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Shooting Daggers are a band that never seems to stop. Sal, Bea and Raquel are one of the hardest working outfits out there, constantly playing shows and lending their support to myriad causes all around the U.K. and Europe. So, it’s always an exciting prospect when the band takes some time out from the maelstrom to write and record new material. And 2 years on from the release of their acclaimed debut album ‘Love & Rage’ the band have been in Bear Bites Horse Studio with Wayne Adams (Big Lad, Green Lung) at the controls to come up with the goods once again. ‘The Real Life Thing’ is the latest hardcore sonic missive from one of London’s must-see bands, and it absolutely does not disappoint. Shooting Daggers are the real deal; the best, and most exciting and adventurous hardcore-inspired band in the country. A ‘mini album‘. 7 songs and 20 minutes of driving rocket fuelled punk meets melody picking up from their debut to go further into their own space. A selection of songs that are marked by a fierce energy, variety and cool musical nous, but always with a message firmly at its core. The band says … ‘It's a crucial time to focus on what really matters. Be present, be aware of real things happening in the world, with integrity and love we can make a difference as a community. There is hope out there, and if we all start treating nature, people and animals with respect and empathy we will be able to become better humans and coexist. In this mini album, we express the full range of our emotions through various sounds and genres. From cheerfulness to anger and hopefulness.

From hardcore punk, to shoegaze, to post hardcore and riot grrrl. We embrace our authentic self, with sensitivity in response to injustice, we act out, and all the while savouring every moment, being unapologetically yourself, empowering ourselves and each other’. With the help of some very special guests in the form of ‘The Menstrual Cramps' and Dennis Lyxzén from Refused, that message is driven home ‘big time’. ‘Adrenaline’ is as full on and heavy as Daggers have ever been, all buzzsaw riffs and rousing vocals, it’s a smart and catchy punch in the face to kick off proceedings. ‘My Oh My’ sweetens the vibe if only a bit with its layered post shoegaze guitars and anthemic vocals, exquisitely arranged we may add. It really shows how Daggers have taken the 90’s elements from Love & Rage and expanded it into something all their own. ‘T.R.L.T.’ back to ‘in yer face’ Daggers trademark off kilter punk, chants, fast bit, slow bits all straight into your head. ‘We just Wanna Play’ is, as Daggers put it ... ‘Empowering playground song for girls and queers to sing and play’. The perfect intro to … ‘Loud Mouths’ the first track to feature bestie guesties ‘The Menstrual Cramps’. A riotous call to arms. We are united with our sisters and queer folks in punk and hardcore, queercore is strong and more alive than ever. Together we will denounce problematic behaviours unapologetically, we won't shut up. Things must change and it’s happening when problems are pointed out and sorted. The scene is for everybody, and we are making it happen’. ‘Le Soleil’ is another step forward … a left field, almost dubby vibe with a dreamy melodic swirling vocal performance from Sal.

When Daggers decide to step outside the box, they do it seductively in style. ‘Glow’ is the second collaboration; this one featuring Dennis Lyxzén from Refused on dual vocal duties. A no brainer it seems … ‘Refused has been a band that never wanted to fit in with a specific sound, they are pioneers of experimental punk while still being rooted in hardcore. They believe in what we believe in, antifascism, veganism, social justice and Dennis on stage is anything but a generic hardcore singer’. It’s a celebration. It’s fuzzy, it's hooky and it’s heavy with, dare we say it, a bit of My Bloody Valentine in there too, generic hardcore it is not. And that pretty much sums up ‘The Real Life Thing’. This album and this band are anything but ‘generic’. They never stand still and continue to push the boundaries of what is ‘hardcore’ or ‘punk’ or whatever people think they are. T.R.L.T. is a delight and a surprise from start to finish, refreshing, abrasive, melodic and with a true beating heart. Embrace it.

The new recordings from The Dengie Hundred unfurl on Tain Records after a busy year releasing a solo tape on Sagome and a collaborative LP and tape with Japan Blues on Demdike Stare's DDS imprint.

Lammas Land is an album which meditates on the Walthamstow Marshes, an ever-changing watery landscape, rich with history and wildlife. The Dengie Hundred writes:

"I am sitting at my table overlooking the marshes listening to Lammas Land in November 2023, watching crows fight a never-ending aerial battle with the gulls. In summer, you can see bats from here every evening, fluttering around the windows as the light begins to fade, but today it is colder so there is smoke rising from the boats on the River Lea and the dog walkers are wrapped up tight against the wind.
Most of Lammas Land was made sitting right here, playing guitar and recording the sounds passing by. I would hang a microphone out of the window to capture the ‘putput’ boat which delivers provisions, or the trains that rattle along the tracks that cut across the marshes and up to Stanstead, carrying passengers to the airport and away.
I wonder what tourists make of the marshes as they cross them, the landscape opening up for a moment between the urban sprawl of the East End and the rampant development of Tottenham. They offer a jarring pause of green and sky. I feel very lucky to be living in that pause, a resident, for now…

The album contains a whole year of found sounds recorded from the window and while out walking. It is full of bird song and radio sounds, singing, life.

Many others have been inspired by this space, this pause. The author Esther Kinsky who wrote River, published by Fitzcarraldo Editions, captures this area so perfectly. I borrowed the two track names for this album from her book. I hope she doesn’t mind.

Also, the photographer Paul Fuller whose work reflects the atmosphere I feel here precisely. On hearing the music he wanted to collaborate on the Lammas Land project, He spent a year filming the marsh through the seasons. Some of his images are included with the vinyl release, and there is an accompanying film close to completion. I am so pleased this project is continuing in new forms.

The vinyl also contains a piece of writing, ‘Sound Fishing’, by Gemma Blackshaw, an author, art historian and curator who in a twist of fate also found herself spending time on the marshes, but that is her story, for another day."




