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Total abgefahrene irische Psychedelia für den Kater am Morgen nach dem "Summer of Love". Angeführt vom in Belfast geborenen Wunderkind David Lewis, verwischt Andwellas Dreams Debütalbum Love and Poetry" aus dem Jahr 1969 die Grenze zwischen Denmark Street und Cyprus Avenue. Ein 13 Songs umfassender pastoraler Fiebertraum, der im CBS-Lagerhaus verloren gegangen war, jetzt neu gemastert und in seiner ursprünglichen Pracht wiederhergestellt.

Total abgefahrene irische Psychedelia für den Kater am Morgen nach dem "Summer of Love". Angeführt vom in Belfast geborenen Wunderkind David Lewis, verwischt Andwellas Dreams Debütalbum Love and Poetry" aus dem Jahr 1969 die Grenze zwischen Denmark Street und Cyprus Avenue. Ein 13 Songs umfassender pastoraler Fiebertraum, der im CBS-Lagerhaus verloren gegangen war, neu gemastert und in seiner ursprünglichen Pracht wiederhergestellt.

Cutting by Tohru Kotetsu — one of Japan’s leading mastering and cutting engineers!

To commemorate the 35th anniversary of ZARD’s debut, the best album Golden Best ~15th Anniversary~ is being released on analog vinyl!
The release is set for February 4, just before the 35th anniversary of their debut (February 10, 2026).

Originally released in 2006, Golden Best ~15th Anniversary~ is the ultimate ZARD best album, achieving million sales. It is also the final work
Izumi Sakai released during her lifetime before her passing in 2007.
For the vinyl release of such an important work, the cutting was entrusted to Tohru Kotetsu, one of Japan’s top mastering and cutting engineers and
a devoted fan of ZARD. The timeless ZARD classics engraved by Kotetsu have resulted in a truly exquisite finish. Please enjoy the warmth and depth
of sound that only analog vinyl can deliver.

KANONENFIEBER: "In der Schule lernen wir, dass Krieg etwas Schlechtes ist. Vom Prager Fenstersturz bis zur Ermordung des Thronfolgers in Sarajevo - Krieg bedeutet immer Gewalt. Wir hören von politischen Spannungen, gewagten Feldzügen und zermürbenden Materialschlachten. Untermauert wird all das von Zahlen, so gewaltig und abstrakt, dass sie beinahe irreal wirken: 17 Millionen Tote allein im Ersten Weltkrieg.
Wenn sich der Pulverdampf vom Schlachtfeld verzogen hat, bleiben nur noch Tote zurück - keine Menschen. Doch wer war der Mann, der erschossen im Granatentrichter liegt? Wer war der kaum 17-jährige Junge, der nach einem Minentreffer im Unterstand erstickte, schreiend nach seiner Mutter? Wer war der Feldwebel, der Fahnenjunker, der Pionier - der einfache Soldat, der innerhalb weniger Sekunden sein Leben und seine Identität verlor? Ein einzelnes Schicksal, das im Schatten des "großen Ganzen" so winzig erscheint, dass es kaum Beachtung findet.
Genau hier setzt Soldatenschicksale an.
Von der Landung der Amerikaner an der Westfront über den erbarmungslosen Winterkrieg im Osten bis hin zu den Kämpfen auf und unter der Wasseroberfläche der Nordsee - es geht um Menschen. Um Stimmen. Um Geschichten, die in Vergessenheit geraten. "Soldatenschicksale" versammelt überarbeitete Fassungen von "Yankee Division" (2022), "Der Füsilier" (2023) und "U-Bootsmann" (2023) sowie zwei neue Stücke, die als "Skagerrak" fungieren.
Skagerrak. Die größte Seeschlacht des Ersten Weltkriegs.
Nach jahrelangem Wettrüsten zwischen dem Deutschen Kaiserreich und Großbritannien ist es am 31. Mai 1916 so weit: zwei Großmächte prallen aufeinander. In den Songs "Z-Vor!" und "Heizer Tenner" wird der Untergang des Kleinen Kreuzers SMS WIESBADEN geschildert, erzählt aus der Sicht eines Marinemelders und eines Heizers. Artillerie, Flammen, Maschinenlärm - und mittendrin: zwei Männer, die Teil einer Geschichte werden, die keiner überlebt."
Ltd. CD Mediabook, Ltd. Gatefold LP & LP-Booklet, LP, Digital album.

