Cerca:full circle

long content, you may need to expand row to see all... Das Warten hat ein Ende: 18 Jahre nach ihrem letzten gemeinsamen Projekt haben Gnarls Barkley mit ihrem neuen Album Atlanta ihr finales musikalisches Kapitel vorgelegt. Das mit Spannung erwartete Werk von CeeLo Green und Danger Mouse markiert den krönenden Abschluss einer der einflussreichsten Kollaborationen der modernen Musikgeschichte. Mit der Single-Auskopplung „Pictures“ bewies das Duo bereits pünktlich zum Release, dass ihre Chemie aus souligen Gospel-Vocals und vielschichtiger Produktion nichts von ihrer Magie verloren hat. Atlanta ist dabei weit mehr als eine nostalgische Reunion; es ist die Vollendung einer Geschichte, die 2006 mit dem Welthit „Crazy“ begann. Die beiden gebürtigen New Yorker kehren mit diesem Album zu ihren Wurzeln zurück und vereinen erneut Soul, Hip-Hop und Psychedelia zu einem einzigartigen Sound. Für Fans markiert diese Veröffentlichung einen „Full Circle Moment“, der den Geist der Selbsterfahrung und künstlerischen Freiheit feiert, für den Gnarls Barkley seit jeher stehen.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

Criteria for a Black Widow was a love letter to old-school Annihilator fans. It hit record shops at the precise moment the delirium of the 90s cleared and metal was ready to get heavy again. From the pummeling attack of opener Bloodbath to the classic brawl of Back To The Palace and the album's searing title track – all festooned with Jeff's ability to fuse the finesse of six stringed virtuosity with the auditory effects of a hand grenade – this was more than a return to form; it was the sound of Annihilator coming full circle.

DeepLabs opens 2026 with an exciting new release, “Förvandling,” from Tarik Hensen—the collaborative project of two exceptional producers, Martinou & Ben Kaczor.
This release completes a full-circle journey: rooted in Detroit techno, traveling through Malmö, and landing in Basel, where these influences converge into a singular, immersive statement.
Longtime admirer of both artists’ solo works, Luke Hess joins the project with his own interpretation of Förvandling, bringing his distinct Detroit-informed perspective to the release.
Förvandling is the Swedish word for “transformation,” describing the metamorphosis of a caterpillar into a butterfly.
The title reflects the evolution of techno itself—how it shifts and reshapes across cities, communities, and eras while retaining its core spirit.
Varp refers to the vertical warp threads in woven fabric—essential structural lines that hold everything together.
The track mirrors this concept: hypnotic percussion and immersive ambience interlace with melodic tones, unified through Tarik’s live dub mixing approach, creating a rich, fluid tapestry of sound.
Malm translates to raw ore, the unrefined material that, when forged with alloys, becomes durable metal.
True to its name, the track channels a deep, raw warehouse energy—refined into a functional gem through harmonious stabs, textured layers, and driving momentum.
Closing the EP, Luke Hess’s remix of Förvandling draws from elements across the original works while incorporating new audio stems from the DeepLabs studio.
The result is a seamless transformation of Tarik Hensen’s aesthetic into Luke’s unmistakable Detroit sound—an adventurous, atmospheric journey crafted for extended DJ sets and immersive dancefloor moments.
Tarik Hensen and Luke Hess invite you to weave these tracks into your curated selections and allow them to transform the dancefloor in unexpected ways.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

J.S.Zeiter returns to Furthur Electronix after presenting the first release on the label back in 2017! A full circle moment as this EP continues where the previous one left off. Four Deep and well throught through Acid cuts that puncture the mind. Limited pressing with custom insert.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Audaciously innovative sound designer/producer/live artist Enrico Sangiuliano reaches #0 in his countdown from ‘NINETOZERO’ on his eponymous ephemeral imprint, triggering its built-in autodestruct by the release of provocative 3-track EP ‘Absence’, out March 19th on vinyl & digital. The digital EP will also feature an Edit of ‘Step Into The End’.

The Italian tech maestro and artistic pioneer eschews populism, yet still storms charts & wins hearts – notably/recently in his unsettling, compelling manifesto x battle cry ‘The Techno Code’. Says Enrico of his label, ‘NINETOZERO is a cycle of listening, making, and letting go. Born from silence, shaped by space, directed by reflection, altered by change, revealed by glitch, unified through interconnection, lifted toward transcendence, refined by discipline, clarified by chaos, and finally returned to absence.’

