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Soda Stereo is a band that never made the same album twice. After the commercial success of Canción Animal, singer Gustavo Cerati went deeper into the art of sampling, electronic music, the Madchester scene from the UK, shoegaze and neo-psychedelia. This change in sound led to some confusion among fans, but also gathered a lot of praise for embracing modern genres. Up this day Dynamo is seen as an essential classic in the Soda Stereo catalogue and also a must have for 90s shoegaze fans.

Dynamo is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert.

lovetempo is the solo project of Mattie Safer, former member of the beloved New York electroclash band The Rapture, now channeling his club-rooted background into contemporary disco and electronic soul. The album features a strong cast of collaborators including Dougie Stu (Brijean), Toribio, Kate Mattison (79.5), and multi-instrumentalist Izaak Mills, with mixing and additional production by Carlos Truly (Ava Luna, Juan Wauters, Frankie Cosmos). The project has received tastemaker support from Gilles Peterson and Laurent Garnier, airplay on BBC 6Music, KEXP, and KCRW, and editorial placement on Spotify playlists including Pollen, Metropolis, and Jazz House.

Courtney Marie Andrews has long been celebrated as an artist who challenges herself, and who finds new interplays of Folk and Americana.. Also a vivid poet and accomplished painter, she brings a multidisciplinary richness to her work that shines throughout her 9th studio album, Valentine. Co-produced with Jerry Bernhardt and recorded almost entirely to tape, the album features complete in-studio performances that prize raw performance rather than perfection. It is Andrews’s most sonically explorative record thus far – she plays flute, high strung guitars, myriad synths, and draws heavy inspiration from her art outside of music. Her voice is gorgeous and acrobatic always, but on Valentine it finds a new depth, an assertiveness that brings new dimension to its biggest anthems and its softest moments. Written during a period of profound endings and new beginnings, Valentine is a vulnerable exploration of love vs. limerence. While anticipating the imminent loss of a loved one who would eventually recover, a new but uncertain romance began to develop. Rather than lift her up, the two emotional poles seemed to bleed into each other to sow doubt, trouble, even obsession. But through her own exploration of music and art, Andrews found a way to grow stronger inside this feeling. “I didn’t want to slink into my pain, I wanted to embrace it, own it” she says. The songs that emerged are devotional in their lyrics but defiant in their energy; it’s the very sound of a woman standing in her first wisdom. With Valentine, Andrews rejects the objectification of love, the love filled with gestures and objects instead of trust, mess, and growth. In doing so, she delivers her most beautiful and loving album to date.

REPRESS!

Exceptional music from Lance Desardi on his very own Legwork imprint.

Live Trax Vol. 1 is the first in a series of new releases that come from his live hardware sets. It’s rough & ready deep house that’s been road-tested on cultivated dance floors, including Heidigluhen, Block 9, Sunset Sound System and Love International.

Last year, following the special vinyl 45 release of Samba De Flora - the Romero Bros from Argentina presented a full LP of Latin and Brazilian club flavours to be exclusively distributed worldwide on vinyl by Echo Chamber Recordings.

It received brilliant feedback from a wide range of DJs across the planet and the full version of Samba De Flora was licensed to Acid Jazz Records for their legendary Totally Wired Compilation LP - so it was a natural idea for a couple of those people to be involved in this next release on a vinyl 45 - with the two tracks that gained the biggest feedback

Side A - “Cravo E Canela” with the Romero’s great take on the classic Brazilian anthem from Milton Nascimento originally on their LP from last year which gained a lot of airplay at the time. This 45 release this has been given an extra special remix / update from the legendary Chris Bangs. He adds more bass bounce to the ounce and a funky shuffle to make it even more club friendly

Side B - “Gabriel” - their Latinized version of Roy Davis Jr’s 90s club smash. LA based DJ Greg Belson was such a fan after he got the LP, that he immediately made an exclusive edit to put on a 45 dubplate - to pack on his 2025 UK Tour - dropping it to devastating effect in place like Glastonbury and club dates across the country. So it was a natural choice to include this version on the flip of the 45 - under his Preacher monicker to align with his other releases on the sister label - Echo Edits

Glasgow’s Fortified Audio returns after at least a ten years long hiatus (No pun intended) and now returns to the world of bass with a full length album from local music firestarter Ten Years Lost. Modern day trap instrumentals at its core whilst sub-consciously giving hints of Drexciya, Moroder and the Memphis & Croydon bass music regions alongside some real deft sampling but still remains Glasgow at its core!

