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”Fantasyland” stellt einen Wendepunkt in Yu-Peng Chens Leben dar. Der vielfach preisgekrönte Komponist,
Produzent und Pianist komponierte es nach seinem Weggang von HOYO-MiX, ”um meine schöpferische
Laufbahn Revue passieren zu lassen … Ich wollte von der Vergangenheit Abschied nehmen und ein neues
Lebenskapitel willkommen heißen”. Das Album wurde gemeinsam mit dem London Philharmonic Orchestra
und Robert Ziegler aufgenommen und ist als symphonische Suite angelegt. Die farbenreiche Klangwelt
spannt einen Bogen von indischer Bansuri und Sitar über japanische Koto und Shakuhachi bis hin zu einer
Vielzahl chinesischer Instrumente. Chen ist bekannt für seine melodischen und facettenreichen Soundtracks,
die er für Film- und Videospielproduktionen geschrieben hat. Weltweite Aufmerksamkeit erhielt er als
musikalischer Kopf hinter dem Open-World-Rollenspiel Genshin Impact. Die kommende Deluxe-Edition
umfasst zusätzlich vier Bonustracks und persönliche Texte des Komponisten.

”Fantasyland” stellt einen Wendepunkt in Yu-Peng Chens Leben dar. Der vielfach preisgekrönte Komponist,
Produzent und Pianist komponierte es nach seinem Weggang von HOYO-MiX, ”um meine schöpferische
Laufbahn Revue passieren zu lassen … Ich wollte von der Vergangenheit Abschied nehmen und ein neues
Lebenskapitel willkommen heißen”. Das Album wurde gemeinsam mit dem London Philharmonic Orchestra
und Robert Ziegler aufgenommen und ist als symphonische Suite angelegt. Die farbenreiche Klangwelt
spannt einen Bogen von indischer Bansuri und Sitar über japanische Koto und Shakuhachi bis hin zu einer
Vielzahl chinesischer Instrumente. Chen ist bekannt für seine melodischen und facettenreichen Soundtracks,
die er für Film- und Videospielproduktionen geschrieben hat. Weltweite Aufmerksamkeit erhielt er als
musikalischer Kopf hinter dem Open-World-Rollenspiel Genshin Impact. Die kommende Deluxe-Edition
umfasst zusätzlich vier Bonustracks und persönliche Texte des Komponisten.

For the first time ever, the only full-length album by Spanish soul and garage legends Z-66 is being reissued. Z-66's signature blend of powerful soul, psychedelia, and pop-clearly influenced by bands like The Move, Stones, Vanilla Fudge, and Blood, Sweat & Tears delivers a bold, modern sound that remains fresh and compelling. Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts... They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. We are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP plus a booklet with liner notes and rare photos.

Dan Bean is one half of The Transcendence Orchestra, alongside Anthony Child (aka Surgeon). Together they've released three albums on Editions Mego as well as an album on their own Old Technology imprint. Dan has also previously released a solo EP on Eyeless Records.

This debut solo album is deliberately composed and performed using only two instruments: a Roland TB-303 and a bass guitar. The point of this constraint was to try to force the creation of unexpected sounds from two very familiar bass instruments. The eight pieces gathered here succeed in doing so, featuring searing textures, unexpected melodic progressions and trance inducing repetitions. At times tender, these tracks remind us that even the most familiar or even overused instruments and ideas can be subverted and refreshed.

Akhira Sano is a Tokyo-based artist working across sound, drawing, installation, and video. His practice finds generative potential for music in life's fleeting incidents, etching meaning from unassuming spaces and resonances. With releases on 12k, LAAPS, IIKKI, and The Trilogy Tapes, Sano has steadily carved out a distinctive voice within minimal and experimental music - one that privileges attentiveness and patience over spectacle.

"To Material Past", Sano's debut for SWIMS, carries this thread with a single 30-minute work built solely using glockenspiel tones and field recordings from his local neighbourhood. This is a night walk with no map or end point; Sano follows irregular, coiling fragments that extend to form a tessellating luminous whole - like a subliminal mass of tree roots quietly shifting the concrete slabs beneath our feet.

Under this faded gauze of gestures and interactions, Sano's glockenspiel interjects like a grandfather clock, softly marking the partitions that make up a day's collected experience; clicking and chiming like the sleeping brain, as it sifts and catalogues a lifetime's ephemera of thoughts, faces and puzzles.

