The universe of Muovo Musica is a world of its own, a sonic space where Dove Quiete has learned how to make us move while holding our hand. His upcoming EP, “Guardo La Luna EP.”, explores the artist’s different facets through an unpredictable journey where minimal techno is a constant presence, but far from enough to define the release. Moving between driving tools, ghetto tech influences and trip-hop atmospheres, the tracks naturally cross genres and blend different influences. Rhythm and experimentation coexist throughout a cohesive yet unpredictable EP, always keeping impact at its core.
In collaborating with iconic vocalists Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), Burner take a striking step forward to claim new territory while consolidating their extreme and unique sound into the heaviest and bleakest incarnation of their craft yet. Vocalist Harry Nott elaborates on the themes behind the new album: "If It All Returns To Nothing looked outwards to the world's chaos throughout history, No One Is Coming To Save Us instead looks inwards at its proposed cause; humanity's violent, animalistic nature, begging us for change. This is an album about human behaviour: that people create endless cycles of violence by repeating the mistakes of the past, forging a brutal history that we fail to learn from. But, at the same time, the album is about questioning whether we can ever get past those sins and repetitions. This is a record that is mournful as much as it is angry and engaged. It longs to bitterly recall the moments of greatness and sacrifice in our shared history that created the better world we currently destroy. It longs to look back at these moments for inspiration and optimism, at a time where it feels like hope is running thin. The album is also a struggle for hope, not just that humanity can overcome hatred and violence, but that we can look back on our greatest moments and take courage to build a better world. No One Is Coming To Save Us reflects this duality in its title: that no one will come to save us from the violence and tragedy we create as part of our humanity. But it also proposes that it's up to us to change - to overcome a violent human nature and usher in a better tomorrow."
La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.
Mukatsuku's endless thirst for archival gold and knack for killer reissues burns strong with this latest third in the series hand-numbered 12" , which digs deep into classic ambient techno from Japan. The man behind the music is Virgo, a solo project by Yasutaka Sato that was active from 1996 to 2004 and then reappeared in 2024. This EP revisit some of his best moments from more than two decades ago, starting with the soothing, pulse-slowing beauty of 'Mellow In My Mind' before cosmic charm defines 'Genetic Force' and 'Ruined Tower' has a more melancholic, sombre feel. 'Cloud Sea' lifts the mood with a gently hopeful closer with soft new age chords and oh-so gentle rhythms that break like waves on a distant island paradise.
For our Sophomore release, Solar Suite steps up with Back 2 Basics, four groove-led productions that favour restraint and subtlety. Stripping things back to the essentials with patiently crafted rhythms and basslines that could just keep on chugging. Club trax with one eye on the classics and the other fixed firmly forward.
Wisconsin house music legends Solid Gold Playaz return with Minds Beneath Atlantis EP, a timeless deep house gem first released in 2003 on Silver Network before receiving a sought-after reissue from Still Music in 2017. Long out of print and highly coveted by collectors, copies have regularly fetched upwards of £50 on the second-hand market. Thankfully, Still Music have answered the call with a welcome repress, making this essential release available once again for DJs, collectors, and deep house enthusiasts who missed out the first time around.
Every now and then, there are tracks that stand the test of time. Tracks that are more than just another DJ-tool. Tracks to remember. When „Fom Within“ was released 13 years ago. the track found its way into almost every DJ-Case that summer, and to this day, people playit out at special moments. When Gregor Tresher started to mix Celeda´s „Music Is the Answer“ Acapella over it, inofficial remixes popped up everywhere. We decided to actually never release that version, as we believe some things should be in the DJ´s hands, as there´s nothing quite magic as if a DJ-Mix creates something new. We are happy to give to you an official repress of one of the strongest tracks from our label´s history. Play it out and let it work it´s magic.
„No Tourists“ wurde von Liam Howlett in seinem Studio in London-Kings Cross geschrieben, produziert
und abgemischt – auch wenn es sich, wie Liam betont, „durch und durch um ein Band-Album“ handelt.
Maxim und Keef Flint sind voll und ganz mit von der Partie und steuern ihre legendären Vocals zu diesem
siebten Studioalbum der Formation aus Essex bei. Zwar gibt es vereinzelt Gastbeiträge, doch im Kern
ist dies der Sound des Prodigy-Kerntrios, das sein explosives Klanggewand sowohl altem als auch neuem
Publikum präsentiert – fast drei Jahrzehnte, nachdem die Band mit dem epochalen Album „The Fat Of
The Land“ das Gesicht und den Sound der elektronischen Musik nachhaltig verändert hat.
TECHNO Records introduces Robert Johnstone, a Scottish producer whose music has travelled further than his name. Rooted in the physical drive and electronic vocabulary of the 1990s, the record feels like a contemporary extension of that classic language: functional, inventive and full of rhythmic accents, small traps and details that register fully at club volume.
Across both sides, TECH044 moves naturally between driving techno and more sensual house territory, combining direct club utility with playfulness and surprise. The record brings desire and sensuality back into a club context, entering into a dialogue with the history of the underground as a space of bodily and sexual freedom.
Robert Johnstone has spent years working outside public view, building a substantial catalogue while keeping his public profile sparse. The record speaks to DJs and collectors drawn to classic electronic forms shaped by an individual hand.
And the Glass Handed Kites is the fourth album by Danish quartet Mew and marked a highlight in their career. It has won several music prizes in Denmark, including four Danish Music Awards. Gaffa named And the Glass Handed Kites the best Danish album of 2005. Mew also won the 2005 MTV Europe Music Award for Best Danish Act. Pitchfork Media ranked the single "The Zookeeper's Boy" #92 on its list of top 100 tracks of 2006.
