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Unfolding ist Jessica Moss' meditativstes und klagendstes Soloalbum und vielleicht das erste in der jahrzehntelangen Diskografie der Violinistin und Komponistin aus Montreal, das man zu Recht als Ambient bezeichnen kann. Die ehemalige Mitglied von Silver Mt Zion und Black Ox Orkestar schöpft aus Postklassik, Drone, Minimalismus, Industrial/Metal, Power Electronics, Klezmer und anderen Folk-Traditionen. Es handelt sich hierbei nicht um abstrakte Ambient-Musik; vielschichtige Violinenmelodien, elektroakustische Bearbeitungen, intermittierende Stimmen und Percussion von Tony Buck, dem Schlagzeuger von The Necks, bringen zutiefst emotionale, genreübergreifende Kompositionen hervor, die von einem Geist der Suche und Beschwörung geleitet sind und sich in einer vorherrschenden Atmosphäre von Beschwörung und trauernder Zurückhaltung entfalten. Die Untrennbarkeit von Persönlichem und Politischem hat sich für Moss in den letzten zwei Jahren immer stärker herauskristallisiert. Als Kernmitglied der Montrealer Sektion von Musicians For Palestine hat sie mehrere Benefizkonzerte mitorganisiert und gespielt und im Frühjahr 2024 das Soloalbum For UNRWA veröffentlicht (das über 800 Unterstützer fand und Tausende von Dollar einbrachte). Später im selben Jahr zerbrach ihre langjährige Fernbeziehung aufgrund politischer Differenzen. In enger Zusammenarbeit mit dem Produzenten Radwan Ghazi Moumneh (Jerusalem In My Heart) entstanden ,Unfolding" in den letzten zwölf Monaten, dem zweiten Jahr des Völkermords in Palästina, als direkte Reaktion auf unser kollektives Miterleben, unsere kollektive Trauer, als Portal zur kollektiven Trauer, als Suchscheinwerfer durch unsere inneren Wettersysteme, auf der Suche nach einander in der Dunkelheit. Moss bewegte sich bereits in Richtung einer erhöhten Fragilität und einem tiefen Zuhören, ihre Musik wurde zunehmend langatmig und zeremoniell. Trotz der stark gesunkenen finanziellen Rentabilität von Tourneen wurde ihre Hingabe, Raum zu schaffen, Verflechtungen herzustellen und eine Verbindung zu einem intimen Live-Publikum aufzubauen, zu ihrem kreativen Leitstern, ihre Solo-Praxis wurde durch ihr Engagement und die Kommunikation in diesen Räumen geprägt. Die jüngsten politischen und persönlichen Umwälzungen haben diese ritualisierten, reparativen musikalischen Prozesse nur noch verstärkt. Die beiden langen Stücke auf der ersten Seite von Unfolding verkörpern diese Sensibilität. ,Washing Machine" verwebt Schichten von Streicherdrones und Filigranarbeit, sanft verzerrt durch Verzerrerpedale und Verstärkung, wobei unentzifferbare, ausgeblasene Sprechstimmen den Mix zeitweise als fragmentarische Palimpseste verhüllter Rezitationen und unbeschreiblicher Gefühle umhüllen. Der Ursprung des Stücks liegt in einer Telefonaufnahme einer europäischen Waschmaschine, die Moss aufnahm, als sie neben ihr saß, mit gebrochenem Herzen auf dem Badezimmerboden, und Trost fand, indem sie eine Melodie zu den mechanischen Obertönen der Waschmaschine summte, die ihren Zyklus durchlief. Das Herzstück des Albums, ,One, Now", beginnt als zarte Anrufung mit Basspuls, Glockenspiel und Glocken, gezupften Saiten und traurigen Lead-Violinenlinien, die von jüdischen und arabischen Modi beeinflusst sind. Umgebungsgeräusche, Feldaufnahmen und wortlose Gesänge werden hinzugefügt, während sich Violinenmelodien überlagern und zu einer hypnotisierenden Drone-Landschaft verschmelzen: eine halb improvisierte, lebendige Komposition, die durch Tony Bucks pinselstrichartiges Schlagzeugspiel und Moumnehs ,Schrei in die Leere" am Ende noch weiter belebt wird. Die zweite Seite ist ein vierteiliges Werk mit dem Titel ,no one / no where / no one is free / until all are free", das sich durch Umgebungsgeräusche, elegische postklassische Streicher und verzerrte harmonische Drones zu einem Höhepunkt aus liturgischer Orgel, rituellen Glocken und schimmernden elektronischen Spuren entwickelt, der die Bühne bereitet für den letzten Song des Albums: die erschütternde Chor-Komposition ,until all are free", eine weltliche Hymne, die aus Jessicas mehrspurigen Gesangsaufnahmen besteht (die sie aber gerne mit anderen im Konzert singen würde). Unfolding ist ,einem freien Palästina in unserer Lebenszeit" gewidmet. Danke fürs Zuhören.

Jessica Winters Debüt ist ein vollendetes, mutiges und hinterfragendes Album voller Persönlichkeit, das irgendwo zwischen Therapie und Tanzfläche angesiedelt ist. Musikalisch finden sich Anklänge an Kylie Minogue und dem Glanz der 80er-Jahre-Madonna, der Extravaganz von Prince und Queen, der Energie und des gelegentlichen Knurren des Punk und der verträumt hochgezogenen Augenbraue der Psychedelia. In einer Welt, in der maximalistischer Pop zurück ist und Therapie-Memes das Mass aller Dinge sind, ist "My First Album" der perfekte Soundtrack.

Jessica Winter ist eine britische Sängerin, Songwriterin und Produzentin, bekannt für ihre experimentelle Popmusik, die Elemente verschiedener Genres wie Pop, Industrial und Indie vereint. Bisher hat Jessica eine Reihe von EPs veröffentlicht, die ihre Fähigkeit, unkonventionelle Themen und introspektive Texte in Popsongstrukturen einfließen zu lassen, unter Beweis stellen. Zusätzlich zu ihrem Soloprojekt verfügt Winter über eine umfangreiche Liste an Referenzen als Co-Autorin und Produzentin, die mit Künstlern wie The Horrors, The Big Moon, Jazmin Bean, Phoebe Green, Lauren Auder, Pre Goblin, Sundara Karma, Walt Disco und Brodka zusammenarbeitete.

Surely one of the end of year 2012 hits and now available on CD, this debut album from Jessica Pratt got some rave blogosphere reviewage, Highly recommended!! "I never wanted to ever start a record label. Ever. But there is something about her voice I couldn't let go of. It's an actual voice. An actual beautiful voice. This ones a classic sounding voice. Not to mention her song writing, recording and guitar playing. JESSICA PRATT's music feels like I have found a lost LP of an old forgotten mystical folk singer, that feeling of discovering a record all by myself: Without the help of friends or the Internet. Like Stevie Nicks singing over David Crosby demos, with the intimacy of a Sibylle Baier. I am in love with it. So much, that I saved up and threw all my money to get it into this world. I actually care about it, no matter which way the winds blow."-Tim Presley, White Fence: FOR FANS OF Marissa Nadler / Linda Perhacs / first vinyl pressing of 500 now sold out? Second pressing now in Stock!! 8/10 in the latest Uncut. dont miss this ..

Ltd Edition!

Mit ihrem bahnbrechenden Album 'Here in the Pitch' hat sich die in Los Angeles lebende Künstlerin Jessica Pratt als Songwriterin einer neuen Generation etabliert und ist die klare Nachfolgerin von Folk-Ikonen wie Nick Drake und Joni Mitchell sowie von genialen orchestralen Pop-Komponisten wie Brian Wilson und Burt Bacharach. Das unaufdringliche und doch ehrgeizige Album hat bei Kritikern und Fans gleichermaßen Anklang gefunden und brachte ihr bis heute über 15 Millionen Albumstreams ein, wichtige Beiträge in der New York Times und bei Zane Lowe, ausverkaufte Shows von Los Angeles bis London, Kollaborationen mit den Modemarken Chanel, Valentino und Chloé und einen Live-Auftritt in der Late Show mit Stephen Colbert, wo sie ihre herausragende Single „Life Is“ vorstellte. Pratts einzigartige Stimme und ihr Stil erregten auch die Aufmerksamkeit von A$AP Rocky, was zu ihrer brillanten gemeinsamen Single „HIGHJACK“ führte, die im Sommer 2024 veröffentlicht wurde.

