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The fifth release on Objekt’s Kapsela imprint is (re)weave, an EP of crystalline club tracks from Detroit-born, London-based producer Tristan Arp.

(re)weave was written during a prolonged period of flux for the artist. “When I started making this record, my life and the world felt like a maze,” he recounts. As he routed and re-routed through past and future homes – Mexico to New York to Detroit to Mexico and finally to London – his output bore the marks of this repeated uprooting. “I was thinking about making music that reflected these twists and turns, and the knotty pathways through them. I was also re-reading Borges around this time, which must have influenced my interest in labyrinths.”

Accordingly, the EP is a mycelial puzzle, a tangle of spidery, undulating ostinatos and earthy percussion, stitched through with syncopated kicks. Employing the sounds of multitudinous critters and kin – whales, insects, thunder, water, forests – the arrangements sum to a sentient mesh of organic matter, the compositions living and breathing like earthly beings. Kaleidoscopic tendrils explore in every direction but are always underpinned by a driving, percussive backbone. It’s not easily classifiable: it’s bass-driven, but to simply call it “bass music” would sell it short.

In keeping with the winding geographical paths traced over the EP’s creation, (re)weave saw Tristan Arp revisiting and reinterpreting unfinished sessions and incorporating them into newer ideas. Rhythms and sounds have been transplanted and self-recycled from previous projects and woven into the fabric of the record. In this way, (re)weave also describes a looping back over time, a recalibration of the self from past to present through interlocking rhythms, channeling and communing with versions of oneself from times gone by.

The closing track, Wish Server, slows the EP to walking pace and hints at tentatively emerging from the deepest jungle into a delicate, innocent light. Tristan Arp imagines it as a dialog with a baby-self. “Some of my earliest memories are of sitting at my mother’s loom,” he offers. “The sequence of these tracks traces these feelings and follows the thread back to the primordial soup… through mazes… to a feeling of levitation.”

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

For the first time ever, Roxette release ‘Baladas En Español’ on vinyl. The relationship between Roxette and Spanish-speaking audiences has been a love story since the early ‘90s and this release celebrates that special relationship. The release is timed with Roxette’s 40th anniversary and their return to South America for live shows in April. The album will be available on vinyl and CD, featuring 4 bonus tracks compared to the original release. The vinyl will be released in both a limited coloured edition and standard black.

Roxette have some exciting plans to celebrate their 40th Anniversary this year, including extensive touring, further anniversary re-releases, video upgrades, contemporary remixes and much more!

For the first time ever, Roxette release ‘Baladas En Español’ on vinyl. The relationship between Roxette and Spanish-speaking audiences has been a love story since the early ‘90s and this release celebrates that special relationship. The release is timed with Roxette’s 40th anniversary and their return to South America for live shows in April. The album will be available on vinyl and CD, featuring 4 bonus tracks compared to the original release. The vinyl will be released in both a limited coloured edition and standard black.

Roxette have some exciting plans to celebrate their 40th Anniversary this year, including extensive touring, further anniversary re-releases, video upgrades, contemporary remixes and much more!

Two jewels in the crown of the soulful electronic music scene in NYC unite for a spellbinding EP on Rhythm Section International. ”Full Circle” is a brand new body of work from Musclecars & Toribio.

To call this 12” simply epic would almost be doing it a disservice. The breadth of musicality and execution of ideas contained across 3 compositions is nothing short of miraculous. I use the word composition intentionally: these are not merely tracks - these are 3 movements making up a concerto - with a dub thrown in for good measure!

The record kicks off with a soulful house behemoth, “ That’s My Story” featuring NJ legend Roland Clark on vocals giving sweet sweet testimony. In many ways, this track feels like a coming together of the trios influences. The lyrics contextualise it, giving it this intimate, confessional feel. The latin drums shuffling amidst the 909 kick drive it forward and the organ swimming freely amongst it all takes us to church. It’s a timeless track - paying homage to the various New York traditions laid down by Louis Vega, Timmy Regisford, Joaquin Claussell , Ron Trent et al - all heroes and collaborators of the composers who - with this effort - have surely now earned their place in the pantheon of American Soul Music.
‘
Be Honest’ maintains the confessional tone with the lyrics but takes things right back down in terms of tempo. Is it a love song, an ultimatum or a cry for help? Whichever way you interpret it, this track is Toribio’s time to shine as a lead vocalist and he hits all the notes, leaving not a dry eye in the house. This is a delicate tour de force, delivered with such raw emotion and vulnerability it allows the instrumentation takes a back seat - just a gentle groove, swelling strings and some unresolved chords are all that’s required to transform us to the main character of this story. We’re left hanging, and it’s oh so relatable.