This reissue is the expanded edition on vinyl containing 10 bonus tracks, including the Mogwai remix of “Why Are You Looking Grave”, “Dark Design (red version)”, “Animals Of Many Kinds”, the unreleased song “Wherefore Are You Not There”, and many more.
And the Glass Handed Kites is available as a limited edition of 1500 individually numbered copies on white vinyl and includes a 12-page booklet.
Includes a printed inner sleeve and a double-sided 12"x12" poster.
The upcoming album from Telemakus, featuring an all-star supporting cast of musicians: Flying Lotus, Karriem Riggins, Mndsgn, Liv.e, Sparklmami, Miguel Atwood-Ferguson, Swarvy, Chino Corvalán, Nicole McCabe and more. Pressed via Good Neighbor on a Cosmic Black record made from eco-conscious, 100% recyclable PET plastic.
All songs written, performed, engineered & arranged by Telemakus, except where noted “Five Hands Pt. 1” written and co-produced by Swarvy, “Revival” co-produced by Mndsgn, Karriem Riggins “By Any Feet Necessary” co-produced by Karriem Riggins “2054” co-produced by Karriem Riggins
First release on brand new imprint 'Picture Dis'. The label will reissue classic tracks only on Limited Edition picture disc. First release is none other than "Pump It Up" by Danzel, one of the defining dance records of the 2000s and a global club favourite that continues to ignite dancefloors around the world. Including Marnik Remix, A Cappella version and another hit by Danzel: "Put Your Hands Up In The Air!".
12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking to bring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 13 opens with Kollektiv Turmstrasse - Sorry I Am Late, the club track many will recognise from Solomun's legendary Boiler Room set in Tulum. Its unmistakable bassline sets the mood straight away. Next comes Skape D'Jear - Everything In You (Dedicated Clubba Mix), a
lesser-known house gem making its first appearance on vinyl.
Side B features Karmon feat. Terry Shand - Take My Hand, a melodic house track with a strong vocal performance that remains hard to find on vinyl. Tocadisco - Morumbi then takes things up a notch. With its driving percussion, this is a record that has blasted through the speakers of countless Belgian clubs and beyond.
Side C brings Fred again.. x The Blessed Madonna - Marea (We've Lost Dancing). A track about missing the shared experience of dancing, it became closely linked to the return to the dancefloor for many. Next, we head to Berlin with Kotai - Sucker DJ (Marcin "Highfish" Kozlowski Remix), a distinctive club classic that still holds its own. Daddy's Groove & Little Nancy - It's Not Right, But It's Okay closes this side with a groovy reworking of Whitney Houston's well-known song, now available on vinyl for the first time.
Side D captures the spirit of Ibiza with G Club presents Banda Sonora - Guitarra G (Martijn ten Velden Remix). Its recognisable guitar lines and gradual build make this a track to lose yourself in. This remix makes its vinyl debut here. Closing the sampler is Slam feat. Tyrone Palmer -
Lifetimes. Palmer's distinctive voice and the Scottish duo's outstanding production make this a record that still hits home after all these years.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, lesser-known gems and tracks making their vinyl debut. Selected with the same love for music that has driven 12 Inch Lovers' events for 15 years.
TIN081 lands from Norwegian ‘V.Christie’ & Dane ‘ELOQ’ who connected via TikTok before quickly realising in ELOQ’s Copenhagen studio that their connection was gonna spark something truly incendiary.
By now we all know about the Danish capital's bass fuelled garage scene – thanks in no small part to their now TIN label mate & ATW boss Main Phase amongst others – well now it’s time to add ELOQ & V.Christie to the list of Copenhagen based producers shaping the future of the sound. Over four tracks the pair show a preternatural ability for speed garage and bassline and a deep grasp of rolling two-step flow. Their sound is full of life and is pushing UKG forward.
Run the tracks…
‘Coldsnap’ is a bouncy af Speedy G chune, packed full of stabs and vocal chops but it’s the bassline that makes this one cook. The bones are classic speed garage but that bassline is something new. Chef’s kiss.
When ‘Fools’ starts with that phone ringing and you know these two are up to no good. Icy, crowd tested and with a vertigo inducing buildup this is club-ready, peak-time business. And when that bassline collides with the reese… Ignition.
‘Nightshifter’ is a BIG WARPER.. ominous and spooky. Watch for the bells.. annnd the bassline.
Copenhagen’s contributions to electronic music are many. The Copenhagen ‘Fast Techno’ sound championed by artists like Mama Snake & Courtesy has been long applauded so when ELOQ & V.Christie close out the EP in euphoric style it makes total sense. ‘Anchor’ is a fast, hands up crescendo of hard house, trance and speed garage. A proper set closer. Hug your pals. Another lethal combo: huge chords & reese bass.
From heads down to hands up ELOQ & V.Christie got you covered.
A torrent of brilliance released from the fingertips. The art of the piano trio by a giant of arrangement.
In 1968, Norio Maeda, the genius arranger once described as being able to “write different scores with his right and left hands at the same time,” welcomed his close musical allies Takeshi Inomata and Tatsuro Takimoto and took on the piano head-on in his first piano trio work as a pianist. This album brings together the refined melodies of the new mainstream style that led the jazz scene at the time, experimental elements using prepared piano, and even a strikingly inventive recording approach in which as many as seven microphones were placed inside the piano. With the outstanding structural power of a composer and arranger and the sharp instincts of a performer woven together at a high level, this is an important work that deserves to be engraved in the history of Japanese jazz.
Intersecting sharpness and passion. An innovative work born from the collision of two rare and extraordinary talents.
