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With ten original compositions (and one well-chosen cover) to record and a schedule window of just one day in New York City to record them, there was no margin for error. For the frontline Kerry picked a pair of legends - Kurt Rosenwinkel on guitar and Jaleel Shaw on alto and soprano sax. In the rhythm section she selected NYC's busiest bassist Alex Claffy and, keeping it close to home, her partner George Colligan on drums. And in the face of delayed flights and traffic hold- ups, the album Alternate Route was created, hitting the highest standards of performance with the depth and warmth of Kerry's challenging but engaging compositions. It's a set of tough and tender tunes that combine sophisticated harmony with intricate but accessible melodies to inspire some fierce blowing from everyone, all delivered with a concise, timely precision.

The empathy and good feeling flowing between the players are audible from the first notes: "Kurt, Jaleel and Alex all have Philly roots so there's a really strong relationship there. Alex is incredibly gifted, and Jaleel is such a beautiful player with such a huge, recognizable sound. And it was such a thrill to have Kurt on the album - he's one of my favorite composers and I've been a fan for such a long time." Each player has a powerful personality and Kerry allows them free rein, yet such is the strength of her compositions, and her calmly stated but immensely powerful presence on piano, that no one player dominates the music: everyone finds their own alternate route to excellence.

A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjoubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjoubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.

»Chronotopia« is the second album by composer-performer Elisabeth Klinck. After collaborating closely with artist Oscar Claus to blend her violin playing with electronic soundscapes and field recordings on her 2023 debut Picture a Frame (Hallow Ground), Belgian electroacoustic artist Elisabeth Klinck now turns inward. On Chronotopia, she takes a more song-oriented approach, embracing her voice as a vital counterpart to her violin, intertwining their sounds like threads in a dynamic, multicolored fabric. The record marks an essential turning point in her artistic evolution and opens up a rich internal world. It is a tapestry of sound, emotion, and curiosity spun from—both literally and figuratively—her growing voice.Klinck, who works as a composer and performer in theater, wrote the pieces between tours and recorded the album in the same place as its predecessor, the Spanish Pyrenees. Though the outside world isn’t as explicitly reflected in the recordings as it was the case on »Picture a Frame,« her sophomore album responds to the outside world by capturing both the expansive serenity of the mountains and the frenetic pulse of life on the road. Eschewing her previous, more atmospheric and abstract approach, Klinck creates a landscape that is built on the song and filled with intimacy. Her music feels at once vulnerable and deeply human, balancing the rawness of improvisation with the careful precision of melody-led composition.Klinck describes »Chronotopia« as a playful exploration of time—its fluidity, its constraints, and its influence on how we navigate the world. These notions reverberate through her melodies and lyrics, which dance between moments of shimmering clarity and messy, beautiful chaos. These contrasts are further accentuated by the cunning interplay of voice and violin, which itself reflects the artist’s fascination with duality and transformation. Recorded in both organic and controlled environments, »Chronotopia« blurs the lines between intuition and design. The »time space« into which Klinck invites her audience is a place where sound becomes touch, time bends like light, and every moment carries the thrill of discovery

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior.

Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021).

'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece.

RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird.

This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…"

Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine.

Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual.

'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025.

The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'.

Clear Vinyl. Luxurious jacket with embossed logo and details plus cut-out on the side. Explore an emotional sci-fi game with a unique blend of survival, adventure, and base-building elements. Help the sole survivor of an ill-fated space expedition create alternative versions of himself to escape a hostile planet and tackle personal turmoils with this unconventional crew. 11 bit studios, the creators of the award-winning games This War of Mine and Frostpunk, present The Alters, an ambitious sci-fi survival game with a unique twist. You play as Jan Dolski, the lone survivor of a crash-landed expedition on a hostile planet. To survive, you must form a new crew for your mobile base. Using a substance called Rapidium, you create alternative versions of Jan -The Alters- each one shaped by a different crucial decision from the protagonist's past. The one-of-a-kind soundtrack for The Alters was created by Piotr Musial best known for his compositions for games like The Witcher, Frostpunk and This War of Mine. For The Alters, Musial chose to stray from the obvious path when it comes to this genre of games and head for something more original: "While many sci-fi soundtracks these days favor the sound of analog synths, the idea behind the music of The Alters was a bit different. We wanted the music to feel more untraditional and mix digital, glitchy elements, unstable reverb with organic sounds, all of which together could support this unique story." With this approach, Musial dove deep into the world of The Alters to turn abstract ideas and atmospheres in very concrete music: "We aimed for the planet to feel overwhelmingly strange and hostile at first. The music starts as more abstract and based on dense atmospheric sound design. Our circular base, a place of safety and comfort inspired to create a theme that 'goes round' by a repeating leitfmotif. You will always feel at home there, unless there's something bad happening, and that's where the theme will get changed, broken." Musial further explains: "One of the key elements we get to discover in the game is the Rapidium crystal. A strange mineral, with yet unexplored properties. We felt like it could have its own theme too, and therefore, wherever you find it, it 'sings' to you with it's strange, bassy voice, supported by a trace of live recorded strings, that were digitally destroyed to create this translucent texture, that sound unlike the real thing. A glitch crystal, is what they call it after all. But the more we explore the planet, the more the story we uncover. We wanted the music to gradually gain momentum and show the leitfmotifs more often, guiding you through emotional moments, fun moments, tough ones, reaching a grand finale. I hope you'll enjoy this ride." Enjoy playing and listening to The Alters!

Moving freely through time and space via experimental DIY recordings since 2009, Joasihno return with their fourth album "Spots".