2025 repress

After the re-release of Drexciya's 'Neptune's Lair' and Transllusion's 'The Opening of the Cerebral Gate', 'Harnessed the Storm' is the third album in Tresor Records' great Drexciya reissue program.
Originally released in 2002, 'Harnessed the Storm' was conceived as the opening chapter of the legendary Seven Storms - a series of seven albums created within a single year and released via several labels under different names. 'Harnessed the Storm' was the sole one in the series credited under the main Drexciya project.
The album, which is considered to be one of the pair's darkest, was produced in a time of creative outbreak and emotional turbulence. The duo's confidence was at a peak, new techniques revolutionized musical production, but the duo also had to face Stinson's severe health issues. This led to a radical shift of pace in producing and releasing music. For the Detroit pair it was time to move on from their ground-breaking past. It was time for some shape shifting and wave jumping to occur, in Drexciya's terms.

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

Chloe Kim ist eine in Korea geborene, in Sydney lebende Schlagzeugerin und Improvisatorin, deren Musik Traditionen und Geografien miteinander verbindet. Bekannt für ihren unerschrockenen Improvisationsansatz und ihre ausdrucksstarke Beherrschung des erweiterten Schlagzeugs, ist sie in ganz Australien und international in den Bereichen Jazz, Experimental und Neue Musik aufgetreten. Aufgewachsen in Korea und heute in Sydney ansässig, hat sich die Perkussionistin Chloe Kim als einzigartige Stimme im zeitgenössischen Schlagzeugspiel etabliert, indem sie furchtlose Improvisation mit kompositorischer Klarheit und interkultureller Tiefe verbindet. Ratsnake markiert ihren kühnen Einstieg in den Kanon der Solo-Schlagzeugalben, indem sie viszerale Kraft mit Präzision und Fantasie verbindet. Kims internationales Ansehen stieg 2023 nach ihrer ,herkulischen" (The Guardian) 100-stündigen Solo-Drum-Performance über 10 Tage. Auf Ratsnake kanalisiert sie dieselbe Ausdauer und Vision in ein zutiefst persönliches Studioalbum, das das vollständige klangliche Potenzial des Schlagzeugs auslotet und es als melodisches und skulpturales Instrument behandelt. Der Titel des Albums stammt aus einem Traum, den Kims Mutter vor ihrer Geburt hatte und der sich auf die Rattennatter bezieht, ein koreanisches Symbol für Widerstandsfähigkeit, Verwandlung und seltenes Glück. Dieses symbolische Erbe zieht sich durch das gesamte Album, während Kim komplexe rhythmische Ideen mit Eleganz und Kraft entfaltet. ,Als ich zum ersten Mal in New York war, spürte ich, wie die Energie der Stadt neue Ideen aus mir hervorbrachte ", sagt Kim. ,Jeder Track hebt eine Facette meiner Solo-Sprache hervor - von ausgedehnten Percussion-Parts und langen rhythmischen Zyklen bis hin zu Texturen, die ich noch nie live verwendet habe ." Auf dem gesamten Album greift Kim auf jahrelange persönliche Motive zurück: eine im Laufe der Zeit verfeinerte Zwei-Takt-Phrase im Titeltrack, komplexe Strukturen in ,The First Gift" und weitläufige Arrangements in ,Birth Dream". Jedes Stück baut auf ihrer fortwährenden Auseinandersetzung mit Rhythmus, Form und verkörpertem Klang auf. Produziert und aufgenommen von Randall Dunn (SU NN O))), Annea Lockwood, Kali Malone), fängt Ratsnake Kims dynamische Phrasierung mit räumlicher Fülle und Detailtreue ein. Es ist ein kraftvolles , nuanciertes Debüt, das die Möglichkeiten der Solo-Percussion neu definiert .

A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied 'offshoot' formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.

Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory… picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory…, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat's Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb's Robin's Reign).

There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality - think of abstract cloud formations sharing the same sky.

Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory… is thus named perfectly. I couldn't dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There's also "To the Lighthouse", not a direct reference to the Virginia Woolf book, but a great title, nonetheless. (They've always had excellent titles, often borrowed, for songs and albums.)

A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction. Welcome back, then.

Limited edition Gatefold LP version on 180g Red/Black Marble Vinyl with 16-page lyrics booklet. El Pez Que Volo (The Fish who Flew) is a musical quest to unearth the divine gem hidden within oneself. A cartoonish collection of desires, phobias, pathologies and virtues which are funnelled to create an ambivalent moral mishmash of East and West traditions. This zoomorphic, naïve & messianic hero's journey is infused with a psychedelic aura that invites us to dream the impossible... Act II - The Cave: After leaving the nest, Teezûck feels he's ready to fly, but in his premature attempt he hits a bump and fails, falling back to the bottom of the sea and plunging into the darkest and most terrifying cavern of all: the subconscious mind. Reality, fiction, memories, myths and legends intertwine in this dark, acidic mirrored circus where Teezûck will have to learn to meditate and master his psyche. The El Pez Que Voló series feature a capricious, free mixture of musical styles, genres, production values and aesthetics, which serve as narrative devices to highlight moments, characters & emotions across this highly unconventional sonic expedition.