The Dengie Hundred
Lammas Land
LP, with essay insert + five photographic prints
Cat No: TAIN02
Price: £14.49
Due next week

A: A hand full of ever thickening twilight
(Sample clips 1 / 2 / 3)

B: A string of pearls pulling
the night away
(Sample clips 1 / 2 / 3)

Red "Eruption" Marble Blend" Doppel-Vinyl, inklusive 16-seitigem Booklet mit Texten und ausführlichen Liner Notes. Ursprünglich 1998 veröffentlicht, fing ,South Central Thynk Taynk" von Abstract Tribe Unique (Abstract Rude, Fat Jack, Zulu Butterfly Priest, Irie Lion King und DJ Drez) einen entscheidenden Moment in der Underground-Szene von Los Angeles ein - als junge schwarze Künstler den Hip-Hop von Grund auf neu erfanden. Mit einer Mischung aus jazzigen Beats, spiritueller Einsicht und einer äußerst unabhängigen Produktion wurde das Album zu einer Hymne auf Selbstständigkeit und kreative Rebellion. Jetzt wird dieser lange nicht mehr erhältliche Klassiker von Rhymesayers Entertainment als Deluxe-2xLP-Set mit einem Text-Booklet und einem Bonustrack neu aufgelegt und kehrt für eine neue Generation zurück. Im kulturellen Zentrum der Platte steht Project Blowed, eine legendäre Crew aus L.A., die von Abstract Rude und Aceyalone gegründet wurde und eine Reihe von Rap-Innovatoren hervorbrachte, deren Einfluss bis heute im globalen Hip-Hop zu spüren ist. Während der Mainstream-Rap den G-Funk-Boom der Westküste aufgriff, schlug die Blowed-Crew einen anderen Weg ein - geprägt von Jazz, radikaler Politik und afrozentrischem Futurismus. ,South Central Thynk Taynk" ist eine vielschichtige Zeitkapsel aus dieser revolutionären Zeit, die Ab Rudes tiefgründige Lyrik mit Fat Jacks genreübergreifendem Produktionsansatz verbindet und eine poetische Reflexion über Familie, Kampf und künstlerische Bestimmung schafft. Diese Neuauflage enthält den Titel ,L.A. Styles Back (Project Blowed Remix)" mit einer generationsübergreifenden Besetzung von Schwergewichten - Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore und NGAFSH -, die unterstreicht, wie die Underground-Szene von L.A. seit Jahrzehnten ein kreatives Epizentrum geblieben ist. ,South Central Thynk Taynk" ist mehr als ein Kultartefakt; es ist ein lebendiges Dokument der Transformation, der Gemeinschaft und der künstlerischen Kraft.















[o] 15 : L.A. Styles Back (Project Blowed Remix)” [feat. Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore, NGAFSH]

Die erste Veröffentlichung des Labels "From Cool Waters" aus Nairobi kombiniert traditionelle kenianische Folk Elemente mit minimalistischer Elektronik und klassischer Marimba. Entstanden aus dem Zusammentreffen dreier MusikerInnen - dem in Nairobi ansässigen Nyege Nyege-Kollaborateur und Schlagzeuger Sven Kacirek, der 83-jährigen "Queen Of Dodo" Ogoya Nengo und dem Sänger/Songwriter und Gitarrenbauer Olith Ratego - schafft PALAGOMA eine einzigartige elektroakustische Synergie. Die Künstler haben bereits zuvor in verschiedenen Konstellationen zusammengearbeitet: Der in Deutschland geborene Kacirek war Produzent und Toningenieur von Nengos faszinierendem Debütalbum Rang"ala, das 2014 bei Honest Jon"s Records erschien, während Ratego und Kacirek 2018 das Duo ODD OKODDO gründeten, das 2019 und 2023 beim einflussreichen Nyege Nyege Festival in Uganda sowie bei Veranstaltungen auf der ganzen Welt auftrat.

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

,Ruin Everything" ist das fünfte Studioalbum der Stockholmer Psychedelic-Rock-Pioniere Les Big Byrd. Seit ihrer Gründung im Jahr 2011 hat das Quartett seine Mischung aus Space Rock, hypnotisierender Psychedelia und diszipliniertem Krautrock perfektioniert. Angeführt von Songwriter und Produzent Jocke Åhlund Byrd um die ganze Welt getourt und sich dabei eine begeisterte Fangemeinde aufgebaut, wobei sie abwechselnd zu Hause als eine der größten Rockbands Schwedens und im Ausland als Underground-Psych-Act auftraten. Nach dem experimentellen und stark instrumentalen ,Diamonds, Rhinestones and Hard Rain" (2024) kehren Les Big Byrd auf ,Ruin Everything" zu einem stärker songorientierten Ansatz zurück, der an ihren Klassiker ,Iran Iraq IKEA" aus dem Jahr 2018 erinnert. Da die abenteuerlichsten Tendenzen der Band zugunsten eines strafferen, fokussierteren Sounds zurückgenommen wurden - der von dem dystopischen Epos ,Big Flood" bis zum Vollgas-Space-Rock von ,Hökvind" reicht -, ist ,Ruin Everything" Les Big Byrd in ihrer bisher besten Form.

,Ruin Everything" ist das fünfte Studioalbum der Stockholmer Psychedelic-Rock-Pioniere Les Big Byrd. Seit ihrer Gründung im Jahr 2011 hat das Quartett seine Mischung aus Space Rock, hypnotisierender Psychedelia und diszipliniertem Krautrock perfektioniert. Angeführt von Songwriter und Produzent Jocke Åhlund Byrd um die ganze Welt getourt und sich dabei eine begeisterte Fangemeinde aufgebaut, wobei sie abwechselnd zu Hause als eine der größten Rockbands Schwedens und im Ausland als Underground-Psych-Act auftraten. Nach dem experimentellen und stark instrumentalen ,Diamonds, Rhinestones and Hard Rain" (2024) kehren Les Big Byrd auf ,Ruin Everything" zu einem stärker songorientierten Ansatz zurück, der an ihren Klassiker ,Iran Iraq IKEA" aus dem Jahr 2018 erinnert. Da die abenteuerlichsten Tendenzen der Band zugunsten eines strafferen, fokussierteren Sounds zurückgenommen wurden - der von dem dystopischen Epos ,Big Flood" bis zum Vollgas-Space-Rock von ,Hökvind" reicht -, ist ,Ruin Everything" Les Big Byrd in ihrer bisher besten Form.

Named the #1 Hip-Hop Album of 2014 by Pitchfork, Rolling Stone, and Complex, RTJ2 is the duo’s definitive masterpiece. This LP finds GRAMMY-winner Killer Mike and El-P at their peak alongside guests Zack de la Rocha (Rage Against the Machine) and Travis Barker. Available for the first time as a 1LP pressing, this edition restores the legendary Gangsta Boo verse and includes the rare bonus track "Blockbuster Night Pt. 2" (feat. Despot & Wiki). Now back in print as a 140g LP in Gatefold Jacket. A must-have for any hip-hop collection.

