25 Jahre nach seiner ursprünglichen Veröffentlichung bringt Warp Records Aphex Twins "Drukqs" erneut auf Vinyl und CD heraus. Damit ist dieses wegweisende Album aus dem Jahr 2001 erstmals seit Jahren wieder physisch erhältlich, was bedeutet, dass nun wieder alle Alben von Aphex Twin auf Vinyl verfügbar sind. "Drukqs" enthält einige der bekanntesten Aphex Twin-Tracks, darunter "Avril 14th" und "QKThr" und erscheint erstmals als Standard-Vinyl-Ausgabe.
What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.
“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.
Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.
All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.
Life is like a mirror ball! The first one in a hopefully long-lived series of disco and pop influenced Super Sound Singles on Running Back, comes courtesy of the unmistakeable Gibson Brothers. Leaving their biggest wedding hits "Cuba" and "Que Sera Mi Vida" to the side, the philanthropic and smile-forcing "Ooh, What A Life" gets an extended edit service by Shan & Gerd Janson, who cut away some of the fat and make it fit for fun on contemporary dance-floors. The flip side sees them remixing and sandpapering "Heaven" into a disco-house interbred (filters and looping mandatory). To quote John Lyndon: "Disco sucks You never heard that from me."
Sentimental Ultra marks DJ HEARTSTRING’s debut proper on Steel City Dance Discs, and their first album project, releasing November 13th 2026. Starting life as a mixtape before a happy accident or two took it down a different path, the 15-track album finds the pair chasing not just peak-time euphoria and what they can conjure in a club setting, but everything around it, too. The befores and the afters. The soft and the supercharged. What life felt like when they were young. Featuring collaborations with SWIM, Spriitzz, BAUGRUPPE90, Sam Gellaitry, Saidah, DMA’S, KennyHoopla, Monk, 3NDLES5, David Jackson and secret act, they fold formative years influences such as indie rock, rap, ambient and breakbeat into their sought-after sound, and balance them with contemporary-coded ideas.
This blend of worlds is at the crux of the album’s concept visually as well. Sentimental Ultra is an exploration blurring the lines of hard and soft, taking inspiration from subculture communities around football hooliganism and skateboarding. The cover is shot by iconic British photographer Ewen Spencer, renowned for his work around Skins, The Streets and more. The collaboration has seen DJ HEARTSTRING land features in Numero Berlin, Notion Mag and other cross-cultural editorial platforms ahead of the album announcement.
To date, the project has already received various milestones across international radio, including Arielle Free’s Big Whopper for third single ‘Another Year Alone’ and DJ HEARTSTRING landing a coveted BBC R1 Residency in November. Adding to this is the slew of digital looks and accolades for DJ HEARTSTRING’s set recordings including their closing set at Soenda Festival earlier this year which is on 115k views since being published in May 2026, their Melbourne Boiler Room published in 2025 with +1 million views and their Belfast Boiler Room published in 2023 with +1.1 million views.
Since DJ HEARTSTRING’s 2021 debut, when they rollicked through the club door with their Destiny of the Moment and Eternal Euphoria EPs, alongside a slew of self-released, pop-and-R&B-indebted edits, DJ HEARTSTRING have followed their hearts and won over legions more with an emotional dance music style that’s fast become synonymous with their name.
There’ve been big releases such as 2025’s You Are The Sun, I Am The Sky EP, and buzzy collaborations with fellow synapse-igniters like SWIM, Narciss, southstar and S.C.D.D.’s KETTAMA. The past few years have also seen remixes for Charli XCX and Sam Smith, Romy, Sugababes and Empire of the Sun, sets everywhere from Berghain to London’s 3000-capacity Roundhouse, their own Teenage Dream parties and a must-listen contribution to the BBC Radio 1’s Essential Mix series, which showcased just some of the sonic inspirations behind their signature, like Eurodance and trance, plus heaps of DJ HEARTSTRING material.
And now, Sentimental Ultra arrives off the back of DJ HEARTSTRING’s busiest summer to date with landmark festival plays at Awakenings in the Netherlands, Lost Village and Maiden Voyage in the UK, We Love Green in France, Lost Paradise in Belgium, Movement Festival in Detroit and Arc Festival in Chicago. Hot off the heels of their festival run, the Berlin duo show no signs of slowing down with a 3-date Australia tour at the end of September whereby they sold a cumulative 15,500 tickets across Melbourne, Sydney and Perth shows, all on presales. In addition to some pop-up in key markets around album release including Ireland, Scotland, Berlin and London, the Sentimental Ultra official tour also encompasses a European hard ticket run including Belfast’s Telegraph Building (2,000 cap), Brussels’ Braindance (2,000 cap), Paris Phantom (3,400) and DJ HEARTSTRING’s biggest London show to date - Brixton Academy (5,000) - an apt follow-up after selling out Magazine (4,000 cap) weeks in advance in February 2026.