On one side was Hiroshi Suzuki, a trombonist in such demand that people said, “If you want to record a good work, secure his schedule.” On the other hand was Masahiko Togashi, a drummer who rose to prominence at a young age and dominated the jazz world, from modern jazz to free jazz. The collision of these two personalities and talents created a new current in the Japanese jazz scene. From "Castle Cats," which moves between jazz rock and free jazz, to "Suzu No Uta," where Yuji Ohno’s piano spins a beautiful melody amid the sound of bells falling like rain, and "Passion," where each musician cuts in with sharp intensity, the entire work is filled with creativity and passion. Recorded in 1969, this is said to be the first work in Japan in which new jazz and free jazz were recorded and released as an album. From this turning point, Japanese jazz began to move in a major way.
Ramjac Corporation, aka Paul Chivers, emerged from the UK's late-'80s rave underground, performing live at parties like Sunrise, Energy, Back to the Future, Fun-da-Mental and Synergy. Building tracks with an Atari computer and an E-MU 12-bit sampler, turning severe technical limitations into raw, elastic club music, 88-92: It is What it Was gathers music born in bedrooms then tested in front of crowds at warehouse raves, while the culture was still inventing itself without boundaries, completelyfree.
Ramjac was the original artist on Irdial Discs, following label founder Akin Fernandez's Aqua Regia, and introduced Lee Purkis' In Sync and Neuropolitique to the label, shaping the singular catalogue of that extraordinary imprint alongside Luke Slater's Morganistic, Thee J Johanz and Anthony Manning.
That legacy is now revisited by Musique Pour La Danse, with the release of a limited edition vinyl and digital edition featuring extended liner notes by Nick Halkes of XL Recordings, Positiva and Kicks Like A Mule fame, who witnessed the early Ramjac period first-hand. The release is illustrated by Grant Fulton, who created the visual identity for The Shamen's Synergy events and Orbital albums.
This album presents music written exclusively between 1988-92 and forms the foundation of Ramjac Corporation's ongoing live performances. Restored from the original floppy discs, the recordings preserve the uniquerelationship between early digital technology, sampling culture and live improvisation that defines the Ramjac approach.
Mixed for release for the first time by Trevor Lancaster-Smith, whose 90s engineering work encompassed Leftfield, Faithless and Roni Size, the album brings these compositions into sharp focus while preserving the character of the original instruments and performances. Not just a historical document, 88-92: It is What it Was is a living body of work: music created then, realised now, and continuing to surprise and evolve.
We don’t know much about Ariane Bonzini. Her age, perhaps. Her first name, certainly – but it’s confusing, as you’d expect. The rest, he keeps to himself, tucked away somewhere between Villeneuve-Saint-Georges and the Landes in the off-season.
What we do know is that at 16 he left everything behind to try his hand at rap. That six years later he left everything behind, again, without really saying why. That he taught himself sound engineering as one might learn a dead language.
And then came Magenta. In 2025, for three months, Bonzini set himself a challenge bordering on the absurd: to produce one track a day, write it, record it, mix it, master it, film himself doing it, and post it on social media. Without planning, without taking a step back, working until 3 am behind the screen. His monthly listeners went from 35 to 100,000.
For ‘Mec Normal’, something changed. Bonzini headed to the Rue Boyer studio – a space steeped in analogue charm, where some of the synths had once belonged to Christophe – and surrounded himself with a team for the first time: Crayon on production, Renaud Letang on mixing.
Chilly Gonzales spotted him, and from their meeting came ‘Gonzini’.
Thirteen tracks suspended between gentle melancholy and a willing detachment. Soaring synths. Recurring, obsessive ‘you’s’. A voice that whispers where others would shout.
Ariane Bonzini is unlike anything we’ve heard before. That is undoubtedly what makes her so unforgettable.
,Ma Waraa Al-Shaabi" - ,Beyond Shaabi" - ist das neue Album bei Kou Records von Rizan Said, dem legendären kurdisch-syrischen Keyboard-Virtuosen aus Ras Al Ain in der Region Jazeera im Nordosten Syriens und dem wichtigsten musikalischen Kopf hinter Omar Souleyman. Rizan Said ist ein musikalischer Botschafter aus einem verschwundenen Syrien. Es war einmal vor nicht allzu langer Zeit, als die Jazeera - ein kulturell reiches Grenzgebiet kurdischer, arabischer, syrischer und armenischer Gemeinschaften - von einer unverwechselbaren musikalischen Tradition geprägt war: Handtrommeln und Rohrflöten, Hochzeiten, die tagelang dauerten, Dabke, die schon seit Jahrhunderten getanzt wurde, lange bevor Electro, Disco oder Orientalismus auftauchten, um ihr einen Namen zu geben. Rizan war das Wunderkind dieser Szene, ein Ausnahmetalent an Percussion- und Rohrblattinstrumenten, das zum Meister der Synthese in der Region wurde - er programmierte Korgs so, dass sie Zurna, Saz, Tanbura und Buzuq nachahmten, und vereinte die traditionelle Instrumentierung in einem einzigen Paar Hände, das sich blitzschnell bewegte.? Dies ist sein drittes Soloalbum nach ,King of Keyboard" (Annihaya, 2015) und ,Saz U Dilan" (Akuphone, 2019) - und sein bisher weitreichendstes. Aufgenommen im Sundlaugin Studio von Sigur Rós Sundlaugin Studio in Island aufgenommen und von Randall Dunn produziert, in Koproduktion mit Mark Gergis (Syrian Cassette Archives), führt ,Ma Waraa Al-Shaabi" syrische und kurdische Dabke in unbekanntes Klanggebiet: sieben Stücke, die die Hitze und Geschwindigkeit der Kassetten-Szene in etwas Weites, Fremdes und Lebendigeres als je zuvor übertragen.? Aufgenommen im Sundlaugin Studio, Island, im Mai 2026. Produziert und gemischt von Randall Dunn. Koproduziert von Mark Gergis. Zusätzliche Produktion: Ulfur Hansson. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover-Artwork von Rebeka Arce; Porträt auf der Rückseite von Randy Ortiz.
