Search:friends

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

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.

Brought together by Antoine Rajon through their shared love of modal and free jazz, the four musicians of KOMA embraced the high-wire act of a ""Jazz on the Moment,"" a hallmark of the KOMOS label's Analog Home Session series. These friends, both on and off stage, already play together in other groups, such as AMG for Keïta Janota and Anthony Jouravsky, and OLA TUNJI for Ornella Noulet and Anthony.


For this recording, the new group set up in the living room of a Burgundy home, equipped for the occasion with the finest vintage analog equipment by Christian Hierro, engineer at the ""Back To Mono"" studio in the Drôme region.

With no preparation other than the few hours before starting the tape recorder, KOMA recorded the tracks in the order they appear on the album. Two pure improvisations sit alongside a composition (in two versions) by Keïta Janota, and a composition by vibraphonist Martin Blouet, who was experiencing his first professional recording.


The iconic piece ‘John Coltrane’, composed by bassist Bill Lee, father of Spike Lee, is the only cover on the album. The quartet offers a surprising, almost ambient version, without the rhythm section and epic solos of other recordings. The musicians' love for the music of the ‘supreme saxophonist’ is nonetheless intense.

As a birth certificate on the very day of the group's formation, this ‘no-nonsense’ album allowed this unusual lineup (two saxophonists, a vibraphonist, and a bassist) to present its lyrical and meditative music on numerous stages.

Crossover deviants IRON REAGAN call upon thee to join the holy order of thrash on their latest full-length, Crossover Ministry! Across 18 tracks and thirty minutes of frantic, punk-metal fury, IRON REAGAN mix a blitzkrieg of relentlessly catchy riffs and irresistible, mosh-ready grooves with punchy, thrash gallops and hardcore punk attitude. Crossover Ministry was recorded byIRON REAGAN guitarist Phil (Landphil) Hall at Blaze of Torment Studios, mixed by Kurt Ballou (Converge, High on Fire, Toxic Holocaust) at God City Studios and features stunning artwork by Bonethrower (Mastodon, Young Widows). On Crossover Ministry, IRON REAGAN prove that they are the new leaders of thrash evangelism. Hear their vicious sermon at a circle pit near you!

Following the “immaculate and eternal soul” (The Guardian) of The Indications’ 2019 album, American Love Call, Private Space unlocks the door to a wider range of sounds, boldly launching the band into a world of synthy modern soul and disco beats dotted with strings. Anchored by the high-low harmonies of Aaron Frazer (drums/vocals) and Durand Jones (vocals), and rounded out by Blake Rhein (guitar), Steve Okonski (keys), and Mike Montgomery (bass), The Indications are true masters at melding revival sounds with a modern attitude. The ten tracks across Private Space provide for both an escapist fantasy and a much-needed recentering after a tumultuous 2020.In conjunction with today’s announcement, they share Private Space’s lead single/video “Witchoo.” Reflective of the track’s vibrant, playful energy, the Weird Life-directed video features the five band members and close friends, transitioning from a live performance 
to an electric backstage soirée.“At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me,” says Jones. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness. From an Indiana basement (where the band recorded their 2016 self-titled debut LP as college students), The Indications have catapulted into the soul limelight and an international stage. Following their sophomore album American Love Call
 — a dreamy but pensive record of big string arrangements and sweet soul stylings — The Indications became revered by vintage music fans, the lowrider community and late-night television.

The story picks up when Connect 3 loses their opening act for a major reunion tour, returning to their beloved Camp Rock to discover the next big thing. As campers vie for the chance to open for their favorite band, tensions rise, and friendships are tested, leading to unexpected alliances, revelations and romances. ​Camp Rock’s all-new campers include bold and determined Sage (Segura) and her easygoing brother Desi (Stone), camp bad boy Fletch (Barton), cello prodigy Rosie (Pollack), drummer with his own beat Cliff (Trotter), choreo queen Callie (Pitts) and intimidating influencer Madison (Jean).

Led By Vultures, the new Los Angeles based heavy rock band fronted by Brian Tichy (Ozzy Osbourne, Whitesnake, Foreigner, Billy Idol, Gene Simmons, etc...)
has come together over the past year to record its powerful, uncompromising, undeniable brand of heavy music, and released their highly anticipated first single “Get It Right” in late-March. With that comes 12 songs dominated by loud guitar, massive drums, big riffs, killer grooves, aggressive vocals, and a feeling of flying through a tornado! With a pro home studio, Tichy started the recording
process and instead of trying to find the right players, engineers and producers, he chose to see it through on his own, and aim to make it feel and sound like a band that’s been together for years. Long time buddy/keyboard virtuoso Derek Sherinian (Alice Cooper, Dream Theater) lent a hand on a few tunes, including some co-writing and it was Sherinian who has been one of Tichy’s main friends, supporting him and telling him to stop talking and to get writing and recording!!
Led By Vultures is all about serving the song, the groove and the power it possesses. The recording process began as an organic, exciting, challenge for Tichy but soon became an all-consuming obsession to serve the songs and sounds with all of his being and abilities. This includes a rule of no samples or
auto tune! Led By Vultures; not just a band but a pure musical obsession!

Pioneering Ghanaian musician King Ayisobareturns September 4, 2026 with his forthcoming seventh album Pure Confusion, recorded and produced by On-U-Sound’s Adrian Sherwood.

Ayisoba is one of Ghana’s most distinctive musical voices. The world’s foremost player of the kologo - a homemade two-string lute fashioned from a calabash and covered in goatskin - he delivers fiercely political and socially observant songs using three different voices, including the voice of his grandfather that possessed him as a child. Sherwood meanwhile is the pioneering British producer and founder of On-U Sound whose hugely influential career has connected dub, post-punk, industrial, hip hop and experimental music through collaborations with artists including Lee “Scratch” Perry, Mark Stewart, Horace Andy, Sinéad O’Connor, Nine Inch Nails and Depeche Mode.

