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A collaborative classic from the Italian Avant-Jazz pioneers Zu and Chicago's Jazz mavericks Spaceways Inc Originally released in 2004, RADIALE is back, bringing together explosive energy, avant-jazz improvisation, and experimental rock in a landmark collaboration. Radiale (2004) by Zu is the band's second studio album and stands as one of the most defining releases in the European avant-garde scene of the early 2000s. With this record, Zu moved decisively away from the slightly more exploratory feel of their debut Bromio and developed a tighter, more aggressive sonic identity. The trio-- built around baritone sax, electric bass, and drums-- strips away almost all conventional melody, focusing instead on repetition, tension, and raw physical impact. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity.

A collaborative classic from the Italian Avant-Jazz pioneers Zu and Chicago's Jazz mavericks Spaceways Inc Originally released in 2004, RADIALE is back, bringing together explosive energy, avant-jazz improvisation, and experimental rock in a landmark collaboration. Radiale (2004) by Zu is the band's second studio album and stands as one of the most defining releases in the European avant-garde scene of the early 2000s. With this record, Zu moved decisively away from the slightly more exploratory feel of their debut Bromio and developed a tighter, more aggressive sonic identity. The trio-- built around baritone sax, electric bass, and drums-- strips away almost all conventional melody, focusing instead on repetition, tension, and raw physical impact. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity.

The Mexican band The Survival created a blend of blues and acid rock influenced by the U.S. West Coast movement and British blues, captured on this 1971 album-the only one they recorded. They are often described as a combination of Country Joe and the Fish, Quicksilver Messenger Service, Moby Grape, and Ten Years After. One of the rarest records ever released in Mexico, it stands as a significant testament to the "onda chicana," a historical moment when Mexican youth took up instruments to express their reality. The group formed in August 1970 and recorded a single album, "La onda de The Survival" (1971), which combined laid-back blues with distortion. One distinctive feature was that lead vocals were handled by drummer Andrés Lusher-an unusual choice that gave the band a unique sonic identity. The album captured the spirit of the time, portraying generational shifts, repression of youth, fraternity, pacifism, and the influence of drugs. Despite their brief existence, The Survival and their sole album remain a significant testament to the "onda chicana", a lasting mark on the history of Mexican rock. Includes an insert with liner notes.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Given Beatrice M.’s reputation as a prolific collaborator, the LP naturally features a few heavy-hitting joint efforts. Bristol-based Sir Hiss features on the subby, 140bpm techno thumper ‘Juice’, while the LP title track, ‘Sinking’, brings forward Beatrice M.’s fresh take on influences from Tectonic’s past in a bass-driven 4/4 number that demands physical movement. ‘Dear Dubstep’ allows a moment to reflect, placing us in a spacious aqua-cave where atmospheric sounds are punctuated by wumping sub-bass, before we surface with ‘Help’ to catch our breath in the melancholy of the moment.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 1 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Opening track ‘Ever’ plunges us into deep waters with a sense of dubwise command. The momentum picks up on ‘Ocean’, where the vocal snippet "everyday life" circles around reverbed stabs and intricate hi-hat moves. ‘Motion’ sets the pace with its jumpy but rolling rhythm, leading straight into the eyes-down, party-time energy of ‘Disco Corner’.

2026 Repress

The ongoing importance of this album is indisputable, essential both to techno and to Tresor. It is a history intertwined. This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
The album's lead single and sole vocal track, ‘In Touch’, showcases Beatrice M.’s split UK-France upbringing. The track unites French MC Kaba and UK MC Jinnal for a bass-driven anthem that seamlessly trades French and English lyrics. Next up is a vinyl exclusive track: the ‘Remedy Mix’ VIP of ‘Poison’, a rolling, bass-driven tech house/techno crossover version of a track originally released on the Tectonic Sound collection from last year.
‘Here’ sees Beatrice M. collaborating with Jay Carder to create a soulful broken-beat flavoured track as ‘Years’ rounds off the journey with contemplative melancholy, providing a deep and dubby closer.

Trace represents a pivotal moment in the evolution of Gridlock, bridging their earlier industrial roots with expansive ambient and IDM-influenced soundscapes.