Ausgezeichnet als „Best Of The Year so far): Pitchfork, NPR, The New York Times, Paste, Stereogum, Rolling Stone

Roy Porter was approaching 50 years of age at the time when he released his first album, breaking a long period of silence and aiming for a comeback. The album is a hot one, with a superb sense of rhythm and vigorous drumming that clearly conveys his ambitious attitude. It is also his most expensive album, with the original selling for over $1000. The album includes 'Jessica', one of his best-known songs, which he wrote for his girlfriend, a long jazz-funk song with a melody of indescribable melancholy and colour, 'Funky Twitch', with its percussive beat and lush horns & guitar, and 'Wave', which quotes a phrase from Jobim's classic song 'Wave'. The LP comes on clear yellow vinyl, plus a 7" featuring a Kenny Dope re-edit of 'Jessica'!

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

Williams was one of the greatest jazz pianists of all time, but she was also a victim of geography. Her technical brilliance, complete control of the piano, creative imagination, wit, and constant desire to stretch herself put her at the top of her field although relatively few (beyond her fellow pianists) seemed to realize it during her lifetime. Born and raised in Baltimore, she recorded her first three albums in her hometown. But other than a few lesser-known sets in Europe, a handful of albums for Jazz Focus in Canada and her Red & Blue label in Detroit, and just two projects in New York for the Max Jazz label, all of her recordings were made on the West Coast where she lived starting in 1976. Jessica was reluctant to travel much, particularly in her later years, and her visits to New York were rare so she was largely overlooked by East Coast critics. Listeners who are only familiar with Jessica Williams’ later work where she is generally heard with a trio or as a soloist stretching out mostly on standards (although focusing more on originals on her own small label’s releases) will be surprised by Orgonomic Music. The pianist heads a septet, the largest group on any of her many recordings. While Jessica plays some stunning lines on the piano, the emphasis is as much on her writing as on her playing, and each of the other musicians get opportunities to have their say. Orgonomic Music, which was released by the small Clean Cuts label in 1981, has been out of print for decades. The original eight selections (six of the pianist’s originals, one piece by Stone, and John Coltrane’s “Dear Lord”) are joined by two previously unreleased performances.

Jessica Brankka makes her debut on Crosstown Rebels with new single ‘Musk’, joined by Audiojack and OMRI. on remix duties. Emerging from Brazil’s ever-evolving house music hotbed to make appearances at major venues across the globe, including Hï Ibiza this summer, DJ and producer Jessica Brankka is fast becoming an artist to keep an eye on. Debuting on Frau Blau alongside Floyd Lavine and racking up support from leading names in Solomun, Joris Voorn, Blond:ish and more, her outings via RADIANT. have only continued to help build and craft her growing sound. Stepping up for her most significant release to date, she joins the Crosstown Rebels family to open September with her new single ‘Musk’ - with remixes coming courtesy of Gruuv head honchos Audiojack and Tel Aviv’s OMRI.

Hooky, provocative vocals take hold from the off on ‘Musk’, with Brankka building via slick drum programming, vibrant stabs and sweeping melodies for an intensely catchy production shaped for all hours of the night. First up on remix duties are Crosstown regulars Audiojack, with their take introducing an abundance of additional energy via skippy percussion, zipping bassline grooves and swirling, off-kilter sonics, before launching into heady breakbeat territories. To close, returning Rebellion signee and OMRI. introduces his acid-tinged remix into proceedings, with wandering synth lines carrying the track towards more cosmic spheres.

Jessica Winter is the queen of sad-bangers, a purveyor of dark glittery synth-pop and a truly unique artist, as well as an acclaimed producer and writer (The Big Moon, Jazmin Bean, Phoebe Green, Walt Disco & more). Growing up on a diet of Nine Inch Nails and Siouxsie and the Banshees, her music is just as likely to channel Madonna, trap, pop, and indie disco. Much of her childhood was spent gazing out of the window from her hospital bed due to hip dysplasia, which led to a very vivid imagination to grow.

Across Jessica Winter’s debut EP ‘Limerence’ for new label Lucky Number, Winter shows her versatility as an artist, from the cinematic-pop aesthetics present in ‘Choreograph’, to a more raucous, dance-heavy approach with ‘Funk This Up’. Grounded within her unique, unmistakable style, Winter delves into everything from synth-pop, punk, and 80’s glam and cements her glimmering pop vision.

“Limerence was written during a time when I was trying to understand my relationship to love and my behaviours around it.” says Jessica; “Love confuses me so much and I think this EP demonstrates that.”

Life is full of thorns, full of suffering that changes us forever.

‘Rosebud Queen’ is an ode to the resiliency of the spirit. How do you keep the spirit from dying when it’s been void of beauty for too long?
This album is a collection of light, a hope for your spirit to find beauty in life's suffering, and an offer to connect my soul to yours.

Galaxy Heart is Moss' fourth record for Constellation and the companion album to 2021's Phosphenes. Galaxy Heart features guest appearances by Jim White (Xylouris White, Springtime, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor).Jessica Moss is a violinist and composer based in Montréal. She uses amplified and processed violin and voice to create intricate works of expressive electronic, drone, experimental and post-classical Minimalism; her distinctive melodic sensibility often channels Klezmer, Balkan and Middle Eastern tropes, combined with an ear for the textural grit and timbral noise of post-punk, industrial and ambient metal. Moss played in cult agit-prop post-punk band Thee Silver Mt. Zion (2000-2015), has contributed to countless albums by the likes of Carla Bozulich, Vic Chesnutt and Matana Roberts, and most recently has guested on albums by Sarah Davachi and Big|Brave. She has released three solo albums on Constellation since 2017.

Quiet Signs is the journey of an artist stepping out of the darkened wings, growing comfortable as a solitary figure on a sprawling stage.

Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with 'Opening Night', a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name, as well as to where this spare, beautiful collection of songs falls within the course of the California artist's career. Quiet Signs is also Pratt's first album fully recorded in a professional studio setting, her songs and guitar arrangements have been pared back to include only what is essential, while the home recorded haze of previous efforts parts to reveal the full scope of her vision. On the first single, 'This Time Around', Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso's casual coastal brilliance.

The album was written in Los Angeles and recorded at Gary's Electric in Brooklyn, NY over 2017/2018.

Jessica Ackerley (Honolulu, Hawaii) and Patrick Shiroishi (Los Angeles, California) are both members of the newly announced super-family-group SSWAN (along with trumpeter Chris Williams, drummer Jason Nazary, and bassist Luke Stewart). Both have prolific outputs and work diligently to push the boundaries of their respective instruments and previous musical ideas.

'Across Water' sees Ackerley and Shiroishi contributing their own unique takes on the ambient sound. Jessica contributes 'I Am Here' and 'The Crevices Between My Heart', each following the collection's theme of water while the guitar and synth work on the second composition gives way to visuals of deep-sea life that can only sustain itself away from the hustle and bustle of crowdedness. Similarly, Patrick is no stranger to straddling the fine lines between subtle and overt emotionality. 'Because You Went There' and 'Leaving It All Behind' are his offerings, seemingly looking up to the sky rather than down ay the ocean, infused by the sweet and smoggy California air.

Four Flies' new record series, ITALIAN LIBRARY SONGBOOK - Masters of Cinematic Music Reimagined into Song, hopes to build a bridge between the modern and the contemporary. Producers and songwriters from today's music scene put their spin on hidden tracks and outtakes from the catalogues of Italian soundtrack maestros, reimagining them into new, previously unheard songs poised between pop and club culture – a sound nestled somewhere in between Balearic, downtempo, and organic grooves.

Volume I focuses on Alessandro Alessandroni, a composer whose trajectory is emblematic with respect to Four Flies' journey as a label and publisher. Despite being best known in his lifetime for his unmistakable whistle in Ennio Morricone's soundtracks for Sergio Leone's spaghetti westerns, Alessandroni was way more than that. He was a refined composer and multi-instrumentalist, and one always ahead of his time. Partly thanks to Four Flies and its contribution to the rediscovery of the Maestro with releases such as the EP "Afro Discoteca" and the compilation album "Lost & Found", this has become unquestionably clear in the past few years, which have seen his name climb to the top of collectors' want lists and gain recognition in the international music industry.

This release goes back to one of Alessandroni's lesser known film scores, Sangue di sbirro (written for Alfonso Brescia's 1976 poliziottesco Cop's Blood), where he created his own version of the soul-infused jazz-funk music typically found in 70s Blaxploitation movies.

