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The upcoming album is sharp, cohesive, and rooted in who she's always been. Growing up in North London, she absorbed the chaos and hooks of the indie sleaze scene, and now she channels that restless energy into songs that feel alive, pulsing like a sweaty gig in Camden or Shoreditch. It's classic girli alt-pop -- nostalgic, chaotic, and fearless, but sharpened with a bold new edge. girli has been teasing the new era since the end of 2025, sharing 'Better Undressed' and the powerful recent single 'Slap on the Wrist'. Known for her shimmering, highconcept production and fearless commentary, girli now pivots toward a more grounded, girl- next- door energy, trading gloss for grit, and polish for raw, intimate expression. Since emerging with her breakthrough sophomore album, 'Matriarchy', girli has carved a space in the alternative scene for bold, boundary-pushing storytelling. Her ability to merge pop essence with underground energy has earned her a tight- knit and dedicated fanbase.

Boogiemonsters were an American hip hop group composed of Bronx‑born rapper Mondo McCann, Alaskan native Vex Da Vortex (Sean Pollard), and Jamaican‑born brothers Myntric (Sean Myers) and Yodared (Ivor “Al” Myers). The members met while attending Virginia State University, quickly connected, and began recording demos and performing at campus events. Their early momentum led them to win first place at Howard University’s Hip‑Hop Convention.

Pendulum/EMI record label signed the four MCs and released their debut album Riders Of The Storm: The Underwater Album in 1994. The first single, “Recognized Thresholds of Negative Stress,” introduced their thoughtful, alternative approach to hip hop. It was followed by “Honeydips in Gotham,” a smooth tribute to the fly sistas of the city, and “Strange,” built around a slick Cameo sample. Another standout track, “Salt Water Taffy (Slo Jam),” is noted as one of the earliest non‑Roots session appearances by future producer Scott Storch.

Riders Of the Storm: The Underwater Album delivers a focused blend of rugged beats, sharp lyricism, and atmospheric production that stands apart in the 90s hip hop landscape. Its mix of conscious themes and deep grooves makes it essential for fans of underground hip hop. The album’s mellow, funky, alternative sound sits comfortably alongside groups like A Tribe Called Quest and De La Soul, giving it a timeless place in the era’s most creative and forward‑thinking releases.

As lead singer Steve Harris says "We're a band from the South and we play music that comes from the South". Originally formed in 2011, the band has been steadily building a global fanbase through successful songs at rock radio, backed up by constant touring in the US, Canada, the UK and Europe. Influenced by classic rock legends like Bad Company, Free, and ZZ Top, along with soul and American roots music, A La Mode is their debut album for Quarto Valley Records.

The debut EP Danza Nel Vulcano by Rotterdam duo Vesuvio Vortex is the first release of the label Radio Tornado Records. Rooted in italo disco, the music rolls into nearby genres with restless grooves and rough edges. In short: energetic, slightly melancholic, and always moving.

Audio Vesuvio opens with a bright, welcoming energy, setting the scene. Robot Cop brings a lively rush, the rhythms bouncing and colliding. Overexposed Polaroid slows things down, drifting through hazy reflections of what just happened. Vortex closes the EP in a softer, darker glow, the afterparty fading but the melodies lingering, like a dream that refuses to end.

Myth? Legend? No need to pump this up, the music is self evident. As is the crew of Marfox, NK, Nervoso, Fofuxo, Pausas and Jesse, who shaped the universe as we know it. The simplest of elements for maximum (minimal) impact, an imperative burst of energy that perfectly echoes the title of Marfox's first EP: I Know Who I Am.

These are statements of personality directly stamped on the dancefloor. "Hard Tecno" (without the H, yes) embodies the crystal clear intention of the set: to light a fire wherever the beats fall. To make people smile and move. And this was (and is) achieved without the need for obvious smiley culture signposts. The music just came through with fierce enthusiasm. All were youngsters (Nervoso being the elder) in 2007, and youth is definitely a factor in the fearless display of bare bones dance music production. Raw, is it?

A second volume of DJs di Guetto on Príncipe was always going to happen. The tough part was deciding how to organize the bangers on the tracklist without ending up with a quadruple vinyl set. Thus separate volumes 1&2. Volume 1 (2023) was culled from the actual DJs di Guetto compilation (self released in 2006), whereas Volume 2 comes straight from the crew's archives, nearly 100% unreleased tracks produced in 2007.

The crew disbanded as such a long time ago, but the legacy stands as sacred scriptures stand. FL Studio and standard laptop and tower desktop PCs combined as raw materials; a no-fuss approach added by these DJs and producers who sound unequivocally rootsy and primeval, drinking from the source. Also punishingly minimal, dry and alien. Happy-sad, sweet-sour, nice-angry, soft-aggressive. Words fail us. It's 2026, new humans seem to beon the rise but some old ways are still enthralling.

A new EP by Extrawelt is always something special, as they continually manage to reinvent themselves while remaining unmistakably true to their sound. The a-side „Moonster“ of their latest record forms a subtle and almost magical bridge to early musical influences such as Immortal Coil, Chris & Cosey, The Cure, and Throbbing Gristle.
In doing so, they reclaim, or rather reintroduce, a powerful, mystical element into their music, one that is integrated so naturally it feels as if it has always been an essential part of Extrawelt’s sonic DNA. Beyond that, the track unfolds through numerous facets, constantly shifting and evolving. Just when you think it is settling into a familiar direction, small variations emerge, keeping the piece remarkably alive and unpredictable.
You can clearly sense how much fun Extrawelt had working on this track. It is bursting with ideas, energy, and vitality, radiating a playful confidence that makes it endlessly engaging.

The b1 track „Bettermaker“ takes a different route, dedicating itself entirely to a single mood. Through subtle pitch bending and a carefully shaped tonal palette, the track unfolds with a slightly eerie, enchanted atmosphere.
From beginning to end, „Bettermaker“ remains focused and unwavering. There are no breaks or dramatic shifts in direction, instead, the piece commits fully to its initial setting. A monolithic, almost mantra like motif forms the core, creating a distinctive ambience, mystical, shadowy and faintly oriental in character.
This atmosphere is carried and reinforced by percussive, ethno inspired drums, which add an organic, ritualistic pulse. The result is a hypnotic soundscape that draws its strength from consistency and depth rather than contrast, inviting the listener into a secluded, otherworldly space.

The final piece of the EP „Popcorn Forever“ reveals another side of Extrawelt’s thinking. The track unfolds like a curious experiment in motion. Instead of building toward a predictable climax, sounds are gradually tossed into an ever running loop fragments, textures and small rhythmic ideas appearing almost casually, as if the piece were assembling itself in real time.
At first the elements seem loosely connected, sometimes abstract, sometimes slightly mischievous in the way they twist and bend. It almost feels like an impossible construction task. But Extrawelt’s experience quietly guides the process. Bit by bit the scattered parts begin to communicate with each other.
Repetition becomes the hidden engine. With every return of the loop new details slip into the structure, and what once appeared random slowly starts forming relationships inside the listener’s mind. The track never forces a clear explanation, yet the brain begins to tie the loose ends together almost automatically.
Popcorn Forever therefore works beautifully as a kind of transit piece within the EP. It moves between ideas, linking moods rather than closing them off. In typical Extrawelt fashion, the result is playful, slightly surreal and full of subtle discoveries that reveal themselves over time.