“Find your spot in the shade,” a truly laid-back and incredibly soft-spoken MC once advised, yet in a world that seems to get shadier every day, it’s probably time to finally get out and face the sun. Southern German experimental pop duo Joasihno – initial solo founder Cico Beck (The Notwist, Aloa Input, Spirit Fest) and drummer/composer Nico Sierig (Instrument, Fehler Kuti) – seem to know exactly when it’s time to shine. Idiosyncratic genre tweakers since day one, they have been operating at their own pace, mostly staying in their own shady corner. Yet, almost a decade after their most recent “Meshes” (an album that came with a whole legion of tiny music robots), it’s high time for them to take over more corners, to reclaim even more spots between lo-fi and sci-fi, retro electronica and contemporary classic. Drawing upon influences as varied as Reich, Riley, and Ryuichi, múm, Meek, and Moondog, while also nodding to other experimental twosomes (e.g. The Books), the duo’s fourth full-length “Spots” is set to arrive via Alien Transistor in late 2025.

Leaving soulless automation and all things artificial to others, Joasihno launch the latest record on “2 Squares” that feel like a peaceful, almost bucolic version of retro space age: lights blink ever so softly as easy-going bass tones point at today’s introspective flight arc. Electronic shapes align and things lift off – with a majestic 8-bit sunrise soon appearing right in front of us. Whereas playful title song “Spots” is a miniature Rube Goldberg kind of device, with quirky plucked strings and glitches setting off more and more contraption layers, “Crackleboom” is uncharted energy, an open landscape, an expanding bonfire that leads to a long-forgotten piano, all dust-covered in some kind of saloon. Space might be only noise to others, here, it’s foreboding screeches (“Dizzle Whistle”) that make room for A-side center piece “Forest Lights”: a steady beat that lures us to a clearance in the woods. Things break and shatter in the distance, but this spot right here is for hypnosis, dancing, sylvan spirits. And yeah, it’s surprisingly hot down here in the undergrowth…

Opening side B with a fun banger that takes the unhinged dancing to the playground – “Characa Orb.” feels like French kids on swings going crazy, a tipsy, tongue-in-cheek electro blow-out between Oizo and Orbis Tertius –, things get even more cinematic throughout the second half. Even the cheapest, lo-fiest gear is sufficient to make “The Slow Hour” glow like true, timeless pop royalty. In fact, the very same pop spirits roam and celebrate freely in the chirpy coves of mesmerizing “Detune Lagoon” – more hand-crafted sci-fi/lo-fi loops you’ll only find after facing the ghosts of Lynch or Sakamoto on those night-time trails under the “Deep Moon”. It’s all DIY spots, spots that leave room to dream or dangle, drape yourself over or dive into. Returning to the leafy bower on a melancholy post rock tip, we eventually learn that “Death Is Real” – and so we’re left with a laterna magica that turns and turns and turns. It’s a beautiful spot where light and shadows keep on dancing, just like they’ve always done, ever since the dawn of this madcap universe.

Haunted Heart: The Legendary Riverside Studio Recordings brings together the complete studio recordings by the Bill Evans Trio featuring Scott LaFaro and Paul Motian. Included are the albums Portrait in Jazz and Explorations, plus 26 alternate takes - 17 previously unreleased. The collection includes rare photos, introduction by John Densmore (The Doors), and new liner notes by Eugene Holley Jr. and audio is newly remastered by Paul Blakemore, with lacquers cut by Kevin Gray at Cohearent Audio.

His fourth album, City Music works as a counterpart to Morby’s acclaimed 2016 release Singing Saw, an autobiographical set that reflected the solitude and landscape in which it was recorded. Saw was imagined as “an old bookshelf with a young Bob and Joni staring back at me, blank and timeless. They live here, in this left side of my brain, smoking cigarettes and playing acoustic guitars while lying on an unmade bed.” And now follows City Music, the yang to its yin, the heads to its tails. It is a collection crafted using the other side of its creator’s brain, the jumping off point perhaps best once again encapsulated by an image. “Here, Lou Reed and Patti Smith stare out at the listener,” explains Morby. “Stretched out on a living room floor they are somewhere in mid-70s Manhattan, also smoking cigarettes.” It finds Morby exploring similar themes of solitude, but this time framed by a window of an uptown apartment that looks down upon an international urban landscape “exposed like a giant bleeding wound.”

Following releases on Longform Editions and her own Paralaxe imprint, Dania descends on Somewhere Press with crepuscular, quixotic pop that hits a sweet spot between Mark Clifford’s Cocteau Twins remixes and Massive Attack.

Parked next to Alliyah Enyo, Slowfoam, and Angel R, Dania’s found an ideal home at Somewhere Press, and »Listless« is her most confident, transcendent set to date. Her last few albums were steeped in meaning – a way for the Iraq-born, Tasmania-raised artist to explore her identity and probe the impacts of colonisation. Here, she gives herself more room to breathe, thriving in the mysteries of nighttime – a direct reference to her nocturnal existence as an emergency doctor in Australia. The album was completely composed in the midnight hours, but it’s not self-consciously dark in the way you might expect. Opening track »On a Grassy Knoll« is one of the prettiest – and poppiest – tracks Dania has released, cracking open her voice with thrumming harmonies that she complements with granulated, Guthrie-esque guitars and, most unexpectedly, half-speed drums. It’s the first time Dania’s used percussion, and it suits her extremely well.

In fact, even when the powdery breaks drop away in the album’s final breaths, you can almost hear an outline of where they might remain. On »Write My Name«, Dania loops her voice between waved strings and slippery piano phrases, and the hypnotic closer »A Hunger« is a thudding, sub-heavy 4/4 away from being Peak Oil-style contemporary dub techno.

