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The series, written and directed by Flo Van Deuren and Kato De Boeck, tells the story of Bibi and Ama, two lesbian girlfriends in their twenties.

Hoping to become a better version of themselves, they move in together at a flat in Brussels. Each in their own way, but under the same roof, they come to new insights: life has no manual, love even less and themselves even less so. The result is an intimate series full of humour and familiarity.

Musically the series is coloured by an exclusive soundtrack and homegrown songs: 7 female or non-binary artists from Belgium were asked to write a song. Lara Chedraoui & Patrix, Juicy, Miss Angel, Tessa Dixson, Oriana Ikoma, Ana Diaz, SPACEBABYMADCHA and Mick Lemaire crept into their musical pen. The series also features existing songs by artists such as Martha Da’ro, Aili, B1980 and Fatal Error to showcase a maximum of local musical talent.

“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.

“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.

“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he’s safely arrived in the new one.

“The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open.

“The cover is a photo of my mom—one I never saw when she was alive. With the headscarf and that excited, nervous expression, she looks about to embark on a journey. Ready, finally, to cross the tarmac and board the Silver Plane. “Wishing safe travels to all.” — Mark N / Pan•American



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This talented vocal group was formed in 1966 by Alain Féral, a singer-songwriter and guitarist who wrote almost all of their repertoire, consisting of folk-rock songs rich in poetry and harmony.
The group’s name was chosen as a tribute to Jean Cocteau and his novel "Les Enfants Terribles".

This album features reggae legend Monty Neysmith: co-founder and composer for Symarip. The Symarip debut album is one of the best-selling albums on Trojan Records.

Songs by Monty Neysmith have been covered by Bad Manners, Judge Dread and The Specials, among others.

The Upsessions will promote the album by touring all over Europe with The Pioneers.

Mantra is the first single from The Bluebeaters' upcoming album, due for release in 2026. It is an unusual track in the band's discography, reminiscent more of The Clash's Rock The Casbah than Jamaica. It is a track with a 4/4 beat without the classic Jamaican syncopation typical of The Bluebeaters.

"It's a challenge to the background that has always driven the band. The album will not be entirely in this direction, but we decided to release this single to broaden our range of expression."

Produced by singer Patrick Benifei, aka Pat Cosmo, together with the solid rhythm section of The Bluebeaters, Count Ferdi on drums, Cato Senatore on guitar, Danilo Scuccimarra on piano and organ, and Paolo Parpaglione on saxophone.

It is the first in a series of singles that will form the backbone of the album.

Sung in Italian, Mantra is an original song written by Pat Cosmo.

The B-side is a dub, an instrumental version mixed by Ezra, producer, artist and our co-producer for all the tracks that will be released on the new album.

He has collaborated on many productions that are part of the Caribb Roots world, including Casino Royale and The Uppertones, as well as his own Dub Pigeons.

His studio is the NoMad Studio, located in the San Salvario area of Turin.

A modern psych classic!

This album was released in 2017 as free download packs with the band encouraging fans to create their own physical copies with provided templates.

From the band's post accompanying links to different digital packs:
"This album is FREE. Free as in, free. Free to download and if you wish, free to make copies. Make tapes, make CD’s, make records. ... Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes. We do not own this record. You do. Go forth, share, enjoy."

Microwave’s instant classic Much Love is turning 10 this year, and to celebrate, we’ve collaborated with the band on a special, limited edition anniversary reissue, including the original record in its entirety alongside
a second LP featuring unreleased live and alternate renditions of every track on the record! With brand new gatefold artwork as well.

SILENCER's merciless emotional firestorm "Death – Pierce Me" is one of the few albums truly deserving the designation ‘cult’. From humble beginnings in the extreme underground, it rose to become a widely acclaimed masterpiece with a massive following.

To celebrate the album’s 20th anniversary, Lupus Lounge reissues this pioneering depressive metal milestone in lavish editions worthy of its legacy. "Death – Pierce Me" will be available as a 48-page hardcover CD book edition including a bonus track, and as part of a complete box set featuring a gatefold vinyl edition, a 12" version of SILENCER’s 1998 demo, and additional bonus materials.

