplift, move, and connect. It balances percussive bounce with emotional subtlety, offering a graceful flow that is both club-ready and sonically rich.
A1. Kirill Matveev – Am I Happy With That and A2. Kirill Matveev – Once At Dawn deliver the opening momentum, channeling sleek grooves and playful introspection with polished restraint. These tracks glide effortlessly between warmth and drive—embracing the listener without overwhelming.
On the flip side, B1. Nicolas Barnes & Kirill Matveev – Naar Shada blends the duo’s sonic sensibilities into a mood-driven piece with elegant progression and percussive intricacy. Closing with B2. Nicolas Barnes – Qeezy, the record reaches its emotional high point: a dancefloor-oriented yet soul-touched cut that radiates both sensuality and controlled energy.
Gyros Heroes is a finely tuned experience—bright yet deep, emotive yet precise—crafted for selectors who value atmosphere as much as movement. This is an EP that invites you into its positive orbit, reminding us how expressive and graceful club music can be when shaped by masters of tone and detail.
Adlibitum Tum Tunes is a division of MixCult Records
Well where do you go from the killer release of sde 78 Kinky Foxx "Is It Still Good To You" which sold out quicker than we could have imagined. I guess you should expect that with a group that has a cult status like Kinky Foxx.
Trawling through the guys demo sessions of the late 1970's and early1980's we always had a soft spot for "Lovely Night" but felt the audio and vocals were not quite on point for an official release. But not letting any obstacles get in our soulful way we took the demo and made it ten times better. New vocals were added by Vincent Lilly jr and with the watchful production skills of legendary Curtis Styles we are so pleased with the outcome. Its a modern day dancer but keeping in line with the 1980's boogie funk from the Kinky Foxx crew!!. Flip the 45 over and you get "Call You Up" again which has been touched up like a classic car with a respray. Keeping all the elements of 1980's synth boogie soul and taking it into 2026.
Insane rare Boogie, Soul, Disco, and Floaty goodness all on one LP, High Rise (Harry Malone and Tony Poe) recorded these belters around 1985 in Chicago, Illinois. Harry's previous Band The Elusions only released two Chicago 7" which are also incredibly rare, also included on this expanded LP. Solid all the way through, like all Athens of the North releases.
Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.
LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.
LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.
The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.
NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.
Helene Rikhard had remained a hidden gem in the Norwegian electronic music underground for years, before she fully emerged on the international scene with these two critically acclaimed albums. Her sound is an ingenious mix of psychedelic disco, 80’s wave music, techno, krautrock, ambient and it truly operates in a world of its own. Drawing inspiration from the cosmic disco of Daniele Baldelli, the jazzy depths of Detroit techno and the esoteric dreamscapes of Laraaji, it’s astral music for astral people! Psychedelic to the core, but also warm, adventurous and highly original.
Her debut album Unpredictable Express is a dark, brooding masterpiece combining elements of cosmic disco, electro and techno Everlasting High serves as a beautiful, atmospheric counterpoint to its moody and mysterious predecessor, Feeling like a blissed out, hazy summer day, echoing childhood memories from Helenes youth, in the beautiful southern part of Norway. Everlasting High also sees Helene’s vocals coming more to the front. Mad Girl and Lions Eye are both beautiful, dubbed out synth pop with traces of 80’s synth, shoegaze, and reveals a fine-tuned pop sensibility, with a vocal style that’s sits somewhere between Kate Bush, Enya and Fever Ray.
Both as a producer and DJ, Helene’s style is easily recognized for her bold, genre-blending approach to electronic music. Mixing elements of ambient, techno, and experimental sounds, creating immersive, intricate and psychedelic tracks. Her DJ sets work the same way, blending Italo, High Energy and synth nuggets, effortlessly with strange, modern club sounds.
Pianeti Sintetici ('synthetic planets' in Italian) is a new conceptual project by Davide Perrone (Primal Code) that draws inspiration from the factories of Magrathea, a planet in Douglas Adams' classic space opera The Hitchhiker's Guide to the Galaxy, where artificial planets are manufactured on commission.
'This concept has always fascinated me, and I chose the name to frame a hypothetical future of synthetic worlds, told with sound,' Davide says. 'I like to imagine the howls of creatures inhabiting solar systems outside our own. Rarefied atmospheres, alien sequences, and unfamiliar tonal scales. So, I see Pianeti Sintetici as an open-ended design research project where I can explore these inspirations.'
Esplora I ('explore') is the first record in a trilogy scheduled for release in 2023. It comes wrapped in a custom-cut embossed sleeve adorned with a captivating interpretation by Hypnus' visual artist Gabriella Holmstrom.
Early support from Brando Lupi, Iori, Takaaki Itoh, Unjin, Eric Cloutier, Forest on Stasys, Konduku, and Saphileaum.
Anton Ivanchenko aka Light The Fuse and Ivan Moskvin (who is half of Fankin) met while judging Red Bull's beatmaker battle back in 2021, but it took years before they actually made music together. Decades of vinyl digging and a knack for sampling weird, unexpected fragments turned into studio jams, then into their debut album, Ghettoblaster Twins. There's no forced concept when they work together - they let the music happen naturally and it shows: breezy, curious, over before you know it. Source material ranges from obscure jazz to a Soviet film theme, all floating between funk, hip-hop and breakbeat, laced with a warm, nostalgic pull. A lovely debut, hopefully with more to come in future.
Bogdan Ra's Love Affair label is still in its infancy, but thus far has yet to make a misstep. On his previous EP for the imprint, the Lisbon-based artist explored his love of TB-303 powered acid house insanity; here, he drops a much more diverse but no less impressive five tracker. He begins with 'Tour De Acid', a punchy electro-meets-acid house workout featuring nods aplenty to Kraftwerk, before blurring the boundaries between formative acid house, bleep and deep nu-disco on title track 'Light Boom'. 'Take Your Time' and 'Manic and Cool' are both peak-time ready slabs of peak-time-ready house nostalgia, while closing cut 'Strictly Business' is a brilliant blend of bass-heavy breaks and acid-fired dancefloor psychedelia.
The roots of Nightlong can be traced back to Havana in early 2008, where a series of recordings captured some of the most compelling contemporary Cuban singers and musicians. These sessions yielded a striking collection of voices, woodwinds, and brass, all imbued with a distinctive warmth and vitality—material that called for a careful and inspired reinterpretation.
That reinterpretation came from Maayan Nidam. With remarkable intuition and precision, she distilled the essence of these performances and reshaped them into a work that feels both organic and forward-looking. Moving beyond her signature dance floor framework, Nidam explores a wider range of rhythms, textures, and tonal depth, crafting an album that unfolds with subtle complexity and emotional resonance.
The result is a fluid and immersive record—one that transforms its source into something entirely new, while preserving its expressive core.
Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.
After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).
The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.
Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.
They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.
Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.
"Acid Morning" by Toni Rios, remixed by Andreas Henneberg, is a captivating track that skillfully blends elements of techno and house, creating a nuanced auditory experience. Andreas Henneberg is known for his ability to infuse tracks with a distinct energy, and his remix of "Acid Morning" is no exception. Henneberg transforms "Acid Morning" with his signature style. The "Toni Rios and Andre Walter Remix" for Nicoleta is a track that brilliantly blends elements of classic electronic beats with modern production techniques. Toni Rios alongside Andre Walter (Stigmata) brings a refreshing twist to the original composition through this remix. These are two more gems from Toni Rios
DiG Records’ latest release is a reissue of one of the most remarkable Russian electronic albums of the 90s. Available on vinyl for the first time, 100 Photography Lessons is the 1993 debut album by the duo Block Four, with a rich sound spanning a wide range of genres, from downtempo and experimental electronics to trance and techno.
Block Four was formed by Oleg Salkhov and Konstantin Smirnov in the early 1990s at Moscow’s SNC Studio. Salkhov was the studio’s first recording engineer, working with bands including Moralny Kodeks and Megapolis, while Smirnov came from Nikolai Kopernik, where he had already been experimenting extensively with electronic instruments.
The album is built around sampling, experimentation, and a broad range of influences. Block Four drew sounds from jazz, classical music, rock, hip-hop, folk and electronic music, as well as films, VHS tapes, and radio broadcasts, gradually assembling their own extensive library of samples and loops. Combined with synthesizers, samplers, drum machines, unconventional rhythms, and harmonic ideas, the duo brought all these elements together to create their own distinctive sound.
100 Photography Lessons captures a brief but important period when Russian electronic music was still developing its own language. Freely blending sampling, electronic instruments, and influences from a wide range of musical traditions, Block Four created an album that still sounds compelling more than three decades later.