Released in early 2001, Trace received critical praise and underground acclaim. Reviewers highlighted its blend of melodic drones reminiscent of Brian Eno with fractured beats and immersive ambient textures. Its evolving percussion and layered atmospheres marked a maturation of Gridlock’s original ethos, moving away from harsh industrial noise toward a more melodic, ambient, and cerebral sound.

The duo continued this trajectory on their final album, Formless, before disbanding, leaving behind a small but highly influential catalog. In tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s work with the blessing of Wells’ family.

Atkinson first saw Les yeux sans visage when she was a teenager, around the turn of the century. The film made an impact for its iconic imagery and the way Franju draws on the aesthetics of early filmmaking, from its score that relies on stylistic markers typical of the 1940s or 50s to the decision to shoot in black and white. Even four decades after its first release, it was clear that this was a work that stood outside of the cultural moment that birthed it, speaking through time in ways that were uncanny, but profound.

A quarter-century later, Atkinson was approached by the Belgian cultural center VIERNULVIER to create a new score for Les yeux sans visage for its celebrated Videodroom series, which has seen artists like claire rousay, Mabe Fratti, Lee Renaldo, and many more create new original scores for cult classics and genre cinema. Atkinson's music, with its sublime meditations on space and proximity, its elusive sense of narrative development, mirrors the pacing and mystery at the heart of horror filmmaking. There is a shadow at the heart of her soundtrack to Les yeux sans visage, an ever-shifting wisp and an insinuation of encroaching transfiguration. Echoing a climactic moment in the film, the music obliquely points to "the Beyond," an impossible place of discovery and revelation.

Atkinson envisioned her music as something akin to the air moving throughout and beyond the many cages that appear in the film, unconstrained by the bars and with undefined borders. Those cages hold the victims of a madman surgeon, determined to graft a new face onto his daughter, the protagonist Christiane Génessier, who lost hers in a car accident while he was behind the wheel. Atkinson was reminded of her predecessors at the pioneering French studio the GRM, who approached sound in a less sinister, but similarly surgical manner, and took inspiration from their playful approach to cerebral soundmaking for the electroacoustic topography into which the piano is embedded. As such, Atkinson’s reactions to the larger themes and the minute-by-minute happenings onscreen are both audible simultaneously.

A film about a man who destroys the lives of young women marked by their beauty and similarity to his daughter in a shame-fueled rage has clear, continuous cultural resonance. "Through the music, I decided to bring back their empowerment despite what they endure," says Atkinson. "This is why the record is also dedicated to Gisèle Pelicot, whose trial happened while I was in the process of composing the music and kept thinking of her strength and her decision to share her trial in order to reverse the shame."

This recorded version of the soundtrack is a 34-minute synthesis of the full 90-minute score, presented on LP along with an essay by writer-musician Claire Cronin and drawings by Momo Gordon, together forming a complex reflection on the film's themes. If these sounds move as if the bars of cages are no barrier, they also intimate the freedom and power of those held behind them. Rather than simply mirroring the fear and confinement shown onscreen, Atkinson offers an elusive escape, a beacon for the characters, and the listener, to follow as they reckon with the narrative and move through it.

In-demand AfroColombia Remix Vol. 1 finally repressed!
A collection of Afro-Colombian classics (Champeta, Son de Sexteto, Currulao) revisited by talented producers from the global club scene.
Ten years ago, a sound was born that bridged roots and reinvention. Today, Galletas Calientes Records is proud to announce the official reissue of AfroColombia Remix Vol. 1 on vinyl, in collaboration with legendary Colombian label Palenque Records.
Originally released a decade ago, this project brought together visionary producers and timeless Afro-Colombian rhythms, creating a dialogue between tradition and the global electronic underground. Now, remastered and pressed on wax again, the record returns with renewed depth—warmer, richer, and ready to be experienced the way it was always meant to be heard.
This limited vinyl edition celebrates the legacy of the original release while honouring the artists, communities, and sounds that inspired it. Whether you’ve been with us since day one or are discovering it for the first time, this reissue is an invitation to reconnect with a pivotal moment in Afro-Colombian musical fusion.

FIMIANI is an Italian music digger, passionate DJ and producer with an unmistakable House, Soul and American influences from black music, funk, soul and disco.

FIMIANI is one of the best DJs in the TOY TONICS camp.