Kicking off the collection, we have POISON IDEA performing their first ever gig as a high-velocity punk band on New Years Eve 1980 – truly an incredible find. “We put our gear in shopping carts and pushed it to the venue” Jerry recalls as well as the reaction from Portland’s first wave of hardcore kids, “They only had 30 seconds in a song to throw each other around and pogo, so they’d go for it. It came naturally, like the music possessed them”. The embryonic versions presented here of future POISON IDEA classics like “Give It Up” and “Castration” are played in a more quirky and herky-jerky manner than how they would appear three years later on their debut seven-inch EP, Pick Your King. This recording also holds the most unfiltered display of Germs vocalist Darby Crash’s influence on Jerry. “His voice gave me the license to go” states Jerry. “You didn’t have to be a trained singer. Just open up your soul and scream”.

The remainder of this release is culled from a recording done in June of 1981 at a birthday party for Kim Kincaid, vocalist for local punk group, Neo Boys. The event was held at the short-lived but groundbreaking punk venue for Portland, Clockwork Joe’s. “Clockwork Joe’s was like Peter Pan’s island of lost boys” Lang recollects, “There was a lot of booze, a lot of drugs and a lot of young kids”. Hearing this ferocious, tightly-wound set, one can only imagine the sweaty debauchery that occurred that night, especially during the pounding rendition of “Underage” presented here, yet another future Pick Your King track.

Orange County"s Social Distortion returns with its first album in 15 years with Born to Kill. Armed with 11 urgent songs, Mike Ness continues to build on the mystique that Social Distortion is more than just a punk band. Throughout the collection, Ness revisits the sounds of the 1970s, his formative adolescent years. Born to Kill is a continuation of the bar of excellence that Social Distortion and, in turn, Ness has long been praised for. Born to Kill is a body of work that will live long in the Social Distortion catalog. Songs like the hard-charging title track that serves as the album"s mission statement, along with the riff-laden "Partners in Crime," the nostalgic "The Way Things Were," and rollicking "Tonight" are songs that fit in across any of Social Distortion"s various eras. Now nearly five decades into its career and with a remarkable catalog spanning nearly three generations, Social Distortion has no intention of slowing down any time soon.

East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 2 compilation featuring a further selection of iconic hits that have shaped the global electronic music scene.

Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.

This edition of Spinnin' 25 Years...Chapter 2 double vinyl LP collection includes the hits "Lay Low" by Tiësto, "Turn Up The Speakers" by Afrojack & Martin Garrix, "Satisfaction" by David Guetta & Benni Benassi, "Intoxicated" by Martin Solveig & GTA, "Gecko" by Oliver Heldens, "Sex" by Cheat Codes x Kris Kross Amsterdam and 25 more tracks showcasing their signature sound and major contributions to the label.

Spinnin' 25 Years...Chapter 2 is available as a limited edition on blue vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.

A new release curated by Mystic Jungle, founder of Periodica Records, who - together with a small group of artists - has spent the past decade shaping a distinctive sound in his recording studio based in one of the most remote areas of Napoli.

This second release on the West Hill Music catalogue features the voice of American singer Roxana, alongside guitar contributions by Yugoslavian musician Igor Sekulović.

The A-side, "Can’t Make You Out", unfolds as a crepuscular track with a laid-back, exotic atmosphere, marked by subtle funk-rock influences. On the B-side, a stripped-down mutant-funk track built around electronic drums and a repeated vocal chorus leaves space for minimal arrangements and textured guitar lines to emerge.

Limited vinyl-only release.

With his highly accomplished third album If This Is It, DJ Seinfeld (Armand Jakobsson) evolves further into the artist he always set out to be, refining his emotional, club-leaning sound across nostalgic house, UKG, and 2000s-tinged trance.

The 12-track LP — featuring SG Lewis, Confidence Man, TS Graye, Dan Whitlam, ARY, “Norwegian pop witch” Moyka, and Barry Can’t Swim affiliate just lil — explores letting go in a world that can often feel overwhelming.

“A million ideas turned into a few, a few turned into no ideas at all, and no ideas eventually turned into one,” says Jakobsson of the album, which he began the week his acclaimed 2021 record Mirrors was released. “Through writing it, I’ve tried to turn long-held anxieties into acceptance, and I hope listeners can take their own meaning from it.”

With his highly accomplished third album If This Is It, DJ Seinfeld (Armand Jakobsson) evolves further into the artist he always set out to be, refining his emotional, club-leaning sound across nostalgic house, UKG, and 2000s-tinged trance.

The 12-track LP — featuring SG Lewis, Confidence Man, TS Graye, Dan Whitlam, ARY, “Norwegian pop witch” Moyka, and Barry Can’t Swim affiliate just lil — explores letting go in a world that can often feel overwhelming.

“A million ideas turned into a few, a few turned into no ideas at all, and no ideas eventually turned into one,” says Jakobsson of the album, which he began the week his acclaimed 2021 record Mirrors was released. “Through writing it, I’ve tried to turn long-held anxieties into acceptance, and I hope listeners can take their own meaning from it.”

Dark, futuristic, fearless and built for those who understand that techno is not just style, but vision. Detroit Techno Records welcomes one of the true architects of Detroit electronic music: Suburban Knight. Known off-record as James Pennington, he is widely recognized as a foundational figure in the city?s history, an artist whose recordings helped define the darker, moodier and more cerebral edge of Detroit techno. His classic works such as ?The Groove? and ?The Art Of Stalking? remain touchstones of the form, while later activity with Underground Resistance further cemented his role in shaping the deeper mythology of the Detroit sound. Coming straight from Detroit, USA, DTRV011 is more than another catalogue entry. It is a new chapter from a genuine legend, an artist whose contribution to Detroit techno was never peripheral, but central. Suburban Knight remains one of the rare names whose music still carries the original weight of the city: dark, futuristic, fearless and built for those who understand that techno is not just style, but vision.

Laurel Halo returns with an album of original soundtrack music, composed for the film Midnight Zone by visual artist Julian Charrière. Following the path of a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone — a remote abyssal plain in the Pacific Ocean, rich in rare metals and increasingly targeted for deep-sea mining — the film traces a descent into one of Earth’s last untouched ecosystems.


Charrière’s film reveals the deep not as void, but as a luminous biome teeming with fragile life: bioluminescent creatures, swirling schools of fish, and elusive predators. The suspended lens becomes an abyssal campfire, attracting species caught in the tides of uncertainty, their futures hanging in the balance.


Echoing this tension, Halo’s compositions evoke a sensory freefall, where gravity falters and light and sound flicker in uncertain rhythms. Midnight Zone is a sonic drift through the space between what we seek to extract, fail to understand, and must protect.


Halo’s score evokes the life that exists beyond our physical airbound capacity. The material features long, subtle passages of electro-acoustic ambient, drone and sound design, slowly flowing and unfolding with rich detail. The music, composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano at the Yamaha studios in New York City, possesses an uncanny quality: that of synthetic waveforms being amplified and sung through the stringboard of the physical body of the TransAcoustic piano. Combined with stacks of violin and viol da gamba, the music on Midnight Zone possesses trace elements of a human hand in an otherwise sunken landscape. Patient, submerged, and alive. The album will be the third on Halo’s imprint, Awe.


