quête:life form

This is the story of an artist in search of sound and breath: an artist who dares to question the rhythm of silence—an invitation to rethink music, sound, and musical collaboration. This is the story of a journey that, after opening countless paths, has finally found its vessel—and its messengers. Three artists of profound musical truth and radical freedom, merging into an exceptional trio that crosses genres and transcends words in a journey toward pure emotion.

Le Rythme du Silence is the culmination of this long search. Yom delivers it here with violinist Théo Ceccaldi and cellist Valentin Ceccaldi—kindred spirits in sound. “I’ve been working on this idea of the ‘rhythm of silence’ for years,” Yom explains. “I first heard the phrase from a Sufi master, describing the foundation of meditation. It struck something deep in me. I’ve practiced meditation for a long time, and we often think of it as a kind of stillness—opposed to noise and life. But in truth, the rhythm of silence enables meditation. It means accepting that the world continues to move and live around you, even as you try to be still. I wanted to compose from that place. To imagine sound as vibratory matter—the primal substance of creation. That required letting go of fixed structures: forgetting melodies, abandoning the idea of a constructed solo. I needed to leave behind music as a system, and touch sound as a living, breathing entity. It took years. Many projects led me elsewhere. But with the Ceccaldi brothers, I finally found the right resonance. Working with them was simply obvious—it was indredibly powerful.”

Yom first rose to prominence reimagining Jewish traditional music with his 2008 debut New King of Klezmer Clarinet. Since then, his path has led through rock (With Love, 2011; You Will Never Die, 2018), electronic utopias (The Empire of Love, 2013), meditative and sacred soundscapes (Prière, 2018), and countless unclassifiable hybrids (Unue, 2009; Green Apocalypse, 2010). It was inevitable that he would eventually cross paths with the free-spirited Théo and Valentin Ceccaldi—two artists who also place collaboration and genre-blurring at the heart of their artistic development. Their projects are always bold, demanding, and full of life (Kutu, Tricollectif, ONJ, Velvet Revolution, Grand Orchestre du Tricot, Lagon Noir, Constantine, etc.). And so, when the three met within the iXi string quartet, something clicked.
“I was seated between the two of them in the quartet,” Yom recalls, “and I could feel their energy flowing from both sides—it was wild! They’re so tuned into each other, they don’t need words. It’s like they’re connected by musical Wi-Fi. The groove happens instantly. They’re precise when they want to be—thanks to their experience in pop-influenced projects —but they can also let go completely, diving into pure sound. That’s exactly what this project needed.”

Without a single rehearsal, the trio formed instinctively. They began performing Yom’s compositions live, unfolding them into a single continuous piece, where clarinet and strings stretch the limits of sound and breath.
Bowed, plucked, or prepared with clothespins, the Ceccaldi strings engage in a playful and intense dialogue with Yom’s custom B-flat clarinet. Through their imaginative listening and fearless invention, air and space open into a vast new soundscape—one that lies somewhere between meditation and healing music.

“When Yom shared the concept of the rhythm of silence, we were immediately drawn in,” says cellist Valentin Ceccaldi. “There’s a deep intensity and spiritual commitment in his music that really spoke to me. With this trio, we’re trying to dive into the core of sound—but also to create a kind of communion with the audience. It’s like gradually turning up the volume on silence, and realizing it’s made of countless tiny sounds—the music of particles in motion" This stripped-down intensity demands full presence—body and mind—of these three musicians, vibrationally connected in a state close to trance. With them, we enter a journey - not religious, but sacred nonetheless.
The Rhythm of Silence becomes an echo of our most intimate, most distant inner landscapes.
An album—and a trio—to return to without end.

They say that if you keep your ear to the ground, you might catch a sound welling up from the depths. That this sound takes shape underground, rising toward the cosmos. They say these lyrics speak of resistance, and that the words they’re made from flow from the subconscious. That through rhymes & rhythms, an oasis has formed, and that beneath the surface, another life is possible.

« l’important est de maintenir des oasis de resistance… » Edgar Morin

(What matters most is to preserve oases of resistance…)


Stand High Patrol presents « Underground Oasis » : an underground utopia, a new album.

