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"PRONTO" is the debut album by ARYA, an Italian-Venezuelan artist who grew up in Milan. ARYA arrives with this first full-length album after the EPs
Peace of Mind (2021) and Punto Zero (2023), collaborations (Mahmood, Venerus, Ghemon, Dardust, Calibro35, and many others), and an intense live
activity, which have made her one of the most interesting voices on the Italian neo-soul/R&B scene.
Born from a personal journey of therapy and awareness, "PRONTO" takes shape as a concept album, transforming the emotional investigation into a
coherent and layered musical narrative. The title captures the meaning of the project: "Pronto" is a word that crosses all the languages present on the
album—Italian, English, and Spanish—taking on different meanings ("subito," "presto"), and is also the first word uttered in the intro. A term that introduces the listener to a space of availability, anticipation, and presence.
The entire album was produced by Claudio La Rocca (Sup Nasa), a key figure in building the project's sonic identity. Giuseppe Seccia, Matteo D'Ignazi,
Martina Tedesco, Tiziano Codoro, Stefano De Vivo, and Giulia Gentile also contributed to the album, recording the instrumental parts and contributing
to the arrangements and production of some tracks.
With "PRONTO," ARYA takes the listener on a journey through different levels of her emotional history, until the elevator starts moving again and leaves room for a new possibility of balance.
ARYA (AryaDelgado) is an Italian-Venezuelan artist born in Milan in 1994. Daughter of salsa singer Orlando Watussi, she grew up surrounded by music
and quickly developed a sensibility that blends Latin roots, nu-soul, and contemporary R&B, with a strong focus on the emotional and narrative dimensions of her writing. In 2021, she released her debut EP, Peace of Mind, followed in 2023 by Punto Zero. These releases attracted press attention
and led to collaborations with artists such as Mahmood, Venerus, Ghemon, Dardust, and Calibro35. Over the years, she has consolidated an increasingly recognizable presence, alternating songwriting, solo production, and an intense live schedule in Italy and abroad. In 2024, she accompanied Mahmood on tour and released the single, "Si Potesse Tornare." In 2025, La Noche En Que Te Fuiste and Onda were released, songs that marked the
beginning of a new artistic chapter and anticipated the release of “PRONTO,” her debut album, released in February 2026. An intimate and layered
work, which focuses on vulnerability as a language and confirms ARYA as one of the most personal and aware voices of the new Italian soul scene.

Swirl-Vinyl. Diese 10-Jahre-Jubiläumsausgabe erscheint in einer neuen Gatefold-Hülle mit aktualisierten Fotos, Texten und Liner Notes. Disc eins enthält das Originalalbum in voller Länge, und die brandneue zweite Disc bietet die seltene B-Seite ,Nail In Your Hand", eine überarbeitete Version von ,Heaviside" mit der Künstlerin Wisp am Gesang sowie sieben bisher unveröffentlichte Demo-Versionen von Songs aus dem zweiten Album von Citizen. Vor zehn Jahren veröffentlichten Citizen ,Everybody Is Going to Heaven" - ein Album, das einen mutigen Wendepunkt in ihrer Karriere markierte. Nach dem Durchbruchserfolg von ,Youth" hätte die Band einfach ihren bisherigen Kurs beibehalten können. Stattdessen setzten sie noch stärker auf dunklere Texturen, schwerere Stimmungen und einen furchtlosen Sinn für Experimente. Das 2015 veröffentlichte ,Everybody Is Going to Heaven" erweiterte den Sound von Citizen über ihre Emo- und Post-Hardcore-Wurzeln hinaus und verwebte Elemente aus Grunge und Alternative Rock. Tracks wie ,Cement" und ,Stain" fingen eine rohe, unruhige Energie ein, die sich mit Sterblichkeit, Depression und Identität mit einer Ehrlichkeit auseinandersetzte, die bis heute nachhallt. Es war kein Album, das zum einfachen Hören gemacht war - es war auf Dauer angelegt. Jetzt, ein Jahrzehnt später, steht ,Everybody Is Going to Heaven" als entscheidender Moment in der Entwicklung von Citizen - ein Album, das sowohl die Band als auch ihr Publikum herausforderte und dazu beitrug, die furchtlosen, Genre-übergreifenden Künstler zu formen, zu denen sie geworden sind. Auch beim 10-jährigen Jubiläum bleibt Citizen eine Band, die sich ganz dem Wachstum verschrieben hat und sich weigert, sich auf einen einzigen Sound oder eine bestimmte Ära festlegen zu lassen. ,Everybody Is Going to Heaven" hat nicht nur markiert, wo sie standen; es hat den Weg für alles geebnet, was danach kam.

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Distant Clouds Grey Vinyl. Das siebte Album von Teen Suicide ist das erste richtige Album der Band seit ,honeybee table at the butterfly feast", das durch Songs wie ,you were my star" wieder Aufmerksamkeit bekam, der auf TikTok richtig abging. Teen Suicide wurde 2010 als Nebenprojekt von Sam Ray gegründet und hat sich nach und nach weiterentwickelt, während es ein leidenschaftliches Projekt blieb. Seit 2017 gehört Kitty Ray zur Band, und 2022 wurde die Band mit dem Beitritt des Schlagzeugers Niko Wood offiziell zu einem Vollzeitprojekt. Gemeinsam begann das Trio mit dem Schreiben und Aufnehmen ihres kommenden Albums ,Nude descending staircase headless". Das Album stellt eine Reihe von Premieren für die Band dar: ihre erste Platte, die in einem professionellen Studio aufgenommen wurde, ihre erste Veröffentlichung, die als Vollzeitband geschrieben und aufgenommen wurde, und ihre erste seit 2012, auf der durchgehend ein festes Schlagzeuger zu hören ist. Es markiert auch den Beginn eines vollständig gemeinsamen Schreibprozesses zwischen Sam und Kitty Ray, die 2016 geheiratet haben und von Grund auf an der gesamten Platte mitgearbeitet haben, wobei sie sich sowohl das Songwriting als auch den Gesang aufteilten. Von Sam Ray als ,bisheriger Höhepunkt der Karriere" der Band beschrieben, erkundet Nude descending staircase headless das endlose Streben nach Erfüllung durch Kreativität und verknüpft Motive von Tod und Wiedergeburt mit Themen wie der Freude trotz großer Verluste. Das Album sieht das Selbst nicht als isoliertes Objekt, sondern als einen einzelnen Strang in einem größeren, miteinander verbundenen Netz. Zu den herausragenden Tracks gehören ,Idiot", das sich an direktem, wörtlichem Storytelling orientiert, und ,Spiders", bei dem Kitty Ray den Gesang übernimmt und eine düstere feministische Unterströmung in die übergeordnete Erzählung des Albums einbringt. Musikalisch lässt sich die Band von Künstlern wie Nirvana, Radiohead, Shellac und Helmet inspirieren und greift die Intensität und Experimentierfreudigkeit des Heavy Rock der späten 80er und 90er Jahre auf. Ihre jüngsten Tourneen mit DELTA SLEEP unterstreichen einmal mehr, dass Teen Suicide zunehmend Einflüsse aus Math Rock und Metal in ihren sich weiterentwickelnden Sound einfließen lässt.