His track “Disco Music” is a hit. Played by DJs like Palms Trax, Folamour, Louie Vega of Masters at Work, Horse Meat Disco, Seth Troxler, Mousse T. and many others.

Combining the original NYC house sound from the 1990ies with the best of Italian Disco history. Turning it all into a very contemporary flow of afro-american and Italian music based on funk, soul, melodies and rhythm. Just listen to his 2 EPs he did on Toy Tonics and you understand. All played live with musicans (no samples) this sounds like the best organic house tracks you can get at the moment.

Fimiani lands a major milestone with his remix of John Julius Knight’s Find a Friend (Sulfuric Trax), hitting number 1 on the Overall & House chart via Traxsource.

Check also FIMIANI’s edits of extremely rare Italian disco on his own imprint Caffè Corretto edits. Under the name BPLAN.

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

2026 Repress
Twenty five years after its initial release, and accompanying the re-release of 'Internal Empire' Tresor Records is proud to present a new cut and pressing (180gm) of Robert Hood's essential 'Master Builder'.
The ongoing importance of this single and its adjacent album is indisputable, essential both to techno and to Tresor. It is a history intertwined.

This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

"25 years ago, I was faced with the challenge of following up on 'Minimal Nation'. I cancelled all my tour dates for that summer, setup my studio in the living room and began to work on 'Internal Empire'. My intention was to create something distinctively di erent. Looking out my living room window in Detroit watching people go by gave me a new perspective. It made me look at the world within myself. 25 years later I am still discovering.' - Robert Hood

"Birmingham hailing quintet Swim Deep announces their fifth studio album ‘Hum’, due June 19th via Submarine Cat Records. They also share first single ‘Pieces Of You’ — a defiant cut of alternative rock: roaring with clouds of distortion that bring a bite and rawness to its chiming melodies. Fresh and inspired from a sold-out tour across Thailand and China in December, and with an unexpected line-up change: ‘Hum’ is the work of a group rejuvenated, driven by their innate passion for music – even when the going gets tough – and sounding more confident than ever, whilst juggling the challenges of maintaining a grassroots indie band on their fifth album. Speaking on the track, lead singer Austin “Ozzy” Williams adds: “I had found a new writing partner at the full-time bar job: there stood J.J. Buchanan by the barrels of beer kegs we were hauling. A sharp songwriter and a soaring guitarist, who brought something fresh to this song and the whole sonic landscape that would shape ‘Hum’. Thematically, ‘Hum’ continues the life journey of ‘There’s A Big Star Outside’, which captured a transformational period for Williams – preparing for the arrival of his first child, but also the departure of his wife’s father. The songs on ‘Hum’ detail the aftermath of that spell, exploring loss, family and our responsibilities to those we build a life with. “I’ve now got someone to inspire,” he explains. “It’s like, ‘Yeah, your dad works at a bar to make rent, but this is what he actually does, this is what the dream is, and we’ll all live on it together. That’s the ethos on this album.” With ‘Hum’, Swim Deep turn struggle into momentum and personal upheaval into collective uplift. It’s the band’s heaviest, most adventurous, and most uplifting album in years – and the sound of a band still chasing the dream with conviction, but now with something deeper at stake."

"Birmingham hailing quintet Swim Deep announces their fifth studio album ‘Hum’, due June 19th via Submarine Cat Records. They also share first single ‘Pieces Of You’ — a defiant cut of alternative rock: roaring with clouds of distortion that bring a bite and rawness to its chiming melodies. Fresh and inspired from a sold-out tour across Thailand and China in December, and with an unexpected line-up change: ‘Hum’ is the work of a group rejuvenated, driven by their innate passion for music – even when the going gets tough – and sounding more confident than ever, whilst juggling the challenges of maintaining a grassroots indie band on their fifth album. Speaking on the track, lead singer Austin “Ozzy” Williams adds: “I had found a new writing partner at the full-time bar job: there stood J.J. Buchanan by the barrels of beer kegs we were hauling. A sharp songwriter and a soaring guitarist, who brought something fresh to this song and the whole sonic landscape that would shape ‘Hum’. Thematically, ‘Hum’ continues the life journey of ‘There’s A Big Star Outside’, which captured a transformational period for Williams – preparing for the arrival of his first child, but also the departure of his wife’s father. The songs on ‘Hum’ detail the aftermath of that spell, exploring loss, family and our responsibilities to those we build a life with. “I’ve now got someone to inspire,” he explains. “It’s like, ‘Yeah, your dad works at a bar to make rent, but this is what he actually does, this is what the dream is, and we’ll all live on it together. That’s the ethos on this album.” With ‘Hum’, Swim Deep turn struggle into momentum and personal upheaval into collective uplift. It’s the band’s heaviest, most adventurous, and most uplifting album in years – and the sound of a band still chasing the dream with conviction, but now with something deeper at stake."