But the big draw here is Dania’s batch of hazy dream-pop miniatures, like the Seefeel-adjacent »Heart Shaped Burn« (with Rupert Clervaux on drums), and the Bristolian »Car Crash Premonition«, that features a rolling bassline taking us right back to 1998. Very strong – peak listening if you’re into Bowery Electric, MBV, or Mark Van Hoen.

“In a concert, I show something with a beginning, a middle and an end. But, there is no end. Of course, there is no end. Because I am the music, and I am still here.” - Sophie Agnel

‘Learning’ - Sophie Agnel’s first solo LP, feels like the dark, physical inversion of her excellent ‘Song’ which came out on Relative Pitch earlier this year. Sinking her unique sound into vinyl for the first time, the LP arrives as Agnel recovers from a brain tumour - a shocking discovery that will require Agnel to start again with the piano. It’s a terrifying prospect, but Agnel has been here before, having reorientated herself almost entirely away from her early classical training over the last 4 decades of her work.

‘When I was young I had very good ears, oriole absolute. Then later I began to make strange sounds with my piano, to do different kinds of music. I was more interested in the sounds than the melody, for example. I remember once I sat down in a shop to try to read the scores of Schubert and there was a light emitting a very strong bzzzzzzz. And I couldn't listen to my oriole internal - I couldn't read the score. I was entirely subjugated by the sound of the light. And I understood that something had changed. Ten years before I could read and not hear the light. Now I understood that my ears were completely different. I was more open to the sounds of life.”

Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel quickly grew tired of the classical world. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the pianos outside and inside.”If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Having absorbed the language of the European avant-garde, Agnel is known for pulling the piano’s interior outside of itself by tipping her handbag into it. But these ‘strange sounds’ don’t just come from Cage - they also share the poetic force of Cecil Taylor and ‘Learning’ demonstrates that Agnel’s work on the piano's keyboard is just as important as what she’s littered on its strings. The record lets loose her ability to unleash a formidable sound mass and then rope it back to one single, clarifying note. With one hand, Agnel plays 88 tuned drums and on the other an enormous guitar - with the LP rotating through oncoming trains, and blues harmonica and feedback. It’s single minded stuff, borne out of a dedication to a wholly personal language of gesture, accumulation and deft reduction. “Maybe when I’m 80 I will not need anything,” Agnel says in a recent film made at her home. “I will do the same but with one note, and one finger. Maybe it's enough.”

‘Learning’ arrives in a reverse board sleeve designed by Jereon Wille. Recorded live at Cafe OTO by Billy Steiger on 6th June 2023 and 4th June 2024. Mixed by James Dunn and Benjamin Pagier. Side B edited by Benjamin Pagier. Mastered and cut by Loop-O. Front photograph by Aimé Agnel. Typography and layout by Jeroen Wille.

Recorded in concert at the University of Sheffield in March 2025, Reality Is Not A Theory is the first collaboration between Mark Fell and Pat Thomas. Major figures in British experimental music since the 1990s, Fell and Thomas have developed their rigorous practices from radically different backgrounds and perspectives: where Fell’s singular take on synthetic abstraction emerged from Sheffield’s electronic underground, Thomas is a virtuoso improvising pianist steeped in jazz and modernist art music who has simultaneously worked with sampler-based electronics for decades. As the record’s wonderfully academic subtitle explains, we are presented here with two sides of ‘algorithmic and improvised music for computer and piano’, exemplifying both players’ insatiable search for new (and sometimes uncomfortable) playing situations.

The performance begins with Fell’s electronics close to the timbres of acoustic percussion, attacks that suggest wood, metal or glass threaded along a rapid pulse while Thomas focuses on the lowest registers of the piano, deadening the strings. As Fell’s electronics start to ring out and occupy more harmonic space, Thomas turns to wide, repeated clusters, which slowly expand into patterns of chords. Like in his recent solo recordings and his trio work with Joel Grip and Anton Gerbal, Thomas’ playing combines extreme dissonance with a deep lyrical sense. Fell’s work gradually shifts its focus toward drum sounds, drawing on the microtemporal processes that have characterized his practice in recent decades. Heard together with Thomas’ probing piano, the computer sounds call up unexpected associations with the klangfarben antics of improv drummers like Paul Lovens or Tony Oxley. Throughout its second half, the music grows increasingly frenetic, as Thomas sounds out rapid, irregularly repeated figures and beautifully sour chords in the upper register, while Fell’s percussion develops into angular pan-pipe-like feedback and waves of glissandi.

With great confidence and patience, Fell and Thomas often let their individual contributions remain rhythmically distinct and unsynchronised, allowing unexpected correspondence and coincidence to guide the music’s development. Recorded in a hall named after Sheffield steel manufacturer and Master Cutler Mark Firth, the location might suggest a model for understanding how Fell and Thomas interact here: two workers in the same workshop, each immersed in their own part of the production process. Arriving in a striking sleeve designed by Mark Fell, with liner notes by Francis Plagne, Reality Is Not A Theory is an invigorating document of the meeting of two mavericks of contemporary music.

From the humdrum to the huge; Tiia explores heartbreak, disappointment, climate change, and dying house plants. The record plays with contrasts, light and shadow, fizz and gloom. Keys melt into darker textures before guitars and drums lift them back into sparkle. It's heaviest moment is the title track, written in an airport bathroom after Tiia's father passed, yet even here, hope breaks through in irresistible vocal harmonies and inventive melodies. "To me, 'Kind Eyes' is a feelings record," Tiia says. "The grief for my dad passing sits at the centre and expands towards the edges, but there's a range of other feelings too. Sometimes they're hard to pin down and navigate but the songs are my map, trying to chart where you are and where you're going. And listeners should remember that sometimes X does mark the spot."