At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.

‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.

The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.

Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.

Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).

The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.

Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.

Mastered by Renaud Millet-Lacombe.

Issued under license from VDE-Gallo, Switzerland.

Two sides, two heatwaves pulled from the depths of Afro-diasporic analogue archives and reborn for contemporary dancefloors.

On the A-side, “Chiacchiere di Lavoro” is a razor-sharp re-edit of a Nigerian track, that is just like its new producers: obscure and way ahead of their time. The B-side dives into the Antilles: "Taxi Safari" is a rare tropical gem, reworked with finesse by editing maestros Lance and Disco Strummer.

But what is La Sirenetta?
La Sirenetta – “The Mermaid” in Italian – is a name that evokes memories of a Riviera discotheque, the faded glamour of a beach club, or a fried fish shack glowing in the sunset.

In fact, this La Sirenetta is a sub-label of Maledetta Discoteca Records, dedicated to digging, selecting, and editing analogue World Black Music bangers from the ’80s and giving them a second life.

The formula? High-quality, highly collectible 12” double-siders.
All La Sirenetta records are a limited edition, one-time pressing only. Don't miss them!

Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you"ll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. Metallic Life Review features Susan Alcorn"s pedal steel, Owen Gardner"s glockenspiel, Thor Harris" drumming, Jason Willett"s (Half Japanese) guitar, and Jeff Carey"s aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded "live in the studio", ala Throbbing Gristle"s Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live.

Following the success of the 12” “Trip To Your Mind (The Reworks)”—where Delfonic and LTJ Xperience both brought their own magic to Hudson People’s disco/jazz-funk anthem—we’re back with a fresh twist: DJ Friction steps in for an official 7” rework, breathing new life into this cult classic in his own unmistakable style.

For those who’ve been following the story, you know “Trip To Your Mind” is a true favorite among DJs and collectors since decades, from its creative inception by the writer Reginald Hudson with the GI funk band Body Heat, to the original recording taking place in the late 70s in London that eventually paved the way for disco lovers to produce this recent string of reworks.

Where the 12” reworks stretched out the groove with extended intros and club-friendly builds, Friction’s version keeps things tight and energetic. He adds his own drums, claps, synth touches, and some new vocal layers—combining the standout parts from both the original mix and the classic UK remix. The result is a punchy new take that’s perfect for DJs who want maximum impact in a short format, but still want all the funk and psychedelic flavor that’s made this song a dancefloor staple for decades.

And for collectors? The original 7” of “Trip To Your Mind” is notoriously hard to find—and pricey when it turns up. This new release finally makes it easy to spin a fresh, fully licensed version on 7” wax, expertly mastered for today’s systems.

Whether you were hooked by the Delfonic or LTJ Xperience edits, or you’re just discovering this tune for the first time, DJ Friction’s rework is a natural next step in the ongoing journey of “Trip To Your Mind.

Acclaimed British artist Leon Vynehall presents is highly anticipated third album, In Daytona Yellow, via Ooze INC. Marking the next stage in the Ivor Novello-nominated producer and DJ’s evolving sound, In Daytona Yellow showcases Vynehall’s experimentations with fringe electronics, pop, and R&B, and his growing confidence through collaboration and live vocals. Across 10 hypnotically off-kilter tracks, we hear Vynehall at his most deft and diaristic.

Over the past 13 years, Vynehall has built a formidable reputation through his genre-defying artistry. From his early days as a leftfield house producer releasing on labels like Aus Music, Running Back, 3024, and Rush Hour, to his critically acclaimed debut album Nothing Is Still (2018) and the boundary-pushing Rare, Forever (2021), he has continually redefined his creative limits. While Rare, Forever was a bold step away from dance music—melding post-punk textures with experimental electronics—In Daytona Yellow pushes these experiments into a more traditional songwriting framework, inspired by both contemporary and 80s avant-pop.

In Daytona Yellow is set to be a career-defining release, cementing Leon Vynehall as one of electronic music’s most innovative and thought-provoking artists, part of a vanguard expanding the ambition of electronic music.