Distant Clouds Grey Vinyl. Das siebte Album von Teen Suicide ist das erste richtige Album der Band seit ,honeybee table at the butterfly feast", das durch Songs wie ,you were my star" wieder Aufmerksamkeit bekam, der auf TikTok richtig abging. Teen Suicide wurde 2010 als Nebenprojekt von Sam Ray gegründet und hat sich nach und nach weiterentwickelt, während es ein leidenschaftliches Projekt blieb. Seit 2017 gehört Kitty Ray zur Band, und 2022 wurde die Band mit dem Beitritt des Schlagzeugers Niko Wood offiziell zu einem Vollzeitprojekt. Gemeinsam begann das Trio mit dem Schreiben und Aufnehmen ihres kommenden Albums ,Nude descending staircase headless". Das Album stellt eine Reihe von Premieren für die Band dar: ihre erste Platte, die in einem professionellen Studio aufgenommen wurde, ihre erste Veröffentlichung, die als Vollzeitband geschrieben und aufgenommen wurde, und ihre erste seit 2012, auf der durchgehend ein festes Schlagzeuger zu hören ist. Es markiert auch den Beginn eines vollständig gemeinsamen Schreibprozesses zwischen Sam und Kitty Ray, die 2016 geheiratet haben und von Grund auf an der gesamten Platte mitgearbeitet haben, wobei sie sich sowohl das Songwriting als auch den Gesang aufteilten. Von Sam Ray als ,bisheriger Höhepunkt der Karriere" der Band beschrieben, erkundet Nude descending staircase headless das endlose Streben nach Erfüllung durch Kreativität und verknüpft Motive von Tod und Wiedergeburt mit Themen wie der Freude trotz großer Verluste. Das Album sieht das Selbst nicht als isoliertes Objekt, sondern als einen einzelnen Strang in einem größeren, miteinander verbundenen Netz. Zu den herausragenden Tracks gehören ,Idiot", das sich an direktem, wörtlichem Storytelling orientiert, und ,Spiders", bei dem Kitty Ray den Gesang übernimmt und eine düstere feministische Unterströmung in die übergeordnete Erzählung des Albums einbringt. Musikalisch lässt sich die Band von Künstlern wie Nirvana, Radiohead, Shellac und Helmet inspirieren und greift die Intensität und Experimentierfreudigkeit des Heavy Rock der späten 80er und 90er Jahre auf. Ihre jüngsten Tourneen mit DELTA SLEEP unterstreichen einmal mehr, dass Teen Suicide zunehmend Einflüsse aus Math Rock und Metal in ihren sich weiterentwickelnden Sound einfließen lässt.

Petter Eldh's explosive ensemble Koma Saxo continues their adventures with a new album "Koma West", out on We Jazz Records, 18 March 2022. The album sees Koma Saxo expand on their previous sound with the addition of vocalist Sofia Jernberg and a strong cast of featured artists, including cellist Lucy Railton, violinist Maria Reich, pianist Kit Downes and accordionist Kiki Eldh (Petter's mom!). The hard-hitting key quintet remains, including Eldh on bass and assorted instruments, Christian Lillinger on drums, plus saxophonists Otis Sandsjö (of Y-OTIS), Jonas Kullhammar and Mikko Innanen bringing the SAXO to the KOMA operation.

At 14 tracks, "Koma West" is a full menu of monumental compositional ideas that could spawn entire albums. True to his chop & go production style, Eldh relies on continuous movement while presenting another all killer no filler program taking Koma Saxo on a sonic outing not quite like anything that had previously appeared under the band's name. That being said, there's very much the Petter Eldh touch here, one which might be hard to pinpoint and verbalise, but nevertheless a recognisable style of composing, producing and arranging.

Thematically, the album is rooted in the West Coast of Sweden, where Eldh grew up – he's from a tiny town called Lysekil. There's a thread of Swedish folk song tradition that has been part of the Koma Saxo DNA from the get-go and you can hear that here as well, especially on cuts such as "Närhet", beautifully sung by Sofia Jernberg.

Petter Eldh says:

"In a way, it's a concept album and a celebration of the Swedish West Coast. The first single is called 'Koma Kaprifol', and kaprifol is the landscape flower of Bohuslän on the West coast, where I grew up. I'm not too wild about attaching strong narratives to my music but there's no way around it this time. The oysters, a common snack around the coast, are a strong conceptual presence here. Anyway, they seem to pop up here and there quite often already thus far in the Koma Saxo narrative, even though it's not always so obvious. Koma Vocals! Koma Strings! I love the presence of Sofia Jernberg here and I love writing string arrangements, too, although I never thought I would do it for Koma, but of course, Koma should have some strings, why not?. Koma Saxo should and can become anything."

Mit Buddha-Bar XXVIII öffnet sich erneut das Tor zu einer Welt voller Eleganz, Sinnlichkeit und globaler Klangfarben. Die legendäre Compilation-Reihe, die längst zu einem internationalen Lifestyle-Phänomen geworden ist, präsentiert mit diesem Kapitel erneut einen Mix, der die Balance zwischen elektronischer Finesse, weltumspannenden Melodien und tiefen Chill- und House-Vibes meisterhaft hält. DJ Ravin, seit Jahren prägende Sound-Signatur des Buddha-Bar-Universums, führt Hörer:innen mit sicherer Hand durch eine Reise voller Atmosphäre und subtiler Spannung. Jeder Track reiht sich wie ein Mosaikstein in ein großes Ganzes ein - perfekt geeignet für entspannte Abende, stilvolle Lounges oder Momente der Entschleunigung. "Buddha-Bar XXVIII" steht exemplarisch für die besondere Kunst dieser Serie: Musik als Erlebnis, als Raum, als Stimmung. Eine Einladung, abzuschalten, einzutauchen und die Welt für einen Augenblick in warmen Farben zu hören.

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

“III” is an intimate, cinematic and dream-like body of work — written, produced and mixed by Morita Vargas, and recorded in Buenos Aires between 2014 and 2025. The album was mastered by Rafael Anton Irisarri at Black Knoll Studio (NY), adding depth and clarity to its carefully built sonic landscape.

The visual world of the record is an essential part of the release. The cover artwork was crafted by Juliana Guglielmi, Ariadna Aylen Barrios, and Noelia Garreffa, whose combined vision creates a unified visual narrative that reflects the album’s emotional depth and atmospheric essence. The LP layout and full manufacturing realization were carefully executed by Ilja Tulit, translating the complex design ideas into their final tangible form of a vinyl release.

“III” marks a special release for Hidden Harmony Recordings. Morita Vargas was among the first artists released when the label began in 2020–2021, and her work played an important role in shaping the spirit and direction of Hidden Harmony.

With American idealism and societal unity in flames, the ethereal ambiance of Denver's ABRAMS has been permeated by vibrating, hair-trigger fury. On new album Loon, wistful melodies warp into dissonance and aggression, and crystalline beauty is inhabited by bitterness and rage. 2024's soaring and driving Blue City was a record full of arresting, nostalgic textures that Metal Hammer Magazine called "an upswell of positivity in the face of frustration that's sure to shake you from your existential slumber." But this is no longer the world of that album. The grinding hopelessness and chaos of these times have infused ABRAMS with the shattering intensity of Converge. Urgent and abrasive, Loon is acerbic, fed up, and riddled with pulverizing fury. Wistful melodies warp into dissonance and aggression. Crystalline beauty is inhabited by bitterness and rage. The band's instinctive hooks aren't gone, and hopeful moments do shine intermittently through. But it's clear that ABRAMS, like a lot of us, are pissed off. Desperate and seething, Loon is an irresistible, frenzied purge from a band refusing to give in. For fans of Torche, Converge, Cave-In, Failure, Quicksand and Hum. Coloured LP (white vinyl) & digipaked CD

To celebrate the year anniversary of its first release, Erin LeCount launches a limited edition transparent vinyl of her 2025 EP I Am Digital, I Am Divine. The tracklist includes viral hit Silver Spoon which amassed 300K Soundcloud streams before it had even been released, since amassing 21M streams in less than 12 months.

Available for pre-order on the 24th March and set for release on the 17th April 2026.
Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop.

At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.

In May 2026, Erin LeCount will embark on her biggest run of shows to date with her new UK tour, entitled the ‘PAREIDOLIA Tour’, which will see her play dates in Manchester, Glasgow, Bristol, and London, the latter of which will take place at the Roundhouse in what is Erin’s largest headline show so far.

This month, Erin was also announced on the line-up for Lorde’s All Points East date on Saturday 22nd August.

Since their ground-breaking US debut the Amigos have lived a double life. In their hometown of Caracas, Venezuela, they"ve hosted underground club nights for years (the most recent called "Super Sancocho Variety"). Then, insouciant single-entendre songs like "Sexy" and the doggy-style anthem "Ponerte En Cuatro" landed them on MTV and radio, and before long, the six young men found themselves pop idols. It wasn"t hard, but their hearts remain on the dance floor and in the clubs. AREPA 3000 is live instruments, start to finish. "Electronic music tries to simulate human sounds," says the guitarist. "It"s really easy to buy a groove box or an 808 to make us sound like techno. So we try to get those sounds from our instruments, to go the other way. Make the human sounds sound electronic. When we do our club shows, I"ll spin before our set and we"ll add live instrumentation. We can play four, five hours like that.