Ayisoba and Sherwood first collaborated during a BBC Radio 3 Late Junction session at Maida Vale in 2017, organised by Ayisoba’s long-time collaborator Arnold de Boer/Zea of The Ex. The pair immediately connected, and during the pandemic, when Adrian’s long-time African Head Charge collaborator Bonjo Iyabinghi Noah was in Ghana looking for musicians to collaborate with Sherwood suggested Ayisoba, who eventually featured on two tracks on African Head Charge’s 2023 album A Trip To Bolgatanga (Bolgantanga is the region Ayisoba is from). Ayisoba then returned to the UK in late 2024 and travelled to Sherwood’s Ramsgate studio where the pair laid down the songs that would become Pure Confusion: “All the songs were already in my head,” says Ayisoba. “This album is all recorded live, over one afternoon. Adrian only plays live, and I like that. And he works hard - he doesn’t sleep. I woke up in the night and he was still working.”

“In my role producing it, I just let it roll to make a good vibe,” says Sherwood. “We recorded it completely live, did some programming and processing on some tracks, using dub techniques live on the mixing desk and adding some slick touches. We wanted the colours on the album to swing off what Ayisoba was doing, so we invited some friends to participate. Doug Wimbish (Sugar Hill Gang) arrived from America and lent his services playing bass on a couple of tracks; the wonderful Ivan Hussey (Celloman) played bass, keyboards and cello - cello is not really featured on African recordings so we thought it would be really cool to try it. I'd been working with Alex White (Fat White Family/Primal Scream) on my album (The Collapse of Everything) and so he added sax to a few tracks and I brought Alan Glenn down especially - Alan was in Little Axe but also Nine Below Zero and played in the Yardbirds – to add some mouth organ; Mark Bandola added a bit of flavour with his Juno, Ayisoba’s long-time Ghanian collaborator Ayuune Sule added some percussion and vocals and Matt Smith did some programming.”

“King Ayisoba is quite amazing, so unique,” Sherwood continues. “He’s got his own handmade instrument and three different voices - when you’re listening you think it’s three different people. He’s a breath of fresh air, full of love for the music which he wants to share with everybody. Some tracks we kept very straight and others we experimented with - adding dubby psychedelic little touches to trip you out a bit. The added production we did at On-U has given it a shine while still keeping it vibrant, live and spontaneous. I’m really proud of this record”.

On Pure Confusion, Ayisoba documents the anxieties, contradictions and changing social realities of contemporary Ghana. “Land is a problem for everyone,” says Ayisoba of the opening track “Property”. “If you don’t build on your land they will take it away. Plenty corruption in Ghana, plenty confusion. They sell the land to two, three, four people and then everybody fights.”

Elsewhere Ayisoba explores illness, spirituality and social stigma on “Bemba”, warning against hiding sickness out of shame or fear of “bad juju”: “People hide their sickness and the sickness kills them.” “Tewigiloge” reflects on cultural difference and open-mindedness encountered through world travel: “We will tour the whole world and we will see many things we may not like or understand… your eyes will see, but don’t talk - you have to be open-minded.”

Spirituality runs deeply throughout the album. Ayisoba’s grandfather was a respected spiritual healer whose presence the musician says still guides him today. “The grandparents’ spirits are the ones you can contact,” he explains of the spiritual chant “Nkaase”. “This song talks about the forefathers.” The closing track “Leeda-Mampanga (It’s Not My Strength)” acts as a statement of humility and gratitude: “You have to be humble, even if you have talent. God gives you the power.”

For more than two decades, King Ayisoba has been one of Africa’s most distinctive musical innovators, transforming northern Ghanaian kologo traditions into a bold contemporary sound rooted in hypnotic rhythms, social commentary and spiritual intensity. Since the breakthrough success of 2006’s Modern Ghanaians, Ayisoba has built an international following through acclaimed albums, relentless touring and collaborations with artists including Lee “Scratch” Perry, Orlando Julius and African Head Charge. Performances at Roskilde, WOMAD, Le Guess Who? and the Barbican have further cemented his reputation as a singular live performer and cultural force.

At the heart of twilightSPIRALS is a growing sense of social estrangement that exists precisely within constant connectivity. We are more connected than ever, in frequency, communication, visibility, and permanent interaction, yet genuine closeness often feels increasingly difficult to reach.
These songs were written from within that contradiction. They explore the longing for trust, friendship, openness, and vulnerability in a world where emotional life is increasingly mediated, accelerated, and experienced at the surface. There is an extraordinary amount of openness in
appearance today, yet very little real intimacy in depth. The frequency is high; the emotional grounding often remains absent.
That tension became the emotional center of the album. While the songs unfold, the emotional condition behind them feels universal: a person surrounded by constant communication and social exposure, yet unable to fully reach another person.


a 01 blackSUNwhiteM










a 01 blackSUNwhiteM

a 01 blackSUNwhiteM










[a] a1 | blackSUNwhiteM








[j] b4 | cityLIGHT

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

Windy & Carl Meet Optigan Conservatory is a purposefully misleading title for the first collaborative work from four friends who met close to thirty years prior. All active participants in Michigan independent music circles since the early ’90s, Windy & Carl are well-known for their foundational contributions to drift and guitar-born ambient sounds, with songs characterized by deep connections to the natural world and a hard to pin down yet impossible to miss emotional vulnerability.

Optigan Conservatory is another duo, made up of Frank Rotondo (leader of Detroit area free music ensemble Laughing Gas) and Fred Thomas (songwriter and producer most often associated with his band Saturday Looks Good To Me), who have been making minimalistic and time-defiant electro-acoustic sounds since 2016. The album came together almost effortlessly in a very short timeframe, but the idea had been building steam for many a year.

