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Mit der exklusiven Doppelvinyl in zartem Pink erscheint eine Hommage an eine der größten Künstlerinnen Europas: Édith Piaf. Ihre Lieder sind nicht nur musikalische Meisterwerke, sondern auch emotionale Zeitdokumente, die Millionen Menschen berührt haben - in Frankreich, Deutschland und weit darüber hinaus. Geboren 1915 in Paris, wuchs Piaf unter schwierigen Umständen auf, sang auf den Straßen und wurde 1935 von einem Cabaret-Besitzer entdeckt. Ihr Spitzname "La Môme Piaf" - der kleine Spatz - wurde zum Symbol für ihre fragile Erscheinung und ihre kraftvolle Stimme. Ihre Musik war oft autobiografisch, geprägt von Liebe, Verlust und Hoffnung. Sie sang mit einer Intensität, die bis heute unter die Haut geht. Piaf wurde zur Nationalikone Frankreichs, besonders nach dem Zweiten Weltkrieg. Ihre Lieder wie "La Vie en Rose", "Non, Je Ne Regrette Rien" oder "Hymne à l"Amour" wurden zu Hymnen einer Generation. Auch in Deutschland und Europa wurde sie gefeiert - als Stimme der Versöhnung, der Leidenschaft und der Menschlichkeit. Diese Vinyl-Edition vereint ihre größten Werke in einem liebevoll gestalteten Sammlerstück - ein Muss für Musikliebhaber und Kulturinteressierte.

A reissue of a cassette that was originally released on Uramado in 2020, this is the first time this live session appears on vinyl. The performance, featuring Kudo on piano and 3C123 on clarinet, was recorded on October 18, 2009, at the Uramado venue in Shinjuku. A beautiful and quixotic forty-minute set, that reconnects both Kudo and 3C123 with various musical histories, including those of classical composition and free improvisation.

The performance documented on Tori Kudo & 3C123 is a curious one. While they both appear to slip into improvised ruminations at times, for the most part, Kudo performs pieces by Erik Satie on the piano, over which 3C123 teases an excoriating stream of improvisation from the clarinet. His playing here is wild in its poetry: sometimes lushly nestly alongside Satie’s melodies, elsewhere loosing Ayler-esque squalls from the instrument, it’s a bravura performance that is matched, in an indirect manner, by the poise and pacing of Kudo’s generous, fluent recital.

When asked about the thinking behind the performance documented here, Kudo explains by describing the historical juxtaposition of Satie with Takehisa Kosugi’s improvised violin as “an essence of the Japanese art of collective improvisation.” The playing here, as within Japanese collective improvisation, is about sitting ‘alongside’ each other, not necessarily in direct (or even indirect) reference, but rather sharing the space; “just being there together,” Kudo says, and letting go of the need for performers to engage in interplay.

Tori Kudo & 3C123 is certainly part of that tradition, and this is where its curious poetry resides; in that ‘third space’ that sits in between, but not directly connecting, the two performers. Kudo makes an analogy with Fluxus, which is appropriate. But you can also hear their shared history here, somehow, as Kudo and 3C123 have known each other since the eighties, when they shared a house in Kunitachi City, Tokyo. Their musical paths have been multiple – Kudo, of course, best known perhaps for his Maher Shalal Hash Baz ensemble; 3C123 as a member of Vedda Music Workshop, and with other Japanese musicians like Koichiro Watanabe.

Huayno has its roots in the Andes during the colonial era, when indigenous peoples began to blend their music with influences brought by European settlers. During this process the Spanish guitar naturally became very prevalent, incorporating the tunings, finger-style and rhythms of the traditional Andean harp along with it.

The late Alberto Juscamaita Gastelú, known as Raktako, was a renowned guitarist, composer and mentor to generations of guitarists from his home in Ayacucho, southern Peruvian Andes. His unique style also blended techniques from the Spanish lute and other instruments brought by colonisers, such as the violin and accordion. For over a century, Raktako preserved Ayacucho's musical traditions and the Andean guitar form.

In 2022, the last disciple of Raktako, Gustavo Yashimura, shared with Sound of the Andes' Hánkel Bellido a series of astonishing home recordings made by Raktako between approximately 1930 and 1940. These recordings, made with the sparsest of equipment, had never been published before and represent an invaluable cultural treasure. The guitarist, who lived for over 100 years and passed away in 2023, had been largely forgotten until recently, when the Ministry of Culture of Peru officially recognised him as Meritorious Personality of Culture. His legacy, which includes a profound influence on Peruvian music, especially the Ayacucho guitar tradition, is finally being acknowledged.

English composer Andy Cartwright aka Seabuckthorn uses picking & bowing techniques combined with various open tunings on string instruments to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk.

Having grown up in Oxfordshire, Cartwright studied sound engineering in Cornwall and then lived in the cities of London, Paris & Bristol working as a broadcast wireman. He now resides in the French Southern Alps making music.

Cartwright has been actively touring internationally for several years performing in festivals and events throughout Europe. Since 2009, he has released several releases on some labels such as Lost Tribe Sound, IIKKI, Fluid Audio and recently Quiet Details. Various songs have featured in documentaries, film, websites and contemporary dance, as well as making original scores for film.

Mister Water Wet returns to Soda Gong with "Things Gone and Things Here Still," an album that radically expands the project’s purview while preserving the homespun warmth and oblique tactility that have long defined Iggy Romeu’s work. Where earlier records tilted toward the dusty swing of sample-based beatcraft or spectral minimalist jazz, here Romeu opens the frame to a more ensemble-minded approach, inviting a stellar cast of supporting musicians, including SG alumni Memotone and K. Freund, into the fold.

The result is an album that feels both broader and more intimate, with live instrumentation such as piano, strings, and reeds woven into MWW’s signature lattice of hand percussion, production sleights, and slippery time signatures. Acoustic and electronic textures bend toward each other like plants angling for the same light: bowed strings blur into vaporous pads, brushed drums scatter under riffing guitars, a horn phrase lingers in the same space as a cracked cassette loop.

A tension between decay and presence - the “things gone” and the “things here still” - runs throughout the record. At times, the music evokes a chamber session refracted through waterlogged tape; at others, it recalls the afterimage of a hip-hop instrumental slowed into an oneiric haze. In the world of MWW, memory functions less as nostalgia and more as a living fabric - mutable and resonant. "Things Gone and Things Here Still" finds Iggy Romeu at his most expansive, offering up a generous record of open spaces and porous boundaries.