Overtoun is a Death/Thrash band based between Santiago, Chile, and Boston, MA, fusing the rich musical heritage of Latin America with the complexity and aggression of technical death metal. Founded by Agustín Lobo and Matías Bahamondes, the band solidified its lineup with Yoav Ruiz-Feingold (Atheist, Graviton) on vocals and Matías Salas on bass. Fused with Chilean rhythms, folk-inspired guitars, and memorable riffs, it features guest appearances by MAX PHELPS (CYNIC, DEATH TO ALL), ENRICO H. DI LORENZO (HIDEOUS DIVINITY), and SHANTANU VYAS (HAZING OVER). With virtuosic musicianship and a raw, organic sound that recalls the primal spirit of classic metal, Overtoun channels both precision and rage. Produced by renowned Argentinian producer MARTIN FURIA (DESTRUCTION, BARK) and released via Time To Kill Records, Overtoun asserts itself as one of the most exciting and promising Latin American Metal acts today.

180g, cream white Vinyl, Gatefold Sleeve. Das vierte Album von Dina Ögon ist länger als alles, was sie bisher veröffentlicht haben. Während das selbstbetitelte Debüt, das zweite Album Oas und das jüngste Album Orion alle abrupt endeten, zieht die Band nun alle Register und fordert unsere ungeteilte Aufmerksamkeit. In einer Zeit, in der das Albumformat weitgehend in den Hintergrund gedrängt wurde und stattdessen lose, digitale Single-Veröffentlichungen ohne inhaltlichen Zusammenhang bevorzugt werden, schlagen Dina Ögon den entgegengesetzten Weg ein und veröffentlichen ein Doppelalbum.

Predatory Void returns with their third record, an EP titled `Atoned in Metamorphosis`, a concentrated statement of intent that compresses the band's restless energy into four precise movements. The music negotiates extremes: patient, reverb-saturated passages give way to sudden, metallic eruptions; subterranean basslines provide narrative weight beneath volatile guitar textures, vocals growl, wail and lament as drums alternate between measured architecture and volcanic release. The result is an austere, immersive sound that is both incandescent and violently sharp. Conceptually the EP takes on the ugly shadow of the unconscious and cathartically wrestles the demon onto canvas. Calling on elements from sludge, doom and black metal, as well as the unrelenting energies of hardcore and contrasting slower, haunted atmospheres, Predatory Void's signature sound is as volatile and piercing as ever. Concise, tight compositions that hook you in melody and then rage in filthy agony. The music can be confrontational, but it is never gratuitous_force is deployed to clarify rather than to overwhelm as emotional depth is at all times the compass. The production aesthetic prioritises fidelity to performance: takes are preserved for their immediacy, dynamics remain uncompromised, and the mix privileges contrast so that quiet moments carry as much dramaturgical weight as full-band climaxes. `Atoned in Metamorphosis` consolidates Predatory Void's forward motion and stakes a claim for a sound that prizes architectural heft and textural nuance in equal measure. Listeners should expect an immediate physical response in what is undeniably an ardent expression, and enjoy the reward of cumulative detail, for the EP dares you to listen closely: to feel transitions as processes, and to accept tension as a pathway to release. Predatory Void invites engagement, not escape, and demands to be met on its own terms, boldly. RIYL Hexis * CELESTE * Wallowing * LLNN * Downfall of Gaia * Witching