The record stems from a deep-seated urge to craft something entirely personal; the vocal is CARISTA's own, a result of a discarded Ableton sample that lacked the necessary soul. By recording it herself, she captures a raw, magnetic intimacy. This process, taking standard materials and transmuting them into something deeply individual, mirrors the very alchemy found on the most transcendent dance floors. Whether you find yourself in a sea of strangers or flanked by your closest kin, there is a singular moment where every element aligns. It is a feeling of stepping past your own physical limits to truly experience the best of times.
DJ Koze doesn't aim for technical perfection for its own sake, but rather to serve the purpose of giving birth to great music. On his debut 'Rue Burnout EP' from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. 'Blume der Nacht' starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violine bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive sharp rhythms. The 37 year old constantly horny wunderkind producer has made a habit of creatively foiling expectations, and works also under the pseudonyms Adolf Noise, Swahimi and recently Madima Lokkah to redefine the boundaries of electronic music. This daring concept works perfectly in the title track 'Rue Burnout' - it is very rare that you find house music this excitingly light-fooded and precisely transparent. The musician cuts the pigtail off the term 'Kackmusik' for good, and demonstrates how sounds are capable of creating the most delicate musical interplay.
Amen.
DJ Koze, Germany, April 2010.
Bassist, composer and arranger Bill Lee (who is the father of celebrated Director Spike Lee) helmed numerous Strata-East projects, but this is the one that most stands apart. The Descendants of Mike and Phoebe is a one-off 1974 album uniting Lee with his siblings Cliff Lee, Grace Lee Mims and Consuela Lee Moorhead under a name that pays honour to their enslaved ancestors. Elements of jazz, gospel, soul and blues are threaded into a work of complexity but spirituality, with nimble, dancing grooves next to more pensive explorations. It's a sought-after rarity from the label's catalogue that has been freshly remastered for this reissue. Essential Strata-East history.
This is a bit of a rare release on the ADR label - it even had its own special catalogue number - XYZ instead of the usual ADR (I need to ask the guys why that was actually!) This EP only came out as a 4 track white label in 1993 and was nicknamed the Untitled EP back then, finally having a proper title in 2026. Two of the tracks were written by Les aka The Pharmacist and the other two were collabs with Dave Charlesworth - so you know the quality will be high... but you I expect most of you know this already from owning or listening to the original pressing. A cracking EP of good vibed hardcore.
CYBERPHUNK CLAUSURA (2LP) is the closing chapter of the CYBERPHUNK saga, following CYBERPHUNK and CYBERPHUNK EXPANSION.
What began as an exploration through Electro, Breakbeat and Acid now reaches its final form: a convergence of SubBass pressure, fractured rhythms and dystopian energy condensed into a complete double LP experience.
Across 12 tracks, Calagad 13 expands the sonic language of the series — combining high-impact breaks, hypnotic sequences, acid mutations and darker atmospheric structures into a body of work designed to be experienced as a continuous journey.
Pressed as a limited edition of 150 copies, CLAUSURA stands as both a collector’s piece and a defining release within the COSMIC TRIBE catalogue.
While this release concludes the main CYBERPHUNK narrative, the universe will continue evolving through forthcoming reinterpretations and remix transmissions.
Nearly a decade in the making, Catalyst is Julion De’Angelo’s long-awaited debut album, a bold statement of artistic vision and musical dedication. Released on his Maybee Hill Music imprint, the album blends driving rhythms with rich melodies, from the Beatdown house energy of “The Tundra” and “Antheme” to the expansive jazz textures of “Karma” and “Confused Ones.” Honoring Detroit’s legacy while pushing beyond it, Catalyst bridges soulful experimentation, organic composition, and contemporary dance music into a sound that is distinctly Julion’s own. Spanning six tracks across the double 12″ vinyl with full color double-sided insert, pressed at Mother Tongue Records.
Dutch producer Kid Sublime presents his first EP on Makin’ Moves, here he teams up with Philly singer/song writer Lady Alma exploring elements of soul, broken beat and house.
The EP kicks off with The Grind a super smooth soulful house track, that catches your attention straight away with its groovy baseline that remains throughout adding to that Alma’s meaningful lyrics demonstrating the power of the music as she uses it as to get herself through the day.
The positivity continues on ‘Can You Feel It’ another quality piece of soulful house as the action moves to the dance floor as the beat and grove winds you in as once again Alma’s lyrics drop perfectly on the track.
The B side shows Kid switch it up on the broken beat production wiith ‘Ready To Meet You’ a touching song about two individuals excited to meet each other for the first time, a sure shot hit for the ‘bruk’ beat and dance heads alike!
A single track, four hands. Damage Music puts Alexander Kowalskis "Sinee" through the machine and lets three producers find their own way in. The original stands. The remixes do what good remixes should, not explain, but reinterpret. SMBR, Sven Köhne and GZI each bring a different angle to the same raw material, keeping the record tense and coherent from first groove to last.
Duality Trax reaches its tenth release with a defining moment for the label, as label boss Holly Lester steps forward with her debut EP. A personal milestone as much as a catalogue marker, the record channels sounds that have shaped her sound to date - early tech house, the low-end swing of UK garage and breakbeat, the rolling pulse of mid- 2000s European dancefloors, and the emotional lift of ’90s progressive house - all refracted through a distinctly personal lens. Open Your Mind sets the tone with a sense of lift and release: a wide, expansive bassline carries skippy, garage-tinged percussion, while bright piano stabs cut through guided by playful, restless FX. Big Fill pivots into tougher territory, a driving cut built on a rolling sub that pulls you into the groove - equal parts pressure and introspection, with moments of dreamlike suspension between the weight.
On the flip, Tanit drifts into more atmospheric space —an ode to Ibiza that still carries a distinctly UK undercurrent. A squelching, elastic bassline and cheeky, garage-leaning wubs provide a foundational groove but everything around it drifts: gated synths shimmer, drums sparkle, half-heard vocals dissolve into the mix and the track unfolds with a blissed-out, cruising energy. It feels just as natural in a dark room as it does out on open water, coasting past Formentera. For the remix, Holly turns to one of her favourite producers of the moment, DJ Life, who draws Open Your Mind into deeper waters. The Berlin via Australia producer stretches the groove into something more hypnotic and submerged, a patient 5am burner that lingers in the air,equally at home in basements, afterhours, and those inbetween moments as night slips quietly into day
Greer delivers a hyper textural masterclass in experimental sound design through their debut album, 'Seven Wise Dogs Bless You With Their Kindness'. Originally hailing from Meanjin, a scene known for outstanding musical output and consistently interesting variety, Greer has brought this spirit into Naarm's musical landscape with careful consideration and style. Organic entities meet machine rumbles, from tense drone hums to easing ambient soundscapes. Greer navigates these territories in a way that feels uncharted and perfectly at home with Oomycota.
On Expensive Shit, Fela chronicles a failed attempt to imprison him for possession of weed in 1974. At this time, Nigeria was under a military dictatorship that had declared a war on indecency. Fela’s insubordination infuriated the government, and they repeatedly raided his compound, Kalakuta.
During one of the raids, an officer produced a joint from his own pocket and attempted to plant it on Fela, which Fela then swallowed. He was immediately taken to prison, where the police waited three days for him to “produce” an incriminating sample. When the time came, police took Fela’s sample for analysis and found nothing. Each night, Fela and his cellmates had swapped their slop buckets around, allowing Fela to relieve himself without the authorities realizing it. By the time of the public shit, there was no marijuana left in his system. The police had no choice but to let him go.
This 50th Anniversary edition is pressed on gold nugget vinyl, packaged in a trifold jacket that features elements of the original vinyl packaging alongside newly licensed images, a dossier envelope with poster, print, and newspaper clipping, wrapped with a metallic gold foil band.
Coming in hot on Berlin's Toy Tonics label: a new EP by the talented duo ALMA NEGRA!
Founded in 2013, Alma Negra is a Swiss collective centered around the brother duo Dersu and Diego Figueira, whose diverse roots in Switzerland and Cape Verde inform their sound. The project was launched with the ambitious vision to explore the world's diverse rhythms and drive musical innovation by mixing different styles. Their work is anchored in a process of digging and sampling, skillfully blending traditional sounds-from Fela Kuti-influenced Nigerian afrobeat and Angolan Lamento to Caribbean Zouk and the Maloya sound of Réunion-into a contemporary dance music context.
The Figueira brothers' eclectic DJ sets embody this ethos, peppering disco and house with salsa, samba, jazz, and Afro-Caribbean carnival rhythms, all under their guiding motto: "As long as it's Funky."
Since 2014, Alma Negra has made an important contribution to intercultural exchange in their hometown of Basel. Their international presence began in 2015 with their first shows abroad in countries like France, the Netherlands, and Portugal. From 2016 to 2019, their reach expanded significantly, with performances in major hubs like London, Paris, and Berlin, as well as Istanbul, Tel Aviv, and Tunisia. Highlights from this period include sets at the Montreux Jazz Festival, Dimensions Croatia, and Fuse Club in Brussels. Their standing is further cemented by releases on respected labels like Heist Recordings, Sofrito, and Basic Fingers, alongside remixes from an elite group of peers, including Soulphiction, Kuniyuki, and Yuksek.