Im Sommer 1968 traf sich der 18-jährige Genesis P-Orridge (damals Neil Andrew Megson) mit Freunden in einem bescheidenen Dachgeschoss, um mit Klängen zu experimentieren. Das Ergebnis war "Early Worm", eine Sammlung von Aufnahmen, die die aufkeimende Kreativität eines Künstlers einfing, der später eine Schlüsselfigur der Avantgarde-Musik werden sollte. Diese Sessions, die 1969 auf ein einziges Acetat gepresst wurden, zeigen eine furchtlose Erforschung von Geräuschen, Improvisationen und Tonbandexperimenten, die Einflüsse von Psychedelia, Fluxus, John Cage und Beatnik Bohemia widerspiegeln. "Early Worm" ist ein Zeugnis für P-Orridges frühes Engagement, musikalische Grenzen zu überschreiten. Die rohen und ungefilterten Klanglandschaften des Albums bieten dem Hörer einen seltenen Einblick in die Gründungsmomente, die schließlich zur Gründung von COUM Transmissions, Throbbing Gristle und Psychic TV führen sollten. Remastered und in einer limitierten Vinyl-Pressung, mit Linernotes geschrieben von Genesis Breyer P-Orridge, die den Zeitgeist des UK Undergrounds der späten 60er Jahre in Erinnerung rufen. "If nothing else, (Early Worm) revealed that P-Orridge's approach to music was defiantly left-field from the start: noise, improvisations and tape experiments that sounded a little like a more chaotic version psychedelic folkies the Incredible String Band." . The Guardian

„Manche nennen es Musik, doch für die meisten ist es Krach“, tönt’s im Intro. Das bedeutet damals
wie heute: Der Sänger und Gitarrist der Besten Band der Welt versucht gar nicht erst, seine musikalische
Herkunft zu leugnen und das ist damals wie heute etwas Gutes.
Nur am Rande sei bemerkt, dass FARIN URLAUB den Großteil des Krachs selbst eingespielt hat. Einzig
die Bläser und Streicher hat er sich ins Studio geholt und wer glaubt, „Endlich Urlaub!“ käme lediglich als
nostalgisches Hörerlebnis für den graumelierten Fan erster Stunde ums Eck, hat sich gewaltig in tiefliegende
Gewebsschichten geschnitten.
In „OK“ wird dem geneigten Hörer floskelfrei die Fresse poliert – mit scharf gezackten Gitarrenriffs und
dem roten Saft eines frisch zerfetzten Herzens. „Glücklich“, „Phänomenal egal“ und „Sumisu“ schreien
ungebrochen „IchIchIch“, wenn die Frage nach Singleauskopplungen im Raum steht.
Nur für jene, die unheilvollen Zeiten gern mit Vogelstrauß-Ignoranz oder gar sanfter Zerstreuung begegnen
wollen, wird’s hier gewohnt schwierig – auch wenn’s an musikalischer Vielgestaltigkeit nicht mangelt.
Unbequem kann man, wer hätte das gedacht, auch zu Surf-Sounds werden; wenn’s sein muss, geht’s sogar
rein instrumental. Auf „… und die Gitarre war noch warm“ wabert’s einem nämlich zu High Noon in bester
Morricone-Manier apokalyptisch entgegen.

Debuting on Curvature with an impressively deep EP, Reviver delivers a sound that aligns perfectly with the core ethos of the Spatial family - incredible atmospherics and classic breakbeats.

A1 - Call From Space
Opening the EP we are treated to a DJ-friendly intro with thick breaks and crackly backdrops reminiscent of classic sci-fi movies with a slightly oppressive aura. A tapestry of melodies created from intertwining synths and samples follows, as Reviver tells a story of intrigue and redemption through this wonderful medium - a
stunning, rousing melody soon develops and elevates things to otherworldly levels for the latter stages. Quite simply, you've got to hear this.

A2 - Way Of Paradox
Old-school, finely edited breaks open a DJ-friendly intro to Way Of Paradox, a track which quickly builds a darkly suspenseful vibe through synths and pads, rising and swirling across the soundscape with mystique and a sullen vigor, before a mournfully intense earworm melody joins the proceedings. The atmosphere builds and envelops the listener like gathering storm clouds leaving this one etched firmly in the memory.

B1 - Define Or Destroy
Strap in as there is no let up with the intensity - Reviver unleashes Define or Destroy which sees that classic amen break deftly programmed with a variety of filtering and editing techniques on show, while sumptuous operatic female vocals add further depth along with melodic keys. This track rolls and rolls with the best of
them as you appreciate the subtleties of Reviver's varied edits with each listen.

B2 - Journey Alone
Generating an immediate sense of unease straight out of The X Files with delicate pads and synths, Reviver closes the EP in style, serving up a track dripping with atmosphere and intrigue. A wonderfully old-school breakbeat drives proceedings along with sparse kicks and excitable snares, patterns filtered to perfection with swirling micro melodies adding layer upon layer to an already impressive piece. A fitting end to an incredibly intense EP.

Alan Parsons Project second studio album "I Robot", widely regarded as one of the greatest concept albums of all time, is re-issued in a variety of different formats including a classic black vinyl, half-speed remastered by Miles Showell at Abbey Road studios. The album was originally released in July 1977, and draws conceptually on author Isaac Asimov"s science fiction Robot stories, exploring philosophical themes regarding artificial intelligence. The album was a worldwide hit selling in excess of two million copies, achieving platinum and gold status in numerous countries including the USA, Germany, Australia and Canada. 180gm heavyweight black vinyl. Featuring a half-speed remaster by Miles Showell at Abbey Road Studios. Insert contains a sleevenote featuring quotes from Eric Woolfson.

The electronic music producer returns to his songwriting roots with a kaleidoscopic new album, featuring collaborations across genres and generations

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



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

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



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

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



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

The debut album from Tokyo's WENDY, now available for the first time as an extended vinyl edition. Formed as teenagers during Japan's strict COVID lockdown, WENDY secretly came together to create rock 'n' roll for a new generation. Their raw demos quickly landed them a publishing deal with Sony Music Publishing and caught the ear of Grammy Award-winning producer Marc Whitmore (Jon Batiste - "We Are"). Whitmore was so impressed he produced their debut album himself, recorded live in just nine days, with no edits, capturing the band's unfiltered energy. The process was even featured in Sound & Recording Magazine. The vinyl edition includes two exclusive, previously unreleased tracks: "Pull Me In" and the powerful "Pledge of Love".

