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37 years after the release of her multi-million selling debut album "Ancient Heart" Tanita Tikaram will release the sequel entitled "LIAR (Love Isn"t A Right)". The long-awaited new album reveals the emotional and societal differences between the woman Tanita was at just 18 when she made "Ancient Heart" to the woman she is today, taking in four decades of life experience. Her first album in almost a decade, "LIAR (Love Isn"t A Right)" is an album of haunting beauty and exquisite musicianship underplaying her unique voice that tells a masterful story of emotional, political and personal truths. When it was released in 1988, the multi-million selling "Ancient Heart" was the story of an uncertain 18-year-old brown gay woman living in middle England feeling like a stranger in her own home. Almost 40 years later that same woman, now feeling like a stranger in her own country as politics and society become more divisive. "LIAR (Love Is A Right)" is a full circle moment: a comment on community and its importance for all our futures and the perfect accompaniment to her classic breakthrough.

Valerie is not just a name. She is a bridge connecting two boundless realms: music and the cosmos. She is like a vibration of an otherworldly frequency, transmitting to humanity the elusive revelations of the Universe. Through Valerie, music ceases to be mere sound - it becomes the breath of galaxies, the pulse of distant stars, the whisper of infinity. In her presence, time loses its linearity, and space fills with mystery. Valerie is the moment when notes flare like supernovae, and melodies unfold like spirals of the Milky Way. She is living proof that music is the language of the Universe, and the human soul will always strive to be part of it.

The Complete Piano Etudes of Philip Glass available for the first time on vinyl, housed in a 4LP Box set (also available as a 2CD format).



After more than thirty years of working with and performing the great repertoire, the music of Philip Glass has, in a way, almost revolutionized my life as a musician,” confides Vanessa Wagner.

An emblematic artist on the French music scene, winner of a Victoire de la musique award and director of the Chambord and Giverny festivals, Vanessa Wagner is as inspired in her interpretation of Mozart, Debussy, Tchaikovsky and Dusapin as she is alongside Murcof and Rone.

With her innovative and daring approach, she has established herself as a major influence on the classical music landscape, crossing boundaries and blazing inspiring trails.

A tireless pioneer of new repertoires, she has been exploring the repertoire of minimalist composers for several years. For InFiné, she has dedicated 4 albums to the major figures of this movement, John Adams, Meredith Monk, Brian Eno, Ryūichi Sakamoto, as well as to the new generation Caroline Shaw, Bryce Dessner and Nico Muhly.

After giving numerous concerts based on these works, she felt the need to record in their entirety this essential monument in the history of music, which bridges the gap between the 20th and 21st centuries: Philip Glass's 20 Etudes for piano
by Philip Glass.
His approach helps to place these two books in the great repertoire, alongside the great cycles of studies by Ligeti, Debussy, Dusapin, and before them, Chopin and Liszt.

Philip Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Dissatisfied with much of what was then considered modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with sitar virtuoso and composer Ravi Shankar.

The thread linking Philip Glass to Vanessa Wagner may be as simple as a detail: a moment, a pedagogy, a way of looking at the piano. In Words Without Music, Glass recalls his apprenticeship with Nadia Boulanger in Paris - a lesson in rigorous received just as the Nouvelle Vague was about to shatter the conventions of cinema the conventions of cinema, just as the composers of the minimalist movement had done with with the language of music. Nurtured by Ravel and Debussy, the great French pedagogue disciplined yet inquisitive minds, capable of embracing modernity without denying modernity without denying their heritage.

Cassette
Earth Sounds Now is a collective made up of community activist and musician Stefan Christoff,
drummer, composer, scholar, and bandleader Asher Gamedze, music producer Nicolás Jaar, pianist
and composer Büsra Kayikçi, and novelist, poet, and sound performer Kaie Kellough.

Over 13 months, they met online to share sounds, readings, writings, and drawings, resulting in
Convergence—a project reflecting their collaborative process. Each member submitted different
works, including paintings, poetry, field recordings, and musical experiments, taking turns responding
to each other's contributions.

Member Stefan Christoff highlights the importance of listening in these sessions:
"Sometimes we would listen all together, so there was also silence on the online call as we all listened
on headphones to the sounds from our respective places. I am underlining listening here, which the
world needs much more of."

These submissions were organized into a sound library and finally mixed into record format by Jaar,
capturing the essence of their exchanges across global soundscapes.

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

- Ltd. Col. 2LP: (Silver 2LP/Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

On May 30, 2025, Pet Shop Boys will reissue their 18-track greatest hits singles collection ‘Discography : The Singles Collection’ on limited blue vinyl, featuring updated 2023 remasters. ‘Discography’ was first released in 1991. The album charted No 3 in the UK album chart and includes ‘West End Girls’, ‘Always on My Mind’, ‘It’s a Sin’, ‘Domino Dancing’ and ‘Suburbia’.



Pet Shop Boys are an English synth-pop duo formed in London in 1981. Consisting of vocalist Neil Tennant and keyboardist Chris Lowe, they have sold more than 100 million records worldwide and were listed as the most successful duo in UK music history in the 1999 edition of The Guinness Book of Records. Pet Shop Boys have won three Brit Awards and have been nominated for 6 GRAMMY Awards. At the 2009 Brit Awards in London, they received an award for Outstanding Contribution to Music. In 2016, Billboard named Pet Shop Boys the number one dance duo or group since the chart's inception in 1976. In 2017, the duo received NME's Godlike Genius Award, and in 2024, they were awarded the Pop Pioneers award at the MTV Europe Music Awards.