Unreleased tracks not available until release date.

Trick Dice is the 2015 collaborative album from Richmond, Virginia rapper Nickelus F and producer Shawn Kemp AKA Lil Ugly Mane, widely regarded as one of the most enduring and understated releases of its era. The album captured a specific moment in underground hip-hop—unpolished, regional, and uncompromising—earning long-term respect from listeners, artists, and tastemakers alike. Over the last decade, Trick Dice has continued to circulate through word of mouth, remaining a reference point for fans of stripped-down, writer-focused rap.

This 10-year anniversary reissue presents Trick Dice in its most complete form to date. The standard edition is expanded into a double LP vinyl release and includes eight previously unreleased tracks recorded during the original sessions. The project has been newly prepared for vinyl to ensure fidelity and balance across the expanded track list.

- Nickelus F is a respected underground hip-hop artist with a decade-plus catalog and long-term credibility among tastemakers and peers

- Trick Dice is a collaborative album with producer Shawn Kemp AKA Lil Ugly Mane, marking a milestone project. It is a cult-favorite release with sustained organic demand.

- Expanded 2×LP vinyl edition including 8 previously unreleased tracks from the original recording era

- Bonus tracks curated and finalized specifically for this reissue

- Strong appeal to collectors and underground hip-hop audiences

Few French house artists have the canon and credibility of Franck Roger over such a long period of time. It seems hardly a week goes by without a new drop - or a new old drop - of gold, and here he continues his work with Seasons Limited. 'Tapis Rouge' kicks off with the sort of warming depths that have long been his trademark, this time underpinned with dubby swing. 'If I Had' is a more soulful cut with a cheeky bassline and swirling synths that are utterly ageless. 'Love Potion' is a romantic sound with dreamy pads and 'Have I Lost You' has a zoned-out feel for when you want to give yourself over to the groove and gaze at distant chords.

The Bait label is back with more stylish deep dubstep swagger, this time from various artists who know how to crank up the low end pressure. Eva Loveless opens up with 'Juniper red' which harks back to classic Techtonic sounds where techno and bass come together for front foot forward momentum. Slimy Ape's 'Guro' is a hefty stepper with dubby undertones and plenty of open space for the tape hiss to hiss and the conscious vocals to drift in. Furtive's 'Stormlight' is ice cold and minimal, with skeletal rhythms punctuated with clacking hits and doused in bass. Last of all, Buckley's 'Introspective' is a twitchy broken beat with classic dub techno chords and yelped vocals injecting some fragmented soul.

Real heads with good memories and a lifelong love of good grooves might remember that the original mixes of 'Disco Glory' first appeared on DJ Garth's Wicked imprint in 1996. Top DJ dogs like Danny Tenaglia, Francois K and Doc Martin all used to drop them on the regular and ensuing remixes even made their way onto Sony Pictures' 'Groove' soundtrack. The DJ Garth & ETI mixes have long been out of print, so fetch a pretty penny on the second-hand market, which means it's great news that the 30th anniversary is marked with a fresh return to wax. The Acid Rock mix is psychedelic and trippy, the Look To The Moon dub is a dark and dubby tech sound that could be brand new, and the Ye Olde Organ Grinder mix has a moody and retro house charm.

Demon Records are proud to present Osmium Deluxe - the first recordings credited to the funk-rock ensemble Parliament-Funkadelic.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in America, Europe and Japan under alternate titles – including Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were taken from the same time.

This in-demand, black-vinyl version of the Record Store Day 2024 sell-out compiles together everything from that period 2 LPs and includes; the full Osmium album, the single sides that never made the album, unreleased tracks, demos and jams – all of which made their debut vinyl appearance as one package in 2024.