More specifically, Neapolitan producer pAd and London singer-songwriter Jessica Duncan reimagine the original "Philadelphia", which appears on Side B and whose title clearly refers to the city that, back in the 70s, saw the birth of (mellow) disco. The result of their collaboration is "Do You Wanna Get Close?" on Side A, a downtempo, jazz-funk and Balearic gem pervaded by warm, sexy and elegant pop-soul vibes that make it a perfect club track to enjoy the night until the early hours of the morning.

To ensure maximum audio quality, the mastering was done by Fabrizio De Carolis at his Reference Mastering studio in Rome's Prati neighborhood (the same neighborhood that was once the epicenter of Roman library music) while the vinyl cut at the The Carvery, the multiple Grammy-nominated London studio behind some of the best organic grooves records of the past decade. The result is a deep, full, rich and three-dimensional sound that enhances the beauty of both tracks.

The series and volume artwork is by graphic designer and calligrapher Luca Barcellona, an artist used to working with analog tools such as ink, brushes and pencils. He drew inspiration from the world of literature, imagining each release as one of the volumes in an elegantly bound classics book series - an analogy that reminds us of the tactile element that makes vinyl records so unique and precious, while also suggesting the cultural value of a music that aims to connect the legacy of the past and the creativity of the present.

GENRE: Modern Classical, Experimental, Ambient Metal. RIYL: György Ligeti, Sarah Davachi, Stars Of The Lid. 180g LP pressed at Optimal, 350gsm jacket, inner & DL card. Jessica Moss Also Known For Her Tenure In Thee Silver Mt. Zion (2002-2015), Black Ox Orkestar (2002-2007), Recordings By Vic Chesnutt, Carla Bozulich, Arcade Fire, Basia Bulat, Roy Montgomery, Sarah Davachi, Big Brave & More. A phosphene is “the phenomenon of seeing light without light entering the eye.” The title of the heart-rending and resolute new album by composer/violinist Jessica Moss could not be better chosen. Moss is by now a seasoned practitioner of immersive isolation music; across three previously acclaimed solo records of minimal and maximal post-classicism, her acoustic, amplified, and electronically-shifted violin is the raw material for deeply expressive, palpably haunted, wholly committed compositions. But Phosphenes inscribes fleeting halos of refracted ghostly light out of a prevailing darkness with especially plangent determination and intensity. This is the most overtly searching, mournful and inexorable music Moss has made to date. The pieces on Phosphenes exquisitely navigate consonance and dissonance, building patiently from single notes to multiple voicings, harmonic stacks and clusters. These compositions channel themselves like slow-moving water in a dark cave, finding small eddies and catching glints of luminescence from within. Signal processing is kept to a minimum in the three-movement “Contemplation” suite on Side One, where Moss deploys amplification chiefly in the service of activating overtones and pitch-shifts, thickening and widening the sonics, carving out her unique timbral space. Based on a four-note sequence that sets whole tones against one another, “Contemplation” is a bona fide requiem that finds Moss at her most instrumentally naturalistic, measured, and modern. Side Two unfolds in a more foreboding vein: “Let Down” is marked by cavernous octave-dropped arco and pizzicato, providing a gothically-inflected substratum upon which hauntingly wordless vocal invocations and cumulative gyres of violin melody unfurl. “Distortion Harbour” grinds with noisier grit and a more harrowing complexion, highlighting Moss’s ambient-metal sensibility and her distinctive palette of industrial-inflected power electronics a reminder of why she’s also been a go-to player on albums by the likes of Big Brave, Oiseaux-Tempête and Zu in recent years. These two songs also feature upright bass from old friend and former bandmate Thierry Amar (Godspeed You! Black Emperor, Thee Silver Mt. Zion, Black Ox Orkestar). Album closer “Memorizing & Forgetting” is inarguably the most tender and beautiful song in Jessica’s oeuvre: a keening lullabye of sorts, on which she plays piano, violin and guitar, joined by her partner Julius Levy in a lustrous ambient vocal duet. Everyone has been trying to find a way through and out of pandemic, lockdown, social isolation and often darkened hope and for many musicians, the absence of touring, of live performance, live sound, live audiences, and a living. For Moss, it’s also been “like when you press your fists hard against your eyes and eventually there is fireworks.” The light gets in where it can, even or maybe especially as imaginative sensory simulacra (if/when we shut down our screens and are left to our own devices). Phosphenes is a stoic, acutely sensitive, superlative musical statement from Moss

Nach Dear Esther und So Let Us Melt, veröffentlicht Black Screen Records im Januar 2021 nun den nächsten Soundtrack von Jessica Curry auf Vinyl. Diesmal ist der Soundtrack in Zusammenarbeit mit Blood & Truth-Komponist Jim Fowler entstanden und erinnert an einen wunderschönen Mix aus Disney-Musik und einem Ballet von Tschaikowski. Der Soundtrack erscheint als limitierte Doppel-LP auf audiophilem schwarzem 180g Vinyl (45RPM) und wurde von John Webber in Londons Air Studios gemastert. Das Artwork stammt vom Zeichner Nathan Anderson und ist inspiriert von sowjetischen Raumfahrt-Plakaten. Natürlich kommt auch dieser Soundtrack mit einem gratis Download Code und Liner Notes der Entwickler.

Massage Brain Cult VA1

Written and produced by BOT1500, D'Arcangelo, Mause, Jessica Walrus, fxbip, Velum break

Digital Mastering by Julian Tardo from Church Road Studios

Vinyl Mastering and Cutting by Keith Tenniswood from Curve Pusher

Jessica Einaudi is a Berlin-based Italian singer and songwriter. Jessica has had an extensive musical career as half of dream pop duo La Blanche Alchimie. Together with songwriter and producer Federico Albanese she released two albums to much critical acclaim in her home country and toured extensively throughout the whole of Europe and the USA.

Since the early 1990s, keyboard player Jessica Lauren has been a familiar part of London's alternative music scene. Jessica's keyboard skills have augmented the live performances and studio recordings of world renowned artists such as Jean Carne, Tom Browne, Dexter Wansel and James Mason, Japan's United Future Organisation, and UK soul diva Juliet Roberts.

Her previous Freestyle album 'Jessica Lauren Four' (2012) highlighted Jessica's minimalist approach, something rare and refreshing in the jazz world: she instills her compositions and playing with a refined sense of space which makes her music as much about what she doesn't play as what she does.

The albums' opener - Kofi Nomad is a deeply percussive afrocentric epic, featuring the beautiful baritone saxaphone of Tamar 'Collocutor' Osborn, one of the most in demand woodwind players working today, underpinned by a powerful foundation of percussion courtesy of Richard látúndé Baker, Phillip Harper and drummer Cosimo Keita Cadore.

Jessicas' amazing skill for writing simple, understated yet superbly memorable and catchy hooks remains undiminished. Highlights in this new collection are almost too numerous to mention, but Amalfi is a breezy bossa, which conjures up images of easy living days and sun dappled Mediterranean coastlines, whilst the angular and brooding Simba Jike has something of an Eddie Harris style deep, dark groove over which Jessica riffs and solos beautifully on grand piano - and Tamar once again blows freely, whilst 'level' Neville Malcolms' upright bass figure roots the entire thing in a solid, almost primeval sound.

The albums closing statement Argentina is a masterpiece of pathos and perfectly demonstrates Jessicas' approach which is almost akin to a minimalist architecture style of composing and playing, such is the strength of its atmosphere and subtlety.

Part one of two EP release on Transmat. New artist from Detroit!

Monsieur Fred Berthet from Marseille who's also known as Dj Steef drops his premiere EP on Feines Tier label after releasing a solo track on the first label compilation. Fred's providing funky and hip shaking tunes since ages so keep hold of your shorts while dancing to the beats. The digital package contains 4 discoid fresh tunes including vocals by Jessica Baucher on Sève et Adam and 2 remixes by the charming 106er boys and the mighty Rodion who sends an Italian Ciao from his adopted home Mexico City.