„All is love and pain in the mouse parade“ ist das lang erwartete vierte Album der Band. Es ist eine Sammlung von Geschichten darüber, wie Liebe und Schmerz miteinander verwoben sind. Gefühle, die auf den ersten Blick unvereinbar scheinen, aber gleichzeitig existieren und einander brauchen. Das Album wurde im Heimstudio der Band in Island geschrieben, aufgenommen und produziert, mit Unterstützung ihres Kindheitsfreundes, dem Toningenieur Bjarni Þór Jensson.

Mit ihrem 2011 erschienenen Durchbruchalbum „My Head Is An Animal“ schafften Of Monsters and Men den Sprung von Reykjavík auf die Weltbühne und wurden von isländischen Indie-Lieblingen zu internationalen Chartstürmern.

Inmitten ihres kometenhaften Aufstiegs veröffentlichte die Band 2015 ihr zweites Album „Beneath the Skin“, das auf Platz 3 der Billboard 200 debütierte. Begleitet wurde die Veröffentlichung von einem Überraschungsauftritt in der HBO-Erfolgsserie „Game of Thrones“. Ihr cineastischer Sound tauchte überall auf, von „The Hunger Games“ bis „The Secret Life of Walter Mitty“.

Nach über einem Jahrzehnt hat sich die Band von folkigen Newcomern zu einer festen Größe des digitalen Zeitalters entwickelt. Sie hat 9 Millionen monatliche Hörer:innen auf Spotify und erreicht eine neue Generation, die entdeckt, dass die Schönheit Islands über Fjorde und Thermalbäder hinausgeht.

Sie sind ein Mythos, der bis heute ganze Generationen nachfolgender Post-Punk- und Dark Wave-Formationen
inspiriert: Mit ihrem klirrend-kalten Gitarrensound und den ebenso unterkühlten Vocals von Frontfrau Anja
Huwe trugen Xmal Deutschland maßgeblich zur Entwicklung der Schwarzen Subkultur bei. Nachdem das
letzte Album der 1990 aufgelösten Kultband fast dreißig Jahre lang vergriffen war, erscheint „Devils“ nun
als strikt limitierte, ergänzte Bonustrack-Edition in rotem Doppel-Vinyl.
Nachdem der seinerzeit ausschließlich in Deutschland und Kanada veröffentlichte Longplayer in den letzten
drei Dekaden restlos vergriffen war und nur auf Plattenbörsen zu Höchstpreisen gehandelt wurde, erscheint
Xmal Deutschlands lost Album nun als erweiterte 2LP-Version in rotem Vinyl. Neben der Original-Tracklist
enthält „Devils“ eine zweite LP, auf der sich die ebenfalls gesuchten 12“-Versionen der beiden Auskopplungen „Dreamhouse“ und „I‘ll Be Near You“ plus weitere Bonus-Tracks befinden, so z.B. das kongeniale Billy
Bragg-Cover „The Girl In The Iron Mask“. Mit der Neuauflage von „Devils“ wird das Abschiedsalbum von
Xmal Deutschland erstmalig einem globalen Publikum zugänglich gemacht.

A pre-release 7-inch cover single by Sapporo-based new-generation R&B/soul singer Ruto Kasahara is now available!

Side A features his first cover collaboration single, "Asahi no Ataru Michi," arranged by producer/DJ Sam is Ohm, who has produced for Kick a Show
and worked with MALIYA, KEN THE 390, ZEN-LA-ROCK, and others.

Side AA features a double-sided disc of his new single, "I Wish I Knew How It Would Feel to Be Free," arranged by THE SOUL EATERS, the soul band
for which Ruto is the lead vocalist.

After their first joint recording experience in 2022, in which they dedicated a monograph to the Beatles, revisiting their great classics,
Sarah Jane Morris, a British jazz, rock, and R&B singer and songwriter, and the Solis String Quartet, a Neapolitan string quartet with
extensive concert and recording experience, are embarking on a new album. This time, it's not a monograph, but a tribute to a series
of artists who have left an indelible mark on the universal music world with their art and unique lifestyle. The project is titled "The 27
Club," a reference to those artists who, despite not choosing to belong to any elite circle, were united by the fate of having left this
world too soon, at just 27 years old. Among them are great names such as Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, Amy
Winehouse, and Otis Redding. Despite their differences, these artists share a charisma and a passion for music that has made them
immortal. Their musical legacy continues to celebrate their memory and inspire new generations. The album is a tribute to these timeless
artists, whose songs remain timeless and continue to move. Forever Young.
"After our first recording collaboration with Sarah Jane Morris in 2022, in which we dedicated a monograph to the Beatles, revisiting
their great classics, we decided to take on a new challenge, no longer a monograph but a work dedicated to a series of artists who have
unmistakably marked the universal musical world with their art and their very particular lifestyle! We called it "Forever Young" and it
tells the story of the "Club of 27" in music; an imaginary, dark and very elitist circle in which artists of the caliber of Jimi Hendrix, Janis
Joplin, Jim Morrison, Kurt Cobain, Amy Winehouse, Otis Redding found themselves enrolled, certainly unwillingly and without their
knowledge, after death snatched them from success on the threshold of twenty-seven, only to restore them, almost as compensation,
to immortal glory, just a stone's throw from legend. Musically speaking, thanks to the overflowing evocative power of Sarah Jane Morris's
voice, it was both fascinating and stimulating for us to try to restore It integrates the idea and mood that permeated and still live on in
these compositions, the rhythm, the melody, and the lyricism, in an original reinterpretation that accompanies the listener in the rediscovery of these masterpieces! Solis String Quartet
"Greatly talented creative people often die young, like Keats, Mozart, Schubert, Raphael, and the Brontë sisters. We tend to think of
them in two ways: we wonder what they might have accomplished had they lived longer. However, more positively, we can appreciate
their youthful talents as impervious to the passage of time, their brilliance preserved in their eternal youth. They will remain forever
young." Sarah Jane Morris

Chicago-based indie punks Sincere Engineer started as a solo acoustic punk act playing dive bars and open mics. Singer/guitarist/songwriter, Deanna Belos, decided to forego dental school for punk music, trading in teeth for corn dogs (as referenced in her fan favorite song "Corn Dog Sonnet No. 7"), and touring the world with bands like Hot Mulligan, Alkaline Trio, The Menzingers, and Joyce Manor. In 2020, she released Bless My Psyche, her first sophomore album on independent powerhouse Hopeless Records. Featuring the Sirius XM Faction hit "Trust Me," the album explored themes of insecurity, failure, and coming of age and was built for gut wrenching sing-a-longs. With the upcoming Cheap Grills, Sincere Engineer now takes a massive leap forward with catchy melodies, witty and sharp lyrics, and the sincerity of a person that wants to do the right thing in a world that doesn't always reward that. Working with producer Mike Sapone (Taking Back Sunday, Brand New), Sincere Engineer/Deanna Belos has crafted an album that sees her emerge as a face of the new generation of melodic punk. For Fans Of: The Menzingers, Alkaline Trio, Hot Mulligan, Jeff Rosenstock

Young Gun Silver Fox are the captains of AM Waves, setting sail towards an isle where melodies soak the shoreline and grooves sway like palm trees. Their route traces a natural progression fromWest End Coast, an album that cast Andy Platts (Young Gun) and Shawn Lee (Silver Fox) as musical virtuosos of SoCal-infused pop. AM Waves does more than duplicate the perfection of West End Coast. It improves it.