Lead single 'Healing' hits like a mascara- smeared midnight drive through Lynch's America. First sketched with Prince in mind, it finally found its teeth on a long, lonely walk in north-east London: a rock song hiding in plain sight. Tiia says "As soon as I had a rough idea for the driving beat, I knew I had to get Sean Berry (fellow bandmate from the once mighty Comet Sands) involved on the guitar, and the hooks all fell into place". Dusted with plush keys, on 'Numbers Game', Tiia leans into classic rock drama - warmth turning suddenly cold, the floor falling away from underneath you. "The lesson here is don't spy on your exes, but when you do, be prepared to write a song about it. It was the first track I asked Paul Rains (of Allo Darlin' fame) to play guitar on and he instantly got where I was trying to go with it. Now he's my partner, I have no idea how he feels about the lyrics!" Tiia laughs. Having also worked with Tiia's previous cult all-girl indie band The Minor Characters, Seb Kellig lent his trademark dub- inspired production influences at the legendary sonic heaven of Sausage Studios, east London, which Tiia calls "My happy place".

Tiia will again be playing keys for Allo Darlin's four UK tour dates this October followed by tour dates as Count Jaakola. 'Kind Eyes' is set for release 21st November 2025 via Tip Top Recordings (Mandrake Handshake, Japanese Television, Pearl & The Oysters, Golden Toad).

With Dominik Eulberg and Arne Schaffhausen (of EXTRAWELT) we welcome back two longtime Cocoon heroes to the label. The two were featured in a VICE Magazine special last year for a 'field recording' documentary. you-need-to-hear-this/dominik-eulberg-westerwald-extrawelt-zurich-lost-and-found) which marked the beginning of a new collaboration. Dominik and Arne checked their fresh recorded sounds in the studio and found out that there have a common base and musical understanding. They started to work on new tracks and it looks like this joint venture will continue for a longer time. The first results of their mutual work is 'A Little Further' which will be released in three different versions on Cocoon Recordings in the next weeks (COR12117). So let's start with 'Not On A Map' version: This one seems to be tailor made for the next afterhour and the rising sun. Dominik and Arne create the perfect mood for those special moments on the floor with a nice mix of energetic beats, interesting sounds and an emotional bass- and synth-programming. So many layers and different levels however the overall picture never gets overcharged or too demanding. Coming up next is the '37 Routes' version which quite stands out with the used breakbeats and no standard 4/4 kick drum. The synths are more scratchy and louder and the bassline seems to jump out of the speakers, this is a massive wall of sound production. The direction here is clear. However the two incorporated some cool and magic breaks that seem to refer to the deeper Eulberg sound which forms a great mix of two different techno-visions. Last but not least there's the 'Imaginery Escort' version which appears a bit like the dub edit of 'A Little Further".

A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjoubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjoubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.

2025 Repress

Two revered dance music institutions come together here as Pye Corner Audio steps up to Emotional Response with his debut EP for the label. What's more, it is a two-parter with the second half also available now. This one from Martin Jenkins finds him making an homage to the acid house he has always loved with opener 'Stegan Acid' starting with slow grocers and foggy moods run through with subtle 303 modulations. 'Magnetic Acid Three' is another deep and stripped-back sound with rumbling drums and bass coloured with soft acid contours and 'Thermionic Acid' gurgles a little more as the icy hi-hats cut through a mutant deep techno swamp. 'Magnetic Acid One' is one final meditation on acidic house depths.

Zum 20-jährigen Jubiläum ihres ikonischen Debütalbums Silent Alarm veröffentlichen Bloc Party drei limitierte Jubiläumsformate: eine 2LP auf weißem Vinyl mit dem original Album, eine 2CD Edition mit dem original Album und Bonus Discs, welche Demos, B-Sides und eine BBC Peel Session beinhalten. Außerdem ist ein 12-seitiges Booklet inkl. Lines Notes und einem Vorwort von Produzent Paul Epworth. Die Deluxe-Box umfasst alle oben erwähnte als 4LP Set. 2LP für das original Album und 2LP für die Bonustracks und Raritäten sowie Demos und Sessions. Wobei es hier ein 24-seitiges Booklet mit noch nie veröffentlichten Fotos der Band und exklusive Liner-Notes gibt. Ein Muss für Fans und Sammler gleichermaßen.
White Vinyl

Disco Mind taps into a rich vein full of Italy's freshest electronic talents here with a glorious new EP for retro-future dancefloors. Kicking things off is Naples-based Lance, who channels proto-house ruggedness and glossy Italo disco melodies on 'Renato Superstar, which is an homage to a cult 80s film. Club Mediterraneo follows with 'Prima Cala' and provides a shimmering Balearic bliss for sunset sessions, and Sparking Attitude makes a strong first impression with 'Au Revoir Bonsoir,' which sinks into slinky deep house grooves with a touch of filter sync madness. Leslie Lello and Luksek join forces on 'Caravan' for a sugary-sweet nu-disco finish, lovely analogue drums and a carefree attitude.

London-based Aketi Ray are all-acoustic dub-jazz dons that blend double bass, drums, upright piano, horns and percussion into original compositions rooted in post-independence Jamaican instrumental traditions. Their sound also weaves in Ethiopian jazz, West African percussion, US jazz influences and UK Steppas vibes. Here they join up with K�ln, Germany duo Hidden Sequence, regulars on the likes of Mosaic and Lempuyang. 'Call On His Name' is flute lead and liquid dub, 'Time Is Now' has a mystic quality and moody sax lead, then 'Sinai' brings slowly unfurling melodies and lovely woodblock hits that echo away to infinity. Alternate versions on the flip make this a timeless excursions into endless dub depths.