Predatory Void returns with their third record, an EP titled `Atoned in Metamorphosis`, a concentrated statement of intent that compresses the band's restless energy into four precise movements. The music negotiates extremes: patient, reverb-saturated passages give way to sudden, metallic eruptions; subterranean basslines provide narrative weight beneath volatile guitar textures, vocals growl, wail and lament as drums alternate between measured architecture and volcanic release. The result is an austere, immersive sound that is both incandescent and violently sharp. Conceptually the EP takes on the ugly shadow of the unconscious and cathartically wrestles the demon onto canvas. Calling on elements from sludge, doom and black metal, as well as the unrelenting energies of hardcore and contrasting slower, haunted atmospheres, Predatory Void's signature sound is as volatile and piercing as ever. Concise, tight compositions that hook you in melody and then rage in filthy agony. The music can be confrontational, but it is never gratuitous_force is deployed to clarify rather than to overwhelm as emotional depth is at all times the compass. The production aesthetic prioritises fidelity to performance: takes are preserved for their immediacy, dynamics remain uncompromised, and the mix privileges contrast so that quiet moments carry as much dramaturgical weight as full-band climaxes. `Atoned in Metamorphosis` consolidates Predatory Void's forward motion and stakes a claim for a sound that prizes architectural heft and textural nuance in equal measure. Listeners should expect an immediate physical response in what is undeniably an ardent expression, and enjoy the reward of cumulative detail, for the EP dares you to listen closely: to feel transitions as processes, and to accept tension as a pathway to release. Predatory Void invites engagement, not escape, and demands to be met on its own terms, boldly. RIYL Hexis * CELESTE * Wallowing * LLNN * Downfall of Gaia * Witching

Kein zeitgenössischer Italiener war in der Zeit nach dem Ersten Weltkrieg als Instrumentalkomponist so erfolgreich wie Ottorino Respighi mit seinen vierstimmigen symphonischen Gedichten „Fountains Of Rome”,
„Pines Of Rome” und „Feste Romane”. In diesen Werken erlebte die Programmmusik eine großartige
Wiederbelebung. Besonders bemerkenswert ist Respighis Kunst der Instrumentierung, mit der er Orchestermusikern wie Richard Strauss und Maurice Ravel Konkurrenz machte. Er bediente sich einer aus
vielen Quellen destillierten Musiksprache, einer Art „Euro-Impressionismus“, der modernistische Einflüsse
nicht ausschloss.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Beethoven begann mit der Komposition seiner Dritten Symphonie, kurz nachdem seine zunehmende Taubheit und seine Selbstmordgedanken öffentlich bekannt geworden waren. Der „heroische“ Stil dieser Symphonie kann als musikalischer Ausdruck seines Triumphs über sein persönliches Leiden interpretiert werden.
Aber die Symphonie hat auch eine enorme musikalische Bedeutung: Mit der „Eroica“ erweiterte Beethoven
die symphonische Form und veränderte damit die Erwartungen an eine vierteilige Symphonie für die nächsten zwei Jahrhunderte.
Giulinis Aufnahme mit dem Los Angeles Philharmonic Orchestra gilt als Referenzaufnahme.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Manche Sensationen geschehen ohne großes Aufsehen, da sie fast selbstverständlich erscheinen. Ein solcher
Moment ereignete sich im Februar 1978 in der Berliner Philharmonie, als Herbert von Karajan die 14-jährige
Geigerin Anne-Sophie Mutter mit Mozarts G-Dur-Konzert dem Berliner Publikum vorstellte. Nachdem die
junge Musikerin ihre Feuertaufe mit Bravour bestanden hatte, strahlte der Dirigent und die Musiker der
Berliner Philharmoniker applaudierten begeistert – ein seltenes Ereignis. Ihre Mitmusiker und das Publikum
waren sich gleichermaßen bewusst, wie vielversprechend ihr Debüt gewesen war.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Petruschka ist eines von drei Balletten, die Igor Strawinsky während seiner „russischen“ Periode komponierte. Mit Petruschka zeigte Strawinsky seine neo-folkloristische Seite und brachte eine bunte Straßenmenge mit einem Zauberer und seinen Puppen, Händlern und Mumien auf die Ballettbühne. Damit zeigte
er der Welt, dass Jahrmarkt und klassische Musik kein Widerspruch sind.
Dies ist eine der wenigen Produktionen der DG, bei der parallel digital auf 2 Spuren und analog auf 8
Spuren aufgenommen wurde. Durch die Verwendung des analogen 8-Spur-Masters ist diese Aufnahme nun
zum ersten Mal in rein analoger Form erhältlich.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche und Verzerrungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Silver Vinyl

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
d 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

[a] 01: Euro Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[b] 02: Puls Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[c] 03: Fanfarum for Komarum III (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Jaime Fennelly, as Mind Over Mirrors, makes music that pushes the known to the lip of the unknown, where it rocks precariously and in exhilaration. He scrambles the familiar and tweaks the comfortable, not through aggression, but a throbbing estrangement. When placed at a distance, these require longer reaches to grasp. The reward for this effort is an enlarged field of perspective, experience, and also of feeling. This is deeply feeling music to feel deeply.