Monster Florence bewegten sich schon immer an der Grenze der Genres und vermischten Hip-Hop, Punk und alles, was zum Moment passte, zu etwas Einzigartigem. Ihr letztes Album "Master System" erntete Kritikerlob für seine bissigen Texte und düstere, filmische Atmosphäre, die die Ängste des digitalen Zeitalters einfing. Seitdem hat die sechsköpfige Band aus Colchester ihre explosive Liveshow auf UK- und Europa-Touren ausgedehnt. Ihre neue EP PETTY CASH, eine Währung für Sorglose, fängt den Nervenkitzel flüchtiger Freuden ein. Die 8 Tracks bewegen sich durch Höhen und Tiefen von Exzess und Nachwirkungen. Es ist der Klang der Nächte, die ineinander übergehen, der Momente, die einem durch die Finger gleiten, und der Echos, die sie hinterlassen.

Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

An aural bridge between two distinct generations of Italian experimental musicians, “Liminale” is the debut collaborative outing from the creative partnership of Luigi Turra and Elio Martusciello. Active within the context for roughly two decades, Turra (b. 1975) is a reductionist/electroacoustic composer, noted from his tense deployment of concrete and acoustic sources — particularly small sounds and noises — whose work threads the balance between silence, tactile auditory perception, and aleatoric music. Martusciello (b. 1959), on the other hand, is a musician and composer working across the fields of acousmatic and electroacoustic composition, sound installation, multi-media and audiovisual art, and computer music improvisation, who is widely celebrated for both his solo efforts and his collaborations with Eugene Chadbourne, Mike Cooper, Alvin Curran, Chris Cutler, Rhodri Davies, Iancu Dumitrescu, Michel Godard, Tim Hodgkinson, Lawrence D. "Butch" Morris, Jérôme Noetinger, Tony Oxley, Evan Parker, Z'EV, and others.

A single, nearly 40 minute work, extending across the two sides of the LP, “Liminale” — as its title eludes — is an exploration of the liminal through sonic means: “places that exist on the threshold, transitional spaces suspended between a before and an after, between the real and the evanescent” conceiving the soundscape as “a liminal place, a space to be inhabited without the certainty of where it leads.” Unfurling like a labyrinth navigated in darkness, the piece’s first half is marked by sparseness and restraint, as slow-paced guitar tones and harmonics thread silences and resonant ambience within a sprawling sense of space, delicately populated by tiny sounds, fleeting punctuations drawn from undeterminable sources, vocal utterances, and the unexpected appearance of intoxicating piano tones.

As “Liminale” progresses into its second half, Turra and Martusciello enter a more densely populated notion of the in between. No less defined by the presence of space and mystery, discreet textures rustle and writhe within passages of pure concrete abstraction and a fragmented, stretched sense of musicality: long-tones, metallic pulses, minimal vibrations, processed vocalizations, guitar harmonics, and deconstructed piano melodies, buried in spectral, gauzy hazes drifting from beyond arm’s reach within an imagistic and immersive landscape of profoundly meditative scope, where each sonic element flirts the line between emergence and disappearance.

Intimate, fragile, and achingly beautiful, “Liminale”, Luigi Turra and Elio Martusciello’s debut collaboration, is a masterstroke in sound-craft and composition, revealing the potency of meaning locked within transitional spaces and the undefined, and imbuing silence with monumental gravity and weight. Mastered for vinyl by Giuseppe Ielasi, and taking electroacoustic minimalism to an etherial extreme, “Liminale” is issued as the ninth entry in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

★Japanese obi-strip
★First time reissued on vinyl

Turning Into Small, the second album by shoegaze band All Natural Lemon & Lime Flavors from New Jersey, originally released in 1998 on local label Gern Blandsten,
is now being reissued on both CD and vinyl.

Formed in the mid-90s, All Natural Lemon & Lime Flavors were deeply influenced by UK shoegaze and alternative rock—most notably My Bloody Valentine—while
pursuing a uniquely experimental sound within the US emo and indie scenes. Their innovative spirit reached full bloom on Turning Into Small, which remains their
final album to date.

One of the standout tracks is the nearly eight-minute-long “Your Imagination,” a spacious sonic landscape that draws listeners into deep immersion.
It has become a signature song for the band, heralding a new wave of shoegaze that emerged in the late '90s and beyond. Even more noteworthy, however, are
tracks like “Puzzled Into Pieces” and “In Between And After,” which showcase the band's layered, synth-driven electronic textures, dynamic collage-like structures,
and occasionally buoyant melodies. These elements come together to create a strange and otherworldly sense of weightlessness—something rarely found even
within the shoegaze genre.

While resonating with the likes of My Bloody Valentine, Stereolab, and The Flaming Lips, the band's mutant-like blend of styles also draws parallels with acts like
Swirlies, Serena-Maneesh, and contemporary shoegaze innovators such as They Are Gutting a Body of Water.

This is a groundbreaking album in US shoegaze—one that still feels fresh and vital thanks to its timeless experimental spirit and originality. Now is the perfect time
to (re)discover it.

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

After bending boundaries on the acclaimed labels Optimo Music and Höga Nord, Rudolf Abramov resurfaces with a fierce new statement – inaugurating Aquasonic Records, the freshly minted label founded by one half of the duo.

They unveil a sweeping collection of rare recordings, drawn from the shadows of their enigmatic Berlin studio.