Parallel to their studio and DJ work, the project expanded into the Alma Negra Live Band, formed with jazz musicians from Basel. While the band is currently on hiatus, this collaboration made live instrumentation increasingly central to their productions, creating a dynamic they feel is essential for any dancefloor. The live band has performed in cities like London and Hamburg and has led to collaborations with artists such as French singer Pat Kalla and jazz trumpeter Bodo Maier.
Harmacy (30th Anniversary Expanded Edition) finally makes Sebadoh’s seminal 1996 indie-rock album available again, and adds 16 bonus tracks, including alternate versions, rare B-sides, BBC sessions, and live material from the Harmacy era.
Sebadoh was formed in 1986 in Northampton, Massachusetts, by Eric Gaffney and Lou Barlow (Dinosaur Jr., The Folk Implosion), with multi-instrumentalist Jason Loewenstein completing the line-up in 1989, and Bob Fay taking Gaffney’s spot in 1994. By 1994, the band had released five albums and more or less changed the pockmarked face of indie rock. Their albums were mostly home recordings, decried for their lack of sharp production, but embraced by fans of Barlow's intimate songwriting style, which owed as much to Joni Mitchell as Bob Mould. In 1996 Harmacy, their breakout sixth album, arrived, finding Sebadoh as conflicted as ever: torn between screaming punk and gentle crooning, replete with highly personal songs guaranteed to bring down even the most super-charged midnight ravers.
Released in the wake of The Folk Implosion’s Top 40 hit "Natural One," Harmacy became Sebadoh's first charting album in the U.S., and yielded the hit "Ocean." Interview said, “Harmacy is nothing short of a masterpiece.” The New Yorker called it a collection of “perfectly crafted, honest (read: ambiguous and emotionally twisted), impassioned songs about love and hate.” Harmacy was hailed as one of the best albums of 1996 by Rolling Stone, The Village Voice, and NME.
Naughty Boys, originally released in 1983, was Yellow Magic Orchestra’s seventh and final album to top the Japanese Oricon Pop charts.
A remix album, Naughty Boys Instrumental was released in July 1983. It contained nearly the entire Naughty Boys album as instrumental tracks in an entirely different running order, as well as the b-side to "Kimi Ni Mune Kyun", "Chaos Panic"; and the full instrumental version of "You've Got to Help Yourself", of which the vocal track was included on Service.
Naughty Boys Instrumental featured additional synthesizers imitating the vocal lines, as well as new embellishments and mixes. Several tracks featured sonically updated percussion tracks, while "Ongaku" featured an acoustic piano soloing over the piece.
This release combines both the original and instrumental albums. Naughty Boys & Instrumental is available on black vinyl and includes a 4-page booklet.
Celebrating 30 years of ‘Filthy Lucre’ Live, the incendiary 1996 recording that captured the Sex Pistols’ explosive reunion tour of the same name, this landmark live album returns for the first time as a 2LP, set on red vinyl. The album documents Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock reuniting nearly two decades after their original implosion, revisiting the songs that transformed punk and the world we live in today. Recorded at the band’s Finsbury Park performance, the release delivers a raw and uncompromising snapshot of the Sex Pistols at full volume, reaffirming their enduring influence and confrontational spirit.
Drawing heavily from ‘Never Mind The Bollocks, Here’s The Sex Pistols’, the setlist features defining tracks including “Bodies”, “No Feelings”, “New York”, “God Save The Queen” and “Pretty Vacant”. Performed with the same abrasive energy that established the band as one of the most influential acts in British music history. This special edition also includes the Japanese bonus tracks for the first time, making it the definitive version of this iconic live recording for fans and collectors alike.
Double LP, pressed on gold vinyl. As part of Lineage II's 22nd anniversary celebration, NC America and Black Screen Records are proud to announce the first-ever Lineage II collector's edition vinyl album, which elegantly combines a track selection reflecting the game's iconic history and memorable musical identity. This vinyl album is now available for pre-order and will hit the stores in November. Arranged by composers Bill Brown (Tom Clancy's Rainbow Six), Jamie Christopherson (Metal Gear Rising: Revengeance), Inon Zur (Fallout 4), and NCSOUND, the track list is a collection of 40 of the most recognized pieces from the original soundtrack, carefully selected to create a cohesive listening experience rather than a complete collection. Published by NC, the album flows between calm, reflective village themes, atmospheric exploration pieces, and more intense, dramatic compositions tied to combat, progression and large-scale conflict. The track list draws from the original soundtrack's most recognized pieces and centers on two major regions: Giran and Aden. Early on their journey, players venture into the world's southern territory of Giran. As they explore the region's villages, tracks such as "Crossroad at Dawn," "Shepard's Flute" and "Caravans Crossing" help create a calm, grounded atmosphere that reflects the peaceful nature of travel through the area. In contrast, the world's northern territory of Aden reflects the game's grander, more conflict driven spirit. As players continue their journey, the Elven Village track "Unicorn's Rest" marks a turning point, gradually giving way to darker settlements and imposing castles through standout tracks such as "Knighting Ceremony" from the iconic Aden Castle and "Expedition March" from the Town of Oren, where tension, warfare and large scale conflict take center stage. Across both regions, the tracks are more than background music; they shape how players experience each location, from villages and hunting zones to moments of intense combat. This collection brings together the sounds that have defined Lineage II for the past 22 years, offering a reflective musical journey for both longtime players and new listeners alike.
One of the most influential dub albums ever made. The remixing techniques used – radically new for 1973 – helped transform the role of the producer and the engineer to that of creative artists in their own right.
First released in Jamaica in December 1972, Upsetters 14 Dub Black Board Jungle is widely regarded as one of the first full-length dub albums and a true landmark in reggae history. Produced by the visionary Jamaican innovator Lee “Scratch” Perry, it marks the decisive moment when dub evolved from incidental B-sides into a fully realized long-playing art form. At a time when Jamaican sound system culture was flourishing, producers were beginning to strip down popular reggae tracks into instrumental “versions,” emphasizing the bass and drums for sound system deejays to toast over while adding echo and reverb effects to make things more interesting and dynamic. While King Tubby, who was in charge of mixing the tracks, was pioneering the technical foundations of dub, Perry expanded the approach by adding the hypnotic and psychedelic sound effects that made this record so rich in ideas, rendering the album more conceptually bold.
The album reworked previously released rhythm tracks by the Upsetters, which were recorded between 1970 and 1972, shortly before Perry opened his own studio – the legendary Black Ark Studio in Kingston. Their tight, groove-driven playing provided a solid backbone for these radical studio manipulations. Using the mixing desk as an instrument, tracks were deconstructed in real time – dropping vocals in and out, isolating drumbeats, pushing bass lines to the front of the mix, and sending fragments of sound spiraling into space through the heavy use of a spring reverb and tape delay effect units. Silence became as important as sound, and the interplay of rhythm and echo created a hypnotic, immersive listening experience.
Upsetters 14 Dub Black Board Jungle established dub as a genre defined by creative studio intervention. It demonstrated that the remix itself could be the main attraction, influencing generations of reggae producers and resonating far beyond into the techniques and aesthetics of post-punk, electronic music, hip-hop, and ambient sound design. By transforming the studio into a creative laboratory and elevating the “version” to an art form, this foundational album reshaped not only Jamaican music, but the whole of modern music production culture.
Mit Khudgarzi präsentiert Sheherazaad ihr mit Spannung erwartetes Debütalbum und die konsequente Weiterentwicklung ihres vielbeachteten künstlerischen Ansatzes. Die US-amerikanische Komponistin, Performerin und Theaterkünstlerin verbindet auf einzigartige Weise Folk, experimentellen Pop und musikalische Traditionen Südasiens. Inspiriert vom Konzept der "selbstsüchtigen Frau" untersucht das Album die Spannungsfelder zwischen gesellschaftlichen Erwartungen, persönlicher Freiheit und Selbstbestimmung. Dabei entstehen eindrucksvolle Klangwelten, in denen Instrumente aus hindustanischen, türkischen, arabischen und karnatischen Traditionen auf moderne Songstrukturen und atmosphärische Field Recordings treffen. Überwiegend in Urdu, ergänzt durch Passagen in Englisch und Tamil, entwickelt Khudgarzi eine unverwechselbare künstlerische Sprache. Nach der hochgelobten EP Qasr etabliert sich Sheherazaad mit diesem Album endgültig als eine der spannendsten neuen Stimmen zwischen Contemporary Folk, World Music und experimenteller Popmusik.
