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„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

Little is known about the origins of this project, grasping the curiosity of many 90's trance diggers, this mysterious EP was originally released in 1994 on the now defunct London based label ITP Recordings. Presenting 3 tracks that dive deep into the trancy electronics of the time, going well into the 8 minutes marker on each track the producer takes the time to allow a pallet of atmospheric qualities to gently grow and layer themselves throughout. A very unique aural signature, almost as if fractals had a sound, organised in a highly effective manner for the psychedelic electronic music inclined dancefloor.

Our Mirage have carved out a distinct voice in the heavier music scene with emotionally charged lyrics, atmospheric textures, and searing intensity. Formed in 2017, the band quickly gained momentum through an ever-growing fanbase and a string of compelling releases. Their 2022 studio album Eclipse has amassed over 15 million streams on Spotify, cementing their reputation as one of Germany’s most exciting new metalcore exports. Now, the band is gearing up for their most ambitious release yet: Fractured Minds, due out on January 30th, 2026. The record promises to be even more explosive, expanding on their signature mix of crushing heaviness and emotional depth. The momentum is already undeniable —with five singles released from Fractured Minds to date, the band has accumulated over 5.5 million Spotify streams on those tracks alone. Meanwhile, Our Mirage currently count more than 260,000 monthly listeners on Spotify, underlining their ever-growing international presence. Beyond streaming success, Our Mirage have proven themselves a formidable live act, playing major festival stages such as Summer Breeze Open Air and delivering powerful, emotionally raw performances night after night. In January and February 2026, the band will embark on a co-headline tour, bringing Fractured Minds directly to fans across Europe.

Hamburg is sinking into an ever-expanding landscape of fresh construction ruins born from investor fantasies, concrete monster-bridges and ghostly office spaces. But from secret basements, a Geflecht begins to grow. After the first tape by Hamburg duo Kostenfalle, now comes their second album on vinyl.

The furious electropunk of Kostenfalle has been cut into the matrix at 45 RPM. Nine
songs in the fast lane, driven by sequencers, synthesizers, drum machines, and bass guitar. Despite the electronic machinery, Kostenfalle remain fiercely dynamic, twisting and shifting through intricate structures and sudden turns. Punk and Electronic Body Music lock into a dance; without warning we’re plunged into a psychedelic riff, only to slam angrily into the next guardrail.

With alternating vocals, Christian manning the transistors, Philipp holding the bass, the lyrics emerge dark and oblique, meditating on life as a one-dimensional human and on the spaces between people. Boycott and sabotage. Explode and generate.

Repress. "Across its rather considerable span, II demonstrates there's still room for growth in the realm of post-Colour Haze heavy psych, and more than the debut, Weedpecker leave an individual impression here in songs like "Reality Fades" and the peaceful, patient closer, "Already Gone," tapping into Elder-style riffing on "Flowering Dimensions" as they did the first time out, but elsewhere taking on a similar low-key mindset that drove Sungrazer's second LP toward such expansive jamming. They can be quite heavy at times!" - JJ Koczan

Repress. Highlighter yellow vinyl, limited to 300 copies. "Across its rather considerable span, II demonstrates there's still room for growth in the realm of post-Colour Haze heavy psych, and more than the debut, Weedpecker leave an individual impression here in songs like "Reality Fades" and the peaceful, patient closer, "Already Gone," tapping into Elder-style riffing on "Flowering Dimensions" as they did the first time out, but elsewhere taking on a similar low-key mindset that drove Sungrazer's second LP toward such expansive jamming. They can be quite heavy at times!" - JJ Koczan

The dreamy harmonising of Everything But The Girl. The propulsive urgency of The Strokes. The lilting folk-pop of The Coral. The introspective songcraft of Belle and Sebastian. The bittersweet, lyrical side-eyes of The Beautiful South. Vona Vella have all these elements and so many more, all weaving together to form a contemporary sound both gossamer delicate and fiercely robust. Since their eponymous debut album in 2023 (released on Strap Originals, Pete Doherty’s label), the seed of their signature sound – wistful indie-pop harmonies, exquisitely blended male/female vocals – has not so much grown as erupted through the dream-pop meadow into a towering, flowering beanstalk.

Today, with their second album Carnival, the former indie-pop duo have spectacularly evolved into a dynamic five-piece band, with key musical contributions from the musicians they’ve so successfully toured with over the last two years, drummer Jake Bott (who they’ve known since they were 17), bassist Claud J Melton (who they found on TikTok through a search for a female bassist), and guitarist Dexter Howell (a friend of a friend). As a five-piece, their innate pop sensibilities are now newly bolstered by a confident, thrilling propulsion, izzy and Dan, still the main songwriters and vocalists, are thrilled with the sound, where the possibilities are endless. Vona Vella may be names after two flowers, but there’s nothing twee happening here.