There’s plenty still in store, and plenty of places to catch them throughout the rest of what’s set to be a landmark year. Shows from Miami to Manchester (for the sold-out KETTAMA presents Steel City Dance Discs WHP takeover) to Dublin’s District X, a hometown Teenage Dreams event and 2 colossal ADE headlines at Dockyard and Sugar Factory - with more plans bubbling behind the scenes. DJ HEARTSTRING season is well and truly upon us.
Dutch-born and Singapore-based, Mike Risk has spent more than three decades immersed in house music. As a DJ, producer, promoter and agent, he has experienced the culture from multiple angles, building relationships and sharing dancefloors across Amsterdam, London, Ibiza, New York, Chicago, Singapore and beyond.
Now Is Forever is a full-circle moment. A statement. A celebration of a lifelong relationship with house music.
Mike first made his mark in the Dutch underground through Club Risk and later RiskSoundSystem, two platforms that helped shape nightlife culture in the Netherlands throughout the 1990s and 2000s. After decades spent championing the music of others, Now Is Forever is Mike adding his own chapter to the culture that shaped his life.
Created with longtime collaborator Greg van Bueren (Hardsoul) between Amsterdam and Singapore, the album is a deeply personal tribute to the music, people and places that shaped him. From the clubs of Amsterdam and London to the sounds of Chicago, New York and Detroit, it distils decades of dancefloors, record stores, studios and late-night conversations into one body of work.
From deep and soulful grooves to raw house cuts and acid-tinged late-night moments, Now Is Forever explores house music in its full spectrum. It reflects the way Mike has always approached a dancefloor as a DJ: not as a collection of tracks, but as a journey through the many moods and moments that make a greatnight unforgettable.
Featuring Mike Dunn, Bluey Robinson, Marc Evans and John Agesilas, the album brings together years of experience, inspiration and dedication. Crafted not out of commercial pressure but out of creative necessity, it is the product of pure love-for the culture, for the craft, for the music.
Now Is Forever is a past-forward record: rooted in the music, dancefloors and relationships that shaped Mike, while carrying their spirit firmly into the present. At its heart, it is about honouring the kid who first fell in love with house music-and never let go.
Because when you are truly lost in music, there is no past and no future. There is only now.
Hot on the heels of the Get It Done EP and their standout contribution to 30 Years of Freerange Vol. 2, Dutch duo, Fouk return to Freerange with four more cuts of beautifully crafted, groove-heavy house music.
Vieri Mura wuchs unter der intensiven Sonne Sardiniens auf. Seit vielen Jahren reist er in den Norden der Insel, um die berühmte Sängerin Maria Teresa Pirrigheddu (geb. 1942) zu besuchen. Was als musikalisches Interesse begann, entwickelte sich zu einer tiefen familiären Bindung. ,Rundinas" (,Schwalben" auf Sardisch), von Vieri mit tragbaren Geräten aufgenommen, dokumentiert diese Beziehung sowie die Klänge der Insel und den Rhythmus von Maria Teresas Alltag. Maria Teresa singt mündlich überlieferte ,Cantos a chiterra" zu Vieris minimalistischen Kompositionen für Gitarre (Seite A, in ihrem Garten) und Orgel (Seite B, in der Kirche, nur wenige Schritte von ihrem Zuhause entfernt). Schwalben ziehen durch die Aufnahmen, Symbole für den Wechsel der Jahreszeiten und die vergängliche Jugend. Maria Teresa, mittlerweile 84 Jahre alt, deren Stimme zugleich agil und vom Alter gezeichnet ist, verleiht diesen alten Gesängen neue Bedeutungsebenen. Eines der tief bewegendsten und mitreißendsten Musikstücke, die wir je gehört haben - aufgenommen in der Gegenwart und doch Hunderte von Jahren zurückreichend, ein musikalischer Dialog zwischen zwei Künstlern verschiedener Generationen und dem Land, das sie geprägt hat. Eine Quelle der Hoffnung und Schönheit in einer verarmten Welt.
Hier ist das definitive Beat Konducta-Box-Set: 7 LPs, die alle sechs Teile von Madlibs legendärer Instrumental-Serie vereint - erstmals gemeinsam erhältlich in einem hochwertigen, schweren Deluxe-Schuber. Zusätzlich enthalten ist Vol. 0, eine zuvor offiziell unveröffentlichte Promo-LP mit weiteren Tracks. Das 7-LP-Box-Set umfasst alle sieben Teile von Madlibs "Beat Konducta"-Reihe aus den Jahren 1994 bis 2008. Die Volumes 1-2, 3-4 und 5-6, die lange vergriffen waren, erscheinen hier erstmals als Doppel-LPs im klassischen schwarzen Vinyl und im aufklappbaren Gatefold-Cover. Exklusiv in diesem Set enthalten ist zudem Vol. 0: Earth Sounds, gepresst auf grünem "Northern Lights"-Vinyl. Die Tracks auf Vol. 0 entstanden im Zeitraum von 1994 bis 1996 und wurden dann ursprünglich 2001 als streng limitierte Promo-LP veröffentlicht. Die musikalischen Einflüsse reichen von Library-Musik aus TV und Film der 70er Jahre bis hin zu Bollywood-Soundtracks und weiteren Produktionen aus Indien (aus den 60er bis 80er Jahren) und gipfeln in einer Hommage an seinen verstorbenen, großartigen Freund und musikalischen Weggefährten J Dilla. Essentiell, keine Frage.