The long-awaited reissue of "Woodstock Generation” set for release in the 11th installment of "Spin This Now!," a masterpiece of Japanese jazz-rock by Soul Media, led by Jiro Inagaki!
Led by Jiro Inagaki, one of the leading saxophonists in the Japanese jazz scene, Soul Media captured the explosive musical movements of the late 1960s and early 1970s on this classic album. Rooted in jazz while boldly incorporating elements of rock, funk, and psychedelia, the album is packed with the thrilling sound that could only have emerged from Japan's music scene of the era.
Berlin-based Dutch-Italian composer and musician Aimée Portioli aka Grand River presents the new album Temporary, returning to the renowned Editions Mego label with her most expansive and focused LP yet.
Rooted in existential ideas of impermanence and flux, Temporary is a deeply emotive work centred on the rich interplay between resonant guitar work and innovative electronics. Written in the wake of profound personal grief and loss, the album sees Portioli infuse her music with a raw, expressive intensity anchored in this experience. Across eight strikingly melodic and affecting soundscapes, Portioli powerfully embodies a dramatic encounter with mortality.
Temporary reprises Portioli’s exceptional streak of material across acclaimed labels including Donato Dozzy and Neel’s Spazio Disponibile, Caterina Barbieri's light-years, Ghostly International, Tresor and Umor Rex. The LP represents the latest tour de force in her distinctive electronic practice. Alongside a raft of lauded releases, Portioli has devised visionary multichannel installations which dissolve the boundary between the art gallery and the performance space.
Her new album signifies a culmination of her work, imbued with the depth of Portioli’s artistry. Shaped by a paradigm shift rising from loss, the record reflects a contemplation of the human condition and the ephemeral nature of existence. Ruminating on the thoughts and experiences that have fed into the record, Portioli reveals a consequential recognition underpinning the record:
"Sometimes, when travelling in places far from home that I know I will most likely never return to, or while accompanying someone I loved towards the end of their life, I become intensely aware of the singularity of the moment, and of how precious and sad this feels at the same time. It carries a particular weight because it will never happen again in quite the same way. Through experiences like these, I have gradually come to understand the temporary nature of all things. They taught me that to live is to experience the present while already feeling the trace of its disappearance, something both painful and blissful." - Aimée Portioli, Grand River
The album is invested with a potent mood and momentum from the outset. Establishing an evocative tone with the subtle, pulsating synthesis, rustling undertow, and oceanic low end of 18 circles to heaven, Portioli gradually ascends through the incandescent modular majesty of Come to stay, and the turbulent, brooding guitar figures of The crossing of the body, the crossing of the mind. The album progresses through the rapturous electronic phasing of The little we last into the coruscating synth grandeur of Let me know when you’re pure, before a thrilling endgame.
Closing with the wavering harp runs, heavy percussive thud, and cataclysmic guitar discordance of Maybe I am dead and this is paradise, and the evanescent atmospherics and beautiful acoustic refrains of Work of ending, Portioli takes the listener through vast landscapes of sound and mercurial emotional states. Intimate and immersive in equal measure, the record traces a compelling sensory journey.
Each part of the album is part of a larger poetic sentence, with track titles forming fragments that together articulate a meditation on transience. From 18 circles to heaven and Come to stay through From the other side and Work of ending, they read like quiet statements about being human, about loving, losing, remembering and eventually fading. The record moves through these states as a continuous passage, depicting a poignant soundworld guided by temporality.
The awareness that our time is limited sharpens the value of what remains. Each encounter, each gesture, each fleeting moment becomes more vivid. Temporary lingers in the space where presence and disappearance coexist, where everything is already passing away and therefore becomes infinitely precious. Things matter because they do not last. Mortality does not diminish life; it intensifies it. In confronting these ideas, Temporary feels irrepressibly alive.
Composed, produced and mixed by Aimée Portioli
Production and mixing assistance by Luca Sammartin
Acoustic piano on Maybe I am dead and this is paradise by Andert Tysma
Mastered by Rashad Becker
Cut by Marta De Pascalis at Schnittstelle, Berlin
Artwork by Nicola Tirabasso
Layout by Riccardo Piovesan
Frozen Flashes is the new album by Okvsho, the Zurich-based project of brothers Christoph and Georg Kiss.
Recorded through sessions in Zurich and London, the album begins with musicians playing together in the room. Improvisations, rhythms, textures and small spontaneous moments are captured, then sampled, cut and rearranged into nine carefully shaped tracks.
Featuring collaborations with Azekel, Melodiesinfonie, FloFilz, Tenderlonious and Hadel, Frozen Flashes is built around the moments that are impossible to plan — brief flashes that appear in a session, disappear again, and sometimes become the starting point for an entire song.
Catch Okvsho +experience live across Europe this autumn — bringing Frozen Flashes on the road.
Finally, almost three years after the well-received Orange Wine EP, and three international tours, Okvsho is back with their fourth project “A place between us”. Georg and Christoph Kiss, the two brothers behind Okvsho, are showcasing a project that is more intimate and bolder than ever, offering an insight into their thoughts, feelings, and experiences during the last two years. The unique style Okvsho has become known for in recent years has once again evolved, combining organic and electronic elements with beautiful harmonies and expressive rhythms.
Okvsho’s second LP will also be the first full-length project to be released on the newly founded Zurich-based label Current Moves, with which the Okvsho-brothers aim to shape the young European jazz scene they are inspired by and also an established part of.
“A place between us is the frst step into a new era for us – We’re very grateful for the love and support we received during the past six years and we’ll continue to strive for the better. Thanks for becoming part of our journey.”
You asked for one more. Laibach duly oblige with MUSICK : ENCORE, a follow-up album to their 2026 record MUSICK, out on Mute.
They answer the crowd's demand with six brand new tracks and reworks of songs from the original album, reimagined by an eclectic line-up. Vinyl takers get the core 10-track experience, pairing new songs with four key reworks from the band, Richard X, PUNCHBAG, and Balžalorsky. The CD goes further, expanding to 13 tracks with additional remixes, including a rework of new track ‘#US’ from SILVERWINGKILLER, an Algorithm remix of fan-favourite ‘Allgorhythm’, and a bonus version of ‘Love Machine’ courtesy of The Lincolnshire Poacher.
Where MUSICK turned maximalist, hyper-driven pop into a reflection on our oversaturated, AI-warped media landscape, ENCORE pushes further into that fractured hall of mirrors – glitching, distorting, and rebuilding the original tracks into new shapes, from pulsing electropop to warped Eurodance detours and everything stranger in between.
Ihr habt nach einer Zugabe gefragt. Laibach liefern: Mit MUSICK : ENCORE erscheint auf Mute das Nachfolgealbum zu ihrem 2026 veröffentlichten Werk MUSICK.
Als Antwort auf die große Nachfrage präsentiert die Band sechs brandneue Tracks sowie Neuinterpretationen von Songs des Originalalbums, umgesetzt von einer vielseitigen Auswahl an Künstler. Die Vinyl-Version umfasst zehn Tracks und kombiniert neues Material mit vier ausgewählten Reworks von Laibach, Richard X, PUNCHBAG und Balžalorsky.
Die CD-Version erweitert das Programm auf insgesamt 13 Tracks und bietet zusätzliche Remixe. Darunter befinden sich eine Neuinterpretation des neuen Tracks „#US“ von SILVERWINGKILLER, ein Algorithm-Remix des Fan-Favoriten „Allgorhythm“ sowie eine Bonusversion von „Love Machine“ von The Lincolnshire Poacher.
Während MUSICK maximalistischen, hochenergetischen Pop als Spiegel unserer reizüberfluteten und durch KI zunehmend verzerrten Medienlandschaft inszenierte, führt ENCORE diesen Ansatz konsequent weiter. Die ursprünglichen Tracks werden zerlegt, verfremdet und neu zusammengesetzt – von pulsierendem Elektropop über verschobene Eurodance-Ausflüge bis hin zu allem, was dazwischen noch eigenwilliger und unerwarteter wird.