A love letter to Canada sees Adams explore new musical territory, drawing on country, folk and rock while telling stories inspired by the people, places and history of home. How's It Goin' could be the most Canadian album ever written! Inspired by the landscapes, characters, stories and current affairs that are all part of Canada's ongoing history, How's It Goin' sees Adams explore a different musical landscape of his own. Alongside the unmistakable songwriting and voice that have been at the heart of his music, the album introduces elements of country and folk, giving the record a warm, roots-y character. Among the songs are "Diesel and Dirt," "How's It Goin'," "Iron Ribbon" and "The Battle of Lundy's Lane". "The idea was simply to make a record about Canada," says Adams. "It started with writing the song for the documentary, 'Canada's Wild Eastern Edge' and after doing so much research, I was inspired to start writing more songs about Canada. Musically it took me somewhere a little different too, which made the whole thing exciting." One of the album's most poignant moments is "The Ballad of Terry Fox," Adams' tribute to one of Canada's most inspirational figures.The song will also be featured in the forthcoming new documentary film about Terry Fox, entitled "Run Terry Run". How's It Goin' acknowledges Adams' roots and delivers an album that is at times personal, cinematic and, occasionally, reflective but always unmistakably Adams.
A love letter to Canada sees Adams explore new musical territory, drawing on country, folk and rock while telling stories inspired by the people, places and history of home. How's It Goin' could be the most Canadian album ever written! Inspired by the landscapes, characters, stories and current affairs that are all part of Canada's ongoing history, How's It Goin' sees Adams explore a different musical landscape of his own. Alongside the unmistakable songwriting and voice that have been at the heart of his music, the album introduces elements of country and folk, giving the record a warm, roots-y character. Among the songs are "Diesel and Dirt," "How's It Goin'," "Iron Ribbon" and "The Battle of Lundy's Lane". "The idea was simply to make a record about Canada," says Adams. "It started with writing the song for the documentary, 'Canada's Wild Eastern Edge' and after doing so much research, I was inspired to start writing more songs about Canada. Musically it took me somewhere a little different too, which made the whole thing exciting." One of the album's most poignant moments is "The Ballad of Terry Fox," Adams' tribute to one of Canada's most inspirational figures.The song will also be featured in the forthcoming new documentary film about Terry Fox, entitled "Run Terry Run". How's It Goin' acknowledges Adams' roots and delivers an album that is at times personal, cinematic and, occasionally, reflective but always unmistakably Adams.
Twisted Teens - alias Caspian Halliwell und RJ Santos - gab es vor ihrem Debüt-LP aus dem Jahr 2024, das heute als The Orange Album bekannt ist, eigentlich gar nicht. Das Duo hatte unter dem Radar und abseits der Öffentlichkeit Musik von Cajun/Country bis hin zu Anarcho-Folk gemacht und dabei ein Leben als Nomaden geführt. Twisted Teens entstanden aus einem pandemiebedingten Inspirationsschub, der sie zusammenbrachte, um in passender Lo-Fi-Manier in Caspians Haus in New Orleans aufzunehmen. Ihr erstes Album wurde schnell zu einem modernen Klassiker des eingängigen, warmen Rocks, der Blues, Folk und Punk zu einer rohen und unwiderstehlichen Mischung vereint. Das Duo meldete sich 2026 stark zurück mit Blame the Clown - das sofort von Pitchfork und Paste begeistert gelobt wurde - und anschließend mit dem ebenso gefeierten Florida Water Blues, einer absurden Betrachtung ihrer Streifzüge rund um die Welt. Ihr drittes fesselndes und perfekt schräges Album aus dem Jahr 2026 ist eine Saga über Herzschmerz und verborgene Triumphe namens The Holy Cross Tigers. Die Songs sind Hymnen der Sehnsucht und unzähliger Enttäuschungen, angeheizt von allem Möglichen - von einer brutalen Trennung bis hin zu verräterischen Ex-Freunden. Trotz all dieser Leiden strahlt The Holy Cross Tigers eine gewisse Leuchtkraft aus, ein Gefühl von reflektiertem Licht, das sich gegen die Traurigkeit stemmt. Man kann sich sofort damit identifizieren - es fühlt sich an, als würden ein paar Freunde die Lasten des Lebens miteinander teilen, mit seltsamen und ekstatischen Ergebnissen, weil sie nach ihren eigenen Regeln handeln. Es ist eine übersteuerte Übertragung vom Rand des Herzschmerzes, einem Ort, an dem selbst die Glücklichen schon waren und von dem sie hoffentlich zurückgekehrt sind.