Franco Micalizzi CHI SEI(Four Flies Records - FLIES 17)

LP 180gr. Limited Edition 500 copies

liner notes byALFONSO CARRILLO (Rendezvous, LA)

lettering & artwork restoration byLUCA BARCELLONA

Considered one of the finest and most successful works composed by Franco Micalizzi. A 500 limited-edition LP which includes two tracks never before released on vinyl, a reworked painted lettering title designed by Luca Barcellona, and extensive liner notes by Los Angeles'RendezvousDJ/film event founder, and Four Flies collaborator, Alfonso Carrillo: "A film score that was quite unheard of in horror - a funk and disco-tinged soundtrack, with a sound reminiscent of a blaxploitation film. Director Ovidio Assonitis'Chi sei(1974, American title:Beyond the Door) offered horror fans both a familiar sto- ryline and a stylistically unusual score. Recorded in the States, and using American session musicians, Micalizzi created one of horror's most unique soundtracks. He utili- zes soulful lead vocals (sung by Warren Wilson) along with sax and synthesizer, both of which are featured prominently on the score. Along with superb percussion work, this soundtrack features virtuosic musicianship by top session players and easily stands up to the test of time. This was an early foray into the world of soulful funk and an early in- dication of future-funk to come from the maestro". Alfonso Carrillo (Rendezvous, LA)

Drei Jahre nach ihrem von der Kritik gefeierten Album „On The Inside“ kehren Gotts Street Park mit ihrem neuen Album „Somewhere Between“ zurück. Mit dabei sind Celeste, Matt Maltese, Rosie Lowe, Pip Millett, Sofia and the Antoinettes, anaiis und Olive Jones.
Das neue Album markiert einen stilistischen Aufbruch und schlägt im Vergleich zu früheren Veröffentlichungen neue Wege ein. Inspiriert von emotionalem Folk und Americana – mit Künstler:innen wie Blaze Foley, Jessica Pratt und Big Thief, die während der Entstehung des Albums in Dauerschleife liefen – verbindet „Somewhere Between“ die charakteristische Produktionskunst des Trios mit einer neuen, spürbar wärmeren Klangästhetik. Klassisches Songwriting trifft dabei auf die außergewöhnlichen Stimmen einer hochkarätigen Gästeliste.
Ihre Vorliebe für analoge Produktionsweisen übertrugen Gotts Street Park ganz selbstverständlich auf den modernen Americana-Sound des Albums. Die stilistische Entwicklung war dabei keine bewusste Entscheidung, sondern ergab sich organisch aus ihren gemeinsamen Hörgewohnheiten – allen voran Josh, der sich intensiv mit Neil Young und weiteren Künstlern der frühen 1970er-Jahre beschäftigte.
Für „Somewhere Between“ versammelte sich das Trio gemeinsam mit den Gastvokalist:innen in einem Raum und ließ die Songs in einem intuitiven kreativen Prozess entstehen. Inspiriert von der Musik von Gotts Street Park entwickelten die Sänger:innen ihre Texte ganz organisch. „Mit GSP zu schreiben, ist immer eine große Freude“, sagt Rosie Lowe. „Ihre Musik ist so emotional, dass die Songs scheinbar wie von selbst entstehen.“

For over 25 years, David Madson (aka Odd Nosdam) has been stationed away from the light of the mainstream, diligently working the nightshift. Every so often, we awake to find another of his bleary and beautiful missives slung into the waking world – albums whose assemblages of sampled grooves, atmospheres and voices are unified by a hallucinatory sense of melody, like disparate visions strung together through ribbons of sleep-talk. From his earliest days as a member of the seminal group cLOUDDEAD, through his remixes for artists such as Boards of Canada and Black Moth Super Rainbow, Nosdam has been reporting back from his rounds upon the perimeters of culture and consciousness, forging a musical language all of his own.

On Patrol is the second Odd Nosdam LP to be released on The Notwist’s imprint Alien Transistor – following on from the 2019 album Mirrors – and continues a collaborative history that begun with a 2008 remix of The Notwist song, “Sleep”. It’s a love letter to the vinyl format, produced with the aim of optimizing for a single LP. This objective permeated every aspect of the album’s production, from the duration of each side through to the vinyl mastering (Jessica Thompson) and lacquer-cutting (Dubplates & Mastering, Berlin). As we've come to expect, the album is built almost entirely from found sounds, many of which were taken from obscure and second-hand vinyl gathered during Nosdam’s ceaseless crate-digging escapades. Other sources include field recordings made in 2022 at the Catalonia summer home of artist Salvador Dalí, which are baked into the swirling sci-fi glide of “Here to Know (Adéu Mix)”, and a sumptuous clunking bass line courtesy of Organi’s Mike Walti, which runs like an infinite highway through the fuzzy, sunbaked sprawl of “Deepsimple”.

Odd Nosdam’s work has always swept the entire atmospheric spectrum, from rhythmic vigour to levitational beauty. On Patrol is perhaps his finest assimilation of these extremes. “Sgt. Pepsi” is the perfect case in point: a formidable slow groove capsizes into vinyl crackle after a mere minute, before the song resurrects itself through sweeping strings and vocal harmonies, sliding against each other like the overlain romantic denouements to a dozen Hollywood films from the 1940s. Elsewhere, “Get You In (Belong Mix)” drapes shoegaze guitar over a trundling funk backbeat, straddling the physical world and the outer realms, while hushed voices point toward the song's implied themes of cultural cliques, critical consensus and the plight of the eternal outsider: “Sure, I can get you in... these people are my friends, I’m one of them - I belong.”

This is music that both endures and disappears. Odd Nosdam has always wielded a strange relationship with time, scrambling association with any specific era, weaving together numerous tempos simultaneously. There is no master clock. Each track could happily hold up as an infinite loop, yet Nosdam clearly favours the potency of the gone-too-soon, applying the fadeout just as hypnosis starts to crest. Indeed, the songs are both the product of meticulous long-term construction and spontaneity. While the foundations of On Patrol have come together over several years, the recording process involved channeling vibes through a vintage Roland Space Echo and bouncing song fragments back and forth from hard disk to cassette 8-track, gifting a phased permanence to creative decisions made on the fly – a hat-tip to the production processes of Nosdam's longtime hero, Lee ‘Scratch’ Perry. Like a recurring dream, On Patrol appeals to both the plains of momentary ephemera and the long-established backchannels of the unconscious, equal parts revelation and deja vu.

Text by Jack Chuter
Artwork by Ian Ferguson

21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.

Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.

As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.

Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.

21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.

Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.

As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.

Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.

Around The Sun is a 23-track anniversary compilation marking ten years of Batov Records, featuring artists including Mulatu Astatke & Hoodna Orchestra, Sababa 5, Satellites, Boom Pam, MOMO. and Mamman Sani. The collection reflects the label's catalogue across Ethio-jazz, Anatolian psych, Mediterranean disco, contemporary jazz, instrumental music and other globally influenced styles. The release includes two Batov edits, several tracks appearing on vinyl for the first time.

Wow! Chapter 16 of this successful and influential series. This time compiled by Michael Rütten (Soulpatrol) and Michael Reinboth. After 30 years of sharing the love for music and a friendship it‘s about time for these two to get together for a musical trip around the world. Voted one of the best electronic music compilations by music magazines such as Groove, Mixmag, FAZE and DJ mag. With the launch of the series in 1995, it’s fair to say that Michael Reinboth or Compost essentially pioneered and established the future jazz genre. Further info about the artists upon request.

Consummate selector DJ Sundae returns to Efficient Space with Nothing Ever Was, an immaculate compendium of phantom independent melancholia spanning '60s/'70s village green folk, outsider shoegaze and new millennium domestic pop. Each recording an emotional exorcism, Sundae breathes oxygen into music that was barely there in its own time, made in quiet places and crawl spaces, shared only with a precious few via private presses, hobby labels and now-decaying CD-Rs.

Free of any prescribed epoch, continent, scene or rarity, Noughties homemade indie pop opens both sides with the 4-track wonders of The Motifs and Betelmire, unlinked contemporaries finding their place alongside Andrew Jay's Crazy Horse rust, the regional-garage adolescence of Pauline Scribner and the anaesthetised Mancunian guitar-poetry of the late Quigley.

The remaining coordinates zigzag between the UK and US. Folk wayfarers John Strang & Valentine Lewis Lloyd, Virgin Insanity, Kusudo & Worth and Penny Wager's spartan Garden of Eden acoustica find their mirror in Empress and Slumber's close-quarters indie pangs. Chicago power pop fixture Phil Angotti is caught at his most tender, while Teri Rini takes the final bow with her universe-stopping hotel lounge torch song.

A deeper, more personal exploration of Sky Girl's sentimental songwriting, Sundae found himself amassing a cache of tracks too undeniable to remain confined to his anonymous mixtapes for TTT, P.A.M. and Good Morning Tapes, or bi-monthly hour on NTS Radio. Again his emotional sorcery draws together an unlikely cast, their unwritten narrative assembled from fragmented memories of past lives left behind by future horse trainers, ketamine therapists and Fab Four cover band careerists.