The sixth vinyl release from Goodbye Royalty, titled "No Script," is a vivid embodiment of multifaceted creativity. The album is filled with conceptual experiments that reflect the artist's years of experience. The genre palette, ranging from minimalism to Electro-Breaks, will surprise both seasoned diggers and casual audiophiles, offering a unique musical journey. The title track "No Script" is infused with an atmosphere of universality and depth. Acusmouse creates a ritualistic immersion, a whirlwind that draws the listener into the depths of consciousness. The contours of percussive spaces are repeatedly revealed from new angles. Music becomes more than just a collection of sounds; it transforms into a genuine experience that leaves a mark on the soul. "Alfa" by Interpolarm embodies mysterious and simultaneously mystical imagery, where the main strength lies in harmony and balance between rational canvases. The fresh dance form and recognizable sound of the duo provide a better perspective on their evolution from early Minimal Techno with Acid House to romantic Micro House, where the collective liberates itself from heavy energies. On the B side, Information Ghetto takes the lead. Through an equal blend of psychedelia and humor, the artist creates a cohesive concept for fans of broken rhythm based on two tracks. The formula is simple: a mix of trip-hop, electro, and breaks, analog synthesizers, and soft bass that brings dusty mechanisms of the eternal engine to life. The graphic design has been developed by the unique artistic collective Recycle group. Vinyl owners can expect a true surprise-a secret message that can be revealed by focusing a smartphone camera at the main image of the apple. This serves as an additional portal into the world of the future. Just install the Recycle Group APP on your device beforehand.

Continuing the percussive-driven and emotive themes from his previous EPs, CAIN reaches beyond the boundaries of experimental electronic and Celtic music from the Scottish Highlands. "Lineage" is the result of a life-long goal to combine his passion and experience in these respective worlds. The album includes Brighde Chaimbeul on Scottish small pipes, James Mackenzie on flute and vocals by Katie Mackenzie.

The common thread that connects his discography is the intense rhythmic and melodic elements that convey his love of ‘infectious rhythm, ethereal beauty, or an otherworldly strangeness’. His productions have garnered support from DJs like Ben UFO, Gilles Peterson, Peggy Gou, Hunee, Haai, Erol Alkan, Ame, Oneman, and Midland, amongst others. Balancing rhythmic precision with profound harmonic depth, CAIN weaves evocative builders that ignite dancefloors at peak time and reveal intricate sonic tapestries in the intimate confines of headphones.

CAIN's musical background is rooted in traditional Scottish bagpipe music, which evolved through his competitive performances on an international level. His experience and knowledge enhanced CAIN’s understanding of how regional folk music reflects specific environments and cultures. Through the competition circuit he met Brìghde Chaimbeul, out on the scenic games fields of Uist, Glenfinnan and many others. He also competed against James Mackenzie, an amazing piper and flautist. James is a former member of the band Breabach. His wife, Katie Mackenzie is a superb Gaelic singer.

The recordings with James and Katie were done on the island of Bernera, off the Isle of Lewis in the Outer Hebrides and recordings with Brìghde were made in Edinburgh.

Mastered by Sam at Precise, Design by Alexander Horne, Pressed and printed at Record Industry

Black Truffle is pleased to announce Melopea, presenting two new pieces highlighting the incredible voice of Amelia Cuni (1958-2024), the great Italian singer, based in Berlin in later life, whose mastery of the classical Indian dhrupad developed in parallel with a commitment to contemporary experimental approaches. After two stunning archival releases documenting traditional dhrupad performances in India in the 1990s (BT079 and BT092), the two side-long pieces here embody the freedom with which Cuni explored new contexts and settings for her singing.