Pioen is the second album by Elisabeth Klinck & Nils Vermeulen, released on blickwinkel. It was recorded in a small chapel of a monastery in the city center of Ghent. A chapel by nature is a place of contemplation and meditation, which automatically had influence on the music. Movements slow down, attention is sharpened and the overwhelming silence of the space becomes part of the music. Sound and silence are meticulously woven into each other. Even when the music grows at times dense and heavy, there is an ever-present sense of closeness and intimacy. This is reinforced by the use of the voice, which naturally appears throughout the album, not as a separate layer but as an extension of the instruments.

The pieces – this time more curated than on their previous album Pair, Paire – arose from hours-long improvisations where sound became space and space became sound. Bringing together violin, double bass and voice, Pioen unfolds as a serene and honest journey, inviting the listener into a state of contemplation.

Elisabeth Klinck is a contemporary violinist, composer and performer based in Brussels, known or her timeless, deep-listening sound worlds. Her album Picture a Frame (2023) and Chronotopia - selected by The Quietus as one of the best albums of 2025 - were released on the Swiss label Hallow Ground. A big part of her work revolves around tactility, fragility, and a very physical approaches to sound.

Nils Vermeulen is a Belgian double bass player active in all varieties of adventurous music. He has played with Paul Lytton, Martin Küchen, Seppe Gebruers, William Parker, John Dikeman, Luis Vicente, among others. He works across many scenes, from free improv to jazz to contemporary classical music, and in many distinct constellations, such as his own groups Kabas and Jukwaa, a Norwegian free jazz trio with Tollef Østvang and Heidi Kvelvane, a string duo with Elisabeth Klinck, and as the double bassplayer of Nemo ensemble. In 2023, he released his debut solo album on Aspen Edities.

Aufgenommen am 25. Juni 1962 live im Tsubo, einem Café in Berkeley, Kalifornien, zeigt „Full House“
den legendären Gitarristen Wes Montgomery auf dem Höhepunkt seiner Kreativität, begleitet von einem
beeindruckenden Ensemble mit dem Tenorsaxophonisten Johnny Griffn und dem Wynton Kelly Trio, das
durch seine Zusammenarbeit mit Miles Davis gereift war – dem Pianisten Wynton Kelly, dem Kontrabassisten Paul Chambers und dem Schlagzeuger Jimmy Cobb.
All About Jazz beschrieb das Album später als „einen Vorgeschmack auf das, was kommen und viel zu früh
verloren gehen sollte“, und die Darbietung wird diesem Versprechen gerecht. Was den Umfang angeht,
ist auf „Full House“ für jeden etwas dabei. Montgomerys lyrische Zurückhaltung kommt in „I’ve Grown
Accustomed to Her Face“ zum Tragen, während der mitreißende Bebop von „Blue ’N’ Boogie“ und der
lateinamerikanisch angehauchte Groove von „Cariba“ die ganze Bandbreite des dynamischen Zusammenspiels der Gruppe offenbaren. Untermalt von einem begeisterten Live-Publikum bleibt „Full House“ eine
der zugänglichsten und mitreißendsten Aufnahmen Montgomerys.
Diese Neuauflage des Albums erscheint als Teil der Original Jazz Classics Series auf 180-Gramm-Vinyl,
gepresst bei RTI, mit vollständig analogem Mastering von den Originalbändern bei Cohearent Audio und
einer Tip-On-Hülle, die das Original-Artwork originalgetreu nachbildet.

The buzz about the Crystal Teardrop that has been growing for the past two years looks set to reach fever pitch with the release of their debut album _IS FORMING. Featuring a dozen memorable compositions by the bands Alexandra Rose and Leon Jones, the album more than lives up to the promise of their 2024 single releases and their ecstatic live performances on stages across the UK and Europe. The band formed in Stoke-on-Trent in early 2023, "inspired," explains Alexandra Rose, "by a mutual passion for the sights, sounds and creative experimentation of the late 1960s." In addition to Alexandra on lead vocals on guitar, the band comprises Leon Jones (guitar, sitar), Stuart Gray (keyboards, Mellotron), Ed Quigley (bass, vocals), and Huw Woodward (drums, percussion). Intuitively blending elements of garage rock, folk-rock, power pop and psychedelia, the band have created an appealing concoction infused with their own perspectives and personalities. To best capture their sound, they recorded at an all-analogue facility, Tilehouse studio in North London, working closely with White Stripes producer Liam Watson of Toe Rag Studios fame.