Alan Vegas ,Live at Max's Kansas City" fängt einen der furchtlosesten Innovatoren und Visionäre der Musikszene in voller kreativer Kraft ein und verwandelt diesen Punk- Club, eines der kultigsten kulturellen Wahrzeichen New York Citys, in ein Theater aus roher Performance, klanglichen Experimenten und kompromisslosem künstlerischem Ausdruck. Aufgenommen am 18. Juli 1980, nur wenige Wochen vor der Veröffentlichung seines bahnbrechenden selbstbetitelten Solo-Debüts, zeigt der Auftritt Vega an einem entscheidenden Punkt in seiner Karriere, an dem er eine einzigartige künstlerische Sprache entwickelt, in der Rockabilly, Blues, elektronischer Noise und Performancekunst mit elektrisierender Intensität zusammenfließen. Auf sieben Titeln wird Vega von dem jungen texanischen Gitarristen Phil Hawk begleitet, dessen messerscharfe Gitarrenarbeit sich mit Vegas Tonbandmanipulationen und experimentellen Klängen verflechtet, um seine kompromisslose klangliche Vision zu verstärken. Eher vom Instinkt als von Konventionen getrieben, fängt das Album die Kollision von Rockabilly und Blues mit elektronischen Experimenten, unerbittlicher Energie und der radikalen künstlerischen Freiheit ein, die Vegas Karriere prägten. ,Live at Max's Kansas City" ist ein lebendiges Dokument davon, wie Alan Vega am Beginn seiner Solokarriere stand - mit dem unerschütterlichen Engagement seiner kreativen Kräfte. Jeder Schrei, jeder Pfiff und jeder Ausbruch des Publikums wird Teil der Performance selbst und bewahrt den explosiven Austausch zwischen Künstler und Publikum, der Vegas einzigartige Bühnenpräsenz ausmachte. Entdeckt von Liz Lamere und Jared Artaud im Alan-Vega-Archiv, dem ,Vega Vault", wurde ,Live at Max's Kansas City" von Josh Bonati aus den Original-Live-Aufnahmen remastert, wobei die Bänder von Ted Young übertragen wurden. Diese historische Performance, die ein weiteres bisher unbekanntes Kapitel aus dem ,Vega Vault" enthüllt, ist zum ersten Mal auf Streaming-Plattformen und auf Vinyl erhältlich .
Blu:sh and Georgia Bird channel their shared Berlin orbit into Freq-E Functions, a collaborative exploration of the stranger edges of club music. Chugging tech-house rhythms, rolling percussion and seductive vocal cuts move through the record with a steady sense of tension, creating a playful and distinctly nocturnal atmosphere ready for peak hours and beyond. The EP includes a vocal feature from Coffintexts.
Follow-up to 2025's “i was put on this earth” (“a triumph of gentle reverie and quiet upheaval” - Pitchfork). DJ Python’s music has always occupied the interesting space in between - reggaeton's low pulse, ambient's patience, deep house's forward motion, the abstracted sounds of trip-hop, shoegaze, and pop - and this new EP finds him stretching that even further. A companion to “i was put on this earth”, the new EP shares that project's creative DNA while pulling in its own direction.
DJ Python (aka Brian Piñeyro) steps more fully into the role of singer and songwriter, sharing the mic across a set of collaborators including Ari, Tony Bontana, and Eden, while still carving out room for hypnotic solo songs.
Across five tracks, the project moves fluidly while retaining the captivating melodies, atmospheric textures, and rhythmic innovation that defined Python's earlier recordings - Mas Amable, Angel, and Club Sentimientos Vol 2 - expanding those sounds into something looser, warmer, and harder to categorise.
Balaise was the original title of Vers le Nord’s debut album. In French slang, balaise means something in between badass and flamboyant. The word keeps popping up throughout the record, like a teenager’s graffiti scrawled on a bus shelter after a few drinks. Balaise robots. Balaise ghosts lurking in the shadows. Balaise is the barfly who fantasies about becoming a street vigilante. In many ways, Matthieu Pellerin's new solo project is entirely contained within that word: a gigantic piece one man against the world cobbled together, a monument shaped by hand using layers of synthesizers sounding like cathedral organs cast in concrete.
Stitching this type of freak together took time. Five years, or what sounds like forever in an age obsessed with career trajectories and content strategies. But for Matthieu Pellerin, it was never about career plans or taking the easy road. Or he would have dug up the rotting corpse of Oi Boys, his now-defunct band, whose brief existence and explosive popularity once united sullen skinheads, gothic street punks, and old school punks alike. Or he would have fully embraced the Metz scene, now that the Great International Triple Alliance of the East (Noir Boy George, The Dreams, The Feeling Of Love...) and rising solo acts like Tune Zitoune, Josy Bazar, Fantôme Josepha, and Tony Gerrano have somehow transformed this sprawling open-air heroin camp into an unlikely capital of cool. But Vers le Nord doesn't point East, and it is as a lone rider that Matthieu Pellerin can fully reveal his songwriting scope.
With Le Seul Élément, his first solo project, the Lorraine native had already shown a rare gift for crafting worlds. Picture vast sonic masses stretching like industrial zones, noise-filled fog pierced by pale neon lights and landscapes caught somewhere between the gnarliest dive bar and a doomsday bunker. And slipping through the soul-crushing slowness and fractured blackened atmospheres, one could perceive a throwback to his years plotting in black metal-tinged Loth and Bishop.
Vers le Nord populates those landscapes that once were rough sketches. Damaged characters reign supreme, with a plethora of exquisite mutts brought to life, rather than outcasts committed to the cause. Where Nuits Blanches —his new supergroup featuring members of Rixe, Lion's Law, Headbussa and La Femme— pulls no punches with raw confessions, Pellerin switches gear for tales of robot apocalypses, vagrants and fam-seeking school shooters, delivered with William Sheller-esque rhymes and striking images. Yet even within fiction, he manages to create something deeply intimate, almost defining, showing very little effort: he is a natural. All in all, à l’aise (at ease). Songs resonate deeply with the listener, perhaps because of Pellerin’s odd way or always addressing someone without ever really naming them, a floating, obsessive and inescapable “you” calling us out.
Despite all of the darkness, Vers le Nord stirs deep emotions. There is something of Type O Negative or Anna von Hausswolff in its constant collision of the ludicrous and the epic gothic, its bleak romanticism that never tells a sordid tale. While the vocals remain rooted in a distinctly French punk lineage—think No Class, La Souris Déglinguée and OG Bérurier Noir—the reactor core is hidden somewhere else. Oneohtrix Point Never feels like a closer relative with his ultra-emotional music made of cold synths and disembodied anthems, swallowing and regurgitating forty years of icy, contemplative new wave across ten songs. It comes as no surprise that Lila Ehjä and Aimable, two rising specialists in lowering the temperature below seasonal norms, appear on “Enterrez-moi bordel” (“Bury Me, for fuck's sake”), a grandiose, spectral and magnificently arrogant finale. And in the end, Vers le Nord starts where the original idea was hiding all along: somewhere amid the ruins, definitely balaise and yet somehow, completely à l'aise.
Music From Memory presents ‘Sleep Machines’, a new collaborative album from UK ambient pioneers O Yuki Conjugate and German producer and DJ Philipp Otterbach.
Formed in Nottingham in 1982, O Yuki Conjugate have spent more than four decades developing a singular approach to what they now describe as ‘dirty ambient’. Emerging from the post-punk DIY scene and drawing early inspiration from artists including Cabaret Voltaire, The Durutti Column and Jon Hassell, the group gradually carved out a space between post-industrial electronics, ambient music and Fourth World experimentation. Centred today around founding members Roger Horberry and Andrew Hulme, their work has retained an outsider sensibility throughout its many periods of activity and hibernation.
Philipp Otterbach approaches music from an equally open-ended perspective. As a producer, collector and DJ, his work moves freely between drone, dub, techno, house and electronics. His sets and productions share a fascination with unexpected connections, allowing disparate sounds to drift into one another through intuition rather than fixed genre boundaries.
‘Sleep Machines’ began with a chance meeting at The Gun on Well St. in London. Otterbach asked, “Would you be interested in doing a collaboration?”
“A collaboration? Sorry, we don't do collaborations,” came the reply.
“But wouldn’t it be fun?”
“We don't do fun either.”
Despite themselves, O Yuki Conjugate tentatively sent over an initial track. An avalanche of ideas quickly came back, and what began as an unlikely proposal developed into 18 months of recording, file-swapping, mixing and repeated reworking between the UK and Germany.
Produced by Otterbach, the resulting ten tracks bring together recognisable elements of both sides while gradually dissolving the lines between them. O Yuki Conjugate’s hazy atmospheres, dubwise spaces and tactile rhythms meet Otterbach’s instinct for strange detail, low-slung electronics and shifting forms. Rather than functioning as a collection of separate pieces, the album moves without gaps, unfolding as a single continuous work in which one environment slowly slips into the next.
‘Sleep Machines’ is both O Yuki Conjugate’s first collaborative album and an unlikely meeting point between two generations of musicians whose work has consistently existed at the edges of established forms.
Volume 1 - Growth
Resurrection is a long-term musical work that has accompanied Christine Benz for almost twenty years. The first track was created in 2007 (track id - Born after Code), with another piece added nearly every year thereafter.
Throughout this time, she continued to produce other music while steadily developing her artistic language.
Musically, the album moves between minimal techno, ambient and experimental electronic music. Across different phases of her life, Resurrection gradually grew into an archive of her personal and musical evolution.
The complete work unfolds as a trilogy across Volumes 1-3.