Both make use of a long recording of Cuni singing the pentatonic Raag Bhoop (or Bhopali) made in 2012 by her partner Werner Durand in Berlin. ‘Melopea’ began from Cuni and Durand’s superimposition of this recording with violinist Silvia Tarozzi and cellist Deborah Walker’s performance of Éliane Radigue’s ‘Occam River II’. Inspired by the beauty of this chance encounter (and other experiments with non-synchronous collaboration during the pandemic years), Tarozzi and Walker recorded independently, without hearing Cuni’s voice but ‘having her present in memory’. Tarozzi and Walker’s bowed strings places Cuni’s magisterial performance in a new context, emphasising, as Radigue commented upon hearing the initial layering of her piece with Cuni’s voice, a shared ‘searching toward the partials, overtones, these natural constituents of acoustical sounds in their richness’. Beginning with whispered bowed harmonics, the violin and cello swap the stability of dhrupad’s traditional tanpura drone for a slowly evolving, uneasy web of harmonic interactions recalling some of Harley Gaber’s work, sometimes sitting on dissonances for long periods or allowing changing interference patterns to come to the fore. Primarily focusing on her lower register, Cuni’s performance demonstrates her mastery of microtonal pitch subtleties, elegant sweeping glissandi and meditatively unhurried pacing.

The continuation of the same recording by Cuni forms the foundation of ‘Bhoop-Murchana’, with Anthea Caddy on cello and Werner Durand on soprano saxophone. In contrast to the randomised layering of the first piece, here Durand and Caddy have carefully selected pitches based on the raag Cuni sings, using the ‘Murchana’ form, which uses the constituent notes of the raag as tonics of new raags, retaining the same interval structure. Both players who have developed tones of striking depth and harmonic purity on their instruments, Caddy and Durand’s patient long tones are simultaneously rigorously grounded in the physical properties of sound and possessed of an immaterial, floating quality. Combined with Cuni’s voice and, near the piece’s end, her contributions on hammered and plucked tanpura, the effect borders on miraculous. To surrender to this music is like slipping into an onsen pool, feeling the instantaneous release of every tension. Accompanied by liner notes from Durand, Tarozzi and Walker, Melopea is both a moving tribute to the profound art of Amelia Cuni and, for the uninitiated, a perfect introduction to it.

An elusive cult gem resurfaces through Glossy Mistakes. Originally released in 1986, L'Empire Des Sons is an otherworldly blend of synth pop, folk experimentation, and cinematic percussive layers-dreamlike, poetic, and wildly ahead of its time. L'Empire Des Sons was a fleeting yet powerful transmission from the fringes of the French underground-an album that blurred genre lines and evaded easy classification. Fusing experimental folk, lo-fi synth pop, and avant-garde textures, the record exists in its own sonic universe: poetic, layered, and fiercely independent. Formed in Saint-Étienne by percussionist and composer Dominique Lentin (Dagon, Fille Qui Mousse) and first-time vocalist Bipé Redon, L'Empire Des Sons emerged from the vibrant DIY spirit of the early 1980s. Their paths crossed during the interdisciplinary project L'Opéra Quotidien, and what followed was an intuitive, deeply collaborative process. "I would bring in lyrics and my voice," Bipé recalled, "and Dominique would shape the music around the atmosphere or rhythm suggested by the words." The result is a collection of songs that feel both meticulously constructed and completely free. Ethnic percussion, marimbas, xylophones, and synthesizers dance around Bipé's surreal, fragmented lyrics-little sonic postcards from imagined worlds. There's a theatricality here, but it never feels forced; rather, it's playful, intimate, and raw. Despite their inventiveness, L'Empire Des Sons remained a well-kept secret-circulating only in select avant-garde circles and eventually becoming an extremely sought-after collector's item. Now, thanks to Glossy Mistakes, this lost artifact returns to the world with new life: remastered from the original tapes, pressed on vinyl for the first time with extended liner notes. L'Empire Des Sons was never meant to be boxed in. Like the quote from Brian Eno that opens their liner notes-"For the world to be interesting, you have to be manipulating it all the time"-their music resists stasis. It evolves, shifts, surprises. And now, it finally gets the audience it always deserved.