In all of Jaime’s records—and, arguably, especially in Particles, Peds, & Pores—there’s a seed of the pastoral, some ancient shepherd’s song ringing through nearby hills and groves, but one also yearning to plumb the uncanny and the creative possibilities of disintegration. “Farewell to woods,” the grieving Damon sings in Virgil’s eighth Eclogue. “Let all be ocean now.” Fennelly sounds vast, enveloping wildernesses and the thrilling disquiet of their echoless grandeur. (Maybe Burroughs speaks to the borders of these zones: “Pulsing mineral silence as word dust falls from demagnetized patterns.”) There’s something of the heroic at work here, too, although the hero’s instinct has been suitably tempered—or awed—to know not to fly too close to the sun.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

Desmond Dekker recorded some of his best known songs together with his backing group the Aces (consisting of Wilson James and Easton Barrington Howard). Their debut album 007 (Shanty Town) includes their single of the same name, which made him Jamaican music's first outernational superstar, reaching the 14th place in the UK charts. You'll hear how the Ska music from the mid-60s is developing to the Rocksteady sound. This was 'Ska' or 'Blue Beat'—(or its new name for the slower tempo 'Rock Steady'), and the lyrics come from the Calypso-Mento method of telling about current events in music. So in a groovy way, Desmond, James and Barry (the Aces) have given a report of love, politics, nagging women, the celebration of the Fifth anniversary of Independence, and gang warfare. This is were it all started before Desmond became the international star.

Even before Bob Marley and Jimmy Cliff Jamaica already had their own international superstar, Desmond Dekker was his name. Famous because of his international hits, such as 'Israelites' (1968) and 'It Miek' (1969).

007 (Shanty Town) is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Colmillo de Leche marks a defining moment in Carín León’s artistic evolution, reimagining his sound and signaling the true beginning of a career rooted in authenticity and fearless creativity. Awarded the 2023 Latin GRAMMY for "Mejor Álbum Norteño", the album cemented his status as one of the leading voices in the new wave of regional Mexican music.

140g Black 2LP in widespine jacket with printed inner sleeves

Bluegrass band Big Richard makes music for the 21st century’s twisted cultural unease. Their Signature Sounds debut Pet, is a fierce, provocative, rejoinder to what troubles them and the world right now, and was recorded live to tape in order to capture the fervor of their live shows.

“Big Richard is so much about our energetic delivery, and so I think it's been really important for us as a group to figure out how to do that for a record,” says mandolin and guitar player Bonnie Sims. And figure it out they did. Pet delivers, successfully translating the supergroup’s live kinetic harmonies and string virtuosity. Unapologetically outrageous and provocative, the band’s name is a wink to the ‘big dick’ energy Big Richard is reclaiming from male bluegrass bands. Since exploding onto the Colorado scene in 2021, the four women have been on a wild ride, slapping as hard as possible on the festival circuit, working up their stamina on nationwide headlining tours, and leaving a wake of die-hard Big Richard Heads across the country swooning for their honest songwriting, chilling vocals, and fiddle-driven barn-burners.

“Our live performances are so raw and so gritty, and I think that our sound never really flourished in that digital landscape.” GRAMMY and Emmy Award-winning cellist Joy Adams says. “Recording live to tape we were all in the same room together, very close together, with a lot of mic bleed, etc. And the energy was insane. It felt so good to record this way. Even on the first day, we were like ‘wow, this sounds like our band.’ And to do something that's very real and gritty and has little mistakes in it just feels alive and human.”

Celebrate the 10-year anniversary of Prince’s 2015 penultimate studio album, available now on vinyl for the first time. The album showcases the innovative spirit of Prince, featuring popular singles like “Stare,” “This Could Be Us,” and “FALLINLOVE2NITE.” The album includes

contributions from artists such as Prince’s bandmates in 3RDEYEGIRL (Hannah Ford-Welton, Donna Grantis, and Ida Nielsen), Judith Hill, Rita Ora, and female rap duo Curly Fryz, but it was primarily a collaboration between Prince and Joshua Welton, who was a co-producer on the album

Formerly one third of the much-loved trio Black Box Recorder, alongside The Auteurs’ Luke Haines and Jesus and Mary Chain guitarist John Moore, the British singer-songwriter Sarah Nixey has steadily gained acclaim as a solo artist who makes savvy, sophisticated and poised pop.