Twisted Teens - alias Caspian Halliwell und RJ Santos - gab es vor ihrem Debüt-LP aus dem Jahr 2024, das heute als The Orange Album bekannt ist, eigentlich gar nicht. Das Duo hatte unter dem Radar und abseits der Öffentlichkeit Musik von Cajun/Country bis hin zu Anarcho-Folk gemacht und dabei ein Leben als Nomaden geführt. Twisted Teens entstanden aus einem pandemiebedingten Inspirationsschub, der sie zusammenbrachte, um in passender Lo-Fi-Manier in Caspians Haus in New Orleans aufzunehmen. Ihr erstes Album wurde schnell zu einem modernen Klassiker des eingängigen, warmen Rocks, der Blues, Folk und Punk zu einer rohen und unwiderstehlichen Mischung vereint. Das Duo meldete sich 2026 stark zurück mit Blame the Clown - das sofort von Pitchfork und Paste begeistert gelobt wurde - und anschließend mit dem ebenso gefeierten Florida Water Blues, einer absurden Betrachtung ihrer Streifzüge rund um die Welt. Ihr drittes fesselndes und perfekt schräges Album aus dem Jahr 2026 ist eine Saga über Herzschmerz und verborgene Triumphe namens The Holy Cross Tigers. Die Songs sind Hymnen der Sehnsucht und unzähliger Enttäuschungen, angeheizt von allem Möglichen - von einer brutalen Trennung bis hin zu verräterischen Ex-Freunden. Trotz all dieser Leiden strahlt The Holy Cross Tigers eine gewisse Leuchtkraft aus, ein Gefühl von reflektiertem Licht, das sich gegen die Traurigkeit stemmt. Man kann sich sofort damit identifizieren - es fühlt sich an, als würden ein paar Freunde die Lasten des Lebens miteinander teilen, mit seltsamen und ekstatischen Ergebnissen, weil sie nach ihren eigenen Regeln handeln. Es ist eine übersteuerte Übertragung vom Rand des Herzschmerzes, einem Ort, an dem selbst die Glücklichen schon waren und von dem sie hoffentlich zurückgekehrt sind.
Kings of Leon return with 10th album, ‘O My Beloved’.
For this release, the four-time Grammy-winning family band draws from their own history and builds on their storied legacy to deliver their most personal effort to date.
Frontman Caleb Followill describes this—their first self-produced studio album—as “emotional" and a “love letter to family” that explores themes of "gratitude and appreciation."
Available on 2LP and CD, featuring packaging adorned with vintage family photos.
Kings of Leon return with 10th album, ‘O My Beloved’.
For this release, the four-time Grammy-winning family band draws from their own history and builds on their storied legacy to deliver their most personal effort to date.
Frontman Caleb Followill describes this—their first self-produced studio album—as “emotional" and a “love letter to family” that explores themes of "gratitude and appreciation."
Available on 2LP and CD, featuring packaging adorned with vintage family photos.
Originally released in 2009, this massively in-demand record has been changing hands for anywhere between £50 and over £100 now finally available once again. You only need to check the width and depth of the DJ support tells you all you need to know.
DJ Support: A-Trak, Andy & Jaymo, Annie Mac, Brodinski, Cagedbaby, Damon Martin, DJ Mehdi, Erol Alkan, Filthy Dukes, Groove Armada, Hell, Jesse Rose, Joe Ransom, Kissy Sellout, Kris Menace, Pedro Winter, Riton, Rory Phillips, Seth Troxler, Severino, Shit Robot, Simian Mobile Disco, Thomas Schumacher, Trevor Jackson and The Whip
Retro Grade, (Serge Santiago and Tom Neville) an exciting act on the electronic music scene, revolutionising the world of Italo House with their release titled "Moda." This captivating track, infused with nostalgic vibes and infectious grooves, promises to transport listeners back to the heyday of '90s dance music while maintaining a fresh and contemporary sound.
"Moda" showcases Retro Grade's ability to seamlessly blend classic Italo House elements with modern production techniques. The track features pulsating bass lines, and euphoric synth melodies all meticulously crafted to create an irresistible sonic experience. From start to finish, "Moda" exudes an infectious energy that gets floors moving.
Not content with delivering a stellar original track, Retro Grade enlisted the talents of acclaimed artist Sound Klash to provide a mind-blowing Remix of "Moda." Sound Klash, known for this boundary-pushing approach to music production, puts his unique spin on the track, infusing it with his signature dubbed-out house sound. The result is an extraordinary reimagining that takes "Moda" to different heights, showcasing Sound Klash's unparalleled ability to reinvent and elevate electronic music.
"Moda" and its captivating Sound Klash Remix are set to make waves across the scene.
Endlich wieder auf Vinyl erhältlich! Im Jahr 2000, sechs Jahre nach der Veröffentlichung von "Heute ein König", erschien ein "Männer Rock'n'Roll". "Ein rockiges, gereiftes Werk voller Poesie von Männern im besten Lokalmatadorealter!!! Neunzehn Überhits bekannter, vielleicht etwas rockiger Machart inkl. musikalischen Ausflügen in den Garagenrock-, Schlager- und Country-Bereich. Die Coverfotoserie entstand schon Jahre vorher und fiel wohl auch einer Band namens Turbonegro in die Hände... Das "Sgt. Pepper"-Album des Punkrocks" - OX-Fanzine //
“I am not sure which of us it is that's writing this page” - Jorge Luis Borges. There are places where a river runs through the story even when you cannot see it. Austin Cash grew up in the Arkansas Delta, and Nathan Smerage in the Chicago suburbs, their paths crossing years later in Fayetteville, Arkansas, where both became members of the Ozark Free Music Society, a loose congregation of musicians who made free and experimental music in non-traditional venues across the city. ‘River Season’ began as an impulsive text sent to Smerage in the summer of 2024, Cash suggesting they should make an album of guitar duets. Calling his bluff, Smerage returned a folder of recordings within a week. Cash had a handful of pieces of his own, originally written for an unreleased film about an Ozarks ceramicist. The songs began traveling back and forth between them by email, however, after opening for the Magic Tuber String Band and playing the compositions live for the first time together, realised the decision to record them live was the only true option. For four days, in the basement apartment where Cash lived, they recorded River Season live. The result is a meticulously composed collection of steel-string guitar music: part folk record, part road map.