Agua De Florida serves as an uplifting, fast paced finale to the concerto and this one’s all about the trumpet - masterfully performed by Melbourne born, London based virtuoso Audrey Powne. If Herb Alpert was making house music - I imagine this is what it would sound like. Throbbing bass and noodling synths join the melee and crank the joy up to 11. If the EP is a story arc over 3 tracks, then we’re definitely not left hanging with this one. All is resolved, things are moving onwards and upwards and the circle is complete.

Faitiche welcomes a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.

TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.

Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?

Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.

JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?

CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.

JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?

CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.

Credits:

Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther

Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther

Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing

image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch

design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

A guitar stands alone in Wedding, that metropolitan biotope in the western center of Berlin, caught in constant transformation between idyll and abyss. It lets its gaze wander, unsettled, almost shy, until it encounters a trumpet, with which it begins a cautious, then ever more intimate pas de deux.
Welcome to the second studio album by the Berlin-based band Conic Rose.
The album title Wedding is no coincidence. The story of Conic Rose is closely intertwined with the Berlin neighborhood that gives the record its name. The band's studio is located here, and both studio albums were created in the immediate vicinity of the small river Panke. This place settles over the music like a warming patina. The album feels as though the musicians and the neighborhood have invited one another to get to know each other. Not least because Wedding also means marriage. These marriages between a band and an urban landscape, a fading past and an emerging future, fear and hope - unfold in every single song on Wedding.
For their second album, Conic Rose repositioned themselves completely. Not in terms of personnel, but in the question of how to move forward. Conic Rose still sound like Conic Rose; their distinctive blend of cinematic jazz, ambient textures and guitar-led contemporary music remains untouched. And yet Wedding is, in many ways, the conceptual counterpart to their debut album Heller Tag. Where the debut documented movement within an urban setting, Wedding describes a state of being. Behind every piece seems to hover a large question mark.The group opens up its palette, allowing more influences, becoming at once more subtle, more profound, more filigree. It is less about definition than about the spaces in between. The most immediately striking difference from the previous album is the strong presence of the guitar. In Bertram Burkert's playing, many voices seem to converge. His yearning openness forms an equal counterpoint to Döben's trumpet and flugelhorn. Blurred and layered sounds occasionally make the ground seem to slip away beneath one's feet, while Döben's gliding lines create both closeness and distance. Together, the band express in a deeply subtle way a sense of life that corresponds precisely to our time. Something lurks in the background, omnipresent yet still unnameable. Conic Rose need no words to convey this feeling of uncertainty with remarkable eloquence. Perhaps this has something to do with Wedding being a place of confrontational introspection, but Conic Rose confront the escape from escape itself. With the recording and release of Wedding, this process is far from complete. The seed only begins to grow in the listener's ear. With every listen and the echo it leaves behind in memory, the studio bud continues to bloom. The album is merely the point of departure. What ultimately matters is what it sets in motion within those who encounter it.

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

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

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

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

Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.

After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone. Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death.

This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”

Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.

After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone.

Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death. This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”

“Dance Music That Hurts” — the motto of Work of Intent.
Hurts, because it goes straight to your heart.
There’s no better way to put it.
His productions are rooted in the UK underground,
dripping with both techno and pop sensibilities.
This is “big room” like you’ve never experienced it before—
music you can’t ignore, driven by storytelling and raw emotion.
He’s found a home on labels such as Monkeytown, Turbo, and REKIDS, and continues his relationship with Laurent Garnier’s COD3 QR .
Founder of the clandestine edit factory *Emotional Weaponry*,
he continues to receive support from industry heavyweights.
Former manager of *DAYTIMERS*, the UK-based collective championing
South Asian sounds, stories, and voices,
and a highly sought-after mix engineer for some of the UK’s most exciting prospects.
We’re beyond happy to welcome Roshan Chauhan aka Works Of Intent to the family.
Feels like the beginning of a long, dramatic love story.