This debut full-length album unfolds like a sonic tapestry, threading krautrock, new wave, dub, psychedelia, experimental electronics, ambient, and jazz into a singular, genre-bending experience.

True to form, the duo assembles a diverse ensemble of guest collaborators, fusing layered musical worlds into a cohesive, concept-driven whole.

At its core, the album captures a dynamic interplay: acoustic instruments recorded with raw intimacy and spatial breath meet the hypnotic churn of modular synths, samplers, and analog machines. A vivid document of process, presence, and unfiltered sound, resisting definition, yet wholly their own.

A hill repeating its own name.

Ben Beinn — mountain mountain — an imagined summit, recursive and unstable.

Poole’s new album Ben Beinn follows 2024’s In a River Shadow, and deepens his exploration of environment, voice, and abstraction. If the previous record moved with flowing water and submerged hymns, Ben Beinn climbs into elemental instability: passing storms, coded skies, and sodden ground.

Across ten tracks, Poole entangles the Celtic New Age sound world — traditional instrumentation (flute, low whistle, bagpipe, piano, strings) — with synthesis, environmental recordings, and abstracted voice. The sound palette is tactile — marked by microtonal harmony, swelling dissonance, and a breathy naïvety. Voices in Gaelic, Norwegian, and English surface and dissolve, stretched beyond recognition — more weather than word.

The album’s title refers to a tautological hill — Ben Beinn, or “mountain mountain” — a recursive site where motifs surface, fracture, and re-emerge. On 365 Days of Rain, rainfall data becomes a rhythmic lattice that slips from metrical order. 1000 opens the record in cinematic emergence: mountain icicles and frozen streams swell into strings and breathy melodic weight. Pulling from the connective folktales of hill and mountain trolls — “Dance for a thousand years,” Poole writes, “for jeg har sovet tidlig så lenge.”

Recorded in Scotland between 2024–2025, Ben Beinn draws from environmental recordings of frozen hill passes, storm drains, and peat bogs using contact mics and hydrophones. Rather than simply reflecting place, these recordings press against it — layering the sonic materiality of landscape with synthesis and song. An inflection point between fabrication — folk music as performed identity, a carrier of story — and its obfuscation through digital networks, where tradition is refracted into plural forms.

Musical reference points include the emotionally saturated textures of Inoyama Land, the folk-electronic hybrids of Eli Storbekken, the hyperrealist collage practices of Noah Creshevsky, and the disquieting sonic simulations of James Ferraro. While Ferraro captures the uncanny surfaces of networked life, Ben Beinn turns inward — toward a located listening, shaped by weather, memory, and terrain.

The second in a triptych that began with In a River Shadow, Ben Beinn continues Poole’s excavation of environmental and folk material through contemporary methods. If the first record submerged itself in flowing water and submerged hymns, this one is shaped by the slow pressures of land and sky — a music of erosion, recurrence, and elemental presence.

Der Zufall vermittelt Justus, Peter und Bob die Bekanntschaft mit dem exzentrischen Ehepaar Barron. Völlig unerwartet finden sie sich auf dem Rancho Valverde eingeschlossen, ohne Kontakt zur Außenwelt! Geht der Kampf nun gegen außerirdische Wesen oder gegen kriminelle Betrüger und Diebe? Unsere drei klugen Detektive werden die Wahrheit herausfinden - wetten?

Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called « 666 tours de périph’ » (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.



At the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : " C’est la police qui nous tire d’ssus / C’est mon trou d’balle qui leur chie d’ssus « (Police shoots us down / my dripping asshole gets the job done).



A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’). And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.



The rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : « nique sa mère / nique sa grosse mère » (translate that yourself).

After its original release in 2010, Walter Trout's Common Ground is back on vinyl, for the first time as a 2LP. The critically acclaimed album by the American blues guitarist, singer and songwriter reached #6 on the Billboard Blues chart and made waves in the UK charts as well. The album showcases a collection of powerful, emotionally charged songs including, amongst other, the tracks "Maybe A Fool", "Common Ground", and "Her Other Man"._x000d__x000a_Common Ground is produced by legendary producer and Grammy Award-winner John Porter, who is known for his work with blues icons B.B. King and Buddy Guy. The record features top-tier musicians Kenny Aronoff, James "Hutch" Hutchinson and Jon Cleary, all adding depth and expertise to the dynamic arrangements._x000d__x000a_Common Ground is available as a 15th anniversary edition of 1000 individually numbered copies on green, white & black marbled vinyl and includes an insert with lyrics.

Das Break-up-Konzeptalbum, nach dem niemand gefragt hat, The Appleseed Cast erschien 2003 auf Tiger Style inmitten einer zweiten Welle der Emo-Gegenbewegung. Jahrzehnte später gilt Two Conversations weithin als das Meisterwerk des Quintetts aus Lawrence, Kansas, ein atmosphärisches, seelenvolles Werk, das sich von den Klischees des Mittleren Westens distanziert. Verlieren Sie sich in den verträumten Klängen von Keyboards und Synthesizern und den Klängen von Stahlsaiten, aber seien Sie vor der Ausgangssperre wieder zu Hause.

Das Break-up-Konzeptalbum, nach dem niemand gefragt hat, The Appleseed Cast erschien 2003 auf Tiger Style inmitten einer zweiten Welle der Emo-Gegenbewegung. Jahrzehnte später gilt Two Conversations weithin als das Meisterwerk des Quintetts aus Lawrence, Kansas, ein atmosphärisches, seelenvolles Werk, das sich von den Klischees des Mittleren Westens distanziert. Verlieren Sie sich in den verträumten Klängen von Keyboards und Synthesizern und den Klängen von Stahlsaiten, aber seien Sie vor der Ausgangssperre wieder zu Hause.