Recorded at The Shop in London and Roffey Hall in the English countryside, AM Waves burnishes the blend between the duo's modern aesthetic and their sumptuously crafted homage to '70s-styled pop, rock, and soul. "This music hits a certain spot for me personally that nothing else quite does," says Shawn, who produced the album amidst his projects for Saint Etienne, Shawn Lee's Ping Pong Orchestra, and several other acts. "It's real high-caliber music. It's easy and breezy to listen to but it's really hard to make. Every aspect is A game."

The A game behind AM Waves fuels 43 minutes of Young Gun Silver Fox in peak form. "AM Waves is much more instinctive," says Andy, whose penchant for writing irresistible hooks and melodies also shapes his role as lead singer and lyricist/composer for the band Mamas Gun. "It's more vivid. You can see the clarity to the colors of AM Waves whereas West End Coast is slightly more impressionist, as it were."

Originally issued as a single in September 2017, "Midnight in Richmond" is the anchor of AM Waves. "I hit one chord, which I'd never played before, and the song sort of wrote itself," notes Shawn. "It was intuitive. In many ways, the primary function of what I'm doing is trying to find that chord that opens a door and takes you someplace else. Those chords have magic." Andy embellishes the song's appeal by nimbly juxtaposing wistful emotions with a sun-kissed melody, his voice evoking richly drawn memories. The qualities that make "Midnight in Richmond" an instant classic abound throughout the album.

"Lenny" and "Take It or Leave It" spotlight Andy's versatility as a songwriter. The former was inspired by a dream he had where Lenny Kravitz owned a bar. "It was surreal," he says. "He was polishing the glasses and just serving me hit after hit." Like swimming through moonshine, Andy languorously savors every syllable in the song. "Take It or Leave It" is pure pop bliss. "That was one of those songs that fell out in half an hour," he says. "I had everything and it was done." Shawn adds, "It's such a perfect song in itself. When I listen to it, it's like you've created a record that already existed."

Young Gun Silver Fox introduce a five-piece horn section on "Underdog" that literally trumpets the song's protagonist. Shawn affectionately dubbed them the "Seaweed Horns" in honor of the Seawind Horns, an LA-based unit that recorded with powerhouses like Michael Jackson,Rufus & Chaka Khan,and Earth, Wind & Fire during the late-'70s. Andy explains, "The horns grab another hue of the west coast sound, which is the starting point, but it's also maybe the point where we're injecting a little bit more of ourselves and some outside colors into the familiar west coast palette."

A bounty of treasures course through AM Waves' ebb and flow. "Mojo Rising," which the duo penned with Rob Johnson, is a veritable retreat to paradise. "Sky-bound, heaven sent / Way above the clouds watching shootingstars descend," Andy sings, mirroring the music's celestial undertones. Sensuality contours the notes on "Just a Man," a song that basks in the allure of a woman who leaves "footprints on the water" while "Love Guarantee" is festooned with the Seaweed Horns. "I wanted to bring more of that R&B slickness into the mix," Shawn notes about the latter track. "We hadn't done a tune with that sort of groove." Similar to his work on "Underdog," Nichol Thomson's intricate horn arrangement on "LoveGuarantee"exemplifies another distinction between AM Waves and its predecessor.

"Caroline" occupies a special place on AM Waves, beyond spawning the album title. It tells the story of Radio Caroline, a pirate radio station that broadcast from an offshore vessel during the '60s and '70s. "They played the music that kids wanted to hear, whether it was the old stuff or cutting edge stuff," says Andy. "'Caroline' is about Radio Caroline's eventual capture." Complementing Andy Platts' deft wordplay, which draws parallels between radio airwaves and the station's literal home on the ocean, Shawn Lee layers nearly a dozen different parts on "Caroline," showcasing the vastness of his musicality. "I loved that track as soon as I heard it," Andy continues. "It's a beautiful fusion of me and Shawn."

The Seaweed Horns joinYoung Gun Silver Foxas they detour to the dance floor on "Kingston Boogie." Shawn explains the track's genesis, "I was thinking, what have we not done yet We definitely should get an AOR disco thing happening. I quite like disco. The beat is so metronomic that it allows you to be really sophisticated on top. 'Kingston Boogie' just laid itself out. I call it 'midnight disco.'" With a nod to "Lenny," Andy Platts sets "Kingston Boogie" back at Lenny's Bar, this time revealing a detail or two about its mysterious proprietor as he pours sweet wine and moonshine.

In a sense, AM Waves ends with the beginning. Even before there was Young Gun Silver Fox, there was "Lolita," the first song Andy Platts and Shawn Lee wrote together and a crowd-pleasing staple of the duo's live sets. The tale of a femme fatale who harbors a secret was recorded for West End Coast but instead furnished the B-side to "Long Way Back" as well as a bonus track on the North American edition of the album. Despite the song's checkered trajectory, its infectious chorus sparked the brighter, more buoyant orientation of AM Waves.

Like the moon pulling the tide, Young Gun Silver Fox are a magnet for good songs. "We're both so obsessed and constantly interested in music-making," says Andy. "We're both thinking about it all the time. When you know you have an accomplice with you that's the same as you, it's very liberating. Suddenly, worlds of color start to appear." Indeed, AM Waves is elemental in its power to induce pleasure. Dive right in.

Christian John Wikane

(New York City / February 2018)

Mit seinem markanten Flow und einem außergewöhnlichen Talent für schafsinnige Lyrics entwickelt sich JID
vom Geheimtipp aus Atlanta zu einer der prägendsten Stimmen der neuen Rap-Generation. Spätestens mit
seinem hochgelobten Album „The Forever Story“ (2022) stellt der dreifach GRAMMY-nominierte Rapper
nicht nur seine Stärke fürs Storytelling unter Beweis, sondern überzeugt mit einer Vielseitigkeit und technischen Finesse, die sich von der Mainstream-Masse abhebt. In dem 14-Track starkem Nachfolgerprojekt
„God Does Like Ugly“ würdigt er den Hip-Hop als prägende Kraft der Popkultur, aus der Perspektive eines
Künstlers aus dem Herzen Atlantas.
„God Does Like Ugly“ erscheint am 17. Oktober 2025 auf CD und Vinyl.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by."