Der Tenorsaxofonist Stanley Turrentine hatte sich in den frühen 1960er Jahren einen Namen als gefühlvoller Soul-Jazzer gemacht. Oft war er auf den Alben dieser Zeit gemeinsam mit seiner damaligen Frau, der
Hammond-Organistin Shirley Scott, zu hören. Mitte der 1960er Jahre öffnete sich Turrentine auf Alben wie
“Easy Walker” progressiveren Jazzklängen, ohne dabei seine Identität zu verlieren. Das abwechslungsreiche
Programm von umfasste hier sowohl hart groovende Nummern als auch sinnliche Balladen.

To celebrate the year anniversary of its first release, Erin LeCount launches a limited edition transparent vinyl of her 2025 EP I Am Digital, I Am Divine. The tracklist includes viral hit Silver Spoon which amassed 300K Soundcloud streams before it had even been released, since amassing 21M streams in less than 12 months.
Available for pre-order on the 24th March and set for release on the 17th April 2026.
Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop. At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.
In May 2026, Erin LeCount will embark on her biggest run of shows to date with her new UK tour, entitled the ‘PAREIDOLIA Tour’, which will see her play dates in Manchester, Glasgow, Bristol, and London, the latter of which will take place at the Roundhouse in what is Erin’s largest headline show so far. This month, Erin was also announced on the line-up for Lorde’s All Points East date on Saturday 22nd August.

»Vents d’aether« is the first collaborative album by sound artist Jérôme Bouve and composer-performer Delphine Dora. The six pieces are based on live improvisations on organ and harmonium. They were recorded in different churches on the Cotentin peninsula in France’s Normandy region and later enriched with additional field recordings by SA~RA. This adds an extra layer to compositions which were created both in and out of the moment and which quite literally resonate with the histories of the instruments and the buildings that were so integral to their emergence. »Vents d’aether« is to be understood as a dialogue between sound and space that takes place across time and place.

Bouve carried the idea of working with the organs and harmoniums that can be found in the churches and chapels in the Val de Saire in the Northeast of Cotentin around with him for years. When he got to know Dora, he found the perfect musical partner with whom to finally make a record »about the wind, the wood, the stones of the Val de Saire.« In September 2024, the duo embarked on a short but fruitful journey during which they stopped by at several different churches. They recorded hours-long improvised sessions dedicated to »capturing the moment, letting space and time shape gestures and sound, seizing fleeting epiphanies in their greatest simplicity,« as Dora notes in the album’s linernotes.

She took the lead behind the instruments, however Bouve assisted her on drawbars for the last two pieces on »Vents d’aether,« thus adding an even more unusual touch to the recordings. They formed the basis for an album that Dora calls »the testimony of a sensory quest, a collection of memories suspended in time.« Indeed, starting with the epic 20-minute-long titular piece up until the ringing of church bells near the end of the closing piece »Montfarville V,« this overwhelming yet intimate record blurs the boundaries between different times and spaces altogether.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Shrunken Elvis ist ein Trio aus Nashville, bestehend aus Spencer Cullum, Sean Thompson und Rich Ruth - drei erfahrenen Musikern, die ihre Liebe zu genreübergreifender Instrumentalmusik verbindet. Die Gruppe entstand aus langen Autofahrten durch Europa, Winter-Jam-Sessions und dem gemeinsamen Bestreben, Musik eher aus dem Bauch heraus als aus Ambitionen heraus zu machen. Cullum, ein in East London geborener Pedal-Steel-Gitarrist, spielte bereits mit Angel Olsen, Lambchop, Miranda Lambert und Billy Strings gespielt und zwei Solo-Folk-Psych-LPs bei Full Time Hobby veröffentlicht. Thompson kam mit Gnarwhal und Promised Land Sound in der DIY-Szene von Nashville groß heraus und tourte später mit Margo Price und Skyway Man. Ruth schafft unter dem Namen Rich Ruth (Third Man Records) immersive Soloarbeiten, die spirituellen Jazz, Ambient und Post-Rock miteinander verbinden. Ihre Anfänge gehen auf eine Europatournee im Jahr 2022 zurück, die sie im Rahmen von Cullums Soloalbum unternahmen. Mit einem kompakten Setup aus Gitarren, Pedal Steel und Synthesizern in einem VW Passat zusammengepfercht, begannen sie unterwegs zu komponieren - und entwickelten eine gemeinsame musikalische Sprache, die sie in ihre Wintersessions in Nashville mitnahmen. Sie nahmen in einem Studio in einem Schuppen um einen Heizstrahler herum auf und fingen den Geist dieser Reisen mit Spontaneität und Vertrauen ein. Ihr Debütalbum zielt nicht darauf ab, individuelle Fähigkeiten in den Vordergrund zu stellen, sondern die Instrumente zu etwas völlig Neuem verschmelzen zu lassen. Mit der Einstellung ,keine Ziele, nur Ideen" schufen sie Musik, die sich ungezwungen, explorativ und lebendig anfühlt. Verwurzelt in den Traditionen von Kosmischer Musik, Jazz-Fusion, Elektronik und Ambient, lässt sich Shrunken Elvis von Alice Coltrane, Michael Rother, Pat Metheny, Ashra und KLF inspirieren lassen - zusammen mit visuellen Einflüssen wie ECM-Albumcovern und den Filmen von Kurosawa und Bergman. Gemischt von Jake Davis (William Tyler) und mit Artwork von Max Kinghorn-Mills (Hollow Hand) ist ihr Debüt ein leise drängendes, zutiefst kollaboratives Album - Musik, die ohne Erwartungen entstanden ist, aber voller Absicht.

Until We Are Free is the debut album from fabric, a collective of musicians from diverse backgrounds united by a shared goal: to fuse irresistible rhythms and grooves with a direct, socially conscious message that draws vital attention to the contradictions of modern life. The project's name itself evokes the idea of a living, dynamic ensemble—a creative intertwining of different threads, from musical genres to founding musicians and guest collaborators, all actively woven into the social fabric.

The record blends funk, soul, and Afrobeat with a sharp, contemporary urban attitude, resulting in a sound that functions simultaneously as sonic resistance and an invitation to the dancefloor.

It finds its place in a lineage that runs from Fela Kuti and ESG to The Comet Is Coming, Sault and Jungle.

At its core is the conviction that music and civic engagement can coexist seamlessly without being didactic. While the lyrics—entirely in English—tackle themes of rights, equality, and freedom, the groove remains the heartbeat: constant, pulsing, and relentless.

Mixed by Tom Campbell (whose credits include Sault, Little Simz, Adele, Michael Kiwanuka, and Jungle) and featuring art direction by Raissa Pardini, Until We Are Free is a soundtrack for complex times. It is an invitation to refuse neutrality and isolation, and to imagine—together—new possibilities for movement, resistance, and the future.

fabric's singles "Taste This Sound" and "Fight!" have been featured in FIP's Spotify Playlists "FIP Radio (en live)" and KEXP's "New This Week" and "KEXP Rotation".

DJ 3000 BRIDGES CONTINENTS WITH "SO SHEIK": A CINEMATIC MIRAGE ON MOTECH #178

DETROIT / GLOBAL — Motech Records founder DJ 3000 returns with "So Sheik," a release that operates in the shadows between the Motor City and the Mediterranean. Having carved out a unique sonic identity among Detroit’s elite producers, DJ 3000 moves away from standard tropes to craft a cinematic mirage that blends the mechanical pulse of Detroit with a haunting, orchestral depth.

The production is anchored by the rhythmic drive of the shekere and deep percussion, layered with a haunting fusion of analog strings and horns. Rather than traditional brass, the horns blend seamlessly with the strings to create a lush, otherworldly atmosphere—making "So Sheik" a masterclass in global techno mystery.

True to the label’s roots, Motech #178 is a limited vinyl-focused release, continuing the label's unwavering commitment to the wax tradition in a digital age.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations.

In 2023, Realf Heygate - who makes music as Flaer - released his debut mini-album Preludes, composed on his mother’s piano and his childhood cello.Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall.

Like Preludes, Translations is coloured with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds.

“When I digitised my mother’s tapes, they warped and stuttered in a very similar way to the starling’s song,” he explains. “They had this uncanny rhythm and pulse that I couldn’t quite decode, but was saying something." These decayed transmissions hint at loss, resisting clarity in favour of the ineffable.

Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album’s opening track ‘Entre’. At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and ‘Starling Descends’ (a reference to Vaughan Williams’ ‘The Lark Ascending’) act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting awider palette of influences.

