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Ever-evolving Amsterdam duo ANOTR continue their forward momentum with the release of their highly anticipated third studio album, ‘Withness’, out via their own imprint No Art. Rooted firmly in dance music, ‘Withness’ sees the pair refine their sound into their most dance-floor focused and cohesive project to date.

Born during their global tour, ‘Withness’ was shaped in real time: written, tested and refined on dancefloors across the world. Following the expansive, genre-blurring approach of their 2025 LP ‘On A Trip’, the duo felt a pull back toward the club - not as a limitation, but as a unifying space. “We really wanted to have a wide variety of songs that we can play out and create moments,” they explain. “Every track needed to make sense wherever people come together to dance.”

That intention sits at the heart of ‘Withness’. A title that reimagines the idea of “witnessing” into something more active and collective. ‘Withness’ is an album about experiencing life with others. It’s about the moments you share, the people who shape them, and the energy that becomes real only when you’re fully present. The album captures the collective high of friendship. Whether in a packed club, at a festival, or in a living room with friends, the album is designed to soundtrack moments of connection.

“The memories you make with people, they’re the witness of those moments. Withness is about being in it together.” - ANOTR

Sonically, the album marks a clear evolution. Drawing from their early club roots while building on the songwriting confidence developed on their previous records, classic drum machines and 909 samples sit alongside warm, 80s-tinged textures, layered vocals and modern production techniques, creating a sound that feels both nostalgic and forward-thinking.

A key part of the process was spontaneity. The duo embraced a free-flowing, collaborative studio environment, often working with a rotating cast of contributors. Their now-signature “open mic” approach encouraged anyone in the room to experiment with melodies, lyrics and vocal ideas. This energy translates directly into the album’s standout moments. From the euphoric pull of ‘Withness’ to the groove-led ‘Do It With Ya’, the uplifting ‘Paradise’, each track is built to live beyond a single setting.

The LP comes at a timely moment, as their single ‘Talk To You ft. 54 Ultra’ has become the biggest global breakout dance single this year. Sitting firmly in Spotify’s Global Top 200, it has surpassed 175 million streams, and is currently No. 21 in the UK Singles Chart. Spotify have tipped it in their much-coveted global ‘Sound Of The Summer 2026’ list and other highlights include peaking at No. 7 in Shazam’s Global Chart, No.1 on Beatport Top 100 and gaining over 600M UGC views so far.

Imagination Lady is the fifth long-player for Stan Webb's Chicken Shack and was originally released in 1972.

Much in the same tradition as the great British bluesmen Alexis Corner and John Mayall, Webb's revolving-door personnel landed the band several notable members. For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums). As with the previous Chicken Shack long-players, this disc features several Webb originals augmented with some well-chosen cover tunes.

The album opens with a ferocious cover of B.B. King's "Crying Won't Help You." In a style akin to the Faces or even some of the rowdier moments from the Peter Green-led Fleetwood Mac, this trio grinds out the blues with a decidedly English edge, followes by the folkie "If I Were a Carpenter". "Daughter of the Hillside" & is Webb's most impressive contribution to the album. This straight-ahead rocker is an ideal trio effort recalling the intense instrumentality of Cream or early Led Zeppelin. The closing number "The Loser" is upbeat and almost pop-oriented, again displaying the immense strength of this Chicken Shack line up.

Imagination Lady is available as limited numbered edition of 1000 copies on red vinyl and comes in a gatefold sleeve.

Black Truffle is thrilled to announce a second volume of unheard concert performances from legendary Pakistani kyhal singer Salamat Ali Khan, recorded at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974. Like the first volume, the immaculate recording by Michael Hönig (of krautrock legends Agitation Free) captures Khan performing a single extended raag in the company of Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. In addition to his stunningly inventive and moving vocal performance, Khan is heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither). The lack of an underlying tanpura drone gives the music its characteristic floating quality, with the three instruments and voice masterfully dancing around one another as they sketch the outlines of this grand, 40-minute Raag Chandrakauns.

If anything, this epic performance of the late-night Raag Chandrakauns is even more seductively spacious and psychedelic than the music heard on the first volume. Obeying the traditional shape of Hindustani classical vocal music performance, a gradual rise in both pitch and rhythmic activity, the music hovers for twenty minutes in a reflective calm, the pulse only gently stated by the tabla while harmonium ornamentation and zither strums float by. In this meditative space, Khan gradually orients us to the contours of the raag, beginning with long notes at the bottom of his register. His improvisation at once builds with a stunningly firm sense of internal logic and seems liberated to explore every melodic and ornamental byway that comes up along the way. By the time we turn to the record’s second side, the music has grown into something far more frenetic, with virtuoso tabla passages at times occupying centre stage between Khan’s increasingly rhythmic melodic variations. Concluding with a sequence of unison tabla and voice passages of breathtaking complexity, the performance is met with rapturous applause. Arriving in a blue-toned variant of the first volume’s sleeve, with acclaimed musicologist Peter Pannke’s liner notes in the original German, Metamusik Festival Berlin ’74 Volume II is not to be missed. Essential listening not just for Hidustanti classic aficionados, but for anyone who needs reminding of the magic of collective music making in the moment.