Originally released in 1988 on the compilation Acid Tracks Vol. 3 via Needle Records, "The Other Side" has long been recognised as a potent example of early Chicago acid house. Now, more than three decades later, the track receives its first official 12" release - and, crucially, its first release with the original artists correctly credited. While historically attributed to Maurice Joshua, "The Other Side" was in fact produced by Da Posse (Hula Mahone), with vocals by Martell. This forthcoming release marks the first time that the original production has been properly acknowledged and presented in its intended standalone 12" format, restoring authorship to the artists responsible for the record's creation. The release is issued by Island Life Records, a Bali-based label with a growing reputation for carefully curated projects that bridge foundational dance music history and contemporary club culture. By formally reintroducing "The Other Side" with accurate credits, Island Life Records contributes an important corrective to the historical record of Chicago house and acid house music. Musically, "The Other Side" remains a striking artefact of its era: minimal, hypnotic, and emotionally charged, balancing raw machine-driven groove with an atmospheric vocal presence. It exemplifies the experimental, DJ-led ethos of late-1980s Chicago, where tracks were built for function, feeling, and longevity on the dancefloor rather than commercial visibility. The release is accompanied by a set of new remixes that respectfully extend the track's legacy into the present day. Remix duties come from Island Life Records founder Garry Todd under his Clouds Of Kouros alias, Johnny Aux (one half of Paranoid London), and Age Of Hyperion, with the digital including a remix from Garry Todd, each offering a distinct contemporary interpretation while retaining the spirit and tension of the original recording. This release stands not only as a long-overdue physical edition, but as a historically significant moment: the first time the original production has been released on 12", and the first time the correct creative contributors have been formally recognised.

Taroug is the solo project by drummer and electronic music producer Tarek Zarroug with roots in the suburbs of the Tunisian desert and having grown up in Germany. Following the release of his 2020 EP, "Perpetual," as well as a number of notable remixes for artists such as Archive, Taroug has continued to refine his musical aesthetic.

Taroug's debut album Darts & Kites, set to be released on Denovali Records, draws inspiration from the Penrose tiling and explores themes of change and transformation. Fascinated from the pattern's unending possibilities, Taroug incorporated its infinite permutations not only into the album's nine tracks, but also in the cover art design. Darts & Kites showcases a blending of genres and styles, resulting in a sonic landscape, that is both hunting and beautiful. Experimental and abstract soundscapes are enriched by oriental influences, collected field recordings, pulsating dark beats and hypnotic vocals.

The album also features the contributions of other notable artists, including Beate Wolff's cello performance on Jewels I. Benedikt Koch's saxophone adds a sense of controlled chaos with delayed and swelling notes to the track Deguech, while Timo Schieber's piano provides a crucial element of the album's title track, Darts & Kites. Niklas Genschel lends his vocals to Queen of Carthage, which also features the saz playing of Abdallah Abozekry.

Created in collaboration with architect and designer Marie Brosius, the album artwork captures different ornaments reflecting the album's content. Darts & Kites is a mosaic of sound, blending together elements of unfamiliar and familiar.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Elvis, the record, was released in October 1956 and remained at US No.1 for five weeks. For Elvis, the man, an
incredible year was drawing to a close: he made his first album, saw his records become available all over Europe,
made his television debut, appeared in his first film, and celebrated his first US No.1 single. It seemed inconceivable
that things could get any better, or that the fan fever could grow even more hysterical. But with the release of this, his
second record, Elvis had proved beyond doubt that he was here to stay. And this was just the beginning...

Return to the roots of the legend with Symphony Ys, an orchestral album featuring the iconic melodies from the games Ys I and Ys II!
The epic arrangements by Kentarô Haneda (known for his compositions on Space Adventure Cobra and Sherlock Hound)
reveal the full splendor of the original melodies and pay tribute to the two legendary titles from Nihon Falcom.


The four movements are performed by the King Symphonic Orchestra.

Discover this symphonic suite in a beautiful gold vinyl edition!

Don Leisure has cemented his name as one of the most forward-thinking and experimental beatmakers & producers within the current musical ecosystem. As well as being 50% of Darkhouse Family (alongside Earl Jeffers) he has collaborated with the likes of Angel Bat Dawid, Gruff Rhys, DJ Spinna and First Word label-mates Amanda Whiting & Tyler Daley (Children of Zeus). Garnering serious support from Lauren Laverne, Tom Ravenscroft, Huw Stephens, Gilles Peterson, Huey Morgan, The Vinyl Factory, Clash, Uncut and many more. Following the release of ‘Cynnau Tân (feat. Carywyn Ellis)’ (which gained support across BBC Radio from Tom Ravenscroft, Zakia & Huw Stephens) Welsh beatmaker Don Leisure announces the release of a new album ‘Tyrchu Sain’) as he returns with a new single ‘Tyrchu’ due for release on 22nd January 2025. ‘Tyrchu’ features the soft-spoken vocal stylings of Gruff Rhys over a gently rolling, tape saturated and expertly chopped instrumental, creating (in Gruff’s own words) ‘Shiny new beat-treasures with ghostly reflections of Welsh pop’s past - skillfully dug from Sain Records’ deepest veins’