At its core lies her fascination with sound as material. Rather than thinking in terms of conventional melodies, she works with textures, vibrations, and spatial relationships. A small number of elements give rise to complex sonic spaces, where minimal changes can have a profound effect. Mistakes, chance occurrences, and unexpected responses from the systems she uses also become part of the music. Even from chaos, remarkable structures
emerge. Whenever unplanned beauty reveals itself, she preserves it as a small “miracle” in which control and chance intertwine.
The complete work unfolds across three chapters: Growth, Structure and Resonance, exploring repetition, frequency, perception, consciousness and technological development in the relationship between humans and
machines. It moves from origin through the formation of an internal order towards connection and interaction.
Volume 1: Growth, draws upon the Fibonacci sequence and the spiral as symbols of natural development, with the music growing through repetition and minimal change into increasingly complex forms. Throughout the
project, technology appears as a tool, a partner and a mirror of our perception, raising the question of whether consciousness, responsibility and empathy can evolve alongside technological progress.
During the project’s long evolution, Donato Dozzy developed an interest in Christine’s distinctive sound design.
In 2021, this led him to propose his own interpretation of Our Determination for Volume 1, subtly reworking the track through his own musical perspective.
The artwork developed by Christine also went through a creative process of its own. The original photographs were taken in a basement around 2019, with a wet curtain draped over her. In 2026, she decided to transform
this visual world into a moving-image artwork. For the production, a film crew reconstructed the entire setting.
The video shoot demanded a great deal from Christine: after several hours beneath the wet curtain, the cold was no longer merely part of the staging. This elaborate creative process gives the artwork its distinctive character
and makes it an essential part of Resurrection.
The first chapter will be released in November 2026 as a double-vinyl edition housed in a distinctive gatefold sleeve with an inside-out finish, matte varnish, and partial raised spot UV varnish. Two further double-vinyl
releases, Structure and Resonance, will complete the trilogy. All three volumes will be released on Pirat Records.Records.
Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself.
Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz.
»Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.«
»Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks+Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«
On their fourth album BGM, originally released in 1981, YMO continued where they left off with X∞ Multiplies, by venturing further into synthesizers, drum computers and experimentation with rhythm, sequences and speeds.
This album is more focused on atmosphere and mood. Some even say this album is a turning point for YMO and the international pop music scene. They successfully merged lyrics, sound bites and their signature electrically programmed music on BGM. “1000 Knives” and “Cue” are the most famous; ‘The Hand Clap’ on “1000 Knives” is probably one of the most used samples in the ‘80s, early ‘90s.
BGM is available on black vinyl and includes a 4-page booklet.
Initial Interface opens its catalogue with II001, a four-track vinyl compilation bringing together Flits, Justyn Nell, Alessandro and label founder Justine Perry.
Born from years of touring and exchanges within the global underground scene, Initial Interface is an independent techno label dedicated to timeless music shaped by depth, emotional intensity and artistic freedom. Its first release reflects this vision through four distinct contributions, each offering a personal interpretation of deep, hypnotic and driving techno.
From the rolling, immersive grooves of Flits and Justyn Nell to the deep and hypnotic explorations of Alessandro and Justine Perry, II001 moves between subtle tension, rhythmic depth and dancefloor energy. A carefully curated introduction to the label's identity, connecting different voices through a shared commitment to underground techno.
This autumn sees the release of ‘En de stilstaande tijd voor (elektro-)akoestisch ensemble’ (And Stationary Time for (electro-)acoustic ensemble), the new album by composer and musician Sietse van Erve. With this release, Van Erve marks a definitive turning point in his artistic career: bidding farewell to his long-standing pseudonym Orphax to continue under his own name.
From Rewire to the Studio
The foundations for this album were laid during a memorable live performance at the Rewire Festival 2025 in Den Haag (The Hague). There, Van Erve presented the composition for the first time with an ensemble featuring Anne La Berge (flute), Gareth Davis (bass clarinet), and Dario Calderone (double bass). The leading Dutch newspaper De Volkskrant praised the performance as "incomprehensibly still", drifting on a single, drone-like tone through which the instruments softly float.
Van Erve recalls the intensity of that debut: “I don’t think I’ve ever been as nervous for a performance as I was for Rewire. A packed hall in Amare, during such a major festival”. Following a second successful performance at Festival Musica in Strasbourg, the decision was made to capture the work permanently in the studio.
A New Vision of Nostalgia
The composition originates from Van Erve’s fascination with time and nostalgia, inspired by a 1960s postcard of a Spanish village where time seemed to freeze. While based on a solo piece from 2020, the (electro-)acoustic instrumentation provides a completely new interpretation. The transition from solo electronics to an ensemble brought unique challenges. Van Erve explains: “Certain effects can be triggered with a single knob on a synthesizer, but they result in almost unplayable parts for other instruments. In those situations, I presented the challenge to the group and we searched for a solution together.’’
Identity and Evolution
The album also marks a personal transition for the artist. Regarding the departure from his moniker, he states: “I was looking for the right moment, and now it feels right. With this project, I have finally been able to do what I’ve had in my head for a long time... I feel I have achieved something, and that is why I think it is a good time to initiate the name change."
Realisation through Crowdfunding
Recorded in the spring of 2026 at Studio 150—located in a former church in Amsterdam-Noord known for its exceptional acoustics—the album was captured by Joeri Saal. The production of the deluxe vinyl LP and CD was made possible through a successful crowdfunding campaign via Dutch platform Voordekunst, where supporters contributed to the studio and production costs.
As a longtime member of Hot Chip and LCD Soundsystem, Al Doyle has spent decades working alongside two of the most distinct vocalists in modern pop: Alexis Taylor and James Murphy. If he’s had a song or an idea, there’s always been someone else he’d rather have sing it.
But on November 20, 2026, the British multi-instrumentalist will release Hollywood Saviour, an album that drove him to finally embrace his own voice. “It’s me discovering a way to write and sing stuff that I could live with,” he says of his first-ever solo outing.
Recorded in his East London studio, Relax and Enjoy, Hollywood Saviour has the feeling—the rush and release—of a breakthrough, of an artist letting go. Doyle’s found freedom in simplicity here, leaning into the many pleasures of guitar-bass-drums, indulging wholeheartedly in the weird, spontaneous, raucous, and raw. He sounds free.
That sense of fun and rampant possibility can be felt in every groove, Doyle finding added inspiration in the loose and the louche, from Sexual Harassment’s 1983 electro-funk raunch-o-rama “I Need A Freak” to Throbbing Gristle’s locomotive 1980 paean to jerking off, “Something Came Over Me,” which is lovingly covered here.
At times, this album feels like a delirious response to the darkness of our current moment. On opener “Hard Times in America,” Doyle offers us a psychedelic window into his experiences traveling back and forth to the United States in recent years, feeling fascism’s hold tighten with each visit.
That sense of character comes through in Doyle’s vocal approach, a giddy combination of Iggy Pop, Pete Shelley, and PIL-era John Lydon. On “All I Want for Christmas”—a dark and devastating highlight—he takes on the shape of a drug addict come holiday season, “both dead and alive,” abandoned by his family, stumbling through a garden of drum machine and piano. It’s a pop song, lovely and lovingly rendered. It just wouldn’t be the same without his voice.
22, A Million is a record of dualities. First released in 2016, Bon Iver's third album found Justin Vernon reckoning with pain and love, suffering and redemption, omens and happenstance. Such ambiguity is the core of how Justin composes words: there are always two ways to see something. Inside a fragmented language of symbols and numbers is a sonic distillation of past years of turbulence and how to recover. Across ten songs, 22, A Million shattered expectations of what a Bon Iver record could be. Through different groups of friends—close, passing, new, old—he began to assemble proto-melodies, vague textures and specific moods from hundreds of hours of recorded improvisations. Songs like “22 (OVER S--N),” “33 ‘GOD’,” “715 - CRΣΣKS” and “8 (circle)” traded familiar structures for fractured electronics, pitch-shifted vocals and dense layers of sound. What initially felt like a radical departure has since become one of the most influential and enduring works in Bon Iver’s catalog. 2026 marks the ten-year anniversary of 22, A Million. To celebrate,
Bon Iver and Jagjaguwar will release a deluxe anniversary edition pressed on Frosted Silver vinyl, featuring new alternative artwork with soft-touch finish and spot UV gloss detailing. The package will include the original 28-page lyric booklet, represented here in 3x silver inks, with an additional 12-page full-color inlay booklet documenting the album’s creative process through previously unseen artwork and an essay penned by Eric Timothy Carlson. The Brooklyn-based artist’s visual work has shaped the Bon Iver world since 22, A Million and his visual language has become inseparable from the album itself. A custom 12-panel ‘inverted cross’ CD edition will also be available.