“Flaer began in many ways when I picked up my mother’s instruments, seeking a form of reconnection. Where words evaded me, they became the tools through which I found a language for grief – and above all, for love.”

Recorded between 2023 and 2025 – what Heygate calls “A gradual process of sowing and harvesting ideas rather than a single intense creative period” - each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.

“It's that feeling of searching that I really enjoy,” Heygate continues. “I never know what the destination of the composition is going to be, and I never really find what it is."

Translations is released on limited edition off-white vinyl LP (500 copies worldwide) with one of five signed and numbered handmade risograph prints. It's also available as standard black vinyl LP and digitally.

“Black Jacket” is a love letter between two bands separated by continents but united by mutual admiration. Contriva, of Berlin, and Chessie of Washington, DC, first came together in 2001 when sharing a stage, sparking a deep connection over their respective takes on textural, emotive, and mostly instrumental music that merges post-rock, ambient, and experimental elements into unique visions. Fast forward two decades and many trips to their respective studios and we now have “Black Jacket”, a double LP of musical alchemy that builds upon the expressionistic, idiosyncratic sounds of these two groups. A new classic that proves far greater than the sum of its parts.

Begun in the mid 1990's, Washington DC's Chessie is Stephen Gardner (also of noisy shoegaze pioneers, Lorelei) and Ben Bailes, whose various LP's for Slumberland's Dropbeat imprint and Plug Research pair abstract electronics and melancholy post-rock in search of the sounds and feelings of railways and train travel.

Berlin's Contriva, (Monika Enterprises, Lok Musik, and Morr Music) features Masha Qrella (known for her solo works for Morr Music), Max Punktezahl (also of Munich indie legends the Notwist and Berlin's Jersey and Saroos), Hannes Lehmann and Rike Schuberty. For over a decade beginning in the mid-1990's, Contriva crafted compelling instrumentals, grafting experimental textures onto beautiful and complex indie songs.

Together, the six of them have created “Black Jacket.”

First time reissue of JP free jazz rarity, pre-Seikatsu Kōjyō Iinkai group.

The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo’s free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In Free Jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the centre: a cramped basement beneath a rice shop, seating just 20 people. Musician-run, operated on a shoestring, these spaces offered a vital site for community, creativity, and a small measure of financial independence — “even though it was in a basement, in spirit it was a loft.”

Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene.

In early 1976, Umezu and pianist Yoriyuki Harada — recently returned from New York’s loft jazz environment, where they had played with musicians such as David Murray and William Parker — formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning “mass evacuation,” pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms.

They returned to Alone on December 24 to record Sono zen’ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. The closing “Ballad for Seshiru,” dedicated to Harada’s newborn son, unfolds over a delicate piano melody that moves into emphatic chords as intertwining alto lines rise and spiral.

Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.

Barrington Levy's 3rd LP for Jah Life, another killer selection from the fruitful works of the Wright/Lawes/Levy axis. From the golden era of the Radics at Channel 1, mixed by Scientist at Tubby's, 10 tracks, great all the way thru. Finally available again, this was only repressed once before in the late 1990's, other than its original release in the early '80s. Featuring iconic cover art by the late NYC legend Jamaal Pete and pressed from the original mothers, identical to the original press.

SELF-iSH is a quick but intensely dramatic concept album with dark psychedelic themes and nonstop experimental energy. Will Wood and the Tapeworms quickly grabbed attention in the punk scene following "Everything is a Lot" due to Wood's unique writing and refusal to break character even backstage and the band's dangerously high-energy shows. Face paint, confetti, and on-stage violence became the project's calling card, making SELF-iSH's dark and intense drama an inevitable direction for Wood. Mere months after the debut, producer Kevin Antreassian offered Wood a deal on his follow-up but only had a narrow time window, so Wood improvised. Bringing together a new lineup and with the help of guitarist Mike Bottiglieri, Wood wove scraps of discarded or unfinished songs together and created a tight yet abstract psychedelic concept album with the intent of taking every risk and trying every off-kilter idea he had. SELF-iSH began its highly conceptual production process during the holiday season in 2015, and the studio became littered with notepads, graphic charts, and teeth. The result was a manic little album featuring screaming, theremin, kazoo, power drills, the sound of breaking furniture, and an almost heavy-metal twist on Wood's off-kilter vision. By the time the album was finished, the piano was bloody, and the studio was wrecked. The album became what Wood described as the "bastard child" of his discography. Will Wood's early career can be primarily defined by his experimental vocal delivery, honky-tonk piano smashing, and darkly edgy songwriting. While his stylings have matured and taken on a more precise approach, his refusal to conform to expectations and constant shifts in the genre have continued to be hallmarks of his songwriting and production. In his "Will Wood and the Tapeworms" releases (Everything Is A Lot in 2015, SELF-iSH in 2016), audiences can see the first glimpses into what would eventually become his signature style, presented in a uniquely raw and chaotic state of potential.

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Like its cover, Nicolas Remondino's Hìeratico plays in the rich shades of crepuscular spaces. A night-tuned, percussion led album where prepared drums are accompanied by flickers of spoken word, acoustic instruments and muted electronics,

The title translates to 'hieratic', for Remondino a "black and gold" term laden with dualities and complex connotations. A sense of teetering between sparkling light and richly coloured darkness imbues the music, the compositions simulating a sense of heightened acuity as they convey us through a spooky elemental soundworld. The opening title track begins with a metallic shimmer, a drum skin activated in a way that sounds like it's being smelted. A cushioned rhythm enters, a smothered timbre akin to hearing something lurking around the garden. On "litho non-danse", percussion cracks like branches and dried foliage under foot.

Remondino recorded initial outlines for the pieces at Giuseppe Ielasi's studio in Milan, before fleshing out these ideas with his own additional instrumentation and contributions from a globe-spanning network of collaborators. On "blue hymne", chiming percussion equal parts jubilant and sinister heralds spoken word from Limpe Fuchs. "Tombal" opens with Massimo Silverio whispering in the Carnic dialect, a minority language from the Carnic Alps. Around, Marco Baldini, Pierre Bastien and Remondino construct a somber soundscape that cranks and sighs in the crevices.

Hìeratico is an album of hybrids. Diverse voices, accents and dialects deliver its lyrics, the instrumentation underpinning it crosses idioms. The drumkit at its core is modified to amplify its resonant tones and harmonics. Inspired by natural substances and phenomena: stone, wood, wind, earth, metal, grass, rain, clouds and bark, Remondino explores how percussion could evoke their materiality, treating drums as lucid textural instruments as much as rhythmic timekeepers. It gives the album a finely shaded depth and clarity as it conjures the vibrancies that reside in darkened corners. Hìeratico dwells in a sensation that crosses borders, the speckles of light in the oblique night sky. Listening is an aural equivalent to stepping into a pitch black forest and waiting for your eyes to adjust, a lightless void turning into a spectacular tableau of shadows and glows. Daryl Worthington

Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.

From the 2016 press release:
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.
After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie,
Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.

Analogue electronics of crispy drum-driven madness on the A-side and an organic dark ambient drone on the B, live-jammed & recorded directly to cassette tape. Cover is DIY-printed with purple flock. Caution is advised!

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

180 GR Records is proud to present a new release by N-Zino, reimagining two tracks previously released by Four Flies Records: Mo... and Living Disco Club, offering two distinct yet complementary interpretations. Mo... (180 GR Disco Mix) takes its cue from the original Banda Maje version, itself a contemporary homage to Peppino Di Capri, already given a club reinterpretation. N-Zino elevates the track with a nu disco approach, emphasizing its elegant groove and sunnier, funkier side, blending disco influences with pulsing basslines, shimmering percussion, and warm synth textures, all infused with contemporary sensibilities while keeping the original melody alive. The result is a bright, danceable reinterpretation designed for both listening and the dancefloor. In a different yet perfectly complementary direction, Living Disco Club (Don Ciccio Tribute Mix) explores a deep house dimension, turning Banda Maje's disco-inspired original into a hypnotic, late-night groove. Deep bass, soft drum machines, essential rhythms, and atmospheric pads create a rich, warm, immersive vibe, ideal for after-hours or more refined, introspective club moments. Together, these remixes highlight N-Zino and 180 GR Records' vision: celebrating strong musical roots, connecting Italy's musical past with contemporary club culture, offering tracks that honor the tradition and the originals released by Four Flies, while speaking directly to modern dancefloors.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

Lawrence Asher shares his debut record on Berlin based Mood Waves. The French producer and dedicated record collector showcases a multitude of refined textures with this release, bridging the gap between pensive techno and IDM styles, with an acid attitude.