After two albums inspired by vast northern landscapes, the forces of nature, and an ever-present sense of duality, Glass Museum shifts gears. The Brussels-based group-originally formed in 2016 by pianist Antoine Flipo and drummer Martin Grégoire-welcomes bassist Issam Labbene as an official third member, opening up a richer, more immersive sound and setting its sights on the rhythms of the modern city.

A true turning point in Glass Museum's career, the new album 4N4LOG CITY twists the codes of electronic music, explores the depths of jazz, and asserts its eclecticism through a fresh and infectious groove.

Signed to the forward-thinking Belgian label Sdban Records, the group shapes its identity within the vaulted ceilings of Volta, a creative hub in Brussels frequented by the vanguard of Belgium's "new scene." Sharing space with acts like ECHT!, Lander & Adriaan, and Tukan, the band continues to push its boundaries through collaboration and reinvention.

Recorded between the French countryside of Drôme, the industrial edges of Brussels, and Volta, 4N4LOG CITY features striking guest appearances. Swiss drummer Arthur Hnatek-known for his work with Tigran Hamasyan and Erik Truffaz, and praised by Gilles Peterson and Laurent Garnier-drives the opener "GATE 1" into hypnotic, krautrock-inspired territory. Meanwhile, rising vocalist JDS lends soulful grace to "Call Me Names", evoking the emotive textures and elegance of vintage soul-jazz reminiscent of the likes of Jordan Rakei or Tom Misch & Yussef Dayes.

Without abandoning their melodic roots and foundational approach, the trio takes daring steps into new terrain. The experimental centerpiece "III" explores the piano as a textural and rhythmic force, drifting between ambient and breakbeat. Elsewhere, the gritty "VAN GLAS"-a hip-hop-tinged track featuring rapper JAZZ BRAK of STIKSTOF-the band ventures far beyond their comfort zone, injecting streetwise lyricism in their mix of electronics and jazz.

Fueled by the heartbeat of the city, 4N4LOG CITY captures the mechanical ebb and flow beneath concrete towers-the anonymous rhythms of daily life moving over the asphalt, and the fleeting, meaningful connections made along the way. Produced by Antoine Flipo and mixed by Elsa Grelot (Avalanche Kaito), the album stands at the intersection of human emotion and urban architecture-a post-modern, deeply cinematic work that asserts Glass Museum's place at the cutting edge of European music.

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Mit "Tourist History" veröffentlicht die britisch-irische Indieband Two Door Cinema Club eines der einflussreichsten Debütalben der 2010er Jahre in einer besonderen 15th Anniversary Edition. Das Album, das 2010 erschien, gewann den Choice Music Prize als Irish Album of the Year und markierte den Start einer Weltkarriere, die von Festival-Headliner-Shows bis zu über 1 Milliarde Streams von "What You Know" führte.

Zur Feier des Jubiläums erscheint Tourist History in drei liebevoll gestalteten Formaten - inklusive bisher unveröffentlichter Remixe und Raritäten.

Seit dem Garageprojekt in Bangor haben Alex Trimble, Sam Halliday und Kevin Baird eine beeindruckende Karriere hingelegt - mit Top-10-Alben wie Beacon, Gameshow, False Alarm und Keep On Smiling und ausverkauften Touren weltweit. Diese Jubiläumsausgabe ist ein Muss für Indie-Fans und Sammler - ein Meilenstein moderner Gitarrenmusik.

2026 Repress

On Explorations 03, Sam Goku continues his journey into deep, left-field club music, delivering four tracks that drift between dubby house and finely tuned electronica. Warm basslines, spacious rhythms and subtle melodic details form the foundation, while his unmistakable Sam Goku twist adds an emotional, exploratory edge throughout. Designed for late-night floors as well as introspective listening, Explorations 03 captures a fluid, forward-thinking sound that feels both grounded and otherworldly—another refined chapter in Sam Goku’s evolving sonic universe on Permanent Vacation.