Madlib ist der Beat Konducta - oft kopiert, doch nie erreicht. Neuauflage der essenziellen Beat-Konducta-Reihe, hier die Volumes 1 und 2 als Siren Split Edition Beat Konducta Vol. 1-2: Movie Scenes & Movie Scenes, the Sequel waren die ersten offiziellen Veröffentlichungen in Madlibs Beat-Konducta-Reihe (Vol. 1 Ende 2005, Vol. 2 im Jahr 2006). Bei beiden handelt es sich um Instrumental-Hip-Hop-Produktionen von Madlib, die im Stil von TV- und Film-Library-Platten der 70er Jahre gehalten sind und zusammen eine Stunde voller instrumentaler Klanglandschaften bilden. Nachdem sie lange vergriffen waren, erscheinen diese beiden Volumes von Madlibs legendärer Instrumental-Reihe nun erstmals als farbige Doppel-LP auf Vinyl, welches zur Hälfte rot und zur Hälfte blau gefärbt ist (50/50 Split Vinyl), und verpackt in einem aufklappbaren Gatefold-Cover.
Neuauflage der unverzichtbaren Beat Konducta-Serie von Madlib - hier die Volumes 3 und 4 in der Saffron Blend Edition! Die Beat Konducta-Reihe Vol. 3 & 4 führt nach Indien. ,Beat Konducta Vol. 3-4: In India" ist ein Doppelalbum mit Instrumentalstücken von Madlib, die von Bollywood-Soundtracks und anderen indischen Produktionen der 1960er bis 1980er Jahre inspiriert wurden. Die beiden Teile erschienen ursprünglich im Jahr 2007 als separate LPs. Nachdem sie lange vergriffen waren, erscheinen diese beiden Volumes aus Madlibs legendärer Instrumental-Reihe nun erstmals als farbiges Doppelalbum - gepresst auf halbtransparentem silbernen und safrangelben Vinyl und verpackt in einem aufklappbaren Gatefold-Cover.
Neuauflage der essentiellen "Beat Konducta"-Reihe, hier Vol. 5-6: "Dil Cosby & Dil Withers Suite" (Steady Metals Edition) - Madlib zollt J Dilla Tribut! Auf "Beat Konducta Vol. 5-6: Dil Cosby & Dil Withers Suite" (ursprünglich 2008 als zwei separate LPs veröffentlicht) würdigt Madlib seinen verstorbenen Freund und musikalischen Weggefährten J Dilla - unterstützt durch Features von J. Rocc. 42 soulige, atmosphärische Instrumentals bilden den Abschiedsgruß an Jay Dee. Nachdem sie lange vergriffen waren, erscheinen beide Teile von Madlibs legendärer Instrumental-Reihe nun erstmals gemeinsam als farbige Doppel-LP auf metallisch schimmerndem silbernen und goldenen Vinyl, verpackt in einem aufklappbaren Gatefold-Cover.
Dann 1999 wieder ein "normales" Album: Bizarre Texte, musikalische Vielfalt, fröhlicher Anachronismus. Inkl. Coverversionen von Gilbert Becaud, die Ärzte, Marionetz, Dead Kennedys. Auch der damalige Polizeichef von Bochum wird geehrt. Und noch ein sehr spezielles Hörspiel.
Tony Price returns with NAME?, a new LP on his Maximum Exposure label delivering 10 tracks of red-hot house music realness.
Following two releases in 2025, the brutalist cybernetic jazz reveries of Requiem for the Ontario Science Centre and the ferocious machine funk of Street Theatre, NAME? keeps its crosshairs aimed straight at the dancefloor.
NAME? showcases Tony’s undying affinity for the sound of New York City and New Jersey house: Tony Humphries’ cybernetic gospel dubs, the crude, Todd Terry-style 12-bit hip-hop explosives, the cracking garage swing of early Strictly Rhythm, Mood II Swing and Masters At Work, the psychotic bleep-funk bombast of the Bomb Squad, and the deep, ecstatic machine soul pioneered by the likes of Blaze and the Burrell Brothers.
Produced in his Greektown studio in Toronto using an array of drum machines and samplers, these recordings are pure Tony: rude, crude and elemental. House music stripped down to its core principles and defining primordial textures. No nonsense, no junk, no varnish, no nothing. Just the funk.
Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.
Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.
There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.
Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.