A dedicated student of music, over the years, Don has amassed a vast encyclopaedic knowledge of music genres and subcultures, including a fascination with Welsh psychedelic folk music from the mid-20th century. This introduction was made by respected musician, producer & selector Andy Votel’s 2005 two-part compilation series ‘Welsh Rare Beat’ (in collaboration with Gruff Rhys and Don Thomas), comprising twenty-five tracks from Sain Records’ back catalogue. Now the oldest independent record label in Wales, Sain is a wildly influential bastion of home-grown Welsh talent, co-founded by Welsh-language folk singer Dafydd Iwan, whose music has seen a cultural resurgence in recent years with his 1983 song Yma o Hyd (We’re Still Here) becoming a huge anthem for Wales football fans. Set up in the Welsh capital, many of Sain’s early releases were recorded at Rockfield Studios in Monmouthshire, but in the early 1970s the record company moved to the Caernarfon area and opened their first recording studio in 1974 near Llandwrog. Announcing a huge digitisation project throughout 2024, Sain Records took on the mammoth task of painstakingly digitising their entire back catalogue spanning 55 years, working in partnership with the National Library of Wales the resulting archive then be submitted for to the National Library of Wales in Aberystwyth, preserving them for future generations to enjoy. Taking this period of rediscovery as an opportunity to reimagine their impressive inventory, Sain invited Don Leisure to dig into their musical treasure chest, creating a sprawling sonic tapestry from the dusty gems within. On this exhilarating excursion, Sain Records founder Dafydd Iwan explains: ‘Imagine someone gave you access to over 50 years of Welsh popular music – almost all of it unknown to you before. It would be a strange experience of discovery, an unknown territory which could baffle and excite. This happened to Jamal (Don Leisure) – and he was captivated by a world of music he barely knew existed, and when he was asked to distill the experience into one album, he immediately warmed to the idea. And this is the result – a kaleidoscope of sounds to encapsulate a half century of Welsh music. To call it unique would be superfluous: no-one could ever recreate this album. Listen, and enjoy.’.

The resulting product is ‘Tyrchu Sain' (translating to ‘Digging Sain’), a fearless and exploratory album, which sees Don put his signature unparalleled and unpredictable skills to work, weaving together moments of forgotten beauty into celestial and otherworldly compositions. The record features appearances by artists from Wales who have a similar obsession as Don Leisure in these classic Welsh rarities including Gruff Rhys, Carwyn Ellis, Earl Jeffers Amanda Whiting and Boy Azooga. A shimmering patchwork quilt of sound, ‘Tychru Sain’ traverses a shifting landscape of acid folk, eerie vocal melodies and interstellar soundscapes, propelled forth by crisp, head nod-inducing drums and grainy textures. Breathing new life into compositions lost to time, and paving a path for new listeners to discover the magic that lies within.

DIESECT fearlessly navigates the turbulent realms of both internal struggles and external chaos, refusing to sugarcoat the complexities of life. From humble beginnings as Brisbane locals to their current status as national contenders, DIESECT has garnered over 2 million streams across various platforms all by themselves, showcasing their undeniable appeal to a growing audience. They've toured across the nation selling out their own shows and supporting the likes of Fit For A King (US), ERRA (US), Silent Planet (US), Currents (US), August Burns Red (US), While She Sleeps (UK), Spite (US), To The Grave and more.

Zürich-based musician Angelo Repetto returns with his new album Between Worlds: Interference, released on Subject to Restrictions Discs. The record is the result of a unique collaboration with Argentinian visual artist Clara Grabowiecki, extending their immersive live project Between Worlds into a sonic and tangible form.

«This album is a continuation of the deep conversations Clara and I had about concepts of perception that led us to question silence, time, transcendence, and the future», says Repetto. «It’s not about finding answers, but about opening spaces where sound, image, and emotion can flow freely.»

Between Worlds: Interference oscillates between hypnotic rhythms, kraut-inspired synth layers, and psychedelic atmospheres – hallmarks of Repetto’s style that listeners may recognize from earlier releases such as Sundown Explosion and Kamiokande. At its core it is an invitation into an open dimension where disciplines, experiences, and realities dissolve into one another. It is both a deeply personal statement and a collective journey into new perceptual spaces.

Uno Loop presents the first-ever licensed reissue of Phil Yost's Bent City (1967), a rare Takoma Records title and a landmark of jazz-folk-psych experimentation. Long out of print and previously unavailable digitally, Bent City has gained strong early support with airplay on BBC Radio, Worldwide FM, KCRW, and WFMU, alongside praise from Bandcamp Daily and Aquarium Drunkard. Yost's cult following - particularly within spiritual jazz, American Primitive, and experimental ambient and folk communities -positions this reissue as a high-interest archival title with strong cross-genre appeal.