As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Ready for take off? Metallic States proudly welcomes Chris Carrier for the label’s first full-length album.

This release reflects the recent evolution of Chris’ sound, following a career that has crossed decades, trends, and the constant mutations of electronic music. He embraced these changes naturally while always remaining faithful to his roots and distinctive identity.

From slow-burning trance excursions and mental dancefloor cuts to rave-driven anthems and soothing downtempo moments, this more psychedelic album could well become a landmark entry in his vast discography.

Orange Splatter vinyl. "Sermon of Mockery" by Pyrexia is not an album that tries to be accessible - it is built to be heavy, direct, and unsettling, and it delivers exactly that. Released in 1993, it sits right in the middle of a key moment when American death metal was evolving into something more technical and extreme. The sound is rooted in the New York scene: tight, compact riffing, constant stop-and-go structures, aggressive drumming, and deep guttural vocals with no room for melody. It's not about speed alone, but about control - everything feels deliberate, almost surgical in how the songs are constructed. Lyrically, the album revolves around a strongly blasphemous and anti-Christian theme. It's not just shock value; it's more like an inverted liturgy, where religious symbols are twisted into something dark and violent. This concept is consistent throughout the music, lyrics, and visuals, as you can see in the booklet. It may not be a mainstream landmark, but it played a key role in shaping the brutal death metal sound that followed. It influenced many underground bands and is still regarded today as a cult record. Listening to it now, the production may feel dated, but that's also part of its strength - it's raw, honest, and uncompromising. In short, it's a record that perfectly captures a specific era and mindset within the genre.

**LIMITED 500 UK COPIES ON BLACK VINYL** VINYL ONLY RELEASE for RSD: Rival Consoles, UK producer Ryan Lee West, shares his original score for MindsEye, the highly anticipated narrative-driven game from Build A Rocket Boy, the studio led by visionary game director Leslie Benzies. The industrial techno score doesn’t just accompany the game, it’s embedded in the code of the world they have created together. The full score sees its debut on vinyl for the first time as a limited-edition Record Store Day 2026 release.

Set in Redrock, a sprawling desert metropolis ruled by surveillance and automation, MindsEye follows Jacob Diaz, an ex-soldier haunted by fractured memories. As his personal mission escalates, he’s forced to navigate a world shaped by rogue AI, militarized tech, and a fragile grip on control, all while confronting the truth about his past. "In MindsEye, sound is a critical storytelling layer, from ambient detail to emotional drive, every element is designed to shape how players feel inside the world," said Craig Conner, audio director at Build A Rocket Boy. "Rival Consoles’ tracks brought something truly special to that vision. Ryan’s music adds a distinct emotional charge and texture that elevates key moments. It doesn’t just accompany the game, it sharpens its edge, deepens its atmosphere, and perfectly complements the world we’ve built." The score was produced over the span of three years in his London studio, and contains some of West’s most ambitious and heaviest compositions to date.

To coincide with today’s release of the game, the 10-track score is now available to stream in its entirety. MindsEye follows West’s previous scoring work, including bespoke music for 2019’s Black Mirror episode Striking Vipers, featuring ‘I Love This, I Love You’, 2022’s Netflix feature doc El Caso Figo about the legendary football player Luís Figo, and Alexander Whitley’s contemporary dance production Overflow, which was released as a studio album with the same name in 2021. The most recent Rival Consoles album, Landscape from Memory, was released in July 2025 to critical and fan acclaim. A world tour continues into mid-2026.