Was genau ist Folk Soul? Es handelt sich nicht um den zeitgenössischen Roots-Rock oder die Country-nahen Balladen, die du wahrscheinlich kennst. Folk Soul steht direkt vor - wenn nicht sogar direkt neben - der schwarzen Musikszene der Mitte bis Ende der 60er bis in die frühen 70er Jahre. Während Spiritual Soul das Ethos der afroamerikanischen Befreiungsbewegung und den breiteren Kampf seiner Zeit verkörpert, beschäftigte sich Folk Soul mit der Analyse, Klassifizierung und regelrechten Ablehnung des Status quo - und stellte sich den komplexen, starren Machtkämpfen jener Zeit durch minimalistische, klassisch geprägte und zukunftsweisende Ansätze im Songwriting. Diese LP besiegt den Faschismus.
DJ, model, artist and selector Yuka Mizuhara steps forward with her standout 12-inch release 'Moon Dust' on Rush Hour. For her debut release, she joins forces with producers Benedek and Mickey de Grand IV (Psychic Mirrors), delivering a vibrant boogie and city pop-influenced transmission that bridges contemporary rhythm with classic, sun-drenched grooves.
Having spent formative years immersed in the underground music scene in Tokyo, with extended stays in Los Angeles and London, Mizuhara channels a rich blend of influences into her work. Known widely for her encyclopedic all-vinyl DJ sets, her residency on NTS Radio (Wave Flower), and high-profile collaborations with legends like Haruomi Hosono, Yukihiro Takahashi and Towa Tei, her musical output reflects a deep appreciation for groove, melody, and rhythm, carrying the torch of foundational Japanese techno-pop, experimental, and dance music forward.
On Moon Dust, Benedek returns fully to his signature West Coast boogie roots, laying down rolling, intricate synth basslines and melty chord progressions that form the heavy-grooving backbone of the record. Around this foundation, Mickey de Grand IV and Yuka Mizuhara write and weave extraordinarily catchy, endearing vocal melodies and hook-laden arrangements. Across its three distinct mixes, the track radiates Yuka's cute spirit—evoking a bubbly, high-spirited aesthetic reminiscent of classic 80’s RAH Band productions while blending sophisticated electronic arrangement with warm, organic dance floor vitality.
Fully stepping into her own as a recording artist following recent debut performances at major festivals like RDC and Rally, Yuka Mizuhara invites listeners into a romantic, synth-laden world built on pure groove and creative freedom.
Few tracks carry the weight of techno history quite like Dave Clarke’s ‘Wisdom To The Wise’. Created in a damp basement flat in Brighton in the early ’90s, the track was produced on an Atari 1040 and micro-sampler, drenched in dubbed-out reverb and shaped by a young Clarke still honing the sound that would soon make his name.
‘Wisdom To The Wise’ became the centrepiece of Red 2, the second instalment of Clarke’s seminal three-release series. With Red 1 already making serious waves, it was Red 2 that sent interest in Clarke into overdrive. Within a year, the series had helped propel him from underground producer to global techno force, culminating in a major-label album deal and international recognition.
The track’s influence has endured ever since, earning celebrated reinterpretations from techno heavyweights including Robert Hood, Marcel Dettmann, Boys Noize and Steve Rachmad. Now, Spectrum adds another chapter to that lineage with a very special remix from label boss Joris Voorn.
Staying faithful to the spirit and unmistakable character of the original, Voorn brings his own weight to the classic, reinforcing its impact with a heavier kick and the subtle production touches that have become his signature. Originally created as a weapon for his own sets, the remix has been road-tested on dancefloors and is now ready to be unleashed beyond the booth.
For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.
Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.
Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.
Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.
It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.
My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.
My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.
Chicago’s finest, Chez Damier’s “Untitled E.P.” gets an essential reissue for the first time in over five years. Originally released in 1993, this timeless piece of dance music still stands the test of time, sounding as fresh today as it did over 30 years ago.
A key release in the legendary KMS catalogue and an essential piece of deep house history, this is one for fans of the genre, old and new. Not one to miss.
This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.
Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.
Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."
That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.
Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.
The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.
Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.
As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."
Following the critically acclaimed Fantômes… Futurs, praised by FIP, France Inter, Radio Nova, ARTE and International jazz press, double bassist and composer Kham Meslien returns with Vévés électriques, a deeply immersive second album where memory, landscape and improvisation merge into a singular sonic journey. Joined by Laurent Bardainne, Roger Raspail, Naïssam Jalal and David Neerman, Meslien expands the intimate language of his double bass with subtle loops and organic textures, weaving together echoes of Iceland, the Caribbean and imagined territories. Blending spiritual jazz, contemporary classical influences and ambient soundscapes, Vévés électriques is an invitation to drift beyond geography and into a profoundly personal exploration of emotion, identity and freedom.
Set upon an oil-smooth sea, an immense range of directions opens up before Kham Meslien for “Vévés Électriques”, his second album after “Fantômes… Futurs.”
With only his double bass and bow as vessel and sextant, a distant journey nevertheless begins to take shape. Vibrations and the striking of strings against wood quickly trace lines and winding paths across the surface of the water—so many routes to follow before leaving them behind, allowing the outward journey to become an inward voyage as well.
