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By the time Just One of Those Things was recorded, Nat "King" Cole was already considered by the general public as more of a singer and entertainer than a jazz pianist. Cole did his first sessions with the more jazz-oriented Billy May in 1951, but it wasn't until 1957 when they collaborated on this first LP - Just One of Those Things, a memorable album in which all 12 songs fit seamlessly together perfectly. It wasn't just May's arrangements that created such swinging music behind Cole's vocals though, it was also the band, which included many illustrious soloists: Harry "Sweets" Edison, Willie Smith, Pete Candoli, Jimmy Rowles and Lee Young, along with John Collins and Jack Costanzo, members of the celebrated Nat "King" Cole Trio.

Orange emerged from Antwerp's vibrant art and music scene in 1966, evolving through lineup changes to become one of Belgium's most compelling underground rock bands. By 1969, the band had solidified its identity and made their national television debut, showcasing a blend of psychedelic and melodic rock.
Later that year, with Hugo Van Camp joining Marc Van Geystelen (lead guitar), Norbert De Lange (guitar/vocals), and Swa De Houwer (bass), the band recorded their debut single "The Sun" b/w "Wait Until Sunrise" at Decca Studios in Brussels - a dark, brooding masterpiece that has since earned cult status.

Nehmt Euch einen Moment und lässt Euch die Kataloge dieser Meister des amerikanischen Folk auf der Zunge zergehen: MAGNOLIA ELECTRIC CO., CENTRO-MATIC, SONGS: OHIA, SOUTH SAN GABRIEL. Und lasst uns ganz ehrlich sein: Eine Dosis des künstlerischen Egos und ein wenig Eitelkeit können einen höheren Dienst erfüllen. Auf dieser Kollaboration von Jason Molina und Will Johnson scheint der jeweils andere Künstler sein Gegenüber und dessen Talent zu befeuern und sowohl die Performance als auch die Kreativität auf neue Höhen zu befördern. Im brüderlichen Teilen von Ideen werden Molina und Johnson zwei Poeten unter Poeten, die sich in ihrer Werkstatt daran machen, eine einzige, übergeordnete Elegie zu erschaffen. Der einzigartige Stil und die typische Produktion jedes einzelnen Musikers fügen sich hier zu einer gemeinsamen Schnittmenge zusammen. Der dokumentarische Ansatz eines Jason Molina richtet sich ganz häuslich in den subtilen Störungen und Produktionstricks eine Will Johnson ein, während der kräftige Tenor von Molina einen perfekten Tanzpartner in der sanften Reibeisenstimme von Johnson findet. Während die individuellen Performances hier bereits atemberaubend sind, ist die Zusammenkunft beider das, was den Zauber von "Molina&Johnson" ausmacht.

Some years ago, Kjell Bjørgeengen and Keith Rowe attempted to convert video signals into sound by setting up Rowe’s pickups next to an old CRT monitor, turning its magnetic field into a sound generator. Rowe further developed the system with David Jones at Alfred University, slimming down the setup using a copper coil, a circuit board, a video input, and a telephone pickup. Jones named it the »Flood Coil«, and it’s that instrument you can see on the album’s front cover and that lies at the core of these recordings, made without any physical live input from the artists themselves. In essence, it’s generative music in its purest form.

Bjørgeengen’s video feed is generated by oscillators, then routed into Marhaug’s pedals and then back into the Flood Coil, so any visual shifts alter the sound, and any modification to the sound changes the video. The duo have played this setup live many times, but for this studio version they left the system to do its thing without any intervention for two minutes at a time before moving onto the next idea. They recorded hours and hours using this process and then selected 18 highlights for this album, extracting harsh noise, power electronics, lulling feedback drone, and peculiar rhythmic snippets to show the scope of their technique.

A wall of growling, hi-octane Pulse Demon-style noise opens the set, gradually exposing us to more asymmetric textures, shifting through unstable repetitions that transform Merzbow’s metal-inspired screams into »Aaltopiiri«-era rhythmic noise. It’s remarkable, actually, how much Marhaug and Bjørgeengen can squeeze from the system, chancing on shivering, lower-case chugs and pops, galloping drums, soundsystem subs, and grinding blast beats that sound like Napalm Death’s »Scum« piped through a broken amp stack. It ain’t pretty, but noise/industrial freaks will revel in the fierce delights inside.

We’re very happy to share this one with you and humbly present our first release on Sentiment by head honcho Asphalt DJ. Four stripped-down, tension-building club tracks built to go deep and in the body. Sentiment is a label born from admiration for those who came long before us, who were driven by curiosity and experimented with early machinery. We want to create a home for music that carries that same spirit. A home founded on the bricks of house and techno and built together with artists who inspire us. Feel free to join building. Much Love

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

Classic album by Dinah Washington, one of America's most versatile singers of the 1950's who moved effortlessly between pop to gospel to jazz to blues. She teamed with the great Quincy Jones , For Those in Love is an essential album for any collection. Dinah Washington (1924-1963) recorded many albums for EmArcy Records and during the period 1954 to 1961 she worked with Quincy Jones, including the release presented here, For Those in Love, which was the first of their recorded collaborations. Featuring three brilliant small group sessions, taped on three consecutive days in March of 1955, the arrangements were by Jones, who also conducted the band and played a trumpet solo on 'Ask a Woman Who Knows'. The group of heavyweight players includes such stars as Clark Terry, Jimmy Cleveland, Paul Quinichette, Cecil Payne, Wynton Kelly, and Jimmy Cobb.

‘Bad Wiring’ by Jeffrey Lewis & The Voltage, originally released in 2019 and long ago sold out, is re-released in UK/Europe on Blang Records. Recorded in Nashville by Roger Moutenot (Lou Reed, Yo La Tengo, Sleater-Kinny) the album blends raw lo-fi garage-punk with acoustic interludes. His trademark literate lyrics, moving between the poignant and the hilarious, shift from personal anxieties to existential dread (often in the same song eg, ‘My Girlfriend Doesn't Worry'), record stores ('LPs') and under-appreciated artists ('Exactly What Nobody Wanted'). The album was greeted with widespread acclaim in 2019 with many reviewers declaring it his best yet. Jeffrey Lewis & The Voltage play End Of The Road in September with a UK/Europe tour planned to follow.
Press For Bad Wiring In 2019:
" The “and about our relationship” refrain of ‘My Girlfriend Doesn’t Worry’ will have you replaying the album instantly." grade A- Robert Christgau, Consumer Guide (top albums of the year 2019).
" terrific wordplay." ******* Rob Hughes, Uncut
"Thick with the evergreen anti-folkie's charm." **** Mojo
"Electrifying, again." **** Q Magazine.
"one of the most consistently enjoyable records Lewis has made in his 18-year career." ********- HotPress
"possibly his best studio album yet." **** The Skinny.
"Jeff Lewis sits comfortably with Lou Reed and Leonard Cohen as an exemplary songwriter. Reed always strived for street cool and Cohen’s words were imbued with mysticism and his love of women. Lewis has the courage to open up his heart and lay out all the horrible neurosis, paranoia, and despair that we all fall prey to. Reed the cool, Cohen the mystic and Lewis the honest. A better triumvirate you couldn’t hope for.” Louder Than War.
"There’s a strong suggestion that this is the best album his written to date and after listening to just a handful of songs you’d be hard-pushed to disagree – you’ll also be left wondering why in the hell Lewis is not better known than he is, this album is filled with unforgettable songs that set his songwriting apart from anything else you’re likely to hear today." Folk Radio UK.