With not a second squandered across 1LP, it took a village to bring this new companion into being, with David Bergot's forensic audio restoration, dreamlike imagery from Matthieu Crozier, Ivan Liechti's elegant design and a perceptive foreword by kindred spirit Jessica Pratt.

Erstauflage enthält 12-Seitiges Booklet im Vinyl-Format

-3LP triple set featuring all the Prescription versions and the newly created AD II artworks by Steven Stapleton.



The booklet features all lyrics, extensive liner notes and sheds light on the interesting circumstances of the creation of this Coil release by Gary Ramon who not only instigated the sessions but also provided the haunting location for their recordings.



Has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Steven Stapleton design & layout by Oleg Galay.

After years of shaping dancefloors worldwide and carefully curating the sonic and visual identity of Up The Stuss, Dutch favourite Chris Stussy presents his most expansive and personal statement to date with his debut album, ‘Lost, Found & Forgotten...’. Landing on 3rd April, the album unfolds across three interconnected chapters - ‘Lost’, ‘Found’, and ‘Forgotten’ - each revealing a different side of his creative world across 19 tracks while remaining tethered to a singular wider vision.

At its core, ‘Lost, Found & Forgotten...’ is an exploration of creative freedom. Visually and conceptually guided by the image of a kite, the album reflects movement, perspective, and balance. Floating freely yet always anchored, the kite mirrors Chris’s approach to music: unrestricted in emotion and imagination, but grounded in groove, craftsmanship, and intention. It’s a symbol that naturally extends the Up The Stuss identity; pointing skyward, embracing openness, and encouraging curiosity.

“This album has been a long time in the making, and I’m excited to finally share it with you. The process behind it - exchanging ideas with other artists and creating music outside of my comfort zone - has been an incredible experience. It gave me a true sense of freedom, allowing me to not think about boundaries or expectations. I’ve never been more proud of a project than this one. It’s deeply personal, and it represents my sound as a whole. I hope you listen with an open mind and find something in it that resonates with you.” - Chris Stussy.

The ‘Lost’ chapter opens the album by giving new life to music once left behind. These are tracks written across different moments in Chris’s journey, ideas that never quite found a home until now. Rather than relics of the past, they emerge re-discovered, refined, and fully realised. ‘

Found’ represents inspiration in motion. Sparked by collaboration, digging, and shared creative exchange, this chapter captures the moment when ideas connect, and colour floods the sky.

The album closes with ‘Forgotten’ - a nod to the deeper cuts, the B-sides, and the moments that reward patience. This chapter is for the heads and diggers; tracks that may not demand immediate attention but reveal their value over time.

XKatedral Anthology Series II (An Anthology Of Slowly Evolving Timbral Music), featuring exclusive music from Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén, and Maria W Horn.

"XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments.

The first piece on side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the composition “Rose Wreath Crown” originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019.

Closing side A is Jessica Ekomane’s ‘First Light’. This computer music piece focuses exclusively on digital sound, layering razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is a reworked version of a piece originally commissioned by Semibreve in 2020.

Side B contains the work ‘Hands Melt In The Sun’ by Mats Erlandsson. This composition is built from electronically processed tuned zithers and synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone. This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of 2018.

Opening the second half of the collection is Rough Draft v.7 by Theodor Kentros. Kentros’ compositional practice usually combines acoustic and electronic source material and in this piece he molds the sound of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its original form, this music was presented as a multichannel immersive work and even in the current stereo configuration it retains some of that enveloping sense of depth.

The second piece on side B, Inertia, is by Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, Inertia utilizes internal digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout the length of the piece, interspersed by small gestural elements.

Closing Anthology II is Maria W Horn's work ‘Dies Irae’ for female vocal quartet, pitched glass and synthesis. ‘Dies Irae’ uses a modified form of traditional tonal harmonic language to invoke an uncanny and restless middle ground between the classical western polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and electronics."

Guests is the home recording project of Jessica Higgins and Matthew Walkerdine. Vaguely named as such to avoid any problems with the poster if they pull out of a gig (which has only happened once, about a year and half before any songs were actually written to be fair) but also to capture a sense of reverse hospitality. That is, arriving at your door with a bottle of good wine (can’t turn up empty handed) or a fist full of savoury or sweet snacks (time of day dependant); oversharing at the afters (and then passing out on your couch); reading to your toddler while you make their lunch or put everything back where it was meant to go (only to get torn apart again). So, something about what happens when private worlds meet each other, making or having been made a space for. But at times, it’s a different kind of intimacy, a temporal or material one, like the feeling of crisp fresh sheets, and abundant and soft, body-part appropriate towels in a hotel in a city you’ve been to before and love to go back to.

Their debut record, “I wish I was special”, was variously described as “a collage of concrète experiments and outerzone pop gestures, music that sounds as if it’s been written from the depths of a dream”; “music for people who love music but also hate it too”; “something like chasing ghosts or befriending a wild animal”; “pulling apart nervous sensations with haphazard ease and requisite humour”; and “a melody of refusal, of being all-in (…) finding the exact right WRONG sound to express the discontent”. Common Domestic Bird continues in this vein, layering synthesiser, keyboards and samples over rudimentary drum rhythms and field recordings, which are in turn sung or spoken with to create nine new songs.

Written and recorded between autumn 2024 and summer 2025 in Reading, Berkshire, the music has matured since its last outing, in a way, leaning less into collage and more toward structured composition and melodic depth, yet retains a healthy dose of indeterminacy and off-kilter rhythms for the forever-amateur. The songs on Common Domestic Bird hint at some “about”-ness through a series of discrete vignettes which sound a bit like architecture or end of year lists, gossip or over-thinking subjectivity, like disappearances and impressions, the support structure of the spine, letters and signs offs, things you could really do without and where they should go, hoping you’ll see something that isn’t there, pretences and performance. At times they feel kind of funny, others kind of sad or a bit angry and annoyed, a bit like you really.

Roy Porter Sound Machine's 1975 follow-up to their 1971 debut, Inner Feelings, drifted deeper into Blaxploitation-era grooves by layering flanged guitars, jazzy horns, undulating basslines and electric piano licks with plenty of the flair that defined their standout debut album, Jessica. Standout track 'Panama' gets its first 7" outing here via a Muro re-edit alongside the original vocal version. The instrumental has busy keys and punchy drums, while the vocal adds bustling character and playful conversation, bringing a lively narrative to the tight funk framework. A seamless bridge between jazz sophistication and cinematic soul that shows off Porter's adventurous spirit and groove mastery.

Since emerging in 2020, the band has carved out a reputation as one of the most exciting rising acts in heavy music, with support from BBC Radio 1, Kerrang! Radio and acclaimed rock and metal press such as Metal Hammer, Kerrang! and Alt Press. 2024 saw the band make their Download Festival debut, undertake their first UK headline tour, and secure huge support slots with powerhouse bands such as Skindred. Following the release of their EP "Echoes", the band has enjoyed a busy schedule in 2025 - with appearances at 2000trees (main stage) and Alyx Holcombe's MANTRA showcase.

In recent months, Mallavora have been popping up everywhere, from the stages of Boomtown and Burn It Down Festivals, to the catwalk at London Fashion Week where they provided the soundtrack to Unhidden's latest clothing range. Most recently, you may have heard vocalist Jessica's incredible vocal abilities in an episode of BBC 1's The Celebrity Traitors, a star- studded game show that features household names such as Stephen Fry, Alan Carr and Claudia Winkleman. Jess was called upon by the producers of the show to produce 'banshee-like' wails, demonstrating her vocal range which stretches from beautiful high octave singing to the extremes of fry screaming. All of Mallavora's achievements have been leading to this moment: the announcement of their debut album ' What If Better Never Comes ?'. Set for release on March 27th 2026 via Church Road Records , this record showcases the band's growth as songwriters and highlights their constant hunger to push the envelope.

Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.

Flanked by a team of collaborators - including Nick León, more eaze, Ultrafog and Kissen - Ben Bondy captures the Kwia-pop zeitgeist on 'XO Salt Lif3', sluicing down dappled emo and downtempo grooves with log drum thwacks, tempered field recordings and sandblasted shoegaze guitars.