After an improvisation intended to shed light on the course ahead, isolated lands came into view: the shores of Iceland, the lands of the far north, places cut off from the rest of the world by vast expanses of water. Islands battered by a harsh climate that can only be endured by drawing warmth from deep within oneself.
Then the Caribbean arc appeared. The archipelago, a setting for joyful and unsettling experiences, takes Kham back to a childhood from which the passing years have carried him away. Rather than following the conventional channel of the music of these places, the West Indies emerge through memories whose colors are still vivid.
Through the morning mist, Roger Raspail’s percussion locks into the same frequencies of the groove. Double bass and struck skins then become companions on a road that intersects with Laurent Bardainne’s saxophone. Carrying a dreamlike message, David Neerman’s vibraphone also joins the narrative to write a few chapters of its own, while others are enchanted by the flute and voice of Naïssam Jalal, or struck by the metaphorical rhymes of rapper Rocé.
On the surface, through the themes along which the pieces navigate, landscapes slowly reveal themselves and change shape as the shore draws nearer or recedes. Straying from the marked course and allowing oneself to drift, breaking free from pure acoustic sound by adding loops first played live and then sampled, allows Kham to explore the depths. The depths of the ocean, as well as those of his soul. To enter a world of improvisation that reveals itself even as he explores it. Examined up close, feelings become shells to pick up and hold to one’s ear, so that they can be felt intensely until they take material form.
This sea, which had appeared peaceful, became the stage for a succession of stories and images, which then accumulated to give birth to a larger narrative.
Land of Talk is still here. That wasn’t always a guarantee. Over the multi-faceted twenty year history of their project, Lizzie Powell has drifted from and back to music, always interrogating their role as an artist. In the time since 2023’s Performances, they found themselves utterly worn down by the vicissitudes of the music industry and wracked with worry around their aging parents. Yet the music didn’t stop: Powell heard songs in traffic and in birds chirping, in their downstairs neighbor’s daily prayers and in the babble of children on the street. Melodies slowly cohered over time. “Life can become so unbearable, and music is where I go to metabolize it,” they explain. “I know the music was the only thing that was going to help me.” Soon Powell reemerged with the sixth Land of Talk album, LASTS.
LASTS is full of double meanings — both resilience and finality, acting as a noun and a verb. Though LASTS is haunted by crises including climate collapse, political upheaval, and genocide, the mangitude of global turmoil led Powell towards smaller, humane depictions of suffering and grief. As both their parents became ill, Powell reflected on the last time a person might walk, might talk to a loved one. Yet watching their parents near the other side of life’s arc also made Powell consider all they had survived across their own decades on this earth, their new songs channeling both gratitude and rage. LASTS became a phrase, honoring Land of Talk’s circuitous route and all Powell’s reckoned with through the years. “I think of this record as a love letter to life,” they say.
The end result is an album both lean and winding, allowing Powell’s words and melodies to take centerstage, uncrowded in visceral, shot-no-chaser arrangements. LASTS jumps right in with “Broken Tongue,” a wiry track built on thrumming electric guitar and ghostly synths as Powell rails against the lack of justice for victims of abuse. The trio’s interplay is readily evident in “Saffron” and “4:44,” two earworm songs that also allow themselves to unspool into extended instrumental codas. Early in the record, there are seething tracks like “Dogs” — “Just your basic instinct / Even dogs know better,” Powell growls in the chorus, before the song quiets into a plaintive plea of “Leave us alone now” — and later there are more vulnerable, wandering moments. In “Projections” and “Cedars,” Powell ventures deep into their head, inviting their co-conspirators and listeners alike to follow the songs wherever they meander.
Across To Remind Myself I Have Lived, aquatic sounds drift through hazy electronics and lush bedroom textures, before giving way to harsher, more industrial British landscapes. Voices appear and disappear. Loops seem to circle memories rather than rhythms. Guitar fragments become dream sequences. Domestic spaces open onto something colder and more distant.
The new album by London-based Michele Tellarini under the Catholic Block moniker gathers works made across five years, moving between composition, improvisation and a more instinctive form of sound collage. Known for his work with concrete punks Qlowski (Feel It Records/Maple Death) and goth-punks Secrecy (La Vida Es Un Mus), Tellarini approaches this material without the conventions of a traditional song cycle, allowing disparate pieces to find their own connections.
There is something strangely timeless in these works: a quality shared with music that seems to exist slightly outside its own moment, from the intimate, confidential organic realm of Mount Eerie to Bruce Gilbert's more abstract electronic and ambient experiments or the haunting digital world of Holly Herndon. To Remind Myself I Have Lived belongs to that same uncertain space, music that feels both deeply tied to the circumstances of its making and somehow detached from them, music for the lonely that shines with crepuscular clarity.
YES is a genre-blurring blend of punk, electronic and rap from South Africa, released on limited edition White Vinyl
South African alt-rap trio Internet Girl have officially announced their debut album, YES, arriving November 13 via PACK. Records. Alongside the announcement, the group has released their new single “DA BUSINESS” featuring Kenny Mason.