Fahey and Ackerman are somewhere in the distance, alongside Bert Jansch, Nick Drake, Marisa Anderson, Nathan Salsburg, Loren Connors, and others. But River Season belongs to neither Arkansas nor Chicago entirely. Cash grew up in Arkansas before moving to Chicago, whereas Smerage grew up in Illinois before moving to Arkansas. River Season catches the two musicians at an intersection in their paths; it belongs to the stretches of road and rivers between them, real and imagined. "This new collaboration between Austin and Nathan is intimate and tonally diverse. Many of the tracks see Austin playing acoustic and Nathan on electric. The statements are succinct (all but two clock in under four minutes) and idiosyncratic. "Bell Harp" and "Painting Friend" are two stand out examples for me in which the textures of the electric/acoustic pairing play off each other in a way that I can't say I have encountered before." -Evan Morgan (Magic Tuber Stringband)
Do not adjust your tuning! Cowper emerges disc in hand from the liminal static, exposing us all to his peculiar brand of outsider club chaos. Boldly, slowly, Goa-ing into the fray, these three tracks chew your ear off in the sonic language of acid, trance and progressive house, churning and gurning their way deep into the darkness. In the time since the first dispatch of edit excellence, Cowper’s Between Stations has firmly established itself as an essential underground outpost, adding tape releases by Tolouse Low Trax, Zato and Miles J Paralysis to a growing catalogue of genre-fluid mayhem, consistently captured by his essential Noods Radio shows. Introducing itself with a gut punching kick and gurgling prog throb, the first track here is simultaneously upbeat and downcast, a glorious gloom-core ode to narcotic indulgence.
Extra-terrestrial pads and choral synth hark back to childhood days of Perfect Dark before a trance lead interrupts all remaining neural connections. When that snare lands in the second half we’re in fully fledged techno-pagan mode, red-faced and rushing right till the end. Assuming that even xenomorphs dance sometimes, this end of the world apocalypso is absolutely their jam. Track 2 tunnels further into the planetary core, 16bit woodblocks and bells sitting atop synthetic swells and hoover-ish vamps, before a hooning bassline drops like a sledgehammer on your unsuspecting ear drums. An unexpected, but very welcome left turn into mid track breakbeat provides a moment of airy reprise before we lock back into the cavern-shaking groove until the run out abates. For the encore, Cowper didgeri-doesus with the oscillating bass and molasses-apache break of a techno-tribal, prog-frog delicacy. Complete with the type of mantra vocal usually found on pound-bin trance or superspenny Dream House rarities, and a little acid-gwamph resonance abuse Josh Wink would be proud of, this chug-athon sounds a bit like Psychic TV tuning into Psy-trance, which is a very good thing indeed. Dark, dense and musky stuff that will drive a proper dance floor wild.
Little Green Men is the deep house music project of UK duo Chris Scott and Scott Bradford, best known for their acclaimed releases as New Phunk Theory on the legendary Paper Recordings, as well as on their own Forensic label.
Originally released in 1999, this rare holy grail has become a highly sought after collector's item, with original copies regularly selling for hundreds of euros on the second hand market.
A true double sided underground classic, this is Little Green Men's rarest and most coveted release, finally back on vinyl. Faithfully remastered and reissued by Endell Street. Essential.
I love the shared experience of music more than almost anything, but the longer I exist in the industry, the harder it is to stay emotionally connected to an album once it’s reduced to numbers and statistics. So I wanted to release this in a way that feels more human—and affordable, especially in wartime. Your support helps create more music, not ads for ICE. Someday the machine will get it, but for now I just want this to feel like an experience again.
Reconcile at the Tile Works, Recorded Live, was captured inside Moravian Tile Works in Doylestown, Pennsylvania. A place built by artist Henry Chapman Mercer, who spent the early 1900s shaping tiles by hand, one at a time. No shortcuts. Just craft, fire, and time. That spirit is all over this record. Some of these songs I haven’t played in years because of how they made me feel and what they conjured in me.
Reconcile at the Tile Works, Recorded Live, won’t be on streaming services. Because art and music deserve more. If you want to hear it, go where music still lives:
Support artists directly. Support the shops that keep the culture alive.
The choice of the title “Unwanted” creates a striking contrast with the elaborate variant designation of the pressing and immediately distinguishes the LP as a physical release; Arising Empire is handling the release, keeping Thrown in the label’s roster.
Musically, “Unwanted” continues the uncompromising direction Thrown already showcased with their 2026 singles: advance releases such as “critic” and “rehearsed” highlight the concise, hard-hitting song structures defined by distinctive riffs, forceful breakdowns and intense choruses. On the LP, Thrown brings these approaches together into a cohesive sequence of tracks that combine immediate aggression with catchy songwriting moments. The “Unwanted” LP on White Grey Blue Splatter vinyl thus rounds out the band’s current chapter of recorded output and underscores Thrown’s profile within the metal scene, while the singles already preview the album’s sonic character.
The choice of the title “Unwanted” creates a striking contrast with the elaborate variant designation of the pressing and immediately distinguishes the LP as a physical release; Arising Empire is handling the release, keeping Thrown in the label’s roster.
Musically, “Unwanted” continues the uncompromising direction Thrown already showcased with their 2026 singles: advance releases such as “critic” and “rehearsed” highlight the concise, hard-hitting song structures defined by distinctive riffs, forceful breakdowns and intense choruses. On the LP, Thrown brings these approaches together into a cohesive sequence of tracks that combine immediate aggression with catchy songwriting moments. The “Unwanted” LP on White Grey Blue Splatter vinyl thus rounds out the band’s current chapter of recorded output and underscores Thrown’s profile within the metal scene, while the singles already preview the album’s sonic character.