In the last days of 2024, Windy & Carl and Optigan Conservatory got together, falling into a mode of sound creation that was almost hyper-natural. Without any discussion outside of the usual stream of jokes and chatter, the quartet set up and started communicating. Added to Windy & Carl’s hovering augmented chord voicings and vaporous guitar drones were electric piano and synth bedding from Frank & Fred. After the initial sessions, all involved parties took time to consider what they’d made, adding new layers and editing the pieces into more definitive articulations.

A beautiful and hermetic energy larger than the sum of its parts is captured in the process. There are echoes of the earliest releases from Windy & Carl as well as refractions of the same opacity that surfaced in the early kranky catalogue.

In 2001, Shin’ichi Ogawa of Sugar Plant was working for the SAL Disc record label and came up with the idea of doing an E2-E4 tribute album with his friends. This album would come off the back of a Neil Young tribute album which might have seemed odd but these two artists, Neil Young and Ashra (Manuel Göttsching), would be played regularly as equals at after-parties that Shini’ichi would throw at his house. Longtime friend and collaborator, Taro Yoda, noted that the eclecticism of these after-parties were influenced by the variety of parties they were attending at the time, from the legendary Japanese open-air rave party Life Force to Cream at Amnesia in Ibiza. Taro was obsessed with European trance and left-field downtempo while the two members of Sugar Plant were into ’70s soul—especially Marvin Gaye and William DeVaughn and at the same time, they were listening to Phish and the Grateful Dead too. All three of them were of course inspired by the DJ’ing and selections of Larry Levan.

A- Side – Sugar Plant – “Just Be There” – Production began in my home studio. Since I was frequently attending a house party called “Life Force” (with DJ Nick the Record as the resident DJ) at the time, I thought deep house would be the perfect style for a Sugar Plant cover.
I looped a two-chord electric piano track and applied filters using plugins and outboard gear to create a “sound I could listen to forever.” I recorded the bass on guitar and converted it to an analog synth (Doepfer MS-404).

From there, I layered synths improvisationally, listening to the track over and over again to make fine adjustments. I think I worked on it for days, mostly late at night.
I recorded the guitar at the very end of the track. After playing it a few times ad lib without any set plan, I suddenly had the idea to add vocals during the bridge, so I set up a mic in my hallway and recorded them.

I think this track is packed with the emotions I felt when listening to “E2-E4” back then, as well as the vibe I experienced at that party. – Shin’ichi Ogawa

"Bloc Party zählen zu den prägendsten Indie-Bands der 2000er Jahre. Ihr Debüt Silent Alarm wurde mit dem NME Award als „Album of the Year“ ausgezeichnet und verkaufte sich weltweit über eine Million Mal. Über zwei Jahrzehnte hinweg hat sich die Band mit kontinuierlicher Weiterentwicklung und intensiver globaler Touring-Präsenz eine treue und stetig wachsende Fanbase aufgebaut.

In den vergangenen vier Jahren wurde ihre Ausnahmestellung eindrucksvoll bestätigt und gleichzeitig eine neue Generation von Fans gewonnen – von Welttourneen mit Paramore über ausverkaufte Headliner-Shows im Londoner Crystal Palace Park bis hin zu gefeierten Auftritten bei Festivals wie Reading & Leeds. Mit dieser neuen Dynamik im Rücken und nach ihrem größten Tourjahr seit zwei Jahrzehnten kündigen Bloc Party nun ihr nächstes Album an. Das Werk erzählt die Geschichte einer einjährigen Beziehung – intensiv, persönlich und schonungslos – produziert gemeinsam mit Studiolegende Trevor Horn.

Zudem spielen Bloc Party eine Co-Headliner-Arenatour durch UK & Europa zusammen mit Interpol sowie großen US-Open-Air-Shows mit Muse."

"Bloc Party zählen zu den prägendsten Indie-Bands der 2000er Jahre. Ihr Debüt Silent Alarm wurde mit dem NME Award als „Album of the Year“ ausgezeichnet und verkaufte sich weltweit über eine Million Mal. Über zwei Jahrzehnte hinweg hat sich die Band mit kontinuierlicher Weiterentwicklung und intensiver globaler Touring-Präsenz eine treue und stetig wachsende Fanbase aufgebaut.

In den vergangenen vier Jahren wurde ihre Ausnahmestellung eindrucksvoll bestätigt und gleichzeitig eine neue Generation von Fans gewonnen – von Welttourneen mit Paramore über ausverkaufte Headliner-Shows im Londoner Crystal Palace Park bis hin zu gefeierten Auftritten bei Festivals wie Reading & Leeds. Mit dieser neuen Dynamik im Rücken und nach ihrem größten Tourjahr seit zwei Jahrzehnten kündigen Bloc Party nun ihr nächstes Album an. Das Werk erzählt die Geschichte einer einjährigen Beziehung – intensiv, persönlich und schonungslos – produziert gemeinsam mit Studiolegende Trevor Horn.

Zudem spielen Bloc Party eine Co-Headliner-Arenatour durch UK & Europa zusammen mit Interpol sowie großen US-Open-Air-Shows mit Muse."