Forget what you think you know about Ben Bondy; like Naemi's fuzzy 'Breathless Shorn', ‘XO Salt Lif3’ is a decisive shift away from the ambient world and towards contemporary underground pop. Last year's amapiano-tinted loosie 'Bend' serves as the album's opener and is the best taster, its slick DSP squelches, granulated drones and sub rumbles immediately swapped out for breezy acoustic guitar riffs, tuned log drum hits and Bondy's own Autotuned vocals. When Bondy turns down the temperature a little, letting the orchestral synth arrangements slip into fuller view on 'Halfmoon', a collaboration with Nick León and Aussie producer Lovefear, it's tempered by low slung emo riffs and mumbled sweet nothings.

By the time we hit 'Dreamseed', Bondy's in full swing, offsetting slow breaks and multi-tracked vocal harmonies with full-spectrum shoegaze power chords that cut into the mix like a chainsaw, with crunchy amp crackle foreshadowing the Bark Psychosis-like drop. Bondy hits a cruise when More Eaze helps out on 'There Is A Place'. Maurice's unmistakable pedal steel draws us in, used by Bondy to add an Americana accent to his euphoric fusion of amapiano and indie pop. It's music that'll make perfect sense if you've caught one of Bondy's notorious DJ sets, where you might hear anything from American Football and Jessica Pratt next to Gwen Stefani, Skinny Puppy or Sneaker Pimps. It’s this chaotic, open-hearted approach - which also plays a part in the Shineteac material - that makes 'XO Salt Lif3' so effortlessly enjoyable.

The writer Max Sebald often pondered over the nature of human memory, specifically, how our thoughts and desires - and their results - overlap and mutate over time. In A Place in the Country, he writes of the significance of what see as “similarities, overlaps and coincidences”. Are they the “delusions” of the self and senses, or manifestations of “an order underlying the chaos of human relationships, ... which lies beyond our comprehension”?

Song of the Night Mists, the new album by post-classical composer Stefan Wesołowski, often feels it draws on Sebald’s premise.

On a simpler plane, the one where the market dictates the neatly ordered information we consume, Song of the Night Mists can be described thus: recorded in the main by Stefan Wesołowski in Gdańsk, both in his studio and in Saint Nicholas' Basilica, the album incorporates acoustic instruments - piano, violin, double bass - and classic synthesizers such as the Roland Jupiter-8, the Soviet Polivoks. A Roland Space Echo RE-150 tape delay was also pressed into service as an instrument. We also hear the basillica’s organ and field recordings from the Tatra Mountains. Other musicians were Maja Miro, who played the flute parts on ‘Glacial Troughs’ and brother Piotr Wesołowski, who played the organ on ‘Wilhelm Tombeau’. Sound engineer was Marcin Nenko, who was also on hand to record the basilica organ parts. The album was mixed in New York by Al Carlson (Oneohtrix Point Never, Jessica Pratt, Zola Jesus, Lady Gaga, and Liturgy) and Rafael Anton Irisarri handled the mastering.

Ostensibly, Song of the Night Mists is the last in a trilogy, following on from albums Liebestod (2013) and Rite of the End (2017). All three deal with existential matters such as love, death, decay and “an ultimate end”; apocalyptic and Promethean in spirit, and betraying very human conceits. The Sebaldian nature of the new record starts to make itself felt when Wesołowski talks of how he used sampling. One element is unexpected, that of sampling himself: “I go back to dozens of my own unused sketches and recordings, treating them as raw material to cut, slow down, reverse, and transform in every possible way.” Memory as sound, to be reemployed by the listener through their own imaginings.

Another set of samples made by Wesołowski plays another role. These are field recordings, originally created for an audio illustration of the formation of the Tatra Mountains, and used in a film by sound designer Michał Fojcik. Wesołowski: “You can hear cracking ice, streams, footsteps in the snow and the wind, and a real avalanche, recorded from the inside.” The “Tatra connection” on the album is also found in samples referencing composer Karol Szymanowski. The album’s title alludes to a poem about the mountains by Polish poet, Kazimierz Przerwa-Tetmajer.

Wesołowski’s Tatra recordings are “about a world without humans - about the fact that the world existed, was beautiful, and had meaning long before people arrived, and for the vast majority of its history, it was a place without us.” Wesołowski, using one iteration of the natural world, plays out in sound Sebald’s idea of another order, underlying the chaos of human relationships lying beyond human comprehension.

These feelings play themselves out on the five album tracks. Sonorous and rich, they illustrate tectonic shifts we have no control over. Wesołowski hints that the overall sound is a “meditation on the metaphysics of the non-human set against the spirituality that human presence has brought into it.” In that light, the opening number, ‘Core’, with its slow build, and crackling and straining sound effects, create an effect of the earth groaning into life in a creation myth. Once the piano part raps out a simple melody and modulated tonguing trumpet samples add to the overall atmosphere, the listener can certainly find a cue in the “spiritual”, or “human” side of the story. Human versus nature: from the strains and harmonic muscle stretches of the second number, ‘Glacial Troughs’, through to the powerful and filmic ‘Stalagmite’ and heart-on-sleeve romance expressed in closer, ‘Wilhelm Tombeau’, we listeners are cast as Friedrich’s wanderer, looking out over a landscape that will appear only if we engage with it.

Formations of melody appear incrementally, almost appearing by chance - like hidden footings in the rock shelves to give us something to grasp onto. Rhythms are used sparsely: the prolonged percussive taps on ‘Glacial Troughs’ are an anomaly and maybe there to give pace to the album to come; essentially to keep the listener strapped in. Elsewhere, percussion is used as an aid to mood, the two thudding, timpani-style passages on ‘Peak’ there to offset the short, beautiful, kosmische passage that splits them.

Elements of the borderline religious spirit that drove German electronic music in the late 1960s and 1970s also find a place on Song of the Night Mists. The swells and recessions of the organ find their emotional climax on ‘Wilhelm Tombeau’, a track which summons up echoes of the “mountain magic” vistas created by Popol Vuh or Tangerine Dream, especially with the slightly atonal wobble of the Mellotron that counters it.

This is a dramatic album, but it does feel a strangely short, or curtailed listen on ending, evoking the feeling one gets when waking from a dream, and, for all its incipient grandeur, a track like ‘Stalagmite’, for instance, ends on a minor note. Wesołowski admits that Song of the Night Mists is born of the all too human process of temptation, doubt and recalibration - Sebaldian overlaps and coincidences forming something that must live another life, away from its creator. In Wesołowski’s words, the album is “a newborn foal must stand up and walk right after birth.” Now it is yours to ponder.

Marking his first EP on Damian Lazarus’s revered Crosstown Rebels, OMRI. (pronounced “OMRI dot”) steps into the spotlight with ‘Nothing Wrong’—an infectious, immersive dive that traverses well beyond the dancefloor, laced with rhythm, tension, and soul. Dropping in June, the EP brings together a shimmering original, a hypnotic club-focused cut, and a peak-time remix from fast-rising US talent AYYBO.

Having already left his mark on the label with his remix of Jessica Brankka’s ‘Musk’, OMRI. now arrives with a statement of his own. The ‘Love Mix’ of ‘Nothing Wrong’ leads the release as a full-blown vocal anthem, layering captivating vocals over sweeping melodies and crisp percussion to create a powerful record destined for both club rooms and open-air settings. The ‘Club Mix’ takes a more experimental route—glitchy, stripped-back, and built for locked-in dancefloors and after-hours sessions.

AYYBO adds his own bold interpretation to the mix, injecting a darker, punchier energy that’s become synonymous with his releases on the likes of Experts Only, Insomniac, and HARD Recs. It’s a remix that captures the raw electricity of his sets while reimagining OMRI.’s original through a distinctly West Coast lens. An in-demand name, OMRI. has quickly carved a reputation for transcendental performances at some of the world’s most revered institutions. His sound, shaped across labels such as Hot Creations, Disco Halal, Haccabi House, and more recently through his own imprint Collecting Dots Records, blends deep psychedelia and hypnotic grooves with a forward-thinking approach, with past collaborations alongside Adam Ten, Moscoman, Yamagucci, and more. Set to feature regularly at Lazarus’ Hï Ibiza residency throughout the summer, expect standout sets that reflect his genre-blurring style and connection to the Crosstown Rebels sound as he serves up one of the label's most essential cuts of the year to open the summer in style.