When SILENCER released their sole full-length album under the same title as their 1998 demo, the time seemed ripe for an emotionally devastating strain of black metal incorporating doom elements and expressing bleak emotions of bereavement, loneliness, and despair. This emerging subgenre became known as ‘depressive black metal’, sometimes more extremely labeled ‘depressive suicidal black metal’.

Around 1998, this movement coalesced around Swedish acts SILENCER and SHINING, alongside Quebec’s MALVERY and US band XASTHUR, drawing influence from earlier pioneers such as Norway’s STRID and Germany’s BETHLEHEM.

While SHINING gained notoriety, SILENCER faded into obscurity, surrounded by rumor and legend. With only one historical interview, no live performances, and no follow-up album, the band became mythic. Through word of mouth alone, "Death – Pierce Me" continued to grow in stature, culminating in an IMPALA Silver Award in 2021 for 20,000 verified European sales.

Recorded Live at the Fleece, Bristol 17/4/2025 and featuring the return of original singer Boobs. Disorder are an English street punk band that formed in the Bristol area of England in 1980, and has existed with varying line-ups. They are aligned with politically charged punk bands. Disorder were part of the "protest punk" movement, and were one of the bands that spearheaded the Bristol punk scene in the early 1980s. The BBC DJ John Peel described their early singles as sounding like Triumph Bonneville motorbikes.

""Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you."

Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. “I’m always watching the dancefloor and making sure everybody’s being respectful.” Or, as she sings on the supremely funky title track to her new album Movin’ Shoes, “Here’s where you dress for you and dance the way that you want to.”

Movin’ Shoes is an album about how we treat each other and how we treat ourselves. Confident in its touchstones and compassionate in its insights, Movin’ Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. Making Movin’ Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. “We should at all times acknowledge and accept the fact that we’re imperfect people,” she explains. “We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that’s not a bad thing. It just means we’re all human. This album is about making mistakes and learning from them. I’m always trying to put that into my songs.”

Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. “I’m always watching the dancefloor and making sure everybody’s being respectful.” Or, as she sings on the supremely funky title track to her new album Movin’ Shoes, “Here’s where you dress for you and dance the way that you want to.”

Movin’ Shoes is an album about how we treat each other and how we treat ourselves. Confident in its touchstones and compassionate in its insights, Movin’ Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. Making Movin’ Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. “We should at all times acknowledge and accept the fact that we’re imperfect people,” she explains. “We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that’s not a bad thing. It just means we’re all human. This album is about making mistakes and learning from them. I’m always trying to put that into my songs.”

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

2025 Repress
2xLP 140g smokey green vinyl, gatefold sleeve including board game with tokens.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

Brooklyn-based techno experimentalist and filmmaker Michelle Roginsky (aka mother) joins Delusional Records with her first-ever musical offering, a cinematic concept EP that weaves medical anxieties into a thematic tapestry of arresting club sonics.

In A Simple Procedure, Roginsky evokes the bleak and euphoric duality of femme embodiment; the soundtrack to an unreleased body horror film narrated by ethereal ambience and driving dancefloor grooves. The title track begins with sweeping, densely-textured synths disintegrating into a foreboding bassline, humming steadily alongside tidal waves of ominous arpeggios and plodding drums reminiscent of 90s trip-hop. In Sublingual, body-shaking club drums become a vessel for distorted vocals and granulated textures as they pass through thick membranes of saliva-drenched bass. Metamorpher follows with a hypnotic 4x4 trip that metabolizes deep anxious grooves into a rave-ready wiggler, while Angel Gossip keeps the blood flowing with a pounding peak-time techno roller guaranteed to keep the floor locked. Finally, There Are Two Rooms sends us off with a pensive meditation of wailing synths and dark, Lynchian atmosphere... the final scene of a dream half-remembered upon waking from anaesthesia.

NYC's Laenz delivers the epilogue with a shaking, subterranean remix of A Simple Procedure, injecting the opening track's textures into the fissures of deep and trembling grooves.

With its darkly seductive moods and high-concept execution, A Simple Procedure is a perfect addition to Delusional's genre-ambiguous catalog of queer and femme-forward sonic offerings.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.