Fust’s first record "Evil Joy" was a bitter domestic drama obsessed with the kitchen-sink passage of time measured by moments of leaving and returning. With "Genevieve", we find a different kind of leaving: leaving behind, leaving one’s old ways, starting anew, a small life together, in “Family Country.” Thus, Genevieve: an historical name for both the saintly and the ordinary, the peasantry and the family, the community and the wife, extreme devotion and absolute forbearance. While sonically and instrumentally louder than Evil Joy, Genevieve is thematically more quiet about its pains—more settled in its ways. It is a collection of pathetic love stories written in dedication to “small life,” moving from gentle exceptions (“I can take the late hours if you’re with me”) to pitiful admissions (“I’m never going to change when I leave…”). What comes with a quiet life? The highest forms of beauty, but we also find here songs of unspeaking companions, the sublime dread of having children, the balance of humility and humiliation, playing the fool for the greater good, and… budget birthday parties. With these stories of possible growth, "Genevieve" can’t help but also feature tried and true examples of crisis and repression: seeking a bygone lifestyle in an old friend who hasn’t changed much over the years, pissing contests, search parties as the form of community for melancholics with no clue what they’ve lost, old flames you won't let go and dying flames you won’t admit. "Genevieve" was recorded throughout 2021-2022 (mostly) at Drop of Sun studio in Asheville NC by Alex Farrar. The painting by Sasha Popovici is exactly right: a domestic scene yet unfinished. Many friends helped to make it much better than it was without them—Xandy Chelmis, Michael Cormier-O’Leary, Indigo De Souza, MJ Lenderman, Courtney Werner.

To mark its 20th birthday, Lisbon-born label Enchufada is releasing A Lisbon Club Story - 20 hand-picked tracks bridging bass, trap, grime and rave with baile funk, kuduro, batida, Afro-house and more dance-oriented styles. A mix of 12 archive selections and eight fresh cuts, the LP unites some of the boldest champions of Afro-diasporic and global bass music today, from household names in Portugal such as Buraka Som Sistema - back with their first track in 12 years, DJ Marfox and Shaka Lion to newgen dynamos like Vanyfox and international stars like Dengue Dengue Dengue and Mina.

Doublemint green vinyl. Limited to 300 copies. Tel Aviv hardcore heavyweights Eternal Struggle return with their second full-length album "Wartime Love Affair", set for release via Demons Run Amok. Produced by longtime collaborator Brian "Mitts" Daniels (Madball, Skarhead), the new record unleashes a relentless hardcore and metal assault, packed with crushing beatdowns, massive riffs and nonstop aggression. Written and tracked in the midst of real-world conflict, every track is fueled by raw intensity and unfiltered emotion. "Wartime Love Affair" marks a bold new chapter for Eternal Struggle, refining their sound while pushing their ferocity to new heights.

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their bestselling CLASSIC Studio One collections all released on limitededition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics. Studio One Roots set the standard for Soul Jazz Records’ long-standing series and features many of the classic artists from Clement 'Sir Coxsone’ Dodd’s mighty roster of reggae. This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis, Devon Russell alongside some of the defining in-house groups of Jamaican reggae history - The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. The album is filled with a mixture of seminal cuts and super-rarities from the vast vaults of 13 Brentford Road.

Stand-out tracks include Alton Ellis’s ‘Blackish White’, a surreal and powerful Afro-centric dream, Count Ossie’s Rastafarian drummers’ genre-defying interpretation of Booker T and The MGs ‘Meditation’, Willie Williams aweinspiring versioning of the Skatalites' seminal Rastafari anthem ‘Addis Ababa’ and many, many more. Original sleevenotes by Lloyd Bradley (author of When Reggae Was King), compiled by Mark Ainley (Honest Jons), high-quality Soul Jazz mastering, wicked images of Count Ossie and the Mystic Revelation of Rastafari on the cover, and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner sleeves. “There isn't a weak number across these 16 tracks, from the Gaylads’ ode to ‘Africa’ and Devon Russell's version of the heavyweight ‘Drum Song’ rhythm, to stunning instrumentals such as Jackie Mittoo and the Cyclones with nyahbinghi drummer Count Ossie on ‘Meditation’, Lenny Hibbert’s sparkling vibe work over Mittoo's ‘Ghetto Organ’ and The Sound Dimension’s ‘Congo Rock.” Pitchfork “The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection.” All Music

Nach der Gold-Single „Kleiner Finger Schwur“ und dem Top-3-Chart-Erfolg des zweiten Albums „Du bist
nicht allein” folgt nun das dritte Studioalbum von Florian Künstler „Alles nur geliehen“.
Der Singer-Songwriter Florian Künstler steht für ehrliche, gefühlvolle Texte und eine unverwechselbare
Stimme, die berührt. Auf seinem neuen Album „Alles nur geliehen“ zeigt sich Florian besonders nahbar
mit Songs wie „So lange nicht mehr getanzt”, „Ich weiß nicht wie”, „Alles geht vorbei“ feat. Clara Lösel,
Kirschblüten“ feat. 1986zig oder „Wehe du gibst auf“

The Flat Earth is the second studio album by English new wave and synth-pop musician Thomas Dolby, it was released on 10 February 1984 and peaked at No. 14 on the UK Albums Chart. The first single from the album was "Hyperactive!", which peaked at No. 17 in the UK Singles Chart, and was a minor hit in the Netherlands too.

The album has held up very well 40 years after its release; a crisp production, brilliant songwriting by Thomas Dolby and a fantastic ensemble of supporting players makes this record a classic in its own kind.

The Flat Earth is available as a limited edition of 750 individually numbered copies on silver vinyl, and contains an insert.

Summer is around the corner and what a perfect timing to introduce you to Admo’s latest musical project - Charlottenzbeul Science Club. After three years since his last solo EP, many live acts around the globe and releases on Limousine Dream, Haws and Ordinateuf, the mad bassist is back at it again with his first release on his new label - Two-Headed Fish Records - which he co-runs with his wife. Definitely an EP that stays in the family.