Congratulations! 55th anniversary of debut

The third album "Single Man", released on April 21, 1976, was an album with many controversies from the production stage.
It was discontinued less than a year after its release, and then a movement to re-release "Single Man" arose, and it finally re-released in 1980, so it has
a twisted story.

The album features a variety of performances due to the transition period from the folk period to the electric arrangement period, and above all, many
masterpieces that can be said to be representative of the entire RC period, such as "Slow Ballad". The driving force just before the rapid climb to
"KING OF ROCK" after 1980 is already boiling in this album.

In addition to the latest remastered sound source from the original master tape of the album, this deluxe edition includes single songs from that time,
versions not included on the album, and a studio live sound source from tvk's "Young Impulse" at the time of the album's release.
It is a deluxe edition packed with the overflowing talent of RC Succession at that time.

The booklet includes for the first time all 17 images from the original jacket illustration, "Pictures for the Test of Painting Apperception of Infants and Children."

・Remastered by zAk
・Disc 1: Half-speed cutting / Disc 2: Normal cutting by Miles Showell at ABBEY ROAD
・180g heavyweight clear vinyl
・Booklet (17 images of "Pictures for the Test of Painting Apperception of Infants and Children" (illustrations by Minamioji Hajime), commentary, lyrics)
・Liner notes: Imai Tomoko, Sakai Hiroki

"Taking influence from the pioneers of Música Popular Brasileira, Wolfgang Pérez has crafted an exquisite album of summery experimental pop music that encapsulates the beauty and chaos of modern Brazil. A must-listen for fans of Tom Zé, Gilberto Gil, Kiko Dinucci, Negro Leo, Ricardo Dias Gomes, and João Gilberto.

Genre-blending songwriter, arranger, and guitarist Wolfgang Pérez is set to release his highly anticipated new album Só Ouço in July 2025 on Hive Mind. Known for his unique fusion of influences, the German-Spanish artist first captured attention with his 2021 debut WHO CARES WHO CARES (Fun In The Church), followed by the critically acclaimed Spanish-language album AHORA (BAUMUSIK, 2024).

Só Ouço is the fruit of an 18-month creative residency in Rio de Janeiro, where Pérez collaborated with a group of young Brazilian musicians. Deeply inspired by the city's sounds and rhythms, the album marks an exciting chapter in Pérez’s evolving artistic journey.

In 2022, Wolfgang Pérez arrived in Rio de Janeiro on a university exchange to study composition, and quickly found himself immersed in the city’s rich musical landscape. Introduced early on to Rio icons like Thiago Nassif, Arto Lindsay, and Ana Frango Elétrico, what began as a semester turned into a transformative three-semester stay. Pérez absorbed the city's contrasts - it's beauty, its people, it's chaos and violence, all it's contradictions and life - while deeply studying Brazilian music at UFRJ/UNIRIO under the guidance of masters Josimar Carneiro, Marcello Gonçalves and Almir Cortes.

Wolfgang spent the first 6 months or so soaking in as much as possible, going to shows, to the baile funk parties, walking the streets, hiking the mountains in and around Rio, listening to music, making friends, learning where to go and where not to, learning the language, learning the slang, incorporating the culture. He used the time to forget himself in the vibrance of the city.

After this the band came together through a series of chance encounters and happy accidents...some loose jam sessions led to shows around Rio, where Wolfgang, alongside Luis Magalhães (bass), Pedro Fonte (drums) and Paulo Emmery (electric guitar), started to flesh out some of Wolfgang's compositions. At a show at Audio Rebel they met Angelo Wolf (owner of Wolf Estúdio and engineer for artists such as Bala Desejo, Dora Morelenbaum, Zé Ibarra, Marcos Valle, Antonio Neves and Ana Frango Elétrico); moved by the music, Wolf offered Pérez residency and studio time at Wolf Estúdio, providing the foundation for Só Ouço. Angelo was a catalyst for the production of Só Ouço, his openness and generosity helping to shape the sound of the record. Carol Maia, a young guitarist, lyricist and singer brought a sensitivity and tenderness to the songs, while Antonio Neves helped to pull together the brass and woodwind players who would complete the lush sound of the album.

Meticulously arranged, and beautifully composed, Só Ouço is a joy to listen to and surprising at every turn. Classic songwriting and cutting edge production blend to produce an album that is by turns tender and gentle, abrasive and unsettling, a joyful celebration of life in all its complexity."

"The Happening by Tomorrow Comes The Harvest is the least case, a provocative confrontation. It's a challenge or dare to the idea that music can be useful if we are able to experience it. I would imagine that to many, music having an objective beyond the listener doesn't make sense because the general thought is that Music is made for us to consume, to make us remember, to influence us and to make us feel something. The Happening does all those things but much more. What it does is expand the scope from us to "it". Creating and constructing music for the subject of existence is a tall order.

The concept of The Happening is about the beginning and the end of Time and Space; the initial point of when reality starts and its conclusional apex. In the beginning, there is a great light. And from this light, comes life. Life is lived until it isn't.

This is what The Happening implies. It speaks about a 9-minute frame in reality, used to emphasize something that happened a very long time ago, something that happened in its creation and what will eventually happen far in the future.

The Happening was of an accidental birth. The love child of three musicians (Jeff Mills, Prabhu Edouard and Jean-Phillippe Dary) who was just asked to play "something" so that the camera crew could have extra b-roll for all the previous footages of the band while they were working in the recording studio in the North of Paris for their album Forbidden Planet. There was no discussion of what they'll do, no plan, no direction other than to use music to reach a level of consciousness.

Somehow within these transformative 9 minutes, something was felt by each of them, explored to its furthest point, which lead to this extraordinary creation. The Happening refers to the life and death of everything living thing. Infinity."

Jeff Mills

Es hat sich angedeutet, seit vor ein paar Tagen große Billboards in L.A. aufgetaucht sind, jetzt ist es amtlich: TURNSTILE sind zurück! Am 6. Juni erscheint NEVER ENOUGH, das sehnlich erwartete neue Album der Band und ihr erstes seit vier Jahren.