NAUTILUS is a next-generation band leading the Japanese rare groove scene.
Information about the pre-release 7-inch single from their 10th album has finally been released!!
Includes NAUTILUS covers of Diana King's "Shy Guy" and Roy Ayers' "Mystic Voyage," featuring their close friend Emi Tawada on vocals.

NAUTILUS have become a driving force in Japan's rare groove scene.
Their constantly evolving new project is finally here.
Kicking off the project is a killer cover of Diana King's "Shy Guy," featuring their close friend Emi Tawada, who has also garnered attention for
her covers of Des'ree and Terri Walker.
The excellent arrangement, which makes use of the original beat but incorporates jazz elements, is perfect for an evening on the dance floor.
And on the flipside is a superb instrumental cover of the classic "Mystic Voyage" by Roy Ayers, who sadly passed away suddenly this spring.
Look forward to NAUTILUS' 10th album, which is garnering attention as a force to be reckoned with in the future of rare groove.

Househead London launch their 2nd 12" release - a limited-edition Chicago Vs London sampler featuring Glenn Underground and Emmaculate Remixes.

Following a string of critically acclaimed events featuring Chi-Town royalty, Househead London further cement their relationship with Chicago on this vinyl release which features two of the city’s esteemed producers - Glenn Underground & Emmaculate - remixing two sterling new tracks from two of the UK’s most exciting producers - Prefix One and Wez Whynt.

Opening the EP is an artist who needs very little introduction, Glenn Underground. A leading international producer & DJ who seems to effortlessly slide between Deep, Soulful, Disco, Jazz and beyond, Glenn boasts an exceptional discography that very few could compete with. His Cosmic Disco Journey Mix here weaves its lo slung groove in a funky off-kilter disco style with piano ripples as Nambi’s voice shimmers on top. Nambi’s heartfelt soars across Glenn’s Cosmic Journey remix unfurling beautiful piano and taut Chi-town beats. Deep and vocal, it’s got that raw soul power that both Glenn and Chicago are known for.

Known for his exquisitely high attention to detail and quality, Emmaculate is one of the go-to producers and sound engineers in Chicago. Working closely with Terry Hunter on a multitude of projects and a shining light across the global soulful house scene, he’s regularly featured across impressive labels such as Dopewax, Yorubasoul, United Music, Soulstice Music and S&S Records. His lush, tough-edged Remix of ‘Feelin’, rolls on with melodic piano hooks to unlock the groove and boosted with extra keys and vocal refrains before the full vocal unfolds. Solid and deep, “Feelin’ is pure joy for the dance floor.

Anthology 4 - Triple LP. The new volume from The Beatles Anthology Collection.

Anthology 4, is newly curated by Giles Martin, including 13 previously unreleased demos, plus fascinating session and other rare recordings dating from 1963 to 1969. It also includes the band’s final single, ‘Now And Then’, released in 2023, and new mixes of The Beatles’ Anthology-associated hit singles: the GRAMMY-winning ‘Free As A Bird’ and ‘Real Love’, given new life by their original producer, Jeff Lynne, using de-mixed John Lennon vocals. Furthermore, Anthology 4 presents 26 tracks that have never previously been released on vinyl.

The track notes are written by Kevin Howlett with an introduction compiled from 1996 interviews recorded with The Beatles’ close friend and adviser Derek Taylor.

Pressed on 180g black vinyl, the triple LP is housed within poly-lined inner bags and a triple gatefold sleeve.

The neon "pdqb Arcade" sign in Port Astra flickered with the same chaotic energy it had decades ago. Six men, now with more gray hair and worries than they once had, stood at the entrance. They were the "Lucky Six," reunited after years of scattered lives and separate paths.

"I can't believe this place is still here" said Noise, who had flown in from Tokyo. "It hasn't changed 8 bits, haha". CEM, now a father of 3340 synthesizers from Bari, replied with a grin. "We have. Look at Galaxian, he's unrecognizable!"

Each of them held a single, precious coin. Their plan, born of a wave of nostalgia and the understanding that they couldn't stay forever, was simple: one coin, one game, one last chance to be a legend. Each man would choose the game that meant the most to him and play the round of his life…

At the end, pdqb, the arcade owner, came up to the guys. "Don't be sad", he said. "Even if it was your last credit, there's always one more somewhere in some game". He then walked through the arcade and played four different machines that just happened to have an extra credit on them. "See?", he said.

Synaptic Cliffs proudly presents pdqb together with six black belt gamers (PRZ, Noise&Noise, Galaxian, CEM3340, Dark Vektor, Mesak), each a legend in their own right. They don't just replay pdqb's 8 1/2 Bit album; they become it. Together, they embark on a journey through legendary worlds, creating a place filled with soundscapes and challenges that blur the line between music and game. They move with the rhythm of the music and face the challenges within, weaving their own stories into the fabric of the iconic work.

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.

With Processing Music, Dutch composer and electronic musician Casimir Geelhoed offers a compelling meditation on sound transformation as a metaphor for psychological and emotional processing. Operating at the intersection of overstimulation, introspection and fragility, the album unfolds as a deeply immersive and personal exploration — one that invites the listener to inhabit a space of their own projection, memory and reflection.

Rather than imposing a fixed compositional structure, Processing Music follows a bottom-up approach, allowing form to emerge organically from the interaction of sonic materials. Digital signal processing is not used here as a mere technical tool, but as a poetic device: transformation as narrative, delay as memory, distortion as tension. Through slowly eroding loops, gently collapsing textures and shifting layers of timbre and space, Geelhoed crafts a delicate sound world that is charged with friction.