It’s another four-tracker - you know the kind of vinyl that keeps on giving. A celebration of his time in the vibrant German capital, Berlin (West is the best). A1 opens the ball : bassy, catchy and this infectious chromatic melodic line. The recipe for a summer hit. Now onto A2 (and we’re not talking about his German language skills here): a regular laidback approach where acid sounds mesh together with this high-energy baseline. A classic in the making. If you’ve seen him live, you must’ve recognised B1 as it used to be his closing. A dreamy touch, where storytelling is the key word. You will have your head bopping from the first minute - mellow moment guaranteed. And B2 wraps it up - it takes you by the hand, you hop onto the next U-bahn and straight to the dance floor. The analogic bass keeps on bringing the track higher, progressively transforming into this groover that gets your feet stomping. It’s a proper farewell and a perfect conclusion to this beautifully crafted record.

Ital Tek's new album 'Mind Abandon' takes a different direction from his recent run of releases, embracing a more human touch in contrast to the dense, world-building drone of his previous albums and film work. This time, he set out to compose away from the computer as much as possible _ working more instinctively and allowing himself to get lost in the music. Alan found the most natural starting point was his own voice, processing vocals into shifting pads and textures. His guitar sits at the centre of much of the record, joined by live, hand-played percussion and effects, often captured in quick, spontaneous performances. The result is an album of spacious, contrasting dynamics, with textures pressing against each other and rhythmic elements fighting to surface from glutinous, layered sound. "It feels like a very introspective record for me," Alan says. "Losing my sense of identity/self as part of the process - the increasing effort to calm my mind and embrace humanity/imperfection in the music. This path made sense as a jumping off point for a lot of the music to be vocal or guitar experiments - singing in ideas and then processing to become less identifiable." The album feels carved and three-dimensional, weaving industrial and shoegaze influences with the darker edges of post-rock. Subtly embedded in its architecture are traces of dubstep dynamics _ a sound that remains part of Alan's DNA. Opening track "The Ice Is Thin" is driven almost entirely by live guitar and keyboard, awash in reverb. On "A Hidden Path," everything apart from the drums stems from processed vocals and guitar, with a fleeting appearance from his daughter's toy ukulele. It unfolds like the beginning of a journey _ vast and cinematic _ nodding to the widescreen tension of Ennio Morricone before building into a towering wall of noise. "Killswitch" disorients with pounding kick drums crafted from twanging acoustic guitar, pushing through layers of static-charged chords. "Undertow" spirals outward on looping guitar figures set against a pulsing Rhodes. "Misted," built around a rare four-to-the-floor beat, uses guitar as a driving rhythmic device, opening with a bassline that wouldn't feel out of place on a The Cure record. "Imagined Landscape" introduces icy keyboard textures that foreshadow the dark closer, "The Pull," where an arpeggiated bassline reminiscent of DAF underpins unnerving, internalised sound design that feels as though it's scratching from within. Mind Abandon closes on a heavy, stalking note _ fresh sounds drawn from the body and the heart.

Mr. YT returns!

The cult deep house alias of Yuji Takenouchi was last seen on Brand New Day in 2017, which compiled a series of soft scenes and deepest soulful house for the ambient techno predator R&S and its Apollo, Generations and Global Cuts sub-labels across the mid-to-late 90s. Quietly and confidently some of the most beautiful house music ever made.

So it's a thrill to announce the Universo EP today on Short Span, and to say that he’s still making incredible new dance music in his studio. This is the first Mr. YT record of brand new material in twenty eight years.

The lushness springs forth as delightfully as ever. The inspirations of Detroit chords floating and interacting with a certain kind of Japanese plasticity and futurism. Crystal clear blue skies, sweet perfume and space race optimism, touched with a gentle wistfulness. The four tracks are each as beautiful and intricately deep musically as they are colourful and buoyed by energy. Ready to delight you.

Universo has some new purpose and drive up front, designed and deployed as his most propulsive dance music as Mr. YT. The tempo is taken up, and tracks frequently break out into virtuosic melody that dances across the pieces. Yuji’s talent for composition that hits as hard as it effortlessly glides hasn’t lost its edge in the quarter century plus break. The kick of “Acuario” and “Escorpio” are finely balanced with the influences of jazz and something a little more padded and cosmic. You could mix these into something by Los Hermanos or Ian O’Brien.

The EP bubbles down to a more yearning, sunsetting ambient house on the B side. The instantly recognisable language of classic Mr. YT, a warm and tender place.

Mr. YT has been absent a while, but Yuji’s busy. He’s established a long career as a musician and sound designer within the Japanese videogaming industry, having his hand in games including FromSoftware’s Dark Souls series surely adds something widescreen and sharply emotionally focused to the direction of his dance music. His Missing Project alias also got some shine from the stellar Music From Memory Virtual Dreams II compilation in 2024, which once again pinned down his enduring importance within the ambient techno movement of Japan. He’s also regularly working with Tokyo’s FORM@ Records and regularly self-publishing interesting work and studio versions. And his Missingsoul alias is still some of the most beautiful deep jazz-house committed to wax on Ron Trent’s Future Vision label. Check it all out!

On the 2024 Altered Circuits release Tropicana Tracks Rotterdam-based artist Betonkust paid tribute to the former subtropical pool (now a circular entrepreneurship hub) Tropicana of his hometown. ALT025 is the follow-up: the fallen-from-grace swimming paradise again fuels a club-oriented selection, inspired by, in the artist's words, "the electronic music from 1988 up until now", more specifically "the Benelux-sound". Tropicana Tracks Two kicks off in full gear with the zero swing drums and lately bass rhythms of Don't Think I'll Be Here Too Long setting the stage for intense synth stabs. Its counterpart comes by way of Realxing, which nonetheless uses similar patches. If the A1 is the thrill of the slides, this one feels like blissfully floating in the geothermally heated waters afterwards. Will Support on the reverse side takes on Detroit techno. Minimal in its composition, it is carried by tough, loopy minor fifth synth sections and prominently mixed rides. TV For Lonely People features more big bass catchiness and melancholic, silky melodies, glued together by vintage flanger treatment and chlorine-damp reverb. The production revels in what feels like the quintessential Betonkust sound. Innershades then joins for the encore, and, characteristically, the mood turns a bit darker. Letting Go Of The Dream is an emotional New Beat update, fully equipped with thudding drum works, haunting lo-fi vocals and pivotal 303 programming - a fitting reaffirmation of the long-standing ties between two of Low Countries Electronics's finest ambassadors.