On his ‘Absence’ EP: ‘With ‘Absence’ we come full circle, back to the womb of nothingness but charged with the echo of everything we have experienced. It is an ending, yes, but also an invitation. A new kind of silence is born, shaped by the memory of every frequency we unleashed.’ Enrico Sangiuliano can thrill listeners with his music, but dares to challenge, to trust them.

Main track ‘Step Into The End’: a full-on barrage of trustworthy techno danceability & energy, bookended by soulful violin, high horns & sirens, with spoken incantations as if summoning to a sacred rite. A ten-minute timeless dance track as ‘all we’ve learned converges into a single point where presence & silence merge.’

Title track ‘Absence’: The (Techno Code-esque) Voice speaks of sound, space, absence, trace... the track’s background noise is the almost- silence of his studio ‘through a magnifying glass’.. His breathing can just be heard in the recording. Melodic, beautiful, free-form chords in the middle section act like a breakdown in reverse. ‘A provocation, a track of silence, incidental noise. A tale of a story that just finished, but also a background for a story to be shaped. No one is intentionally performing for us. Here, the responsibility and work of listening is on you, to figure out what you can hear and what to make of it, to craft your own soundtrack based on the sounds that surround you, beyond the track. You can perform your own version yourself. Close your eyes and just listen. Engage with your environment. Be present. Expand your senses. Enjoy absence.’

‘The Aftermath’: a 40-second provocative coda. A snatch of stirring conversation signing off the EP and label alike. What will be launched post-zero by Enrico Sangiuliano? Watch this space, this absence.

Yellow Vinyl

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

Moo is the first wide release on my new label MUP! When I decided to make a new record, it only seemed right to go back to what brings me the most joy, which is, Rock & Roll music. I got my Tascam 388 fixed, the same tape machine I had used to record my first album, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years, but I had finally dragged it out to LA. I stopped caring if there were mistakes. There’s not enough mistakes. I played my old, blue, Gibson SG, Jazijoo, and she spewed mangled electrified gold. For once, I sang and I didn’t hate my voice. I played the drums badly and bounced them in mono to one track and it sounded like glorious shit. I wish it sounded even worse. Rock & Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey, autotuned or on the grid. It is not perfect, which is why it’s perfect. And I don’t care if it’s dead or alive, cool or uncool: when I hear it, and when I play it, as a chubby and balding 43 year old punk weirdo, I FEEL ENERGIZED. All in all, MOO is a full circle moment. A return to form. A return to rock. A return to Vermont. A return to myself. Reconnecting the dots. Restarting the engine. Plugging in the stack. Finally letting King Tuff be King. Fucking. Tuff.

Moo is the first wide release on my new label MUP! When I decided to make a new record, it only seemed right to go back to what brings me the most joy, which is, Rock & Roll music. I got my Tascam 388 fixed, the same tape machine I had used to record my first album, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years, but I had finally dragged it out to LA. I stopped caring if there were mistakes. There’s not enough mistakes. I played my old, blue, Gibson SG, Jazijoo, and she spewed mangled electrified gold. For once, I sang and I didn’t hate my voice. I played the drums badly and bounced them in mono to one track and it sounded like glorious shit. I wish it sounded even worse. Rock & Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey, autotuned or on the grid. It is not perfect, which is why it’s perfect. And I don’t care if it’s dead or alive, cool or uncool: when I hear it, and when I play it, as a chubby and balding 43 year old punk weirdo, I FEEL ENERGIZED. All in all, MOO is a full circle moment. A return to form. A return to rock. A return to Vermont. A return to myself. Reconnecting the dots. Restarting the engine. Plugging in the stack. Finally letting King Tuff be King. Fucking. Tuff.

Figure Study is the Manhattan-based duo of Nathan Antolik and April Chalpara. They formed in 2009, after meeting through the Wierd Records weekly party, where they would play their first concert soon after. While their debut 7" contained two songs recorded in 2009, this full length contains all new material recorded throughout the past year.

For their debut self-titled album, Figure Study utilizes a carefully tailored set up of vintage analog synthesizers and drum machines. Figure Study creates a lush sound where haunting vocals echo over dark melodies that reflect an isolated and disintegrating world. Songs flux between dissonant dance numbers and more sparse, somber compositions, each carrying a sense of urgency and modernism. Figure Study's sound includes influences from such early underground artists as Kirlian Camera, Nine Circles, and The Actor.