Ella Langley, who has redefined the next wave of country music with her magnetic, unmistakable voice, and fearless songwriting, has announced her highly anticipated sophomore album Dandelion, out April 10 on SAWGOD/Columbia Records. Co-produced by Ella, Miranda Lambert and Ben West, this 18-track album, which features her #5 Billboard Hot 100 hit “Choosin’ Texas,” is one about growth, and carries a deeper symbolism of hope, healing, and resilience. In Ella’s own words: "I've thought about this record every single day for the last year and a half, and I'm so excited to finally say: 'Welcome to Dandelion.’"

Xylitol, aka producer and DJ Catherine Backhouse, shifts up the refinement and musical breadth for her second album Blumenfantasie, the follow-up to her Planet Mu debut Anemones.
With Blumenfantasie, Xylitol wanted “to make space and for the music to float and propel at once”, finding routes through the pointillistic figures, cascading synths and the meditative stillness of kosmische musik and bolder breakbeat programming. She reaches this delicate balance through careful subtraction, hoping “to convey a sense of intimacy and sadness but without sentimentality” which she manages with a feel and sound that's raw and intuitive.

Blumenfantasie rolls through detailed jungle workouts that flutter and bleep, through beatless ambience, taking a rare dip below 160 bpm for the elegiac Mirjana, the album’s most explicit nod to Krautrock with a drum break chopped up from Amon Duul II’s anthemic ‘Archangel’s Thunderbird’, through to Halo, a bare bones grime rhythm that calls to mind the missing link between industrial pioneers Nurse With Wound and Wiley's Eskibeat.

Catherine cast her net to draw in experimental audiovisual duo Sculpture and Reading based post-rock band The Leaf Library as collaborators, pulling the former’s whirling eddies of musique concrète into a slice of sublime aquatic jungle, and the latter’s radiophonic folksong into a dark and disorientating breakbeat workout equally indebted to Source Direct as to Broadcast.
Blumenfantasie moves with a confident, self-effacing fluidity which has been informed by DJ Bunnyhausen’s more regular DJ gigs. She speculates ‘if this album feels more cohesive than its predecessor it's likely because I've been DJing a lot more, with Worthing Techno Militia, with central and eastern european electronica collective Slav to the Rhythm, as well as being part of Italo Disco crew Flex. Moving between these zones seemed to open up hidden pathways between the disparate musical trajectories they represent.'
While Anemones contrasted the rough and the delicate, its successor is an album built for the head, hips and heart, with painterly sounds and a sense of intimacy that encourages deep listening while keeping its eyes on the strobelight and its feet on the dancefloor.

We've got a bit of an obsession with Hozan Yamamoto here at Mr Bongo! A legend of Japanese jazz, he is rightly regarded as a true master and was recognised as a "living national treasure" by the Japanese government in 2002. Over five decades he pushed the genre into new directions, absorbing fusion, funk, spiritual jazz and many other sounds, resulting in a discography studded with gems of rare beauty. Exploring his back catalogue has taken us on an engrossing journey that now sees us reissuing another work from this ground-breaking musician.

Though not translating perfectly into English 'Akuma Ga Kitarite Fue Wo Fuku', (kitarite has not been a modern expression in Japanese) roughly means 'The Devil Comes Playing The Flute' / 'The Devil Is Coming While Blowing The Whistle' or 'Devils Flute’. It is the original soundtrack to Kôsei Saitô’s 1979 mystery and suspense movie, ‘Devil’s Flute’. The film is based on a story by the famous author, Seishi Yokomizo, and is centred around a much-loved fictional Japanese detective, Kosuke Kindaichi. A Japanese Sherlock Holmes that has been popular for generations.

Hozan Yamamoto was invited to compose the soundtrack directly by the producer of the film, Haruki Kadokawa. Mr Kadokawa also hired keyboard player and producer Yu Imai as assistant producer on the project, resulting in a stunning cosmic, breaks and beats-laden, funk, disco soundtrack extravaganza.

When it comes to the soundtrack and the technology of the time, Hozan Yamamoto and Yu Imai got inventive, tripped out, funked up, and experimented, creating a quirky soundtrack masterpiece that needed to be heard more outside of Japan. Differing from the more traditional Japanese music orientation of some of his other albums such as 'Beautiful Bamboo-Flute' (also released on Mr Bongo) the album showcases a number of genres, from lush atmospheric incidental music to disco and funk grooves, experimental nuggets, drum and flute workouts, to neo-classical and more.

A special record that showcases the further depths of this wonderful musician's talents.

Sound Records proudly presents ‘Morpho’, the debut LP from UK-based producer Benyayer, formerly one-third of celebrated electronic trio Dark Sky. A deeply personal record and a symbolic transition, Morpho captures the emotional and sonic evolution of an artist in metamorphosis.

Having stepped into the solo spotlight following his successful Infiltrator EP, Benyayer (aka Matt) delivers a bold, vinyl release that combines seven previously digital-only tracks with a brand new cut, ‘The Return’, all meticulously curated and pressed for the first time on wax.

Bridging influences from techno, UK bass, Afrofuturism, and electronica, Morpho is a meticulous exploration of rhythm designed to excite, cause chaos, personal reflection and movement. Each track is a raw, rhythmic exploration that draws on his time spent busking on the streets of London with found objects, experimentation with modular synths and years of experience honing his craft as a performer at some of the finest establishments in the electronic music landscape.

This initial vinyl edition is limited to just 300 copies. Designed in collaboration with Harry Cresswell, each sleeve features a deconstructed butterfly motif, laser-cut on both sides of heavy matte stock, paired with a matte-printed inner sleeve and a transparent vinyl disc, making each copy a true collector’s item.

The LP arrives amid support from tastemakers like Gilles Peterson, Benji B, and Tom Ravenscroft (BBC 6 Music), as well as heavyweight artists including Ben UFO, Bicep, Laurent Garnier, Bonobo, and Modeselektor.

Benyayer's new live show, built around these very tools, has already been trailed to great acclaim across Europe, adding a powerful performative dimension to the record. With previous performances at Berghain, Fabric, Glastonbury, MUTEK, Dimensions and Melt Festival. Benyayer's solo trajectory continues to rise with intent, mystery, and a fierce sense of artistic purpose.