Delivering vocals with a detached elegance over opulent tracks, any perceived nonchalance in Nixey’s luxe, cut glass voice belies her empathy, where social commentary serves as protest, both explicit and implied. Like Billy Bragg deepfaked as prime Julie Andrews, this strange but effective juxtaposition radiates soft power. ‘Lies of the Land’ depicts a corrupt post-Brexit and Covid-19 world where inequality and division flourish. ‘England's On Fire’ delves into the nuanced concepts of patriotism and nationalism, and ‘Pleasure Bay’ narrates the story of a love affair with a deprived yet beautiful English seaside town, written after Nixey left London, drawn back to the Dorset coast.
More than just a political record though, Nixey was drawn to the poetic elements of living too, telling stories of life and death, love and loss, conflicts and symmetry, in an intimate and close-up way, as if whispering secrets to her listeners.

“Sea Fever explores the bittersweet beauty of human life amid a volatile world of changing seasons and brutal elements,” says Nixey. “These are songs of deep sorrow, remembrance, birth, and change, set against a backdrop of the sensuous natural world.”
‘Rolling Waves’ explores profound grief following her beloved grandmother's death, while ‘Spring Equinox’ celebrates the joy and awe of life after welcoming her first grandchild. ‘At the Edge of the Forest’ is a poignant story of someone losing their memory, and ‘On This Wide Night’ recounts the early hours return home of a teenage runaway.

LP, Green Slime Vinyl

The Portland, ME trio returns with Feels Like Hell, their most self-assured and emotionally charged record yet. Despite the title, the album is a celebration of personal growth, creative freedom, and defiant joy in the face of a chaotic world.

Coming off the burnout and frustration captured in their 2021 album Quitter, Feels Like Hell finds Sonia Sturino (vocals/guitar), Annie Hoffman (bass/vocals), and Adam Hand (drums) leaning into clarity, gratitude, and renewed purpose. Sturino’s lyrics are as raw and honest as ever, but now they reflect strength rather than despair. It’s an album that drags existential dread into the daylight and sets it on fire.

“I decided to stop being such a sad-sap negative person,” Sturino says. “Now I practice being grateful, being proud, being happy, and not being envious.” That mindset shift shapes the tone of Feels Like Hell, which looks at darkness but chooses not to be consumed by it.

The record also marks the band’s first foray into co-writing, with Hoffman playing a significant role in shaping its sound. Embracing a more intuitive recording process, the trio stripped back the excess and focused on what felt right. The result is a record that’s resilient, cathartic, and brimming with creative energy.

While the world may still feel like it’s falling apart, Feels Like Hell pulses with the power of letting go. Letting go of fear, of perfectionism, of the illusion that vulnerability is weakness. With driving guitars, unflinching lyrics, and a renewed sense of purpose, Weakened Friends prove that it’s possible to stand in the wreckage and still find something worth singing about.

Neue Grafik has steadily built a strong reputation in recent years with releases on esteemed labels such as Rhythm Section, 22a, CoOp Presents, and Wolf Music. His sound is a distinctive fusion of jazz, house, and hip hop, infused with his African heritage, Parisian background, and a deep appreciation for London genres like broken beat and grime.

Neue Grafik first made a lasting impression on the community at Total Refreshment Centre (TRC)—the heart of London’s thriving jazz scene—during a spontaneous after-hours jam. Since then, there has been collaborations with notable artists including Nubya Garcia, Emma-Jean Thackray, Brother Portrait, Lord Apex and Allysha Joy.

The new album, ”Rachael”, is set for release on January 30th 2026. It stands as Neue Grafik's most ambitious project to date. Developed over the past year, the album explores themes inspired by the character of Rachael from the movie Blade Runner, representing the journey of love in all means, intimate, raw, tough, organic and honest offering a rich, emotional journey that balances lightness with depth—an introspective dive into the artist's evolving musical identity.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