What may at first seem abstract gradually reveals an emotional core. The album evokes the suspended time of a largo, the layering of memory like an excavation, the psychological tension of perceived spatial expansion. These are not literal themes, but associative keys to a music that operates in a distinctly human sonic language.

Emerging from a series of live performances, Processing Music retains a performative sensibility: the music breathes, transforms, and invites attention to nuance. It slowly unfolds a landscape shaped by the subtle interplay between structure and dissolution.

Casimir Geelhoed has presented performances and installations at festivals such as CTM, Sonic Acts, Rewire, Fiber, SPATIAL, and Aural Spaces. He studied computer science, composition, music technology, and sonology in Amsterdam, The Hague, and Utrecht.

Jazz by Sun Ra, Vol. 2.


These albums are important because they are Sun Ra's first recordings before the Saturn sessions, made in 1956 when the Chicago musicians were searching for something more, something beyond.



In 1957, Transition Records gave us Volume 1, but before Volume 2 could be released, the label went bankrupt, and it took more than a decade for it to finally be released on the Delmark label. Today, for the first time, both volumes are available, as they were meant to be from the beginning.
Volume 2 is presented here for the first time with the silver cover originally planned by Transition!

Spazio Nero -- Spazio Disponibile's side branch for forceful techno movers -- proudly welcomes fellow Roman artist Cosimo Damiano. Known for his bold takes on dark electronics, sparse acid and fluid new wave interpretations he here drops a versatile pack of fierce, yet playful high energy techno.

Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas (aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma, recovery, and love through autobiographical soundscapes.
A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence - intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work that oscillates between brutality and tenderness. Cárdenas states: “I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over everything. This is the backdrop of the album. The songs and poems trace the inevitable loop between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars, carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living archive.
” At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage from Peru. The result is a work that resonates like a diary written in sound.
The first single, "Motherland", is a searing testimony where Cárdenas voice cracks under the weight of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction as an unavoidable future. The lyrics draw parallels between political and domestic violence: a mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters: “sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists. Ultimately, A Body Like a Home is a document of transformation. Tracks like "Evangelina" and the title piece "A Body Like a Home" hold space for resilience, spirituality, and love, while "Early Road" and "Going South" thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of belonging.
The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the album) extends the work, building a parallel architecture. Oscillating between the documentary and the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged withspiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music, the stories refract across two mediums: songs give them breath and poems give them bone.

Do you believe in spring? Simon Wangen (cello) and Philipp Sutter (piano) pose this question as the title for their new project. Whereas Bill Evans made a demand in 1981, the two Cologne-based musicians believe that in times of uncertainty, crisis, and environmental destruction, it is ok to set a questin mark here. But politics and world events aside: Do you believe in spring? Of course! It's never too late to start something new, get creative, and test your own limits. Simon Wangen is a classically trained cellist, Philipp Sutter a trained jazz pianist. Their different musical roots merge on this instrumental album into a lively mix of neoclassical, new jazz, and Cinéma Nordique. Ten pieces come across as sometimes dark, sometimes wild, sometimes delicate, always focusing on the dialogue between the two instruments that harmonize so well. The subtle use of electronic effects constantly opens up new perspectives and builds a bridge to contemporary sound aesthetics. Cello and piano—this combination has been established for centuries, but can still add new facets today. Do you believe in spring? begins stormily and turbulently, oscillating between romantic, sad, and beautiful moments, and leads from a rather dark beginning to the final and eponymous piece in C major, which leaves the listener with a glimmer of hope. Do you believe in spring? From October 24, 2025!


Do you believe in spring? Simon Wangen (Cello) und Philipp Sutter (Klavier) werfen den Titel für ihr neues Projekt als Frage in den Raum. Wo Bill Evans 1981 eine Forderung formulierte, sind die beiden Kölner Musiker der Ansicht, in Zeiten der Unsicherheit, der Krisen und Umweltzerstörung durchaus ein Fragezeichen setzen zu können. Aber abgesehen von Politik und Weltgeschehen: Do you believe in spring? Natürlich! Es ist nie zu spät, etwas Neues zu beginnen, kreativ zu werden und die eigenen Grenzen zu testen. Simon Wangen ist klassisch ausgebildeter Cellist, Philipp Sutter studierter Jazzpianist. Die unterschiedlichen musikalischen Wurzeln verschmelzen auf diesem Instrumentalalbum zu einer lebendigen Mischung aus Neoklassik, New Jazz und Cinéma Nordique. Zehn Stücke kommen mal düster, mal wild, mal zart daher, stets die Zwiesprache der beiden so gut harmonierenden Instrumente im Fokus. Der dezente Einsatz elektronischer Effekte öffnet immer wieder neue Perspektiven und schlägt eine Brücke zur zeitgenössischen Klangästhetik. Cello und Klavier - diese Besetzung ist seit Jahrhunderten etabliert, aber kann auch aktuell immer wieder neue Facetten hinzubekommen. Do you believe in spring? beginnt stürmisch und aufgewühlt, changiert zwischen romantisch - traurig - schönen Momenten und führt von einem eher düsteren Beginn hin zum letzten und namensgebenden Stück in C-Dur, das die Zuhörenden mit einem Hoffnungsschimmer entlässt. Do you believe in spring? Ab 24.10.2025!