Robbie Williams and Miss Monique release their anticipated collaboration, 'Beauty In Us' via Cr2 Records.
One of the most talked-about unreleased IDs of the summer festival and clubbing season, ‘Beauty In Us’ is a soaring collaboration that blends Robbie’s vocals with Miss Monique’s immersive synths and progressive house production to euphoric, hypnotic effect. The collaboration has already built huge anticipation across the global electronic community, with Miss Monique giving the track its world premiere as the closing record of her Tomorrowland 2026 Main Stage set, before delivering a second standout performance during Carl Cox's weekly residency at Ibiza's UNVRS, where Robbie Williams made a surprise appearance to perform the track on stage for the duo's first-ever live performance together.
The moment became one of the defining highlights of the Ibiza season, generating widespread buzz across socials, cementing its status as one of the year's most anticipated crossover dance releases.
Speaking about the collaboration, Robbie Williams and Miss Monique said: "Our very special musical collaboration inspired by our different but equally defining experiences of electronic music and clubbing in Stoke-on-Trent and Kyiv... from the 90s to the 2010s. It feels right for now. It was a dream to perform it in Ibiza for the first time!" One of the world's most celebrated music artists, Robbie Wiliams continues an extraordinary run following the release of his UK No.1 album ‘BRITPOP’, while Miss Monique has firmly established herself as one of melodic techno's defining global stars through headline performances at Tomorrowland, Coachella, Ultra Miami, EDC Las Vegas and her Hi Ibiza residency, alongside a rapidly growing catalogue of acclaimed productions and remixes.
With ‘Beauty In Us’, two artists from different musical worlds come together to create an emotional, peak-time anthem that bridges generations of dance music culture, from the euphoric club scenes of the 90s and 2010s to today's global progressive/melodic movement.
· Vinyl-Exclusive Extended Mix.
· One of the most talked-about unreleased IDs of the summer festival and clubbing season.
· World premiere at Miss Monique's Tomorrowland 2026 main stage closing set Robbie Williams surprise appearance at Miss Monique's UNVRS set was one of the defining moments of the 2026 Ibiza season.
Vocalisations like ‘Hooo’ and ‘Huhuh’ form the wordplay on Use Knife’s upcoming release as these sounds are meant to summon strength, overcome fear and unleash unwavering sonic assault. Set for November 20, the EP ‘Hooo Huhuh’, on the band’s own Hooo Huhuh record label, is Use Knife’s first release since its acclaimed 2nd album ‘État Coupable’ on VIERNULVIER records in 2025.
The journey of Use Knife began in 2020 during a music residency in art centre VIERNULVIER (Gent, be) when Iraqi percussionist Saif Al-Qaissy, Stef Heeren and Kwinten Mordijck, as well as the multidisciplinary artist and scenographer Youniss Ahamad, came together to form Use Knife, later joined by Jerusalem In My Heart’s Radwan Ghazi Moumneh as mixer and guest musician. The project quickly gained the attention of prestigious platforms like The Wire, The Quietus, BBC6's New Music Fix, KEXP, NTS, Inverted Audio, METAL Magazine, Ma3azef, A Closer Listen, and others documenting the universal resonance of Use Knife's message.
Since releasing its debut album ‘The Shedding of Skin’ on VIERNULVIER, a remix EP ‘Peace Carnival’ on Morphine records, and follow-up album ‘État Coupable’, Use Knife has played its visceral audio-visual liveshows at many prestigious festivals like Le Guess Who?, Tremor, Colours of Ostrava, Les Trans Musicales, Rewire, Sonic City, Resonator, Roadburn, Donau, Fusion, Rage Sacrée, Micro, Clandestino, E-fest and many more.
Praised by The Quietus and The Wire for its vibrant and wholehearted performances, Use Knife has been described as an electrifying live act that fully engages its members and audience alike. Their sound, dubbed 'industrial Iraqi EBM', is celebrated for its ability to immerse the audience in a hypnotic state, erasing global borders through real-life connection and dazzling visuals on gigantic projection fabrics, resulting in exhilarating sensory experiences.
Further extending Use Knife's influence, Radio alHara in Palestine has hosted Use Knife's 'Feeding the Gentry' show since 2023, where the band aims to build a community by opening their platform to other guests like Saint Abdullah & Eomac, Monstera Occulta, Cinna Peyghami, Bader, Anthony Sahyoun, ... thus broadening the band's international reach and impact.
Earlier this year, Use Knife collaborated with Rabih Beaini from Morphine Records to re-remix the band’s track ‘To Feed the Gentry’ (feat. Radwan Ghazi Moumneh), blending in the beautiful track ‘Kunna’ by Rully Shabara. The resulting track was included in Beacon Sound’s compilation ‘Gaza is the Moral Compass’ to help support Palestinian-led mutual-aid groups on the ground in Gaza.
The forthcoming 'Hooo Huhuh' EP, releasing on November 20, advocates for the resilience and determination of the people, their collectives and communities, with energetic vocalizations, distorted percussion and throbbing saxophones. The title track, originally mixed by Radwan Ghazi Moumneh and mastered by Heba Kadry during the ‘État Coupable’ sessions, has been surgically reworked into the clubby rant that is ‘Ho Hahaa Huh’ and the drone-like mantra ‘Nobody Can Separate Us محد يكدر يفركنا’.
The limited vinyl edition comes with a 3-color risoprinted sleeve designed by Lebanese artist and graphic designer Farah Fayyad.
The Forbidden Planet is the new album by Tomorrow Comes The Harvest, featuring Rasheeda Ali. The album explores a wide range of electronic and acoustic improvisational conversations, creating expansive and constantly evolving sound landscapes.
The recording carries forward many of the qualities that have made Tomorrow Comes The Harvest so distinctive from its beginnings. The project originated through the percussive dialogue between Jeff Mills and the late Afrobeat pioneer Tony Allen. When thetwo creative forces first came together several years ago, what emerged was more than a collaboration or musical conversation. They opened a pathway-a way of creating through instinct, exchange, rhythm and freedom. That pathway continues to lead toward new horizons, and The Forbidden Planet is evidence of just how far it can travel.
The album is the result of an intricate creative process spanning nearly two years, connecting a series of recording sessions at notable studios including Criteria Studios in Miami, Soda Sound, and the legendary Studio Ferber in Paris, France.
The Forbidden Planet explores the more cerebral dimensions of the band's vast musical language. An idea is introduced, and almost immediately it begins to transform. Themes are questioned, reshaped and redirected as the musicians respond instinctively to one another.
As Tomorrow Comes The Harvest is known for, the performances were recorded largely through improvisation, often capturing the energy and spontaneity of an almost one-take process. These recordings were later carefully refined and shaped into the compositional structures heard throughout the album.
The creative seeds have been planted in fertile ground, allowing ideas to grow naturally and without restriction. In rhythm and in spirit, each musician contributes an essential voice to the conversation. Within that collective precision lies something even more important: a shared love of musical freedom and the possibility of creating without boundaries.
Prabhu Edouard - tabla and vocals
Jean-Phi Dary - keyboards
Jeff Mills - percussion and electronics
Featuring Rasheeda Ali on flute, with a special guest appearance by Laurent Vernerey on electric bass.
The Forbidden Planet will be released November 20th, 2026 on Axis Records on Double-Vinyl & CD + DVD. The DVD features selected live footage from Tomorrow Comes The Harvest, featuring Jeff Mills, Jean-Phi Dary, Prabhu Edouard and Rasheeda Ali.
Filmed & recorded live at London Jazz Café on September 27th, 2025, the footage captures highlights from the band's unique fusion of electronic music, jazz, percussion and improvisation.
Acid Pauli's new album "Mystic Meltdown" is hypnotic mystery, textural mastery, all hurtling through your system at peak velocity, unrelenting yet full of mischief and spirit.
The first full-length Acid Pauli album since 2020's MOD, here the artist, Martin Gretschmann, who you might also remember from Console and The Notwist, reaches out to collaborators, unearths new sounds through travel and then brings it all together with one long, sweeping breath - an album to take in as a whole, to ride its compulsive energy to the end and then back to the start, over and over again.
While the album's been brewing for some time, "It took months and months to find the coherency and the story that this album is telling," Gretschmann recalls, "Arranging the pacing, feeling how the tracks come together into one album", it reads as effortless. It draws from Gretschmann's various musical languages, from the techno, house and ambient of Acid Pauli, even reaching back to the electronica of Console, but it places them in new contexts, at new speeds and in rich, giddy contrasts. Mystic Meltdown feels like endless pleasure, unflagging energy.
It's also an album rich with multiplicity. There are many voices that visit us at the Mystic Meltdown, from Hani Mojtahedy's Kurdish vocal on "Goman (Remix)", through to Lhasa de Sela's "Con Toda Palabra" in Spanish. A sample of Kingdom Molongi's voices opens the title track and returns on "Mystic Feedback" - this feels like a particularly profound connection, given the inspiration that Gretschmann has gleaned from the musical community surrounding the Nyege Nyege Tapes label and organisation over the years. He's also appeared at one of their festivals, by all accounts a revelatory experience.