Amyl and The Sniffers kündigen mit Truth Or Consequence ein Live-Album an, das alles andere als ein klassisches Konzertdokument ist. Im April vergangenen Jahres nahm die Band gemeinsam mit Freunden im legendären El Coyote Mexican Restaurant in Los Angeles eine einzigartige Performance auf und interpretierte ihre Songs erstmals in reduzierten, country-inspirierten Versionen. Das Album vereint neu arrangierte Fan-Favoriten mit zwei bislang unveröffentlichten Songs sowie einer Coverversion von Slim Dustys Klassiker "Lights On The Hill". Die Aufnahmen zeigen Amyl and The Sniffers von einer ungewohnt intimen, lockeren und verspielten Seite und fangen die besondere Atmosphäre einer spontanen Session unter Freunden ein. Zur Veröffentlichung erscheint auch ein begleitender Konzertfilm mit exklusiven Einblicken hinter die Kulissen. Im Mittelpunkt steht jedoch die Musik: Truth Or Consequence präsentiert die Band in einem völlig neuen Klanggewand und eröffnet einen frischen Blick auf ihr Songwriting. "The hope for this record is that it is listened to as it was made, in a ruckus exclamation between a cherished group of friends", erklärt die Band. Mit den ungewöhnlichen Arrangements und der entspannten Live-Atmosphäre dokumentiert Truth Or Consequence eine besondere Seite von Amyl and The Sniffers und erweitert den Blick auf eine Band, die bisher vor allem für ihre energiegeladenen Rockshows bekannt ist.

Amyl and The Sniffers kündigen mit Truth Or Consequence ein Live-Album an, das alles andere als ein klassisches Konzertdokument ist. Im April vergangenen Jahres nahm die Band gemeinsam mit Freunden im legendären El Coyote Mexican Restaurant in Los Angeles eine einzigartige Performance auf und interpretierte ihre Songs erstmals in reduzierten, country-inspirierten Versionen. Das Album vereint neu arrangierte Fan-Favoriten mit zwei bislang unveröffentlichten Songs sowie einer Coverversion von Slim Dustys Klassiker "Lights On The Hill". Die Aufnahmen zeigen Amyl and The Sniffers von einer ungewohnt intimen, lockeren und verspielten Seite und fangen die besondere Atmosphäre einer spontanen Session unter Freunden ein. Zur Veröffentlichung erscheint auch ein begleitender Konzertfilm mit exklusiven Einblicken hinter die Kulissen. Im Mittelpunkt steht jedoch die Musik: Truth Or Consequence präsentiert die Band in einem völlig neuen Klanggewand und eröffnet einen frischen Blick auf ihr Songwriting. "The hope for this record is that it is listened to as it was made, in a ruckus exclamation between a cherished group of friends", erklärt die Band. Mit den ungewöhnlichen Arrangements und der entspannten Live-Atmosphäre dokumentiert Truth Or Consequence eine besondere Seite von Amyl and The Sniffers und erweitert den Blick auf eine Band, die bisher vor allem für ihre energiegeladenen Rockshows bekannt ist.

A first-generation Nigerian-American hailing from Katy, TX, singer-songwriter Blessing Jolie creates pop music that straddles the line between introspective indie-folk and R&B. Like Tracy Chapman and Alanis Morissette before her, her songs are stories steeped in the vulnerability and messiness of a young woman growing up– from experiencing love for the first time to the effects of imposter syndrome to finding your place in between cultures and expectations. "I watched all my old friends graduate college while I was still chasing a dream. I wondered who I would’ve been if I took the same four-year route—but I’m learning to stand by myself through clarity, mistakes, and every detour. My life is mine to build and experiment with however my heart leads." - Blessing Jolie on Software Developer "Software Developer" is the third single leading up to Blessing Jolie's debut album with Thirty Tigers, 20Teens.

To mark their 10th anniversary, ground-breaking, JUNO Award-nominated and SOCAN Award-winning Toronto duo cleopatrick are releasing 4 cleopatrick EPs. The aptly-named collection features four iconic EPs spanning their history as a band - "14," "the boys," "DOOM," and "SCRAP" -- available on vinyl for the first time ever. The two-disc set is pressed on Petrol Blue vinyl and is available via their own Nowhere Special Recordings/Thirty Tigers.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Seit 2019 schrauben FOUR BLACK LUNGS behutsam an ihrem Sound, feilen an Melodien und Songs, die sich sofort vertraut anfühlen, ohne jemals beliebig zu werden. Die vier neuen Stücke klingen wie der erste Kaffee am Morgen: warm, vertraut und voller Energie. Unter der eingängigen Oberfläche stecken jedoch Geschichten, die mit einer ordentlichen Portion Weltschmerz und Hoffnung erzählt werden. Midwestern Pop-Punk trifft auf Heartland Rock und große Melodien.

HUG is the new collaborative project from Gyan Riley, Devendra Banhart & Noah Georgeson, three independent artists who also happen to be childhood friends. Their new album is intimate, contemplative, and full of childlike wonder. At times ambient, at times enigmatic, each song moves across folk tradition and genre, as Devendra, Gyan, and Noah take turns leading.

The quintet NOVA FELLOWSHIP was formed at the initiative of producer Antoine Rajon for a performance at the NUITS SONORES 2026 festival to pay tribute to the short but fruitful collaboration between musicians Kieran Hebden (aka Four Tet) and Steve Reid.

A discreet yet essential figure on the American music scene, the African-American drummer Steve Reid (1944-2010) left his mark on the history of free jazz, funk, and rock. His collaborations included the Sun Ra Arkestra, Albert Ayler and Miles Davis (Tutu), James Brown (on the classic Popcorn), and Martha & the Vandellas.
The end of his career was marked by his encounter with the Englishman Kieran Hebden, an emblematic pioneer of electronic music known as Four Tet, with whom he recorded four hybrid, experimental, and spiritual albums between 2006 and 2010. NOVA FELLOWSHIP, a group of friends who have collaborated in several bands, recorded the album CONTINUUM live at Studio Pigalle in Paris, with Kieran Hebden in attendance, who was captivated by the group's first concert at the Nuits Sonores festival.