Credits:
Written and produced by *Works of Intent*
Distributed by *One Eye Witness*

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

My Favorite Things is one of J ohn Coltrane 's all time bestselling LPs. Recorded in 1960 for Atlantic Records during three marathon sessions that also produced enough music for four subsequent albums: Coltrane Plays the Blues , Coltrane's Sound , and Coltrane Legacy. The LP's title tune belongs to the Rodgers & Hammerstein musical The Sound of Music, which at the time, might have seemed an odd choice by critics and fans. However, in Coltrane's hand the tune is spun out with an Eastern sound, a waltz reminiscent of a dervish dance, hypnotic and totally engaging. An edited version of the track was issued as a single and gained popularity across US radio stations, resulting in the LP becoming a major commercial success. My Favorite Things features John Coltrane 's first recorded performance on soprano saxophone - an instrument gifted to him by Miles Davis.

Responsible Friend is an album about the ways in which we show up for one another. What does it mean to be a responsible friend - to be there for someone you love without trying to save them - in a society steeped in conflict and injustice? Some of the songs on Responsible Friend are joyful dedications while others feel more like letters Elizabeth wasn't sure she wanted to send. Taken together, it's a record about slowing down in a world that keeps accelerating. It's a commitment to friends, family, and self, at a time when everyone seems to be carrying more than they can reasonably hold.

NOSUCHKEY makes a bold debut on the Art of Memory label with a deadly four track EP of masterfully reduced but stylish and evocative minimal techno. NOSUCHKEY is actually a side project from Nico Purman. He served up the first two releases on the label and this new alias is focused on straight forward techno. Over more than a decade Purman has established himself on Vakant, Crosstown Rebels and Curle, and now heads in an exciting new direction designed to make a huge impact on the floor. Opener 'Stages' is post minimal techno with a focus on mind melting melodic riffs that ripple over the rooted drums. It is sci-fi in style with a hint of Detroit greats like Jeff Mills and really takes you into the future. The excellent 'FMFMFM' is another fluid bit of deep techno that is wired up with languid synths constantly wrapping and warping round the drums. Keeping up the pressure is 'Lunch', with a stripped back but impactful techno style built on rubbery kicks and with modulated synth lines constantly shapeshifting throughout the mix. Direct but dynamic, it is excellently timeless techno that leads on to closer 'ACD RDFN'. There is urgency, paranoia and cyber tension in this one that really keeps you locked as it journeys deep into a blackened yet cinematic cosmic abyss. NOSUCHKEY is a false address, a lack of a word, a character or sign that makes a whole code unable to find its final path: The Specified Key does not exist.

New pressing on black vinyl (500 units). Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue their debut album ‘The Garden of Jane Delawney’as a standalone release. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a sub-category in the lexicon of record dealers and music critics alike. “When we are talking about psych folk or acid folk, we are really talking about music like this by Trees” Stuart Maconie, BBC6 Music. Trees first album, ‘The Garden of Jane Delawney’ (1970) snuggles nicely into contemporary nu-folkies’ idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias’ own songs. The record includes readings of ‘Lady Margaret’, ‘Glasgerion’, the old standard ‘She Moved Thro’ The Fair’, and the extended fade of the group’s own ‘Road’, presage the explosive instrumental duelling that would come to characterise the follow up album, ‘On The Shore’. // “The music’s arcane power remains intact” Mojo. // “A fantastic band” Record Collector. // “Spectacular” Uncut. // “Sublime” Shindig. // Timeless” Prog. // “It’s these two original albums that stand as pinnacles of form” The Wire. // Track listing: A1. Nothing Special A2. The Great Silkie A3. The Garden of Jane Delawney A4. Lady Margaret B1. Glasgerion B2. She Moved Thro' The Fair B3. Road B4. Epitaph B5. Snail's Lament