‘One of the finest jazz guitarists of her generation, Halvorson is possessed of a questing, restless spirit.’ – Jazzwise

‘With an album of string quartet music as strong as this one, she is worthy of as much renown in the classical field as she holds in the jazz community.’ – New York Times

‘One of America’s finest guitarists. Halvorson’s musicianship is open-minded, demanding and richly engaging.’ – Uncut

Nonesuch Records releases Cloudward by Brooklyn-based guitarist, composer, and MacArthur fellow Mary Halvorson on January 19. The album features eight new compositions by Halvorson, performed with her sextet Amaryllis, the improvisatory band that performed on her critically praised 2022 albums Amaryllis and Belladonna comprising Halvorson, Patricia Brennan (vibraphone), Nick Dunston (bass), Tomas Fujiwara (drums), Jacob Garchik (trombone), and Adam O’Farrill (trumpet). Labelmate Laurie Anderson also is featured on the album track ‘Incarnadine’. Halvorson and Amaryllis will tour internationally following the release of the new album, including January dates in Europe, as well as at the Big Ears Festival as part of Nonesuch’s 60th anniversary celebration.

Halvorson says, “All of the music on Amaryllis was written in 2020, during the thick of the pandemic, in one of the more bizarre time periods I’ve experienced in my life. While composing for Amaryllis, I expanded upon certain musical concepts I’d developed in my life up until that point—the ones that felt fruitful—and left others behind, hitting the reset button and attempting to build from scratch. Two years later, after the release of the first album, I was still writing music for Amaryllis.

“All the music on Cloudward was written in 2022, mostly in the fall and winter, when things started moving forward. Life felt like a creaky machine starting up again,” she continues. “Air travel, however chaotic, had resumed, and we were once again cloudward. Performances and tours and recordings were happening after a long hiatus and with a renewed sense of gratitude. This band, for me, was quite simply working, both musically and personally, and the main thing I felt while writing the music was optimism.”

The Guardian said Halvorson’s 2022 double release “shows how far this single-minded original has come, and affords a glimpse of how far she may go. Both sessions confirm how years of jaggedly lyrical solo and ensemble improvising and a quirkily subversive affection for mainstream music have now nurtured a composer of unpredictable but warmly expressive character… These are new landmarks in Halvorson’s already inimitable discography.” Pitchfork said, “Amaryllis and Belladonna are distinct statements; one could hear either album on its own without a sense that something is missing. But they are most powerful when taken together, like a landscape and its reflection in rippling water.”

Halvorson has released a series of critically acclaimed albums, from Dragon’s Head (2008), her trio debut featuring bassist John Hébert and drummer Ches Smith, expanding to a quintet with trumpeter Jonathan Finlayson and alto saxophonist Jon Irabagon on Saturn Sings (2010) and Bending Bridges (2012), a septet with tenor saxophonist Ingrid Laubrock and trombonist Jacob Garchik on Illusionary Sea (2014), and finally an octet with pedal steel guitarist Susan Alcorn on Away With You (2016). She also released the solo recording Meltframe (2015), and most recently debuted Code Girl (2018, 2020), a new ensemble featuring vocalist Amirtha Kidambi (singing Halvorson’s own lyrics), trumpeter Adam O’Farrill, saxophonist and vocalist María Grand, bassist Michael Formanek, and drummer Tomas Fujiwara.

One of New York City’s most in-demand guitarists, over the past decade Halvorson has worked with such diverse musicians as Tim Berne, Anthony Braxton, Taylor Ho Bynum, John Dieterich, Trevor Dunn, Bill Frisell, Ingrid Laubrock, Jason Moran, Joe Morris, Tom Rainey, Jessica Pavone, Tomeka Reid, Marc Ribot, and John Zorn. She is also part of several collaborative projects, most notably the longstanding trio Thumbscrew with Michael Formanek on bass and Tomas Fujiwara on drums.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It’s an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, as well as being responsible for the label’s visuals. Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso. Also works with a wide palette of electronic music.

RT PRO is the new Right Tempo line “for professional use”, addressed to a discerning audience and released on 12” Single format along with a curated packaging. This first instalment is a follow-up to the acclaimed "The Congregation - Jazz Alliance International" compilation by Jazzcat. It features never previously released and brand new remixes of the mythical "Seasons in My Mind" track by Japanese producer Yellowtail feat. legendary jazz singer Mark Murphy. In addition to the Original, come remixes by Further Out Recordings’ head Richard E feat. saxophonist/flutist Jake Telford, by Frankson (one half of the British electronic duo Part Time Heroes), and by all-round musician and producer Emanative, who invited his longtime friend and collaborator, keyboardist Jessica Lauren, to join him for this special project.

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

Packed Rich's Warp Fields LP depicts the journey of an individual traveling through a field of energy that connects different locations in space. Through the course of this journey the individual experiences a metamorphosis through different stages of physical existence and spiritual consciousness in order to overcome the borders of space and time.

The question remains if the individual will still maintain the same sense of consciousness and distinction of self that originally made up its personality.

Driven by a lush and irresistible energy, Beyond Brazilian Stories takes you on a musical journey between Brazilian traditions and jazz improvisation.

Introduced to the richness of Brazilian music by Philippe Baden Powell, pianist Mathieu Bélis and double bassist Stéphane Dardour founded BSP PRODUCTIONS and formed the quintet Beyond Brazilian Stories, joined by saxophonist David Florsch, drummer Louis Bao Lao, and Äulne, vocalist and flutist.

Together, they revisit masterpieces by giants such as Milton Nascimento, Airto Moreira, Hermeto Pascoal, Dorival Caymmi, Edu Lobo and Moacir Santos, blending popular melodies with soaring instrumental passages.
The group also brings its own compositions, inspired by the vibrant energy of Brazilian music, creating a sound that is both authentic and innovative.

Their new album O ritmo do sonho has been awarded the “Revelation” distinction by Jazz Magazine!
Album contributors:

Mariana Zwarg - flutist, daughter of Itiberê Zwarg, Hermeto Pascoal’s bassist.
Edmundo Carneiro - Brazilian percussion legend (Tania Maria, De La Soul, Saint Germain, etc.).
Jessica Simon - trombonist, member of the Orchestre National de Jazz.

“An explosive fusion where samba, bossa and jazz become the playground for joyful and virtuosic freedom....” Jazz Rhônes Alpes
“...the brilliant Hermeto Pascoal,
whose spirit is present throughout O ritmo do sonho...” Revelation Jazzmag

On her first Harmony Index album, multi-instrumentalist and producer Nico Leibman spotlights the feelings that are most difficult to express, bringing out the friction between her dreamy hooks and harsher sonics. Written almost like a DJ set, the album shifts intentionally between piano-led trip-hop, lounge, dream pop, 2-step and breakbeat house, not languishing in nostalgia but defining a language that's rooted in desire, surrender and forward motion.

Until now, Leibman has been best known as a touring musician, working alongside artists like Jessica Pratt and Ana Roxanne, while slowly putting together new solo material in-between frequent tours. The album was written in bursts over the course of five long years and provided Leibman with a much-needed outlet - a chance for her to lock into her personal musical preoccupations, like Janet Jackson's 'The Velvet Rope', Everything but the Girl's 'Walking Wounded' and Prefab Sprout's 'Jordan: The Comeback'.

It's this era of pop - when nascent technology collided at force with skillful, soulful songwriting - that provides the album's backbone, fleshed out by Leibman's potent meditations on a spectrum of experiences in Los Angeles. And as the record was evolving, Leibman let long night drives crack her creative world open. Embracing the city's notoriously cinematic romantic side, she used the car as a "little chamber of limerence," in her own words, enabling her fantasies and acting as a test system for each song. "If it wasn't hitting in the car," she says. "It wasn't going to be on the record, period."

This sense of motion is evident almost immediately on 'Recognize', when Leibman's breathy words are carried into the night by choppy, uptempo breaks and resonant pads. So even when she simply coos over chugging guitars and bass on the first half of 'Enough', the drop into a low-slung breakbeat is implied. "Another digression, a break in this tension," she sings. "Was I foolish to believe that this was never your intention?" Leibman's tales of disillusionment are imbued with power, buoyed by her pitch-perfect production, with additional help from co-producer Cesar Maria.

On 'Don't Pretend', she sings softly and soulfully over decelerated Timbaland-inspired beats and a dubwise bassline, aided by additional production from Purelink. And 'If' marks the point where she lets go, infusing her euphoria with melancholy as her voice soars alongside the album's most infectious piano riff. Fittingly, the album concludes with 'Trust', a song about surrendering to the possibilities of love that works as a potent metaphor for the album's evolution. Over the course of five years, Leibman learned to let people in, finally trusting the process. "It's also a fantasy of what it would feel like to finally be in love again," she laughs, accepting that it's still just a fantasy. But it's this hope in unfulfilled longing that gives the album its unique character, defining a bold, unguarded voice in LA's experimental pop landscape.