The film is central to Charrière’s current solo exhibition Midnight Zone. The exhibition engages with underwater ecologies, exploring the complexity of water as an elemental medium affected by anthropogenic degradation. Reflecting upon its flow and materiality, profundity and politics, its mundane and sacral dimensions, the solo show acts as a kaleidoscope, inviting us to dive deep.

Over the last year a new generation of young and ambitious house producers from Frankfurt to Mannheim have caused quite a stir. Vera Heindel is part of the scene in the Rhine Main area, which is the new centre for innovative and modern house and techno tracks, and "People's House", her first release on Cargo Edition at the end of 2008 received huge attention from critics and fans alike

2023 Repress

For the first time after its original release in 2007, MEDi003 is back in stock!

"I was kinda not into the tune, but Mala was like 'nah - I love it' and he pushed for it and, yeah, ultimately got it on DEEP MEDi. And if he hadn't done that I probably wouldn't brought it out, it probaly would've just ended up on a hard drive somewhere, not doing a thing."

Some of your favorite tunes from Kolter's "H.K." alias are finally getting a vinyl release, congrats, you just found this summer's soundtrack.

Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.

That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.

Raw, focused, and deeply machine-driven, a record that embraces the essence of hardware-based production with confidence, energy, and character. There is no excess here, no unnecessary decoration, just a direct and powerful sound shaped by tension, movement, and the unmistakable warmth of true analog gear. Techno record built for dark rooms, serious systems, and lovers of authentic machine music. A powerful release that captures analog techno in its most direct and effective form.

Morcheeba unveil Remix The Chaos: Volume 1, the first instalment in a three-part remix series drawn from their 11th studio album, Escape The Chaos (2025).

Spanning four tracks per volume, the project brings together an eclectic, global roster of electronic producers, each offering a distinct reimagining of Morcheeba’s unmistakable sound. Multi-genre and far-reaching, the series expands further into the rich sonic world the band have built over the past few decades, pushing their music into bold, contemporary electronic territory. Volume 1 features remixes from Paula Tape, the Chilean superstar producer, recent Mixmag cover star and one of electronic music’s most exciting names heading into 2026; Trance Wax (a.k.a. Ejeca), the prolific Belfast producer specialising in high-energy breakbeat and trance-leaning remixes; Frazer Ray, the London-based underground force known for UK bass, breaks and garage; and Brothers Counsell, a side project from the formidable Joy Anonymous.

Together, the tracks form a journey of dancefloor-ready hard hitters, powered by Morcheeba’s iconic vocals and signature guitar lines. Pressed on limited edition traffic light red vinyl, Remix The Chaos: Volume 1 comes with deep-cut grooves designed to hit just as hard on a club sound system as they do from the comfort of your living room.

Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point.



At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. "It also reflects how natural the collaboration was," says Barbieri, "a meeting at the source which was spontaneous, graceful and natural".



Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri’s work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. “The request came as a proof of aligned ideas”, says Giske.



Their new collaborative project then started during an artistic residency in Milan’s ICA in 2021, by invitation of swiss artist and curator Jan Vorisek, as the world was emerging from lockdown. This meeting, and the preceding closure of sites for cultural exchange, made their work together 'feel like springtime' says Barbieri. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform through a series of multi-artist curated shows with appearances of Lyra Pramuk, Nkisi, MFO, among other artists.



Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing. Explains Giske: "It forced me to go to the core of what I am and what I have to offer”. Barbieri says that it "explores the liminality between the machine and the human, and the vulnerability in this process".



At Source is testament to two divergent practices finding a whole cosmos in which to convene; music is crystalised and made utterly enveloping through the focused and critical work of two musicians working at their peak. The versions here are, temptingly, "just one of many versions" of this abundant source material Giske explains. Like the best collaborations, At Source is more than the sum of its parts – bringing more to the feast than the simple combination of two musicians, promising versions upon versions of the exquisite material captured here.

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

Weiter geht's mit den Ipecac ISIS-Neuauflagen: ,Wavering Radiant" ist das letzte Album der Band aus dem Jahr 2009, neu gemastert von James Plotkin. Die 2LP 140gr-Vinyl kommt in einer Tip-On-Gatefold-Hülle in zwei Versionen: Standard-Schwarzvinyl und eine Indie-Exklusivausgabe in Ultra Transparent. Das Album wurde von Joe Barresi produziert, und die Band hat sich knapp ein Jahr nach der Veröffentlichung getrennt. Das Album setzt die Tradition von Isis fort, lange Songs zu schreiben, weicht aber ein bisschen von der Soft-Loud-Dynamik und der Post-Metal-Ästhetik ab, die frühere Veröffentlichungen geprägt haben. Es wird allgemein als das zugänglichste Album der Band angesehen. Obwohl die Band seit über einem Jahrzehnt nicht mehr existiert, ist ihr Einfluss auf den Metal immer noch spürbar, und die Verkaufszahlen machen sie weiterhin zu einem der Top-Künstler von Ipecac. Continuing in our series of ISIS reissues, Wavering Radiant is the band's final 2009 release, remastered by James Plotkin. The 2LP 140gr Vinyl packaged in a tip-on gatefold jacket in two retail variants. Standard Black Vinyl and an Indie Exclusive Clear The album was produced by Joe Barresi, and the band split just over a year after its release. The album continues Isis' history of lengthy songwriting, yet presents a slight departure from the soft-loud dynamics and post-metal aesthetic which characterized previous releases. It is widely considered the band's most accessible release in their catalog. Although the band has been defunct for over a decade, their impact on metal is still reverberating, and sales continue to make it one of Ipecac's top artists.

A tribute to Bob the Landlord from Rotterdam. Bob the Landlord became known in Rotterdam after appearing in a documentary about the harbor cafe Willems Kantine. He was a loud and direct landlord who rented small rooms to people around the area. Bob was famous for his strong Rotterdam attitude and the way he spoke to people without filtering his words. One of the most famous moments was when Cowboy Jos asked him for five euros. Bob angrily replied, "Five euros? On your face!" This line later became a well-known quote in Rotterdam. Even though he could be rough and strict, Bob became a memorable character and a small cult figure in the city. 4 tracks on one very special release. A1 by Doctr - Our Minds Belong Together. The long awaited super nu italo hit already played by David Vunk at many festivals and clubs where everyboday is waiting for! A2 by Theo Scuera - Your Virus. Club banger and Dancefloor filler with crazy sexy bassline and pumping rhythm section. Half electro half techno. Endmix legendary by Endrik schroeder. A1 David Vunk and Ben la Desh - Unrealized prophet. Long time friends Ben la Desh and David Vunk team up again with another super deep techno house track, layered analog sequencial prophet 5 synths sound, Erica Perkons drums and fx. All of this comes together in an exciting tech break with space-like sounds. Be prepared for this secret wapon. B2 Patricio Diaz - Come To My Hell A Parisian space house techno track with energetic beats and 90ies vibes. Pure energy. Get your 10000 steps on this one. Hint: Most likely people will already buy this just for the cover. So be quick for this release and don't miss this.