Seven - a number steeped in mystery and meaning, woven into the very fabric of time and space. Throughout history, the number seven has stood as an immutable symbol: from the days of the week to the alchemical metals, from the kings of Rome to its seven hills. An archetype that unites astronomy, myth, and ancient civilizations, finding its deepest expression in Rome.
According to legend, the Eternal City guarded seven sacred relics, the Pignora Imperii, objects whose possession ensured divine protection, prestige, and political authority. Ovid referred to them as the "pledges of power": testimonies of Rome's Trojan heritage and its connection with peoples such as the Sabines, Etruscans, and Greeks. These artifacts, now lost, were:
I. Lo scettro di Priamo
II. Il velo di Iliona
III. Il Palladio
IV. Le ceneri di Oreste
V. Lo scudo ancile
VI. La quadriga di Veio
VII. L'ago di Cibele
From this mythology emerges the new project by Lykos Records: a narrative journey in seven chapters, each dedicated to one of these relics, unfolding through the various artists releases corresponding to catalogue numbers 7, 14, 21... up to LYKOS-XLIX.
Chapter I, "Lo scettro di Priamo" LYKOS-VII, is dedicated to the symbol of Troy's power, brought to Latium by Ilioneus on Aeneas' command as a pledge of alliance and reconciliation. It is said to have been kept on the Palatine Hill.
To inaugurate this journey, seven Roman artists - PixFoil, DJ Red, Brando Lupi, Luigi Tozzi, Feral, Sunday Bath, and Worg - will give life to a sonic mosaic celebrating the musical heritage of the capital. Their tracks will form a collective work that bridges generations and diverse artistic visions.
Each double vinyl will feature an original illustration by Roberto Mulliri, wrapping the entire front and back cover and included inside as a poster.
Within the Pignora Imperii lies the strength and power of Rome, witnesses of the city's epic saga; likewise, Lykos Records weaves its destiny into the history of these sacred Roman objects, becoming a messenger of their enduring legends.

Limited repress!

What is it about New York City, that concrete jungle that continually inspires the creative spirit? From Warhol’s Factory to Larry Levan’s Paradise Garage to David Mancuso’s Loft, collectives that celebrate and nurture unfettered, organic artistry have been absolutely intrinsic to the story of this sprawling metropolis. Its latest chapter is being written at the hands of ‘The Maestro’, Grammy Award winner Louie Vega and his Expansions NYC parties, the sound documented in his latest album Expansions In The NYC (Nervous Records).

Starting in February 2019 in Manhattan and Brooklyn venues, Vega’s Expansions NYC parties have their origin not in his revered prowess as a DJ but rather his whole-hearted appreciation of the different elements of the dance floor surrounding him: the dancers, the musicians who bring their instruments to join him ad-hoc on the night, the small, dedicated crowd of clubbers whose ears to the ground keep them informed on the underground party information. The events included 6-hour DJ Sets with Louie under his select curation, and would usually end with 3 AM jam sessions involving keyboardists, guitar players and poets all performing in front of a jam packed crowd. In just a few short years the Expansions NYC events have evolved into an NYC-clubland institution, an intimate celebration of house, funk, disco, afro, R&B and more.

As with his parties, so goes his album. The collective vibe that forms the beating heart of Expansions NYC parties is absolutely front and centre in Expansions In The NYC, Vega drawing in one of the most comprehensive lists of collaborators in recent memory. House heavyweights Honey Dijon, Joe Claussell, Moodymann, Kerri Chandler and Anané rub up against legendary vocalists Bernard Fowler, Cindy Mizelle, Lisa Fischer, Audrey Wheeler and Tony Momrelle. Gospel royalty BeBe Winans and Debbie Winans, pop icon Robyn and rising star Karen Harding sit alongside disco-era champions Unlimited Touch, Cuban jazz pianist Axel Tosca, Nico Vega, Two Soul Fusion with Josh Milan and Vega and underground legend DJ Spinna. At the centre of it all, fingerprint on every beat, touch on every groove, sits a master at work, weaving the individual threads into a rich dance music tapestry.

"In the past few years I’ve found new inspiration both from the musicians I’m working with and the audiences coming to see me at my DJ shows,” Vega says. “So for me this album represents new beginnings, bringing together a beautiful mosaic of artistic perspectives to express musically what we call Expansions In The NYC."