This edition is fully authorized by the Phil Yost Estate and Concord Records and pressed in a limited run, packaged with an 8-page archival booklet featuring previously unseen photographs, biographical notes, and original research on the enigmatic Bay Area musician. Bent City is the first release in a broader, multi-title restoration of Yost's catalog, with three additional albums to follow (at minimum), including Fog-Hat Ramble (1968), Touchwood's Dream (1970) and Yost's unreleased Sunflower Sojourn - creating a sustained narrative for continued retail engagement. With growing press attention, renewed visibility among collectors, and its unique place in Takoma and outsider jazz-adjacent history, Bent City is a standout catalog builder for stores specializing in jazz, experimental, ambient, and private-press reissues.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

You don’t need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new múm album they do both at the same time. As »Yesterday Was Dramatic – Today Is Okay« (2001), »Finally We Are No One« (2002) and »Sing Along To Songs You Don’t Know« (2009) »Smilewound« is another example of the band’s art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both.

Sparser in sound than many of its predecessors, »Smilewound« is an airy, relaxed record. The múm-core-duo of Örvar and Gunni doesn’t make you laugh out loud (except maybe for the quirky vintage Arcade-sound-start of »When Girls Collide«), but it will make you smile often - despite the heavenly voices singing about violence in one form or another in most songs. Musically, múm’s capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take »The Colorful Stabwound«: an aguish drum’n’bass piece and »Smilewound« gets close to a straight pop-song. Even that isn’t very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or »Candlestick« which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colours every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with múm on the »Whistle«, the main song in 2012-movie »Jack & Diane«.

Recorded in, among other places, the band’s practice-space, an old baltic farmhouse and on the kitchen-table after dinner, the album was produced by múm themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band’s penchant for ambivalence - in fact that's part of the album's charm.

Inspired by the soundtrack from the motion picture American Graffiti, this 3LP collection captures the sound of late night cruising, jukebox romance and early rock ’n’ roll rebellion. Spanning doo wop, rockabilly and classic pop, the set brings together era defining hits from the mid 1950s to early 1960s, featuring timeless favourites by Chuck Berry, The Beach Boys, Dion, Little Richard, Sam Cooke, The Platters and many more. Pressed across three vividly coloured vinyl records, red, blue and yellow, this set is both a nostalgic listening experience and a striking collector’s piece, celebrating the golden age of American rock and pop in authentic style.

Mutable Ground is an album created through an exchange of recordings between Anna and Yannis. The project is rooted in the idea of sudden shifts in current events and the ever-growing emotions tied to loss, change, and tension. Each track title is inspired by unstable phenomena and objects, reflecting the potential for unexpected movement and the transitions of both nature and humanity. Repetitive, chaotic drum patterns, vocals that echo sounds of wounded or lost animals, hollow soundscapes reveal a sonic world where creation and destruction coexist—where people dance around fires, caught between fragility and resilience.

"Chuck Roth’s music wanders. The New York-based guitarist’s inquisitive style builds from rippling patterns that center the physicality of his instrument, roaming wherever they take him. watergh0st songs, his Palilalia debut, collects songs from the past half-decade, presenting an intimate snapshot of his music that draws from an eclectic background in classical guitar, electronic music, and improvisation." "The mark of watergh0st songs is its exploratory nature. Roth began his musical journey as a classical guitarist studying the canon works for the instrument, but he was never interested in playing fast or flashy. Instead, he wanted to roam down musical paths and see where they led him. He eventually became more interested in electronic music, where he found inspiration in subtractive properties and patterning. The music of watergh0st songs translates that electronic music to the guitar: many of the songs began as synth tones and later branched out through the physicality of his instrument." "When writing music, Roth wants melodies to feel comfortable in the body, focused less on setting a structure and more on letting music unfold how it happens in any given moment. His songs are fluid and his melodies are clear, plucked with careful attention but never too deterministically. His is the music of a traveler, floating around the strings of the guitar. It is about embracing the banal, or the everyday moments that shape a life." "Though Roth’s music often feels quite direct, there is a dreaminess that lives inside of it. His lyrics don’t feel too hot or cold, instead they have a wistfulness and melancholy of what it feels like to live through every passing day. His exploratory style bolsters these lyrics, giving the music its sense of ennui, as does his focus on texture. Each track takes on a different structure: 'Bunny Hop' unfolds like a squirrel jumping from branch to branch of a tree, while 'Private Boy' has a slower approach, growing from delayed harmonics that almost sound like bowed strings. His textures range from metallic and bristling to soft and feathery, evolving with gentleness. It is about ending up somewhere different than where it started, and watching the notes that fall in-between." The embrace of the routine colors Roth’s music. In it, there is a sense of presence, of admiring the smallest details and moments. Roth loves to take walks and look around, observing the beauty of his surroundings. Similarly, watergh0st songs feels like moving through the world at the pace of a comfortable trot and soaking in every sound as it emerges. It is a quiet evolution—but one that stays."—Vanessa Ague