De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

Thursday, 2025. Philadelphia. South Philly, to be precise. A basement, to be even more precise. And not just any basement, but the subterranean headquarters of Zillas On Acid.

Which is where Roman Flügel found himself, presumably with good intentions. Some time before that, he had decided to wake Sister Midnight from its slumber.
But rather than simply carrying on where things had left off, a new idea was needed. Enter Sister Midnight Special Products: a new series dedicated to collaborations, chance encounters and other musical situations that deserve to become records.

No grand manifesto, no five-year plan. Just making music with people you like, in places you happen to find yourself, and seeing what happens. Special Product 01 is “Conga Dream,” born from a basement jam with Zillas On Acid and apparently unwilling to behave itself ever since.

Three musical free spirits meet somewhere between the basement, the dancefloor and the more pleasantly confused corners of the mind. Club music is involved, certainly, but functionality has been politely asked to wait outside. Instead: pocketprotector synthesizers, a little E-mu Proteus 3, assorted electronic activity and, as advertised, congas.

The result is less a tool than a small trip. Or perhaps a tool for taking small trips.
Either way, it works.

Zillas On Acid put it like this:
“A basement jam deep beneath the streets of Zilladelphia yields surprising results: pocket protector synths, a dash of E-mu Proteus 3, and yes of course the aforementioned congas.”

And with that, Sister Midnight Special Products is officially open for business.

Dream on.

Mastered by Mike Grinser at Man Made Mastering.

Artwork by Saskia Randt.

Much like a teacher, Meryl Streek imparts his knowledge and lived experiences to all who are willing to listen. His third album, ‘Stories They Don’t Teach You At School’, serves as an alternative form of education, delivered through a visceral blend of factual soundbites and raw emotion, loops and samples, guitars and bass. The lyrics resonate with core values of compassion, resilience, and community—themes rarely explored within a classroom setting or seen in today's fragmented society. By prioritising conviction over commercial success, the Dublin artist's outspokenness may invite controversy. Yet beneath the fervor lies a profound desire for positive social change at home in Ireland, and beyond.
Meryl Streek returned to Darkland Studios in Dublin to fine-tune the recordings previously made in a shed at the back of his ma's garden. Here he continued the genre-blurring nature of his earlier work, enticing listeners toward dissonant landscapes and hypnotic rhythms. Gentle piano tones collide with abrasive synths, creating a striking tension between beauty and noise. Streek tempers his rage when appropriate, integrating atmospheric textures and pop sensibilities into his ever-expanding sonic collage.
As is tradition with any Meryl Streek record, ‘Stories They Don’t Teach You At School’ unearths many uncomfortable truths. ‘Rotten Fruit’ examines media manipulation and the numbing proliferation of misinformation, all soundtracked by synth-punk. With gliding keys and a crunchy bassline, ‘Council Estates’ critiques systemic government failures affecting the working class. ‘Kelly’ is a slice of electronica that details an ongoing criminal investigation, currently classified as a “Contested Cause of Death”. The indie pop of 'The Chancer' brings much-needed attention to landlord politicians. As the album progresses, the mission remains absolute: to provide a voice for the voiceless.
To amplify these narratives, Meryl Streek handpicked a diverse group of collaborators for the project. ‘Rotten Fruit’ features Steve Ignorant of anarcho-punk collective CRASS. ‘Depression’ opens with a touching recording of the late Liam Norton, close friend and former touring companion, while Pete Holidai of The Radiators From Space contributes guitars on the song. Comedian Phill Jupitus provides the spoken outro for ‘The Chancer'. ‘Housing For All’ incorporates audio from Derelict Ireland campaigners Frank O’Connor and Jude Sherry. Venn Records owner and Gallows guitarist Laurent ‘Lags’ Barnard joins forces with Adebisi Shank bassist Vinny McCreith on the aggressive ‘Bullet,’ while Sophie Porter of Other Half provides bass guitar for ‘Life is Not a Rehearsal’. The album concludes with a three-minute spoken word piece by Frankie McNamara, the viral creator behind ‘Meditations for the Anxious Mind’.
In her 1990 protest anthem “Black Boys on Mopeds,” the late Sinead O’Connor warned, “To say what you feel is to dig your own grave”. With this release, Meryl Streek firmly holds the shovel.

Almost Starlight is the extraordinary new album by Jem Finer (hurdy-gurdy) and John Matthias (violin). Produced by Jay Auborn and recorded in a Medieval Church, deep in the Devon countryside, in the Summer of 2025, the music is suffused with light, heat and the natural acoustics of the space.