On this album, NOVA FELLOWSHIP covers three 1970s classics by Steve Reid & the Master Brotherhood, three tracks by Four Tet, and a composition by the duo Kieran Hebden & Steve Reid, "Morning Prayer," which appears on their first joint album. Missouri drummer Zach Morrow brings to the group the dynamism he has displayed in recent years touring with poet Aja Monet. Heir to the versatility of Steve Reid, his playing is imbued with the full spectrum of Great Black Music. Versatile pianists Tony Tixier, arranger of an explosive version of the Nova/Free Spirits tracks created by Steve Reid, and Rob Clearfield, known for his work with Makaya McCraven, create hypnotic bass lines and captivating synth textures on their shared keyboards and synthesizers. Eritrean/American trumpeter Hermon Mehari and Italian saxophonist Francesco Geminiani, both Parisians and active on the European scene, form a powerful brass section. On ‘Morning Prayer,’ Francesco uses for the first time a flute of his own design, the Nautilus, which resembles an ocarina. This instrument, carved from maple wood and stylized on the album cover, was designed according to the Fibonacci sequence and the golden ratio. Its use celebrates the mystical and exploratory nature of the duo formed by Kieran Hebden & Steve Reid, whose musical alchemy has left its mark on all those who have attended one of their concerts.

Kitsune No Yomeiri, which translates to the fox’s wedding, is an endearing expression used to describe sunshowers. Dawson returned home from a recent tour of Japan with a collection of field recordings documenting the spring rain he encountered throughout his travels. These curious sounds, stretching from peaceful shrines to clattering city streets, underpin the material.

Dawson also credits the wonderful folks he met on that tour with profoundly shaping the direction of the album. After each show he found himself immersed in inspiring conversations about the guitar. Through navigating the language barrier, he discovered he was communicating with an immense sincerity that he would ordinarily avoid at all costs. “I’ve always just made records at home in a vortex, but this time it felt like those conversations were there with me in the studio.”

Musically the album has a slight western slant. It’s not country, but it does see Dawson lean softly into his prairie past. Constellations of stray notes and rusted tones form nostalgic melodies, like chance encounters between old friends. Dawson allows phrases and gestures to repeat across the record, resulting in a collection that’s more akin to turning the pages of a novel than a series of vignettes vying for attention.

Previously unreleased proto-metal album by this criminally forgotten UK band. Sweaty Betty were neighbours and friends of Black Sabbath and Judas Priest, all hailing from the West Midlands region of England. The Sweatier The Bettyer, was recorded in 1974/75 and features Budgie drummer Pete Boot. Also, on vocals was future NWOBHM cult legend: Rik Staines, who went on to form Dark Star. Their debut 45: Lady of Mars is considered a classic of the genre. After several years of strenuous research, Rise Above Relics is excited to bring this long-lost jewel from the crypts of the 1970s British underground scene. Mastered and cut from the original 1/4" tapes, it is a gargantuan feast for fans of the era

The second volume of this (already) cult series of British proto-metal compilation albums. Every artist on here was a regional band in their local underground scene of the late 1960s/early 1970s. The main thing that differentiates this series to any other, is the fact that none of the artists included had any kind of commercial release during their existence (apart from Fusion Farm, who self-released an extremely rare private press LP titled 'Rush Job' in 1971). All the artists were discovered after extremely lengthy searches of old music magazines, local newspapers, concert posters, government agencies.... By any means possible! It was a lot of work, but the results speak for themselves. The one thing that joins all these bands together (apart from being exclusively British), was their desire to play as loud and heavy as possible. This was a magical era in rock music, where Black Sabbath were the undisputed kings, but the industry simply didn't want to recognise the countless other band that existed in their gloomy wake. All of the recordings on Yeah Man, It's Bloody Heavy! are taken from demos, whether originating from crusty old 1/4 inch tapes, dusty acetate discs or third generation cassette tapes. Basically, whatever format was available. As a result, sound quality varies, though we did our utmost to get these precious artefacts sounding as killer as possible. For instance, Bonehead were close friends of Led Zeppelin. Their guitarist/vocalist Paul Lockey had previously played with Robert Plant and John Bonham in the Band Of Joy. Their track, 'Free To Escape', was actually an audition tape for Atlantic Records, which had been instigated by Robert himself. Unfortunately, the band broke up not long after the recording. So, their recording is top notch, whereas others were taken from rehearsal tapes (such as Fusion Farms' - Keys To Hell). But the main thing is, there's a spirit that unites them all. Sit back, roll up a fat one and let your mind be blown by the obnoxious sounds and sheer weight of vintage gravity that is: 'Yeah Man, It's Bloody Heavy! Vol 2'.

When Drop Nineteens disbanded in the mid-'90s, singer Greg Ackell decided he would never make music again. He wouldn't noodle around on a guitar in his basement. He wouldn't get a group of friends together just to jam. He was done with music entirely. Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, the group disbanded. They shared stages with Radiohead, Hole, Blur, PJ Harvey and Smashing Pumpkins. They went from being teenagers in Boston to mid-twenty-somethings with a few MTV videos, a couple BBC sessions and numerous festival appearances under their belt. So when Drop Nineteens ceased to be, Ackell felt content. He had the rest of his life in front of him to figure out what he wanted to do. Music was a closed chapter.That was until 2021, when a friend from the band's early days got Greg on the phone to suggest making some music together, just to see how it felt. Instead of shutting it down like he had been doing over the years, he decided to entertain the prospect. For the first time in nearly 30 years, he picked up a guitar with intent. He immediately called up Steve Zimmerman, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says, "But also the question came up: what does a Drop Nineteens song sound like today?" Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light was, of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell writes the lyrics, and he works with band members Steve Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country: Boston, Brooklyn, San Francisco, Los Angeles. When Kelley and Ackell first heard their vocals recorded together on the opus album closer "T", the chemistry was undeniable. Making music together felt natural, fluid, exciting.Hard Light is a romantic record in the literary sense. Beauty from longing; longing from beauty. You put the album on and want to be clad in a velvet dress sprawled across a fainting couch. You want to be holding someone's hand while you sit back in the tall grass. The guitars are expansive and expressive as ever. Ackell and Kelley's vocals are cool, crystalline, and luminous. "Gal" comes on like a dream. The vocals pour in when you least expect them, once in the middle, where Ackell delivers one of the strangest (and best) lyrics on the record, "And there were snakes/with cats at the wheel." Hard Light's first single, "Scapa Flow" is triumphant and an excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide cloud-like, floor toms shuffle and rumble in the background, searching. Ackell and Kelley's vocals are as toned as they are bound. Hard Light is every bit the ride that Delaware was, diverse in its sounds, with surprises at every turn. Drop Nineteens have brought clarity and cool in 2023 to the genre they helped create. A portrait of a band 30 years later, as talented and dedicated to their craft as ever. To put it more bluntly, they're at the top of their game.