After turning heads with their much-loved "Monaco EP" on Roy Davis Jr.'s legendary Undaground Therapy Muzik, the duo is back with a release that bridges deep-rooted house sensibilities and forward-thinking production.
To mark their 10-year anniversary, the boys return to their label roots with a 5-track vinyl-only EP - full of dusty samples, deep grooves & nods to early French house.

Time to dust off the disco ball! Sylvester's timeless disco classic Step II, featuring the smash hits "You Make Me Feel (Mighty Real)" and "Dance (Disco Heat)" returns to vinyl almost fifty years after its original release on a very special "Disco Ball" Clear Glitter pressing. Described by Pitchfork as "a formative record in the queer canon," Step II took Sylvester's from a Bay Area icon, to a national disco superstar whose influence on popular music is as mighty today as it was back in 1978.

"Prudência / Praga", or "Prudence / Plague", is a double single with these two songs that I composed and which were originally recorded by two of my heroes: Maria Bethânia and Alaíde Costa. Curiously, they are two sambas: although I come from the rock and roll scene in Sao Paulo, I wound up writing a samba as if it were the 50s. At the time of my first heartbreak, at the age of 17, I had the record Jamelao canta Lupicínio with the Orquestra Tabajara on my iPod, and I identified with those dramatic sorrows, almost a hundred years old. In a way, I felt that Lupicínio Rodrigues was bloody and direct, like Tarantino, and Nelson Cavaquinho, heavy metal like Black Sabbath. So, I feel it's a compact 45 of sambas but it's also very Rock n Roll to me. Raw and coming from hell. "Prudência" is that internal battle between the passionate side and the controlling side in the head of the former romantic bohemian. I wrote it for Bethânia to record on her album Noturno. Her version turned into a moving bolero. When I saw her singing it live and the audience singing along with her, I couldn't believe it. I cried, hidden in the audience. She said that when she showed the record to her brother, Caetano Veloso, he thought that "Prudência" was some old classic that she had dug up to bring back to light. Nothing could be a greater compliment than this mistake on Caetano's part. "Praga" also has to do with MPB heroes of mine that I never imagined I'd see up close or have any relationship with or any connection with. I was asked to write these lyrics in partnership with the main man Erasmo Carlos for Alaíde Costa's album! Surreal. Like many people, I got acquainted with Alaíde listening to "Clube da Esquina," her singing with Milton Nascimento. And the idea was to do a poisonous cabaret song samba. The curse of a woman who has dumped a drunk. I love it when Alaíde sings "BIBIDA" in her recording of the song_a total legend. I wanted to produce a kind of horror samba recording, because if it wasn't rock and roll, it wouldn't be much fun for me. I went over to Bielzinho's, and we recorded this chorus that explodes with the percussion and the choir of my friends Tulipa, Maria Beraldo, and Luiza Lian. This take of "Prudência" came from the unpretentiousness of recording two live sessions of the song with Fred Joseph with the cameras of the 70s' program "Ensaio" (MPB Especial) by the great Fernando Faro. The video take ended up being so unexpected and raw that it unseated the studio version, and that's what you hear on the single. The idea behind the video is a sort of this temporal mindfuck; like found lost tapes of the MPB Especial from the early the 70s. Same microphones, same cameras, that zoom_time travel. Between Mil Coisas Invisíveis, the end of the cycle with O Terno, and starting the new album process, I decided to take advantage of the respite to release this rock and roll 45 of sambas, without thinking too much or over-producing the thing. "Prudence? Don't talk to me about prudence!" ;) Tim Bernardes, 2025

Forgotten Paradise is a new vinyl series from Western Lore, focussed on exploring the full breakbeat hardcore &
Jungle Tekno tempo range through a collection of 12” singles & EPs

After an under the radar, vinyl only bootleg 12” kicked off the series in 2024 (and flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail), L own, the producer behind the record returns to the series for the first of a two part long player showcasing the depths of his sound.

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos.

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources.

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al.

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story.

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

LA-based producer Real Bad Man and Michigan rapper Willie the Kid release their new collaborative album, Midnight, via the producer’s own Real Bad Man Records label. The album, which marks the producer’s second collaborative project of the year following Dear Psilocybin with ZelooperZ, includes guest appearances from UK rapper Sonnyjim, New York’s Lord Sko and frequent RBM collaborator Boldy James, who will be releasing his own Real Bad Man-produced album in May.

The album came together naturally for the pair, letting each new song inform the identity of the project as a whole. Speaking about how they identified that central theme of the album, Willie says, “I think where Adam and I agreed upon is that the stand out records were all themes for the night, late night drive, after hours dinners, shopping, private rooftop hotel suites, it’s a thinking album, a cruising album preferably enjoyed at night…midnight””

Midnight marks the early stages of what’s shaping up to be a prolific run of collaborations for Real Bad Man in 2025. His second album of the year builds off of the momentum he sparked last month with his first full-length album with ZelooperZ, Dear Psilocybin, which The FADER called “clear-eyed and focused in its own fantastical way”. Working as a duo with the dynamic lyricism of Willie the Kid after the psychedelic sounds of Dear Psilocybin, Real Bad Man returns to the essential underground beatmaking that he first emerged onto the scene with through his On High Alert series. His crackling, lo-fi production pairs perfectly with Willie’s gritty delivery, laying a foundation for the longtime lyrical stylist who has worked alongside some of the genre’s modern heroes including Nas, Lil Wayne, The Alchemist, Roc Marciano, Curren$y and more.