First time reissue of JP / US free jazz rarity.

The 1970s were Marion Brown’s most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as “a more deliberate kind of music that had more structure to it,” pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines.

Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown’s methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style.

“La Placita,” making its first recorded appearance, layers distinct rhythmic phrases in a manner reminiscent of African drum ensembles, over which Brown and trumpeter Ambrose Jackson spin extended improvisations. The standard “Flamingo” is reshaped through diasporic rhythm and lyrical soloing, while “Pepi’s Tempo” and “Mangoes” harness crisp funk and reggae grooves to generate what Brown called a “manifestation of community” through collective improvisation. Even the overdubbed solo feature “And Then They Danced” reflects his structural thinking, ingeniously re-voicing a duet composition for two alto saxophones performed by one player.

This was the only recording by a short-lived band that briefly polarized audiences during festival appearances in 1976. Yet Brown consistently sought unity across change: different sounds, same principles — rhythm as structure, melody as architecture, collective improvisation, and above all, the primacy of tone. Awofofora stands not as a departure, but as a vivid synthesis of the elements he had been refining since the late 1960s, its grooves and golden alto lines conveying a sound drawn, in his words, “from life and from the world of experience.”

For the first time in its 27-year history, Defected compile its greatest hits, underground anthems and bonafide house music classics into a five volume triple vinyl collectors series.

Volume One collects twelve of Defected’s most established and sought after releases.
Featuring arguably ‘the' Defected anthem; Kings of Tomorrow ‘Finally’ alongside Solomon’s huge Noir & Haze remix, Ibiza anthems ‘Guitarra G’, ‘At Night’ and ‘Coma Cat’ plus productions and remixes from Louie Vega, Dennis Ferrer and Dimitri From Paris.

An essential addition to your record collection.

Collecting Orders for 2026 Repress

Music for Swimming Pools has put together their first-ever compilation here and it's a self-titled series that launches with Volume One. It's an assembly of their friends and label family members in with newly discovered gems.

Some cuts are exclusive and some of them hint at projects to come, while some are making vinyl debuts. Pete Herbert kicks off with a seductive downbeat jam, Max Essa's 'Sacaton Skylines' is a new age delight and Gafas Du Soul lays down deep sunset house vibes on the gorgeous 'Embers' amongst many other highlights. A fine first collection for sure.

Love International return with the second release in their Floor Series, welcoming Iñigo Vontier with a remix from Eden Burns, as it rolls on - continuing its run of records shaped by the dancefloor and late-night pulse in Tisno.

For 002, Mexican producer Iñigo Vontier steps in. Known for moving between styles with ease, he lands here with something that locks to the floor - rolling, hypnotic, and just off-centre enough to keep things interesting.

On the flip, Eden Burns comes through with a killer remix that pushes the original into more immediate, dancefloor destruction, completing the four-track EP.

There is a particular kind of strangeness that arrives on long drives across Europe. Flat light, service stations and fields stretching endlessly past the window. It might look mundane at first glance, but becomes faintly surreal when the tiredness of touring blurs the edges of everything.

That feeling became the quiet engine behind Driving Through Belgium, the debut solo album from Anton Pearson, best known as one of the guitarists in respected post-punk outfit Squid. The title grew from a track that felt like the record’s centrepiece, which itself came from the recurring image of extensive periods on the road across the continent. It is a record shaped in the margins of touring, and finessed in the in-between hours.

Across six pieces, Pearson leans into atmosphere, texture and space. It is ambient in spirit, adjacent to contemporary classical in feeling, but composed less with notes in mind than with sound itself. The compositions rarely began with harmony or melody, with Pearson instead responding to his environment and sounds in real time, placing trust in his instinct.

Although initial inspiration came from the road, the album was recorded in a studio he shares in Brighton, and marks his first fully solo project made in that setting. It gave him access to not only new tools and techniques, but a hitherto un-experienced freedom. Much of the process began experimentally, feeding instruments into unfamiliar chains, pitching loops into unexpected registers and playing with previously unused synthesizers simply to see what they might reveal. Many of the sounds were created out of pure curiosity, wanting to understand a piece of equipment or technology, and then following wherever it led.

The album was built with this experimentation at its core, as Pearson would layer then extract, processing stacks of sound until things blur and confuse. Guitars dissolve into drones, a Pianet Clavinet dances against muddier textures whilst a Korg PS-1000 occasionally cuts through with its glittering top end. On ‘Driving Past the Muscular Cows in Belgium’, a flat, still drone is pushed through valve amps until it growls and tightens with tension, before receding again. Even the trumpet, which Pearson freely admits he is not technically proficient at, is embraced in its naivety, its squeaks left intact rather than corrected. The twin ‘Tintinnabulation’ pieces frame the record with looping, pitched bell like tones, accidental discoveries that became structural anchors. Meanwhile, ‘Teeth to Cut the Grass’ deliberately introduces abrasion, some of the harshest textures on the record, a refusal to become passive background music.


That embrace of imperfection is central. In contrast to the hyper-analytical precision of his band, Pearson was keen to honour first takes. If something felt good, it would stay. The end result is an album that favours looseness, instinct and the energy of creation itself. If Squid thrives on propulsion and tension, Anton Pearson finds his energy in suspension on Driving Through Belgium. It is curious rather than declarative, creating a space where experimentation feels playful again.

Repress of the TLB tunes on FSL !

"Carol Maia & Jeremy Gustin’s haunting collaborative album is the result of a long distance partnership during which tracks were traded back and forth across thousands of miles, Jeremy working from his home studio in Brooklyn and Carol from hers in Rio De Janeiro. Later they enlisted support from a number of key players in the Rio scene, Frederico Heliodoro, Paulo Emmery, Ricardo Dias Gomes, and from Brooklyn’s musical community, Will Graefe and Ryan Dugre, to shape this understated masterpiece of sophisticated global pop and quiet experimentalism.
"It's hard to describe what Carol, Jeremy and their guests have achieved on 'it's nice to see a lake in your eyes', a kind of pop music that stands outside of time and is neither Brazilian, American or of any other recognisable place. Maybe it's risen out of the lake they imagined into being? Maybe it's formed like rain in the thousands of miles of air between Rio and New York? Whatever happened was certainly alchemical as you will hear.
"Carol told me her writing on this record was greatly influenced by her reading of Marcelo Ariel's poetry book A água veio do sol, disse o breu so maybe the best thing to do to describe this music is to let you read one of his poems:

A luz do ser é como a água
também veio do Sol
onde todos os planetas querem entrar

Dentro do Sol
O ser é imóvel
como a gratuidade de um êxtase
parecido com a respiração

Fora do Sol
o ser é móvel
Tempo eternidade
e tempo cronológico

The light of being is like water
it also came from the Sun
where all the planets want to enter

Within the Sun
Being is immobile
like the gratuitousness of an ecstasy
similar to breathing

Outside the Sun
Being is mobile
Time eternal
and chronological time

"Jeremy Gustin is an unorthodox drummer, percussionist and songwriter who has toured and recorded with Joan as Policewoman, Iggy Pop, David Byrne, Marc Ribot, Delicate Steve, and Norah Jones. If you follow Hive Mind then you probably know him best from his amazing work on Ricardo Dias Gomes' Muito Sol. Jeremy is also in the experimental pop bands Star Rover and Blurry the Explorer.
"Carol Maia is one of Rio's new generation of singers and musicians currently lighting up the city's vibrant music scene. She also featured heavily on Wolfgang Pérez's album Só Ouço, which was released on Hive Mind in 2025."

Jim O'Rourke and Jos Smolders teamed up again after their first collaboration, Additive Inverse from 2021. Over a period of three years, both artists worked in sessions of a day, each in their own studio.
The result is sometimes like a warm cloud of sounds, suddenly breaking up into a rhythmic, irregular pattern, after which it dives into introverted mindsets. The music is in constant flux
The project followed the same workflow, but this time Jim took the lead and kicked off with a salvo of sounds that he extracted from his Kyma System. Both Jos and Jim were quite interested in the spectral character of sounds. Jim applied Kyma algorithms while Jos granulated his basic recordings. That way, textures are built, quite slowly moving from warm to gritty, from hard surfaces to deep sonic wells.

King Street Sounds Sampler Vol. 6 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Dennis Ferrer, Mood II Swing, Studio Apartment and Blaze & Palmer Brown, the release highlights the soulful, vocal-led house sound that has defined King Street across decades of dancefloor culture.

Including standout King Street favourites such as Dennis Ferrer’s Touched The Sky and Mood II Swing’s Closer, the sampler brings together several proven catalogue moments in one DJ-friendly vinyl package.

With warm grooves, powerful vocals and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the sixth edition in the King Street sampler series, this release presents a selection of essential catalogue moments on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever!

Through the years, these four remarkable performances — all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year — have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Prssings, has deservedly given these tracks a stellar stand-alone release for jazz fans to savor!

The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.

Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously.

Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard. 180-gram 45 RPM double LP pressed at Quality Record Pressings.

Features:
• Pioneering Ensemble: Captured the same rare and short-lived alignment of jazz legends including Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb, as heard on the historic Kind of Blue.
• Innovative Sound: The session represented a crucial transition in jazz, blending elements of hard bop with early modal jazz influences, showcasing the ensemble's experimentation and forward-thinking approach.
• Undervalued Legacy: Despite its historical and musical significance, the session's recordings have been historically overlooked, often relegated to being add-ons in compilations rather than recognized as standalone masterpieces.
• Modal Jazz Precursor: Offered early glimpses into the modal jazz that would later be fully realized in Davis's groundbreaking album "Kind of Blue," laying the groundwork for future jazz innovation.
• Impact on Artists: Served as a critical point of development and confidence for the musicians involved, particularly Bill Evans, who noted the significant impact of this experience on his own identity and style.
• Historical Context: Occurred at a peak moment in Miles Davis's career, following his signing with Columbia Records and his critical and commercial successes with albums such as ‘Round About Midnight and Miles Ahead.

AAls "Inbegriff des Southern Soul" (VIBE) und "bluesiger Geniestreich" (Okayplayer) gefeiert, mit "einer Stimme, die von der Gospelkirche geprägt ist, und einem fast übernatürlichen Umgang mit der tiefen Intensität des Blues" (KCRW), baut "Miss Black America" KIRBYs Mission weiter aus, ihre Wurzeln zurückzugewinnen und die Musik und Kultur von Mississippi den Massen näherzubringen. Wie Elton John kürzlich verkündete, ist KIRBY "zu Großem bestimmt", und mit diesem Album schlägt sie ein neues, tiefgründiges und persönliches Kapitel auf, in dem sie die Zuhörer dazu herausfordert, das Stampfen, Summen und Sehnen zu hören und diese Klänge in Sinn und Kraft zu verwandeln. Während KIRBY bereits mit Rihanna, Kanye West, Paul McCartney, Beyoncé, Black Thought, Ariana Grande, Demi Lovato, Donald Glover und vielen anderen zusammengearbeitet und Songs mitgeschrieben hat und Millionen von Fans, darunter Hayley Williams und unzählige andere, für sich gewinnen konnte, ist "Miss Black America" ganz und gar ihr eigenes Werk. Dieses Projekt, bei dem Hymnen statt Hits, Geschichten statt Samples und Wahrheit statt Trends im Vordergrund stehen, ist das inspirierendste Werk ihrer Karriere und begleitet dich vom Grillfest am Samstag über den Gottesdienst am Sonntag bis hin zur Arbeit für "den Mann" am Montag. Es ist Blues- und Soulmusik für die Zukunft, gemacht für diejenigen, die vor ihr da waren: die Vorfahren, die auf dem Land der Dockery-Plantage, von der sie abstammt und die viele als Geburtsort des Delta-Blues bezeichnen, tanzten, weinten und sangen.

London-based musician, composer, and NTS resident Kit Grill presents his extraordinary new album 'Andøya', inspired by a solo residency on the eponymous Norwegian island, a profoundly dramatic territory situated in the Vesterålen archipelago, inside the Arctic circle.

With evocative, sonorous ambient, drone, minimalism, experimentalism, and modern classical music, Grill captures the environmental essence of a remarkable region; an isolated Nordic landscape of small coastline villages, raw peatlands and sublime mountain ranges, surrounded by wide, open views of the Arctic ocean.