This album plays like an invitation rather than a record - a slow boarding pass to an imagined retreat somewhere beyond gravity. Analogue synths shimmer like gold, bubbling rhythms drift in gentle orbits, and playful melodies sketch out distant galaxies with an easy, unforced charm. There's a strong lineage here, with the music echoing classic library and soundtrack recordings cherished by deep diggers, yet it never feels nostalgic for its own sake. The grooves are light but nourishing - 'Uranium Jungle' has a touch of Luke Vibert's frisky funk about it, while 'Martian Sunset' is interstellar bossa nova with a light dusting of 70s analogue magic to boot - designed as much for sofa-bound drifting as for attentive listening. Musicianship is front and centre throughout, with smart, accessible compositions that reward repeat visits. A fully realised concept - sign us up for a stay.

Fossils in Transit dropping their first EP with diverse club focused features. The label
wants to express their love for timeless pieces and extrapolating it to their own vision.
Brussel based duo Kappen & Latence showing their musical spectrum on the A-side. On
the B-side Ennio Tyson debutes his take on timelessness.
A1 is a warm and slowly building track guiding the listeners through a blissful state. This
percussion driven piece sets the perfect mood for sunrises/sunsets. In A2 the rebellious
nature is defined by punk vocals, an acid bassline and crunchy percussion. Produced for
dark clubs and peak-time slots. B1 ventures into a bass-heavy realm where scattered
perc-like vocals and stabby synths create an ominous atmosphere. Keeping the body in
check while the mind wanders. Closing the EP on B2 with an off-the-wall minimal tech
house roller. Balancing a steady energy level to keep a tight grip on the dancefloor.

Psyché Records is proud to present our first vinyl release, a piece that isn’t just heard—it’s felt, collected, and experienced. Five years dedicated to what we truly love, brought to life in physical form with this release that fills us with pride.

The artist bringing this debut to life is Dani Labb, one of our favorite local artists, who perfectly captures the essence of the label: depth, identity, and journey.

This vinyl represents much more than just music. It is the sound of Psyché brought to life.

Sven Tasnadi is Cargo Edition's longest-serving artist. His releases have shaped the sound of the label right from the start.

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.

A conjuration between our favourite dreamweaver Spencer Clark and Italian psychic traveller Mondo Riviera, Lorenzo's Oil present an oracle of aural travelogues between seen and unseen worlds on 'Paperopolis'.
Two likeminded individuals on their distinct but complementary quest for the netherworld, Clark and Riviera's meeting of the minds projects sonic artefacts assembled from lucid dreaming keyboard pads, narcotic late night TV rhythms, spiralling sequences and mangled voices.
The 10+ minutes 'Neo-Paperopolis Jump Suite' makes these intentions quite clear right from the start, veering from no frills keyboard runs to a mid tempo bounce and on towards the house of mirrors synth stabs and driving rarefied percussion that close the suite and open the pathway to such "places" as 'Central Jungle, Paperopolis' and "visions" as 'The Neverending Skylines of Taipei'. Ride on.  

Just before dropping the 3rd chapter in his "Threesome" series, Hus Kingpin surprises us with a brand new EP on which he gets out of his comfort zone, rapping on some chill hop beats provided by Wun Two and Made In M, once again proving the versatile and creative MC he's always been! Hand-Numbered pressing limited to 350 copies.

Somewhere close to Manchester’s ever changing city centre, as the sun fades and peeks through the newest glass facade, you’ll find Shaking Hand. One part in shadow, the other basking in prisms of light as they sketch out their own sonic landscapes in the dusty redbrick mill they call home. One that is just about clinging on from the encroaching developments that surround them.

Against this back-drop where buildings are constantly torn down & built back again, the three piece craft away. Pulling from early post-rock, and 90s US alternative rock, crafting their own brand of Northwest-emo. Assembling something new, yet nostalgic. Looking ahead towards the transforming horizon. Shaking Hand’s music is built on tension and release – quiets that stretch, louds that overwhelm. Repetition that feels both hypnotic and destabilising.

The band’s musical DNA runs through experimental guitar outfits like Women, Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions push against structure: sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. Yet, as Ellis notes, there’s an underlying warmth too: “Like walking through an empty city late at night but catching flickers of life in the buildings you pass.”

Early ideas like ‘Night Owl’ and ‘Sundance’ grew out of George’s lockdown “bedroom years,” where new tunings (open E, drop D, and stranger Pavement-inspired set-ups) opened up uncharted textures. Later, in grim rehearsal rooms, the murky epic ‘Cable Ties’ and the hypnotic ‘Mantras’ absorbed the gloom and grit of the band’s surroundings.

The album was recorded with producer David Pye (Wild Beasts, Teenage Fanclub) at Nave Studios in Leeds, housed in a converted church. “The live room was huge and perfect for capturing our sound,” says George. Determined to bottle their onstage energy, the band tracked the foundations live, layering vocals and guitars later. Soviet-era microphones, odd mic placements, and even phone-recorded demos fed into the mix. “You’ve got to watch out for David though,” Freddie laughs. “He made me play four tambourines in one hand, really hurt, man.”

Lyrically, the record drifts between abstraction and lived moments. George’s words often spill out instinctively, words falling into place before their meaning becomes clear. “A lot of the lyrics look like they’re buried in abstraction,” he says, “but when I look back I can see what they were about — whether that’s an emotional response at the time or just an observation of what was happening around me”. There’s contrast at the heart of it all – optimism vs. doubt, the lightness of youth vs. the monotony of work, a city in constant redevelopment vs. the people drifting through it.

The album artwork is taken from unused plans for the 1970s redevelopment of Los Angeles by architect Ray Kappe, entitled ‘People Movers’. Hypothetical buildings for real people, it feels a complement to the band’s own constructions. One thing’s for sure, Shaking Hand’s debut is built to last.

Inperimental is a bold return from Lithuanian electronic pioneers Plasma, presenting a meticulously crafted double LP that explores the intersections of techno, ambient, and forward-thinking electronic sound. Every element — sound, structure, and visual identity — is
intentional. This is not a collection of experiments, but a fully realized sonic architecture shaped by decades of experience and analog mastery. This vinyl edition is more than just an audio release — it's a multi-sensory experience.

The gatefold cover and packaging feature hidden artwork that can only be revealed using included red-lens glasses. This visual element isn’t just a gimmick — it reflects the same intentionality that defines the music. With no room for improvisation or trend-chasing, Inperimental is a precisely executed statement in both sound and form. The album blends ambient tones, analogue warmth, and dancefloor rhythms. It demonstrates a refined sound palette: humid techno grooves, cosmic textures, and cinematic depth.

Inperimental is described by the artist as a voyage where technology meets pure emotion — “a realm where warmth intertwines with technology, dreams blur into reality, and pure, authentic sound reigns supreme”. A digital download card is also included with each vinyl copy.

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

Oceanine, Jolanda Moletta’s third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won’t want to come up for air once you’ve been pulled under. Representing a
musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth’s cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within all of us. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, “We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth.”

Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta’s artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.

Oceanine is inspired by sirens, water nymphs, and the timeless call of the sea. At its core lies Jolanda’s deep, lifelong connection to the Mediterranean Sea and to the ancient and modern myths and folklore that have emerged from its waters. Growing up by the Mar Ligure, Jolanda was surrounded by stories carried by salt, wind, and waves: legends of sirens, echoes of ancient voices, and the sea as both origin and oracle. This intimate relationship with the Mediterranean is not merely a backdrop, but a living source that shapes Oceanine’s emotional, symbolic, and sonic world.