Many of these recordings are still as far-out as they sounded when first released. However, the tracks here represent the genesis of what would become P-Funk and the entity that would give the world ground-breaking albums Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978). An essential addition to anyone’s collection.

A century-old grand piano, a secluded house surrounded by the greenery of Brittany, no internet connection, and a reel-to-reel recorder.L'Écho de Bretagne, the new EP by Niklas Paschburg, set for release from fall 2025 via Nettwerk Music Group, is a solo piano record as essential as it is intense. An album made of silences, space, slowness. A music that doesn't chase impact, but truth.

the album release is march 26th - 2026.

If his previous work, Mexican Alps (2025), marked the first time the German composer and producer created an ambient-electronic album without his instrument of choice, the piano, L'Écho de Bretagne emerges as a direct response to that absence. "It was exactly the lack of piano that brought about the need for this new record, which instead puts that instrument, so vital to me, at the very center, stripping everything else away," Niklas explains.

Born in 1994, Paschburg has shaped over the years a musical path deeply connected to travel, nature, and introspection. From his debutTuur Mang Welten(2016) toOceanic(2018),Svalbard(2020),Panta Rhei(2023), and the aforementionedMexican Alps— alongside soundtracks, remixes, and collaborations with artists like RY X, Hania Rani, Ásgeir, and Bryan Senti — his sound bridges neoclassical, electronic, ambient, and pop-driven composition.

WithL'Écho de Bretagne, the Hamburg-born, Berlin-based musician continues his exploration by seeking solitude in nature, much like he did onSvalbard, but this time with an even more radical choice: disconnecting completely from the internet, and switching off both computer and smartphone for a while, in order to fully immerse himself in his new music. "I rented an old cottage in Paimpol, Brittany, where I knew there was a grand piano," he recounts. "When I got there, I discovered that not only was the piano more than a hundred years old, but it was also of an unknown brand, never restored, and quite difficult to play. But that gave it a unique character, and I didn't give up. Sure, it was an instrument left to its own fate, I couldn't play anything too fast. But how fascinating was that? I'm convinced that setting limits, instead of giving yourself total freedom when composing, can become an extraordinary source of inspiration."

As for the decision to temporarily detach from a life that demands we stay constantly connected, Niklas describes it as both a creative and human experiment. "I had my laptop and phone with me, just in case, but I kept them turned off. That choice made me wantL'Écho de Bretagneto be a fully analog work, even in how it was recorded." A way of clearing the mind. "I don't think I've ever been as calm as I was during those days in Paimpol. Even though I was working on a very specific project and didn't have much time, that period was more relaxing than any vacation."

Not that it was free of hiccups. "I'd borrowed a reel-to-reel recorder small enough to travel with me, but after recording a session on the piano, I realized it wasn't working properly, the sound was distorted, full of crackles. I got worried, because I wasn't near any big city where I could find a technician. Luckily, I figured out the problem was the old tape reels I had brought along. That was the only time I had to go online, to order new ones. But it was just for a moment. I shut everything off again right after." At that point, Niklas was waiting for the new tapes to arrive. He found out, completely by chance, from a local UPS courier that they had been delivered to a nearby village. "Since my phone was off, I couldn't track the shipment. So one day I asked this delivery guy, who didn't know anything about it. But from that point on, we'd see each other daily and talk… That's what being disconnected also means: reconnecting with people around you, even strangers. It was thanks to that courier that I found out where the tapes had ended up. And he even helped me get them back, writing directions for me on a scrap of paper."

But there's another element that makes this new EP unique.L'Écho de Bretagnewas recorded entirely live; its tracks are all improvised, complete with their imperfections. This approach leads to a sound that is pure, profoundly organic, and deeply authentic, intentionally preserved to give the listener the feeling of a live performance happening in their own living room. The touch of fingers on the keys, the breath of the wood, the tension of the vibrating string, all become part of the music. There is no construction, only expression. "Even now, when I listen back to it, I feel that moment I gave myself to step away from everything: from reality, from words, from noise." The result is a collection of suspended melodies and atmospheres, reflecting a state of the soul. A refuge from the rush of time. A pause from the world.