At its heart, Expansions In The NYC is a love letter to New York, as much as melting pot as the city it represents, the scope of its line-up possible only because of the influence and reverence of Vega the artist, the DJ, the producer, the curator. In creating this album, Louie Vega has once again utterly enriched the lives and libraries of music lovers the world over, far beyond the hustling streets of NYC that have so indelibly left their mark on his work.

Retrospective of British mod / fReakBeat / pop-aRt heroes the eYes including all their cult classic 45s (“When the night falls”, “i’m RoWed out”, “MY degeneRation”...) plus cool rare tRacks souRced fRoM demos and acetates.
foRmed in london in 1964, the eYes took the earlY feedback experiments and pop aRt iMage of bands like the Who one step further. the band wore dyed parkas in various pastel colouRs and bRightly colouRed rugBY shiRts with huge eye symBols on the chest.
theiR raw, eneRgetic sound and distinctive stYle comBined aggRessive, fuzz-dRiven guitaR riffs with catchy melodies and a Youthful defiance that captuRed the eneRgy of the london mod scene. theiR music bRidged rawness fReakBeat with the eMeRging psYchedelic sound that would dominate the latteR half of the decade.
tracks like the feedback-laden “When the night falls” oR the fuzzed-out “you’re too Much” sounded YeaRs ahead of its time and they would influence the mod, garage revival and indie / shoegaze scene of the folloWing decades.
the eYes only released a handful of singles betWeen 1965 and 1966. theY disBanded in 1967 and unfortunatelY they never released a full album during their shoRt lifespan. heRe it is!
*ReMastered sound / *eight-page color insert with liner notes by paul “smiler” andeRson and rare photos / memorabilia / *doWnload card

We Release JAZZ is honored to announce the release Shoals, a magnificent full-length album from Earth and Bones, the duo consisting of Liran Donin and Idris Rahman of acclaimed jazz outfit Ill Considered. Their majestic offering is available in an ultra limited edition 180g vinyl LP housed in a heavyweight sleeve with an original artwork by Dutch artist Vincent de Boer.

Carried by Liran Donin on double bass and shakers, and Idris Rahman on bass clarinet, tenor sax, shell, and Tibetan singing bowl, the 5-track album is a deeply entrancing meditative-shamanistic-ambient-jazz journey. The members of Earth and Bones poured their heart and beliefs into the project:

"From shamanic cultures and forgotten traditions, we delved deeper searching our ancient healers, exploring who they heal, what they heal, and how they do it. We wanted to focus on the poisonous human attributes that affect our animal kingdom, as well as how we can heal ourselves by balancing darkness and light. We express our forever gratitude to our community, tribe and animal kingdom.

Despite how governments and multinational corporations try to isolate us from one another, we can't make it alone without our shoal. To truly have a shoal, we need to accept each other for what we are."

Their friend, Vincent de Boer, delivers the visual side of Shoals:

"The living world and all its particular (eco)systems s increasingly a source of inspiration for my art process. When Idris and Liran showed me the new recording and the thoughts behind it, it immediately fell onto good grounds. A school of fish is eminently a metaphor for collective improvisation, something we are all engaged in on an artistic level. The group decisions go beyond causality, the energies provide a simultaneous awareness for choices of direction. The space between the entities thus form a new entity. Non-matter becomes matter and vice versa: an area where music and visual art meet.

I drew a school of fish and tried to make it look like a fixed entity, so that multiple lives become one collective. As a bird and perhaps as a rock or cave: outside becomes inside becomes outside: so that all domains of the living world are linked: the swimming, the crawling, the flying and the playing. The spiritual connection with the music of Idris and Liran is grand, the places it takes me are at once very distant and extremely close. From otherworldly to within the body: the opposites as well as the harmonies are of shamanistic proportions."

Points of interests

For fans of ambient-jazz, meditative music, shamanistic rituals, improvisational process, deep vibes, Ill Considered, Vincent de Boer, heartful connections, healers and healing, the body, the otherworld, life within and outside.

.Super limited edition vinyl of Earth and Bones' debut !