The album defies categorisation; forced to pigeon hole it the nearest approximation would be ‘modern-classical’ but this ignores its myriad influences and explorations which encompass inspiration from Arvo Pärt through Terry Riley to Can via Delius, Alice Coltrane and a subtle reimagining of electronic music played purely with acoustic instruments, bending and shaping their possibilities in surprising and unexpected directions.

Jay Auborn plays cello on a number of the compositions and his production opens up and expands the music through a skilled and imaginative use of space, paying homage to the atmosphere of the church; ‘the sound evolved… chasing the imagined acoustics of that church in my mind; a place for worshipping light with sound.’

Almost Starlight will be released on the 4th September by Touch, available as CD, vinyl, cassette and on streaming platforms.

BIOS OF THE ARTISTS

Jem Finer

Since studying computer science in the 1970s, Jem Finer has worked in various fields, including photography, film, experimental and popular music, sound recording, sculpture and installation.

Much of his work relates to systems, extended processes and extremes of scale and includes Longplayer, a musical composition repeating once every 1000 years, and the Gurdy and Hurdy stones, ancient rocks set upright in fields in East Sussex and Gloucestershire with Jimmy Cauty. Their work together includes a band, The Standing Stones, whose most recent release is Twa Sisters, featuring Iona Zajac and Daragh Lynch.

He was a founder member of The Pogues, with whom he has played, written and recorded since 1981.

Recent music revolves around a fascination with the hurdy-gurdy and includes hrdy-grdy, a cassette released by Benedict Drew’s Thanet Tape Centre. His latest collaboration, with John Matthias, Almost Starlight, will be released by Touch in September 2026.

John Matthias

Since studying Theoretical Physics in the late 1980s and 1990s, John has created music and sound in many forms, including for installation, popular music, music for film, for dance and orchestra.

Much of John’s work plays with the physics of complex systems but he is also greatly influenced by stories and song. John has collaborated with Matthew Herbert, Stanley Donwood, Jay Auborn, Radiohead, Thom Yorke, Nick Ryan and many others to create music with a variety of textures and sonorities. He is particularly interested in simplicity and form and how context informs the way music sounds.

His latest collaboration, with Jem Finer, Almost Starlight, will be released by Touch in September 2026.

"Amour" ist ein bedeutender künstlerischer Meilenstein für die Geigerin und Social-Media-Sensation Esther Abrami. Erstmals stellt sie auf einem Album eine groß angelegte Originalkomposition ins Zentrum. Ihre neun Sätze umfassende Suite für Violine und Orchester ist eine ausdrucksstarke Auseinandersetzung mit der Liebe in all ihren Facetten und fängt das gesamte Spektrum der Emotionen ein - von Zärtlichkeit und Leidenschaft bis hin zu Sehnsucht und Verlust. Über die Suite hinaus versammelt "Amour" eine vielfältige Auswahl ikonischer klassischer Werke rund um das Thema Liebe, die von Esther Abrami neu für Solo-Violine und Orchester arrangiert wurden. Ein besonderes Highlight ist Nino Rotas "Romeo and Juliet: Love Theme", mit der gefeierten Mezzosopranistin Marina Viotti. Ihre Stimme tritt dabei in einen musikalischen Dialog mit Esther Abramis Violine. Das Programm umfasst weiterhin Instrumentalarrangements von Céline Dions "All by Myself" sowie Georges Bizets "Habanera" aus "Carmen", wie auch neue Versionen für Violine und Orchester von Francis Poulencs "Les chemins de l'amour", Christoph Willibald Glucks "Tanz der seligen Geister" aus "Orfeo ed Euridice" und der virtuosen "Chaconne in g-Moll" von Tomaso Antonio Vitali. Auch eine neu arrangierte Version von Charlie Chaplins "Désillusion amoureuse" aus seinem Film "The Circus" ist auf dem Album enthalten. Im Laufe ihrer Karriere hat sich Esther Abrami einen Namen damit gemacht, klassische Musik einem breiten und vielfältigen Publikum vorzustellen. Mit "Amour" verbindet sie erstmals ihre unverwechselbare Stimme als Interpretin mit ihrem Schaffen als Komponistin. Das Album erscheint als CD sowie als Doppel-LP in einer limitierten Ecorecord InkPlosion Version, bei der jede LP individuell gestaltet ist. Die Doppel-LP enthält außerdem 3 Bonus-Tracks, die bisher nur digital erschienen sind.

Argentinian artist Juan Hansen presents his debut album 'Ultrasonido'; twelve tracks spanning indie dance, tech house, and soft melodic house, released on his own newly founded label Ultrasonido, with the second single 'Inside My Mind' coming out via belonging by Innellea.

After his breakthrough Boiler Room appearance in 2019, Juan has been on a relentless quest to push the boundaries, playing major stages around the globe, becoming one of the figureheads of the Argentinian electronic music world. As an exceptional live artist, multi-instrumentalist and vocalist, Juan brings a real sense of groove to the stage, merging two worlds effortlessly: deeply emotional songwriting and direct, dancefloor-focused club tracks. 'Ultrasonido' brings both sides together. The album is a clear evolution of Juan Hansen, presenting a wider range of his sound, which he also presents in his live performances. A journey through the musical world of Juan Hansen.