The choice of the title “Unwanted” creates a striking contrast with the elaborate variant designation of the pressing and immediately distinguishes the LP as a physical release; Arising Empire is handling the release, keeping Thrown in the label’s roster.
Musically, “Unwanted” continues the uncompromising direction Thrown already showcased with their 2026 singles: advance releases such as “critic” and “rehearsed” highlight the concise, hard-hitting song structures defined by distinctive riffs, forceful breakdowns and intense choruses. On the LP, Thrown brings these approaches together into a cohesive sequence of tracks that combine immediate aggression with catchy songwriting moments. The “Unwanted” LP on White Grey Blue Splatter vinyl thus rounds out the band’s current chapter of recorded output and underscores Thrown’s profile within the metal scene, while the singles already preview the album’s sonic character.
Forty years of cassette releases, pressed for the first time on vinyl
First of two instalments exploring the previously unreleased sonic archives of one of Poland’s most enigmatic
living artists - with its first volume focused on his deep listening practice and spiritual reverie (recorded 1990–2013)
The last time Andrzej Dudek-Dürer took a banknote bearing the face of the Polish anarchist Jarosław Dąbrowski from his pocket to trade it for a pair of shoes was in 1969. He bought them for 120zł - the equivalent of 100€ today - and never replaced them since then. Only rebuilt them, year after year, drawing a needle and thread through the leather each time it split, closing one wound before the next one opened. It became a ritual of precision, stitching a record of another year into their soles.
That same year, in Wrocław, he arrived at a conclusion that would recalibrate everything that followed. Convinced he was the reincarnation of Albrecht Dürer, he adopted the surname Dudek-Dürer, stopped cutting his hair and began wearing the same garments every day. It was the first ritual of many, though he wouldn't have called it that yet. Look closely enough, over the decades, and it is always the same gesture, returning in different material: hair growing in a single unbroken strand, a needle drawing thread through leather, sitar strings pulled taut across a neck he built with his own hands and magnetic tape spooling forward inside the cassette boxes stacked against his walls.
None of this began in a vacuum. Dudek-Dürer emerged from the Wrocław neo-avant-garde, in a Polish art world where an exhibition could be cancelled overnight by the stroke of a censor's pen. In 1973, his exhibition Auto-crucifixion was shut down by the state, and for a time he found himself blocked from exhibiting his own art at all - the one force in his life that ever came close to cutting the thread.
He seemed to experience it differently. In 1974, after long, patient research into sitar craftsmanship, he built his first prototype with his brother, a knowledgeable luthier. In 1978, in a smoked-out jazz club, he took his first steps into sound recording with the unreleased album Jazz From Underground with his first band. By 1979, recognition started to travel further than he could.
Turning toward Far-Eastern philosophy, meditation and the idea of reincarnation was another language of freedom for him. It was a way of claiming an inner territory the state could not reach, a border it could not close. Mail Art served a parallel function, reaching further out: in a country that restricted travel and expression, sending and receiving art through the postal system became an act of quiet rebellion.
The body, in his understanding, is only an envelope readied for constant transformation. From this came Metaphysical Telepathy: during the years he could not leave Poland, he treated that confinement as a rehearsal room, sending his mind out ahead on the same thread his body would later follow. Living Sculpture grew from the same root with performances of stillness beside static art objects, until the boundary between the object and the man beside it simply dissolved. Camera Meditation extended the same instinct into photography: a shutter click flattening three dimensions into two so that a single instant could be held forever. Inspired by the pioneers of self-portrait photography like Robert Cornelius, he used it to document time itself, and kept explaining to me: "You know. This is not about vanity. This is about observing time passing.”
The isolation did not end suddenly. It ended the way his own philosophy had already predicted it would, from the inside first. Mail Art quietly solved the problem politics couldn't. Correspondence built during years of confinement slowly worked its way through doors the state itself had kept locked. Contacts made through folded paper and stamps became invitations. Ultimately, invitations became passports.
In 1983 he made his first trip outside Poland, to Germany, in search of the audio technology he couldn’t get his hands on before. In 1985, he was invited by the Indian embassy in Poland to give a sitar concert on an instrument he had spent a decade patiently stringing together - half sitar, half tanpura, built from patience and determination. After the collapse of the People's Republic of Poland, the travels kept unspooling: South Korea, then Mexico, then Australia, Canada, New Zealand, Singapore, Japan and the United States - each stop leaving behind its own small knot of tape, tied off and carried home.
In the decades since, recognition arrived at the same unhurried pace: he conducted workshops at UC Berkeley, served as vice-president for artistic affairs of the Union of Polish Art Photographers and the Union of Polish Visual Artists between 2010 and 2014 and received the Bronze Medal for Merit to Culture - Gloria Artis. His visual work gradually entered collections including the National Museums of Warsaw, the Stedelijk Museum, Tate Modern, MoMA and the Venice Biennale. His musical practice, by contrast, never found that kind of room - left to circulate quietly, sharing his cassette tapes directly, waiting for someone willing to follow it further.