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

The earliest foundations of the Detroit Harmony group ‘The Gaslight’ came when future lead singer Oliver “Butch” Cheatham via an introduction by his sister Jackie joined a group known as ‘The Young Sirs’ who recorded, “There’s Something The Matter (With Your Heart/African Love” for Magic City during 1969. The group included Oliver’s future brother -in-law Allen Cocker (Jackie’s future husband).

Oliver and Allen went on to form a new vocal quartet with Curtis “Kippy” Anderson and Michael Eatmon. Under the group name of ‘The Gaslight’ they signed to Uptight Productions Incorporated, a local production company founded by local businessmen Marvin Figgins and Arnold Wright. The Gaslight were the only vocal harmony group signed to Uptight Productions and as such, it was they who made the most recordings across two label imprints Grand Junction and Black Rock. The Gaslight’s first single “I Can’t Tell A Lie/Here’s Missing You” was released on Grand Junction (GJ1001) in 1970, For the groups second single Figgin’s placed them under the guidance of legendary producer/songwriter, the late George McGregor under whom they recording “Drifting Away/If You See Her” Grand Junction (GJ1002) released in 1971 For their next release Figgin’s switched the group to his Black Rock label to record “Out Of My Hand/I’m Only A Man” Black Rock (2002) under the pseudonym of Butch & The Newport’s With “Butch” being Oliver’s nickname. A later, second release of “I’m Only A Man” but with a different flip side “I’m Gonna Get You” came out on Grand Junction (GJ1100) in 1973 with the performing artist credits reverting back to ‘The Gaslight’.

Upon leaving Uptight Production’s the group found a new home when George McCregor took them to a new fledgling label T.E.A.I (an abbreviation for “Tellin’ Everybody About It”) owned by ‘The Dramatics’ Road Manager Charles Underwood. ‘The Gaslight’s’ first and only release for T.E.A.I, was the mellifluous 1975 double sider “Just Because Of You/It’s Just Like Magic”. Underwood had precured a working relationship with Polydor Records who picked the release up for national distribution three months later. As good as the record was due to poor promotion it failed to make any notable noise and eventually sank with the group soon after breaking up.

During Soul Junction’s later dealings with the late Oliver Cheatham, respected UK Collector Andy Rix mentioned he owned a three track acetate containing the two mentioned T.E.A.I/Polydor tracks plus a third unissued dance track “Hard Times” which through a licensing deal with Charles Underwood Soul Junction now present to you on a three track 45, released under its full title “Hard Times Are Coming, Hard Times Are Here” backed with a previously unissued mix of “Just Because Of You” alongside the issued 45 version of “It’s Just Like Magic”.

Blademasters is a new Melbourne instrumental project formed by Patrick Ryan (Cantrips) and Lachlan Stuckey (Surprise Chef). Built around the central conceit of "duelling" acoustic guitars - Ryan on steel-string and Stuckey on nylon-string - the project draws on 1960s and 1970s live studio recording traditions, foregrounding ensemble interplay, room sound, and performance-led arrangements. The wider lineup features musicians associated with Melbourne's instrumental soul and funk scene, including members of Surprise Chef, Cantrips, Karate Boogaloo and Ella Thompson's band.

Recorded live over a single day, Kings Knight / Live by the Blade was tracked with two acoustic guitars performing together in the room alongside bass and drums, with piano and vibraphone overdubs added sparingly. The release is influenced by David Axelrod's Pride (1970), particularly its fusion of cinematic orchestration, Latin and folk inflections, and deep rhythmic foundations. Both tracks share related harmonic material, presenting two contrasting but connected movements: the A-side's dramatic, tension-building opener and a more restrained, groove-led B-side. The release is presented on 7-inch vinyl with digital distribution.

The 10,000 strong party drew together DJs, fans, listeners, singers, live acts and MCs together to showcase every shade and style encompassing a 174 heartbeat. As the Finsbury Park fun continues and round two promising even bigger stage takeovers and a myriad of artist weaponry, we present an equally bursting drum & bass double disc, the 'Hospitality In The Park 2017' LP. In the same vein as our all- day summer special, this huge 70 track mash- up spans across a full 360' perspective of the genre; representing the established, up and coming, soulful, obscure, liquid, innovative, dark, techy, neuro, jungle style and everything in between.

Included are over 25 brand new exclusives from reputable drum & bass titans Danny Byrd, S.P.Y, Makoto and Keeno, there are VIPs from Metrik and Nu:Logic, remixes from Hugh Hardie, Total science, Camo & Krooked and Calibre, and a 'Bullet Proof' banger from Krakota. Across two mixed CDs we've drawn for this year's surefire summer weapons with Fred V & Grafix, The Prototypes, 1991, High Contrast, The Upbeats, Breakage in the mix. With this year's Incubator stage pulling artists that are rising through the ranks, up and comers' Whiney, Unglued, GLXY and Kyrist bring exciting new offerings to the compilation.

Both fans and artists came together from all over the globe last year and we expect no less in 2017. Equally, this compilation gives an international perspective covering all corners of the globe from Japan's Mountain, the USA's Flite and Ownglow, the Netherlands Black Sun Empire and New Zealand's Shapeshifter. Drum & bass is stronger than ever and it's here to stay. See you at the park!

Geoglyph is the new duo project by Alohn and Khey Mysterio, a convergence of two deeply singular practices into a single subterranean signal. Their debut album arrives as the eighth reference on Organic Signs, not as a collection of tracks but as a carved artifact: six inscriptions pressed into vinyl, mapping a sonic territory where time, rhythm and texture are no longer linear, but layered like geological memory.

Through Geoglyph, Alohn and Khey Mysterio convey a message from below, or beyond. A pulse engraved from forgotten times in the basement of reality, reactivated by abyssal basses, vibrating layers and fractured textures. Exhumed from the subterranean strata where psychedelic dub, mineral techno and fractal dubstep fuse into raw energy, their music becomes a point of contact: every beat, every silence, every oscillation acting as a coordinate toward another perception. What unfolds is not simply sound design, but an invocation, rhythms as sigils, timbre as gnosis, signals that seem to arrive already charged with intention.

Across the album, Alohn’s guitar notes fall like cascades through the mix, dissolving at times into controlled feedback and crystallizing into melodic fragments that hover between tension and release. These organic gestures are interwoven with Khey Mysterio’s dense low-end architectures and rhythmic frameworks, creating a constantly shifting terrain: from weightless transmissions and ritualistic voices to moments of overwhelming propulsion where the music suddenly breaks open with tectonic force. The record moves fluidly between meditative suspension and explosive motion, never settling into a single state for long.

A strong undercurrent of what has come to be known as “druidstep” runs through the album, a term coined within the 95 Open Tabs universe to describe a form of dubstep untethered from genre convention, rooted instead in bass as ritual, in groove as invocation. Here it meets dub-techno pulse, psychedelic echoes and high-velocity 4×4 pressure, drawing subtle influence from underground bass cultures without ever becoming referential. The result is a body of work that feels both ancient and forward-leaning, cyclical rather than linear: a living geoglyph that reveals different meanings depending on how (and where) it is read.