Across twelve tracks, with contributions from Clér Letiv, Santi Portillo, Franco BA, Rocio Giorgi, Miko Franconi, Brigado Crew and Marley Waters, Juan shifts between club-focused tracks and more intimate, song-driven moments, moving naturally between Spanish and English. It’s a debut album that captures both his roots and the direction he’s evolving toward.

Juan Hansen's story doesn't start on the dancefloor, it starts with acoustic instruments. He built his foundation in the indie and rock scenes of Argentina before crossing into electronic music, a journey that's still audible in every track he makes. After years of building his profile with live performances, mesmerizing audiences from Cosquín Rock and Ultra in Argentina to Watergate in Berlin, Burning Man in the Nevada desert, and Grand Factory in Beirut.

His search is real and visceral; a search for the different, mixing genres without prejudice, with a seriously playful attitude. Positioned within a new generation of artists dedicated to improvising on stage, Juan fuses electronic sounds with analog instruments and organic soundscapes. There's no genre cage. 'Ultrasonido' is his debut album and the launch of his own label, also named Ultrasonido. A long-form statement after years of singles, EPs, and shows around the globe.

Circling a mountain until disappearing into the dance: this is the starting point of 10LEC6's new album.

Several years after Bone Bame, released on Ed Banger, 10LEC6 returns with an album that is both digital and organic, conceived as a euphoric journey where language is manipulated, repeated, stretched like a sentence that spins on itself until it becomes rhythm.

The title, Ako Akas, is the name of a peak in southern Cameroon, whose legend tells of those who attempt to circle it disappearing in an endless dance. A perfect image for this immersive, fluid music where each loop propels the next.

There's something about summer that makes everything fall into place. Maybe it feels even more significant to us, especially if you know MM Discos through its Balearic leanings. It's that time of year when the whole scene reaches its peak, with everyone dreaming of being in Ibiza-or at the very least, somewhere on a forgotten beach or island in the Mediterranean.
For that very moment, Desert Island Disco make their MM Discos debut with a record tailor-made for the summer of 2026. Splitting their time between London and Lisbon, the collective have already shown a deep affinity for African-rooted midtempo sounds through releases on Shades of Sound and Mister T Records, alongside a steady stream of sought-after self-released edits on their Bandcamp.
This time, Desert Island Disco dive headfirst into South Africa, drawing deeply from the worlds of Kwaito and Bubblegum to deliver a record steeped in the warmth, groove and unmistakable spirit of both genres.
From its South African foundations, *World View* reaches far beyond, weaving together tropical textures, Caribbean flavours and Balearic sensibilities into something fluid and difficult to pin down. A borderless collection where geography becomes secondary to feeling, yet every track remains firmly rooted in the dancefloor.

Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers Everything Has Changed, Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers). The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, “Power”, which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory “Sun and Moon”, the towering blues ballad “God of You”, and the devastatingly vulnerable “Open Windows”. Everything Has Changed dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey. Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform.

It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time. The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album Some of Us Are Brave introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like “Someone Like You”, “Roll The Credits,” and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.
But if that album documented her arrival, Everything Has Changed documents her evolution.

Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers Everything Has Changed, Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers). The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, “Power”, which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory “Sun and Moon”, the towering blues ballad “God of You”, and the devastatingly vulnerable “Open Windows”. Everything Has Changed dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey. Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform.

It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time. The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album Some of Us Are Brave introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like “Someone Like You”, “Roll The Credits,” and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.
But if that album documented her arrival, Everything Has Changed documents her evolution.

OK, so the original pressing of the Heartstopper vinyl box set sold out in 2.5 hours.... Incredible!
We're making another version available. This is basically the same version, except it's NOT numbered. Also, this pressing will be released on October 9.

Heartstopper is the critically acclaimed Netflix coming-of-age romance that has captured the hearts of millions around the world. Based on the bestselling graphic novels and webcomic by Alice Oseman, the story follows Charlie Spring and Nick Nelson as they navigate friendship, love, identity, and growing up. Praised for its authentic representation and warmth, Heartstopper has become a cultural phenomenon, earning a devoted global fanbase and widespread critical acclaim. The series comprises three seasons, which aired between 2022 and 2024, followed by a feature-length film in 2026.

An essential part of the series’ emotional impact is its music. Across the series and film, Adiescar Chase’s music beautifully underscores the characters’ journeys, capturing the excitement of first love, the uncertainty of growing up, and the quiet intimacy of everyday moments. Her compositions have become an integral part of the Heartstopper experience, adding depth and atmosphere to the story’s most memorable scenes.