The album was recorded in their small Chinatown studio using a sparse set-up of analog synthesizers, drum machines and sequencers. It was mixed at The Wave Lab in Brooklyn by AJ Tissian and mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a specially designed jacket and includes an insert with lyrics. Figure Study draw their own model using shapes and forms from the synthetic landscape.

The story of how we heard about D.J. City.
Once upon a time P.P. D.J.ed in Stockholm. Picked up by legend Sling from the airport, with what I recall was a very nice old Jeep, that had a tape deck.
That Tape deck was playing a cassette that quickly caught our attention. We found out, on it was „1- 800 Techno“, a project by another local legend D.J. City. Somehow we received the tape and digital files and have been playing them ever since.
Years later we met D.J. City at a gig for Cocktail D’Amore, it was a brief and pleasant introduction as he was handing over the decks to us.
It took some more time until we really got in touch and started a work relation that quickly turned into friendship. Circa 10 years later, we have the opportunity to properly shine light on this project that started it all.
You can listen to the full release digitally and on Vinyl for the first time. „1-800 Techno“ that is Karl Lihagen & Johan Norling (aka D.J. City) with „For Several Eternals Before There Were Years“. This I guess is what you call a „full circle moment“. Enjoy!

Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives.

»Encontro que Tenho« and »Profissões«: these titles are specific to this release. Having failed to locate the respective poems after a thorough search in E.M. de Melo e Castro’s body of work, it was deduced both texts were created for the occasion.

Even without a full contextualisation, the sound transmits the spirit of cultural agitation proper to these sessions. When this show happened, Anar Band were Jorge Lima Barreto (ARP Odyssey synthesizer) and Rui Reininho (Ibanez double-neck guitar), with the addition of E.M. de Melo e Castro, whom we shall call a poet but whose creative intervention was far reaching. Besides poetry, also continued his efforts in linking up diverse artistic areas (painting, drawing, collage, performance, video) and his official training in textile engineering. He was one of the artists featured in Henri Chopin's »OU Revue« in 1966, establishing his natural connection to the European concrete/visual/sound-poetry avant-garde. Melo e Castro was also proficient in the agitation of minds and political awareness. A good example in »Profissões«, where initially separate professionals (an intellectual, a fisherman, a soldier, a factory worker) are gradually mixed in a show of interdependency. Symbolically, through his words one listens to a transformation of society, although the same conclusion arises twice: surplus always finds its way to the hands of the capitalists.

That was the state of affairs many were looking to change, an economic and social malaise that the 1974 Revolution in Portugal fully uncovered, when dissident voices could finally be heard in public. Each in his own way, all three participants in this recording were non-believers in the structure of society such as it was presented. Through his books and press writings, mainly concerned with Jazz, Jorge Lima Barreto pushed his way into Portuguese artistic and critical circles since the late 1960s. Consciously and unwittingly, he collected enemies and pointed them by name, people he labelled as reactionary, people who delayed progress, social and cultural mixes, the avant-garde; they even delayed the chaos from which new forms and attitudes arise.

Rui Reininho, a non-conformist by heart, experienced incomprehension from an early age. His anarchic ways, a tendency to baffle others, were revealed through the choice of clothes and accessories, public behaviour, and »real life« performances. Just as Lima Barreto, and even together with him, he enjoyed provoking the extremes: Maoists on one side, right-wing conservatives on the other. He translated leftist books and joined Anar Band precisely on the day a duck or swan or goose (one of them) was thrown on stage in Porto, 1976.

This record documents a concrete action, a snapshot of the agitation, something we have no problem calling punk activism, something which allowed two people with little to no musical training to play and record music. By then, Anar Band had managed to release their only LP in 1977. It’s this performance, however, that reveals the naked rawness of the music: improvisation, mutual listening, and choice of intervention between both musicians and Melo e Castro, clearly sensing when the synth has to change tone, the voice has to make pauses, the guitar punctuates both and finds the space to… scream. The sound was captured by the film crew, adding to the rawness: the instruments are palpable, the voice often too close to the mic. Everything was preserved. First time on disc.

Yes, after a hiatus of 15 months, The ReMix Collection makes a highly anticipated return as Yotto steps up to take on the Shakra Mix of Power Circle’s ‘Garden Of Peace’.