As the final movement accelerates into its closing phase, the album releases its energy outward, with frequencies stretched toward their limits, leaving behind the trace of a completed ceremony. In this sense, Geoglyph’s debut stands as a defining moment within the Organic Signs continuum: a record that unfolds rather than explains, offering an experience to be entered, absorbed, and carried. With this release, the label continues to explore new sonic spaces, evolving and expanding while giving deeper meaning to its own essence. A message from beneath the surface, waiting for those willing to tune in.

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Tirakat brings together Jakarta-based trio Ali and Lebanese composer and multi instrumentalist Charif Megarbane in a collaboration rooted in long histories of cultural exchange between Indonesia and the Arab world. Ali are known for blending 1970s Indonesian psychedelic funk with Orkes Melayu, disco grooves, and Arab melodic forms, while Megarbane’s extensive catalogue has consistently explored similar cross-regional currents through jazz, library music, and Mediterranean-influenced arrangements. What connects the two is not genre alone, but a shared musical vocabulary shaped by overlapping histories, references, and lived cultural continuities.
The relationship between Indonesia and the Arab world stretches back over a thousand years, forged through Indian Ocean trade routes that carried not only goods, but languages, belief systems, instruments, and musical ideas. These exchanges were gradually absorbed into local traditions rather than replacing them. In Indonesia, Arabic musical elements entered through devotional practices and ensemble formats such as Gambus, Qasidah, and Orkes Melayu, where maq?m-derived melodic structures were adapted into local tuning systems and performance styles. Over time, these sounds became embedded within Indonesian popular music, shaping genres such as dangdut and informing a wider sonic landscape that remains audible today.

Steve O’Sullivan returns under his Bluetrain alias, channeling the essence of dub into groovy,
endlessly cycling patterns shaped by submerged chords and tectonic low-end pressure. The influence of Mike Ink’s monolithic Studio One era is unmistakable, where reduction becomes
propulsion and each delay-trail etches its own pulse into the haze. Limited colourec vinyl.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. The compilation also features all-new illustrations from Alan Oldham, the Detroit-rooted visual artist who gave Djax-Up-Beats a distinctive visual identity from very early on, and design by Lost Communication. Each volume of the series also features liner notes from music journalist Oli Warwick. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. Volume 1 - The Acid Trip focuses on an area the label is best known for - acid house and techno. After the pioneering breakthroughs Chicago-based producers made with the Roland TB-303 in the late 1980s, acid music creation was starting to become more widespread when Djax-Up started in late 1990. The rebellious, rave-ready sound was an instant draw for label founder Miss Djax, and so her label ended up reflecting the development of acid as it spread from the Chicago roots across the world. Volume 1 - The Acid Trip looks at the diverse approaches to acid taken by artists on Djax-Up. Tracks on the compilation include an early outing from Ludovic 'St Germain' Navarre and Bjorn Torske's Ismistik alias, as well as Dutch pioneers such as Edge Of Motion, Spasms, Random XS and Acid Junkies, and Chicago heavyweights Mike Dearborn and Gene Hunt. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.

Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.

Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.

Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.

Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.

Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.

On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.

The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.

Counting to forty two... I draw a breath from a single drifting oxygen molecule and swim my self into the eye of truth. Behind that eyelid floats a teardrop - falling - leaving behind a resonating noise that becomes an invisible language, echoing the questions of reality. Teardrops turns to rain, tinting existence and grounding gravity in my soil. While my footprint takes shape within a flourishing garden, I'm searching for a logical answer to the life that has never been but always existed. Through all, I remain my own nature. credits w/p: Joline Scheffler design: Janu Krohm mastering: Giuseppe Tillieci a.k.a. Neel @ Enisslab, Rome

Three years after the release of Volume 1, Innershades returns to home turf with a second entry in his Heritage series. The New Beat territory that its predecessor tackled serves as the starting point for the A-side of Volume 2 as well. The glistening arpeggios and choir patches on "Mind State", alongside the unyielding kicks, alarm-like synth lines and plodding tempo of "System Breakdown," reaffirm how the genre's hallmarks smoothly align with the artist's own inclinations. The B-side draws from the broad spectrum of styles that emerged a bit later, in the beginning of the nineties, when it seemed the dance floor would move unimpeded between and bridge genres, its boundaries often not as firmly established. "Fuse Memory" nudges the pace forward, driven by the 909 and a staple hypnotic lead. When the drums come to a halt, a 303 emerges to flesh out the break. "Rhythm Composer" continues in a similar early techno vein, but pulls the track into outer space via its formant-heavy leads and Detroit-tinged sci-fi sweeps. On ALT023 Innershades appears in fine fettle, providing another batch of up-front club tracks that approach history as motion rather than memory, translating the past into forward momentum.

The sonic worlds of Devon Rexi and John T. Gast collide in a vital meeting between two singular mavericks!

Following two lauded EPs on cult label South of North, Amsterdam-based Devon Rexi prepare to release their much-anticipated debut album, recorded by and featuring elusive 5 Gate Temple devotee, musician and producer John T. Gast, whose acclaimed catalogue continues to flourish.

Devon Rexi is a trio made up of Nicola Reverda (Nicolini), Nushin Naini and Goya van der Heyden (La Rat). They’ve quickly carved out their own sonic world, traversing krautfunk, post-punk and psyched-up no wave, all laced with a dub-heavy experimental mentality. Breathstep captures the band’s bass-heavy incantations, ripe with melodic chaos and rhythmic improvisation, while devilish cackles and processed vocals flirt over a jukebox of dubbed snippets and sliced textures.

The introduction of John T. Gast as producer and collaborator pulls the Devon Rexi sound deeper into bubbling dub territory, while his own palette is stretched and pushed into new terrain. Though Gast has firmly cemented his singular sound over the last decade, this interconnected process marks new ground for all involved. The result is a supreme convergence of esteemed musicians and a wickedly fine debut collaborative record.

Breathstep finds its home on Bristol imprint Accidental Meetings, whose ever-evolving sound and wide-ranging discography continue to grow. The album was recorded over the last year across Amsterdam, Lisbon and London.

Grady Steele (Formant Soundsystem) debuts on FELT with the tender spectre of Nausea, poignant patterns captured through the dusk-hued window pane.

Co-founder of the Formant Soundsystem, a travelling rig that’s powered forward-thinking dances in London and Paris, Grady Steele has championed both experimental and club music at the cutting edge. Concurrently to this, he debuted his own productions back in 2024 for Archaic Vaults. Uniquely intimate, his music shone lowkey and warm with an assured glow. It’s no surprise then to find his inimitable sounds land neatly on Fergus Jones’ FELT imprint.

Nausea extends across seven movements, narrating sentimental parallels of familiarity. Grady posits concentrated pangs of post-rave nostalgia with rich melodic sustenance, a vivid introspection tempered with field recordings and live instrumentation. Strummed guitars and aching pads move purposefully with the suspended pace, an immersive beatless vista from its opening quiet moments through to the guttural noise-laden finale. It’s a brief, beautiful collection from Grady Steele and another string to FELT’s unpredictable bow.