For more than thirty years, Arnaud Fournier has been shaping the landscape of the French expe-rimental scene. First within the duo HINT, a singular fusion of experimental, noise and indie music, he released three studio albums in the late 1990s and has continued to perform regularly ever since, including a live album with EZ3kiel in 2009. With La Phaze (1999), Dead Hippies (2013) and later Atonalist (2017), he has always instinctively sought to cross genres and stage dialogues bet-ween extremes. In 2025, with 100% Black Puzzle, he delivers his very first album under his own name, a work where saturated guitars, saxophones, trumpet, hypnotic loops and vast layers of drone meet. Mixed and mastered by Olivier "Cali" Fournier at Studioscope in Angers, 100% Black Puzzle gathers familiar faces around it. Its title resonates as an intentional echo, directly referencing 100% White Puzzle, HINT's debut album. Thirty years on, Arnaud Fournier rediscovers the same spirit of absolute freedom across these five tracks: no format constraints, no compromise on length. The title track, an eight-minute instrumental, sets the tone - a raw, urgent gesture, cap-tured in the moment. In his own words, it was about "finding myself once more in that first-song state of mind, without any confinement." With 100% Black Puzzle, Arnaud Fournier fully embraces signing the work under his own name. No pseudonym, no mask, but an unveiling: a profoundly intimate record, steeped in family and friendship, where noise and beauty constantly collide and entwine. Thirty years after shaking up the French indie scene with HINT, he delivers a body of work that is at once retrospective and forward-looking - a black puzzle that resounds like a rebirth. And what better way to "close the circle" than by heading back on tour?

Following up on a cracker split single in 2023, Overload Liverpool enterted into 2024 firing on all cylinders with a 5 shooter of freaked-out electro, warm house, deep dub cuts, and gorgeous ambient.

Firstly, Liverpool-based label boss Morrison highlights two of his distinct and dissociative styles. On the front end of the A-side, his The Motorist alias provides us with a freaked-out formant-filtered electro that’s bursting at the lips. On the back end, a deep yet bright house cut from his The Cyclist alias, with warm warbling synths layered over his Wurlitzer electric piano and suitably grooved and jaunty beats.

To kick off the deeper B-side of the 12”, Wax Tek, a founder of the Liverpool Soundsystem crew Polyone Audio, hits us right in the chest with his dubbed-out breakbeat wonder, Get Set, which diverges through Balearic, bass music, a delirious breakdown, and hard-hitting breakbeats.

Deeper still, the second B-side from Puncta, another Liverpool-based artist, who last year came to light with their release on Sputnik One’s N-Face, dives into the deep Arctic seas with Snow Crab, an exercise in dubbed-out electro-style bass music.

Finally, Belfast-based Aaron Thomas brings the 12” EP to a fitting closure with Concert², which, washing over the listener, dances like opulent drapes with its ethereal synths that crash to and fro.

Following Volume 1, this second instalment of Classic’s 30th Anniversary series dives even deeper into the label’s visionary, genre-bending catalogue—balancing pioneering remixes, cult favourites, and future classics.

Once again, this 2x12” release is beautifully presented in a raw reverse board sleeve, a tactile nod to Classic’s earliest releases. Inside, are deep teal and green GMUND card stock inner sleeves with embossed detailing elevate the package into a collector’s item worthy of the music it holds.

Record One opens with one of the most revered remixes in house history. Isolee’s ‘Beau Mot Plage’ (Freeform Reform Parts 1 & 2), originally licensed from Germany’s Playhouse and lovingly reworked by Freeform Five’s Anu Pillai with a live ensemble. It’s a sprawling, euphoric journey that helped define Classic’s international reach and is still widely regarded as one of the greatest house records ever pressed.

Up next is Greenskeepers’ off-kilter banger ‘Bang in Your Face?’, showcasing the quirky, ‘G-swing’ sound for which James Curd and his crew became known for during their long-standing relationship with the label.

On the flip, Pépé Bradock’s jaw-dropping rework of Iz & Diz’s ‘Mouth’ takes center stage—a remix composed entirely from human sounds, equal parts sensual and surreal. Universally praised, it’s a masterclass in sonic innovation and remains one of the most acclaimed house remixes of all time.

The side closes with Markus Nikolai’s beloved ‘Bushes’, The First Re-Creation (Version 1.2) by Classic co founder Derrick Carter—a distinctive and maximalist edit that draws out the Latin horns, strings, and quirky vocals, turning a cult hit into a distinctly ‘Classic’ anthem.

Record Two captures Classic’s renewed energy in the 2010s.