Carlos Giffoni reconnects with Thurston Moore for two sides of loose-limbed axe noise, oscillator worship and hard-phased, Spacemen 3-style feedback.

Giffoni’s been on a roll recently. Since the No Fun founder returned to the scene with »Vain¡, a genius set of synth mutations that appeared in iDEAL back in 2018, he’s been slowly ramping up the activity, dropping the celestial »Dream Walker« on Stephen O’Malley’s Ideologic Organ in 2024 and following it with »Pendulum«, a bumper compendium of collaborations, just a few weeks back. For those who remember Giffoni’s first trip round the block, he was always able to hold his own chopping it up in person, not just by mail.

Just scrub through his early catalog and you’ll see collabs with Nels Cline and Chris Corsano, Merzbow, Jim O’Rourke and Lasse Marhaug, and of course, Thurston Moore. The two rekindle their thing on »IGUANA’« picking up where 2001’s fabled »4 Guitars Live« performance left off. Here, Giffoni straddles a tabletop synth and FX while Moore attacks his signature Jazzmaster with a drumstick and a screwdriver – vibes fully intact.

Moore is on blistering form, sounding as if he’s taken a step back to refresh his approach since the early ‘00s when he could be spotted moonlighting on any number of basement-adjacent noise sides. Sawing at his strings and turning the guitar into a shrieking resonator, he leaves only faint vapours of the classic Sonic Youth sound as opiating accents on his animalistic wails and rumbles. On the opening half, his whammy – assisted shreds are balanced out by Giffoni’s off-world whirrs and airlocked vibrations, building a dense wall of noise towards an unexpectedly elegiac conclusion. At some point, Giffoni’s rasping churr transforms into a simmering shudder and Moore’s into hymnal drones – squint a bit and you could almost call it pretty.

Of course, they ramp things up on the flip, dissolving the melancholia with smokey white noise and twangy, post-Derek Bailey chimes that Giffoni accompanies with aggy oscillations. Like every great taped noise set, the recording quality is crucial - »IGUANA« was captured from the pit by Guillermo Hernandez Avendano, the dad of Lia Miranda who provides the cover photo. It’s that kinda show.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

Pariah’s cult debut re-issued! “The Kindred” brings you pure old school Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. Satan’s evolution for the time being came to an end here with this band, Pariah, in 1988. What Satan were going for with “Suspended Sentence”, could definitely be seen as a hint to the direction they would take as Pariah. That raspy, ill-tempered, aggressive Michael Jackson (indeed) is still here on vocals and these guys really wanted to tear things apart with this album. The main lineup here is entirely the same from Satan and Blind Fury (vocalists aside).

Simply put, one could easily say they took “Suspended Sentence”’s interesting idea of “NWOBHM meets Thrash Metal” and basically focused on being even more aggressive this time. We might be throwing out the obvious here again, but if you are new to Pariah or perhaps Satan, familiarize yourself with the fact that guitarists Russ Tippins and Steve Ramsey are truly an insane duo. For the most part with “The Kindred” their guitar work is pretty thrashy and extremely melodic. Then out of nowhere those classic NWOBHM solo’s, dual harmonies, and majestic melodies come into play all over the place and they manage to make it work incredibly well in between the thrashy antics. The production and mix seems to be an improvement over “Suspended Sentence” and here the guitars tend to have more of a sharper edge, Jackson’s vocals are constantly in the clear and never overpowered by anything else, and overall there is a tougher vibe surrounding this.

Everything here is pretty damn heavy. While Tippins and Ramsey are really out there in a realm of their own, there’s great performances again by Graeme English on bass and Sean Taylor on drums. Overall you’ve got a whole package of virtuous musicians here that really mastered the beauty of balance. All in all “The Kindred” goes all the way with every track being fast and aggressive. Satan and Pariah are all typically made up of the same core members and definitely created some timeless and unique Heavy Metal.

Suncraft is an underground rock band from Oslo, Norway. After appearing on the scene with their debut in 2021, they"ve ratcheted up their sound a notch in every conceivable way with their furious and fun new album Welcome To The Coven. Formed in Oslo in 2017, Suncraft built their early identity on mid-tempo stoner rock, but Welcome to the Coven shows the band has broadened their foundation significantly. The album channels classic rock swagger, punk urgency, and flashes of blackened intensity without settling into pastiche or genre collage - think Turbonegro meets Venom with the odd helping of blast beats thrown in and you"re on your way. The album"s eight tracks move fluidly between heavy riffing, hook-forward choruses and sudden shifts in mood, giving the record a restless, forward thinking character that keeps its 40-minute runtime lean and engaging. Welcome To The Coven is a confident step forward for a promising band which emphasizes their sharpened songwriting and willingness to push beyond scene expectations. The album is available on red or black vinyl from Norwegian purveyors of heavy rock label All Good Clean Records.

Suncraft is an underground rock band from Oslo, Norway. After appearing on the scene with their debut in 2021, they"ve ratcheted up their sound a notch in every conceivable way with their furious and fun new album Welcome To The Coven. Formed in Oslo in 2017, Suncraft built their early identity on mid-tempo stoner rock, but Welcome to the Coven shows the band has broadened their foundation significantly. The album channels classic rock swagger, punk urgency, and flashes of blackened intensity without settling into pastiche or genre collage - think Turbonegro meets Venom with the odd helping of blast beats thrown in and you"re on your way. The album"s eight tracks move fluidly between heavy riffing, hook-forward choruses and sudden shifts in mood, giving the record a restless, forward thinking character that keeps its 40-minute runtime lean and engaging. Welcome To The Coven is a confident step forward for a promising band which emphasizes their sharpened songwriting and willingness to push beyond scene expectations. The album is available on red or black vinyl from Norwegian purveyors of heavy rock label All Good Clean Records.

Amulets is the solo project of Portland-based audio and visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music. Amulets has steadily built a catalog defined by tactile intimacy and patient exploration. Deeply immersive, the album navigates the dreamy boundaries between the tangible and the ethereal, where sound behaves as memory itself: unstable, layered, and quietly transformative. Known for his ability to weave soundscapes that evoke powerful emotions with minimalistic instrumentation, Taylor's newest project is a masterful exploration of mood, atmosphere, and texture.Throughout the ambient soundscapes is introspection, melancholy, and an almost hypnotic calm. The album resists forward motion, instead inviting the listener to linger inside its evolving textures, to sit with what's left behind rather than rush toward resolution. Central to Amulets' identity is Taylor's insistence on working, quite literally, outside the box. While many contemporary experimental artists rely heavily on software, Taylor's process remains rooted in physical interaction with sound. "This album differs from previous albums because it's a lot of found sounds, song fragments, and other samples that I have that I wanted to fuse together. I also heavily relied on a lot of ambient guitar and live guitar recording to marry all the sounds together." (Randall Taylor) FOR FANS OF Tim Hecker * Ben Frost * Lawrence English * Alessandro Cortini * This Will Destroy You * Mono * Windy & Carl

White vinyl. Signed Print Edition. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

Florida deathcore heavyweights Bodysnatcher return with their most punishing and purposeful statement to date. ‘Hell Is Here, Hell Is Home’, out April 10, is not an escape record, it is a confrontation. Brutal, unrelenting, and emotionally unfiltered, the album captures a band fully locked into its identity while sharpening every weapon in its arsenal. True to their roots, Bodysnatcher deliver a sound steeped in suffocating grooves, bone-crushing breakdowns, and feral intensity. ‘Hell Is Here, Hell Is Home’ pushes beyond pure aggression. The record explores cycles of trauma, self-destruction, survival, and the uncomfortable truth that for many, suffering is not a phase, it is a place.

This is deathcore grounded in lived experience, written from inside the fire rather than in hindsight. Across the album, Bodysnatcher balance sonic violence with a disciplined sense of control. Downtuned riffs grind with oppressive weight, drums hit with mechanical precision, and vocals swing between outright hostility and grim reflection. Each track feels deliberate, built not just to hit hard, but to linger. With this release, Bodysnatcher continue to cement their position as one of modern deathcore’s most uncompromising voices. ‘Hell Is Here, Hell Is Home’ is a record built for the pit, rooted in truth, unflinching and heavy in every sense, delivered with absolute conviction.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary. With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable.

Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary.

With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable. Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Sonderausgabe auf türkisfarbenem Vinyl. Ursprünglich 2009 veröffentlicht und seit Jahren vergriffen. Seit ,Endless Summer" hat uns die Musik von Christian Fennesz fasziniert. Während viele Laptop-Künstler nicht über ein leeres elektronisches Rumpeln ohne Tiefe hinauskommen, schafft es Fennesz, eine Welt voller ungehörter und reichhaltiger neuer Klänge zu erschaffen. Christians Idee, mit Mark Linkous von Sparklehorse zusammenzuarbeiten, hat uns sofort begeistert. Die beiden Künstler waren schon ein paar Mal gemeinsam aufgetreten und hatten beide das Gefühl, dass in dieser Zusammenarbeit noch mehr Potenzial steckte. Nur zwei Tage im Dezember 2007 reichten aus, um über 40 Minuten der erhabenen Kombination aus Fennesz und Sparklehorse aufzunehmen. Vorbereitete Kuriositäten und jede Menge Inspiration machen diese Aufnahmen einzigartig in ihrem Stil und insbesondere in dieser Serie. Songs und Klanglandschaften von seltener Schönheit mit atemberaubender Atmosphäre, in denen abstrakte Klänge und gut ausgearbeitete traditionelle Songstrukturen aufeinandertreffen und akustische Instrumente und Elektronik ein herausragendes Ambiente schaffen.

Nora Steiner und Madlaina Pollina malen das Bild einer Welt, die wir schon lange nicht mehr so eindrücklich und reflektiert wahrgenommen haben. Aufbruch, Licht und Schatten und die Bedrängnis der Gegenwart, ausgedrückt in bezauberndem Indie-Folk-Pop, der Zähne zeigt und enorme Dynamik entwickelt. Mal erinnert ihr zweistimmiger Gesang an First Aid Kit, ihre kompositorische Zugänglichkeit lässt an den perlenden Pop von Boy denken, dann wieder geleitet uns das Duo an düstere Abgründe, wie sie auch Emily Jane White beschreibt. Allerdings sind dies nur ungefähre Orientierungspunkte. Dass die beiden aus der Schweiz kommen, ist grundlegend für deren Debütalbum "Cheers", denn "Cheers" heißt nicht nur Prost, "Cheers" kann ein Anfang und ein Ende sein, eine Begrüßung und auch ein Abschied. Dabei spielen Steiner & Madlaina gekonnt mit Ambivalenzen. Mal fließen ihre Songs lieblich daher, dann türmen sich die Instrumente walzenartig auf. Durch die analogen Sounds und teils surfigen Gitarrenklänge gewinnt "Cheers" an Wärme und transportiert einen unterschwelligen 60er-Jahre-Charme. Im Zentrum des Ganzen stehen aber immer die Stimmen von Steiner & Madlaina, die so perfekt harmonieren, dass man die Vertrautheit und langjährige Freundschaft der beiden herauszuhören meint.

With Alouette!, Les Louanges attempts to make sense of his human condition and Québécois identity by bringing guitars and Joual (the French language dialect spoken in Québec) to the forefront while still fuelling his signature grooves. More rock-oriented than his previous albums, this third effort is luminous yet rich in sounds, emotion and political commentary. It unfolds through a journey that will lead Loulou to encounter universal experiences such as illness, death, and true love.

The album is also the result of an artistic quest that began during a period of self-reflection, when Vincent Roberge (aka Les Louanges or Loulou) seized the opportunity to take a break after his last extended tour. Alongside the existential questions typical of someone approaching their thirties came a rediscovery of the classics—from Leonard Cohen and Prince to Richard Desjardins and the nursery rhyme that gives the album its name–, followed by total exploration. In addition to playing most of the instruments himself, the singer-songwriter revived obscure Quebec records through sampling and got to experiment with actual sound recording. Roberge co-produced Alouette! with his long-time collaborator Félix Petit (because why change a winning formula).

Four years after the success of his sophomore album Crash, Les Louanges returns more confident than ever, thanks to a renewed cultural and emotional baggage that allows him to reflect on the past to better engage with the present, while also enjoying it to the fullest. All of this, without overlooking the future, which he foresees with hope despite the collective challenges that await us.

The track ‘Atrium’ was born during the Dream 3 sessions, on a day where it was just Claire and I in the studio. It wasn’t rehearsed at all before we started recording it. All I really had was the main guitar riff in drop D, inspired by the Rob Crow stylings of Heavy Vegetable and Thingy. The lyrics came quickly and received almost no editing. They circled around feelings of resentment, heartbreak and the idea that a sturdy love for oneself is necessary before you can truly love others. This release includes 2 B Sides from GOON’s critically acclaimed Dream 3 LP available on 7” vinyl for the first time.

The sibling duo behind the music on Graceful Degradation — organ and drums, nothing more, nothing less — carve out a sound that feels unmistakably organic in a world drifting steadily toward the synthetic. Their interplay is entirely live, subtle in its details yet dynamic in its momentum, built on the kind of instinctive communication only brothers can share.
The music is fully instrumental, unfolding in a borderland where dreamy retro pop dissolves into the hazy textures of shoegaze and the unruly pulse of noisy, electronic leaning jazz. It’s a sonic world that feels both familiar and elusive, nostalgic yet inherently restless. Melodies shimmer and blur, rhythms swell and contract, and the space between the notes becomes as expressive as the notes themselves.
What emerges is a sound that resists easy categorization: warm but unpredictable, intimate yet expansive, grounded in the physicality of two musicians performing in real time. The organ breathes like a living organism, shifting from soft focus ambience to swirling, saturated harmonics, while the drums move with a fluid, human elasticity — sometimes whisper quiet, sometimes erupting with raw, kinetic force.
In this in between terrain, the duo has always found its identity and its freedom. Their music doesn’t chase perfection; it chases presence. It embraces imperfection, celebrates spontaneity, and insists on staying alive in a landscape where so much is becoming weightless and automated.
This is instrumental music with a pulse: subtle, dynamic, and unmistakably human.

Playing further in the conceptual universe of Ginger Root came Nisemono EP. In the universe, Cameron is now writing and producing for a new Japanese Idol named Kimiko Takeguchi. At the last minute before Kimiko debuts on national TV, she quits and Cameron is thrust into the spotlight to perform the song ‘Loneliness’ which launches him into stardom.
This cycle included music videos for each track on the album and narrative videos of a fake news station “Juban TV” which reported on the story of the rise of Ginger Root. The episodic rollout on Ginger Roots YouTube was filmed in the same 80s noir style of the City Slicker videos with a much bigger narrative undertaking to provide a creative backdrop to the EPs storyline. The EP was lauded by old and new fans for its captivating storyline and nostalgic visuals. Ginger Root went on to tour the US, Europe, and Japan for the first time where he sold out every show. Nisemono was ranked by music critic Anthony Fantano as his #1 EP of 2022.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats. Here we present the debut self titled LP Slutet - Slutet
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
While the difficulty of obtaining the demos certainly added to the band’s bottomless mystique, the subsequent release of the self-titled compilation / LP secured their reputation as one of the most interesting and unorthodox bands recording under the somewhat ill-fitting moniker of ‘underground black metal’.
First released as a cassette by Berlin label Teratology Sound & Vision, and later on vinyl in an edition of 100 by Goatowarex, the self-titled LP is the definitive document of the very early and very wild years of the band as they begin to take form, fulminating against whatever was on offer.
“Between September 2013 and September 2014 we rehearsed and recorded 3 very crude demo cassettes; although sub-par in many musical and performance-wise aspects, the passion seeping through those recordings were evidently very real.”

Orange Vinyl with exclusive illustrated notes/lyric insert ltd to 300 w/w.“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Never released before collection featuring Ian A Anderson & Maggie Holland recorded 72-80 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom now on colour Vinyl for first time with (exclusive to this version) illustrated lyric insert with notes from Tucker.Recorded between 1972-80 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.

While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.
"Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike.