Written, recorded and produced by Grady Steele

Mastered by Miles Whittaker

Cover photo by Alex Kurunis

DOODSESKADER clearly haven’t had enough of redefining boundaries – they’ve only just gotten started. Tim De Gieter and Sigfried Burroughs return on April 3rd, 2026 with their third full-length album, The Change Is Me, a rollercoaster that can only be described as the unstable lovechild between witch house, hip-hop, industrial dream pop, and stadium rock that can’t decide if it wants to watch the world burn or shout from the rooftops that we need to save it. Their combination of grungy 90s melodies with distorted synths, sludgy bass, hard tuned vocals, rapping, singing, and explosions of undiluted rage at the current state of the world leave you wondering just exactly what it was you smoked last night, and if it was too much or not enough. The Change Is Me is an album that grabs you by the arm and asks if you’re ready to go on a grand adventure, then pulls you into its chaos before you can say “yes” or “no.”

Tim and Sigfried aren’t just breaking the boundaries between genres; they’re breaking out of their own Year cycle, a path they had laid out for themselves at the band’s inception in 2020. Up until now, the duo had set out to document their “journey to getting better” through writing one album each year: Year Zero (2020), Year One (2022), and most recently Year Two (2024). After spending eight months throughout 2024 and 2025 writing, recording, producing and mixing Year Three, the band scrapped the finished record entirely. Playing shows while simultaneously navigating the process of mixing Year Three created a sort of disconnect – the people that they were when they wrote that record and the people that playing shows made them become were no longer one and the same. “We’re people with faults and strengths, and we realized we needed to accept it. That’s equal parts bleak and liberating. If you’re so focused on self-improvement, you can’t even applaud yourself for how far you’ve come,” the band explains. “This project is meant to be a document of us and of the human condition, not a self-improvement handbook designed to keep us all stuck on what may or may not have happened to us or because of us in the past.”

DOODSESKADER chose instead to embark anew on a week-long creative journey in Tim’s own Much Luv Studio with one goal in mind: to make an album that captures who they are right now. Finally writing everything together in the same room for the first time in years, the process of bringing "The Change Is Me" to life was captured by Diana Lungu in their latest documentary, "Now I Know You See Me", out December 2nd, 2025.

"The Change Is Me" marks the beginning of DOODSESKADER’s shift into a more positive era, both musically and conceptually. Over the course of the 40-minute record we hear the two friends unite in a fight against a world that grows more and more disappointing, a concept made crystal clear in tracks like “Celebrity Culture Simp Farm,” “It Keeps On Stinging,” and of course the album’s epic closer “Suffering In Technicolor.” While their previous albums saw them trying to outrun their pasts and arrive at a better version of themselves, here the search for some external or internal revelation that will “make them better” is no more. It’s been replaced by the realization that change isn’t something we force: it’s gradual, and more importantly, it’s something that’s already there – we just need to reach out and accept it.

The band’s live appearances over the last several years have been instrumental in shaping their ideology. On stage is where the duo find connection; not only with the audience, but also with each other. Their sold-out release shows at Ancienne Belgique (2022) and VierNulVier (2024) have proven that they are one of Belgium’s must-see acts. Abroad, their energy has translated into a month-long EU/UK tour with French band Alcest in 2024, as well as appearances at festivals such as Roadburn Festival (NL), Eurosonic (NL), Hellfest (FR), Mystic Fest (PL), Jera On Air (NL), ArcTanGent (UK), Fluff Fest (CZ) and more.

"The Change Is Me" is out April 3rd, 2026 on DOODSESKADER’s own label, 45 Records.

Virga III ist der dritte Teil von Eluviums inspirierter Experimentalserie - und der erste seit fast fünf Jahren. Im unverkennbaren Gegensatz zu der dichten, bedrohlichen Ausdehnung von Virga II bieten die Werke, aus denen Virga III besteht, eine fast göttliche Atempause. Die nervöse Spannung, der Kontrollverlust und die geduldige Rekontextualisierung, die jeden Teil der Virga-Serie inspirieren, zeigen sich auf einzigartige Weise. Die Songs auf Virga III wurden wie immer von Cooper komponiert und gespielt, aber im Virga-Universum empfindet er im Grunde genommen eine einzigartige Zusammenarbeit mit sich selbst. Wie Cooper erklärt: ,Die Virga-Reihe gibt mir die Möglichkeit, zu einer älteren Version meiner selbst zurückzukehren, aber mit einem neuen Verständnis. Ich übe mich in mehr Geduld im Umgang mit diesen konstruierten musikalischen Systemen und Aufnahmen und duettiere zögerlich mit meinem früheren Ich in einer neuen Performance oder manipulativen Ebene, aber erst, nachdem ich die erste so lange wie möglich verdaut habe, bis sie neue und unbekannte Gefühle hervorruft, in der Hoffnung, ein Gefühl von therapeutischer Selbstwahrnehmung und Entdeckung zu entwickeln. Eine Mischung aus der explorativen Denkweise und einer malerischen emotionalen Resonanz, die sich allmählich zu sich selbst entfaltet."