Originally released in 1993, the track was an immediate Renaissance anthem, finding favour with all their key DJs. However, it became synonymous with one man in particular, namely, John Digweed, who cemented the track’s legendary status when he included it on his Journeys By DJ compilation the following year. Even today he’s been known to slide it into the mix, most recently episode 10 of his legendary Bunker streams. And the track has other contemporary fans too; a certain Mr. Plex was heard dropping it in 2020.

In short, it’s one of those records that’s stood the test of time and grown in stature year on year. Now, its evolution takes yet another step as it joins the ranks of Renaissance’ flagship ReMix Collection series.

Yotto’s modern interpretation is a high-octane juxtaposition of thunderous bass, rising pads and THAT vocal. ”Garden Of Peace is a record I missed first time around as a kid and had only heard on a mix, never knowing what it was, so when Renaissance approached me about a remix there was a strange sense of familiarity,” he explains, “The original is full of classic progressive house mystery and, while I took the whole thing apart, I wanted to keep that emotion with my interpretation.” On the B-side there’s a re-mastered cut of the original Shakra Mix, which isn’t released digitally and remains exclusive to vinyl only.

‘Clyppan’ is an Old English verb meaning “to embrace” or “to clasp.” It also referred to an ancient ritual in which people gathered in a circle, singing together around a sacred shrine. It’s a fitting title for the latest release from Newcastle’s Smote – a visceral document of the band’s electrifying live set, captured within the walls of London’s Bear Bites Horse recording studio.
Following the release of their acclaimed 2024 album ‘A Grand Stream’, Smote embarked on an intensive tour schedule, refining their live performance along the way into something transcendental – a full-spectrum psychic voyage. Anyone who caught them at Supernormal, Supersonic, or this year’s Roadburn Festival can attest: Smote are an unforgettable sonic presence, a near religious experience.
Recognising the urgency and potency of the band’s current live form, Rocket Recordings encouraged Smote’s founder and sonic architect Dan Foggin to document their live set in the studio. It was a sound too powerful to be left undocumented – it was something that needed to be clasped for future generations.
On January 22, 2025 – the day before their thunderous performance at London’s ICA alongside labelmates Teeth Of The Sea – the four members of Smote entered Bear Bites Horse studio. With producer Wayne Adams at the controls, they laid down a live set brimming with raw, elemental power.
What emerged is ‘Clyppan’ – four drone-and-repetition driven incantations, distilled from the primal essence of Smote’s sound. These tracks channel something ancient and urgent, summoning spirits and revelations in their wake. It’s music as ritual, as invocation – pure aural sorcery.
So gather together. Form a circle. Join hands. And embrace the ecstatic, untamed energy of Smote in their most untethered and primal form.

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

Confessor's genre defying album Unraveled reissued in January Confessor is a progressive doom metal band from North Carolina that made its mark on the underground metal scene in the late 80's by combining some of the genre's essential elements in a way that no band had attempted before. Once dubbed "the world's most obstinately technical metal band", Confessor's technically complex interpretation of traditional doom gained them a reputation also within the progressive metal circles. Their grand sophomore album Unraveled from 2005 will finally be reissued after two decades on January 16th via Svart Records. Following the release of their 1991 debut album, Condemned, Confessor disbanded in 1994 while they were already planning a second album. Sadly, in 2002 the band's guitarist Ivan Colon passed away, and in tribute to Ivan, the band re-formed in order to play a benefit show for him. Things went so well, that they decided to continue after almost a decade apart. Their second full length Unraveled followed in 2005; an immensely satisfying and unique blend of majestic Doom Metal raised to the next level.

Confessor's genre defying album Unraveled reissued in January Confessor is a progressive doom metal band from North Carolina that made its mark on the underground metal scene in the late 80's by combining some of the genre's essential elements in a way that no band had attempted before. Once dubbed "the world's most obstinately technical metal band", Confessor's technically complex interpretation of traditional doom gained them a reputation also within the progressive metal circles. Their grand sophomore album Unraveled from 2005 will finally be reissued after two decades on January 16th via Svart Records. Following the release of their 1991 debut album, Condemned, Confessor disbanded in 1994 while they were already planning a second album. Sadly, in 2002 the band's guitarist Ivan Colon passed away, and in tribute to Ivan, the band re-formed in order to play a benefit show for him. Things went so well, that they decided to continue after almost a decade apart. Their second full length Unraveled followed in 2005; an immensely satisfying and unique blend of majestic Doom Metal raised to the next level.