When I first interviewed Tucker Zimmerman back in 2015 neither of us had any idea that, a decade later, he would be venerated by a new coterie of young fans, touring with maximal folk-rockers Big Thief and recipient of a concerted reissue campaign by the wonderful Big Potato Records. Last year I eulogised the “Arcadian folk surrealism” of his 1974 LP *Over Here In Europe but, if anything, this informal collection of intimate home-studio recordings is even better. Recorded between 1973 and 76 whilst living in Belgium and hosting such visiting folk musicians as Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, and Ian A. Anderson this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO 4/5
“Here's a charming oddity: an unreleased album dating from the mid-Seventies by an American-born songwriter beloved of David Bowie and, more recently, Adrianne Lenker of the folk-rock band Big Thief. Zimmerman's a bohemian type who eschewed the big time for a life of gigging around Europe. He, his wife, Marie-Claire, and a handful of friends recorded these songs in seclusion in the Belgian countryside, and what songs they are. Slide On could have come from the Byrds when they discovered country music, Let's Start Over Again captures the dreamlike experience of being in love with unsettling clarity. This is a real unearthed gem.” 4/5 The Times

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

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

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

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

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

Squarepusher bricht wieder alle Regeln!

Tom Jenkinson, alias Squarepusher, präsentiert Kammerkonzert – ein Feuerwerk aus messerscharfen, rasend schnellen Riffs, teuflischen Orchesterklängen und rasanten Wendungen, das Progressive, Ambient, elektronische und experimentelle Musik vereint.

Der einzigartige Hardcore-Rave-/IDM-Produzent, experimentelle Musiker und Schöpfer futuristischer Fusion-Formen blickt auf ein 30-jähriges Schaffen mit einer Vielzahl herausragender Alben zurück. Von dem furiosen Breakbeat-Acid und dem brachialen Live-Bass-Angriff auf "Feed Me Weird Things" (1996) über das selbsterklärende "Music For Robots" (2014) bis hin zum virtuosen Live-Showcase "Solo Electric Bass 1" (2009) und dem entrückten Concrète-Jazz von "Ultravisitor" (2004) – nur wenige zeitgenössische Musiker haben ein so breites Spektrum an Musik so souverän abgedeckt. Doch trotz dieser Bandbreite zeichnet sich sein 30-jähriges Schaffen vor allem durch zwei Dinge aus: Unberechenbarkeit und Regelbruch. Da sein neues Album "Kammerkonzert" auf Warp im Grunde ein Kammerkonzert ist, bei dem er alle Parts selbst spielt, kann man getrost sagen, dass er seit seinem kristallklaren Drum-&-Bass-Debüt für das Label im Jahr 1996, der EP "Port Rhombus", einen langen Weg zurückgelegt hat.

Mit "Kammerkonzert" beginnt für Squarepusher nach 21 Alben eine neue Ära als Komponist.

11 artists. 11 tracks. 1 city.

From the heart of the most vibrant French city, Marseille, comes a project that redefines the enthusiasm, energy and growing talents around the underground music scene.

Consisting of eleven djs/producers bound to the Phocaean city, this 2x12LP is not just an ordinary album: It is a cultural marker in a city deeply rooted in urban music, reasserting its young and strongly emerging electronic landscape. It is a celebration of Marseille’s musical identity through house, techno and electro.

Originally a record shop, Mindtrip has been promoting and advocating for the electronic movement for 4 years. Olivier aka HI.lo now invites you to deep dive into Marseille’s sonic uproar with his new born label, an extension of the music he has been playing and representing through his shop, putting marseille on the map with an essential first release gathering the city’s finest: MAN/IPULATE, TIBAHUULT, LAMALICE, PRINCE DE TAKICARDIE, JO’Z, CURTIS OD, DJONN BULL, BWI-BWI, DYNASTY OF DREAMS, NICO BELIC & AYO’B.

Fides Records continues its 10-year anniversary journey with X5. This instalment widens the emotional spectrum while staying locked to the club: dub-soaked pressure, sunrise euphoria, cinematic tension, and leftfield elegance: six tracks that underline the label’s taste for both functionality and narrative depth.

Side A opens with Jon Hester’s “Oblique”, a timeless cut where dubby undertones meet crisp percussion, crowned by a high-pitched saturated motif that results warm, powerful, and sharply functional. “Caballo Azul (Z.I.P.P.O Rework)” follows, reshaping Franzizca’s original through Z.I.P.P.O’s lens into a dub-infused, precise reinterpretation, layered with meticulous sound design and understated force. Closing the side, Pink Concrete’s “Now We Are” keeps the emotional momentum alive with euphoric tones and introspective energy that feel built for sunrise closings.

Flipping to Side B, Tal Fussman’s “Ghost” adds cinematic weight, driven by an organ-inspired chord progression and dynamic percussion showing his bold, colorful, and razor-precise creative process. Aasthma is the project of Swedish heavyweights Peder Mannerfelt and Pär Grindvik and land on FIDES with “The Love Bees”, a genre-defying anthem where disco and house flair shine through a peak-time techno skeleton. The record closes with Hiver’s “Restless”, an IDM-infused finale rich in harmonic complexity and breaky elegance, perfectly capturing the Milan-based duo’s distinctive, emotionally charged signature

New Jon Savage Compilation release alert! Jon Savage's SF Sike 1966-72 (Double Vinyl) Limited Edition. Heavyweight Luxury Gauge Sleeve-Stock & Inners.

The real sound of San Francisco 1966-72." It was the new gold rush, but with drugs, music and freedom the goal. " (Jon Savage -The Guardian August 2012)

A limited edition double vinyl 18 track album celebrating the great pop music and idealism of that time & featuring Moby Grape, Skip Spence, Ron Nagle, Country Joe & The Fish & much more

Full contextual & track-by-track sleeve notes by Jon Savage. Ephemera & archive material from the period.

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

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

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

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

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

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

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

Limite is the genre-defying ensemble led by Brussels-based bassist Jordi Cassagne. Alongside him are several familiar faces from the W.E.R.F. Records family, including guitarist Benjamin Sauzereau (REMORQUE) and keyboardist Camille-Alban Spreng (ODIL).

Limite's music embodies a distinctive blend of alternative rock, no wave, and idiosyncratic folk, drawing inspiration from artists such as Blonde Redhead, Big Thief, Daniel Rossen, Joanna Newsom, Leonard Cohen, DavidBowie, Deerhoof, Sonic Youth, and Jim O'Rourke.

British punk trio GRADE 2 return swinging with Talk About It, their third and most blisteringly realized album, out on Tim Armstrong"s storied Hellcat Records. It"s an 11-track surge that fuses classic punk"s bare-knuckle conviction with the disillusionment, identity crises, and quiet rage of Gen-Z-delivered by three Isle of Wight lifers who"ve been sharpening their edge since they fifirst bashed out covers at 14. Jack Chatfifield, Jacob Hull, and Sid Ryan have spent thirteen years turning raw instinct into a signature roar, and Talk About It captures them at full velocity. Their blistering track, "Cut Throat," distills their ethos: fifierce guitars, punishing rhythm, and a narra-tive of clawing forward while the world seems hellbent on pulling you under. "It"s about a world that takes more than it gives," the band says-and that tension becomes fuel, a rallying cry for anyone navigating a landscape that feels colder by the day. With Talk About It, GRADE 2 don"t just revive punk"s urgency-they embody it.

British punk trio GRADE 2 return swinging with Talk About It, their third and most blisteringly realized album, out on Tim Armstrong"s storied Hellcat Records. It"s an 11-track surge that fuses classic punk"s bare-knuckle conviction with the disillusionment, identity crises, and quiet rage of Gen-Z-delivered by three Isle of Wight lifers who"ve been sharpening their edge since they fifirst bashed out covers at 14. Jack Chatfifield, Jacob Hull, and Sid Ryan have spent thirteen years turning raw instinct into a signature roar, and Talk About It captures them at full velocity. Their blistering track, "Cut Throat," distills their ethos: fifierce guitars, punishing rhythm, and a narra-tive of clawing forward while the world seems hellbent on pulling you under. "It"s about a world that takes more than it gives," the band says-and that tension becomes fuel, a rallying cry for anyone navigating a landscape that feels colder by the day. With Talk About It, GRADE 2 don"t just revive punk"s urgency-they embody it.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

Emerging from the vivid chaos of Detroit’s underground, ZelooperZ returns with Dali Ain’t Dead — a surreal yet deeply grounded statement from one of rap’s most singular voices. Following his recent collaborative exploration Dear Psilocybin (with Real Bad Man) — which found him moving through a “stream of psychosis” just before sobriety. (Pitchfork) — ZelooperZ enters this new chapter not simply as the same intricate-flows rapper, but as a rising cult-figure in underground hip-hop who’s forged an identity both enigmatic and quietly unstoppable.