Somewhere between jazz, progressive rock and cinematic soundscapes, Kabasse unfolds a world of intricate arrangements, bold sonic textures and heartfelt improvisation. The brainchild of Munich-based musician Sigmund Perner (also member of Carpet), this sextet blends composed structure with free exploration, layering lush harmonies, unexpected rhythms and a rich palette of wind, mallet and keyboard instruments. What began as decades of musical ideas-gathered quietly, never written down-found its shape through a group of close-knit musicians from Munich and Augsburg, including Perner's own son on drums. Together, they recorded in a live studio session, embracing risk and spontaneity. The result: a deeply personal debut album that feels both mature and raw, contemplative and gripping. Rather than demanding attention, the pieces invite it: About Sitting on Fences captures the art of waiting-for ideas to grow, evolve and resonate. Just like the name Kabasse, inspired by the calabash: a vessel, a resonator, a home for sound.

The late pedal-steel guitarist Susan Alcorn leaves a final surprise hinting at new directions left underexplored on her collaboration with Nomad War Machine, the improvising metal duo of drummer Julius Masri and guitarist James Reichard. Their death-metal-influenced pummel adds new fire to her molten flow across a suite of improvised tracks that show off the vast range and simpatico of the trio. Julius Masri and James Reichard of Nomad War Machine: “An unexpected opportunity arose out of a catching-up conversation where Susan had revealed a recent fascination with death metal, confessing, ‘I’m 70 years old—I think about death!’ She had learned a couple of Arch Enemy songs on her pedal steel, particularly compelled by their frontwoman’s intensity and vigor as a performer. Voicing an appreciation for the hook-oriented sound of Swedish death metal made sense for a melodic thinker whose roots as veteran pedal steel player reached into the Texan Western swing circuit in the ’60s and ’70s. For her, ever the explorer, metal was a new, appealing point of departure into fresh musical territory. When she expressed an interest in playing with Nomad War Machine, it felt like there was a whole world of shared or complementary interests to explore.” Though known for her fluency in jazz, country, and free improvisation, Alcorn had also studied Arabic, the oud, and maqam, with all holding a deep curiosity for her. Pre-’70s country & western music had also been a lifelong presence for both members Nomad War Machine. Masri, a Lebanese free-jazz and metal drummer, and devoted fan of Texas swing legends like Speedy West, Jimmy Bryant, Leon Rhodes, and Joe Maphis, was also steeped in Arabic music traditions. James Reichard, before coming to “freely” improvised metal, xenharmonic music, and non-Western tuning systems, had grown up being subjected to countless singalongs to numerous pre-’70s country records, entranced by the pedal steel.

STORY OF THE YEAR have been influential in shaping the post-hardcore scene since their debut album “Page Avenue” – one of the first of its kind to sell a million copies back in 2003, and the St. Louis quartet have only grown even more impressive throughout the years.

Fans have seen the band hit the road with LINKIN PARK, MY CHEMICAL ROMANCE, and DEFTONES, as well as tear up Warped Tour Stages and festival performances at When We Were Young, and more. The band’s 2023 album “Tear Me To Pieces” was their first with SharpTone, and we couldn’t be more thrilled to reveal “A.R.S.O.N.” to the world!

SACRED COWBOYS are a moody hard rock band with a dry sense of humor. They started playing in murky Melbourne dive bars in 1982 attracting a rabid following. With the release of their iconic first single, Nothing Grows in Texas, they were catapulted to national TV notoriety on Countdown, Australia's version of Top of the Pops. 2025 saw founders Garry Gray and Mark Ferrie enlist Timothy Deane, Anthony Paine, and Damian Fitzgerald. You will soon be holding in your hands the new album, 'In the Manifesto.' 'In the Manifesto' was mastered by Mikey Young, who worked on the last six Mark Lanegan records and plays in Eddie Current Suppression Ring. All new songs are written by Garry and the band. 'In the Manifesto' shows the Sacred Cowboys do not indulge in one musical style. It's a complex, atmospheric soundtrack with Gray's uber cool delivery over sometimes sparse, sometimes weaving guitars and rich harmonies. Channeling a Sonic Youth ethos and grinding the gears in the engine room of the Cosmos Factory, 'In the Manifesto' is as wide and expansive as the Australian desert skies. Radio 3CR's Paul 'Dr Gonzo' Elliott got a sneak preview and says. "Garry Gray returns with Sacred Cowboys and a brand-new album . a 12-track tour de force titled, 'In the Manifesto'. The Sacred Cowboys have performed intense live shows and transported that energy and mood onto this new album, 'In the Manifesto.' It is all killer and a tour de force. Garnering the attention of Andrew McGee at Torn & Frayed Records, Australia and combining with French allies Seb Blanchais and Romain Michon at BEAST Records, France, the rest is about to become history.