Drawn from his experience on solitary excursions around the island - hiking, exploring, and encountering the locals - 'Andøya' is a beautifully stark, stirring exploration of acoustic phenomena, seclusion in nature, and the expressive power of unique landscapes. For Grill, the trip entailed a surreal day-night cycle, and his experience has had far-reaching, existential implications, both for his practice and his perspective:

"On the 8th January 2025 I travelled to the Norwegian island of Andøya, in the Arctic Circle for a three week solo residency. Surrounded by sea, snow, and mountains, I lived in isolation and travelled around the island each day documenting the landscape. At 10am, the background light of the sun beneath the horizon would light the day and in the 4 hour window of light, I would hike into the mountains and explore the wilderness. It was a profound experience that changed the way I thought about sound, solitude, and what it means to be alone in nature."

"Since returning, I created a body of music informed by that time to try and capture the vastness and unpredictability of the Arctic landscape. The album moves through the sensory extremes: ice cracking, storms forming and fading, the rumble of tectonic plates, waves crashing, harsh winds, trudging through snow, and the sharpness of freezing air. The album aims to reflect both the landscape itself and the shifting emotions that came with living in isolation and the Arctic environment. The music and photography serve as a recorded diary of my time there, documenting the experience."

Over 30 years ago, Dog Eat Dog from New Jersey managed to set a milestone in the then still young crossover genre with their debut album. ‘All Boro Kings’ received widespread acclaim from fans and critics alike. With ‘No Fronts’, the album also boasts a club hit that is still popular today. In August 2018, German magazine Visions included ‘All Boro Kings’ in its list of the 25 crossover albums for eternity.

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

Wheelchair Sports Camp is certainly not your average hip-hop act. Hailing from Denver, CO, fronted by Kalyn Rose Heffernan—a wheelchair using, profanely queer and tiny rapper, with a very distinctly high-pitched sense of humor. Backed by her gimp Greggy on drums, the band combines fantastic beats with an absolutely face shredding live show. Playing shows everywhere they could, the band has expanded into performance art, museum takeovers, politics, prison tours, permanent installations, theater, film, and now the release of their newest album, “Oh Imperfecta!” on Alternative Tentacles Records. They bring together contributions from Jello Biafra (twice), Radio Pete (who happened to come up with the name Dead Kennedys when Biafra was a teen in Boulder, CO, and this is their first time ever collaborating musically), Kimya Dawson (Moldy Peaches), Oliva Jean, Junia-T, Amy Goodman, and some honorary WSC members: Qknox, Michelle Rocqet, Wes Watkins, RAREBYRD$, and many more; to create 11 absolute bangers.

Eine Sammlung von 21 Titeln mit Klassikern aus „Mister Rogers’ Neighborhood“.• Gepresst auf opaken gelben Vinyl.• Begleittext von dem mit einem Oscar und einem Grammy ausgezeichneten Regisseur Morgan Neville und dem Fernsehkritiker Robert Bianco aus Pittsburgh.„Mister Rogers’ Neighborhood“ feierte vor über fünf Jahrzehnten seine Fernsehpremiere. Auch wenn es manchen noch wie gestern vorkommt, als die Sendung brandneu war, ist es doch herzerwärmend zu wissen, wie sehr sie Teil des Lebens unzähliger Kinder und Erwachsener war, die die Sendung über die Jahrzehnte hinweg erlebt und daraus gelernt haben.Obwohl seine Popularität nie nachließ, hat der 2018 erschienene Dokumentarfilm „Won’t You Be My Neighbor?“ des Oscar- und Grammy-Preisträgers Morgan Neville unsere Liebe zu Fred Rogers neu entfacht und ihn einer neuen Generation vorgestellt. Mit dem bevorstehenden Kinostart von „A Beautiful Day In The Neighborhood“ (mit Tom Hanks als Fred Rogers) im November werden der geliebte Mister Rogers und seine Nachbarschaft wieder einmal im Mittelpunkt der Herzen, Gedanken und Ohren aller stehen.„It’s Such A Good Feeling: The Best Of Mister Rogers“ versammelt 21 Lieder des beliebten Moderators (begleitet von seinem langjährigen Partner und Pianisten Johnny Costa, Carl McViker am Bass und dem Percussionisten Bobby Rawsthorne). Neben Klassikern wie „Won’t You Be My Neighbor“, „You Are Special“ und dem Titelsong enthält diese Veröffentlichung auch fünf bisher unveröffentlichte Titel, darunter den ursprünglichen Schlusssong der Sendung, „Tomorrow“.Diese LP ist auf opaken gelben Vinyl gepresst und die Verpackung enthält Fotos, eine Einleitung von Neville sowie einen Essay des Fernsehkritikers aus Pittsburgh (und langjährigen Mitarbeiters von USA Today) Robert Bianco. Also, steigt in den Trolley zum Land Of Make Believe, denn es ist wirklich so ein gutes Gefühl.