It took months before I could find a way to reach Andrzej Dudek-Dürer - his presence online is very close to nonexistent. Surprisingly, LinkedIn turned out to be the only door still open, a faintly absurd irony given everything else about him. I packed the strict minimum for a three-day trip and an empty notebook and made my way to Wrocław. His headquarters sits in the neighbourhood of Grabyszyn: a two-storey pre-war house that has belonged to his family for generations. The man who opened the door was long-haired, long-bearded, in his trademark leather shoes and patched jeans. We sat in his living room, in front of a computer where decades of recordings sat organised in cryptically named files, surrounded by books and objects that had arrived one layer at a time, leaving room for only two chairs in the middle. His shoes sat by the door, rebuilt so many times they had become their own quiet sculpture. Cassette tapes filled boxes against the walls, almost unlabelled, each one a spool of thread holding decades of sound that had never once been asked for, until now.
I listened for hours: meditating in front of strangers on the porch of a Seoul temple until the tourists stopped taking photos and simply waited with him; a stand-off with border guards at the US–Mexico crossing over an instrument they couldn't identify and didn't trust; a session with the Stockhausen family that he still, decades later, describes like it happened last week. All of it interrupted, occasionally, by the smell of soup boiling and fresh bread warming on the ceramic stove. After two days, it felt like being handed the end of a very long thread and asked, gently, to keep following it. I left with a USB drive holding his full discography, signed with his unmistakable signature.
Astral Meditations From A Living Statue is a length of that thread, drawn out from the boxes stacked against his walls - recordings gathered from different rooms, different countries, different decades. This first record breathes slowly: incense-thick, meditative, built for stillness. A cutting-edge séance in outer space where machines learn how to dream.
It begins with the neo-classical improvisations of Andrzej, space-delayed, recorded at Klub Muzyki i Literatury in Wrocław in 2002. 'When..So' opens the curtains with a deep-rooted meditation accompanied by slow-decaying piano figures illuminated by a candle-lit spirit gathering.
Los Angeles, 1990: a dormant villa, a grand piano, the voice of Bonnie Barnett. 'Exception' is captured in a single room, in a single afternoon - voice and keys circling each other, neither one leading, until the silence between the notes starts to feel like the instrument.
'The Meta...' and 'Tired Of...', recorded at Studio Morandi in Ponte Nossa, Italy, in 1992, settle into a sitar drone built entirely from patience - overtones stacking and beating against each other, strung by a man who never once set foot in India. 'Mastery Of...' follows, recorded the same year at Studio Suski in Łomianki, pushing that same hum further still, until pitch dissolves into a spectral reverie. 'Transcendental Sound', from 2000, closes the first record in a slow bath of celestial frequency - better heard beside the shores of the Odra river.
More than fifty years after deciding that a life could become an artwork, Andrzej Dudek-Dürer continues to inhabit that decision. His shoes keep wearing thin against the earth's crust. His hair keeps growing, one strand at a time. His cassette tapes keep spooling in the dark of their boxes.
Now the thread finds its last shape: a single unbroken groove, spiralling inward from the outer edge to the label at the centre. Never cut - the way nothing else in his life ever was. Drop the needle and it will find that groove and follow it, the same way a needle once followed leather, once followed a border it couldn't cross, once followed string into an instrument that didn't exist until he built it. This record is the other end of a thread that has been travelling for fifty years. For the length of both sides, it rests here, in your hands. This is a timeless proof that the Lord of the New Age was never lost."
The choice of the title “Unwanted” creates a striking contrast with the elaborate variant designation of the pressing and immediately distinguishes the LP as a physical release; Arising Empire is handling the release, keeping Thrown in the label’s roster.
Musically, “Unwanted” continues the uncompromising direction Thrown already showcased with their 2026 singles: advance releases such as “critic” and “rehearsed” highlight the concise, hard-hitting song structures defined by distinctive riffs, forceful breakdowns and intense choruses. On the LP, Thrown brings these approaches together into a cohesive sequence of tracks that combine immediate aggression with catchy songwriting moments. The “Unwanted” LP on White Grey Blue Splatter vinyl thus rounds out the band’s current chapter of recorded output and underscores Thrown’s profile within the metal scene, while the singles already preview the album’s sonic character.
The modern day torch carriers of electric Brazilian jazz-funk. Fans of Azymuth, Marcos Resende, Antonio Adolfo and Cesar Mariano look no further !
Ultracooked infuses the Sao Paulo trio’s deep understanding of Brazilian music history with their consummate musicianship and infectious joy of playing. Their distinctly electric jazz-funk flavour rises to the top, as they pay homage to some of their musical heroes and teachers.
Where previous albums nodded to the lineage of Azymuth, Antonio Adolfo, Cesar Camargo Mariano and Marcos Resende, Ultracooked walks ! ! straight up to the greats and shakes their hands. Gilberto Gil and Caetano Veloso are here, with fresh versions of Espresso 2222 and Odara respectively. Garoto - the great choro guitarist and composer whose harmonic imagination quietly laid the ground for bossa nova - is here too, and honoured with a deconstructed reading of "Jorge do Fusa".
Recorded in the wake of the passing of both João Donato and Hermeto Pascoal, each has a song on the album named after them. Listen to Caixa Cubo and you can see why, their playfulness echoes Donato’s mischievous cheek, while their creative openness is clearly Hermeto inspired. But with both “Hermeto” and “Dontao” each featuring the sampled voice of the late masters themselves, the songs read more as conversations than eulogy. Caixa Cubo carry forward these legacies with care.
In good company, Zé Leônidas, who lit up 2023's Agora, returns to sing on "Expresso 2222", "Essa é Pra Tocar no Rádio" and "Cortejo", while guitarist Edson Woiski brings his sinewy sound to those Gil interpretations and to "Cabaré", before adding his voice to the closing chorus.
Ultracooked was produced by Caixa Cubo alongside Frederico Pacheco, who recorded and mixed the album at O&O Studios in São Paulo, with mastering by Casper Sutton at Gearbox Studios in London.