Moumneh (Jerusalem In My Heart) und Oberland (Oiseaux-Tempête) festigen mit diesem Debüt-Studioalbum als Duo ihre langjährige Zusammenarbeit: eine überzeugende Synthese ihrer jeweiligen und gemeinsamen Sensibilität. Durch die Verschmelzung von elektronischen Klängen mit akustischen Instrumenten wie Bouzouki, Rababa, Clarineau und Saxophon, ergänzt durch Moumnehs arabischen Gesang, entsteht ein Album, das von Empörung und Klage über unsere suprematistische und rassistische Gesellschaft geprägt ist. Das Album verbindet vibrierende Elektronik mit akustischen Instrumenten wie Bouzouki, Rababa, Clarineau und Saxophon, gewürzt mit Moumnehs arabischem Gesang, und ist geprägt von Empörung und Klage über unsere supremacistische und genozidale politische Gegenwart. Radwan Ghazi Moumneh und Frédéric D. Oberland wechseln zwischen Sinnlichem und Unterdrücktem und schaffen mit ihrem Debütalbum eine poetische musikalische Verkündigung der verwandelten Realität und sozialen Amnesie. Diese sieben Titel entstanden in zweijähriger Zusammenarbeit und begannen als eine Reihe von Duetten, die Moumneh im Sommer 2023 im Studio Hotel2Tango in Montréal initiierte. Der arabische Titel von Eternal Life No End lässt sich wörtlich mit ,Eine dunkle, verfluchte Nacht, wie die Suchenden selbst" übersetzen. Das Album ist ein Aufschrei inmitten der Ozeane der Ungerechtigkeit, die die SWANA-Region überschwemmen und das Leben und die Visionen der Suchenden selbst heimsuchen. Der arabische Titel von Eternal Life No End lässt sich wörtlich übersetzen mit ,Eine dunkle, verfluchte Nacht, wie die Suchenden selbst" und das Album ist ein Aufschrei inmitten der Ozeane der Ungerechtigkeit, die die SWANA-Region überschwemmen und das Leben und die Visionen großer Bevölkerungsgruppen verfolgen. Wie Dante und Vergil in Dantes ,Inferno" zeichnen die Kompositionen von Oberland und Moumneh einen emotionalen Strudel nach, während Traumzeit in tranceartige Percussion und hypnotische Melodien einfließt und kollektive Dringlichkeiten kanalisiert, die sich durch Radwans Stimme und arabische Texte ziehen. Oberlands Passagen auf dem Saxophon und der Klarinette beschwören schamanische Beschwörungen des Bösen herauf, während Moumnehs Buzuk oft durch elektronische Bearbeitung und Schwärme mit stürmischer Trauer über sich entfaltende Tragödien untermalt wird. Eine Reihe von Instrumenten vervollständigt die Klanglandschaften: Daf (eine Rahmentrommel aus dem Nahen Osten) und Bongos, eine modifizierte elektrische Rababa, bebender Bass und andere synthetische Filigranarbeiten von Oberland. Eine Reihe von Instrumenten vervollständigt die breiteren Klanglandschaften: Daf (eine nahöstliche Rahmentrommel) und Bongos, eine modifizierte elektrische Rababa, bebender Bass und andere synthetische Filigranarbeiten von Oberlands Buchla- und Deckard's Dream-Synthesizern. ,Es ist in gewisser Weise ein Heilungsprozess", sagt Oberland über das Werk. ,Seit Beginn des Völkermords hatte ich eine komplette künstlerische Blockade und war unfähig, das auszudrücken, was die Menschen durchleben", erklärt Moumneh, der schließlich ,die Worte der Opfer" in seine Texte einfließen ließ. ,Es ist in gewisser Weise ein Heilungsprozess", sagt Oberland über das Werk. ,Seit Beginn des Völkermords hatte ich eine völlige künstlerische Blockade und war unfähig, das auszudrücken, was die Menschen durchleben", erklärt Moumneh, der schließlich seine Instrumente und seine Ausrüstung zusammenpackte und im Sommer 2024 nach Paris flog , um mit seinem langjährigen Freund ernsthaft an dem Album zu arbeiten. Die beiden hatten bereits mehrfach zusammengearbeitet, mit Oberlands Hauptband Oiseaux-Tempête und durch Moumnehs Arbeit als Jerusalem In My Heart und als Produzent/Toningenieur bei verschiedenen anderen Projekten. Eternal Life No End baut auf ihrer langjährigen Freundschaft auf, während Oberland und Moumneh auf neue Weise mit Energien und emotionalen Veränderungen umgehen, ihre Sensibilitäten verschmelzen und tiefere Resonanzen entdecken. , Wir haben Tag und Nacht zusammengearbeitet und gemeinsam klare Entscheidungen getroffen", erklärt Oberland. Dennoch übernahm er auch die Führung, um Moumnehs Stimme in diesen Kompositionen zur Geltung zu bringen - vier der sieben Titel des Albums enthalten Gesang. Das Duo tauschte gewissermaßen die Rollen und wagte sich an neue kreative Prozesse, wobei Moumneh offen Anweisungen von Oberland annahm und seine übliche Rolle als Hauptproduzent von Jerusalem In My Heart beiseite ließ. ,Squeal of Swine" und ,Dagger Eyes" eröffnen das Album mit einem doppelten Schlag in die Magengrube, während Handpercussion, tiefe Synth-Klänge und abprallende Buzuq- und Rababa-Klänge die Bühne für Moumnehs klagenden arabischen Gesang bereiten, der ein Meer von Krankheit widerspiegelt, das derzeit den Zustand der Menschheit überschwemmt. Auf dem Instrumentalstück ,A Dream That Never Arrived" verankert ein Lo-Fi-Beat mit Dancehall-Einflüssen überirdische Melodielinien vor dem Hintergrund eines elektroakustischen Sounddesigns in räumlich-zeitlicher Verschiebung. Eternal Life No End wird von einem audiovisuellen Essay zum elektronischen (und vokalen) Song ,The Serpent" begleitet, der von Oberland zusammengestellt und mit einer Super-8-Kamera in Montréal, Paris und Beirut gedreht wurde, einschließlich Aufnahmen von Gaza-Protesten in Paris und von Oberlands Auftritt beim 25-jährigen Jubiläum des Irtijal Festivals in Beirut. Die libanesische Grafikdesignerin, Druckgrafikerin und Kalligraphin Farah Fayyad steuert ein talismanartiges Kunstwerk mit ineinander verschlungenen Schlangen bei, das ebenfalls von diesem zentralen Albumtrack inspiriert ist.