Arriving just over a year after their last release, Fragile World marks a striking shift in tone and energy for the band. Recorded live to tape in New Zealand by Paddy Hill, with production by Tom Healy (Tiny Ruins, The Chills, Folk Bitch Trio), Fragile World captures The Veils in an urgent and instinctive mode. The album's title is both a reflection of the present moment - a time in which many institutions appear to be crumbling before our eyes - and a metaphor for the act of creation itself. The process of making music, Andrews notes, is a delicate and fragile undertaking where thousands of small decisions gradually coalesce into a finished whole.

Japan-born, London-based composer-producer Hiro Ama releases his new EP Booster Pack, out now via PRAH Recordings. Where his previous record Music For Peace & Harmony explored spacious, meditative soundscapes, Booster Pack is an energetic, groove-driven statement, a deliberate move toward music designed to get the body moving while retaining the textural detail that defines his work.

Opening track “Booster” sets the tone: a percussive, rhythm-first piece that builds into propulsive, rave-leaning momentum. It was the seed that shaped the rest of the EP, establishing a new direction rooted in groove, movement and physicality.

On the EP, Hiro explains that “After releasing ‘Music for Peace and Harmony’ I wanted to create something completely opposite. Something dancy, something intense. A total 180-degree flip. The album was all about stillness, subtlety, and emotional resonance. This time I wanted to lean fully into energy, fast paced songs, and groove. Create something that I never created and something that could shake you awake rather than calm you down.

“Instead of beginning with piano or harmonic ideas which is usually my starting point. I focused purely on beats and rhythms in the beginning. I didn't add any chords or melodies until I felt happy with the drums and groove layers. It was a new approach for me and it pushed me to think about music more physically and less emotionally.”

The EP features earlier single “Lava”, a rave-inspired, rhythmically intense track built from pulsing bass and a siren-like synth, designed to create tension, energy and movement while keeping the groove at the forefront.

Across the rest of the Booster Pack EP, Hiro leans into percussion, deceptive rhythmic patterns and taut bass to create forward drive; each track begins with groove before melodic elements arrive, resulting in a record that trades reflective stillness for kinetic urgency while maintaining his compositional precision.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

Pon is Tujiko Noriko’s sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance.

Noriko’s palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023’s Crépuscule this is an epic work, released as a 2LP by Editions Mego alongside a Japanese CD release.

The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure.

Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface — strange voices emerge on Boku Wa Obaka, Knife of Yonder is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent.

Kikoeru Pon is brimming with childlike wonder — a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus.

There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Ponfeels like a colourful photo album, documenting Noriko’s inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen.

The emotional range of Noriko’s latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

Belgian violinist and composer Elisabeth Klinck announces the debut album of her ensemble, Klinck Trio, on VIERNULVIER Records. My Hair is Everywhere will be released on November 7, 2025 on vinyl LP and through all digital platforms.

Rooted in improvisation and guided by openness, the Klinck Trio — Adia Vanheerentals (saxophone, voice), Maya Dhondt (piano, voice), and Elisabeth Klinck (violin, voice) —crafts music where sound and silence are equally vital.

Their debut album is an exploration of fragility, unfolding like a delicate conversation in which each note is chosen with intention and every pause carries presence.

Recorded in the summer of 2024 at Studio Ledeberg, My Hair Is Everywhere captures a moment in time: three musicians meeting in sound, each bringing their own timbre, language and natural state of being into dialogue. Klinck offers seeds of material —metaphors, sketches, sonic ideas — that the ensemble shapes into fully formed pieces. The result is an album that stands complete, yet carries within it the openness to unfold further in live performance, where new layers and resonances can emerge.

In the spirit of American composer and pianist Meredith Monk, the trio embraces lightness andvulnerability, crafting soundscapes that feel both childlike in their intimacy and expansive in their emotional reach. My Hair is Everywhere balances melancholy, tenderness, and harmonic interplay with silence, breath, and resonance—the subtle negative space where music continues beyond the notes themselves. By recording in close proximity, every detail emerges: the strike of piano pedals, the clicking of saxophone keys, the intake of breath, and the faint displacement of air. Textures of dragging violin, whispered fragments, and soft humming become almost tangible, drawing the listener fully into this intimate, enveloping present
moment.