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

EXTRACELLULAR:

the space between cells where signals are exchanged & life is communicated

12" vinyl compilation of pulsing electro, jazz fragments, industrial dub & spoken abstraction featuring label friends & associates from the UK & EU.

Nachdem sie jahrelang durch's Netz, durch Köpfe und Herzen geisterte, hier nun endlich das Debüt-Album, auf dem die mittlerweile in Berlin ansässige Formation ein graziöses Kleinod liefert, das Melancholie und Aufbruchstimmung in sich vereint und mit seiner wundervollen Inszenierung sofort unter die Haut geht. Voodoo Beach liefern mit »Wonderful Life« Postpunk / Noiserock auf höchstem Niveau. Ähnlich wie Karies, Die Nerven, Friends Of Gas oder Messer, haben sich Voodoo Beach durch 90er Jahre Noiserock prägen lassen und vermengen diese Einflüsse mit offensichtlicher Liebe zu Postpunk und Shoegaze. Harte Anschläge treffen auf durch den Äther wabernde Gitarren-Riffs, walzende Basslines und packendes Drumming. Faszinierend die Chords der Gitarre mit einem manchmal leicht nahöstlichen Touch, aber immer im Postpunk-Noiserock-Psychedelic-Modus. Darüber thronen die verrauchten Vocals von Sängerin Heike Rädeker, deren vorgetragene Texte so ehrlich sind, dass sie weh tun. Mit Hendrik Otremba (Messer) und John Moods (Fenster) konnte die Band tolle Gastbeiträge für das Album gewinnen. Eine der Platten des Jahres!

Super limited (1000 Global) Silver Die-Cut vinyl first pressing, shrinkwrapped with hand stamped 'cafe' napkin obscuring the cover. Please preorder asap.

On Cafe Paradiso, Mykki Blanco is completely reborn, trading the persona - driven theatrics of his previous releases for something more interior and exacting. The record draws from the diverse, banal and yet idiosyncratic contexts of the artist's life in transit.

"Chameleonic" is one way to describe the artist known as Mykki Blanco, who has played many roles through his storied career: a rapper, a poet, a magazine editor, an advocate. Perhaps "fearless" better describes him; with high profile collaborations from the likes of Charli XCX, Teyana Taylor, Basement Jaxx, Blood Orange, Big Freedia, Kelsey Lu, Michael Stipe, Arca and Anhoni, Mykki has been recognised as a pioneer of queer-centric hip-hop who resonates across musicians of many genres and generations.

This album is Mykki at their most direct - a coherent statement with collaborator FaltyDL and a massively listenable album for fans of LCD Soundsystem and New York Punk, packaged in striking 'Napkin covered' deluxe vinyl for a super-exclusive first run

STEELOVER is a Belgian Melodic Rock / Metal band. The band was formed in the early 80's by three friends living in Liege, Belgium, the guitarists Pat Freson & Mel Presti and the bassist Nick Gardi. In search of a drummer, they threw their sights on Rudy Lenners (Scorpions) upon his return from Germany, having left the famous German band Scorpions. Rudy proposed to contact Vince Cardillo, a singer who had already on the one hand good experience and on the other hand he already recorded an album in London, “It will fit perfectly” explained Rudy. They all felt the magic during the first rehearsal. In no time, Steelover recorded their first album "Glove Me” which was released under the Mausoleum label. This album sold over more than 400.000 copies of which more than 76,000 in Poland. They followed with a tour across different countries like The Netherlands, Germany, France and Belgium including Forest National opening for Bon Jovi and KISS. Vince decided to leave the band. Replaced by Dani Klein, the second album was recorded but never released. Dani left the band after a short time with Mel Presti to start a new band under the name Vaya Con Dios.
The band came back in 2017 with a new E.P. (including single "Wild and Free") mixed by the legendary producer and and mixing engineer Tommy Hansen.
In 2019, Rudy Lenners greeted the audience one last time before retiring from his musical career. Vince had returned to the band at this point…after the show Vince, Pat & Nick decided to continue the Steelover adventure and in 2022 released the album “Stainless” on the Escape music label (ESM368). This was a great metal album and fans old and new longed to hear more. It’s now 2026 and Steelover are back with a brand-new recording featuring 11 tracks of hard rock / heavy metal. The band are very much in the style of that 80’s metal sound, a sort of mixture of Scorpions and Saxon if you like. These new songs all hit the mark making “Devil’s Highway” an album that needs to be checked out…

Die Gentrys, bekannt für ihren Hit „Keep On Dancing“ aus dem Jahr 1965, waren eine Garage-Rock-Band aus Memphis, die 1970 zu Sun Records wechselte, als das Label nach Nashville umzog. Diese Sammlung seltener Grooves und bisher unveröffentlichter, verschollener Titel aus dem Sun-Archiv präsentiert die Gentrys unter der Leitung des legendären WWE-Managers und TV-Stars Jimmy Hart, produziert vom Sohn des Visionärs Sam Phillips, Knox Phillips. „It’s Been So Long“ zeigt eine sanftere Seite der Band und verbindet Harmonien im Laurel-Canyon-Stil mit ihrem Memphis-Rock-Sound.