The story begins with Kevin Morby absentmindedly flipping through a box of old family photos in the basement of his childhood home in Kansas City. Just hours before, at a family dinner, his father had collapsed in front of him and had to be rushed to the hospital. That night Morby still felt the shock and fear lodged in his bones. So he gazed at the images until one of the pictures jumped out at him: his father as a young man, proud and strong and filled with confidence, posing on a lawn with his shirt off. This was in January of 2020. As the months went on and the world dramatically changed around him, Morby felt an eerie similarity between his feelings of that night and the atmosphere of those spring days. Fear, anxiety, hope and resilience all churning together. The themes began twisting in his mind. History, trauma and the grand fight against time. Having the courage to dream, even while knowing the tragedy that often awaits those who dare to dream. While his father regained his strength, Morby meditated on these ideas. And then, he headed to Memphis. He moved into the Peabody Hotel and spent his days paying tribute and genuflecting to the dreamers he admired. In the evening, he would return to his room and document his ideas on a makeshift recording set-up, with just his guitar and a microphone. The songs, elegiac in nature, befitting all he had seen, poured out of him.Produced by Sam Cohen (who also worked on Morby’s Singing Saw and Oh My God), This Is A Photograph features musical contributions from longtime staples of Morby’s live band, as well as old friends and new collaborators alike. If Oh My God saw Morby getting celestial and in constant motion and Sundowner was a study in localized intent, This Is A Photograph finds Morby making an Americana paean, a visceral life and death, blood on the canvas outpouring. As Morby reminds us early on, time is undefeated. So what do we do while we’re still here? This is a photograph of that sense of yearning

With her ninth studio album, Irish-born, Edinburgh-based singer Heidi Talbot pays tribute to strength, resilience, and inspiration - from legendary figures to the unsung heroines within her own family. Rooted in both personal experience and collective lore, the collection weaves stories of women legendary and intimate. The warrior queen Grace O"Malley (Gráinne Mhaol), the goddess Brigid of Co. Kildare, and Anna Parnell, leader of the Ladies" Land League, appear alongside Talbot"s grandmother Kathleen, whose recorded voice opens the closing track. Throughout, themes of resilience, love, ancestry, and grace echo across time. Following the critically acclaimed Sing It For A Lifetime, Grace Untold continues Heidi Talbot"s evolution as a songwriter of remarkable honesty and depth. It is a record of stories - whispered and sung, remembered and reimagined - a woman"s tribute to all women who have inspired, protected, and passed the song forward.

Amazing Things is an album about death which isn't morose, slow, or quiet. A year ago Darren lost a friend to cancer. Amazing Things is an album about death which isn't morose, slow, or quiet. Instead, it is packed with joyful, melodic guitars and some of Darren's prettiest tunes. It is sometimes very sad, but also heartfelt, loving, and rewarding. Darren recorded the album almost entirely solo and this time he has dug deep into his primary instrument, the electric guitar, creating a sound that is rich in tone and texture. Darren Hayman is a British songwriter best known for his work with late 90s band Hefner, but has since made more than 20 albums dealing with astronauts, the English Civil War, William Morris, Lidos, and Thankful Villages. He lives in South London with his dog.

Within the world of theatrical archives, there are the known, the unknown, the forgotten, and the lost. Demetrio Stratos' stage compositions for Teatro dell'Elfo's groundbreaking 1979 production Satyricon - directed by future Oscar winner Gabriele Salvatores - represents one such lost artifact now wondrously returned to life. This radical sonic work, integrating extended vocal techniques, Balinese instruments, and pioneering whale song recordings, stands as the final masterpiece of Italy's most visionary vocal experimenter, lost for over four decades until Die Schachtel's extraordinary recovery. As Stratos himself explained: "The musical operation performed on Satyricon is particular: the composer-musician here does not compose, but borrows ready-made music, vivisects it, melts it, intervenes and recomposes it on magnetic tape. The structure of the signifier, from a morphological point of view, presents itself as a conceptual collage." The music is obtained by utilizing compositions and musical elements from David Behrman, Joan La Barbara, Balinese Ketyak, Turkish Nay flute, Yugoslavian bagpipe, Pan flute, and whale song, with synthesizer interventions by Paolo Tofani. It began as part of something known - a wild, immersive theatrical event that inaugurated Teatro dell'Elfo's historic venue in 1979, was almost entirely forgotten, becoming lost and then unknown. The original production marked a radical departure for the company: no longer popular street theatre, but a dark, immersive, sophisticated spectacle that transformed their space into a rough wooden arena with a sand floor. Demetrio Stratos, working with Paolo Tofani (fellow Area member), created an entire sonic universe that subverted every conventional function of stage music. Their composition wasn't accompaniment, but autonomous sonic dramaturgy that integrated extended vocal techniques, archaic electronic elements, Nay flutes, Balinese instruments, and pioneering whale song recordings. The result was a three-dimensional soundscape that enveloped audiences, creating an otherworldly acoustic dimension. Stratos' score even intervened in the actors' vocal delivery, with the recordings capturing both the performance and his coaching sessions with the cast. The production featured young actors destined for fame - Elio De Capitani, Ferdinando Bruni, Cristina Crippa, Corinna Agustoni, Ida Marinelli - guided by Gabriele Salvatores in this adaptation of Petronius' ancient novel. Shortly after the Satyricon performances, Stratos was hospitalized for the condition that would lead to his death at just 33 years old. This work represents his final composition - a haunting farewell from one of Italy's most innovative sound artists. Die Schachtel presents this recovered work in collaboration with Teatro dell'Elfo, pulled from the original magnetic tape and carefully restored. Satyricon '79 is one of the great artifacts of 1970s Italian avant-garde - a wild, grinding sonic expose which sucks the ear into its depths, made in the spirit of collaboration and creative risk-taking. The edition includes critical apparatus with essays, testimonies from protagonists, and period photographic documentation, documenting an unrepeatable moment where theatre, vocal research and sonic experimentation converged. This release marks a poignant moment in experimental music history - Stratos' final work, now rescued from the archives and restored to its rightful place in the canon of Italian avant-garde masterpieces. A true wonder of towering historical importance. As essential as it gets for any fan of experimental music, or the history of the Italian avant-garde. Fully restored and newly mastered from the original analog tapes. Absolutely essential.