Above all, this compelling debut is an invitation to listen differently: to enter a transformative space where three distinct musical voices find each other in fragility.
The artwork, created by French artist Annabelle Guetatra, reflects the album’s sense of lightness through color and playful collage work.

Limited green vinyl including the iconic Beam vs. Cyrus Remix, Lange's Sunset Mix and Hiver & Hammer Remix.



In 2001, Lange delivered "Drifting Away", a track that was a defining moment in trance, capturing the euphoric pulse of dancefloors at the turn of the millennium. Now, 25 years later, it returns to vinyl to celebrate its lasting impact, reigniting the same energy and emotion that moved a generation.



In 2001, Lange delivered "Drifting Away", a track that was a defining moment in trance, capturing the euphoric pulse of dancefloors at the turn of the millennium.Now, 25 years later, it returns to vinyl to celebrate its lasting impact, reigniting the same energy and emotion that moved a generation. This special, coloured vinyl release features the iconic Beam vs. Cyrus Remix, Lange's Sunset Mix, and Hiver & Hammer Remix, bringing together the timeless interpretations that cemented its legacy.

The fourth instalment in the Hutson Sevens 7‑inch series finds Home of the Good Groove Records taking a slight detour away from the vaults of unreleased material this time, but back to a pivotal moment in LeRoy Hutson’s creative journey.

Fear not: more unheard gems are on the horizon. But for this chapter, the label rewinds to 1994, a year that marked a meaningful renaissance for the soul legend.

After years of legal battles and persistence, Hutson finally reclaimed partial ownership of his catalogue in 1989 — a hard‑won victory that opened the door to a new era. Though celebrated as a musician, composer, lyricist and performer, the world of publishing was uncharted territory for the musical legend. By 1994, Hutson stepped confidently into that new chapter, signing his first licensing agreement with a Japanese label and publisher.

From that landmark agreement come two recordings now making their debut on 7‑inch vinyl, presented with the care and reverence they deserve.

The A‑side brings us “Lucky Fellow (’94 Mix)”, a track with a storied lineage. First recorded by Maurice Jackson in 1971, it became one of Hutson’s signature moments when he released it on his 1975 album Hutson — a version that remains a fan favourite to this day.

Nearly two decades later, Hutson returned to the studio to revisit the song once more, applying his unmistakable production finesse to craft a fresh, radiant mix. Initially released in Japan on Lucky Fellow: The Best Vol. 2 and then later resurfacing on a Deepbeats Hutson compilation album in 1997.

Now, for the first time, this ’94 version arrives on 7‑inch vinyl — a lovingly curated snapshot of Hutson’s evolution, and a reminder of just how timeless his artistry remains.

Hutson’s “Lucky Fellow” gets a striking reimagining here, trading the warmth of the original for a brighter, crisp production, lifting the melody into sharper focus. While the added vocal riffs don’t just embellish the track — they give it a fresh, expressive identity.

Think of “Lucky Fellow (94 Mix)” as the cool cousin who shows up uninvited and immediately steals the spotlight. It tightens the groove, brightens the melody, and sprinkles in a handful of sly vocal riffs that flip the familiar tune into something delightful and freshly polished.


The flip side of this release digs a little deeper into Hutson’s 1994 chapter, bringing the track “Reality” to the 7‑inch format for the very first time — a moment many collectors and soul devotees have been waiting on.

Originally recorded in 1982, the track spent twelve quiet years on the shelf before finally surfacing on a 1994 P‑Vine CD Hutson compilation. It reappeared twice again on CD throughout the following years and made its first vinyl appearance on a Deepbeats Hutson compilation in 1998.

Nearly two decades later, in 2017, French record label Saph Records reintroduced the track to a new wave of listeners as part of its Unreleased Boogie Tracks 12‑inch series, cementing somewhat of a cult status among Hutson boogie fans.

Cut during the sessions for Hutson’s Paradise era, “Reality” carries the unmistakable sheen of early‑’80s soul — a buoyant, melodic groove wrapped in Huston’s recognisable warmth.
Now freshly remastered in 2026 by UK’s Phil Ward, the track gains an added depth and clarity that enhances its rhythmic glide without losing its vintage charm.
It’s a notable moment in Hutson’s catalogue and a killer selection to finally receive the 7‑inch treatment — a long‑overdue spotlight for a track that has spent far too long in the 7-inch shadows.