New EP, after a long break.

Bermuda and Matteo Point, Italian producers and DJs who have been friends for years, return with a new EP born from their shared vision of electronic music.

On Side A, Bermuda delivers dry 80s-inspired drums, energetic synths, and deep, precise, and immersive sounds.

On Side B, Matteo Point brings a more visionary and experimental approach: dreamy high-tone synths, reverse effects, and dynamic drums that create a hypnotic and constantly evolving atmosphere.

Brennan Wedl"s self-titled album is a testament to collaboration, with old selves, the selves yet-to-be and the friends helping you along the way. It"s an anthology of spiritual awakening that sizes up the road ahead, encapsulating the messes and triumphs when leaving a traditional path for something less steady. Wedl is already a prolific artist, releasing solo music since 2012, and co-founding the queercore outfit Dazey & The Scouts in 2015. On her debut album for ANTI-, she shakes off the prying eyes of expectation, leaving behind the anxiety of forming yourself for others and welcoming in the delight of finally being exactly who you are. Wedl enlisted Katie Crutchfield (Waxahatchee) and Brad Cook (Bon Iver, Hurray for the Riff Raff) to co-produce and play on the album, with instrumentalists Colin Croom, Lindsey Jordan and Matt McCaughan also sprinkled throughout. Together, they formed a middle ground between punk, grunge and Americana - "grungetry" as they affectionately call it - capturing all tracks within a 10 day stay at Cook"s studio in Durham, NC.

Leap Life is Saul Williams’ first solo album in over 10 years and marks a major return for one of the most influential voices in spoken word and experimental music. Named after Saul’s leap year birthday, the project has been carefully sequenced by composer and producer Carlos Niño as a fully immersive, front-to-back listening experience.

The album expands Saul’s sound into electronic and ambient territories while remaining rooted in spoken word, with rich sound design built from nature recordings, environmental textures, and expansive instrumentation. It also sees Saul step further into the role of producer, drawing influence from Fela Kuti, Black church traditions, and South African electronic music. The record features a standout cast of collaborators including Kamasi Washington, Georgia Anne Muldrow, Moor Mother, Gonjasufi, and Surya Botofasina, alongside material developed with Robert Del Naja (Massive Attack). Released via Big Dada, the album marks a full-circle moment with the label where Saul originally launched his solo career.

"There Near" ist das sechste Studio-Album, das DINOSAUR JR. seit ihrer gefeierten Wiedervereinigung vor 20 Jahren aufgenommen haben. Zwar gab es seit "Sweep It Into Space" vor fünf Jahren einige Live Veröffentlichungen und Archivsammlungen, doch nichts kommt an ein komplett neues Album voller frischer DINO Songs heran. Und auf "There Near" stehen sämtliche Regler auf Anschlag. Das Album entstand in kurzen, intensiven Arbeitsphasen über den Zeitraum eines Jahres hinweg in den Bisquiteen Studios in Amherst. Aufgenommen wurde es nahezu vollständig vom Kerntrio der Band: Schlagzeuger Murph, Bassist und Sänger Lou Barlow sowie Gitarrist und Sänger J Mascis. Unterstützung kam lediglich durch einige Piano- und Orgelparts von Ken Mauri. Das Ergebnis entfaltet von Anfang bis Ende eine enorme Wucht. Der Gitarrensound von Mascis klingt auf "There Near" noch ursprünglicher und animalischer als gewohnt, was möglicherweise auch an einem kürzlich erworbenen Mesa Boogie MK 1 Verstärker aus den 1970er Jahren liegt. "Ich habe denselben Verstärker gekauft, den Chris Dixon hatte, als wir unser erstes Album aufgenommen haben", erklärt Mascis. "Chris hat uns damals bei sich zu Hause mit genau diesem Amp aufgenommen. Er hat einen wirklich interessanten Klang, den ich schon lange nicht mehr hinbekommen habe. Genau zu diesem Sound wollte ich auf diesem Album zurück. Die ROLLING STONES begannen in den 70ern Mesa Boogies zu benutzen, nachdem sie SANTANA damit gehört hatten. Danach machten es THE CLASH nach und so weiter. Mit den späteren Modellen wurde der Sound zunehmend Metal-lastiger. Aber der MK 1 klingt wie ein aufgemotzter Fender. Man hört immer wieder, dass Rick Rubin Bands dazu bringt, ihr erstes Album zu hören und zu sagen: Lasst uns wieder zu diesem Sound zurückkehren. Also habe ich mir seinen Rat einfach selbst gegeben." Auf die Frage nach der oft schwer greifbaren Bedeutung seiner Texte antwortet Mascis: "Wenn ich einen Song schreibe, weiß ich oft selbst nicht genau, worum es darin geht. Ich schätze, die Bedeutung zeigt sich irgendwann von allein. Ich verwende einfach die Worte, die funktionieren. Vieles wird auch von irgendeinem esoterischen Kram beeinflusst, den ich gerade lese. Ich versuche, nicht zu viel darüber nachzudenken. Mich nervt es, dass Spotify inzwischen alle Songtexte anzeigt. Wo bleibt da der Spaß?" Mit "There Near" setzen DINOSAUR JR. ihre Reihe von mittlerweile zu Klassikern mutierten Alben fort. Die neuen Songs dürften mit ihren gewaltigen Riffs live ebenso eindrucksvoll funktionieren wie die Klassiker des Bandschaffens. Bis die Band wieder auf der Bühne zu erleben ist, wird "There Near" ein treuer Begleiter sein. Je näher, desto besser.