Following the release of the 7-inch "La Tua Amica Più Cara / Corteggiamento Lento" last September, Marengo is thrilled to announce Lumiero's debut LP, Il Primo Grande Disco Di Lumiero. Distributed by Four Flies Records, the album will be available starting Friday 5 December.

Featuring a timeless voice and a sophisticated touch, Lumiero sends poetic postcards from Milan and its Barona district that expertly blend auteur pop, chanson, and 60s exotica. Born in '97, Lumiero is the city's new chansonnier. Drawing inspiration from both the core and fringes of Milanese life, he offers a romantic, nuanced, yet playfully irreverent look at contemporary Italy and its profound longing for new horizons.

Marquis's compositions and arrangements provide the perfect backdrop for Lumiero's captivating melodies, acting as both canvas and frame. Meanwhile, the lyrics explore passionate romances, fleeting summer escapades, and a nation striving to reconnect with its core identity.

Moving between exotic waltzes and theatrical atmospheres, Lumiero's full-length debut is imbued with lightheartedness, underpinned by elegant songwriting and vocals that combine irony and melancholy. Living fully in the present but rooted in tradition, the album's tracks are little musical gems that bridge eras and generations, infusing the classic style of Italian songs with a modern, elegant, and cinematic quality.

And so, as time comes full circle, we find ourselves at a new beginning.

In 2009 Jim Hart first came together with Michael Janisch and Dave Smith to create Cloudmakers Trio. Since then their powerfully original vision has grown and sustained an international touring career, keeping them at the forefront of contemporary instrumental music in an exciting, horizon-spanning space where jazz, European improvisation, rock and global beats co-exist in an ever-shifting skyscape of creativity. Through all their various collaborations, the vibes-bass-drums trio has remained the core of the Cloudmakers sound. Now, fifteen years after their inception, the concept has come full circle with the inclusion of a new collaborator, the Grammy-winning Argentinian piano master Leo Genovese, already a veteran of the bands of Esperanza Spalding, Jack DeJohnette, and Wayne Shorter. The quartet went into the fabled Abbey Road Studio 3 to record with legendary engineer Sam Okel.

Claude VonStroke makes long-awaited Crosstown Rebels debut with ‘Noche Clara’, featuring Honeycomb. A full-circle moment between two house music icons finally comes to fruition, with the two-tracker out on 5th December 2025.

Two decades after label founder Damian Lazarus first booked him to play in the UK, American electronic icon Claude VonStroke finally lands on Crosstown Rebels with ‘Noche Clara’ - a release that bridges friendship, history, and the enduring spirit of the global underground. Built around hazy tones, captivating synth melodies, and sweeping atmospherics, ‘Noche Clara’ captures the playful minimalism and late-night atmosphere that defi ned his early work. On the flip, ‘Bam Bam’ layers warped vocals over a trippy off kilter sonics and a tunnelling, hypnotic groove, providing a haunting and commanding deep dive into the late-night hours. A collaboration with beatboxer, producer, DJ, and instrumentalist Honeycomb, who recently toured with The Floozies and Dirtwire, the link-up came naturally following a joint appearance between the pair at California’s infamous Zenyara, plus multiple Dirtybird festival appearances and more.

A true maverick of modern dance music, Claude VonStroke has spent over two decades shaping the sound and culture of house. From founding the iconic Dirtybird label, home to artists like Fisher, Eats Everything, and Catz ‘n Dogz, to headlining the world’s most respected clubs and festivals, his legacy is built on connection, humour, and an unfiltered love of the dancefloor. Now exploring more underground and experimental sounds, VonStroke is entering a new creative chapter ahead of his forthcoming artist album in early 2026 - a shift perfectly exemplified by this impressive debut on Crosstown.

GO:OD AM (10th Anniversary) 3LP vinyl by Mac Miller. Includes 3 bonus songs from the GO:OD AM sessions.

Originally released in 2015, the album, hailed by the likes of Billboard and Rolling Stone as the best of his career upon its release, marked Mac Miller's first for a major label and was regaled as "one of the most musically appealing hip-hop LPs of the year" by The New York Times. After surprising fans and critics alike with his second full length Watching Movies with the Sound Off, Mac returned with another adventurous album in GO:OD AM that marked the beginning of a rapid artistic evolution that unfolded across 2016's The Divine Feminine and 2018's Swimming.