Supercoole Debüt-7"-Single von Marco Benevento, einem echten Klaviervirtuosen, der schon seit seinem siebten Lebensjahr spielt. Seine Karriere hat ihn schon oft um die ganze Welt geführt, wodurch er eine umfangreiche Diskografie und einen Ruf als gefragter Session-Musiker aufgebaut hat. Leon Michels, Mitbegründer von Big Crown und Grammy-Gewinner, hat Marco zum ersten Mal während der Aufnahmen zum Album ,Adult Themes" von El Michels Affair ins Boot geholt. Seitdem hat er sein Talent in unzähligen Big Crown-Projekten eingebracht. Außerhalb des Labels ist Marcos unverwechselbarer Stil unter anderem auf Alben von Clairo, Kevin Morby und Freddie Gibbs zu hören. Aber genug davon, was er für andere gemacht hat - diese Veröffentlichung zeigt Marco von seiner besten Seite: Er macht sein eigenes Ding und das richtig gut. Die A-Seite ,Frizzante" ist pure Feierlichkeit, eingefangen auf Vinyl, die darauf wartet, von der Nadel befreit zu werden. Es ist ein energiegeladener, gut gelaunter Kracher, bei dem Marco Melodien mit sich selbst über einem unerbittlichen Groove austauscht. Von der ersten Note an zieht dich der mitreißende Topline-Riff in seinen Bann und macht Platz für kaskadenartige Klavierläufe, üppige Bläserarrangements und Schichten von E-Piano und Synthesizern, die die Energie immer weiter steigen lassen. Es gibt keine Pause, keine Entspannung - nur einen richtigen Soul-Jazz-Tanz. Auf der 2. Seite zeigt Marco mit ,Turnadot" eine ganz andere Seite seines Sounds, zusammen mit der italienischen Sängerin Marianne Mirage. Der Song ist eindringlich schön und filmisch und passt perfekt zwischen Portishead und Serge Gainsbourg. Mariannes Gesang schwebt über Marcos perfekt ausgewogenem Arrangement - seine Produktion ist sowohl zurückhaltend als auch ausdrucksstark und macht den Song universell fesselnd, unabhängig davon, ob man Italienisch spricht oder nicht.

Big Sigh brings together the best of Marika's previous works as an indie musician and adds a new layer of epic sounds and full-bodied production. Big Sigh is the "hardest record" Marika has ever made. As the title suggests, it is a relief of sorts - of sadness, of stress and lust, but mostly relief. Co-produced with Sam Petts Davies (Frank Ocean, Radiohead, Red Hot Chilli Peppers) & Charlie Andrew (Alt J, Wolf Alice, London Grammar). Lyrically there's always romance a longside grief, with elements of vulnerability and feeling trapped. "This album took a long time I got to the end of it I was quiet. I wanted to be away from it and let it sit in its own space. Now the dust has settled and I've got to re-enter the world of big sigh, and I'm excited." Stepping into a new world, moving forward, chipping away. Breath in, breath out. Big sigh."

Glade brings Ramiro’s atmospheric touch into sharper focus, presenting a fluid collection built around momentum and understated detail. Across the three tracks, he shapes a patient narrative that rises gradually, guided by crisp percussion and warm tonal shifts that open each track into expansive, late night territory. The result is a cohesive journey that reflects his instinct for movement, letting the melodies and rhythms unfold naturally.

“This EP is made up of three tracks, all designed to resonate on the dancefloor. ‘Glade’, ‘Jebel’, and ‘Norte’ each contain organic nuances, but together with their synthesizers they achieve a main-set feel that works very well at key moments in a set. The drums and percussion play a major role in making this happen, as they ensure the groove never fades or if it does, that its drop is striking.” – Ramiro Drisdale

Snorkel Records proudly presents the fourth release in its 12'' single series: Gran Tropo by Raaja Bones. Palmbomen II on remix duties. Need we say more?