Listen to Midnight above, see below for more details on Midnight and stay tuned for more from Real Bad Man coming soon

Swiss shapeshifter Elsa surfaces on Punctuality for the first time, marking the label’s seventh release with a debut EP that dives deep and swims sideways through an eclectic milieu of club influences.

Across the five tracks on Web Glow, there are nods to turn-of-the-century tech house, liquid D&B, broken IDM, psy-laced trance, and modern tek mutations. Subtle wubs ripple under the surface, low-end pressure coils tight, and meticulous sound design binds the tracks into a fully realized vision of Elsa’s forward-thinking sound. Enter the unfolding.

Roza Terenzi steps up to remix “Web Glow,” reanimating the track as a skeletal early-morning stepper—the mood is giving sizzling dubbed-out vocal wisps, pulsing subs, and stripped-back drums. “Groupie” notches up the BPM but keeps things fluid with aquatic atmospherix, jittering FX, and drums that skid out and under rolling basslines.

“Fortune Cookie” flashes uk-tinged tech house with shimmering shards of SFX, resplendent with stuttering kicks, glassy pads, and sultry textures. The halftime jungle-IDM stylings of “No Ads” round off the EP in a haze of fractured breaks and dubbed-out atmospherics. A murky, magnetic debut on Punctuality—Elsa sketches out a soundworld all her own. Dive in and catch it.

Es gab eine Zeit - nennen wir sie Saturn-Rückkehr, nennen wir sie die frühen 90er Jahre, nennen wir sie den letzten Atemzug, bevor das Internet alles verschlang - als wir von den Zero Boys uns plötzlich einer ganz anderen Art von Feuer gegenüberstanden. Wir waren aus unserer Hardcore-Haut herausgewachsen - nicht aus Ablehnung, sondern aus einer Weiterentwicklung heraus. Wir waren unruhig. Songs kamen nicht mehr in Ausbrüchen purer Geschwindigkeit; sie verdrehten sich, dehnten sich aus, stellten Fragen. Struktur war nicht mehr der Feind. Wir ließen die Songs atmen, und im Gegenzug erzählten sie uns Dinge, die wir nicht erwartet hatten. Die hier versammelten Songs aus ,Make It Stop" (1991) und ,The Heimlich Maneuver" (1992) fangen diesen Moment ein. Diese beiden Alben, die innerhalb eines Jahres entstanden sind, sind Dokumente einer Zeit, in der wir unserem Instinkt folgten - die Grenzen unseres eigenen Sounds ausloteten und persönliche spirituelle Erkundungen durch den Fuzz und die Wut hindurchflochten. Es war nicht religiös. Es war eine Suche. Der Versuch, das Selbst im Lärm der Welt zu finden. Der Versuch, ehrlich über Verwirrung, Widerstand und die Teile von uns selbst zu sprechen, die nicht so einfach in Slogans oder Genres passen. Damals wussten wir, dass wir uns veränderten, aber wir wussten nicht, in welche Richtung. Jetzt, Jahrzehnte später, offenbart das Zurückhören etwas Klareres. Diese Songs - textlich, musikalisch, emotional - fühlen sich heute dringlicher an als damals. Die politischen Aussagen sind gut gealtert, was sowohl ein Triumph als auch eine Tragödie ist. Was wir in einem Moment kreativer Verbrennung geschrieben haben, klingt jetzt wie Warnsignale - über Institutionen, über Gewalt, über das stille Bedürfnis nach Sinn unter all dem. Also ja, ,Playback is Hell". Aber nicht die Hölle der Qualen. Die Hölle des Feuers. Die Hölle der Transformation. Die Hitze der Erinnerung und Bedeutung, die plötzlich wieder aufsteigt. Danke fürs Zuhören - damals, heute und in Zukunft. - Paul Mahern, 2025

Doja Cat’s highly anticipated fifth studio album, “Vie”, is slated for release on September 26th. The 15-track album is rich with retro textures and a sonic background charged by various influences from the 70s and 80s. “Vie” highlights Doja’s own personal evolution and brings audiences into the world of love, life and the mess in between.

Reggaedancehall icons Skarra Mucci and Manudigital are announcing the release of their joint EP Ragga Blasta, which will be followed by a European tour (France, Germany, Switzerland, Austria...) starting
in September 2025.

Skarra Mucci, the globally renowned Jamaican MC known as the Dancehall President, joins forces with Manudigital, one of Europe’s top digital reggae producers.

The duo will present six tracks oscillating between reggae-dancehall, dub and
hip-hop.

One of the songs will feature a guest appearance by acclaimed singer Queen Omega.

Victor Démé loved life, music, friends, his hometown of Bobo Dioulasso, and above all, his family — by blood and by heart. Jovial and generous, he would have been delighted to see his world gathered once again in celebration: with concerts, unreleased tracks, live recordings, and a podcast retracing his finest musical years. Ten years after his sudden passing, this album carries the simple ambition of honoring his music and memory.

Victor passed away on September 21, 2015, in Bobo Dioulasso, during the coup d’État in Burkina Faso. The hospital he rushed to for malaria treatment was closed… His third album was due to be released just days later, but he never had the chance to sing it on stage.