Folamour’s ‘Devoted To U’ from his Umami LP is a 10-minute odyssey in groove—warm, progressive, and cinematic, with soaring piano lines and narrative richness.

Then comes Crazy P’s ‘One True Light’, shimmering with spacey textures, cosmic energy, and the deep, effortless groove the band has perfected over decades.

On Side D, we have Girls of the Internet’s lush and emotionally rich ‘When U Go’, blending soulful vocals with clean, spacious production that balances melancholy with movement.

Closing out Volume 2 is Sophie Lloyd’s now iconic ‘Calling Out’, featuring the unstoppable vocal force of Dames Brown. A modern gospel-disco-house anthem, the track glows with raw energy, live instrumentation, and spiritual fire—cementing its place as one of Classic’s defining moments of the last decade.




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

Candy Pink ltd 270 copies.
Printed sleeve with a little comics by ExpExp with inserts !

A first tune with a lost in the forest intro ^^
4 bangers of Hardtek, the pure Tribe kick and its round and round way... Small little structures for a sweet dancefloor moment and a peaceful banger feeling... ^^

Ob vor der Kamera, am Mikrofon oder jetzt im Musikstudio - Marleen Lohse beweist erneut ihr kreatives Gespür und ihre Vielseitigkeit. Bekannt ist sie aus erfolgreichen TV-Produktionen wie "Nord bei Nordwest", "Unsere wunderbaren Jahre", "Katakomben" oder Kinofilmen wie "Cleo", "La Palma" und "Happy Burnout". Nun zeigt sie eine neue Facette ihres Talents - als Musikerin. Mit "Wide Awake" veröffentlicht sie ihr erstes Album auf ihrem eigenen Label Amore Mio - ein Werk voller Gefühl, Tiefe und musikalischer Handschrift. Die Songs bewegen sich zwischen introspektivem Indie und melodischem Pop, getragen von einer warmen, atmosphärischen Klangwelt. Gemeinsam mit Andi Fins (u.a. Cäthe, Moritz Krämer) entstanden Texte und Melodien, die berühren und im Ohr bleiben. Für den Sound sorgte ein erfahrenes Team: Hanno Stick (Judith Holofernes) am Schlagzeug, Julius Hartog (Andreas Bourani) und Tim Neuhaus (Clueso, Glen Hansard) an den Gitarren. Henrik Menzel (Udo Lindenberg, Yvonne Catterfeld) verlieh dem Album durch Co-Produktion, Mix und Mastering seinen finalen Glanz. "Wide Awake" ist ein musikalisches Statement - ehrlich, emotional und eigenständig. Für alle, die Musik mit Charakter und Seele lieben.

Machine Girl haben sich stets als eigenständiges und kreatives Klangphänomen gezeigt. Das Trio, bestehend aus Matt Stephenson, Sean Kelly und Lucy Caputi, verbindet eine punkbasierte Grundlage mit elektronischen Elementen und cineastischem Anspruch. Rave, Metal, Punk und elektronische Klänge treffen aufeinander und ergeben ein facettenreiches, energiegeladenes Soundbild. Mit einer stetig wachsenden Fangemeinde sowie lobender Besprechungen führt die Band ihren Weg mit ihrem siebten Studioalbum Psycho Warrior (MG Ultra X) konsequent fort.

2xLP schwarzes Vinyl im vollfarbigen Sleeve mit bedruckter Innenhülle

For the first time in full, a unique anthology of Hungarian TV and radio recordings by the legendary guitarist Gábor Szabó, captured during his return visits to Budapest in 1974, 1978, and 1981. This historic collection documents the deeply personal reconnection of an exiled artist with his homeland, bridging musical worlds and emotional landscapes.


The first disc features both studio and concert recordings with some of Hungary’s top jazz players of the era, including the legendary double bassist Aladár Pege and renowned vocalist Kati Kovács. The second disc includes a rare televised concert from the Hilton Hotel (1978) and Szabó’s final known performance — a moving rendition of “From a Dream” recorded in 1981.


The music collected here captures a poignant duality: Szabó as both American and Hungarian, outsider and homecomer. This is one of the most intimate and emotionally charged chapters of his career and a musical homecoming, rich in atmosphere and soul.


As always with Ebalunga!!!, Gábor Szabó’s legacy is treated with great care and passion. This edition features a 2LP gatefold vinyl release, complete with an in-depth essay by Szabó’s official biographer Douglas Payne — a fascinating piece of cultural and musical research in its own right.
The visual design is the work of artist and industrial designer Anton Bogdanov. With no use of AI tools — just handwork, imagination, and deep respect for the material — the artwork invites the listener to spend long evenings in its layered atmosphere.