Each 3LP package includes a special triple gatefold jacket printed on silver mirror board with die cut, two inner sleeves with photos printed on silver mirror board and a yellow bonus vinyl with a custom etching on the back.

Hip-Hop history comes full circle with the reunion of Chip Fu, lyrical powerhouse of the Fu-Schnickens, and NBA legend Shaquille O’Neal, famously known in music as Shaq Fu. The duo first made waves in the 90s with the multi-platinum single “What’s Up Doc? (Can We Rock),” a cultural crossover moment that cemented their place in Hip-Hop history.
Now, they return with “Warning” - pressed for the first time ever on limited edition 7-inch vinyl. The record captures the raw, high-energy chemistry between Chip Fu’s rapid-fire delivery and Shaq Fu’s commanding presence, proving that their dynamic still hits just as hard today.
More than a single, this release is a celebration of two icons reunited, bridging the worlds of Hip-Hop and basketball once again. A must-have for collectors, DJs, and fans who lived the moment — or are ready to experience it for the first time

Turbo Recordings is proud to present the revival of German techno giant Gregor Tresher’s Sniper Mode alias with the Riot Gear LP. We have been promised that this release will usher in a Golden Age of Electro in which we will serve at the right hand of the Lord for a starting annual salary of €43,000. Not bad.

Riot Gear showcases Tresher’s established production genius over 11 cuts of S-tier electro marked by menace, depth, and sharp melodic hooks. Lead single “Blinded by the Dark” is a collaboration with Dave Clarke, the most respected man in electro and perhaps just in general, and features the most punishing drop in recent memory. The album also includes standout vocal contributions from Detroit techno pioneer Jay Denham (“Sanctuary of Vices”), Miami Bass kingpin Exzakt (“Echoes From a Wasted Land”), dance-world enigma Kira (“Phantom Pain”), and Turbo favorite Perel (“Modesty Is a Virtue”). We would argue that this album represents a landmark achievement in the genre, which you have to admit would reflect pretty well on us as a label.

It is not every day that Turbo Recordings embraces the responsibility of husbanding a full-album release, and you should know that it comes as a cost. The additional listening time, track title typing, and intensive download/upload workload have pushed our dedicated staff of 90 to its breaking point. We have a lot going on over here.

Iconic Club Anthem "Ecstasy (Take Your Shirts Off) by Johnny Vicious" returns with a fresh Remix by DJ Licious.

Belgian label Serious Beats Classics, renowned for reviving essential club tracks for new generations, proudly announces a new remix of the iconic dance anthem "Johnny Vicious feat. Lula - Ecstasy (Take Your Shirts Off)". Originally launched in 1998 on Groovilicious and later immortalized in the club scene with DJ Wout's explosive remix, this timeless track is now reborn with a brand-new remix from DJ Licious.

A fixture of late-'90s raves and clubs around the world, "Ecstasy (Take Your Shirts Off)" became synonymous with sweat-soaked dancefloors and euphoric nights. With DJ Licious's remix, the track fuses the original's raw energy with modern production power, making it as irresistible today as it was in 1998.

"As a kid I was dreaming of becoming a DJ/producer and when I started going out to raves this tune was smashing every dancefloor I went to," says DJ Licious. "Now being able to actually remix that song makes this a full circle moment for me."

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Machines of Our Disgrace marked the return of Circle of Dust, the groundbreaking industrial project from Klayton, best known to many as the producer and artist behind Celldweller.

Pressed for the first time on vinyl, this Definitive Edition 2LP includes the brand new songs "Invisible World" and "Digital Messiah" along with a printed inner sleeve featuring full lyrics and artwork.

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

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

fabric presents salute features music from pioneers and contemporaries alike, including Kerri Chandler, Bodhi, Dorian Concept, Junior Sanchez, Redhead and more, alongside two originals from salute. More than a collection of tracks, it’s a cultural statement: a journey through club culture, personal identity, and global roots. To celebrate the release, salute will headline fabric’s Room 2 on 10th October, joined by a handpicked lineup (TBA), bringing their vision full circle from mix to dancefloor.