At Curated By Time, we’re dipping back into the archives once again, this time revisiting Westward, the collaborative EP from Kenneth Graham and DJ Kuya. Originally released in 1999, the record captures a moment where deep house grooves met a subtle tech edge, built firmly with the dance floor in mind. The title track leads the way with rolling rhythms, tight percussion and understated synth work, striking a balance between depth and drive. The rest of the EP follows a similarly focused path, keeping things stripped back and groove-led throughout. Now reissued on Curated By Time, Westward returns as a reminder of a sound that still fits neatly into today’s club landscape.

Original Funk Band from Paris

With just three years on the scene, Jéroboam is already considered as one of the most exciting and essential new voices in contemporary soul funk.

A true manifesto for live music and the dancefloor, this 11-piece live machine hits the stage like a juggernaut and doesn’t just play funk, they live and breathe it.

After a slew of certified underground classic releases on Space Grapes and Chuwanaga which have been supported worldwide by tastemakers and connoisseurs, Jéroboam is now presenting its long awaited first LP on Favorite Recordings.

From boogie-funk to 2-step soul crossover, Jéroboam delivers 8 heartelf songs, combining razor-sharp compositions with genuine and relatable lyrics.

Achieving such an exciting and challenging piece of work is the outcome of a long and inspiring process started more than 10 years ago in Paris.

From their early beginnings on the local scene, the core musicians of Jéroboam thrived on their mutual love for funk music under the name and concept of Echoes Of.

Building on these successful experiences and expanding its line up over the years, the band has been able to sharpen its sound, craft a distinctive crossover identity and create its own original music under a brand new entity : Jéroboam.

This momentum culminates in their debut full-length album, set for release in june 2026 on Favorite Recordings, a defining moment for one of Europe’s most vital modern funk acts.

Formed in 2022 and already moving with the assurance of a band far beyond its years, Hanry stands at the confluence of atmosphere and impact, restraint and eruption. Hanry return with `What Came From Silence`, their first full-length album that captures the band at a decisive moment in their evolution. Their performance at the legendary Trans Musicales in Rennes, broadcast nationally to an audience of thousands, marked a defining moment, and the forthcoming live session with KEXP signals Hanry's international ascent The new album is a cinematic journey that is all at once introspective, soaring and meticulously curated. Hanry transform restraint into resonance, and `What Came From Silence` is an album that invites immersion; it begins in stillness and slowly, inexorably, unfolds into something vast and luminous Sonically, the album deepens Hanry's exploration of contrast. Clean guitar tones shimmer with crystalline precision, only to dissolve into waves of saturated distortion. Ambient passages feel suspended in time, yet the band resists drifting into passivity. Even at their most delicate, there is motion; subtle pulses and evolving textures that suggest forward momentum. When the band unleashes its full force, the sound remains articulate; each instrument retains its identity within the surge. "The main new element on this album is our collaboration with the pianist Mariposa, who worked with us on the track Phantom Rush. His sensitivity and musical depth brought a new dimension to the piece. He took the composition into a space we likely would not have explored on our own, adding both emotional intensity and richness to the track." (Hanry) FOR FANS OF Explosion in the Sky * Boards of Canada * Massive Attack

Formed in 2022 and already moving with the assurance of a band far beyond its years, Hanry stands at the confluence of atmosphere and impact, restraint and eruption. Hanry return with `What Came From Silence`, their first full-length album that captures the band at a decisive moment in their evolution. Their performance at the legendary Trans Musicales in Rennes, broadcast nationally to an audience of thousands, marked a defining moment, and the forthcoming live session with KEXP signals Hanry's international ascent The new album is a cinematic journey that is all at once introspective, soaring and meticulously curated. Hanry transform restraint into resonance, and `What Came From Silence` is an album that invites immersion; it begins in stillness and slowly, inexorably, unfolds into something vast and luminous Sonically, the album deepens Hanry's exploration of contrast. Clean guitar tones shimmer with crystalline precision, only to dissolve into waves of saturated distortion. Ambient passages feel suspended in time, yet the band resists drifting into passivity. Even at their most delicate, there is motion; subtle pulses and evolving textures that suggest forward momentum. When the band unleashes its full force, the sound remains articulate; each instrument retains its identity within the surge. "The main new element on this album is our collaboration with the pianist Mariposa, who worked with us on the track Phantom Rush. His sensitivity and musical depth brought a new dimension to the piece. He took the composition into a space we likely would not have explored on our own, adding both emotional intensity and richness to the track." (Hanry) FOR FANS OF Explosion in the Sky * Boards of Canada * Massive Attack

Back on the Discos Panorama series we head once again to Colombia, this time pairing two Afro-cumbia dancefloor weapons from Afrosound and Wganda Kenya — two giants of the late-’70s and early-’80s tropical scene.