Two decades into his winding voyage through music, culture and creativity, Tom Trago has become part of the densely woven fabric of the Dutch electronic scene - a producer, DJ, label owner, collaborator, remixer, radio host and DJ's DJ who is renowned not only for his impressive productivity, but also the genuine depth and variety of his work. While it was Trago's distinctive DJ sets that once grabbed headlines - he famously held residencies at renowned Amsterdam institutions Trouw and De School, and for a decade spent much of his time jetting between some of the most renowned clubs in Europe - in recent years Tom has cut down on appearances. Today, he chooses to be far more selective about where (and when) he DJs or performs live, often working with a handful of cherished venues and festivals while ensuring that his travels are sustainable and inspiring. Instead of the grind of touring and hedonistic night-time activity, Trago has chosen to focus on music-making, alongside semi-regular forays into radio broadcasting (NTS, Radio Radio, BBC Radio and EchoBox). He now spends most of his days producing and remixing at his new SR-3 studio in Alkmaar and his seaside home-come-studio in Bergen aan Zee. As part of these lifestyle and career changes, Trago took time to look deeper, not only inside himself, but also for musical inspiration. Tom has always loved, and devoted time to, digging into a wide variety of production styles, using this inspiration to develop a trademark personal production style, but in recent years he has taken it even further. Fuelled by a desire to challenge himself, Tom consistently tries new things in the studio while channeling all he's learned during a career that has moved forwards at breakneck speed. Since making his debut in 2006, Trago has released six critically acclaimed albums (two of which, the eclectic, beat-focused, career-spanning, Patta-released archive dive, 18, and the dancefloor excursion, Trembala, appeared in 2022); extensively worked with Dutch electronic music institutions Rush Hour and Dekmantel; collaborated with countless friends and contemporaries (Charlie Soul Clap, Awanto 3, Maxi Mill, Steffi, San Proper, Seth Troxler, and BokBok included); remixed artists including New Order, Carl Craig, Cassius, Tiga and Erol Alkan, and championed a swathe of fellow Dutch producers via the Voyage Direct label he founded in 2009. In 2025 Tom returns to legendary Dutch label Magnetron Music, home to Fatima Yamaha, DMX Krew, Legowelt, Staygold and many other, to release his Magnus Opus; Ignorance.

Federsen’s Alt/Dub imprint returns with its second instalment of its Artist Series featuring Forward Memory, Thomas + James, Gradient and Beppu.

Federsen, known for his deep Dub Techno sound, launched his label Alt Dub in 2024. The imprint focuses on warm and spacious dub aesthetics, carrying the torch for Dub Techno’s origins. Since its debut release in early 2024, Alt Dub has expanded with collaborations and artist series featuring names like cv313 and Fletcher, establishing itself as a forward- thinking force in modern Dub Techno.

Forward Memory’s ‘Scholz’s Star’ leads the release, laying down organic percussion and twitchy, oscillating synth grooves alongside, subtly evolving textural components and evolving bottom end swells.

Glaswegian duo Thomas + James follow next with ‘Chosen Colour’, a deep immersive journey fuelled by billowing ethereal pads, bumpy bass stabs and a raw, reduced rhythm section.

Respected Dub Techno artist Gradient follows next on the flip side with ‘Vibes Realm’, delivering his signature floaty style via shimmering dub stabs, crisp drums and a swaying bottom end drive.

Beppu’s ‘Conversions’ then concludes the EP, shifting gears once again as spiralling dub echoes, hissy atmospherics and wide bass intertwines with delayed, broken rhythms.

In 2017, at Documenta Kassel (but in Athens), I invited José Jiménez Bobote, a remarkable gitano artist from the Tres Mil Viviendas neighbourhood in Seville, to record a series of actions in specific locations in the Greek capital. Ancient Greece and modern Greece. I wanted him to draw sound from the city, to strike it as only a flamenco artist can, with his feet. To hit the ground and make it moan, ring out with noises evoking significant moments in history: from Diogenes the Cynic and the Apostle Paul’s sermon at the Areopagus to Rosa Eskenazi’s resistance to the Nazi-German occupation, and the ups and downs of police Inspector Costas Haritos’s survival at the European Bank during the PIGS crisis. Bobote struck the ground and Athens responded, sending back echoes of the past, in an exceptional anachronistic exercise. In flamenco it is possible for several times to sound simultaneously.

We took seventeen hours of footage, and water from many wells.

I then shut away producer, musician, and friend Raül Refree with this material so that he could take the long titles and use them as scores, turning them into mere songs. It was very important to think in terms of songs. The tracks had to have the capacity to be songs, the kind of thing one whistles while absent-mindedly walking down the street. Generally speaking, the scores—that is, the texts—defended the use and abuse of the loose coins that people carry around in their pockets. Loose change as a kind of everyday fetishism against big financial capital. Pistis! Refree managed to coax that distinctive unity of songs, their bright catchiness, from the amalgamation of sounds that would, in other hands, end up being labelled concrete music. Peter Szendy would be pleased and grateful. Being able to sing under one’s breath something that others consider simply noise.