A high-energy party anthem, “DA BUSINESS” opens with distorted guitar before chopped vocals briefly pull things back, only for an abrupt beat drop and howling synth to send the track into overdrive. As another synth melody sweeps in, TK cuts through the chaos with an introspective opening verse before Kenny Mason crashes in with a gritty guest verse. Live drums, distorted guitars, and surging synths continue to build around them, turning their vocals into something closer to rage-filled battle chants than traditional rap verses.
Partially written on tour last year, “DA BUSINESS” is the oldest song on YES and one of the album’s few guitar-led tracks. Kenny connected with the trio over DMs months earlier before joining them on the track, bringing Atlanta and South Africa together for one of the album’s most charged moments. “DA BUSINESS” follows the trio’s recent single “ALL THE SAME,” a swagger-heavy track built around a hypnotic Spanish-language vocal sample and live drums before a heavily distorted bass synth takes over in its final stretch, drawing inspiration from South Africa’s booming taxi rave scene. Together, the two singles offer an early look at the range of YES, moving between the rock, rap, and electronic sounds Internet Girl have made entirely their own.
Written largely during a week-long trip to South Africa’s Karoo region at the beginning of 2026, YES captures Internet Girl at a turning point. What began as an ad-lib TK would throw into his verses gradually became the philosophy behind the record: saying yes to an idea and committing to it completely, even before there’s any proof it will work. Across the album, that once-delusional confidence begins to feel real as the trio reflect on coming of age, growing more comfortable with themselves, and becoming increasingly assured in the music they make.
The new release arrives on the heels of a big year for the South African trio, who have brought their high-energy live show to stages around the world, including Pitchfork Music Festival Paris and Boiler Room Soweto, while co-headlining Kiss Kiss Festival in South Africa alongside Basement Jaxx.
The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and the player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video games, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.
The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.
The soundtrack of The Last Of Us: Season 1 is available as a limited edition of 4000 individually numbered copies on yellow marble vinyl. This 2LP is packaged in a deluxe gatefold sleeve with linen laminate finish. It includes printed innersleeves and an 8-page booklet with liner notes by writer and creative director Neil Druckmann.
There's Something Going On is the second studio album by Babybird, originally released in 1998.
The album is almost unrelentingly dark and mysterious, in much the same manner as his earlier lo-fi productions. Indeed, two of the tracks here, "You Will Always Love Me" and "There's Something Going On," were recorded straight to four-track. Jones' voice echoes out of lyrical valleys. "Take Me Back" is a horrific tale of an obsessive relationship, with lyrics about eyeballs scratched with rusty nails and a creepy chant of "dead, dead, dead" ad infinitum. It's a conceit that starts with the very first track, "Bad Old Man," where Jones sings of wife-beaters and a drowning in a duck pond. Musically, the album is more of a lean toward the baroque than Ugly Beautiful. One might describe it as stark, disturbed chamber pop. Beautiful melodies appear quite majestically out of Jones' psychological studies. "It's Not Funny Anymore" is bittersweet and touching, with Jones reaching for the album's emotional core over weeping, organic keyboards.
"There's Something Going On" is the tender conclusion, suggesting that Jones knows there's a better way of life than obsession and self-torture. There's Something Going On is definitely Baby Bird's most subtle album, and it's a fascinating listen from start to finish.
There's Something Going On is available as a limited numbered edition of 750 copies on turquoise vinyl and contains an insert.
Spacehorse had a serious pedigree featuring members of Heroin, End Of The Line, Clikatat Ikatowi, The Camera Obscura, and more. However, during their brief two-year existence from 2004–2006, they managed to craft a sound quite different from their previous bands. They delivered fast, aggressive, 80s DC/Midwest style punk-hardcore and helped shape the San Diego hardcore music scene.
Comfort with ambiguity, dynamic experimentation and melancholy are rife throughout Brody Price’s newest record, Leaf Miner’s Daughter. Classic alt-country at its core, this collection meticulously weaves together Americana into sluggish, heavy grooves; overdriven guitars, hook-laden acoustic dissonance - all bolstered by a songwriter full of heart and intention.
An integral member of the Dallas / Texas scene and national DIY touring community, Price has been quietly building a dedicated community of fans across the US since 2017, entirely independent and reliant on each other to build and shape the tours by word of mouth. Following a cassette recorded collection of country songs, ‘What’s The Point In Trying’ (2017), and the gorgeous and chaotic ‘Win A Trip To Palm Springs’ (2022), Price is tracing a sonic and narrative arc that feels specific, earnest and whimsical - not without its dark corners and deep questions.
The innate ability to find beauty among the rubble is rife throughout his newest, revealing an authentically tender desire to dig deeper to find relief and understanding. He invites us to empathize and sit alongside his turmoil in an effort to make ours more bearable. At home in his musicality and the discomfort of living, Price revels in the act of putting the pieces back together, giving us all permission to do the same.