Each track features a different female vocalist, creating a rich tapestry of voices, styles, and perspectives. This artistic choice not only broadens the album’s sonic palette, but also deepens its narrative core: celebrating the power, beauty, and mystique of feminine energy through myth, history, and sound.

The entire album is built exclusively from the human voice, processed and layered, yet always remaining voice, and nothing else. For each piece, Jolanda invited every vocalist involved to contribute a raw stem: a short, unedited melodic fragment of just a few seconds, inspired by the album’s themes. These intimate vocal seeds became the foundation of each track: the guest artists’ voices appear as brief, melodic stems, while the entire surrounding “orchestral” fabric is created solely from Jolanda’s own layered and processed voice. In this way, Jolanda’s voice becomes the Ocean itself, embracing, absorbing, and carrying the sirens’ calls within a vast, immersive soundscape. Every song is a unique expression of the feminine experience, revealing its depth, complexity, and emotional range, echoing the call of the sea and the many faces of the siren archetype.

The figure of the siren has transformed across centuries. In myths of Ancient Greece and Rome, sirens were hybrid beings, part woman, part bird, whose irresistible songs lured sailors to their doom. During the Middle Ages, the image shifted toward the half-woman, half-fish figure, often associated with temptation and danger. Historically, the voice of women has often been feared. Sirens were considered harbingers of misfortune not simply because they seduced or destroyed, but because they were powerful liminal beings.

In Ancient Greek, sirens functioned as psychopomps: figures who existed between worlds and guided souls, especially between life and death. Their songs were believed to carry forbidden knowledge, including prophetic insight and the ability to reveal truths about fate and the future. The danger of the sirens lay in what they revealed: knowledge that humans were not meant, or ready, to hear.

Oceanine confronts this legacy head-on. The voices heard throughout the album are not merely beautiful: they are dark and luminous, wild and enchanting, magical, soothing, dreamy, and at times fractured or distorted. They whisper, lament, beckon, and enchant. Like sirens, they skim the surface of the water and sink into its depths, hovering on the edge between tenderness and danger, vulnerability and power. They rise toward the sky, dissolve into mist, and return as echoes charged with raw, elemental emotion: voices that seduce, warn, mourn, and remember. They refuse to be reduced to decoration.

Alongside the album’s release in May, Oceanine will also unfold as a visual and performative work through a short art film. The film includes a live session recorded inside a sea cave facing the Mar Ligure, the very coastline where Jolanda spent her childhood, dreaming of sirens and listening to the sea as if it were speaking directly to her. This site-specific performance reconnects the music to its place of origin, allowing the voice to resonate within stone, water, and air, and transforming the cave into both a sanctuary and a threshold between myth and reality.

What if the sirens’ songs were considered dangerous because they carried another truth, an ancient truth long forgotten?

Oceanine embraces the idea that we are still deeply woven into myth. Though we may see ourselves as rational and modern beings, our world is saturated with ancient symbols and archetypes, often distorted, simplified, or stripped of their original meaning. And if those symbols are allowed to shift, if the mirror once held by the siren becomes an invitation to look beyond appearances and into what has been obscured, then we may finally uncover a deeper truth and reclaim the voice that was always ours.

Oceanine is not just an album. It is a reclamation, a spell, and a call from the depths.

As Corsica draws to a close, this is our homage to a space that has been our home for 18 precious years. A space that has nurtured us and allowed us to evolve - to find our own way of raving. The Rupture way. The Corsica way.

We wanted to celebrate 18 precious years with a release that truly embodies the spirit of Rupture at Corsica Studios. The music on this EP has mashed up the dance, time and time again!

Double O wrote ‘Corsica Jungle’ with the intention of capturing those peak 5am emotional Corsica vibes. Love and respect to dBridge & Skeptical for contributing to a project so close to our hearts with tracks that represent our sound so perfectly: dubwise, killer breaks and peak dancefloor energy! The EP closes with a spoken word poem from Mantra.

Viva la rave!

Corsica Forever!

As Corsica draws to a close, this is our homage to a space that has been our home for 18 precious years. A space that has nurtured us and allowed us to evolve - to find our own way of raving. The Rupture way. The Corsica way.

We wanted to celebrate 18 precious years with a release that truly embodies the spirit of Rupture at Corsica Studios. The music on this EP has mashed up the dance, time and time again!

Double O wrote ‘Corsica Jungle’ with the intention of capturing those peak 5am emotional Corsica vibes. Love and respect to dBridge & Skeptical for contributing to a project so close to our hearts with tracks that represent our sound so perfectly: dubwise, killer breaks and peak dancefloor energy! The EP closes with a spoken word poem from Mantra.

Viva la rave!

Corsica Forever!

Katerina is an old friend from the early trips to Helsinki, a Finnish Bulgarian queen of the dance, having commanded the wood floors of Kaiku since its inception. Her debut EP with the ESP Institute, 'Natural High' is something special if we may humbly brag. It is the electronic embodiment of our annual journey around the sun, with its release landing just in time for this year’s Summer solstice. Over 4 tracks, the narrative shifts are technically subtle but emotionally palpable, presenting moods that swing both warm and cold but maintain a delicate balance start to finish, a confidence that speaks of true experience and understanding the dynamics of dancefloor moods. Our typical verbose track-by-track dissection feels unnecessary as Katerina’s work here is most legible as a whole. 'Natural High' is a cozy and honest offering, a soft-edged cerebral antidote to the daily falsehoods perpetrated by mankind, and a reminder that in the end, we are all just children of Gaia. Run Free!

The series, written and directed by Flo Van Deuren and Kato De Boeck, tells the story of Bibi and Ama, two lesbian girlfriends in their twenties.

Hoping to become a better version of themselves, they move in together at a flat in Brussels. Each in their own way, but under the same roof, they come to new insights: life has no manual, love even less and themselves even less so. The result is an intimate series full of humour and familiarity.

Musically the series is coloured by an exclusive soundtrack and homegrown songs: 7 female or non-binary artists from Belgium were asked to write a song. Lara Chedraoui & Patrix, Juicy, Miss Angel, Tessa Dixson, Oriana Ikoma, Ana Diaz, SPACEBABYMADCHA and Mick Lemaire crept into their musical pen. The series also features existing songs by artists such as Martha Da’ro, Aili, B1980 and Fatal Error to showcase a maximum of local musical talent.

Repress.

Step into a journey through time with Lapa Dula's debut album "Agua", proudly presented by the Early Sounds team. “Agua” is a sonic and aesthetic collage, a tribute to the sounds and memories of Naples and its surroundings in the vibrant cultural and social scene of the mid 1980s, not just a reflection of producer’s Alessandro La Padula childhood memories, but also a nod to the myths and legends of Partenope. Written between Rome and Naples and co-produced by label head Pellegrino, "Agua" is the latest addition to the imprint’s distinctive "Mediterranean sound" blending funk, Latin, world music, and disco, with songs like the balearic title track "Agua" and the nostalgic ode to rural life "Sibilla", also inspired by the myth of the Sibyl of Cumae, this album takes you on a journey of emotions and experiences.

From vernacular "Scemanfu", a fun play on the French expression "je m'en fous" (I don't care), to the contemplative "Navigante", dedicated to those who have found solace in the sea or in the virtual world, and the final track "Baibai", inspired by the adventurous and licentious affairs of English nobleman Sir Nathaniel Thorold, who lived on the island of Capri, each song tells a story and adds a piece to this mosaic of sounds, images, and places.