Joe Allotta's solo project (drummer, composer, and singer) was born from his need for freedom of expression after numerous experiences
as a session musician for artists such as Davide Shorty, Johnny Marsiglia, Funk Shui Project, Mario Biondi, Leburn Maddox, Giles Robson,
Amy True, and Imaani (Incognito).
His compositions embody the desire to make jazz, in its various forms and influences, accessible to the widest possible audience without sacrificing the impact of an engaging and captivating live performance.
Joe Allotta blends hip hop, funk, and drum 'n' bass with contemporary jazz, perfectly blending vocals with his performances. He combines
his rhythmic exploration with a sweet and surprising voice, capable of lending further emotional depth to his music.
"Transition" is a musical journey that reflects a life in constant motion, where everything seems fleeting, fast, and fleeting, immersed in the
frenetic rhythms that surround us every day. The title also encompasses a more intimate dimension: the growth of his artistic identity. Joe is
no longer just a drummer and composer, but also a singer. His intense and surprising voice intertwines with his drumming in a continuous
dialogue, opening up new expressive possibilities and adding further depth to his musical language.
The album was produced in the studios of the Sghetto Club in Bologna, where Joe, together with his producer Jacopo Trapani, spent weeks
researching and experimenting: rehearsing, playing, processing and synthesizing sounds, developing and arranging ideas, thanks also to
the collaboration of extraordinary musicians. The result is a work that blends instinct and research, intimacy and openness, movement and
transformation: exactly what Transition aims to convey.
CREDITS
Giuseppe "Joe" Allotta: Compositions, Vocals, Drums, Bass, Keyboards
Jacopo Trapani: Compositions, Recording, Mixing
Chicco Allotta: Piano (Track 1)
Giovanni Galdo: Bass (Track 1)
Riccardo Dalle Vedove: Trombone (Track 1)
Piergiorgio Perrella: Guitar (Tracks 2, 5, 8, 9)
Elijah Lee Last Jacinto: Piano (Track 6)
Matteo Diego Scarcella: Sax (Track 6) Francesco Brini: Master

Born in East London to Jamaican parents, 28 year old Tiana Major9 was immersed in music from an early age, influenced by jazz, praise and worship, and the neo-soul sounds of Erykah Badu and Lauryn Hill. Their journey into music saw debut releases establishing their soulful voice as one of the UK's most enticing, featuring with Stormzy, Bryson Tiller, Smino and Unknown T, support slots with Victoria Monet, Jazmine Sullivan and Adele as well as a GRAMMY nomination for "Collide" from the Queen & Slim soundtrack. After two years of self-discovery, Tiana is set to release their long-awaited debut album in 2025; a rich tapestry of love, loss, and growth, recorded in LA, the UK, and Jamaica, filled with luxurious melodies, featherlight floating production and raw, grounded storytelling. As a queer Black femme artist, Tiana reclaims the term "diva" on the project, embracing it with pride in the spirit of icons like Beyoncé and Whitney Houston, and approaches this next chapter with a focus on classic artistry, longevity, and self-expression

After nearly five decades of relentless innovation, Truus de Groot's Plus Instruments project shows no signs of slowing down. The ninth album, Unnoticed, finds the `dutch Pioneer diving deeper into the experimental synthesiser palette than ever before, delivering 12 tracks of minimalist, analogue noise and her signature vocals.

Recorded at The Ranch in Escondido, Unnoticed showcases her continued evolution as an artist. Often referred to as the "Queen of the Dutch Underground," de Groot has is a stalwart of the experimental underground music scene since establishing Plus Instruments in 1978 in Eindhoven. Her journey has taken her from the punk rock explosion of the late '70s Netherlands to the No Wave scene of early '80s New York.

The Plus Instruments project has always been characterised by its ever changing nature and collaborative spirit. She has worked with an impressive roster of artists over the years , spanning continents and genres, including James Sclavunos (Nick Cave), Jim Duckworth (Gun Club), most recently, Miguel Barella and Cosmo Vitelli, who co-writes, produces and adds programming to standout track "Sexy Machine." This creative partnership has opened new avenues for de Groot's explorations, as she continues to plough yet another field of creativity.