Mastering is by Grammy-nominated engineer Jessica Thompson, whose work has revived dozens of legendary archival recordings — including the previous four Szabó releases on Ebalunga!!!.


This album is also available as a 2CD set in an elegant 6-panel digipak, crafted with the same care and attention as the vinyl edition.


Two hours of sublime music, stunning sound, and timeless packaging — a true gift for fans of Szabó and those who cherish deep, living jazz traditions.

Villain of the Story sind zurück... Mit „Convergence: Two Minds In One“ präsentiert die Band ihr bislang persönlichstes, künstlerischtes und kompromisslosestes Werk. Das Album erscheint am 26. September und markiert ein neues, kraftvolles Kapitel: Eine Wiederauferstehung voll emotionaler Tiefe, gesanglicher Entwicklung und einer Geschichte, die den Breakdowns an Intensität nichts nachlässt. Die Platte steht sinnbildlich an einem Wendepunkt; zwischen Licht und Dunkelheit, Heilung und Zerstörung. Mit dem Einstieg des neuen Sängers Cody Crook meldet sich Villain of the Story eindrucksvoll zurück und liefert ein Album ab, das messerscharfen Metalcore, mitreißende Melodien und schonungslos ehrliches Storytelling vereint, auf eine Art, wie es nur wenige Bands wagen. Klanglich geht die Band dabei so weit wie nie zuvor, jeder Song ist emotional aufgeladen und bis ins Detail durchdacht. Doch „Convergence“ ist mehr als nur ein Album. Es ist eine Geschichte über Schmerz, Liebe, Verlust und den inneren Kampf. Erzählt wird das Leben eines Mannes, der von seinen Traumata und einem dämonischen Wesen – sei es real oder sinnbildlich – verfolgt wird, das sich von seinem Leid nährt. Eine Geschichte über Erlösung, die zur Tragödie wird: Liebe hat ihn einst gerettet, doch der Verlust droht alles zu zerstören. Im finalen Titeltrack „Two Minds In One“ kulminiert das Drama mit der alles entscheidenden Frage: Wer hat am Ende die Kontrolle? „Das übergeordnete Thema des Albums ist, dass nicht jede Geschichte ein Happy End hat. Am Ende haben wir die Wahl: Werden wir zu den schlimmsten Versionen unserer selbst, wenn alles zerfällt, oder nehmen wir den Schmerz an und versuchen, neu anzufangen?“ –Villain of the Story Egal ob du Villain of the Story von Anfang an verfolgst oder gerade erst entdeckst, „Convergence: Two Minds In One“ beweist, dass diese Band Veränderungen nicht nur überlebt, sondern daran wächst.

REPRESS. Greenferno is the second studio album by the Polish stoner doom band Belzebong. Recorded in early 2015 and the first release to feature second drummer Hexy Dude. Belzebong are a stoner metal band from Kielce, Poland. Since the band's formation in 2008 they currently have three albums under their belt and have toured Europe on multiple occasions. Along with their weed-themed instrumental doom the band is best known for their "Dude" pseudonyms, keeping their faces obscured whether by hair or fog and tongue-in-cheek nature to their music as implicated in many interviews. All of their music to date, barring samples, is instrumental.

Neon green vinyl, limited to 300 copies. REPRESS. Greenferno is the second studio album by the Polish stoner doom band Belzebong. Recorded in early 2015 and the first release to feature second drummer Hexy Dude. Belzebong are a stoner metal band from Kielce, Poland. Since the band's formation in 2008 they currently have three albums under their belt and have toured Europe on multiple occasions. Along with their weed-themed instrumental doom the band is best known for their "Dude" pseudonyms, keeping their faces obscured whether by hair or fog and tongue-in-cheek nature to their music as implicated in many interviews. All of their music to date, barring samples, is instrumental.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

Part 2 of 3 welcomes some new faces to the M.A.D fold, as well as collaboration track between label boss Josh Ludlow and D.A.S of Devon Analogue fame along side tracks from underground legend Lipelis, Italian stallion Issam Dahmani, Bristolian new comer Meggy Mac and whiz kid Bogdan Ra.