A prolific and unique songwriter, Victor often revived songs he had composed in his youth during sessions at the OuagaJungle studio. With his guitar, he would breathe new life into them, refining them with his musicians — making the final choices sometimes difficult. Among the previously unreleased tracks on this record are Djilon, a reggae piece from Abidjan; Sira, a radiant yet solitary blues; Ambideu, a crooner-style ballad reimagined as an elegant cello-and-voice duet; Mousso mina mousso, a love song meant for a djandjoba celebration; and Bara, a heartfelt choral tribute to the workers of Burkina Faso.

These songs remained in the studio after Victor’s passing and have now been brought to life by the talented musicians Clément Petit, Alex Finkin, and Max “Blundetto” Guiguet. On Side B, the album captures the energy and sincerity of Victor and his band live on stage, with recordings from the May 19, 2009 concert at Théâtre de la Ville in Rouen. The performance opens with Labanko — a song never recorded in studio — followed by several classics, including the iconic Djon Maya, delivered here in its most blues-infused version, carried by Issouf Diabaté’s magical guitar.

Unforgettable memories for his musicians and for all who had the chance to applaud him live. We can only hope that, wherever he is, Victor is smiling and dancing as we celebrate him once more through music.

“Warning! Night Time Listening Advised!”

In early spring 2023, with the end of COVID-19 in China, MK helped produce this album for Rubey. Focusing on the piano atmosphere and framework of the Night Piano Project, MK added some flowing sounds and textures to Rubey’s original tracks using a guitar, delay effects, and a synthesizer. At the same time, Ding Mao, another member of the band Hualun, contributed on two tracks. Of course, all production processes were completed at night; capturing the quiet atmosphere of traditional Eastern natural landscapes and transforming them with indoor amorous feelings. These melodies and notes wander and travel through different times and spaces, and ultimately converge in different rooms.

“In Different Rooms” is the second solo album by Rubey, a keyboardist from the band Hualun. It is also Rubey’s second album release since producing the soundtrack for the movie “Virgin Blue” in 2022. It includes 8 works created between 2020 and 2023. Rubey and MK are located in Beijing and Shenzhen respectively. Just like many of Hualun’s works, the original idea for “In Different Rooms” came from Rubey’s daily piano improvisation practice. Named the “Night Piano Project”, Rubey would spend his nights playing his YAMAHA electric piano.

DJ Support: Kenny Dope, Mark Knight, Riva Starr, The Shapeshifters, Tedd Patterson, Hector Romero, Grant Nelson, Brian Tappert, Kevin Yost, Saison, Ron Carroll, Steve Bug, The Cube Guys, Massimino Lippoli.

Get yourself geared up for summer season with some fierce dancefloor prime time certified with the Groove Culture Deep Stamp. DEEP INTO HOUSE vol.3 includes some fresh House/Deephouse actions from Ricky Montanari & Discoplex, Luca Olivotto, Gianni Bini and Andrea Tomei. An essential package for diggers.

Auf 500 Stück limitierte 2025er Nachpressung vom 2024er La Luz Album auf gelbgrünem Vinyl. LA LUZ aus Kalifornien wird von Fans und der Presse gleichermaßen seit ihrem Gründungsjahr 2012 geliebt, da sie den Spagat zwischen Chaos und Bittersüße schaffen. Jede neue Platte ist ein weiterer Feinschliff an der Mischung aus schwülstigen Riffs und engelsgleichem Gesang, der an Pop und Folk angelehnt ist; eine Band, die so verlässlich großartig ist, dass sie den gewaltigen Schritt nach vorne in Sachen Selbstvertrauen und schierer Musikalität, den "News of the Universe" macht, umso beeindruckender macht. Cleveland, die auch schreibt und malt, hat sich zu einer wahrhaft originellen Songwriterin mit einem eigenen Kanon geisterhafter Psychedelik entwickelt, die sich in den letzten Jahren von der sich wandelnden Landschaft rund um ihr ländliches Zuhause in Kalifornien hat inspirieren lassen, vor allem auf dem von der Kritik gefeierten Soloalbum Manzanita, einer magisch-realistischen Dokumentation ihrer Schwangerschaft und frühen Mutterschaft, die auf vielen Jahresendlisten stand. Selbst wenn Cleveland jahrelang Songs über Geister geschrieben hat, so ist das, was in den Schatten von "News of the Universe" lauert, nichts weniger als der Tod selbst: "There are moments on this album that sound to me like the last frantic confession before an asteroid destroys the earth." Klanglich ist die Platte voller Dringlichkeit. Die Songs stolpern über sich selbst, als würden sie versuchen, der Apokalypse zu entkommen: das atemlose Prasseln der Toms in "Strange World", das fingerfertige Eröffnungsriff des Titeltracks, getränkt in Verzerrungen. Eine Atmosphäre des Untergangs schwebt über dem Sgt. Pepper-esken Barock-Pop-Song "Poppies", in dem Cleveland von einer schwankenden orangefarbenen Idylle singt, die von der Spätsommersonne in Flammen aufgehen wird. In dem ähnlich kaleidoskopischen "Dandelions" hält sie die gelben Blumen für ahnungslose "kleine Sonnen", die sich im Laufe der Saison in "Monde" verwandeln werden. Die synthetischen Klänge, die auf dem letzten Album "La Luz" von 2021, verwendet wurden, um das träge Summen und Knistern eines Sommertages auf dem Lande zu imitieren, wurden im Weltraum verstreut. Düster, verletzlich, weiblich und unbestreitbar triumphierend ist "News of the Universe" eine weitere umwerfende Platte einer Band, die so verlässlich gut ist, dass die Leute vielleicht übersehen haben, wie bahnbrechend LA LUZ wirklich sind: farbige Frauen in der Indie-Musik, die ihren eigenen Weg gehen, indem sie ihrem eigenen künstlerischen Stern in Galaxien jenseits der aktuellen musikalischen Trends folgen - immer geleitet von einem aufrichtigen Glauben an die kosmische Kraft der Liebe und eines großartigen Riffs. Niemals trifft das mehr zu als auf "News of the Universe", dem vielleicht brutalsten Album von LA LUZ, das aber auch das glücklichste ist.