Now based back in the Netherlands, she continues her work while maintaining the core elements that have made Plus Instruments a touchstone for electronic music innovators. Her influence can be heard in everything from Electroclash to Cold Wave, with younger artists regularly seeking collaboration with the veteran experimentalist. Unnoticed arrives as de Groot enters her sixth decade of music-making, proving that true artistic vision only grows stronger with time.

Strut proudly presents the debut album from producer, songwriter and multiinstrumentalist, Momoko Gill. Fresh from her critically acclaimed collaboration Clay recorded with cult electronic artist Matthew Herbert, Momoko steps forward in her own right for the first time with her remarkable debut solo album. Momoko has long been one of the UK electronic and jazz scene’s best-kept secrets.

A self-taught drummer, producer, songwriter, and vocalist, she has brought her unique touch to collaborations with Alabaster DePlume, Matthew Herbert, Coby Sey, Tirzah, and Nadeem Din-Gabisi (her musical foil in An Alien Called Harmony). Extensive touring behind the drum kit, at the keys and in front of the mic have honed her compositional and production instincts. With Momoko, Gill emerges into the spotlight with an album that is entirely her own. Throughout, you can hear the stylistic flavours of jazz musicians as much as singer-songwriters, experimental artists and electronic producers. Though Gill rejects imitation, sculpting her sound through feel and expression rather than tradition. Based in London and having grown up in Japan and the US, Gill channels her breadth of perspective through her musical ideas and storytelling, with a unique voice developed through instinct, collaboration and solitary study.

The album’s eleven tracks take in a wide spectrum with the jazz-infused groove of ‘No Others’ and harmony-drenched, reflective ‘Heavy’ contrasting with the dark, confrontational sound of 'Shadowboxing' leading into an eerie left-field instrumental beat, ‘Test A Small Area' and the impressive 50-person choir on ‘When Palestine Is Free’ (which includes heavyweights Shabaka Hutchings, Soweto Kinch, Alabaster DePlume, Coby Sey, Marysia Osu and more). It is a deeply personal and poetic recording and showcases the full uncompromising range of Momoko’s vison, presented in her own voice. Momoko was produced by Momoko Gill, recorded at Total Refreshment Centre, mixed by Matthew Herbert and mastered by Alex Gordon at Abbey Road Studios.

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

“Recording this album felt like the crescendo of years of struggling to understand myself. It can get quite claustrophobic living inside my head.” ‘At Home in My Mind’ is an open invite into the world of Halifax indie artist, Ellur (Ella McNamara). The album is a journey around Ellur’s mind, it dips into different musical genres that have shaped her for the past 24 years – from the 90s indie rock she grew up with, to glitch-pop she discovered in her late teens to the alt-folk she cherishes now. Ellur has created a warm abode for her thoughts and experiences as a young woman growing up in Yorkshire’s Calderdale Valley and ‘At Home In My Mind’ beds them all in, safely together. ‘At Home In My Mind’ has been produced by Joel Johnston (Far Caspian) and recorded from his Leeds studio. Johnston and Ellur first worked together on her previous EP, ‘God Help Me Now’ – a stunning body of work that saw Ellur’s fanbase bloom and received praise from national press, radio and an impressive international artists. The buzz around Ellur has lead to a very busy live calendar throughout 2025, including debut festival slots in US and EU, over 14 Summer festival plays in UK (including Latitude, Truck, Big Feastival) and sold out headline shows across the UK. ‘At Home In My Mind’ expands on themes Ellur draws on in her ‘God Help Me Now EP’, particularly an overarching theme of connection. Ellur connecting with her childhood memories, listening to her honest feelings, but most importantly, Ellur wants ‘At Home In My Mind’ to be an arm extended out, looking for people who need a hand to hold.

With a career spanning over 50 years, Earl Sixteen is one of the major artists in the history of Jamaican music. He has been produced by some of the biggest names in the business, from Studio One to Jah Shaka, Lee ‘Scratch’ Perry and Mad Professor. Earl Sixteen has always stood out for the accuracy of his performances and the smooth depth of his voice.

Today, in collaboration with Switzerland most active studio group of the last decade, The 18th Parallel, he presents his new single ‘My Son’, written by the genius lyricist Marc Ismail. The lyrics touch on the harsh reality of the younger generations in Jamaica who grow up in precarious conditions and, in some cases, have no choice but to turn to crime. Here, the elder's voice urges young listeners to take a hard look at themselves and weigh the consequences of their decisions.

The message is enhanced by Earl Sixteen's performance and the extraordinarily powerful rhythm section of The 18th Parallel. B side features a scorcher dub by Westfinga: 'Hear My Dub'. A masterpiece of contemporary roots reggae!

This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton’s audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton’s art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the “mature” period of NWW, and thus it is an indispensible release for fans of the project. : Brainwashed