Istanbul-based producers Grup Ses and Gökalp K present their collaborative album on SOUK Records, showcasing a distinctive fusion of musical styles such as hip hop, grime, dubstep, and jungle. Two years in the making, their self-titled album features contributions from Cologne-based multi- instrumentalist Elektro Hafız, Marseille-based DJ Syr from Scratch Bandits Duo and Ethnique Punch, a Turkish MC & producer now based in Bremen.

Grup Ses project began in 2007, initially focusing on edits and breakcore mash-ups. By 2008, it evolved into a beatmaking project incorporating elements of humor and local materials such as records, tapes, and radio broadcasts, which have become the signature Grup Ses sound. Grup Ses has previously collaborated with sub-labels of Discrepant, releasing two albums on SOUK and three mixtapes on Sucata Tapes.

Gökalp K, the alias of composer and sound designer Gökalp Kanatsız, has been releasing music since 2011. Under this name, he has released two albums and performed as a DJ. Alongside his beat production, he also composes electro-acoustic music and collaborates with creative studios as a sound artist on various interdisciplinary projects.

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

—

The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

Meeting vulnerability with persistence, Lucerne-based musician Remo Helfenstein presents Spite, his first solo album on Präsens Editionen. Whereas his 2022 debut EP, Comforting Katharina, traced raw, devotional impulses, Spite expands the terrain—balancing psychedelic drift with sudden moments of clarity, wounded grandeur with flashes of pop transcendence.

The record thrives on contradiction: oscillating between the no wave austerity of Suicide and the meditative (and dadaist) expanses of Bitchin Bajas and Bonnie “Prince” Billy’s collaborative work, while opening into passages of gospel-infused spaciousness. At times intimate and porous, at times expansive and ecstatic, Helfenstein shapes a sound world that fuses analog and digital processes—both deeply personal and insistently collective. This duality comes to life most strikingly in recordings with fellow musicians Klara Germanier (background vocals and guitar), Raphael Loher (k

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Set in Tasmania and offering a fresh take on the zombie genre. Clark reveals the films emotional heart with tender strings and choral recordings, whilst underpinning with glorious bass sounds that could be taken straight from recent studio album Steep Stims. Plus the occasional requisite jump scare, pin drop tension and vocal eeriness.

p:m is delighted to welcome Kumarachi to the fold - a Nottingham-based artist with a deep catalogue steadily built over the past 11+ years. For the label’s first 10” vinyl cut, Kumarachi teams up with his old friend, the wonderful Liam Bailey, for some rudeboy pressure on the a side, while flying solo for the b.

Tracklist:
A. On Sight: snappy snares, snarling bass, and shifting percussion meet the dulcet tones of Liam Bailey, who turns in a different kind of original dancehall style vocal that gets people skanking and swaying.

B. Cast No Shadow: a heavy-hitting track of pummelling breaks and beats, heavy bass, dub fx, and synth stabs, reminiscent of Star Wars’ X-wings in space.

In Kumarachi’s own words: “On Sight was just a loop when I sent it to Liam, then arranged and built around his vocals. I played it to a couple of people for feedback and to test out, it luckily found its way to DJ Flight via Sweetpea, so a big thanks to her too. Both myself and Liam felt play:musik is the perfect label for On Sight, with what Flight stands for musically and culturally, there’s a definite alignment within the lyrical content aswell. It’s a perfect fit. Cast No Shadow was written later and specifically for this release to contrast and complement the flip. It actually came together quite quickly - referencing classic combinations, whilst hopefully sounding fresh for 2026.”

Preston duo White Flowers announce new album, Dreams For Somebody Else - due for release 1st May 2026 via The state51 Conspiracy.
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.
On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, channeling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”. Working alongside LCD Soundsystem and Hot Chip’s Al Doyle on production, the album maps out a mosaic of soaring choruses that swirl around imposing arrays of synths, guitars, and percussion.
Through this new lens, the band explore themes of isolation, dissociation and identity - drawing inspiration from Annie Ernaux’s The Years. “Whilst recording the songs for ‘Dreams For Somebody Else’, we really connected with the concept of Annie Ernaux’s book, ‘The Years’ - a ‘collective autobiography’ pieced together from mismatched fragments from her past, conjuring the effect that she’s merely an observer of her own life. This concept merges into the White Flowers world, where time, rather than being restrictive, is fluid and boundless, with our music existing as an endless conversation with versions of ourselves at different stages of our lives.”
“The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”

Manuel Gottsching classic E2 E4 is reframed by SG and fellow musicians.
Alex White - drums
Ryan Gates - percussion
Rafael Statin - wind synth
Scott Grooves - polysynth, keyboards and arrangement

Recorded June 2017 at The Disc Recording Studios Detroit
The new arraignment is 15 minutes long.
Natural Midi 11

Lip Critic’s 2024 Partisan debut Hex Dealer was one of the most-hyped experimental releases of that year (“Like the B-52s on ketamine” -Paste) and signaled the Brooklyn band’s arrival as a borderline-batshit creative force. Theft World is their next chapter, built again from the chaos of two drummers locked in psychic combat, a sampler that sounds like it was struck by lightning, and frontman Bret Kaser’s paranoid preacher energy. But where Hex Dealer leapt from one absurdist vignette to the next, Theft World plays like a fully locked-in transmission. Themes orbit around the concept of theft, not just as a political force or digital dilemma, but as a surreal, emotional constant. Club rhythms and hardcore breakdowns pull as much from Tyler the Creator’s ‘Igor’ and Korn as they do Skrillex and Soul Coughing, coming together to soundtrack a world that’s constantly being striped apart and resold.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

VERY LIMITED BLACK VINYL WITH DOUBLE-SIDED INSERT (NON-RETURNABLE)

California composer Phil Geraldi’s vinyl debut both refines and refracts his signature muse of interstitial Americana across 11
melted glass mosaics of processed guitar, decayed radio glow, and Harmonia synth horizons: Rural Deceased Undiscovered. He
describes his vision for the pieces as “multilinear,” rearranging classic radio songbook elements like hooks, choruses, and
emotional cues into unfamiliar topographies of “alien country.”

Shards of acoustic guitar and pedal steel flicker in long shadows of amplifier hum and airwave static, like the scrambled
broadcast of some heartland station along a desert highway. It’s music both rustic and placeless, warped by weather and
technology, shimmering like northern lights over the badlands.