In collaboration with Netflix, Music On Vinyl proudly presents the complete Heartstopper soundtrack on vinyl for the very first time. This deluxe box set brings together the original scores from all three seasons of the series and feature film across four releases, pressed on stunning marble-coloured records in blue, pink, yellow, and orange, and housed in a beautifully crafted collector’s box. The set is complemented by an 8-page booklet featuring exclusive liner notes by Alice Oseman, four A4 art cards showcasing the original artwork from each release, and a Heartstopper diary for personal use, inspired by the series. Together, these carefully curated elements make this the definitive collector’s edition, celebrating the music and legacy of Heartstopper in a truly special format.

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

Dream Police is the fourth studio album by the American rock band Cheap Trick, originally released in 1979 and produced by Tom Werman. Following the huge success of At Budokan, the album arrived at a time when Cheap Trick had become one of the biggest new rock bands of the late 1970s.

The album is best known for its memorable title track, "Dream Police", alongside the popular tracks "Voices", "Way of the World" and "Gonna Raise Hell". The songs range from straight-ahead rockers to more melodic and atmospheric songs. Dream Police reached number six on the Billboard 200 and became one of the band's most successful studio albums. It remains a much-loved record from Cheap Trick's classic period and an important part of their 1970s catalogue.

Dream Police is available as a limited edition of 2000 individually numbered copies on red vinyl and comes in a gatefold sleeve. The package also includes an insert with lyrics.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Cologne based DJ and producer Barnt has been bottling his own weather system since 2010: captivating techno where melodies flirt, rhythms evaporate, and structure is something to tease rather than obey. An attitude, that pierces the average definition of techno. With an album and endless EP’s, he turned club orthodoxy inside out. Barnt has sent his tracks out via labels like Cómeme, Mule Musiq, Hinge Finger, Hivern Discs, Kompakt, or Magazine from Cologne, the enterprise he co-runs with a bunch of friends.

After his 2014 debut album on Magazine, that came out as catalogue number 13, Barnt is back with number 25, a new album, titled “After completing the Hex”. Eleven tracks, each grinding lowkey skewed. This is techno for dramatic entrances. Dance music for confusion. Freely played chords oscillate with intention. Alluring melodies glide across stoic beats. Peaktime vibes stripped to the bone. An album that provides Barnt’s most complete release until today, displaying his unique sound world effortless assembled. Mastered by longtime accomplice, producer Matt Karmil, it features playful, seemingly unintentional, meandering club spirits. There are melodies made from 100 notes and hooklines fashioned from just one. In-between calmer electric enchanters, minimal, free-spirted, tempting. His slinky madness occasionally presents sublimely embedded environmental sounds or oral samples, taken from sources like Torn Hawk’s “Trustfall” TTT cassette album. There is a touch of sadness, that veils the recordings at times, always defied by lightness and optimism. A record made with true inspiration, that overrides all fears. Drawn frankly from emotions, bringing the ultimate flow state, that unlocks a new techno gate.

4/5 REVIEW IN MOJO: “HEARTBEAT TONES DISSOLVE INTO BEAUTEOUS SHIMMER AND STELLAR SYNTH MEDITATIONS GIVE WAY TO CAREFULLY ORCHESTRATED ELECTRONICA.”

4/5 REVIEW IN UNCUT: “IT'S MASTERFUL, THOUGH IT WILL LEAVE YOU FEELING LIKE A SPECK OF GRAVEL IN A SELF-DESTRUCTING WORLD.”

NME - 8/10 review (w/c 14 October) "He’s mastered this stylistic skittishness and you’ll do well to find much dispute about his talent."

NARC - 5/5 review (October issue) "An immersive soundtrack to your own personal psychodrama."

WIRE - ONE PAGE REVIEW (October issue) "The sentiments it stirs to life are shadowed and ambiguous, simultaneously personal and impersonal. It is also fantastically immersive, dragging the listener into its turbulent undertows, then washing them back on dry land, intact but changed.’’

Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance.

While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.

Some pieces go off the rails before forming into anything, others eschew crescendo
compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard.

It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.

Mixed by Valgeir Sigurðsson and Tim Hecker. Additional assistance by Randall Dunn and Ben Frost. Mastered by Mandy Parnell at Black Saloon Studios in London, UK.