On his sweeping sophomore solo effort, James Felice squares up against cosmic indifference with expansive orchestral production and a depth of writing that makes even visceral Biblical imagery feel effortless. Recorded in Omaha with Nate Walcott (Bright Eyes) at the helm, Homeworld Blue pairs lush horns, intricate strings and pounding piano with Felice's authoritative, plainspoken voice — grand in scope, but never far from the small, everyday moments it's really about. Drawing on twenty years as keyboardist and accordionist of The Felice Brothers, and following his 2025 solo debut The Little Ones, Felice trades the intimacy of home recording for a maximalist, cinematic scope that sits comfortably alongside audacious songwriters like Joanna Newsom, Fiona Apple and Randy Newman — and closes, fittingly, back in the family kitchen.
On his sweeping sophomore solo effort, James Felice squares up against cosmic indifference with expansive orchestral production and a depth of writing that makes even visceral Biblical imagery feel effortless. Recorded in Omaha with Nate Walcott (Bright Eyes) at the helm, Homeworld Blue pairs lush horns, intricate strings and pounding piano with Felice's authoritative, plainspoken voice — grand in scope, but never far from the small, everyday moments it's really about. Drawing on twenty years as keyboardist and accordionist of The Felice Brothers, and following his 2025 solo debut The Little Ones, Felice trades the intimacy of home recording for a maximalist, cinematic scope that sits comfortably alongside audacious songwriters like Joanna Newsom, Fiona Apple and Randy Newman — and closes, fittingly, back in the family kitchen.
Praised by Rolling Stone, NME and the New York Times on release — the1996 debut from the members who went on to form bright eyes & cursive. Back on vinyl for its 30th anniversary!
Blanket Warm is a genuine buried-treasure reissue: a record contemporary critics compared to the Rolling Stones, Guided by Voices, and Tindersticks, and one a new generation of listeners has rediscovered as a missing link to Neutral Milk Hotel and Sufjan Stevens’ chamber-folk.
Lullaby for the Working Class formed in Lincoln, Nebraska in the winter of 1994, when multi-instrumentalist Mike Mogis and singer-guitarist Ted Stevens began writing together. Working from two home-recorded demos — and without having played a single live show — the band signed to New Jersey’s Bar/None Records in 1995. Blanket Warm was recorded and mixed by the Mogis brothers between December 1994 and April 1996 at their own Whoopass Recording Studio in Lincoln. Bar/None issued the album on CD in September 1996, while the vinyl LP went out through Lumberjack/Saddle Creek imprint in a pressing of just 1,000 copies — long out of print, and the edition this reissue restores to the format.
The result splits the difference between rustic and ornate: acoustic guitar, banjo, mandolin, and upright bass sit alongside a chamber ensemble of violin, cello, clarinet, trumpet, and trombone. Critics at the time reached for an unusually wide range of comparisons — the Rolling Stones, Guided by Voices, Tindersticks, Van Morrison — united mainly by the sense that nothing else sounded quite like it. Ted Stevens’ plainspoken, image-driven lyrics and unhurried delivery anchor songs that unfold with more patience and more instrumental color than the alt-country and lo-fi indie rock the band got lumped in with on release.
Trip! White label, hand stamped. Four tracks of house, techno and dub techno from Bistong on a single 180g 12 inch, no filler. A record made to be played through, not skipped around.
Four grooving house and tech house cuts from Mark Henning/J.U.G. Jef K/Chris Carrier, Alex Arnout and Sam Russo, built purely to dance. This is a record about dancing, about grooves that hold and tracks that do their job on a floor without fuss.
Doppel-LP, 180g Vinyl. Pearl Flip Horizon. Gatefold Sleeve. BLACK SPACE RIDERS' achtes Studioalbum präsentiert sich als ein scheinender, eklektischer Bastard, der vor Spielfreude, Ideenreichtum und Liebe zum Detail sprüht. Aus dem Besten vieler Genres und unterschiedlicher Jahrzehnte formt die Band eine ganz eigene Klangwelt: psychedelisch, schwer, tanzbar, manchmal zart, manchmal hart, aber stets zutiefst atmosphärisch und drängend, fließend und zugänglich. Konzeptionell fungiert das achte Album als die Kartografie eines schleichenden Zerfalls. Es liefert die Protokolle einer Relaisstation am äußersten Rand - sei es in einer fernen Galaxis oder in den digitalen und sozialen Netzwerken unseres Hier und Jetzt.
In January of 2004 recording commenced on Loretta Lynn's 42nd solo album. This particular album was poised from the start to be a unique and standalone installment in a long well established, unbelievable, legendary, career already spanning five decades due to the role of producer going to none other than a 28 year old Jack White. White, a long time admirer of Lynn's work, leapt at the chance to conduct this musical experimentation of blended styles and see what fruits the two very separate but cosmically intertwined approaches to writing, playing, and producing music could yield.
The album would go on to win the 2005 Grammy Award for "Country Album Of The Year", with the albums second single "Portland, Oregon" winning "Best Country Collaboration With Vocals". A litany of other accolades were to follow and the record firmly cemented itself in the annals of Country music history as the most successful crossover album of Lorettas historic career. Twenty-two years later, we're still celebrating it.