Josh da Costa's "New Wave Graveyard" ist ein Solo-Debüt, das die Vielfalt der Underground-Musik feiert und sich dabei eine eigene Nische schafft. Nach anderthalb Jahrzehnten in Bands wie dem Synthpop-Duo CMON (Mexican Summer) und den New Yorker DIY-Legenden Regal Degal (Terrible Records), veröffentlicht Josh da Costa endlich sein Solo-Debüt. Der erfahrene Kollaborations- und Tourmusiker spielte bereits mit Künstlern wie Drugdealer, Jessica Pratt, MGMT, Chris Cohen und vielen anderen. Über fünf Jahre entstand "New Wave Graveyard", das weit mehr als nur das im Titel erwähnte Genre der späten 70er/frühen 80er Jahre umfasst - von Flying-Nun-Compilations über den Glam-Rock von Sparks und Japan, Art-Pop von Prince und Yoko Ono bis hin zu Power-Pop, Electro, Britpop und Shoegaze - allesamt aus da Costas umfangreicher Plattensammlung. "New Wave Graveyard" mag zwar vom Genre der 70er und 80er Jahre inspiriert sein, das dem Album seinen Namen gibt, doch ist die/der New Wave nur eine(r) von vielen musikalischen Einflüssen von Josh da Costa. Das Album ist ein wunderschöner Mix aus Stilen und Ideen, von Glam bis Shoegaze, allesamt geprägt von Joshs vielseitigem Geschmack. Mit geistreichen Texten und einer Fülle eingängiger Songs ist es ein mitreißendes Statement eines vielversprechenden neuen Künstlers, ein komplettes Soloalbum, für das da Costa alle Songs und Texte selbst geschrieben, nahezu alle Instrumente gespielt und das Album selbst gemischt hat. Gemastert wurde es von Heba Kadry (Björk, Panda Bear, Blood Orange), das Albumcover stammt von Robert Beatty (dem legendären Künstler hinter den Plattencovern von Tame Impala, The Weeknd, Mdou Moctar, Oneohtrix Point Never und vielen mehr). Die klassische schwarze Vinyl-LP enthält ein farbiges Booklet mit den Songtexten.

It’s time to unleash the mini-album from pothOles: Today Tomorrow Whichever Comes First. This project started well over a decade ago and has evolved into six tracks. It’s a lush journey of deep house, built on scattered breaks, sample chops, and growling acid lines. The release features unique sonic textures, including field recordings captured during a sabbatical in Western Kenya back in 2011. The full pothOles package.

For the first time ever, this Common Labour wax arrives in a fully printed sleeve, featuring amazing artwork by Jessica Michaela. Don’t miss out on this limited run—only 195 hand-stamped and numbered copies are available worldwide.

Tauche ein ins Herz des Londoner West Ends mit Paddington The Musical – Original Cast Recording, das
all die Wärme, Magie und den liebenswerten Humor von Paddingtons neuem Abenteuer einfängt. Inspiriert
von Michael Bonds zeitlosen Geschichten und den preisgekrönten STUDIOCANAL-Filmen präsentiert das
Musical neue Songs und Liedtexte von Tom Fletcher, ein Buch von Jessica Swale und die Regie von Luke
Sheppard.
Von mitreißenden Ensemble-Nummern bis hin zu gefühlvollen Balladen feiert der Soundtrack Familie, Freundschaft und die Suche nach dem eigenen Platz in der Welt. Begleite Paddington und die Browns durch
spannende Momente, herzliche Begegnungen - und natürlich ganz viel Marmelade.
Mit dem gesamten West-End-Ensemble aufgenommen, bringt dieses Album den Charme der Windsor Gardens direkt zu dir nach Hause. Erhältlich auf CD und als Sammler-Vinyl ist es ein freudiges Erinnerungsstück
für Fans jeden Alters - der perfekte Begleiter für Londons liebenswertesten Bären.

Die XKatedral Anthology Series III ist die dritte Ausgabe einer Reihe von Archivveröffentlichungen, die Musik von Komponisten zeigen, die sich mit langsam sich entwickelnder harmonischer und klanglicher Musik beschäftigen. Die hier vorgestellten Stücke konzentrieren sich auf die Verwendung von synthetischen und akustischen Klängen sowie auf algorithmische Komposition als Werkzeuge für präzises Arbeiten im Bereich der spektralen Erforschung. Dieses Doppel-Vinyl-Set erscheint anlässlich des zehnjährigen Jubiläums des Labels und enthält Werke aus den Jahren 2014 bis 2025. Es wird zusammen mit Neuauflagen der XKatedral Anthology Series I-II veröffentlicht. "My Falling Sinks" von Kali Malone ist eine sparsame, absteigende Melodie für justierte Orgel, Cello und Akustikgitarre mit Lucy Railton und Stephen OüfMalley. Das Stück ist eine kompositorische Skizze in septimaler reiner Stimmung, die 2021 während eines Aufenthalts in La Becque auf einer experimentellen Stimmorgel in La Temple de La Tour-de-Peilz entstanden ist. ,Empyrean Flare" von Maria W Horn wurde 2022 für ,The Dawn Chorus" der Choreografin Stina Nyberg komponiert. Dieses Stück nutzt die von Arvo Pärt entwickelte Tintinnabuli-Technik, um vier Supersaw-Oszillatoren in langsamen diatonischen Arpeggios zu animieren, die um eine Moll-Tonika-Dreiklang kreisen, und destabilisiert das harmonische Gerüst durch Glissandi und verstärkt die Summe seiner Teile durch analoge Bandsättigung. ,Tessellation" von David Granstrom wurde im Sommer 2017 mit generativen Synthesemethoden komponiert. Die musikalische Periodizität und harmonische Bewegung, die in dem Stück zu hören sind, entstehen durch feste synthetisierte Bandschleifen, die einen Raum zwischen gegensätzlichen Welten erkunden. "To Whoever Shall Inherit the Earth" ist das erste Solostück von Jessica Ekomane und entstand laut der Komponistin fast zufällig. Das Werk wurde vor einem Jahrzehnt spät in der Nacht aufgenommen und fängt einen flüchtigen, zerbrechlichen und unwiederholbaren Moment ein, der genau so festgehalten wurde, wie er sich ereignet hat. Smoking Mother von Stephen OüfMalley wurde für Gisele Vienneüfs Der Teich / LüfEtang von Robert Walser geschaffen. Es wurde 2018 während eines Aufenthalts im SMEM-Synthesearchiv in Freiburg komponiert und im August 2020 bei EMS produziert. Das Stück greift auf Werke von Zia Mohuiddin Dagar, Krzysztof Penderecki und Popol Vuh zurück und erkundet gleichzeitig die Wurzeln des Minimalismus. ,Att boja sjalarna" von Mats Erlandsson wurde 2018 komponiert und ist Teil von ,On Eternity", einer Sammlung von vier Texten und vier zehnminütigen Kassettenloops, die 2021 von Irrlicht Forlag als limitierte Box-Set-Edition veröffentlicht wurde. Dieses Werk enthält Darbietungen von Gaianeh Pilossian und Sara Fors, jeweils auf der Violine und mit Gesang. This will be my last piece for organ wurde 2025 von Theodor Kentros komponiert und nutzt Gruppen von Cluster-Oszillatoren durch resonante Rückkopplung, um die schwankenden Frequenzen zu synthetisieren, die beim Verstimmen einer Orgel im physischen Raum zu hören sind. "Fault Lines" wurde von Daniel M Karlsson mit generativen Methoden komponiert, wobei ein deterministischer und endlicher Output für diese Veröffentlichung festgelegt wurde. Dieses Stück enthält Gesangsdarbietungen von Sara Fors, Ansis B.ti. und Art.rs C.ukurs.

Katz Mulk's ''All the mess'' is a collection of songs about playing and play-work, recorded between 2023-25 in Glasgow and Tokyo. Developed from performances across the UK and during a residency at Xevarion Institute in Hong Kong, with dancers, costume design by Mary Hurrell, and mobile speaker design by Chris Ball. Slithering breath, crackling synths, dented gongs, and dub loops pull songs into unexpected, unsettling patterns, like being a kid again but with more electronics.

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus.

Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trancelike spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album.

Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band’s fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release’s inner panels.