Bloodred Hourglass (BRHG) meldet sich zurück mit ihrem mittlerweile siebten Studioalbum „We Should Be Buried Like This“. einem kompromisslosen Statement einer Band. die sich über die Jahre zu einer der eindrucksvollsten Kräfte im modernen Death Metal entwickelt hat. Beheimatet im finnischen Mikkeli wurden BRHG bekannt für ihre Fähigkeit. die rohe Wucht von Thrash- und Groove-Metal mit den atmosphärischen Sounds von Metalcore. Alternative Metal und Melodic Death Metal zu verschmelzen. Ihr Sound ist so kraftvoll wie emotional. so mitreißend wie facettenreich - eine Mischung. die ihnen regelmäßig positives Feedback. eine internationale Fangemeinde sowie den Ruf explosiver Live-Shows eingebracht hat. Mit „We Should Be Buried Like This“ schlägt die Band nun ihr bislang dunkelstes und schonungslosestes Kapitel auf. Ein Werk. das sie selbst als „Lieder für das Ende der Zeit“ beschreiben - ohne Trost. ohne Erklärungen. Stattdessen erwartet uns eine Geschichte vom Zerfall von Hoffnung. dem Verlöschen von Liebe. der Wiederholung familiärer Fehler und einer Welt. geprägt von Egozentrik. Entfremdung und Gleichgültigkeit. „Hier wird nicht gebettelt. nichts beschönigt“. erklärt die Band. „Wir wollen nichts beweisen. Dieses Album ist aus dem inneren Drang entstanden. Dinge aufzureißen und sie beim Namen zu nennen.“ Musikalisch ist „We Should Be Buried Like This“ das aggressivste und kompromissloseste Album. das BRHG je geschaffen haben. ohne dabei ihre charakteristische Melodik zu verlieren. Heftige Riffs. brachiale Energie und tiefe Emotionen ziehen sich wie ein roter Faden durch das gesamte Album.

Gastauftritte und neue klangliche Elemente sorgen für frische Akzente. doch der Kern bleibt unverkennbar BRHG - verfeinert über Jahre. einzigartig und intensiv

PinkPantheress’ debut mixtape to hell with it marked the anti-popstars seismic arrival.

Released in 2021, the project fused bedroom pop, jungle, drum & bass and UKG, introducing these sounds to a new generation through her saccharine vocals and diaristic lyrics about obsession, hopelessness, friendship, and loneliness.

The debut mixtape has received 2.5 billion streams to date with all five singles; Just for me (No. 27), Pain(No. 35), Passion (No. 73), Break it off (No. 74), and I must apologise (No. 85) charting in the UK Top 100.

The following year saw the rising star win BBC Music’s Sound of 2022, grace the cover of The Face whilst catching the attention of British Vogue where she was the only musician featured on the prestigious Vogue 25 list. to hell with it has since received Gold certification and cemented PinkPantheress as one of the most important new voices in British music.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

The legendary Purple Tapes - the first ever Pixies recordings from 1987, officially reissued with new artwork and liner notes detailing the early history of the band. Includes the original recordings of "Here Comes Your Man", "Broken Face", "Down To The Well" & "Rock A My Soul". Formed in 1986 in Boston, Massachusetts, Pixies are one of the key acts associated with the late 1980"s American alternative rock scene and were also considered a big influence on acts such as Nirvana, Smashing Pumpkins and Radiohead.

Grizzly Bear haben sich nie aufgelöst. In den sechs Jahren seit ihren letzten Auftritten haben sich die vier Mitglieder, die vor zwei Jahrzehnten als lose Freunde und sogar völlig Fremde zur Gruppe stießen – Chris Bear, Ed Droste, Daniel Rossen, Chris Taylor – anderen Dingen zugewandt. Sie haben andere Musik gemacht, andere Karrieren verfolgt, andere Familien gegründet und andere Leben jenseits dieser Band geführt. Und nun, zum ersten Mal seit 2019, kehren diese vier Musiker und Freunde zu Grizzly Bear zurück, um die Bande, die sie zu einem der fesselndsten und beliebtesten Acts dieses Jahrhunderts gemacht haben, auf die Probe zu stellen und zu sehen, wohin diese alten Verbindungen noch führen. Da sich Grizzly Bear nie aufgelöst haben, sind ihre ersten Auftritte seit sechs Jahren keine Reunion; sie sind Ankunft und Aufbruch zugleich, ihr nächstes Ziel noch unbekannt.

Diese Art von offenem Ansatz ist es schließlich, der Grizzly Bear noch immer zu einem der prägenden Acts dieses jungen Jahrhunderts macht. Vor zwanzig Jahren wandelten sie sich rasant von einem Lo-Fi-Songwriter-Projekt zu einer vollwertigen Band mit einem sofort einzigartigen Sound, unheimlichen Harmonien, die sich um Arrangements schmiegten, die den Glanz eines Kammerorchesters mit der Härte einer Rockband verbanden. Sie trugen dazu bei, die Möglichkeiten des Indie-Rock neu zu definieren, indem sie Üppigkeit mit Lockerheit, technische Exzellenz mit emotionaler Offenheit in Einklang brachten. Ihre musikalischen Spuren sind nach wie vor allgegenwärtig, Teile ihrer unorthodoxen Sicht auf Klang und Textur sind heute fester Bestandteil des musikalischen Erbes. Diese Songs im Jahr 2025 live zu hören, wird sich also weniger wie ein Händedruck mit der Vergangenheit anfühlen, als vielmehr wie das erste Mal, ihre Fingerabdrücke in der Gegenwart zu sehen.