Around this time Colombian studios, particularly those connected to Discos Fuentes, were beginning to push things forward. Traditional cumbia rhythms were still at the core, but now they were being driven by electric organs, synths, drum machines and fuzzed-out guitars. The result was something raw, hypnotic and incredibly rhythmic — records that feel almost proto-electronic, long before anyone would’ve used that word.

The two cuts on PAN014, originally released in 1978 and 1981, capture that moment perfectly. Rolling percussion, locked-in basslines and swirling keyboards create grooves that just keep building. They’re party records, no doubt about it, but there’s something else going on too — repetitive, driving, almost techno in spirit, the kind of tracks that can run for minutes and never lose the floor.

The A Side is the anthem, the B Side feels like it was lost on an LP…

Part of PANORAMA’s Discos Panorama series, this one continues the label’s focus on bringing essential Colombian dance music back to DJs and collectors. Carefully remastered and pressed on 7inch, these are the kinds of records that instantly change the temperature in a room.

A collection of spellbinding, melismatic vocal improvisations taken from 78s cut between the mid 1920s to mid '30s - a period defined by the aftermath of the Ottoman Empire’s partition, the Greco-Turkish War and the compulsory population exchange that followed.

This same period also represented a time of intense efforts, following the establishment of the Republic, to westernise the new nation's music - coupled with a ban on traditional music education in schools, and later a complete ban on broadcasting Ottoman-Turkish classical music on the radio. As such these performances seem shrouded in an even more distant past, and feel quite intimately connected with forms of Greek amanes and rebetiko - having stemmed from the same Ottoman makam system, both with a subject-matter focussed on heartbreak, yearning, and pain.

A collection of spellbinding, melismatic vocal improvisations taken from 78s cut between the mid 1920s to mid '30s - a period defined by the aftermath of the Ottoman Empire’s partition, the Greco-Turkish War and the compulsory population exchange that followed.

This same period also represented a time of intense efforts, following the establishment of the Republic, to westernise the new nation's music - coupled with a ban on traditional music education in schools, and later a complete ban on broadcasting Ottoman-Turkish classical music on the radio. As such these performances seem shrouded in an even more distant past, and feel quite intimately connected with forms of Greek amanes and rebetiko - having stemmed from the same Ottoman makam system, both with a subject-matter focussed on heartbreak, yearning, and pain.

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

Roland Kirk was an extremely talented multi-instrumentalist, who lost his sight at a very early age, and played unconventional jazz, which was not entirely free but in which melodic and very beautiful phases alternated with moments of complete dissonance and conjured up his urban background, especially reflecting his view of the world as a handicapped man. Kirk was not only famous for his unique sound achieved through his playing several instruments simultaneously and his innovative approach to music but also for his dynamic live performances.

In November 1967 Kirk left EmArcy for Atlantic Records, leading his quartet through a highly introspective, somewhat melancholy programme, which was based in the blues and groove traditions of the mid-60s. Kirk himself played flutes, the stritch, manzello and tenor saxophones, the whistle, clarinet and more – precisely those instruments that had created his unique sound, particularly when some of these instruments were played simultaneously by him. Jazz critics who had previously criticised Kirk’s sound now praised him once they had heard the restrained and elegantly layered "Black And Crazy Blues", the breathtakingly executed Creole "Love Call", the razor-sharp soul in "The Inflated Tear" and the gyrating lyricism of the winds in "Fly By Night" – and quite rightly so.

Roland Kirk convinced his listenership anyway and sold over 10,000 copies of the present LP in the very first year of its release. This is Roland Kirk in his most competent and visionary form; his reading of jazz harmony and capricious sonances is virtually incomparable.