Komponist und Pianist Alexis Ffrench veröffentlicht sein neues Album "24". Es ist eine musikalische Reise, die den Zuhörer sanft vom Morgengrauen bis zum Abend begleitet. Es vereint 24 von Ffrench komponierte Originalstücke für Klavier, Streicher und dezente Percussion. Jedes Stück spiegelt die alltäglichen Momente wider, die unser Leben prägen. Das Album hat einen simplen und zugleich unerwarteten Entstehungspunkt: Bei einem Spaziergang durch London bemerkte Alexis ein Schild vor einer Kirche. Darauf wurde eingeladen "guten Kaffee für gute Zwecke" zu genießen. Die Wärme dieser Idee, die Alltäglichkeit, das Gefühl eines kleinen täglichen Rituals, das zu etwas Bedeutungsvollem wird - blieb ihm im Gedächtnis und wurde zur Inspiration für "Coffee Song". Alexis stellte sich die Frage: "Was wäre, wenn wir für jede Aktivität im Laufe des Tages ein bestimmtes Musikstück hätten?" Musik, die uns dabei hilft, jedem Moment bewusst zu begegnen und ihn wirklich zu erleben. Musik, als Weg zu einem achtsameren Leben. Alexis Ffrench ist ein Künstler mit einer besonderen Fähigkeit, Musik für die Seele zu schaffen. Seine Erfolge sprechen dabei für sich: Er hat über eine Milliarde Streams und ist damit einer der meist-gestreamten Pianisten weltweit. Im Laufe seiner Karriere hat Ffrench sich immer wieder eine Frage gestellt: "Was brauchen meine HörerInnen von mir?" Mit "24" ist die Antwort darauf ebenso einfach wie tiefgründig: Musik, nach der man leben kann.

ROMANCE is redefining the French rock landscape with a distinctive identity that blends punk urgency, infectious melodies, and lyrics sung in French. Rooted in the legacy of the Rennes music scene while looking firmly to the future, the band transforms a wide range of influences into a sound that is instantly recognizable. Their debut album, Promis ce soir, is driven by memorable hooks, a strong artistic identity, and a live energy that has already made an impression. Produced with James Eleganz, the record showcases a mature band capable of appealing to both indie rock audiences and a broader mainstream public. The singles Alizée, Le Net, and D'la faute à moi perfectly illustrate this crossover potential. With a striking aesthetic, evocative songwriting, and a genuine live DNA, ROMANCE is emerging as one of the most exciting new acts in French-language rock.

We release our second record, COPPIES002. Another hand stamped white label EP, collecting tunes from thecommunity, for the community. This time with tracks by Kerr Wilson, Salomo, illousion and APRS. Kerr starts on A1 with his "The Key To My Heart". He showed the first version of the track to Robert around 4 years ago in a memorable summer spent together. We made the promise that this will be pressed on record one day and, here it is! Thanks Kerr! It's a melancholic late-summer tune that makes you tear up and feel like the warm euphoria won't last forever, but it will surely return if you're patient. Salomo follows with a similar moody approach on "Say less (on the DF)", even though we can argue about the meaning of the title ;). illousion builds more tension on the flipside with "Masc or Mask". Entering dubby, rolling terrains with more high intensity drum patterns for later moments of the night. APRS is closing the EP with "I Want to Speak" on B2, maybe the counter argument to Salomos desire of a less noisy dancefloor. He crafted a minimal, loopy trip that drags you down the rabbit hole and won't iet you go til the party is over. COPPIES002 is available on vinyl only with digi download option

It’s safe to say that Rochester, NY rapper of Italian descent Pounds’ work ethic is unmatched: he’s constantly on the grind, loud in the lab but quiet on the outside, he wastes no time unlike many other big mouthed rappers these days and then, all of a sudden, he drops a bomb on you. To kick off 2018 in the best of ways, he released a 4-tracks collaboration EP with West Coast producer , 1/2 of Gangrene, Oh No entitled “Borgata”. The record opens up with “Last Supper” and with a clear statement of intent: “Run for your life, my cousin brought a drum and a knife, break my hand on your face I need a bucket of ice” just so you understand where this project is headed since the first song. His style is always direct, without any frills, with his trademark voice spitting gritty crime-themed bars that revolve around drug and the street life that raised him. A “borgata” in Italy is a “hood”, and Pounds, being the definition of an artist that talks the talk and walks the walk, couldn’t pick a better title for this project.

Limited edition vinyl release of 500 hand-numbered copies with etched B-side, black vinyl.

From the joyful swing of "Santa Claus Is Back In Town" and the evergreen charm of "Blue Christmas" to the peaceful reassurance of gospel favorites like "Peace In The Valley" and "Take My Hand, Precious Lord," this collection showcases Elvis at his most heartfelt and inspiring. Perfect for the holiday season and beyond, this vinyl is a musthave for fans of classic Christmas music and powerful gospel performances.