Begleitet werden diese Live-Shows von Neuauflagen der Alben Yellow House, Veckatimest, Shields und Painted Ruins auf farbigem Vinyl.

Romain has been a key innovator in the Hong Kong & Asian music scene for the past 18 years in various different facets, building bridges between cultures and erasing borders through music. He has since taken a step into the world of production and his music has been played by some of the biggest acts in the game such as DJ Harvey, The Black Madonna, Gerd Janson, Horse Meat Disco, Skatebärd, Lauer, Tornado Wallace, Lipelis, Orpheu The Wizard, Kamma & Masalo and many more. Here his musical production story continues with his latest collection of works coming via the esteemed Tokyo imprint, Sound Of Vast.

Leading the release is title-cut ‘Musique De Maison’, a five-minute excursion through organic percussion grooves, snaking elongated bass tones, intricately intertwined vintage-leaning synth melodies and an overall cosmic disco aesthetic that reflects Romain’s borderless, cross-cultural sound. ‘Tonal Spices’ follows and ups the energy levels with a sturdy rhythm section, squelchy acid licks, murky bass stabs, Indian vocals and cinematic strings ebbing and flowing throughout.

Monkey Timers take on ‘Musique De Maison’ next with their interpretation extracting the core essence of the original and reshaping it into a dynamically unfurling rework, fusing fragments of the original with expansive delays, heavy reverberations and modulating synth work. The ‘Psych-O-Delic (Live Mix)’ then concludes the release with off-kilter drums running in combination with, as the name would suggest, tripped-out melodies, processed spoken word and warbling synth licks — a nod to Romain’s playful, surrealist edge.

JP
東京とアムステルダムを股にかけながら、The People In FogやRed Pig Flower、GǼG (Monkey Timers & Keita Sano) 等のリリースを手掛け、オルタナティヴなディスコ/ハウス・レーベルとして存在感を放つSound Of Vast。その最新作は、Romain FXの12インチ！

フランスで生まれ香港/台湾/アメリカで育ったRomain FXはプロデューサーとしてのデビュー以降、自身が主宰するFauve Recordsや禁 JIN、Black Jukebox等で、イタロ・ディスコやプロト・ハウス、アジア産音源等を現代的に昇華したサウンドを展開。特に2024年にSound Metaphors Recordsの傘下から発表したイタロ・ディスコ金字塔"Spacer Woman"のカヴァーは、DJ HarveyやOrpheu the Wizardらのアーリープレイによってディガーたちに衝撃をもたらすと同時に、Romain FXの評価を確固たるものとした。

本作には、溌剌としたシンセの掛け合いにラテン・パーカッションが並走しドリーミーなクライマックスに向かうプロト・ハウス"Musique De Maison"、アフロ/コズミック影響下の初期プログレッシヴ・ハウスが現代のピークタイムとシンクロした"Tonal Spices"、バイレファンキやエレクトロ・ファンクの化合物がバッドトリップ直前まで交錯する"Psych-O-Delic (Live Mix)"といった3つのオリジナル曲を収録。更に今回は、ユニットGǼGとしての怪作を経てPanorama BarをはじめとしたEUツアーを敢行した日本人デュオ、Monkey Timersによる"Musique De Maison"のリミックスも搭載。Droid作品を彷彿とさせるFX処理やグルーヴ脱構築の技法により、本EPにダークな一面を持たせた。

本作に収録されたいずれの楽曲も、Romain FXが辿ってきた陽性のエネルギー溢れる遍歴と練磨されたスタジオ・スキル、現代のダンスフロアのムードが交差しオリジナリティの獲得を目指す、インパクト溢れる仕上がりとなった。近頃はライヴアクトとしても成長を遂げるRomain FXが如何にクラウドを熱狂に陥れているか、想像に難くないであろう。

Many Amerindian cultures share the belief that the future lies behind us, while the past is what we face ahead. This challenge to Western chronology is, however, rooted in common sense: the open possibilities of what is to come are, in theory, what we cannot see—the uncertain—whereas the events that have already happened unfold before our eyes and are available for us to learn from.



This second album by Chilean producer, live performer, and DJ Valesuchi could be described as an experiment with time through music. Some years after relocating to Rio de Janeiro, she released Tragicomic LP (2019) on MAMBA rec—a label founded by the boundary-pushing Brazilian party Mamba Negra—and the self-released EP Cascada (2024). In both works, we can already appreciate her musical imprint: rhythmic and emotional timbral lines—wet, filtered, mathematical,

devotional, multilingual, fantastic, and unreal. However, in Futuro Cercano (Discos Nutabe, 2025), we can hear a leap: the sedimentation of her lived experiences in electronic communities across Latin America, her search for a universal yet personal language to convey emotion and new spiritual meaning, finds in this release a consistency and spontaneity that is rarely heard these days.