If people were unaware of the significance of Joan Baez to western culture, her portrayal in the Bob Dylan biopic A Complete Unknown (played by Monica Barbaro) underlines how central she was to the popularization of folk music in the early 1960s. And it is her decade- previous relationship with Dylan that hovers joyously over Diamonds & Rust. The title track is about a thinly disguised ex-lover who calls up out of the blue; it remains one of her most loved songs in a 65- year- career.

There's a playful cover of "Simple Twist Of Fate" from Dylan's then just released Blood On The Tracks, complete with impersonation in a later verse; and "Winds Of The Old Days", written in response to Dylan touring again after a lengthy hiatus. Diamonds & Rust is a perfect, sunshine- drenched album of west- coast folk- tinged rock, full of star session players. It could almost have been a signal to all the recent comers on her patch many of them friends and colleagues, Joni Mitchell, Carole King, Maria Muldaur that Baez was here first and was sweetly reasserting her authority. Just listen to her mastery on "Children & All That Jazz", her cover of Stevie Wonder's "Never Thought You'd Leave In Summer" and the poignant closing medley of "I Dream Of Jeannie/Danny Boy".

At this point in human history, we've all heard about this calculation: if planet Earth were to enter a black hole, it should shrink to the size of a ping-pong ball but retain the same mass.
Singularity AI usually rides the waves of acid music. Here, he's delivering a pop anthem born in the night. If a single by Lexi once claimed that dreams are the shadow of something real (quoting the film ‘The Last Wave’), we could just as easily say that this one is the shadow of a dream. On the other side, AEK is giving voice to the melancholy of exhaustion in a calm and powerful introduction to their universe, a whole world contained in a small black circle with a hole in its centre and a light gravity.

Music and words: Singularity AI & Aek
Mixing: Mim, Mastering: Frederic Alstadt
Artwork: Emilie Wave, Benoit Lorent
Coproduced by a1000p

MD008 is here! — a bold new chapter in theever-evolving world of re-edits. This latest instalmentis a masterclass in versatility and emotion: four distinct cuts, four immersivesoundscapes, each crafted to ignite the dancefloor in its own unforgettableway. From hypnotic vocal firestorms to cinematic tributes, MD008 is a recordthat transcends trends and celebrates the timeless art of groove. Vinyl-only,limited edition — a future classic in the making.



A1 –TVGLips
A relentless vocal workout built to commandattention from the very first beat. “TVGLips” is a powerhouse opener —hypnotic, high-energy, and unapologetically intense. Its driving rhythm andsoaring vocal lines lock dancers into a euphoric trance, pushing momentumhigher with every bar. A weapon of choice for peak-time sets.



A2 –Tu Sei
Radiating pure nostalgia, “Tu Sei” channelsthe neon-lit spirit of the 1980s with a contemporary twist. Shimmering synths,heartfelt melodies, and a groove steeped in retro romance make this track anirresistible dancefloor moment. Equal parts cinematic and soulful, it’s a loveletter to a bygone era — and a timeless anthem for now.



B1 –Inquinada
Where new wave attitude meets disco power.“Inquinada” is a darkly seductive cut that pulses with underground energy — rawbasslines, mechanical percussion, and shimmering synth layers collide to createa sound that’s both nostalgic and futuristic. Perfectly balancing edge andallure, it’s a track that keeps the floor moving deep into the night.



B2 –Gatto Fresco
Closing the EP is aheartfelt homage to one of music’s greatest icons. This is a tribute toFreddie, and it’s pure celebration — anthemic, uplifting, and full of life.With its soaring melodies and infectious groove, it captures the unbreakablespirit and theatrical brilliance of Freddie’s legacy, leaving dancersexhilarated and inspired as the lights come up.



LimitedEdition, Vinyl Only
True to form, MD008 ispressed in strictly limited quantities — once it’s gone, it’s gone forever.Collectors, selectors, and lovers of the edit craft: this is a piece you’llwant in your collection.

40 Jahre ”Welcome To The Pleasuredome”!
Diese Jubiläumsausgabe, die erstmals in Zusammenarbeit mit der Band selbst zusammengestellt wurde,
enthält 28 unveröffentlichte Titel und nimmt den Hörer mit auf eine Reise von den frühesten Demos und
BBC Radio One Sessions der Band über die Singles bis hin zum Album und darüber hinaus.
Jede CD enthält seltene und in den meisten Fällen unveröffentlichte Versionen von Songs, die den Goldstandard der Musik der 80er Jahre darstellen.
Der weltbekannte Künstler, Produzent und Remixer Steven Wilson hat einen Atmos-Mix sowie Stereound 5.1-Mixe für die Blu-Ray beigesteuert. Das Booklet wurde von Philip Marshall gestaltet und enthält
seltene Fotos und Erinnerungsstücke sowie eine Zeitleiste zum Aufstieg der Band zum Ruhm mit Beiträgen
aller Mitglieder von Frankie Goes to Hollywood.
Darüber hinaus erscheint ein Deluxe-2CD-Set, welches das neu gemasterte Album sowie Versionen aus der
Session und eine Auswahl von Outtakes enthält. Die beiden CDs werden in einem 8-seitigen Digipak mit
einem 20-seitigen Booklet präsentiert.
Außerdem wird es ebenfalls das Album mit Steven Wilson Mix als Remaster auf 2LP geben.
Ab dem 31. Oktober erhältlich!