The latest boy band in town, POP VAMPIRES COLOGNE, opens the party with the enigmatic ‘Karianne’. SUPERPITCHER knows how to make a grand appearance, accompanied by high-calibre guests. His electro-pop treat ‘Pandora’s Box’ features Hot Chip’s ALEXIS TAYLOR​ on vocals.​ JÜRGEN PAAPE isn’t coming alone either, but with newcomer HELLA in tow. ‘Grace (A Tale)‘ once again shows our resident hit maker at his best. JÖRG BURGER also has a table companion, the extremely talented Irene Kalisvaart, and remixes himself on top of that. REINHARD VOIGT points out that money never sleeps and proceeds according to the motto: ’​Zahl an einem anderen Tag (Pay another day​)’. Our Brazilian whirlwind GUI BORATTO returns after a long absence with the banger ‘Panorama X-Press’. After careful consideration, ROBAG WRUHME has named his new track ‘Total’ and sings in the chorus with his family for the first time. WASSERMANN contributes an ultra-fat remix of Mayer’s ‘Brainwave Technology’, while MICHAEL MAYER himself marvels at the rare ‘Erdbeermond’. HARDT ANTOINE’s ‘Let Me Go’ really gets the party going again before WASSERMANN orders a large taxi and skips out on the bill.

See you again next year!

TOTAL 25… Schon wieder ein Jubiläum in einem an Jubiläen ohnehin nicht armen Jahr. Zum 25. mal versammelt sich die Kompakt Familie zum alljährlichen Stelldichein. Ohren angelegt, los geht’s!
Die neueste Boygroup in town, POP VAMPIRES COLOGNE eröffnet die Party mit dem enigmatischen ‘Karianne’. SUPERPITCHER weiss, wie man einen großen Auftritt hinlegt, und zwar in hochkarätiger Begleitung. Sein Elektropop-Leckerbissen ’Pandora’s Box’ featured Hot Chip’s ALEXIS TAYLOR an den Vocals. Auch JÜRGEN PAAPE kommt nicht allein, sondern mit der Neukommerin HELLA im Schlepptau. ‘Grace (A Tale)’ zeigt unseren Haus- und Hitlieferanten mal wieder in Bestform. JÖRG BURGER hat ebenfalls eine Tischdame im Gepäck, die überaus talentierte Irene Kalisvaart, und remixed sich obendrein selbst. REINHARD VOIGT gibt zu Bedenken, dass Geld niemals schläft und verfährt nach dem Motto: ‘Zahl an einem anderen Tag’. Unser brasilianischer Wirbelwind GUI BORATTO meldet sich nach längerer Abstinenz mit dem Banger ‘Panorama X-Press’ zurück. ROBAG WRUHME hat seinen neuen Track nach reiflicher Überlegung ‘Total’ genannt und singt darauf erstmals selbst im Chor mit seiner Familie. Der WASSERMANN steuert einen ultrafetten Remix von Mayers ‘Brainwave Technology’ bei, während MICHAEL MAYER selbst den seltenen ‘Erdbeermond’ bestaunt. HARDT ANTOINE’s ‘Let Me Go’ bringt die Party nochmal so richtig in Schwung, bevor der WASSERMANN ein Großraumtaxi bestellt und die Zeche prellt.

Wir sehen uns wieder im nächsten Jahr!

Following the lush listening LP outing by KAMM, the EG team is back in fine floorrocking form, this time with both label operatives on the dials as Rodney joins Dave Aju for his debut co-production. And what a debut it is: Highly-potent, raw, swinging house music of the highest order, complete with knocking 909 kicks, thick slapping snares, and a hypnotic melodic call-and-response tonal section that keeps things properly lifted and moving throughout. The vox evoke label boss Aju’s earlier catalog work, and he’s in particularly pointed mode here, spitting fire spoken word lines calling out various questionable corners of the dance music scene and humanity on the whole. A bold light-shining display during notably dark times, defending the once-sacred underground dance space against runaway trends of ego-driven capitalism, online image over actual skill sets, and the beyond low-ball barrier of entry into the arena. But by the time the soulful chorus lines hit and rise us up and onward toward the blissful musical finish, it is clear that this is in fact a unifying floor anthem and that indeed despite our differences amidst disheartening global chaos, at least “We Still Dancin". As always with the seasoned DJ-focussed three-piece Elbow Grease EP offerings, here we have the full A-side OG Vocal Mix cut at a crispy and tight 45rpm, a deliciously stripped and leveled-up EG Dub Mix on the B1, and finally the uplifting B2 Vibe Mix which doubles-down as half ambient instrumental builder and essential acapellacapella

First official vinyl showcase from Untamed Sounds Studio featuring Lucadread on vocals. Digi Killer style.