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

Niemand hätte jemals die Entwicklung voraussehen können, die Hardcore nehmen würde, als diese Bewegung entstand. Und Anfang der 2000er Jahre hätte niemand vermutet, dass eine Band wie TERROR auch 24 Jahre nach ihrer Gründung noch immer eine der einflussreichsten Bands des Subgenres sein würde. Ihre Aggressivität, gepaart mit ihrer Liebe und Wertschätzung für die Szene, die so viele gekommen und gegangen sind oder sogar ganz vergessen haben, hat ihnen Erfolg beschert - nun veröffentlichen sie ihr zehntes Album, STILL SUFFER, das am 24. April bei Flatspot Records erscheint. TERROR stammt aus Los Angeles, Kalifornien, aus einer Zeit, als Hardcore eine Band brauchte, um wieder auf Kurs zu kommen, da das Genre aus der Bahn geraten war. TERROR stürmte herein, machte sich sofort einen Namen und ließ nicht mehr locker. Die Band hat ihren Ursprung in der kalifornischen Hardcore-Szene, die sich in den späten 1980er und frühen 1990er Jahren von der Punk-Szene abspaltete. TERROR stammt aus Los Angeles, Kalifornien, und entstand zu einer Zeit, als Hardcore eine Band brauchte, um die Dinge wieder ins Lot zu bringen, da das Genre aus der Bahn geraten war. TERROR stürzte sich in die Szene, hinterließ sofort seine Spuren und gab sie nie wieder auf. In Zusammenarbeit mit dem Produzenten (und ehemaligen Gitarristen) Todd Jones schuf die Band zehn schnelle, aggressive, provokative Tracks, die die Themen aufgreifen, die TERROR überhaupt erst so einflussreich gemacht haben. Songs über Selbstermächtigung, Überleben und den unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung zu stellen, die innerhalb dieser Mauern zu finden sind. STILL SUFFER wurde durch die Technik und zusätzliche Produktion von Taylor Young im The Pit Recording Studio, das Mixing von Jon Markson und das Mastering von Brad Boatright bei Audiosiege vervollständigt, mit zusätzlicher Vocal-Technik von Jay Zubricky bei GCR Audio und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's Als Gastsänger auf dem Album sind Jay Peta von Mindforce in ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine in ,Deconstruct It" sowie Chuck Ragan von Hot Water Music zu hören, der in ,Fear The Panic" eine selbstbewusste Performance liefert. Dieser Song wurde auch von Chad Gilbert von New Found Glory co-produziert. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so wichtig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin mit den Werten und der Unterstützung, die sie innerhalb dieser Mauern findet, Herausforderungen direkt angeht. Die Songs handeln von Selbstermächtigung, Überleben und dem unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung, die innerhalb dieser Mauern zu finden sind, direkt zu stellen. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so lebendig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin erfolgreich ihre Mission verfolgt, authentischen Hardcore zu liefern und der Welt zu zeigen, dass dies viel mehr als nur Musik ist. Diese Gemeinschaft und Bewegung, die niemand wirklich in Worte fassen kann, ist genau der Ort, aus dem die Energie stammt, die TERROR antreibt, mit STILL SUFFER weiter zu wachsen und sich weiterzuentwickeln. ,Die Ewigkeit ändert sich nicht, du bist genauso beschädigt wie ich."