Sometimes Gretschmann reaches back yet further. "Yes, Caroline" hints at an abstract relationship with the Beach Boys' pop masterpiece, Pet Sounds. Yet the way he draws these various influences into his own music always displays more than a touch of transmutation. Releasing the album on his own label All Is Acid which has recently been undertaking a reissue program of some of Acid Pauli's earlier works, "Mystic Meltdown" feels like a complete expression for Gretschmann; from beginning to end, from creation to reflection. "Building up, going into different spheres and emotions," Gretschmann concludes. "Working through some darker shades, trying to find light. Pouring in to get through."
** Vinyl-exklusive Tracks
Kosmische Psychédélique (Motorik, Astral and Avant-Garde Musik from Deutschland and Beyond 1970–2025)
Der neue Two-Piers-Sampler "Kosmische Psychédélique" entführt den Hörer auf eine Reise durch die hypnotische Welt der Kosmischen Musik – von den wegweisenden Motorik-Beats, elektronischen Experimenten, psychedelischen Klangwelten und avantgardistische Ambient-Sounds des Deutschlands der frühen 1970er Jahre (La Düsseldorf, NEU!, Harmonia, Cluster, Brainticket, Klaus Schulze, Popol Vuh, Faust, Guru Guru, Tangerine Dream) bis zu zeitgenössischen Künstlern, die deren astrale, ambiente und avantgardistische Möglichkeiten von Wiederholung, Textur und Raum auch heute noch ausloten.
So schlagen Acts wie Boards Of Canada, Turzi, Tortoise, Beak>, Pale Blue Eyes oder The Early Years Brücken zu Post-Rock, Shoegaze und Electronica, und veranschaulichen damit, wie das vor über fünf Jahrzehnten in Deutschland etablierte musikalische Vokabular bei einer neuen Generation psychedelischer und experimenteller Künstler Anklang fand und findet – und bis heute noch nachwirkt.
Wie alle Ausgaben der "Psychédélique"-Serie ist auch diese Ausgabe keine Crave-Digger-Sammlung obskurer, schwer zu findender Raritäten, sondern eine Hommage an die Kosmische Musik, die die Gelegenheit bietet, in ihre eigenwillig-wunderbaren Klänge einzutauchen und ihre Genialität zu genießen.
Following the success of "Between Frames", MAURER returns to boisha with his second EP on the label and his first solo vinyl release. Across five tracks, he brings together expressive musicality and a distinctive sense of groove.
Side A explores his melodic sensibilities and carefully arranged harmonies. Side B shifts towards the club, with a focus on rhythm and a direct, driving sound. Connecting both is MAURER's instinct for movement, with groove at the heart of every track.
SIDE B presents the first installment of a new series aimed at eroding classic structures within club music from inside the playing field. 'The Unshaped Series' pushes depth into the label's mission statement, isolating tone and texture, and confronting its listeners by raising not only the experimental undertones of the music it has been showcasing. This new take provides an opportunity for these spaces to be described and for new emotions to glow between the same walls in turn.
For 'The Unshaped Series' first volume, SIDE B emphasizes its name by challenging ten techno producers to detach themselves from their habitual arrangements. If the rhythm that we hold so dear is taken out of the equation, what is left? This question is answered by the bleeding edge of the international scene and pressed on wax to offer a unique product in concept and quality. Techno has spearheaded sonic research and its artistic application since its beginnings, so to honor this tradition, SIDE B compiles these pieces to boil down the true essence of club music into what it truly is : sculpting time and space.
Following the release of Electric Rescue's new album, "Different Horizons", Laurent Garnier's COD3 QR returns to its signature various artists format for a new vinyl-only release featuring six new tracks, by WheelUP, Rapson & Kathy Brown, Mirko Loko, Costello, Jules Wells, Rod20 and James Warburton.
WheelUP is West London producer and DJ Danny Wheeler who's released music on CoOperation Records, Jamz Supernova’s Future Bounce and his long-time home Tru Thoughts. After appearing on COD3 QR in July with a track alongside Blu James, he now teams up with regular collaborator, music producer, DJ and keys player, Rapson, alongside acclaimed US vocalist Kathy Brown for the intensely soulful "Music".
Mirko Loko is a prominent Swiss talent, known for his work as resident DJ at Couleur 3 and Loft Electroclub, artistic director of Polaris festival and releases on Planet E, Border Community, Cocoon and Visionquest returns once again to COD3 QR with the Detroit-influenced "Silent Failure".
French electronic DJ and music producer, Costello returns for his sixth track on COD3 QR, having also released on Solomun's Diynamic, Chloé's Lumière Noire and most recently Maceo Plex's Ellum Audio. His bright Techno groover, "Cocotte" closes the A-side.
Another COD3 QR regular, Jules Wells opens the B-side. Influenced by the Motor City, Jules has released on labels like Electrofunk, Submerge, Twilight 76, KMS, Planet E, Brique Rouge and Logos. Here, he takes the EP into atmospheric territory with "The Rooster".
Benny Rodrigues has previously delivered tracks for COD3 QR as The Lost Souldancer. But now he reprises his Rod20 alias with "Stars Of Bethlehem". Rod20 is the dedicated hardware-only techno project he began in 2020, which prior to its standalone vinyl imprint, launched with a self-released compilation, followed by a dual-part album on Jeff Mills' legendary Axis Records.
To close the EP is the experimental ambient work of "You Are Carried On Waves Of Endless Love" by James Warburton. James is a composer and multi-instrumentalist whose work has appeared on TV and film including Netflix’s "Squid Games", HBO’s "Succession", the title music for Channel 4’s "Manhunt" and the original score for Endemolshine/Banijay’s hit TV series "Murdertown" and NBC Universal’s "Faceless" podcast.
DJ Stingray 313's INDUSTRY 4.0 EP is a sonic exploration into modern manufacturing concepts and the impact on humanity.
Moods and titles across the EP cover artificial intelligence (LARGE LANGUGE MODEL), the internet, and robotics (MULTI FUNCTIONAL ROBOTICS and SENSOR DATA) – all set to his signature high-energy, industrial, cyborg-style productions.
Together, the tracks on INDUSTRY 4.0 work as a striking and current introspective of humanity’s uncertain evolution, moving as fast as the technology it creates.
First released September 16, 2016, Fetish Bones was the debut album of Philadelphia based musician, artist, and activist Camae Ayewa, performing as Moor Mother. Recorded in her home studio using a collection of machines, field recordings, and analog noisemakers, the album's 13 tracks fused the visceral anger of punk with the expansive improvisatory spirit of Sun Ra, arriving not as a way to forget but as a demand to remember.
The record was named an Album of the Year by The Wire and Jazz Right Now, and landed on Pitchfork's Best Experimental LPs of 2016, Rolling Stone's Best Avant Albums of 2016, and Thump's 25 Best Experimental Albums of 2016. "Deadbeat Protest" made both Pitchfork's and Noisey's Best Songs of 2016 lists, and Bandcamp named Ayewa its 2016 Artist of the Year while including Fetish Bones among its 100 Best Records of 2016.
Ten years later, Don Giovanni Records celebrates that debut with a 10th anniversary edition, pressed with a foil album cover and featuring the previously unreleased bonus track "Marian Anderson," a collaboration with Wolf Weston and Wooden Elephant. In the years since Fetish Bones, Ayewa has become one of experimental music's most celebrated and prolific voices.
The Deviants (formerly The Social Deviants) were a British psychedelic rock band originally active from late 1966 to 1969. The bandname was later used as a vehicle for the musical work of writer Mick Farren until his death in 2013.
Musically, the Deviants were something like the British equivalent to the Fugs, with touches of the Mothers of Invention and the British R&B-based rock of the Yardbirds and the Pretty Things.
Their roots were not so much in the British Invasion as the psychedelic underground that began to take shape in London in 1966-1967. Mick Farren said that they were influenced by The Who, Charles Mingus, The Velvet Underground and Frank Zappa.
The Deviants is their 3rd album and is now available as a numbered limited edition of 1000 copies on yellow vinyl and it contains a replica of the original mini booklet.
![THE CLEAN - GREAT SOUNDS GREAT, GOOD SOUNDS GOOD, SO-SO SOUNDS SO-SO, [...]](https://www.deejay.de/images/l/3/3/1267733.jpg)
![Various - II001 - VA [Printed Sleeve]](https://www.deejay.de/images/l/2/2/1267922.jpg)
![Various - [QR]V.324.SDD.26](https://www.deejay.de/images/l/1/1/1270011.jpg)