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

"Cinematic Visionaries Calibro 35 and Noir Master James Ellroy Pay Homage to L.A. with a Pure Crime-Funk Original Soundtrack. Out October 9" There are collaborations that feel inevitable like they were waiting to happen in some shadowed corner of culture. The union between Italian cinematic funk visionaries Calibro 35 and internationally acclaimed master of noir fiction and New York Times bestselling author James Ellroy is undoubtedly one of them. When Calibro 35 were invited to compose the original soundtrack for Francesco Zippel's documentary Ellroy vs L.A., they didn't simply write music for film. They stepped directly into Ellroy's universe the most dangerous corners of American crime fiction and discovered, to no one's surprise, that its darkness felt strangely familiar. The result is Ellroy vs L.A., the band's new album out October 9 on Record Kicks. Twelve brand new tracks of cinematic crime funk, psychedelia, and hypnotic groove that don't accompany Ellroy's world so much as inhabit it. The soundtrack's move through Ellroy's fictional and real-world mythologies with deliberate precision. Stylistically, the album finds Calibro 35 in their most natural yet most cinematic state: crime funk, psychedelia, and hypnotic groove pushed into darker, more narrative-driven territory by the weight of Ellroy's world. From the gloomy, suspense-laden groove of the opener Black Dahlia to the evocative closing piece Moonlight Sonative, the album unfolds as a complete cinematic arc, showcasing Calibro 35 at their very best. L.A. Confidential delivers a super-suspenseful, thrilling tension that feels like a chase through neon-lit streets, while Riots erupts into explosive cinematic funk, capturing chaos and urban unrest in full force. LSD on Sunset Boulevard drifts into a hazy, instrumental soul journey psychedelic, warm, and disorienting, like a late-night hallucination of the city itself. The Big Nowhere (Part I & II) expands the narrative into a slow-burning, atmospheric descent, unfolding like a two-act crime saga. Welcome to the Land of Vacation and Probation hits with kick-ass, uptempo crime-funk madness, urgent and relentless in its propulsion, while White Jazz is a mood of suspended, noir-infused jazz tension cool, shadowy, and unresolved. Together, the tracks map Los Angeles as a fractured yet hypnotic landscape suspended between glamour and violence, beauty and decay, myth and reality Born in Milan in 2007 with the mission of excavating the golden age of Italian film music Morricone, Piccioni, Trovajoli, Calibro 35 have spent nearly two decades transforming that initial obsession into a singular artistic language. Their work bridges vintage Italian soundtracks with contemporary jazz and cinematic funk, earning them a global following rare for an Italian instrumental act. Their music has been sampled by Dr. Dre (Compton, "One Shot One Kill" feat. Snoop Dogg), Jay-Z ("Picasso Baby"), and Damon Albarn's The Child of Lov. Rolling Stone described them as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," while Far Out Magazine called them "one of the most skilful and innovative instrumental outfits on the planet right now." The band (Enrico Gabrielli, Massimo Martellotta, Fabio Rondanini, and Tommaso Colliva) continue to evolve without losing their core identity. In 2025 they released the critically acclaimed Exploration, further expanding their sonic universe, and were invited to perform at the closing ceremony of the Winter Olympic Games at the Arena di Verona, confirming their growing international stature. With Ellroy vs L.A., Calibro 35 don't just compose a soundtrack they translate a mythology into rhythm, tension, and groove. Between fiction and reality, they find a city that never truly sleeps, only pulses in darkness. Press play, and Los Angeles begins to unfold in sound.

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

Futurismo proudly present a vital compilation born in the shadows of American punk; AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988, the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, American Grave is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

American Grave has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release.

2xLP on limited edition ‘Splintered Tomb’ coloured vinyl. It is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos by the great Edward Colver, words by Lisa Fancher and liner notes by Wesley Eisold of Cold Cave/American Nightmare.

Tiki for the Atomic Age feels like a mid-century transmission intercepted from a parallel timeline—one where hi-fi futurism, Polynesian fantasy, and postwar optimism never lost their sense of wonder. Kava Kon isn’t recreating exotica so much as reviving its original promise: escape, elegance, and possibility, rendered in warm, widescreen stereo.

Built on shimmering vibraphones, reverb-drenched guitars, analog organs, and ritual-leaning percussion, these tracks move at an unhurried pace. This is oceanic music—designed for dim lights, glowing glassware, and time stretched just enough to breathe. The lineage is clear: lounge exotica, bachelor-pad modernism, space-age pop. But this isn’t pastiche or museum work. It’s retro-futurism with intention, imagined from the future looking back.

The “Atomic Age” isn’t just aesthetic shorthand. It speaks to contrast—leisure in the shadow of anxiety, beauty alongside uncertainty, fantasy as a necessary technology. Kava Kon understands that tiki was never about geography; it was about psychology. A constructed elsewhere. A permission slip to slow down.

Pressed on vinyl, Tiki for the Atomic Age comes fully alive: tactile, immersive, and meant to be lived with. For listeners drawn to mid-century dreamscapes and modern exotica that honors the past without freezing it, this is an invitation—step sideways out of the present and into something more elegant.

Special poster on 250gram paper. Postcard with photo taken by Sandrien. Hand-numbered sticker. Shrinwrap

After more than a decade without releasing new music, Amsterdam DJ and producer Sandrien returns with her debut album Compass, released on her own new label, inspi. Created during a stay in Spain, where she finally found the space to create freely again, the album marks a new chapter: no genres, no expectations, just music made purely on feeling. Compass is an album about finding your own path, personally and musically, a cycle of searching and finding, letting go and beginning again. Lead single 'Life' laid the foundation for it all. The visual world of the album is just as personal: photographs Sandrien took around her house formed the basis for its artwork and imagery. With 27 years of experience behind her, Compass proves that mastery doesn't lead to routine, but to exploration. This double LP includes a beautiful double-sided poster featuring two original artworks of ‘Compass’ by Dutch artist Pieter Jan Boterkoek. Releases October 9, 2026 Written and produced by Sandrien Mixed by Julien Chaptal Mastered by Giuseppe Tillieci at Enisslab Artwork by Studio Pieter Jan Boterhoek This album is made with love in Spain, Volkshotel Amsterdam and Groenekan.