Niemand hätte jemals die Entwicklung voraussehen können, die Hardcore nehmen würde, als diese Bewegung entstand. Und Anfang der 2000er Jahre hätte niemand vermutet, dass eine Band wie TERROR auch 24 Jahre nach ihrer Gründung noch immer eine der einflussreichsten Bands des Subgenres sein würde. Ihre Aggressivität, gepaart mit ihrer Liebe und Wertschätzung für die Szene, die so viele gekommen und gegangen sind oder sogar ganz vergessen haben, hat ihnen Erfolg beschert - nun veröffentlichen sie ihr zehntes Album, STILL SUFFER, das am 24. April bei Flatspot Records erscheint. TERROR stammt aus Los Angeles, Kalifornien, aus einer Zeit, als Hardcore eine Band brauchte, um wieder auf Kurs zu kommen, da das Genre aus der Bahn geraten war. TERROR stürmte herein, machte sich sofort einen Namen und ließ nicht mehr locker. Die Band hat ihren Ursprung in der kalifornischen Hardcore-Szene, die sich in den späten 1980er und frühen 1990er Jahren von der Punk-Szene abspaltete. TERROR stammt aus Los Angeles, Kalifornien, und entstand zu einer Zeit, als Hardcore eine Band brauchte, um die Dinge wieder ins Lot zu bringen, da das Genre aus der Bahn geraten war. TERROR stürzte sich in die Szene, hinterließ sofort seine Spuren und gab sie nie wieder auf. In Zusammenarbeit mit dem Produzenten (und ehemaligen Gitarristen) Todd Jones schuf die Band zehn schnelle, aggressive, provokative Tracks, die die Themen aufgreifen, die TERROR überhaupt erst so einflussreich gemacht haben. Songs über Selbstermächtigung, Überleben und den unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung zu stellen, die innerhalb dieser Mauern zu finden sind. STILL SUFFER wurde durch die Technik und zusätzliche Produktion von Taylor Young im The Pit Recording Studio, das Mixing von Jon Markson und das Mastering von Brad Boatright bei Audiosiege vervollständigt, mit zusätzlicher Vocal-Technik von Jay Zubricky bei GCR Audio und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's Als Gastsänger auf dem Album sind Jay Peta von Mindforce in ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine in ,Deconstruct It" sowie Chuck Ragan von Hot Water Music zu hören, der in ,Fear The Panic" eine selbstbewusste Performance liefert. Dieser Song wurde auch von Chad Gilbert von New Found Glory co-produziert. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so wichtig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin mit den Werten und der Unterstützung, die sie innerhalb dieser Mauern findet, Herausforderungen direkt angeht. Die Songs handeln von Selbstermächtigung, Überleben und dem unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung, die innerhalb dieser Mauern zu finden sind, direkt zu stellen. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so lebendig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin erfolgreich ihre Mission verfolgt, authentischen Hardcore zu liefern und der Welt zu zeigen, dass dies viel mehr als nur Musik ist. Diese Gemeinschaft und Bewegung, die niemand wirklich in Worte fassen kann, ist genau der Ort, aus dem die Energie stammt, die TERROR antreibt, mit STILL SUFFER weiter zu wachsen und sich weiterzuentwickeln. ,Die Ewigkeit ändert sich nicht, du bist genauso beschädigt wie ich."

Das vierte Album von Big Harp, "Runs To Blue", kommt mit Songs über Fernweh und Verlust, Liebe zu den eigenen Kindern und zum Partner, der Akzeptanz des Älterwerdens und der gleichzeitigen Wehmut darüber, dass wir nie wieder so sein können wie früher, genau zum richtigen Zeitpunkt. Es ist, als würde man Stefanie Drootin und Chris Senseney eines Abends zu Hause besuchen und ihnen zuhören, wie sie lachend und weinend Geschichten aus ihrer Vergangenheit erzählen und Hoffnungen für die Zukunft schmieden. Nur Akustikgitarre, Bass und zwei Stimmen, die sich blind verstehen: "Runs To Blue" ist das schlichteste Album von Big Harp. Gleichzeitig ist es aber das emotional komplexeste – zwei lange verbundene Leben, verdichtet zu zehn offenen und berührenden Songs. Eine Momentaufnahme im Leben eines Paares, dessen Beziehung mit Musik begann und ihr bis heute treu bleibt. Es klingt nach Folkmusik, weil es genau das ist: eine ehrliche Sammlung von Erlebnissen, vertont mit schlichten Melodien, die man mitsingen und immer bei sich tragen kann – kleine Erinnerungen an die Vergangenheit, die den Weg ins Unbekannte weisen.