In a time when all cultural expression is not only expected to be taggable, but is also increasingly produced from templates that precondition our perception—favoring categorization and connections to works or scenes of the past—the tracks on this album are generically unclassifiable. They represent an openness to experiment without prejudice with electronic instruments and rhythms that are asancestral as they are futuristic. They publicly reveal an intimacy born from the compositional process, a bond formed through the encounter—sometimes tense, sometimes harmonious—between human will and that of the machines themselves. Or, as Valesuchi put it, "cyborging my friendship with the machine and becoming a tempest." Tempest as an eruption of the unknown into the present, the result of opening oneself to a nearly meditative state to uncover the deepest feelings through improvisation on cybernetic feedback and loops. And in that improvisation, to develop “técnicas para estirar o medir el tiempo”

“techniques to stretch or measure time” as she sings in 22, the album’s first track. “Connecting knowledges” as a portal to access that future so near it lies behind us, and to anticipate it as intuition and prospection.



That’s why Futuro Cercano is more than just electronic music: it is a technological ritual, an immersion into the secrets that machines hold as artifacts of human and non-human knowledge, as mysterious objects that allow us to connect with our own otherness—the personal alien hiding beneath the skin that opens us up to uncertainty as possibility rather than catastrophe.

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

Einaudi vs Einaudi – eine neue EP auf schwarzem Vinyl – ist die jüngste Zusammenarbeit des weltberühmten
Komponisten Ludovico Einaudi und seines Sohns. Leo Einaudi legt hier eine Neuinterpretation von acht
Stücken aus Ludovicos letztem chartstürmenden Album The Summer Portraits vor – einem persönlichen
Werk, das musikalisch von Kindheitserinnerungen an Familienurlaube erzählt.
Leo Einaudi, Multiinstrumentalist, Singer-Songwriter, Produzent und Arrangeur, spielt dabei mit allen
Klangfarben seines Könnens. Mit einer Karriere, die Songwriting, Filmmusik, Produktion und Livemusik
umfasst, hat er bereits mehrfach mit seinem Vater zusammengearbeitet – unter anderem an Soundtracks,
Theaterprojekten und Studioaufnahmen. »Zwischen Leo und mir gibt es ein starkes Band«, sagt Ludovico.
»Leo hat eine künstlerische Sensibilität, die mir wirklich nahegeht.« Und Leo ergänzt: »Die Auseinandersetzung mit der Musik meines Vaters war für mich eine Reise voller Entdeckungen – dieser Facettenreichtum
in seiner Musik! Immer wieder bin ich auf neue Feinheiten gestoßen, habe sie verarbeitet und schließlich
zu einer neuen Form gefunden.«
Auf Einaudi vs Einaudi verbindet Leo die üppigen Klänge und elektronischen Elemente von Stücken wie
»Rose Bay« mit bemerkenswerter künstlerischer Kraft. Pulsierende Rhythmen durchbrechen die Stille des
Originals und führen die immersive Klangwelt und hypnotischen Texturen an einen ganz eigenen Ort.

"Across eleven cinematic tracks — each a melodic treasure and short film — Dienel probes: What does freedom look like when rooted in presence, not escape? “Joy, especially queer joy, is revolutionary,” they muse. “Even in the face of everything else, I wanted to show that happiness is still possible — and necessary.”
The record was brought to life with an impressive ensemble of collaborators: producer Adam Schatz (Japanese Breakfast, Neko Case), bassist Spencer Zahn, guitarists Carly Bond (Meernaa) and meg duffy (Hand Habits), drummer Max Jaffe, mixing engineer Jake Aron (Solange, Snail Mail), and mastering engineer Heba Kadry (Björk, Sade). Breaking from their usual DIY approach, Dienel embraced the power of the collective — an experiment in trust, connection, and openness.
Tonally influenced by My Own Private Idaho and widescreen pop, such as Born in the U.S.A., My Heart Is An Outlaw is a warm-hearted exploration. Can we love fully without being domesticated? Can we resist cultural scripts by choosing presence and community over self-erasure? As they put it, “The heart has a mind of its own…It’s the thing holding you back that you have to set free on your own time, in your own way.”
From the early days of White Hinterland to the lush orchestral pop of her solo work, Dienel has consistently bent and challenged the boundaries of independent music. My Heart Is An Outlaw continues that legacy — an unapologetic, joyous declaration of queer love and creative agency."