Lead single ‘double luxury’ sets the tone for the project, capturing salute’s signature blend of soulful energy, deep groove, and euphoric release. Built on spacious low-end and an undercurrent of euphoria, warped vocals twist through sleek, propulsive drums to form a house cut that channels the emotional intensity and groove at the heart of their sound. Arriving off the back of a huge summer, with standout sets at Coachella, Glastonbury, a North American tour and All Points East, ‘double luxury’ provides a fitting entry into a milestone chapter for one of the most vital voices in club culture.

salute says:

“my contribution to the fabric presents compilation series is my way of contextualising the music i've been writing over the last couple of years. i wanted to include bits of all the things that make up the salute sonic palette: loopy, sample based house music, dense and soulful chords and beautiful synths, slick and groovy drum work. it's an exercise in beautiful house and techno music, or my definition of it anyway.”

Launched in 2019, fabric presents has become one of electronic music’s most respected mix platforms, with contributions from Andrew Weatherall, Laurent Garnier, The Martinez Brothers, SHERELLE, Bonobo, Overmono, Confidence Man, The Streets, and more. Rooted in the legacy of fabric’s monthly CD mixes, the series now embraces a wider range of releases across digital, CD, and vinyl, each paired with a performance at the iconic London venue. With fabric presents: salute, they take their place in this lineage, joining the dots between underground heritage and the future of club culture.

Vienna-born salute has become more than a producer: they are a cultural innovator representing a club scene that is diverse, queer, and community-driven. Since emerging as one of the UK’s most exciting electronic voices, they have built a reputation for balancing raw emotion with dancefloor ecstasy, weaving grime, UK garage, electro, French house, jazz, gospel, R&B and hip hop into a singular, unmistakable vision.

Their music channels as much emotional resonance as physical release, tracks that turn longing into euphoria, intimacy into collective celebration. This ability has not only won over audiences worldwide but also earned praise from heavyweights including Four Tet, DJ Seinfeld, Floating Points, Skrillex, Fred again.., Annie Mac and Benji B. Their now-legendary Melbourne Boiler Room set, one of the platform’s most-watched, further cemented salute’s reputation as a defining force in the global underground.

The release of their 2024 debut album True Magic on Ninja Tune solidified salute as one of dance music’s most vital voices, its success confirming what the underground had long known. With fabric presents, they mark another milestone, bringing their curatorial vision and boundary-pushing sound to one of electronic music’s most iconic platforms.

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

For Martin Gretschmann, the ever-evolving Berlin artist known as both Acid Pauli and Console, music has always been a deeply personal journey.
His new imprint, All Is Acid, is the destination, a creative home for his uncompromising and experimental sound. Breaking from the cycle of trends, the label is a return to the essential, offering just a few curated releases a year. Each is intended as a timeless artifact for deep listening, primarily showcasing Acid Pauli's own intricate and intimate productions.
The label debuts with a newly remastered version of his classic 2010 EP "Den Mahlstrom rauf." But the release is given a powerful new dimension by a standout remix from Italian artist Adiel. Their collaboration was sparked by pure serendipity: a fan video of Acid Pauli playing her music in Milan reached Adiel, who responded with a short film for Vogue. In it, she revealed that "Den Mahlstrom rauf" was a formative influence and one of the very first records she ever bought.
Inviting her to remix the track that helped shape her sound was a full-circle moment, artistically and emotionally. Her bold, reverent reinterpretation honors the original's spirit while imprinting it with her own unique signature. With this release, All Is Acid launches not just with music, but with a story of connection, community and a shared artistic lineage

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

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.

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.

There’s a lot for MAYDAY PARADE to celebrate these days. The T allahassee, Florida-formed quintet recently
wrapped a career-defining tour marking two decades together, one that saw more than 70,000 fans pack sold-out venues to celebrate their storied catalog. They performed a triumphant main-stage set at the 30th anniversary of the V ans W arped T our, a full-circle moment for a band that made their name selling self-released CDs in those same sweltering parking lots nearly 20 years ago. Their landmark debut LP, A Lesson In Romantics, turned 18, still beloved for its iconic singles like the platinum-certified “Jamie All Over” and gold-certified “Miserable At Best.” And the group released Sweet, the first in a self-released three-album series that reaffirmed just how vital and creatively energized Mayday Parade still remains. Now, on Sad, the second installment in that trilogy, the band continue diving deeper into the emotional nuance that’s defined their most captivating albums, blending aching sentimentality with melodic urgency as only they can. Once again produced by longtime collaborators Zack Odom and Kenneth Mount, Sad sees Mayday Parade stripping back some of the tempo that colored Sweet in favor of more deliberate grooves, more introspection, and a sharpened focus on mood and space.