Seven songs, yes. And if you get the chance, take a stroll through Athens with them: the locations are clearly defined. If not, then let Athens fill your home with all its ancient wisdom, boring into your ears like worms, making holes in history.

Listen, and, as people used to say, turn up the volume!

Pedro G. Romero, Santa Marta, Colombia, November 2025

Comes with booklet with song lyrics written by Pedro G. Romero. Limited edition of 250 vinyl records.

Maurice “Mobetta” Brown has always thrived at the crossroads—between jazz and hip-hop, improvisation and songcraft, trumpet and microphone. With Betta Days, the Grammy-winning trumpeter, composer, and MC sharpens his genre-bending vision into one of his most dynamic statements yet.

The album plays like a conversation between worlds: lush horn arrangements sit beside hard-hitting beats, verses weave seamlessly through melodies, and Brown’s trumpet leads with equal parts fire and finesse. A student of jazz tradition who came up in Chicago’s storied scene, he’s since expanded his reach into hip-hop and soul, collaborating with icons like Aretha Franklin, Santigold, Talib Kweli, and Anderson .Paak. Betta Days captures the spirit of all those influences while standing firmly in Mobetta’s lane.

At its core, Betta Days is about resilience and growth—finding light even in heavy times. The songs carry a message of pushing forward, fuelled by the energy of community and the joy of creation. Whether he’s delivering sharp verses or soaring trumpet lines, Maurice Mobetta Brown reminds listeners that the future is wide open, and that better (or Betta) days are always ahead.

Once again Trunk Records comes through with an album of sublime 1980s new age synthwave
music from an artist and library company you have never heard of.

With most Trunk LPs we write the story about how Jonny came across the music. And yes, this LP is no different...over to Jonny…

“My first encounter with Peter Patzer was when I was writing and researching the updated and fully expanded version of The Music Library Book, published by Fuel. The initial book - called The Music Library, was the first ever overview of library music and the wild, unpredictable graphic art of their sleeves. It was first published in 2005 and featured about 400 sleeves and about 120 library companies over 200+ pages. The book was based on over a decade of intense library LP collecting by myself and a handful of other geeky weirdos and made for fascinating and revealing reading and looking. It was a great education for many entering this odd, hidden musical world for the first time. The book quickly sold out.

A few years later the price of the original book had gone bananas. But the geeky weirdos like me had all carried on voraciously consuming and collecting library music so I strongly felt the first book could easily be doubled in size with new info, new sleeves and many newly discovered lost library companies. Which is exactly what I set about doing. The Music Library expanded edition came out in 2015. You have to realise here that The Music Library book was very much a first - until its unexpected arrival (and even the arrival of the much larger expanded edition) there was no published survey, accessible catalogue or anything about international library music. It was still an odd old world shrouded in some historical mystery - even the internet had not really caught up. And I was still finding unusual British one-off library LPs, more unusual Italian library diversions, hidden French funky things and then I finally found Peter Patzer. From Germany.

Hidden away in a very obscure music library corner. All on his own.Peter was unusual in that he was an artist and musician who made his own music and issued it all on his own library, called Crea Music, based out of Bremen in North Germany. Over a series of eight whitevinyl LPs produced in the 1980s Peter Patzer created synth heavy experiments for possible use in film, TV, video and anything else coming along. All his LPs had the same simple red, white and blue sleeve and a typed name and number. Across the eight LPs Peter goes to musical space, creates post-disco funk,travels to Vegas, goes all geological and more.

The eight Peter Patzer / Crea Music LPs are as follows:

01 - Puddy’s Bus 02 - Straight Line 03 - Pos-Attractions 04 - Patterns 05 - Canyons 06 - MIls Maniac 07 - Classic Themes 08 - Formation 17

This is a compilation of some of the music featured across those eight LPs, and yes, it was initially
licensed a few years ago but I held it back as I wasn’t sure people were quite ready for the plugged-inway out drifting 1980s electro sound of Peter Patzer with his synth washes, rhythms and chords. Or maybe I wasn’t ready. Anyway it’s here now... and if this sells out there could be another Peter Patzer LPbut with all his longer 7 minute compositions which there wasn’t room for here.