Aufgenommen zwischen Los Angeles und dem heimischen Baltimore wurde, wurde NEVER ENOUGH von TURNSTILE-Frontmann Brendan Yates produziert. Das Ergebnis: ein wuchtiges, ruheloses Album, das den unverwechselbaren, genreübergreifenden Sound der Band weiterdenkt – energiegeladen, unerschrocken und voller Leben. Eine musikalische Metamorphose von einer der spannendsten und einflussreichsten Bands ihrer Generation.

NEVER ENOUGH folgt auf das gefeierte Vorgängeralbum GLOW ON, das TURNSTILE vier Grammy-Nominierungen einbrachte und in Deutschland die Top 10 der offiziellen Charts erreichte.

Alan Parsons Project second studio album "I Robot", widely regarded as one of the greatest concept albums of all time, is re-issued in a variety of different formats including a limited edition 180gm clear vinyl, half-speed remastered by Miles Showell at Abbey Road studios. The album was originally released in July 1977, and draws conceptually on author Isaac Asimov"s science fiction Robot stories, exploring philosophical themes regarding artificial intelligence. The album was a worldwide hit selling in excess of two million copies, achieving platinum and gold status in numerous countries including the USA, Germany, Australia and Canada. Limited Edition 180gm heavyweight clear vinyl. Featuring a half-speed remaster by Miles Showell at Abbey Road Studioa. Insert contains a sleevenote featuring quotes from Eric Woolfson

Guedra Guedra ist das elektronische Musikprojekt des marokkanischen Produzenten Abdellah M. Hassak. Der Sound von Guedra Guedra ist eine schillernde Mischung aus visionärer elektronischer Musik und musikalischen Traditionen des gesamten afrikanischen Kontinents! Tipp!

MUTANT ist das zweite Album von Guedra Guedra und das erste auf Smugglers Way. Auf MUTANT mischt Abdellah M. Hassak analoge Synthesizer und Drumcomputer mit Field Recordings aus Marokko, Tansania, Guinea und anderen Ländern, die er auf seinen Reisen durch den Kontinent gesammelt hat. MUTANT erforscht Themen wie Identität, Panafrikanismus, Afrofuturismus und Dekolonisierung und verbindet das musikalische Erbe des Kontinents mit Elementen von Techno, Bassmusik und Dub. "Ich wollte einen kulturellen Sound schaffen, der Innovation mit afrikanischer und diasporischer Musik sowie den Vibes von Rhythmus und Bass erforscht", sagt Abdellah. Die Musik von Guedra Guedra ist durchdrungen von Abdellahs Vision der kulturellen und technologischen Dekolonisierung. Eine Vision, die den Panafrikanismus feiert und die Art und Weise hinterfragt, wie Mainstream-Produktionswerkzeuge nicht in der Lage sind, nicht-westliche musikalische Ausdrucksformen zu erfassen. "In afrikanischen Traditionen ist der Rhythmus, insbesondere in seiner polyrhythmischen Form, nicht nur ein Puls oder ein Takt, sondern eine Kartographie des Lebens. Er drückt soziale Komplexität, vielschichtige mündlicher Überlieferungen, Gemeinschaftsdynamik und die spirituelle Dimension der Existenz aus", sagt Abdellah. "Die Weitergabe dieses Reichtums von Generation zu Generation durch Üben und Zuhören ist auch ein Akt des Widerstands, ein Weg, Wissen und Sensibilitäten zu bewahren, die die herrschenden Erzählungen lange Zeit zu marginalisieren oder zu vereinfachen versucht haben.

- 140G schwarzes Biovinyl inkl. vierseitigem Booklet und Downloadkarte

"One Hit Wonders" ist eine dynamische Doppel-LP-Zusammenstellung, die die unvergesslichen Songs feiert, die den Äther beherrschten und zu zeitlosen Klassikern wurden. Diese Sammlung vereint legendäre Hits aus verschiedenen Jahrzehnten und Genres, von den energiegeladenen Beats von "You Spin Me Round (Like a Record)" von Dead or Alive bis zum sanften Yacht-Rock von "Steal Away" von Robbie Dupree. Mit Tanzhymnen, gefühlvollen Balladen und genredefinierenden Titeln ist dieses Album eine nostalgische Reise durch Songs, die trotz der Tatsache, dass sie die einzigen großen Chartstürmer ihrer Künstler waren, in der Musikgeschichte unverzichtbar geblieben sind.

Diese sorgfältig zusammengestellte Auswahl umspannt die Welten von Pop, Rock, Funk, R&B und Hip-Hop. LP1 enthält Wohlfühl-Hits wie "Walking on Sunshine" von Katrina and the Waves, den Synthie-Pop-Charme von "Wouldn't It Be Good" von Nik Kershaw und die eindringliche Schönheit von "Only the Lonely" von The Motels. LP2 hält die Energie hoch mit funkgetriebenen Grooves wie "Play That Funky Music" von Wild Cherry, der filmischen Magie von "Neverending Story" von Limahl und sanften Balladen wie "Because I Love You" von Stevie B. Jeder Track auf dieser Compilation ist einkultureller Meilenstein, der von der ersten Note an erkennbar ist.

"One Hit Wonders", herausgegeben von MPO, ist ein Muss für Musikliebhaber, Sammler und Fans von klassischen Hits, die Generationen überdauern. Ob Sie diese Hymnen wiederentdecken oder zum ersten Mal erleben, dieses Album fängt die Magie von Songs ein, die Geschichte geschrieben haben, auch wenn ihre Schöpfer nie wieder denselben Erfolg in den Charts hatten. Sichern Sie sich noch heute Ihr Exemplar und lassen Sie sich von der Musik in die Momente zurückversetzen, in denen diese Titel die Charts beherrschten und und die Welt in ihren Bann zogen.
Tracklisting

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

Furthering the passionate exploration of cinema that has guided her two previous LPs - 2017’s ‘Fassbinder Wunderkammer’ and 2020’s ‘I Should Have Been a Gardener’ - the Milanese guitarist/composer, Alessandra Novaga, returns to Die Schachtel with ‘The Artistic Image Is Always a Miracle’, two sides off shimmering, tense compositions – culminating as one of her most creatively ambitious and conceptually rich outings to date – freely inspired by the life and work of the Russian director Andrej Tarkovsky and the music of Johann Sebastian Bach.

Classically trained at the Musik Akademie in Basel, Switzerland, over the last decade Alessandra Novaga has emerged as one of the leading figures within northern Italy’s thriving new, experimental, and improvised music scene, rendering striking solo efforts, in addition to collaborations with Loren Connors, Stefano Pilia, Elliott Sharp, Nicola Ratti, Paula Matthusen, Sandro Mussida, Kid Millions, Travis Just, Francesco Gagliardi, and others. Remarkably ambitious and forward thinking, her approach to the guitar embarks upon a relentless deconstruction and rethinking of her instrument’s unique properties through distinct applications of structure, resonance, space, and tone, creating in a deeply personal and emotive music, seeking narrative and meaning within the abstractions of sound.