Irgendwann im Jahr 2020 hörte ich zum ersten Mal ,Canto Ostinato" und war sofort fasziniert von diesem Werk. Ich war fasziniert von seiner besonderen Mischung aus Harmonie, Wiederholung und Tempo. Im Frühjahr 2023 hatte ich meine eigene Solointerpretation komponiert und veröffentlicht, und ich ging davon aus, dass meine Arbeit mit der Komposition damit abgeschlossen sei. Allerdings unterschätzte ich ihre Anziehungskraft. Im folgenden Jahr war ich erneut davon eingenommen, nachdem ich von Andrew Cyr vom Metropolis Ensemble eingeladen worden war, auf der Grundlage meiner Arbeit mit dem Stück weiterzuentwickeln. Bald darauf war ich in Brooklyn, in einem neu gegründeten Team von sechs Personen, das von Cyr geleitet wurde. Im folgenden Jahr war ich erneut in seinen Bann gezogen worden, nachdem ich von Andrew Cyr vom Metropolis Ensemble eingeladen worden war, auf der Grundlage, die ich mit dem Stück geschaffen hatte, weiterzuarbeiten. Bald darauf befand ich mich in Brooklyn, in einem neu gegründeten sechsköpfigen Team mit Cyr und den Mitgliedern von Sandbox Percussion, und war begeistert, an der Gestaltung eines brandneuen Arrangements von Canto Ostinato für ein großes Ensemble für eine Sommer-Sonnenwende-Aufführung im Brooklyn Botanic Garden mitzuwirken. Wir taten dies, und unsere Gruppe wuchs um die Studenten des Sandbox Percussion Summer Seminar der New School sowie die Komponisten David Leon, Ben Wallace und Ledah Finck und das Bergamot Quartet. Das Ergebnis war ein beeindruckendes, mitreißendes und sehr bewegendes Erlebnis, das ich nie vergessen werde. Ich bin sehr dankbar für diese Erfahrung und die Möglichkeit, die Musik von John Cage zu interpretieren und zu spielen. Wir taten dies, und unsere Gruppe wuchs um die Teilnehmer des Sandbox Percussion Summer Seminar der New School sowie um die Komponisten David Leon, Ben Wallace und Ledah Finck und das Bergamot Quartet. Es war ein Tag, an den wir uns alle erinnern werden - mitreißend, traumhaft und wie eine perfekte Krönung. Aber selbst dann ... zog das Stück weiterhin seine Fäden, und es wurde unumgänglich klar, dass diese neue Orchestrierung die Produktion eines Studioalbums erforderte - eine bleibende Dokumentation unserer nun gemeinsamen Leidenschaft. Über ein Jahr lang wurde das Stück verfeinert, und es wurde immer deutlicher, dass die neue Orchestrierung die Produktion eines Studioalbums erforderte - eine bleibende Dokumentation unserer nun gemeinsamen Leidenschaft. Doch selbst dann noch übte das Stück eine große Anziehungskraft aus, und es wurde unumgänglich klar, dass diese neue Orchestrierung die Veröffentlichung eines Studioalbums erforderte - eine bleibende Dokumentation unserer nun gemeinsamen Begeisterung. Diese Darbietung, die über ein Jahr lang verfeinert und 2025 in New York aufgenommen wurde, interpretiert das Stück neu in einem imposanten Rahmen aus Mallet-Percussion, Holzbläsern, Streichern und Klavier. Es ist unser aufrichtiger Versuch, die Schönheit und Größe von Canto in seiner ganzen kaleidoskopischen Harmonie, Dynamik, Spannung und Entspannung zu vermitteln. Ich bin erneut voller Ehrfurcht vor Simeon ten Holts monumentaler Schöpfung. Es ist unser aufrichtigster Versuch, die Schönheit und Größe von Canto in all seiner kaleidoskopischen Harmonie, Dynamik, Spannung und Entspannung zu vermitteln. Ich bin erneut beeindruckt von Simeon ten Holts monumentaler Schöpfung, und ein Teil dieses besonderen Klanggefüges zu sein, ist eine der größten Freuden meines musikalischen Lebens. Ich gehe nicht davon aus, dass wir noch einmal so viel Glück haben werden ... aber wer weiß ... - ERIK HALL

Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world.

Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths.

Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

Nachdem er Songs für die Beach Boys geschrieben und Alben für die Byrds produziert hatte, ging Gary Usher ins Studio, um sein eigenes Projekt zu starten. Während dieses Prozesses wurde Curt Boettcher von der Gruppe The Millennium zu einem festen Bestandteil der Sessions, produzierte zwei Songs und schrieb sieben. Die Männer erhielten auch Unterstützung von prominenten Persönlichkeiten wie Bruce Johnston (The Beach Boys) und Glen Campbell, was das Album zu einem einzigartigen und beliebten Studioalbum machte.

Die Single »The World Fell Down« war mit Platzierungen in den unteren Regionen der Billboard Hot 100 am erfolgreichsten. All dies führte dazu, dass das Album zu einem echten Kultklassiker wurde. Fans sehen es nach wie vor als eines der wichtigsten Alben der Musikszene von Los Angeles in den 1960er Jahren an, und es wurde auch in das legendäre Compilation-Album Nuggets von 1972 aufgenommen.

»Present Tense« ist eine limitierte Auflage von 1000 einzeln nummerierten Exemplaren auf orangefarbenem Vinyl.

DJ Support: Nic Fanciulli, Joe T Vannelli, Danny Tenaglia, Richie Hawtin, Nick Curly, Shiba San, Adam Beyer, Marco Bailey, Boris, Jamie Jones, Markus Schulz, Tom Novy, John Digweed, James Zabiela, Tiesto, Claude VonStroke, Roger Sanchez, Blond:ish, Adriatique, Paul van Dyk, Joris Voorn, Deer Jade, Vintage Culture & Paco Osuna

Few labels can claim true legendary status in dance music - where trends fade as quickly as they emerge and icons are made and broken overnight. Yoshitoshi stands as one of those rare exceptions.

The label makes its return with a statement of intent: a definitive new remix package of Alcatraz’s era-defining “Giv Me Luv”, a dancefloor classic that hasn’t seen fresh interpretations in over a decade. While the original has remained a staple for those who know, it’s now primed for a new generation of club enthusiasts.

“Giv Me Luv” represents everything Yoshitoshi has been standing for: raw energy, unforgettable hooks, and that indefinable magic that makes a track timeless. Bringing it back with new remixes after all these years demanded artists who could match its legacy.

Enter Sébastien Léger, the French maestro whose thirty-year journey has seen him perform everywhere from Coachella to the Great Pyramids of Giza. His interpretation delivers the sophisticated, hypnotic drive that has made him one of electronic music’s most respected tastemakers and the founder of the acclaimed Lost Miracle imprint.

Alongside him, progressive titan Jerome Isma-Ae, whose unique fusion of trance, techno and house has dominated Beatport charts and earned him breakthrough recognition from Armin van Buuren, unleashes his signature sharp, breathtaking power on the classic.

The vinyl also includes the original mix on the B-side, completing a package that marks Yoshitoshi’s triumphant return to form.

Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold and Gold-selling albums that have reached a series of chart-topping positions.

Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson.

Kent's musical journey began with childhood piano lessons. A keen ear and true voice lead her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum selling, Grammy-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career.

Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband in collaboration with the Nobel Prize-winning author, Kazuo Ishiguro with whom they have worked since 2006. She has also recorded with Brazilian legends, Marcos Valle, Roberto Menescal and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène.

Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love.

A 2024 remaster of Band of Skulls' critically acclaimed debut album, Baby Darling Doll Face Honey. The album was produced, recorded, and mixed by Ian Davenport, recorded at Courtyard Studios in Oxfordshire, and mixed at the House of Blues studio in Los Angeles. It features the single "I Know What I Am", which was released as the Single of the Week in Canada. This, along with the band's other two early albums, has been remastered for enhanced sound quality. Russell Marsden has also introduced a new lineup while teasing new music.

Hip Hop’s golden era constituent, Queens’ native, the godfather of Mafioso rap, legendary and influential emcee, Kool G Rap, broke out in the late 80s and early 90s as one half of the duo with DJ Polo. Together, Kool G Rap and DJ Polo released three undisputed classic albums; beginning with their debut album, Road To The Riches (1989), Wanted: Dead or Alive (1990) and Live and Let Die (1992).

Simultaneously, G Rap and DJ Polo gained notoriety as members of the Juice Crew, whose noteworthy membership includes DJ Marley Marl, Big Daddy Kane, Masta Ace and Roxanne Shante At the height of hip-hop’s golden age, The Juice Crew was the definition of innovative and not only influenced the culture as a whole (style, lyricism, creativity), but also impressed the importance of style, substance and technique upon the next wave of street ambassadors.