"Big Harp war schon immer eine der besten und am meisten unterschätzten Bands unter meinen vielen talentierten Freunden aus dem Umfeld von Saddle Creek. Ihre Musik verbindet authentische Americana mit dem rebellischen Punk-Ethos, mit dem wir alle aufgewachsen sind. Chris und Stef sind für mich Helden." – Conor Oberst

XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette tape early on in the label's history, while the two remaining pieces are presented by the label for the first time.

"The works Ir Himinn, Grooenn by Kristoffer Svensson, Disquiet (Heart) by Marta Forsberg and Lamé by Isak Edberg were first released on the compilation XKatedral Volume II in 2016. Svenssons piece from 2014 combines justly tuned gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edbergs pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally - Edbergs Lamé composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsbergs Disquiet (Heart) from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity.

Glory for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette compilation XKatedral Volume III in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon. Dissolving Ceremony, composed in 2012 by Edberg/Erlandsson/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, Dissolving Ceremony now stands on its own as a memory of a time and methodology from the not so distant past.

The newest piece in this set is Shipwrecks by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. This piece is a celebration of transposition and its immense capacity for timbral transformation using a vast array of instruments performed, recorded and electronically treated by the composer to form a liquid uncanny topography where a deeply personal harmonic language constantly shifts, slides and shivers."

Nevertheless, the latest album from Hammock, exists in a state of awakening. Across 11 ambient guitar string, and piano works, ethereal light crests and contrasts with darkness, giving shape to physical forms and feelings. Amidst sorrow and grief, melodic motifs and refrains echo from the past to reanimate dreams and faded memories. As Nevertheless asks questions of permanence and purpose, beauty takes shape in the intangible_the traceless connections that gave, and give, meaning. "Nevertheless has been one of those words that has outlasted my upbringing," says Hammock's Marc Byrd. "Being from the deep South, I most often heard it said or read at funeral services. It's meant to imply a type of sacred pause . . . a space of in between. Between the grief of being broken by the world and the impossibility of moving into a future that feels more like empty space and less like solid ground. This album is for a friend who lost a daughter and a son to addiction within a couple of years of each other. Requiem for Johan sets up the context for what is to follow throughout the rest of the album. . . a passage through the aftermath of devastation. Unfortunately, and fortunately, these seasons of loss are what we all share in common. Nevertheless . . . we limp on."

Nickodemus is a globally respected DJ and producer who has been touring nonstop since the mid-1990s, consistently drawing capacity crowds at clubs and festivals worldwide. As a producer, he has released five acclaimed albums (Soul & Science, A Long Engagement, Endangered Species, Sun People and Moon People) and curated eleven volumes of the influential Turntables on the Hudson compilation series. His work bridges hip-hop, house, jazz, and global sounds, highlighted by collaborations and cultural milestones including the Jungle Brothers' genre-defining legacy and the enduring house-rap classic "I'll House You" with Todd Terry. Nickodemus' hit "Mi Swing Es Tropical" (with Quantic & the Candela All-Stars) has surpassed 50 million streams and featured prominently in the film Chef. He has received extensive international press (Billboard, Rolling Stone, The FADER, Paste) and widespread radio support from tastemakers such as Gilles Peterson, BBC 6 Music, KCRW, and KEXP.


b B1: Monk-One Remix feat. Monk-One


b B1: Monk-One Remix [feat. Monk-One]


[b] B1: Monk-One Remix [feat. Monk-One]


[b] B1 | Monk-One Remix [feat Monk-One]

Before the 21:30min long odysseys, Grammy nominations, and the sold-out shows across the globe, there was this. Four tracks, recorded in Jönköping, released in November 2015 and immediately celebrated by fans and critics alike.The self-titled debut EP is where it all begins, we meet Sir Hällas - the knight living in a parallel medieval universe where tyrants reign, seers dictate the future, and the world lies on the edge of the apocalypse. Classic heavy rock with psychedelic influences collide with swirling keyboards and twin guitar harmonies, all wrapped around lyrics of tyrants, knights, demons and the end of the world.

This is where the Hällas trilogy takes its first steps. This is where adventure rock was born. Start here.