Christopher Tignors ,Bleeding Past the Edges" ist ein bewusster Kontrapunkt zur heutigen, von KI geprägten Musiklandschaft und stellt die menschliche Hand fest in den Mittelpunkt des Schaffensprozesses. In einem kleinen Studio voller Geigen, Stimmgabeln, Pedalen und maßgeschneiderter Software hat Tignor ein Performance-System entwickelt, das sich weniger wie eine Maschine, sondern eher wie ein lebendiges Instrument verhält. Anstatt sich auf Loops oder Backing-Tracks zu verlassen, generiert er jedes Stück in Echtzeit und fängt Klänge ein und formt sie um, während er spielt. Geigenstreichmelodien erweitern sich zu vielschichtigen Mustern, perkussive Schläge lösen sich entwickelnde Strukturen aus, und selbst eine einzelne Stimmgabel kann sich zu einem ganzen harmonischen Feld entfalten. Das Ergebnis ist ein immersiver, orchestraler Klang, der live von einem einzigen Interpreten erzeugt wird, der sich durch ein eng verwobenes System aus Gestik, Timing und Code bewegt. Jedes Element beginnt als physische Handlung und bleibt damit verbunden, was der Musik ein Gefühl von Unmittelbarkeit, Risiko und Präsenz verleiht, das sich durch das gesamte Album zieht. Auf dem Album bewegt sich Tignor fließend zwischen rhythmisch geprägten Kompositionen, die das Instrument als perkussiven Motor behandeln, und melodischeren Werken, die im expressiven Kern der Violine verwurzelt sind. Die Lead-Single ,Weight of Words" unterstreicht diese Balance und entfaltet sich mit einer narrativen Klarheit, die Tignors Kompositionsansatz widerspiegelt. Er beschreibt diese Stücke oft als ,Kurzgeschichten", in denen Melodien als roter Faden dienen und jedes Werk durch wechselnde Strukturen und emotionale Bögen führen. Der Titel ,Bleeding Past the Edges" verweist auf Momente, in denen die Musik über ihr ursprüngliches Konzept hinausgeht, in denen sich die Struktur lockert und der Klang nach außen fließt. Tignor vergleicht den Prozess mit ,einem Seiltänzer", bei dem sorgfältige Vorbereitung auf die Möglichkeit einer Transformation in Echtzeit trifft. Obwohl die Systeme streng ausgearbeitet sind, behält jede Aufführung ein Element der Unvorhersehbarkeit, wodurch sich die Musik ständig weiterentwickeln kann. Im Laufe von zehn LPs, die über Western Vinyl und New Albion erschienen sind, hat sich Tignor in klassischen und experimentellen Kreisen breite Anerkennung erworben. The Guardian bezeichnete ihn als ,absurd talentiert", während Bandcamp seine ,schiere technische Meisterschaft" hervorhob und The New York Times seine seltene Fähigkeit lobte, Computer bei Live-Auftritten nahtlos mit akustischen Instrumenten zu verbinden. The Wire lobte seine Kompositionen zudem für ihre fließenden, sich entwickelnden Strukturen. Über seine Soloarbeit hinaus hat Tignor mit Künstlern wie Rachel Grimes, Helios, Jefre Cantu-Ledesma, John Congleton und This Will Destroy You zusammengearbeitet. Sein Hintergrund verbindet verschiedene Disziplinen: Er hat einen Doktortitel in Komposition von der Princeton University, einen Master in Informatik vom NYU Courant Institute und einen Bachelor vom Bard College, wo er bei dem Dichter John Ashbery studierte. Mit ,Bleeding Past the Edges" führt Tignor diese Stränge zu einem Werk zusammen, das sich sowohl streng konstruiert als auch lebendig anfühlt - ein Album, das Performance, Körperlichkeit und die anhaltende Ausdruckskraft menschengemachter Klänge in den Vordergrund stellt.

Nina Nastasia nahm mit Steve Albini bei Electrical Audio in Chicago auf und engagierte den Instrumentalisten und Arrangeur Paul Bryan aus Los Angeles, um ihre Songs für ein kleines Orchester zu arrangieren. Mit dem Schlagzeuger Jay Bellerose und dem Gitarristen Jeff Parker aus Chicago wird Outlaster von einer absoluten Traumband unterstützt. Dieses Album ist ein Werk von üppiger Raffinesse, das ohne Verlust an Charakter oder Wirtschaftlichkeit über Nastasias berühmte Sparsamkeit hinausgeht. Das Orchester geht mit Bryans kraftvoller, bewegender Partitur - die an Gil Evans und den verstorbenen Phil Ochs erinnert - eher formell vor und veredelt die Platte mit glänzenden Bläsern und einem dynamischen Streichensemble. Nachdem Outlaster mehr als ein Jahrzehnt lang vergriffen war, ist es nun endlich wieder auf Vinyl erhältlich. Die Neuauflage von Outlaster wurde 2025 von Josh Bonati für Vinyl remastert und ist auf limitiertem burgunderfarbenem Vinyl gepresst.

Paul McCartney kehrt mit seinem 18. Studioalbum The Boys Of Dungeon Lane zurück und präsentiert
damit sein bisher persönlichstes Werk. Das Album vereint seltene, bisher ungeteilte Erinnerungen mit neuen
Liebesliedern und gibt intime Einblicke in seine Kindheit im Nachkriegs Liverpool sowie frühe Begegnungen
mit John Lennon und George Harrison. Als einer der prägendsten Songwriter unserer Zeit blickt er auf die
Jahre zurück, die sein Leben und die moderne Popkultur formten.
Der Albumtitel verweist auf die „Dungeon Lane“, einen Ort seiner Jugend, an dem McCartney viel Zeit
verbrachte und der für die Zeit vor dem Ruhm steht. Inspiriert von der ersten Single Veröffentlichung „Days
We Left Behind“ fängt das Album die emotionale Essenz dieser Erinnerungen ein.
Die physische Veröffentlichung erscheint am 29. Mai auf Vinyl und CD und erzählt mit großer Ehrlichkeit
die Geschichte hinter einer der bedeutendsten Ikonen der Musikgeschichte.

Born 2 Be Free rolls out a third call to the dance floor here and it comes from Azaad. He kicks off with the low-slung 'Automatic' which has a cool-as-you-like swinging groove, dusty hi-hats and aloof vocals piercing the mix. Wispy pads and warped bass bring touches of old school garage but the palette is distinctly contemporary. 'Swagged Out' ups the ante with some sleazy garage shufflers and a steamy vocal sound that draws in between the edgy synth stabs. Last of all is maybe the best. 'Doin' It Again' is a heady and clean sound with swirling cosmic pads and a slick, minimal rhythm that makes you throw down your best moves.

2026 Repress
A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

Between Bodies als Geheimtipp der europäischen Punk/Indie-Szene zu bezeichnen, ist mittlerweile ein großes Understatement. Nach ihrem Debütalbum, "Electric Sleep" von 2022, war die Band in aller Munde derer, die ein Herz für melodischen, treibenden, emotionalen Punkrock mit DIY Spirit haben. Spätestens über das Jahr 2025, als die Band aus Köln, Toronto und Paderborn, etablierte Acts wie Touché Amore, The Get Up Kids, The Hotelier oder Captain Planet in ausverkauften Clubs supportet hat, auf zahlreichen Szene-Festivals zu sehen war und seine Hörer*innenschaft noch einmal deutlich erweitern konnte, sind Between Bodies zu einer der spannendsten up-and-coming Punk-Bands hierzulande geworden. Die Songs und Texte der Ende 2019 gegründeten Band haben - wird oft behauptet, hier stimmt es einmal - internationales Format und erinnern an Lieblinge wie Joyce Manor, The Menzingers oder Tigers Jaw. Ihr Sound lässt ebenso an 90er Jahre Emo-Punk Klassiker denken, zeigt sich beeinflusst von 00er Jahre Post-Punk/Indie und verfügt dabei über reichlich Charakter und ein Ideenreichtum, der Between Bodies schlicht zu einer außergewöhnlichen Band macht.