After a successful run with DJ Polo and the Juice Crew, G Rap embarked on a solo-career, with his solo debut, 4, 5, 6, (1995), which was preceded by Roots of Evil (1998) and The Giancana Story (2002). Since then, we’ve only been intermittingly blessed by bodies of work from the Kool Genius Of Rap; Half a Klip (2008), Riches, Royalty, Respect (2011), Return Of The Don (2017) and Son Of G Rap with 38 Spesh (2018).

Now, the recent National Hip-Hop Museum inductee returns with his first solo-album in

five-years with Last Of A Dying Breed, entirely produced by Domingo, which features collaborations with AZ, NEMS, Vado, 38 Spesh, Royal Flush and Big Daddy Kane; with production supplied by Domingo. Kool G Rap’s "Last Of A Dying Breed" is now available on limited edition vinyl, digipack CD and cassette.

A 2024 remaster of the English rock group's second studio album, which debuted at #14 on the UK Albums Chart and features the single 'The Devil Takes Care of His Own'. This, along with the band's other two early albums, has been remastered for enhanced sound quality. Russell Marsden has also introduced a new lineup while teasing new music.

VOLUMES: ONE startet eine neue Archivreihe mit Live-Shows, Demos, unveröffentlichten Aufnahmen und anderem bisher unbekannten Material, das die vielen Epochen und Facetten von Bon Iver zeigt. VOLUMES: ONE "SELECTIONS FROM MUSIC CONCERTS 2019-2023 BON IVER 6 PIECE BAND" ist die erste Folge und vereint 10 Auftritte, die Bon Iver von ihrer wildesten, wärmsten und kraftvollsten Seite zeigen. "Diese 10 Songs sind so etwas wie ,Hier, wenn du Bon Iver noch nie gehört hast oder wenn du es gehört hast und es dir nicht gefallen hat, könnte das hier was für dich sein.' Das ist das, was wir geworden sind. Das ist wirklich unser Bestes. Das ist es", sagt Justin Vernon, der 2020 mit der Arbeit an VOLUMES: ONE begann und Dutzende von Stunden Live-Aufnahmen durchforstete, um die ultimative Trackliste zusammenzustellen. VOLUMES: ONE "SELECTIONS FROM MUSIC CONCERTS 2019-2023 BON IVER 6 PIECE BAND" ist das erste Nicht-Studioalbum von Bon Iver, aber es ist mehr als nur eine Compilation oder ein Live-Album. Die Bandmitglieder Andrew Fitzpatrick, Jenn Wasner, Justin Vernon, Matthew McCaughan, Michael Lewis und Sean Carey sind eine eigene Einheit. Gemeinsam liefern sie sowohl für Neulinge als auch für eingefleischte Fans die definitiven Versionen dieser Songs und lassen die Tracks durch die essentielle Live-Technik von Xandy Whitesel in ihrer reichhaltigsten Form explodieren. Aufgenommen zwischen 2019 und 2023, als Bon Iver ihr bisher letztes Live-Konzert gaben, hebt VOLUMES: ONE die Musik von "22, A Million" aus dem Jahr 2016 und "i,i" aus dem Jahr 2019 hervor, ergänzt durch drei wichtige Stücke. Der COVID-Hymnus "P.D.L.I.F." steht für eine neue Phase von Bon Iver; ein Cover von Mahalia Jacksons "A SATISFIED MIND" erinnert an die frühen Tage von DeYarmond Edison, als Vernon während privater Bandproben sein Falsett entdeckte; und nun endlich kehrt mit "HEAVENLY FATHER" ein beliebter Fan-Favorit zurück. Die berauschende, introvertierte und innovative Seite von Bon Iver, die die Studioalben ausmacht, kann ohne die Live-Band nicht existieren, und VOLUMES: ONE ist wie eine Zeitkapsel - ein prismatischer Blick auf einen alten Freund, der zeigt, wer sie waren und wer sie sind, all das Gute, zu dem sie fähig sind, aber manchmal vielleicht zu schüchtern sind, um es zu zeigen.

The album opens with the ominous guitar-driven Hollow Sky, accompanied by its haunting music video's verdant vistas. The song, with Iceglass ghostly vocals, shimmers with that sounds like an Omnichord flittering like sonic firefly lights and brooding bass. This perfectly scores the less traveled wanderings through the dark wooden path of Dante's perdition, leading to the titular well that graces the album cover. The Crater opens with an unsettling riff and bass, with low, repetitive frequencies on the synth create a sense of unease. Here, Iceglass recounts a fatalistic requiem for the king of romance that is cataclysmic and leaves a scar upon the earth. With Fall Industrial Wall, once again, Iceglass channels a silky and Nico-like emotive deadpan; against a dirgelike melody backed by minimal synth, bass, and drum. Almost medieval and plaintive, with its folk droning horns, deep and shallow in their resonance. This song is anachronistic, setting the scene of ruins centuries-old with crumbling edifices strewn about like memories lost in time. With the poetic lyrics of The Chamber do we find the eponymous abyss. Here, dualities are laid bare; besides love, there is heartbreak, and without this sorrow, what meaning would there be to love if one knows not what it is to lose? This song encapsulates the idea that love is heartbreak, and love lost is reaching the deepest chamber of the heart. This is carried through a sombre horn, minimalist drum machine, and deliberate bassline overlaid with Iceglass german and english lyrics. The Well is led in with a softly distorted bassline overlaid with eerie banshee howls give way to Iceglass otherworld vocal refrain, echoing through time as if emanating from a hole in the ground, and encircling that hole is a garden of woe and despair. The sinfully seductive song The Moor features a captivating SAX SOLO courtesy of Perseas; a welcome shift in tone, juxtaposed well with the intensity of Iceglass tenebrous vocal purr. This hitherto unexplored foray into dark sensuality takes the song into sordid mid 80s territory, bringing to mind a dusky drive along a serpentine road, with equally haunting instrumentations straddling time with icy fire. Broken Characters is an acoustic folk interlude featuring Selofan's Dimitris Pavlidis on guitar. Here we find a more gentle approach with its earnest and romantic lyrics. The song's melodic hook is a soft caress along with the forlorn horn elements highlighting Iceglass at her most Nico-sounding vocal yet, singing the sorrowful truth that most artists are indeed broken characters. Chimerical opens with dirgelike synth organs. The chill of winter has befallen the lamentations sung by Iceglass carried by haunting chord progressions and minimal percussion, plaintively beseeching the song's subject to remain elusive, idealistic, and a dreamer. After an album highlighting more Jill than Jack, our male protagonist finally makes his ascent in the sonorous and breathtaking Dark Hill, a masterful march of sweeping synth horns, and trepidatious drum machine with William Maybelline's bellowing voice cracking like thunder, rattling the atmosphere like his heart against his ribs. Spirals swirls in a cautionary knell of cathedral-esque droning synth dirge, with Icarian lyrics shining like a sombre ray of hope; like the sun's rays creeping into the darkest of places. The song, minimalist in its tight percussion, echoes with the solace of Larissa Iceglass vocal litany; invoking elements of the supernatural, almost like a Casio preset sequenced to the beating of an angel's wings.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.