Das dritte Album von Nick Llobet und Micah Prussack, alias youbet, aus Brooklyn ist ein weitläufiges, warmes Gemisch aus Indie-Rock, Pop und experimentellen Klängen. Es zeigt eine Band, die weit über ihre Bedroom-Pop-Wurzeln hinausgewachsen ist und sich zu einer selbstbewussteren, komplexeren und lauteren Kraft entwickelt hat. Das Album, das in Bewegung entstanden ist und zwischen langen Tourneen Gestalt angenommen hat, spiegelt einen Moment ekstatischer Möglichkeiten und Entschlossenheit wider. Sowohl geschärft als auch expansiv, wächst youbet aus den Grenzen des Heimaufnehmens und des ,Bedroom Pop" zu etwas Robusterem, Lauteren und Unverwechselbarem, das ganz der Band eigen ist. Die vielfältigen Einflüsse des Duos - von den Beatles über Bernard Herrmanns schwindelerregenden Vertigo-Soundtrack bis hin zu Flamenco, den japanischen Noise-Rockern Boris und vielem mehr - legen sich in den Hintergrund, während die Band ihre eigene musikalische Sprache entwickelt. Die Co-Produzenten Katie Von Schleicher und Julian Fader runden das Album ab, wobei erstere glitzernde Synthesizer-Klänge und letzterer ein von Prussacks Bass untermaltes Schlagzeug-Fundament beisteuern. youbet zeigt, wie Llobet und Prussack bezaubernde musikalische und lyrische Ausdrucksformen miteinander verweben und das Ergebnis immer wieder neu formen.

"I wanted to travel / Home into somewhere,"Ana Roxanne breathes across an eerie suspended drone on "The Age of Innocence". "I wanted to try / And go very far." These are the first words we hear on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago.

Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures.

Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on "Berceuse in A-flat Minor, Op. 45", making each word count.

On "Keepsake" meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. "Untitled II", the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP, 2019's ~~~. "

And when she interprets the Robert Schumann's lied "Stille Tränen" on "One Shall Sleep", she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout '"Cover Me", Roxanne shifts the pace and the mood on 'Atonement', lifting her voice into a gentle lilt.

4/5 Mojo review: ‘Sparse, hypnotic big-room techno that builds from the bass drum up

Double LP is released on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent - an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley - one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Speaking to DJ magazine in 2014 Gez recalled his early days working with Mark Bell as LFO: “We were influenced by groups like 808 State. Unique 3, Nightmares On Wax and also stuff like Kraftwerk, Detroit techno and early electro. So when we first hooked up and made tunes together we just wanted to rock the dancefloor at our local club The Warehouse”.

Their eponymous track ‘LFO’ – a classic of the bleep and bass techno movement – was one of the first releases on the Warp label, gate- crashing the UK’s Top 20 whilst annoying Simon Mayo along the way. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.

Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.

Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.

Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.

Chicken Shack are a British blues rock band founded in 1965 by Stan Webb, Andy Silvester, and Alan Morley, who were later joined by Fleetwood Mac’s Christine McVie, then still known as Christine Perfect. They signed to the legendary British blues label Blue Horizon in 1967.

O.K. Ken? is the band's second studio album from 1969 and reached #9 in the UK Albums Chart. The record was Perfect's last album as a member of Chicken Shack; she would join Fleetwood Mac a year later in July 1970. Her tune "Get Like You Used to Be" from the album became a staple of Fleetwood Mac's live act until 1975.

O.K. Ken? is available with the original UK cover, as a limited edition of 1000 individually numbered copies on red vinyl.

Hot on the heels of the Tokyo bliss and Funk Tide sets, Tokyo-based DJ Notoya delivers Tokyo Pulse a new juicy selection of Funk and Modern soul recorded in Tokyo in the 70s and 80s. Most tracks here are making their debut outside of Japan and the album, like its predecessors, has been designed by Manuel Sepulveda (Optigram) and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by Nippon Columbia Records and remastered for vinyl by Colorsound in Paris.

Mit "We Were Made For These Times" feiern die Klezmatics ihr 40-jähriges Bandjubiläum - und veröffentlichen zugleich ein Album, das die Gegenwart direkt anspricht.

Die Grammy-ausgezeichnete Formation verbindet seit vier Jahrzehnten jiddische Musiktradition mit politischem Bewusstsein, kultureller Verantwortung und einem unverwechselbaren Klang, der Klezmer mit Punk-Energie, Jazz-Improvisation, Gospel und globalen Rhythmen verschmilzt. Das neue Album versteht Klezmer nicht als nostalgisches Archiv, sondern als lebendige Ausdrucksform, die Kraft, Verbundenheit und Widerstandsfähigkeit stiftet. In Zeiten gesellschaftlicher Spannungen, globaler Migrationsbewegungen und öffentlicher Debatten über Zugehörigkeit richten die Klezmatics ihren Blick auf die historische Aufgabe jüdischer Musik: Menschlichkeit einfordern, Gemeinschaft stärken und Hoffnung formulieren. Die Songs reichen von Protest- und Arbeiterliedern bis zu spirituellen Stücken und feiern gleichzeitig Lebensfreude, Glauben und kulturelles Gedächtnis. Texte von Woody Guthrie, Holly Near, Dovid Edelstadt oder Chaim Zhitlovsky treffen auf neue Interpretationen und internationale Gäste - darunter Sofía Rei, Janis Siegel, Joshua Nelson, La Manga, William Parker, James Brandon Lewis und Enver Izmaylov. Im Zentrum steht der Titelsong, inspiriert von Dr. Clarissa Pinkola Estés" Botschaft: Wir sind für diese Zeiten gemacht. Das Album bekräftigt, wofür die Klezmatics seit 40 Jahren stehen: Musik als Werkzeug für Mut, Würde und gemeinschaftliche Zukunft.

When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.

Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.

Missing Link was produced by longtime ally Niek Van Den Driesschen and recorded at Far Out Sound Studios in Rotterdam - the Dutch city where the band's bassist Marrit Meinema and drummer Leon Harms reside as singer Jeroen and guitarist Peter continue to live further north in Groningen, where the band started out. It was mastered by Melbourne-based Mikey Young, who works mostly with garage, psych and punk (Amyl and the Sniffers, Preoccupations, The Chats)

AMBOSS ist die neue Band von TOXPACK & BIERPATRIOTEN-Sänger Schulle zusammen mit weiteren Freunden plus Gästen, die in den letzten Jahrzehnten im deutschen Punk- und Oi-Sektor viele heiße Eisen im Feuer hatten. Jetzt haben sie zusammen gleich 20 alte Eisen neu geschmiedet. Ihr Debut-Album erscheint als Doppel-Album mit Liedern ihrer Jugend von Bands aus dem Osten und Westen Deutschlands, sowie als besonderen Bonus ein Cover eines US-Hardcore Klassikers. Die Herangehensweise für "Altes Eisen neu geschmiedet" war dabei von vornherein klar: diese alten, großartigen Klassiker benötigen keine aufpolierte Hochglanz-"Oi!"-Produktion! Roh, ehrlich und brutal war das Motto und das Ergebnis spricht letztendlich für sich. Nicht nur wer noch aus alten Tagen die liebevoll selbst zusammengestellten Tape-Compilations kennt, wird diese prägende Zeit gern erinnern und das Album dafür lieben! Seit Sommer 2025 haben AMBOSS zwanzig Songs ausgewählt, was schon eine Aufgabe für sich war, gefühlt hätten es hundert werden können, die nicht nur die Band prägten sondern auch "Punk-Historie" geschrieben haben: Klassiker, vergessene Schätze und oftmals auch Raritäten von Bands wie u.a. Toxoplasma, Broilers, Daily Terror, Verlorene Jungs, Troopers, Springtoifel, Zusammrottung und Lokalmatadore sowie Madball. Als Gäste sind auf diesem Album vertreten: Dennis (Dreiviertel Noin), Zoppel (Toxpack), Stolp (Maul Halten), Hacker (Shock Troops) und Hinkel (Volxsturm). "Altes Eisen neu geschmiedet" ist auf nur 500 Stück gesamt limitiert, entweder in schwarzem Doppel-Vinyl oder als weiße 2LP erhältlich.