In 2017, with the LP, ‘Fassbinder Wunderkammer’, issued by Setola Di Maiale, Novaga embarked upon the exploration of her love of film. Having begun with Rainer Werner Fassbinder, this was followed in 2020 by Die Schachtel’s release of ‘I Should Have Been a Gardener’, a deeply intimate mediation on the life and work of Derek Jarman. Rather than focusing on a fixed point of inspiration or a single film to work from, these pieces achieve a form of abstract portraiture, distilling elements drawn from these filmmaker’s life and work into ambient networks of texture and tonality. ‘The Artistic Image Is Always a Miracle”’ freely inspired by the Russian director Andrej Tarkovsky and the music of Johann Sebastian Bach, finds Novaga radically expanding her sonic palette within this approach.

The seeds of ‘The Artistic Image Is Always a Miracle’ can be traced to a conversation that Novaga had with Alan Licht (contained in the highly regarded Common Tones: Selected interviews with artists and musicians 1995–2020, Blank Forms, 2021), relating to the connections between music and cinema, which led her to consider Andrej Tarkovsky’s use of Bach's music within a symbiotic framework: how the music illuminates the imagism of the films, and the film illuminates new dimensions of the music. Slowly developing over the subsequent years, the resulting album comprises six individual works, some of which draw directly upon pieces of Bach’s music that Tarkovsky used in his films – specifically 'Erbarme dich, Mein Gott', 'Das alte Jahr vergangen ist', and 'Ich ruf zu dir, Herr Jesu Christ' - while others draw upon the sensibilities and moods evoked in the imagination by the director’s films.

As a point of departure and illumination into the process and spirit that underscored the creation of the album, Novaga points toward a passage in Tarkovsky’s "Sculpting in Time”:

“Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken a wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for its own sake. What purports to be art begins to look like an eccentric occupation for suspect characters who maintain that any personalized action is of intrinsic value simply as a display of self-will. But in artistic creation the personality does not assert itself, it serves another, higher and communal idea.”

‘The Artistic Image Is Always a Miracle’ can be understood as a realisation of the collectivism of which Tarkovsky speaks, in the service of something far beyond the expression of self. Encountering Novaga moving into fairly uncharted waters, three of the album’s pieces incorporate the human voice we encounter the voices of others: that of the poet Arsenij Tarkovsky, the director’s father; a singer from Bach’s ‘Erbarme dich, Mein Gott’, capturing a broadcast in an underground parking lot, and Novaga’s own, rendering the melody from Bach’s “Ich ruf zu dir, Herr Jesu Christ”. Roughly alternating between solo excursions on guitar and bristling electroacoustic pieces, over the course of the album’s two sides Novaga weaves one of her most abstract and ambitious bodies of recordings to date, shifting between the complex tonal mediations generated by the six strings of her instrument, and phycological densities activated by the expanded pallet of sonority made possible by the tactics and approaches of musique concrète.

An immersive, deeply engaging meeting of beauty and melancholy within a labyrinth of voices and ideas, ‘The Artistic Image Is Always a Miracle’ transfigures the life and work of Andrej Tarkovski – one of the greatest auteurs in the history of cinema – into a singular, experimental statement of collective truth. Belonging to recent, ambitious stream of contemporary new music releases on Die Schachtel that’s already included Novaga’s ‘I Should Have Been a Gardener’, Stefano Pilia’s ‘Spiralis Aurea’, Jim O'Rourke & Giovanni Di Domenico’ ‘Immanent In Nervous Activity’, Claudio Rocchetti’s ‘Labirinto Verticale’, and Damāvand’s ‘As Long As You Come To My Garden’, among others, ‘The Artistic Image Is Always a Miracle’ is available on as a limited edition of 300 dark turquoise vinyl LPs released on June 21, 2024. The LP, designed by Bruno Stucchi / dinamomilano, comes with an 8-pages insert illuminated by Alessandra’s text as well as the lovely and intense photographs of Matilde Piazzi.

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



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

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

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

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

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

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

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

When Are You Leaving? is the second full-length album from LA-based Korean-American artist NoSo (Baek Hwong), and it marks a bold evolution in both sound and storytelling. Where their 2022 debut Stay Proud of Me introduced a deeply earnest voice navigating identity and belonging - earning praise from NPR's All Songs Considered, Paste, The Guardian, and a stunning performance at Tiny Desk - this follow-up turns the lens inward with even greater clarity and confidence.

Across a vibrant palette of disco grooves, jagged guitars, and atmospheric ballads, NoSo captures the quiet power of letting go - of fractured relationships, old narratives, and the need to be understood by others. The album is rich with emotional contrast: thorny truths wrapped in dreamy production, vulnerability delivered with the assuredness of an artist coming fully into their own.

Self-produced and sonically fearless, When Are You Leaving? is a coming-of-age record for anyone still in the process of becoming, and a testament to NoSo's place among the most compelling songwriters of their generation.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Italian producer, musician, DJ, and groove architect Sam Ruffillo drops his long-awaited debut album Tipo Così on Toy Tonics – a sun-drenched, genre-blurring statement that blends classic house with Mediterranean flair, romantic funk, and tongue-in-cheek Italo vibes. Over 11 expertly crafted tracks, Ruffillo delivers a dancefloor-ready, emotionally rich LP that connects deep musicality with irresistible rhythm and light-hearted elegance.

After three acclaimed EPs and collaborations with revered artists such as Barbara Boeing, Kapote, and Fimiani, Ruffillo has firmly cemented himself as a core artist on the Berlin-based label. Known for his unmistakable signature sound — a warm mix of vintage disco, 90s house, and Italian vocals — Sam’s music has garnered widespread DJ support from tastemakers like Gerd Janson, Palms Trax, Seth Troxler, and DJ Tennis, while becoming a staple on Italian airwaves. His infectious summer anthems like Danza Organica and Perfetta Così have soundtracked countless club nights and festivals, creating a loyal following that eagerly awaited this full-length debut.

Tipo Così is the natural culmination of a musical journey that’s both playful and profound — a travel diary written in grooves, synth stabs, and melodies that feel like postcards from a parallel Mediterranean universe. The album expands and deepens Ruffillo’s world into a fully immersive experience: lush emotional chords meet tight syncopated grooves, vintage synth textures collide with irresistibly catchy pop refrains, and the boundary between sincerity and playful irony is exquisitely blurred.