On Dali Ain’t Dead, ZelooperZ channels the spirit of the surreal — the album’s title a nod to the iconic surrealist artist Salvador Dalí — as he reframes his world post-substance, post-chaos, yet still dripping with vivid imagination. Reviews highlight that the album finds him in a more focused mode: one critic writes that “ZelooperZ seems to have adopted a similar outlook to Dalí… embracing sobriety and allowing his art to exist as the psychotropic fuel for his mind.” (Album of the Year) Production (courtesy of Dilip) is inventive and cohesive, blending experimental hip-hop, trap, cloud-rap and drumless textures to mirror Ze’s newly clear-eyed vantage point and trademark eccentricity. (Legends Will Never Die)

Tracks like “Mona Lisa Left Eye” and “Push Me Around” (featuring Zack Fox) carry Z’s jagged humor and restless energy, while deeper cuts like “Shrooms” and “Take Me I’m Drugs” trace his evolving relationship with psychedelia and the legacy of his past. (Legends Will Never Die) In doing so, the record positions itself as the sound of a freak-icon in transition — still wild, still weird, but sharpened, matured, operating with a purpose and increasingly commanding the attention of fans who relish the underground unusual.

ZelooperZ’s trajectory continues to rise. From his roots in the Bruiser Brigade collective in Detroit to the present moment as a cult figure whose every release feels like a mission statement, Dali Ain’t Dead confirms that he’s no longer just the oddball off-to-the-side: he’s the weirdo that others are quietly watching. This album isn’t just for the longtime disciples of his left-field aesthetic — it’s an invitation to anyone curious about hip-hop bending, breaking, and rebuilding itself from the fringes inward.

‘Warriors Of The Sea’ is the name of DORO Pesch's special release, with which the Metal Queen is shortening the wait for a new studio album for her numerous fans.

‘Warriors Of The Sea’ is now available as petrol with white and black marbled vinyl. The idea for this special release came about as a result of the two sold-out ‘Metal Queen Metal Cruises’, which were a huge hit with fans at the end of May/beginning of June and – in addition to a third cruise (06.06.26) – simply left them wanting more music.

The title track of the album was written by DORO especially as an anthem for the cruise and immediately became an absolute fan favourite at summer festivals worldwide.

The remaining nine tracks are a hand-picked selection by DORO on the themes of ‘Warriors’ and ‘Cruise’. All of them are rarities and for fans, collectors and metal pirates.

Salix is a bold new departure for modular synthesist Loula Yorke, seen here using an antique reed organ to explore the ancient roots of willow trees in magic, myth and medicine, as well as inviting another musician into her recording studio for the first time, clarinettist Charlotte Jolly.

The EP forms a sonic archive of a singular instrument: an antique free reed organ left behind by a previous encumbent of Asylum Studios, (the artists' co-operative in Suffolk where Yorke's Truxalis labelmate and life collaborator, Seiche, has a studio space). The organ is in poor condition and fascinatingly, painfully detuned. Yorke's recordings bring out its host of unusual quirks exacerbated by age and neglect: the powerful rhythmic creaking of the wooden treadles; the bone-shaking resonance emanating from its body at specific pitches; unexpected exclamations of harmonic collision from within the carcass redolent of a human voice; the piercing, shrieking whistles of broken reeds, and the powerful timbres unlocked via Yorke's experiments with various combinations of stops.

The three tracks that form Salix are inspired by a local weeping willow tree, a constant companion photographed over the course of a year. Boughs caught in a gyre. A maiden in mourning. Branches that gesture in the wrong direction. A tree turned upside down. A hand-woven willow basket, an old technology to gather and store. The journey of a lovelorn bard through the underworld, a bundle of willow under one arm for protection.

For the opening track, The Carrier Bag Theory of Fiction, Yorke recorded herself playing a simple unaccompanied improvisation on the organ, the only ornamentation being the processed sounds of the keys being struck and returning to their positions.

For Bundle of Styx, a spell of protection is cast and then broken. Yorke invited virtuoso clarinettist Charlotte Jolly into the studio to test combining the breathy textures of both brass and natural reeds, the instruments uniting and obsuring each other in turn during this one-take improvisation. The organ's unpredictable sharpened tunings take centre stage here, with Jolly using them as a point of departure to conjure a set of peerless harmonic improvisations live in the moment. Throughout the improvisation, Yorke, a self-taught musician, unpracticed on the organ, supports and challenges, freely admitting that she's not always sure what effect her decisions to move up and down the keyboard or pull out certain stops will have. Jolly's genius lies in her ability to meet and build on every uncertain pitch thrown her way, saying of the experience, "I love that Loula isn't classically trained, I can't predict at all what she's about to do."

For the final track, With the Red Dawn, Yorke has come up with another unique combination of textures, this time bringing her own specialism in modular synthesis to the fore. A ten-minute reed organ drone characterised with ever-shifting bass swells and overtones is layered with tuned sines, often shudderingly wave-folded, that ebb and flow both in intensity and harmonic colour according to the duty cycles of eight interrelated LFOs. These recordings are collaged with Yorke's singing voice and a langorous, ascending sequence across two octaves on Jolly's clarinet, all arranged to form a cohesive whole far greater than the sum of its parts. Smatterings of untuned percussion and a fragment of a conversation between the duo left in the final mix cements Yorke's unprecious DIY aesthetic into the release.

At its heart, Salix is like watching the wind in the willows; hundreds of thousands of identical tiny leaves moving in confluence on its branches; at once one thing and many things; moment-to-moment our perception makes out different individuals parts within this expanse of texture, before sinking back into the whole.

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

The new album by L.Y.R., their third commercial release, begins with the idea that the furthest points of light - stars - can only be seen in the dark. It’s a kind of contradiction that finds musical expression in these new tracks, the band always navigating towards sightings of hopefulness and constancy in an increasingly bewildering and storm-battered world.

The term dark sky reservation has its origins in environmentalism, and several tracks on the album deal with the messed-up weather of our contemporary planet, both meteorological and psychological, from descriptions of an earth deluged by thunderstorms to the soggy back-gardens of suburbia, a climate crisis brought on by rampant urbanism. In that context, dark sky reservations are those regions of the landscape where light pollution is discouraged and even outlawed, to allow scientists and casual stargazers to peer into the cosmos and see the glory of the constellations, patterns of light that have entranced and mystified us for hundreds of thousands of years.

It’s from those designated zones that human beings get a sense of their place in the universe, and experience the wonder of the here and now against a context of eternity and infinity. An alternative to the hectic craziness of everyday life, so often virtual and synthetic, the dark sky reservation is a place of refuge and dreaming, and like L.Y.R.’s music, such spaces are earmarked for contemplation and thoughtfulness.

L.Y.R. is author and current British poet laureate Simon Armitage, singer-songwriter Richard Walters and multi-instrumentalist & producer Patrick Pearson.

Hey Mercedes, formed from members of Chicago's emo band Braid, included Bob Nanna, Todd Bell, Mark Dawursk, and Damon Atkinson. They debuted with a self-titled EP (Polyvinyl Records) in 2000 and followed up with extensive touring and two full-length albums: Everynight Fire Works (Vagrant Records) in 2001 and Loses Control (Vagrant Records) in 2003 along with two more EP's: The Weekend EP (Vagrant Records) in 2002 and Unorchestrated (Grand Theft Autumn) in 2004. Dawursk left at the end of 2001 and was replaced by Mike Shumaker. After 359 shows and several releases, the band disbanded in April 2005.They played a reunion show in 2007 and celebrated the 15th anniversary of Everynight Fire Works in 2016 with a remastered re-release and select live performances. In 2025, the band made their live comeback at Las Vegas's second annual Best Friends Forever Festival and will continue to play more shows in 2026. In March 2026, Polyvinyl Records will reissue the complete Hey Mercedes catalog. With several EPs and albums currently out of print, this release will provide Hey Mercedes fans with the opportunity to obtain every Hey Mercedes title on vinyl. LP FORMAT DETAILS: Clear blue vinyl with download card in a gatefold jacket.

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