AMBOSS ist die neue Band von TOXPACK & BIERPATRIOTEN-Sänger Schulle zusammen mit weiteren Freunden plus Gästen, die in den letzten Jahrzehnten im deutschen Punk- und Oi-Sektor viele heiße Eisen im Feuer hatten. Jetzt haben sie zusammen gleich 20 alte Eisen neu geschmiedet. Ihr Debut-Album erscheint als Doppel-Album mit Liedern ihrer Jugend von Bands aus dem Osten und Westen Deutschlands, sowie als besonderen Bonus ein Cover eines US-Hardcore Klassikers. Die Herangehensweise für "Altes Eisen neu geschmiedet" war dabei von vornherein klar: diese alten, großartigen Klassiker benötigen keine aufpolierte Hochglanz-"Oi!"-Produktion! Roh, ehrlich und brutal war das Motto und das Ergebnis spricht letztendlich für sich. Nicht nur wer noch aus alten Tagen die liebevoll selbst zusammengestellten Tape-Compilations kennt, wird diese prägende Zeit gern erinnern und das Album dafür lieben! Seit Sommer 2025 haben AMBOSS zwanzig Songs ausgewählt, was schon eine Aufgabe für sich war, gefühlt hätten es hundert werden können, die nicht nur die Band prägten sondern auch "Punk-Historie" geschrieben haben: Klassiker, vergessene Schätze und oftmals auch Raritäten von Bands wie u.a. Toxoplasma, Broilers, Daily Terror, Verlorene Jungs, Troopers, Springtoifel, Zusammrottung und Lokalmatadore sowie Madball. Als Gäste sind auf diesem Album vertreten: Dennis (Dreiviertel Noin), Zoppel (Toxpack), Stolp (Maul Halten), Hacker (Shock Troops) und Hinkel (Volxsturm). "Altes Eisen neu geschmiedet" ist auf nur 500 Stück gesamt limitiert, entweder in schwarzem Doppel-Vinyl oder als weiße 2LP erhältlich.

Sugar, 1992 von Bob Mould (Hüsker Dü) zusammen mit Bassist David Barbe und Schlagzeuger Malcolm
Travis gegründet, feierte mit ihrem gefeierten Debütalbum „Copper Blue“ schnell große Erfolge. Das
Album gilt als eines der prägendsten der 90er-Jahre, dank seiner Mischung aus eingängigen Melodien und
kraftvollem Gitarrenspiel. Die Nachfolgealben „Beaster“ und „File Under: Easy Listening“ festigten den
Ruf der Band, bevor sie sich 1995 auflöste. Dreißig Jahre später sind Sugar nun wieder vereint und kündigen
neue Konzerttermine an, darunter drei Abende in der New Yorker Webster Hall und zwei im Londoner Off
Kentish Town Forum. Anlässlich dieses Jubiläums veröffentlicht die Band zwei brandneue Songs – „House
of Dead Memories“ und „Long Live Love“ – die nun erstmals auf schwarzem 7-Inch-Vinyl erhältlich sind.

Andris Nelsons gewann jüngst seinen sechsten Grammy und widmet sich nun mit den Wiener Philharmonikern ihrem lang erwarteten Mahler-Sinfoniezyklus für die Deutsche Grammophon: mit einer atemberaubenden Interpretation der Fünften Sinfonie, die 2022 bei den Salzburger Festspielen aufgenommen wurde.
Diese Einzelveröffentlichung fängt den strahlenden Klang des Orchesters und Nelsons’ zutiefst menschliche
Herangehensweise an Mahlers Musik ein – mal intim, mal ekstatisch, mal transzendent. Die mitreißende
Intensität der Aufführung und das strahlende Adagietto bieten einen spannenden Einstieg zum kommenden
Gesamtzyklus und versprechen eines der bedeutendsten Mahler-Projekte unserer Zeit.
Nelsons folgt Mahlers vielschichtiger Partitur mit feinem Gespür für Kontraste, Übergänge und emotionale
Tiefe. So entsteht eine Lesart, die die Dramatik des Werks ebenso ernst nimmt wie seine lichteren, beinahe
entrückten Momente.
Diese Doppelvinyl-Veröffentlichung gibt den Auftakt zu Nelsons’ Mahler-Zyklus mit den Wiener Philharmonikern und lädt dazu ein, eines der zentralen Werke des symphonischen Repertoires neu zu entdecken.

Release 75. Reptant’s third. The reptilian overlord surfaces only once every 25 – right on the jubilee, without fail.

Combining menace and kitsch the way only the Rotterdam greats do so effortlessly, he comes in smooth af on the opening cut. Mainframe-tapping machine funk, almost sounding like the Antipodean lovechild of Kraftwerk and Egyptian Lover.

From there, laced with spite and insectoid detail. Noirish cybernetics delivered with genuine vigour, all across a triple-pronged strike of electro excellence. Properly aerodynamic.
Not a tribute to a classic period – rather, a continuation of what the genre’s forebears built. A tried and tested formula that never loses bite, truly heralding Reptant as a standard bearer for electro in the modern era.
The cold-blooded one, right on schedule.

Setting the tone for the wider project, ‘Rage Days’ thrives on sonic deviation, weaving together junglist breaks, weighty basslines, melodic elements, and vocal chants. Speaking on the track, Mix’Elle shares: “For me this track represents how amidst the chaos, community, art and music become such important comfort zones for us to lean into when the world feels a bit mad.”

Reflecting on her contribution, BRAVA said: “It’s about my experience this past winter in London. Being broke, freezing, in high rent flats and just figuring it out as you go, but still ending up at the rave, dancing to breaks and bass where everything kinda makes sense for a bit. It’s also about the people within the DIY underground scene that I’ve fallen in love with, where everyone looks out for each other because we’re all in the same boat.”

‘Rage Days’ captures the urgency and unity of underground club culture, marking a soundtrack for navigating chaos, and finding connection on the dancefloor.

Another Country is the fifth full-length album by Cindy, the San Francisco-based group built around the songwriting of Karina Gill. Recorded, like all of its predecessors, in their hometown and with a consistent line-up held over from their previous record (the Swan Lake EP from 2024), it is replete with the poetry of private vistas, eavesdropped dramas and confusing winds. These are classic Cindy concerns, and yet, as always, contain new mystery and charm to somehow feel like quiet revelations each time. Another Country is both opaque in its intentions and specific in its presentation, and as such presents the kind of truth that keeps the listener on the search for answers just out of reach.
"The title of this record, Another Country, refers to the James Baldwin novel of that name. The book has a kind of drama that makes sense to me. When I look around, the obvious explanations are not enough. The miasma of feelings and ideas that is supposed to account for it all, doesn't. Baldwin washes past that to longings that begin to explain. Cindy songs come out of the x-rays my particular brain makes out of what I see and experience. What you hear on this record is the result of collaboration with the members of Cindy that transforms that shadowy thing into full color, fully fleshed. Each of them, in music, is sure-footed and unblinking, and making this record together felt like, yes, yes, you see what I mean."
Cindy is Karina, Staizsh, Will & Oli. Another Country will be released on 1st May 2026 via Tough Love.