Third Man Records is proud to announce Van Lear Rose reissued and expanded. Now including the additional track "Just to Have You Back", previously only available to members of The Vault vinyl subscription series, rounding out the already impeccable tracklist. This LP is available in both a standard black and limited edition orange (while supplies last) colorways as well as CD.
In January of 2004 recording commenced on Loretta Lynn's 42nd solo album. This particular album was poised from the start to be a unique and standalone installment in a long well established, unbelievable, legendary, career already spanning five decades due to the role of producer going to none other than a 28 year old Jack White. White, a long time admirer of Lynn's work, leapt at the chance to conduct this musical experimentation of blended styles and see what fruits the two very separate but cosmically intertwined approaches to writing, playing, and producing music could yield.
The album would go on to win the 2005 Grammy Award for "Country Album Of The Year", with the albums second single "Portland, Oregon" winning "Best Country Collaboration With Vocals". A litany of other accolades were to follow and the record firmly cemented itself in the annals of Country music history as the most successful crossover album of Lorettas historic career. Twenty-two years later, we're still celebrating it.
Third Man Records is proud to announce Van Lear Rose reissued and expanded. Now including the additional track "Just to Have You Back", previously only available to members of The Vault vinyl subscription series, rounding out the already impeccable tracklist. This LP is available in both a standard black and limited edition orange (while supplies last) colorways as well as CD.
Neues Livealbum der Indie-Ikone Ed Kuepper, aufgenommen 2023 in Melbourne während seiner erster Tour seit über einem Jahrzehnt, bei der er mit kompletter Band sein Solomaterial in den Mittelpunkt stellte. Ein mitreißender Auftritt mit Musik aus Eds 50-jähriger Karriere in erstklassiger Besetzung (u.a. mit Schlagzeuger Mark Dawson und Bassist Peter Oxley (Sonnyboys). In den 1970ern läutete Kuepper mit The Saints die Punk-Ära ein (noch vor The Clash, The Damned, Sex Pistols), gründetet später die Post-Punk-Formation Laughing Clowns und begann 1985 seine Solokarriere.
10th anniversary, limited Edition pressing of 1000 worldwide, expanded to 2xLP w/ nine demos & live tracks, sleeve jacket art updated with foil elements! Released in 2016, Trophy Eyes' sophomore album, Chemical Miracle, is celebrated as a modern masterpiece for its seamless blend of hardcore grit and pop-punk melody. The record marked a massive evolution for the Australian band, driven by frontman John Floreani's dynamic vocal shifts between raw, gravel -throated screams and soaring clean melodies. The instrumentation perfectly matches this energy, swinging effortlessly from manic, punk-rock aggression to softer, atmospheric alt-rock moments. The album's defining characteristic is its deeply confessional and gut-wrenching lyricism, which offered a mature contrast to a genre typically dominated by simpler themes of heartbreak. Floreani tackles the darkest corners of his life with unflinching honesty, exploring survivor's guilt, suicidal ideation, addiction, and profound loneliness. This emotional weight is best exemplified in the opening track, "Chlorine," which pairs bouncy, energetic instrumentation with the devastating true story of Floreani processing the suicide of the man who saved him from drowning as a child. Culturally, Chemical Miracle elevated the mid-2010s pop-punk scene by proving that catchy music could effectively tackle heavy, complex human experiences. By addressing severe mental health struggles frankly and without glorification, the album fostered a profound connection with fans and provided a vital, relatable outlet for listeners. Furthermore, its massive critical and commercial success helped propel the thriving Australian alternative music scene onto the global stage, cementing Trophy Eyes' legacy in the genre.
Tony Reed is undoubtedly one of those artists whom fans of “heavy music” have, at least unknowingly, encountered on stage or on their turntables at some point. Bands like Pentagram, Mos Generator, Hot Spring Water, and the so-called supergroup Big Scenic Nowhere are just a small part of his discography, which he continues to expand as a producer and mixer.
CONSTANCE TOMB was Tony Reed’s first band, which he founded at age 19 and which was heavily influenced by the gothic movement of the early ’80s. There are recordings online from when they made “boombox recordings” or, later, when he recorded everything “hi-fi” on his own in the garage with just a microphone, preserving it all for posterity on cassettes. You can also find several solo cover versions released under the band’s name. It was a labor of love that Tony Reed never let go of, but there was never a real band that toured or released an album—until now!
Now Tony has breathed new life into his childhood love, CONSTANCE TOMB, and fused his fondness for dark ’80s bands with his heavy metal past. Bands like Southern Cult, Bauhaus, The Cure, Bowie, as well as Black Sabbath and Thin Lizzy have shaped his musical tastes. Now, a mix of old and new songs is being infused with fresh energy, reviving a solo project that had taken on a slightly artificial feel.
With Bo McConaghie on bass and Christian Roney on drums, the band has already played its first concerts in the northwestern United States to find their sound as a group. Joint rehe