Splatter Vinyl, exklusiv via 375 Media. "There Near" ist das sechste Studio-Album, das DINOSAUR JR. seit ihrer gefeierten Wiedervereinigung vor 20 Jahren aufgenommen haben. Zwar gab es seit "Sweep It Into Space" vor fünf Jahren einige Live Veröffentlichungen und Archivsammlungen, doch nichts kommt an ein komplett neues Album voller frischer DINO Songs heran. Und auf "There Near" stehen sämtliche Regler auf Anschlag. Das Album entstand in kurzen, intensiven Arbeitsphasen über den Zeitraum eines Jahres hinweg in den Bisquiteen Studios in Amherst. Aufgenommen wurde es nahezu vollständig vom Kerntrio der Band: Schlagzeuger Murph, Bassist und Sänger Lou Barlow sowie Gitarrist und Sänger J Mascis. Unterstützung kam lediglich durch einige Piano- und Orgelparts von Ken Mauri. Das Ergebnis entfaltet von Anfang bis Ende eine enorme Wucht. Der Gitarrensound von Mascis klingt auf "There Near" noch ursprünglicher und animalischer als gewohnt, was möglicherweise auch an einem kürzlich erworbenen Mesa Boogie MK 1 Verstärker aus den 1970er Jahren liegt. "Ich habe denselben Verstärker gekauft, den Chris Dixon hatte, als wir unser erstes Album aufgenommen haben", erklärt Mascis. "Chris hat uns damals bei sich zu Hause mit genau diesem Amp aufgenommen. Er hat einen wirklich interessanten Klang, den ich schon lange nicht mehr hinbekommen habe. Genau zu diesem Sound wollte ich auf diesem Album zurück. Die ROLLING STONES begannen in den 70ern Mesa Boogies zu benutzen, nachdem sie SANTANA damit gehört hatten. Danach machten es THE CLASH nach und so weiter. Mit den späteren Modellen wurde der Sound zunehmend Metal-lastiger. Aber der MK 1 klingt wie ein aufgemotzter Fender. Man hört immer wieder, dass Rick Rubin Bands dazu bringt, ihr erstes Album zu hören und zu sagen: Lasst uns wieder zu diesem Sound zurückkehren. Also habe ich mir seinen Rat einfach selbst gegeben." Auf die Frage nach der oft schwer greifbaren Bedeutung seiner Texte antwortet Mascis: "Wenn ich einen Song schreibe, weiß ich oft selbst nicht genau, worum es darin geht. Ich schätze, die Bedeutung zeigt sich irgendwann von allein. Ich verwende einfach die Worte, die funktionieren. Vieles wird auch von irgendeinem esoterischen Kram beeinflusst, den ich gerade lese. Ich versuche, nicht zu viel darüber nachzudenken. Mich nervt es, dass Spotify inzwischen alle Songtexte anzeigt. Wo bleibt da der Spaß?" Mit "There Near" setzen DINOSAUR JR. ihre Reihe von mittlerweile zu Klassikern mutierten Alben fort. Die neuen Songs dürften mit ihren gewaltigen Riffs live ebenso eindrucksvoll funktionieren wie die Klassiker des Bandschaffens. Bis die Band wieder auf der Bühne zu erleben ist, wird "There Near" ein treuer Begleiter sein. Je näher, desto besser.

Im Vorfeld des Pelagic Fest 2026 feiert das Label den Meilenstein uder 300. Veröffentlichung mit ,The Dungeon Tapes" - einer Zusammenstellung neuen und ubveröffentlichem Materials verschiedener Pelagic-Künstler, darunter The Ocean, Psychonaut, Lost In Kyiv, Pothamus, Gösta Berling's Saga, Telepathy, Spook The Horses, Arms and Sleepers, Johan G Winther, Thot, Barrens und The Answer Lies In The Black Void. Der Eröffnungstrack von Pelagic United and Friends verkörpert den Geist der Zusammenarbeit: Das Projekt vereint Mitglieder von Spotlights, Rosetta, Failure, Shy Low und Hiroe, die gemeinsam eine Version von My Bloody Valentines ,Soon" aufgenommen haben. Dieser Klassiker erfährt hier eine bemerkenswert direkte, düstere und emotional rohe Interpretation, bei der die Shoegaze-Ästhetik in weite Klangräume und ätherische Klänge in brutale Wucht verwandelt werden. Und danach gibt's noch 12 weitere, düstere Post Metal, Postrock, Post-Hardcore-Goodies! CD oder Doppel-Vinyl (schwarz oder farbig) mit Etching auf Seite D. Gatefold Sleeve mit Glanzlack-Coverart.

Im Vorfeld des Pelagic Fest 2026 feiert das Label den Meilenstein uder 300. Veröffentlichung mit ,The Dungeon Tapes" - einer Zusammenstellung neuen und ubveröffentlichem Materials verschiedener Pelagic-Künstler, darunter The Ocean, Psychonaut, Lost In Kyiv, Pothamus, Gösta Berling's Saga, Telepathy, Spook The Horses, Arms and Sleepers, Johan G Winther, Thot, Barrens und The Answer Lies In The Black Void. Der Eröffnungstrack von Pelagic United and Friends verkörpert den Geist der Zusammenarbeit: Das Projekt vereint Mitglieder von Spotlights, Rosetta, Failure, Shy Low und Hiroe, die gemeinsam eine Version von My Bloody Valentines ,Soon" aufgenommen haben. Dieser Klassiker erfährt hier eine bemerkenswert direkte, düstere und emotional rohe Interpretation, bei der die Shoegaze-Ästhetik in weite Klangräume und ätherische Klänge in brutale Wucht verwandelt werden. Und danach gibt's noch 12 weitere, düstere Post Metal, Postrock, Post-Hardcore-Goodies! CD oder Doppel-Vinyl (schwarz oder farbig) mit Etching auf Seite D. Gatefold Sleeve mit Glanzlack-Coverart.