Untamed Sounds Studio was established in 2015 in Northeast Italy as a sound system, hosting regular events for several years. In 2019, the physical system was sold, and the project moved to the UK, shifting its focus to music production. Since then, Untamed Sounds has collaborated with a wide range of sound systems, DJs, and singers, particularly in the dubplate field, providing exclusive tracks to sounds across the globe. Whether it's roots, dub, digital, or year 3000 style, Untamed Sounds continues to staying true to its foundation, rooted in Jamaican music.

Produced and Arranged by Untamed Sounds.
Mixed by Dougie Conscious at Conscious Sounds Studio, UK.
Mastered by Dubfiles.

We are pleased to present the latest related from de Uruguayan label voice of tempo. this time, we celebrate their first physical related in 12 vinyl format, featuring Ildec, Spanish producer and dj, curator of the label time to panic, and Matole, Uruguayan producer and one of the pillars of voice of tempo, together, they deliver an ep composed of four powerful tracks that immense us in a dancefloor-driven atmosphere, rich in techno and acid nuances-perfect for clubs and crafted for lovers of raw and immersive sound traslate to spanish.

Followed by the first release last year Chinese label Motivation, curated by B.ai, comes back with its second V.A. featuring Ilkay Yeler, J6, SMEV and NAE. The vinyl attributes in progressive house, electro house and electro.

Opening track “Destiny” ‘s morphing main motif gets kept in check by a steady pulse of snappy bass. Enigmatical vocal samples add to the ambiguous atmosphere, so the sets of twinkling mallets J6 sleekly includes, bring a touch of subtle lightness.

A-2 Ilkay Yeler’s sound is fueled by endless nights of groove, and on “Frontliner” this translates to a hypnotic trip into the deep end. Underneath its dreamlike current of silky chords a steady bass riff propels everything forward, allowing a restless arp to zone in and out.

Flipping to the side B, Sev’s Miami-inspired 808 patterns have “Clearing The Fog” come out of the gates swinging. Bright flutes and big basslines provide this slab of machine funk with a tapestry of melody, and fluorescent synth solos top it off.

Nay ends affairs on a melancholic note with “Silent River”. The leads sound like they ran through an eighties wave pedal chain, and as pondering chords and choirs work their way in, a Juno 6 bass adds extra depth. Still firmly directed at the club, the track escapes easy classification - and suitably closes a diverse yet coherent EP.

NYOS are a Finland-based instrumental band comprised of guitarist Tom Brooke and drummer Tuomas Kainulainen. Known for their immersive and often physically demanding live shows, NYOS create massive sonic worlds using Brooke's labyrinthine loops and atmospheric layering alongside Kainulainen's kinetic drumming, in music that is rhythmic, raw, and eclectic. Since their formation in 2014, NYOS have carved out a distinctive place within Europe's experimental and post-rock scenes, characterized by their relentless energy, polyrhythmic complexity, and hypnotic layering. While still rooted in their signature loop-based approach, new album `Growl' is "more ambitious with song soundscapes and compositions", says guitarist Tom Brooke, naturally embracing a denser, more textured sound with greater attention to atmosphere and tension. "`Growl' feels like the best we've managed to harness the dynamics, and maybe the one thing we did focus a bit on is finding new ways to create those dynamics and making sure they aren't too predictable - it's our longest record to date, and when producing it, we were very conscious to make sure it is an album that holds the listener" (Brooke) As eclectic and exciting as ever, NYOS are a band in continuous motion, unafraid to challenge themselves and their listeners with ever-expanding sonic vocabularies. `Growl' is an album that is both coherent and seamless in its movement, walking a tightrope between meticulous structure and explosive energy. FOR FANS OF Battles, And So I Watch You From Afar, Don Caballero, The Mars Volta, Lightning Bolt, Tortoise, Hella, Tiny Fingers, Death Grips, Zach Hill, Russian Circles, Explosions in the Sky, Tera Melos

NYOS are a Finland-based instrumental band comprised of guitarist Tom Brooke and drummer Tuomas Kainulainen. Known for their immersive and often physically demanding live shows, NYOS create massive sonic worlds using Brooke's labyrinthine loops and atmospheric layering alongside Kainulainen's kinetic drumming, in music that is rhythmic, raw, and eclectic. Since their formation in 2014, NYOS have carved out a distinctive place within Europe's experimental and post-rock scenes, characterized by their relentless energy, polyrhythmic complexity, and hypnotic layering. While still rooted in their signature loop-based approach, new album `Growl' is "more ambitious with song soundscapes and compositions", says guitarist Tom Brooke, naturally embracing a denser, more textured sound with greater attention to atmosphere and tension. "`Growl' feels like the best we've managed to harness the dynamics, and maybe the one thing we did focus a bit on is finding new ways to create those dynamics and making sure they aren't too predictable - it's our longest record to date, and when producing it, we were very conscious to make sure it is an album that holds the listener" (Brooke) As eclectic and exciting as ever, NYOS are a band in continuous motion, unafraid to challenge themselves and their listeners with ever-expanding sonic vocabularies. `Growl' is an album that is both coherent and seamless in its movement, walking a tightrope between meticulous structure and explosive energy. FOR FANS OF Battles, And So I Watch You From Afar, Don Caballero, The Mars Volta, Lightning Bolt, Tortoise, Hella, Tiny Fingers, Death Grips, Zach Hill, Russian Circles, Explosions in the Sky, Tera Melos