Entirely written, produced, and recorded in Italy, in his beloved hometown of Bologna, the album finds Ruffillo at the helm on keys, drum machines, and production, supported by a talented cast of musicians contributing live bass, guitar, and other organic elements — further enriching his trademark fusion of electronic grooves and natural instrumentation. There’s a tactile warmth in these tracks, a hands-on feel that adds soul and depth to every beat.

This album also marks Ruffillo’s heartfelt return to singing in Italian, with standout tracks like House Tipo Così, Mi Fa Volare, Ancora, and Dentro Di Me, where romantic naïveté meets pulsing club energy in a way that feels both timeless and refreshingly new. The vocal performances add an intimate, human touch to the music, reinforcing the personal stories woven into each song. There’s poetry in the casual, a bittersweet elegance in the way the lyrics float over groove-heavy production.

Having toured extensively across Europe, Australia, Indonesia, New Zealand, and Mexico — with sets at iconic venues like Panorama Bar and festivals such as Sónar Barcelona — Ruffillo has fine-tuned much of this album in front of live audiences. The real-world testing ground infused the record with a dynamic energy and immediacy that only comes from genuine crowd interaction. These songs weren’t just made in the studio — they were lived on dancefloors around the world.

Tipo Così is not just a collection of tracks. It’s a philosophy — playful, stylish and unmistakably personal. A modern club album bursting with heartfelt emotion and sophistication. Music for dancers with taste; for lovers of beauty, rhythm, and the little imperfections that make things feel real.

But what exactly is Tipo Così? More than just a phrase, it’s a way of being. It’s about embracing elegance without effort, mixing irony with sincerity, and letting nostalgia slip into the room without taking over the party. It’s Sam Ruffillo’s signature language: relaxed, confident, meticulous yet never rigid — where a chord progression can say as much as a lyric, and every beat carries intention.

The album’s visual identity complements this vision perfectly. The artwork and promotional materials lovingly reference Italian design from the ’80s and ’90s, combining bold graphic elements with playful pop culture nods. This aesthetic mirrors Ruffillo’s music — a fusion of vintage warmth and contemporary freshness, delivered with authenticity and charm.

Sam Ruffillo belongs to a new generation of European artists who are reshaping electronic music by blending past and present, analog and digital, groove and emotion — without nostalgia or pose. His artistic universe is coherent, vibrant, and alive; a rich tapestry of sound, images, and stories that coexist with lightness, precision, and a distinctive voice.

Reflecting on his artistic journey, Sam describes music as a vital, deeply human impulse — a tribal connection to rhythm and body that has driven him since he was a teenager. His creative process balances meticulous planning with room for spontaneity, usually sparked by clear melodic ideas that evolve naturally. Collaborations with close friends, especially vocalists like Ninfa, add warmth and authenticity, exemplified in tracks like “House Tipo Così.” For Sam, music is honest self-expression — crafted for listeners who crave memorable melodies and rhythms imbued with genuine feeling.

While technical perfection is tempting, Sam prioritizes emotion, knowing that what truly resonates is the soul behind the sounds. His long-standing partnership with Toy Tonics has been key in nurturing his vision, offering a blend of creative freedom and professional support. Looking ahead, Sam Ruffillo is excited to broaden his live performances, and release new projects that continue to blend electronic grooves with organic, heartfelt sounds — maintaining the delicate balance between playful irony and sincere emotion that defines Tipo Così.




Kurzversion:
Italian DJ, producer and musician Sam Ruffillo drops his debut album Tipo Così on Toy Tonics - a sunny blend of house, funk, Italo and pop, full of groove and emotion. Written and recorded in Bologna with live instruments and Italian vocals, it’s a playful, elegant journey shaped on dancefloors worldwide. A stylish, sincere club album where nostalgia, irony and rhythm meet in perfect harmony.

- Mi Fa Volare
Road-tested across continents and now finally released, “Mi Fa Volare” channels 90s uplifting euphoria with big breakbeats, lush chords, and Italian vocals built to stick. Somewhere between balearic bliss and piano house nostalgia, it’s a feel-good club weapon made for peak-time moments - already sung back by crowds after just one listen.


- Ancora
“Ancora” is a vibrant hi-NRG track inspired by 80s Italo disco, sung entirely in Italian. It blends driving rhythms with dreamy melodies, capturing the radiant spirit of the decade. This fresh yet nostalgic song delivers euphoric vibes and timeless energy, making it a perfect fit for both dancefloors and reflective listening moments worldwide.


- Dentro Di Me
“Dentro Di Me” channels ‘90s sensuality through a fast-paced, UK house-inspired lens. Entirely in Italian, it’s a bold and contemporary dance track where hypnotic vocals meet high-energy grooves. Blending nostalgic textures with forward-thinking production, the result is a seductive and euphoric trip - equal parts emotional and club-ready.


- Amigo
“Amigo” blends Latin groove, acoustic guitar-driven rhythm, and Mediterranean flair into a warm, magnetic, cross-cultural dance anthem. Sung in Spanish and Italian, it celebrates connection, inclusivity, and the joy of moving together - whether stranger or friend. With its unstoppable rhythm and vibrant energy, it’s a feel-good track with a unifying spirit.


- Ma Sei Fuori
“Ma Sei Fuori” is a tongue-in-cheek dancefloor bomb blending raw house energy with catchy vocal phrases and a nod to classic French touch. Driven by hypnotic vocal lines and a playful attitude, it doesn’t take itself too seriously - while still proving serious club impact. Built for late-night moments, it’s bold, bouncy, and impossible to ignore.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by." Emily A. Sprague's Cloud Time will be released Friday, October 10th in vinyl, Japanese import CD (via Plancha), and digital editions.

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

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

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

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

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

MJ Lenderman writes songs that are amorphous and elastic, rising to fill the venue they"re in, generous to accommodate the number of players on stage, less concerned with replicating the studio version than they are with meeting the crowd where they"re at. On And the Wind (Live and Loose!), the Asheville-based Lenderman handles most of the playing, but with The Wind, it"s a multi-headed beast. This live album is culled from sold-out summer 2023 shows on a brief headline run during what some might call a wild-*ss couple of months. It captures a near-euphoric moment in time - dizzying and exhausting and, most of all, having some real true-blue f**king fun with your best friends. It"s 90s college rock meets Americana hootenanny, an electrifying piece of the MJ Lenderman lore that needs to be experienced live with a light beer in-hand - but in the interim, And the Wind (Live and Loose!) does its best to commit the scene to tape.