Greta Van Fleet’s new album, Palace for the People, is available as an exclusive, limited edition first pressing Oracle Variant vinyl, with a smokey quartz marble finish. Includes booklet, double-sided insert, sleeves, gatefold.

Palace for the People is out October 9th, 2026.

Please note: due to the custom dyeing process, each vinyl is unique and will vary slightly in coloration.

5 year anniversary release of fever, available on vinyl for the first time!

Against The Current is officially back and louder than ever. Formed in 2011 when vocalist Chrissy Costanza, guitarist Dan Gow, and drummer Will Ferri were just 15, the band has evolved from a teenage dream into one of modern rock’s most exciting forces. As they celebrate their 15th anniversary in 2026, Against The Current is gearing up for a massive year: writing new music, planning a global tour, and preparing to unleash their most ambitious era yet. Following the breakout success of their 2021 EP Fever, the trio entered a bold new chapter as independent artists. Their 2024 singles “silent stranger,” “blindfolded,” and “good guy” marked this new era with unapologetic energy and authenticity, amassing over 40M streams worldwide. Fans have been eagerly awaiting what comes next, and the band is set to deliver their first full-length album since 2018’s Past Lives in 2026.

5 year anniversary release of fever, available on vinyl for the first time!

Against The Current is officially back and louder than ever. Formed in 2011 when vocalist Chrissy Costanza, guitarist Dan Gow, and drummer Will Ferri were just 15, the band has evolved from a teenage dream into one of modern rock’s most exciting forces. As they celebrate their 15th anniversary in 2026, Against The Current is gearing up for a massive year: writing new music, planning a global tour, and preparing to unleash their most ambitious era yet. Following the breakout success of their 2021 EP Fever, the trio entered a bold new chapter as independent artists. Their 2024 singles “silent stranger,” “blindfolded,” and “good guy” marked this new era with unapologetic energy and authenticity, amassing over 40M streams worldwide. Fans have been eagerly awaiting what comes next, and the band is set to deliver their first full-length album since 2018’s Past Lives in 2026.

Two decades have passed in the land of Gnod, yet the psychic travelogue only becomes more enthralling as it goes on. And whilst this band has flourished via dauntless conviction, hive-mind magic and a fierce and uncompromising spirit, one ingredient has served as a crucial fuel for the fire – the monolithic singularity of the riff. 



This second chapter of Gnod’s sort-of-anniversary trilogy also originates in the same six day sessions as the first, at Hellfire Studios near Dublin with producer Spud Murphy (Lankum, Black Midi etc). Yet the focus this time is on the transcendental heaviness and repetition that the band have often used as a primary fulcrum of their approach. This volume captures the sound of strings flayed, throats shredded, skins punished by the organic chemistry of this formidably powerful band in a room.


The results are amongst the most fearsome and kinetic material that Gnod have summoned to date. As has often been the case for a band heavily driven by serendipity and intuition, the best plan is no plan at all. “We find quite regularly that spontaneity and the no thought approach works better than over analysis and detailed planning” clarifies the band's Chris Haslam


Maximal yet minimal, claustrophobic yet expansive, free in approach yet mercilessly disciplined in their intensity – Gnod like every truly great band are a mass of contradictions. On Chronicles Of Gnowt (Vol 2), this thunderous paradox has never sounded fiercer. To paraphrase Nietzsche: “Is man merely a mistake of Gnod's? Or Gnod merely a mistake of man?”

Consequential Reeding is the debut release on LOUDCAT MUSIC, Coflo's new solo imprint — a collector-focused outlet built entirely from his own projects, free of back-catalog expectations or A&R input.
This two-track, extended-arrangement 12" is designed to be stretched out and crush dance cyphers. The title track unfolds as a three-act story, each act led by a different earworm: a bari sax, a psychotic monophonic Moog lead, and finally a blues harp. The flip side, "Beethreezy," is a filthy, jazz-fueled B3 Hammond motif narrated by a choice vocal sample. Both tracks are built for isolator shenanigans and brave mixmasters.
All music written, produced, mixed, and mastered by Cody "Coflo" Ferreira.

„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut.

The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself.

Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002.

The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear.

The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music.

PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace.

Institut für Feinmotorik (*1997), artist-group originating from Black Forest working in various fields. In musical context known for transforming turntables into instruments by removing the records and instead applying rubber bands, paper scraps, household materials – resulting in a vivid laboratory for the productive misuse of everyday objects. This approach is documented in record releases and performed live.